Woolley & Wallis Auctioneers

CLARICE CLIFF, ART DECO AND DESIGN WEDNESDAY 16TH & THURSDAY 17TH MARCH 2022

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SPECIALIST DEPARTMENTS Please dial +44 (0)1722 followed by the number listed below 20TH CENTURY DESIGN

VALUATIONS FOR INSURANCE & PROBATE

Michael Jeffery Zoe Smith

424505 446955

AFRICAN & OCEANIC ART ANTIQUITIES 339752 446980

ASIAN ART 424506 424583 424589 +44 (0)7812 601098 424591 424571

CHINESE PAINTINGS & CALLIGRAPHY Freya Yuan­Richards Michelle Yu

Clare Durham Hollie Morrison

411854 339161 446974 446974

JAPANESE ART 424583 424591

JEWELLERY Marielle Whiting FGA Jonathan Edwards FGAA (Consultant) Charlotte Glyde FGA Samuel Hug FGA DGA Emily O’Donnell

424595 424504 424586 424586

Sally Litherland

MARKETING Chloe Davie

Sharon Ringwood Anna Gentleman

John Axford MRICS ASFAV Chairman Natalie Milsted FCCA Managing Director

ASSOCIATE DIRECTORS Alexandra Aguilar Clare Durham Victor Fauvelle Will Hobbs Michael Jeffery Jeremy Lamond MRICS ASFAV FRSA Rupert Slingsby Marielle Whiting FGA Freya Yuan­Richards Mark Yuan­Richards

MEDALS & COINS, ARMS & ARMOUR Ned Cowell Molly O’Reilly

341469 446980

PAINTINGS Victor Fauvelle Ed Beer Hannah Farthing

446961 446962 446970

SILVER Rupert Slingsby Lucy Chalmers

424501 424594

424500

CASTLE GATE RECEPTION

BOARD OF DIRECTORS 424507 446964

FURNITURE, WORKS OF ART & CLOCKS

Alexandra Aguilar Alana Ker Mercer

Ruth Pike (Office Manager) Sarah Bennie Megan Corbett Leyanne Hind Nicola Young

ACCOUNTS 424589 424571

ENGLISH & EUROPEAN CERAMICS & GLASS

Mark Yuan­Richards Jim Gale Suzy Becsy Sarah Stone

424598 424509

GENERAL OFFICE

Will Hobbs Molly O’Reilly

John Axford MRICS ASFAV Alexandra Aguilar Freya Yuan­Richards Jeremy Morgan Alana Ker Mercer Michelle Yu

Jeremy Lamond MRICS ASFAV FRSA Amanda Lawrence

SOCIETY OF FINE ART AUCTIONEERS AND VALUERS

446951

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CLARICE CLIFF ART DECO AND DESIGN WEDNESDAY 16TH MARCH 2022 10.00AM THURSDAY 17TH MARCH 2022 10.00AM

Michael Jeffery 01722 424505 mj@woolleyandwallis.co.uk

at our Castle Street Salerooms, SP1 3SU VIEWING Saturday 12th March Monday 14th March Tuesday 15th March Wednesday 16th March Thursday 17th March

10.00am – 1.00pm 10.00am – 3.00pm 10.00am – 3.00pm 9.00am – 10.00am (Lots 1­716) 9.00am – 10.00am (Lots 293­716)

Zoe Smith 01722 446955 zs@woolleyandwallis.co.uk

SEE OUR WEBSITE FOR UPDATED COVID-19 GUIDANCE BUYER’S PREMIUM Each lot is subject to a Buyer’s Premium of 25% plus VAT TELEPHONE BIDDING Requests for telephone bids cannot be accepted after 5pm on Tuesday 15th March CONDITION OF LOTS

LIVE ONLINE BIDDING – FREE OF CHARGE

LIVE bid.woolleyandwallis.co.uk Please register by 5pm on Tuesday 15th March

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

COLLECTION OF LOTS BY APPOINTMENT No collection available on Friday 18th and Monday 21st March due to the sale items being in transit From Tuesday 22nd March collection is from our warehouse, Unit 1B, Castle Gate Business Park, Old Sarum, Salisbury, SP4 6QX. Please instruct carriers accordingly and note, the warehouse is closed over weekends. Please call 01722 446950 or 01722 424500 prior to collection to ensure the items are ready All accounts to be settled prior to collection EXPORT AND CITES LICENCES Some lots will require export or CITES licences in order to leave the UK or Europe, please refer to the department for guidance.

Instagram: @woolleyandwallisdesign @woolleyandwallissalerooms Facebook: @woolleyandwallis Twitter: @woolleywallis Pinterest: Woolley and Wallis ILLUSTRATIONS Cover: Lots 65, 73, 76, 78, 82, 84, 85, 86, 87, 142, 143, 628 (cabinet) Inside cover: lot 623 Catalogue £10.00 (£15.00 by post) 3

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FINE ARTS & CRAFTS WEDNESDAY 15TH JUNE 2022 CLOSING DATE FOR ENTRIES 20TH APRIL

A large William De Morgan Dodo ruby lustre tile Provenance A private collection of William De Morgan ceramics Estimate £1,000 ­ 1,500*

ENQUIRIES Michael Jeffery | +44 (0)1722 424505 | mj@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

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CLARICE CLIFF 1 ‘Lady Anne’ two wall pockets, model no.868, modelled in low relief and painted in colours on a mushroom ground, a Clarice Cliff ‘Memories’ vase modelled as a book, a Corn Cob jug and four items moulded in relief with flowers printed factory marks, 19.5cm. high (8) Provenance The Collection of Stephen and Marjorie Page

2

£50­100 2 A pair of Clarice Cliff Gnome book ends, each modelled resting underneath a toadstool, painted in colours printed factory mark, 11.5cm. high, (2) £150­250 3 ‘Original Bizarre’ an early Clarice Cliff vase, shape no.204, waisted cylindrical form, painted with bands of triangles in red, yellow and blue, outlined in green between sand and red bands, printed Wilkinson mark and red Bizarre script, impressed 204 shape 28cm. high £150­200 4 ‘Original Bizarre’ a Clarice Cliff Athens jug, painted with alternating blue diamonds and orange triangles, outlined in green above a blue banded foot, printed factory mark, light starcrack to base, 16.5cm. high

4

£120­180 5 ‘Sunrise’ a pair of Clarice Cliff Bizarre Tankard milk­jugs, painted in colours printed factory marks, 6.5cm. high (2)

3

Provenance Clarice Cliff Christie’s South Kensington, 13th November 1998 lot 160. £150­200 6 ‘Melon’ a Clarice Cliff Fantasque Bizarre sugar basin, painted in colours, and a Clarice Cliff Bizarre ‘Crocus’ preserve pot and cover, printed factory mark, 8cm. diam (sugar basin), (3) £150­200

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6 5

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7 ‘Seven Colour Secrets’ a pair of Clarice Cliff Fantasque Bizarre Conical tea cups and saucers, painted in colours, the saucers with orange and thin black bands, one cup unmarked, printed factory mark to other cup and both saucers 6cm. high (cup), 15cm diam. (saucers), (4) Catalogue notes Both saucers have the date mark for May 1932.

7

£200­400 8 ‘Seven Colour Secrets’ a Clarice Cliff Bizarre Conical coffee cup and saucer, painted in colours, the saucers with orange and thin black bands, printed factory marks, 5.5cm. high (cup), 12.8cm diam. (saucer), (2) 8

Catalogue notes The saucer has the impressed date code for May 1933. £120­180 9 ‘Idyll’ a Clarice Cliff Bizarre Conical coffee cup and saucer, painted in colours between pink, green and blue bands, printed factory marks, 6cm. high (2)

9

£150­200

10

10 ‘Rhodanthe’ a Clarice Cliff Bizarre vase, shape no.572, waisted, ribbed form, painted in colours and a Clarice Cliff Bizarre ‘Bignou’ Conical tea cup and saucer, printed factory marks, 10cm. high (3) £150­200 11 ‘Berries’ a Clarice Cliff Fantasque Bizarre tea cup and saucer, painted in colours, the saucer with orange and black bands, printed factory marks, 7.3cm. high (2) £150­250

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12

12 ‘Red Tulip’ a Clarice Cliff Fantasque Bizarre Tankard coffee can and saucer, painted in colours, the saucer with red and yellow bands, printed factory marks, 6.5cm. high (2) £150­200 13 ‘Garland’ a Clarice Cliff Fantasque Bizarre Tankard coffee can and saucer, painted in colours various printed factory marks, 6cm. high (2) £150­200

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6

14

14 ‘Mondrian’ a Clarice Cliff Fantasque Bizarre Tankard coffee can and saucer, painted in colours, the saucer with blue, orange, black and yellow bands, printed factory marks, 6cm. high (2) £150­200

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15 ‘Floreat’ a Clarice Cliff Conical jug, shape no.48, painted in colours printed factory marks, 11.5cm. high £150­200 15 both sides

16 ‘Double V’ a Clarice Cliff Bizarre Coronet jug, shape no.42, painted in colours printed factory mark, 17.5cm. high £150­250 16 both sides

17 ‘Seven Colour Secrets’ a Clarice Cliff Bizarre Athens jug, shape no.30, painted in colours between orange bands printed factory marks, 18cm. high £150­250 17 both sides

18 ‘Newport’ a Clarice Cliff Bizarre single­handled vase, shape no.634, painted in colours printed factory marks, 16.5cm. high £200­300 18 both sides 7

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19 ‘Seven Colour Secrets’ a Clarice Cliff Fantasque Bizarre Bon Jour biscuit barrel and cover, painted in colours, the cover with yellow and thin orange bands, printed factory marks, 14.5cm. high (2) £200­300 20 ‘Rhodanthe’ a Clarice Cliff Bizarre Hereford biscuit barrel and cover, cylindrical form, painted in colours, with applied wicker handle, printed factory marks, 15cm. high, (2) £120­180

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20

21 ‘Jonquil’ a Clarice Cliff Bizarre single­handled vase, shape no.635, painted in colours printed factory mark, 17.5cm. high £150­200 22 ‘Limberlost’ a Clarice Cliff Fantasque Bizarre vase, shape no.451, flaring, fluted body painted in colours printed factory marks, 15cm. high £120­180 23 ‘Limberlost’ a rare Clarice Cliff Bizarre bowl and cover, the octagonal bowl painted in colours, the cover with four moulded finger­ holes and central flower motif, painted with green and brown bands, printed factory mark, 18cm. wide. (2)

21

22

£120­180 24 ‘Cherry’ a Clarice Cliff Bizarre bowl, painted in colours printed factory mark, 21.5cm. diam.

Provenance Clarice Cliff Christies South Kensington, 22nd November 1996, lot 312. £120­180 25 ‘Killarney’ a Clarice Cliff Bizarre Daffodil bowl, shape no.450, painted in shades of brown and green, outlined in blue printed factory mark, 33cm.wide. £200­300

23

24 8

25

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26 27 both sides

26 ‘Honolulu’ a Clarice Cliff Fantasque Bizarre preserve pot and cover, painted in colours with design to base and cover, printed factory marks, professional restored base, 10cm. diam. (2) £120­180 27 ‘Tulips’ a Clarice Cliff Bizarre vase, shape no.565, painted in colours between blue, pink and green bands, printed factory marks, professional over painting to blue band inside neck,12cm. high £120­180 28 ‘Woodland’ a Clarice Cliff ginger­jar and cover, shape no.132, printed and painted in colours printed factory mark, small nick to rim of cover, 21cm. high £200­300 29 ‘Football’ a Clarice Cliff Bizarre plate, octagonal, painted in colours inside an orange band, printed factory marks, 21.5cm. diam. £300­500 30 ‘Windbells’ a Clarice Cliff Fantasque Bizarre Conical sugar sifter, painted in colours between green and orange, yellow and green bands, printed factory mark, repaired small chip to tip, 13.8cm. high

28

£200­300 31 ‘Pebbles’ a Clarice Cliff Fantasque Bizarre vase, shape no.268, painted in colours between thin purple and a broad orange band, printed factory mark, hairlines to neck, 20.3cm. high Provenance Andrew Harriss £200­300

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30

31 9

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32 ‘Seven Colour Secrets’ a Clarice Cliff Fantasque Bizarre Crown jug, painted in colours printed factory mark, hairline crack to side, 10.2cm. high £120­180 33 ‘Kew’ a large Clarice Cliff Bizarre platter, painted with a shoulder panel, in colours printed factory marks, 47cm. wide.

32

£120­180 34 ‘Zap’ a Clarice Cliff Bizarre stepped candlestick, shape no.391, painted in colours on a green cafe au lait ground, printed factory mark, 9cm. high £150­250 35 ‘Cherry’ a Clarice Cliff Fanatsque Bizarre vase, shape no.342, made for Lawleys, painted in colours between purple, orange and green bands, printed gilt factory mark, 20cm. high £250­300 36 ‘Pastel Melon’ a Clarice Cliff Fantasque Bizarre plate, painted in colours inside blue, pink and green bands, printed factory marks, professional restoration, 25.5cm. diam.

33

Provenance Clarice Cliff Christie’s South Kensington, 22nd November 1996, lot 446. £120­180 37 ‘Liberty Band’ a pair of Clarice Cliff Bizarre bowls, painted in colours printed factory marks, 18.5cm. diam. (2) 34

Provenance Clarice Cliff Christie’s South Kensington, 22nd November 1996, lot 308 £120­180

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36 10

37

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38 both sides

39 both sides

38 ‘Latona Tree’ a large Clarice Cliff Bizarre Mei Ping vase, painted in colours on a Latona cream ground, printed and painted marks, 36cm. high Literature Clarice Cliff Christie’s South Kensington, 10th November 1999, lot 42. £500­800 39 ‘Latona Tree’ a Clarice Cliff Bizarre vase, shape no.358, painted in colours on a Latona cream ground, printed and painted marks, 21cm. high Provenance Clarice Cliff, Art Deco & 20th Century Design, Woolley and Wallis, 8th April 2009 lot 363. £300­500

40 both sides

40 ‘Latona Tree’ a Clarice Cliff Bizarre vase, shape no. 358, painted in colours on a Latona cream ground, printed and painted in colours 20.4cm. high Literature Clarice Cliff, Christie’s South Kensington, 2nd November 2001 lot 155. £300­500 41 ‘Latona Tree’ a Clarice Cliff Bizarre vase, shape no.342, painted in colours on a cream ground, the rim with orange band, printed and painted factory marks, 20cm. high Provenance Clarice Cliff, Christie’s South Kensington, 2nd May 2002 lot 117.

Private collection. £300­500

41 both sides 11

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42 ‘Orange Bridgewater’ a Clarice Cliff Bizarre Lynton coffee set for six, painted in shades of orange, yellow, green and blue, comprising; a coffee pot and cover, milk­jug and sugar basin, six cups and saucers printed factory marks to six cups and four saucers, 17.5cm. high, (16) £1,000­1,500

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THE POOLE POTTERY COLLECTION OF DAVID AND PAT REDSTONE

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David Redstone with lot 92

DAVID AND PAT REDSTONE After graduating MBChB at St Andrews University in 1955 David's first job was as house surgeon at Poole Hospital. There, a grateful patient who was a paintress at the Pottery gave him a small dish which she had decorated. It stayed with us as we moved from house to house but in the 1960s we had started to collect 18th century English porcelain, acquiring pieces from the London salerooms, Portobello Road and antique fairs.

One day, while viewing a sale at Christies, we spotted in another room a collection of Poole Pottery. We decided to acquire a few pieces for old times sake and our connection to the Poole area. That was the start of the Poole collection and many happy hours were spent buying at auction, Art Deco Fairs, etc. We joined the Poole Pottery Collectors Club and enjoyed Gala Days, visits, auctions and fairs.

The top floor of our house became our 20th century 'museum' where we entertained many groups of ceramic collectors ­ most of whom knew little about Poole Pottery. Our advancing years made stair climbing too difficult and we rarely made the effort to enjoy looking at our pots ­ hence today's sale.

Pat Redstone.

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43

43 Roy Winstanley (born 1940) Poole Pottery, 2000 watercolour on paper of the quayside facade, framed, and another watercolour of the factory dated 2001 by Roy Winstanley, a large black and white photograph of the quayside and a collection of ephemera relating to Carter, Stabler & Adams Poole Pottery, comprising;The Poole Potteries V&A Exhibition catalogue Feb­April 1978, Exhibition of Poole Pottery Studio in the 1960s, New Century, two copies of Poole Pottery Richard Dennis Gallery 1999, two copies of Poole in the 1950s, Richard Dennis Gallery, Sprin 1997, The Poole Pottery Museum & Archive, Christie’s South Kensington auction catalogue, 31st March 2004, Collecting Poole Pottery by Robert Prescott­Walker, thirty­nine Collector’s Club magazine (including duplicates), The Albert E Wade Collection part II, Sotheby’s auction catalogue 2002, and thirty­eight various auction catalogues mainly Woolley & Wallis, Christie’s and Cottee’s, (a lot) Provenance The Redstone Collection £150­200 44 A Carter Stabler & Adams Poole Pottery architectural Lion fountain head, the wall mounted panel modelled as a stylised lion head, with remains of red paint finish, impressed CSA mark to side, 30cm. high, 28cm wide.

Provenance Yvette & Robert Scobie, 2003.

The Redstone Collection. £500­1,000

44

45 A Carter’s Poole Pottery Lion paperweight, modelled as a lion, lying, holding a shield with an Art Nouveau flower motif, glazed green unsigned 11.3cm. wide Provenance The Redstone Collection.

Literature Leslie Hayward and Paul Atterbury, Poole Pottery, Richard Dennis Publications, page 28 for a comparable example advertising Carter tiles.

Jennifer Haskins The Poole Potteries Barrie & Jenkins, page 36 for a comparable example illustrated (V&A Collection) where compared to the Lion Sejant designed by Alfred Stevens for the British Museum railings. £150­200

45

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46 A Poole Pottery architectural Sun sundial roundel, used as part of the Poole Pottery factory quayside wall, with remains of orange, blue and white glaze, and a Carter’s Faience kerb­stone glazed green unsigned, 51cm. diam.(2) Provenance Poole Pottery factory quayside wall (both pieces).

The Redstone Collection. £150­200 46

47 An early Carter’s Poole Pottery Etruscan bowl possibly designed by James Radley Young, the rim painted with a simple band with stylised masks between chevron panels, in manganese brown, and two early Carter’s plates decorated with simple manganese geometric bands, impressed Carter’s Poole mark, painted mark, 19.5cm. diam.

Provenance The Redstone Collection, purchased from Les Hall in 1998, Chelsea Town Hall (bowl).

Literature Leslie Hayward and Paul Atterbury, Poole Pottery, Richard Dennis Publications, page 26 for a vase with similar modelled Egyptian mask band illustrated. £120­180

47

48 An early Carter’s Poole jug probably by James Radley Young, shouldered form, the neck with painted geometric panelled band in brown on a speckled unglazed brown body, and a Carter’s Poole vase similar probably by James Radley Young, decorated with narrow geometric bands to the shoulder, impressed Carter’s Poole mark, minor chips, 21cm. high (jug), 24cm. high (vase) (2) Provenance Vase purchased Cottee’s October 1998.

The Redstone Collection.

Literature Leslie Hayward & Paul Atterbury Poole Pottery, Richard Dennis Publications, page 26 for comparable pieces the designs inspired by Egyptian and Moorish styles, including a vase with similar bands thrown on the wheel by James Radley Young.

48

16

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49 A Carter Stabler & Adams comber slip­ trailed dish designed by John Adams, rounded rectangular section sand ground with chestnut combed bands, a Carter, Stabler & Adams Chinese Blue floating bowl designed by John Adams and a small vase similar, impressed CSA mark, chip to rim of combed dish, 37.5cm. wide, (3) Provenance Cottees auctioneer’s 3rd October 2000, lot 428A. The Redstone Collection.

Literature Leslie Hayward & Paul Atterbury Poole Pottery, Richard Dennis Publications, page 72 for a comparable slip­trailed dish designed by John Adams and executed by Jimmy Soper. £150­250 50 An early Carter Stabler & Adams Poole Pottery ‘Portuguese Stripe’ jug probably designed by James Radley Young, shouldered ovoid form, painted with yellow striped and pink dots, on an off white ground, a vase painted by Cissie Collett, pattern ER, a candlestick, a Carter’s jug and a Carter’s vase made for Liberty & Co painted with simple flowers in red and green impressed and incised marks, 18.5cm. high (5) Provenance Heritage Antiques (jug) The Redstone Collection. £150­250 51 An early Carter’s Poole Pottery wall plate designed by Owen Carter, circular modelled in low relief, covered in a red lustre glaze, impressed Carter’s Poole mark, 20cm. diam.

Provenance The Redstone Collection.

Literature Leslie Hayward & Paul Atterbury Poole Pottery, Richard Dennis Publications, page 25 for a comparable plate. £200­300

£150­250

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51

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52 52 A Carter’s Poole lustre vase designed by Owen Carter, tapering form with swollen neck and everted rim, covered with a ruby lustre glaze over streaked lavender and blue, incised Carter’s Poole 2,1904, 20.8cm. high Provenance Cottee’s Wareham, 3rd October 2000, lot 438 The Redstone Collection.

Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis Publications, page 25 for comparable examples illustrated. £300­500 53 A Carter’s Poole Pottery vase probably designed by Owen Carter, gadrooned, shouldered formed covered in a streaked green lustre glaze, incised Carter’s Poole 1903, 27.5cm. high

53

Provenance Cottee’s auctioneer’s, 3rd October 2000, lot 437.

The Redstone Collection.

Literature Leslie Hayward & Paul Atterbury Poole Pottery, Richard Dennis Publications, page 25 for comparable designs by Owen Carter. £300­500 54 A rare and early Carter’s Poole Pottery vase probably painted by James Radley Young, flaring conical form, painted with a band of scrolling grape vine with portrait roundels of Adam and Eve flanked by grape and vine roundels, in blue and green on an off­white ground, the base rim with green band, the top rim with dash band in green, the interior well painted with a vine motif, impressed Carter’s Poole, painted D and XV marks, hairline crack, 17.5cm. high Provenance The Poole Pottery Museum and Archive, Christie’s South Kensington, 31st March 2004, lot 33.

The Redstone Collection.

Literature Poole Pottery Collector’s Club, Winter 1995, page 13 this bowl listed as a recent acquisition, with an original photograph of a comparable example (possibly this bowl), illustrated in a catalogue issued in 1921.

54

£500­800 17

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56 55 ‘Waterbirds’ a Carter’s Poole Pottery tile panel designed by Harold Stabler, six bird tiles painted in colours, inter­spaced with grasses and plain tiles, in modern wooden frame, marks concealed, museum restoration, 66 x 51cm.

Provenance British Art Pottery Woolley and Wallis, 26th November 2008, lot 191.

The Redstone Collection.

Literature The Poole Potteries, V & A Museum Exhibition, February to April 1978 front cover for similar tiles illustrated. £150­250 55

56 ‘Lord Kitchener’ a Carter’s of Poole portrait tile after the portrait by Bassano, dated Nov.1914, modelled in low relief and glazed in sepia, a Carter’s tile ‘Guildhall’ from the Dorset Views range designed by Bernard Charles, a Poole Pottery small owl designed by Barbara Linley Adams and a small collection of Poole Pottery, impressed marks to portrait tile, 14.8 x 10.6cm. (13) Provenance Cottees auctioneer’s 5th October 1999, lot 361 (Kitchener tile).

The Redstone Collection Literature Leslie Hayward & Paul Atterbury Poole Pottery, Richard Dennis Publications, page 23 for a comparable Kitchener tile glazed blue. £120­180 57 ‘Bath Towel’ a Hammersmith Bridge figure by Phoebe Stabler, dated 1916, modelled as a standing young girl wrapped in a large towel, glazed green and blue­grey, incised Stabler, Hammersmith, London 1916, 19.5cm. high Provenance The Redstone Collection.

57

Literature Leslie Hayward and Paul Atterbury, Poole Pottery, Richard Dennis Publications, page 40 for the pair of Bath Towel figures designed by Phoebe Stabler and made at Poole Pottery illustrated. This figure was originally sold for 12s 6d. £120­180 58 Buster Boy and Buster Girl two Carter Stabler & Adams Poole Pottery figures designed by Phoebe Stabler, both modelled seated on a shaped base, glazed in colours impressed factory marks, Buster Girl broken and repaired, 17cm. high, (2) Provenance The Poole Pottery Museum Archive, Christie’s South Kensington, 31st March 2004 lot 62 (Buster Girl).

The Redstone Collection.

58 18

Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis Publications, page 41 Buster Boy and Buster Girl illustrated (this actual Buster Girl). £250­350

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60 59 59 A large Carter Stabler & Adams Poole Pottery Angel architectural faience panel designed by Harold and Phoebe Stabler, circular, modelled in relief with an angel offering up flowers, glazed in colours impressed CSA mark to the rim edge, 68cm. diam.

Provenance Cottee’s Wareham, lot 423 The Redstone Collection.

Literature Leslie Hayward & Paul Atterbury Poole Pottery, Richard Dennis Publications, page 39 for a pair of facing roundel flanking central Christ figure exhibited at the British Empire Exhibition, Wembley 1924 exhibition, and then installed at the Mortuary Chapel, Mary Abbots, Kensington Infirmary. When this site was re­developed these panels were returned to Poole Pottery and erected at the factory in 1989.

Lalique & Design 1860-1945, Bonham’s London, lot 160 for another pair of roundels acquired from John Adam’s family, the family house at Broadstone in 1956. £800­1,200 60 ‘Fighting Cock’ a rare Carter Stabler & Adams Poole Pottery stoneware figure designed by Harold Stabler, covered in a mottled tan and orange glaze, impressed factory mark, 24.5cm. wide, 19.5cm. high

61 ‘Harpy Eagle’ a large Carter Stabler & Adams Poole Pottery stoneware eagle designed by Harold Stabler, designed in 1916, modelled perched on a rocky outcrop, glazed in shades of brown, cream and white, indistinct signature Harold Stabler and date to side of base, glaze faults, glaze loss to the base, 65cm. high Provenance The Poole Pottery Museum & Archive Christie’s South Kensington, 31st March 2004 lot 63.

The Redstone Collection.

Literature Report on the Industrial Arts, International Exhibition of Modern Decorative & Industrial Arts, Paris, 1925, 138M for a comparable figure illustrated British Art & Design 1900-1960, Victoria & Albert Museum, page 78 & 79 for a comparable figure illustrated.

Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis Publications, page 40 for a comparable Poole Pottery example illustrated. An example of this figure was shown at the International Exhibition of Modern Decorative Arts, 1925 in Paris.

Jennifer Haskins The Poole Potteries, Barrie & Jenkins, page 118 for a comparable figure (V&A Collecton). £1,000­1,500

Provenance Cottee’s Wareham The Poole Pottery Museum & Archive, Christie’s South Kensington, 31st March 2004, lot 56.

The Redstone Collection.

Literature Leslie Hayward & Paul Atterbury, Poole Pottery, Richard Dennis Publications, page 41 this actual example illustrated.

Jennifer Haskins The Poole Potteries, Barrie & Jenkins, page 70 for a comparable example (V&A Collection). £300­400

61

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62 ‘Harry Page’ a fine Carter Stabler & Adams Poole Pottery Galleon architectural faience sculpture designed by Harold Stabler, the ship modelled at full sail on a rough sea, flat back, on stepped rectangular base, glazed in colours impressed Poole to stern, minor chips, 52.5cm. high.

Provenance Bonhams (sale 31151), lot 31.

The Redstone Collection.

Literature Leslie Haywood & Paul Atterbury Poole Pottery, Richard Dennis Publications, page 42 for a comparable example illustrated.

Designed circa 1925 and exhibited as the centrepiece of the Poole display at the International Exhibition of Industrial Art, Leipzig in 1927 ­ the Harry Page is derived from the local Dorset pirate Henry Paye. The Galleon became a symbol for the Poole Pottery.

Exhibited An example of this Galleon faience sculpture was exhibited at the British Industries Fair, 1926. £1,000­2,000 20

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63 ‘The Piping Fawn’ a rare Carter Stabler & Adams Poole Pottery faience roundel designed by Phoebe Stabler, originally designed 1914, modelled in relief with a piping fawn, the rim a frieze of flowers and foliage, in colours painted Carter, Stabler & Adams Poole England to reverse, 38.5cm. diam.

Provenance The Redstone Collection.

Literature Designs in Modern Industry The Yearbook of the Design & Industries Association, 1922, page 55 for a comparable example illustrated.

Jennifer Hawkins The Poole Potteries, Barrie & Hawkins, page 124 for an example of this plaque mounted on the outside wall of Stellawood house, John Adams house in Broadstone.

Leslie Hayward and Paul Atterbury, Poole Pottery, Richard Dennis Publications, page 41 for a comparable example glazed white (Victoria & Albert Museum).

Catalogue notes An example of this roundel, in lead, was exhibited at the Arts and Crafts Society exhibition at the Royal Academy in 1916 and 1920. £1,000­2,000 21

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64 ‘The Bull’ a large Hammersmith Bridge stoneware figure by Harold Stabler, dated 1914, modelled as two young children riding on the back of a bull, on waisted octagonal base, glazed in colours impressed Hammersmith Bridge mark and incised inscription, paper collection and exhibition label, 33cm. high, 32.5cm. wide Provenance The Albert E Wade Collection, Sotheby’s 8th November 2002, lot 191.

The Redstone Collection.

Exhibited London Ceramic Circle, 2014.

Literature British Art & Design 1900-1960, Victoria & Albert Museum, page 68 & 69 for a comparable example illustrated. An example, made in lead, was exhibited at the Arts and Crafts Exhibition Society at the Royal Academy in 1916.

Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis Publications, page 40 for a comparable Poole Pottery example illustrated. This model was exhibited at the Arts and Crafts Society exhibitions in 1916 and 1924. £1,000­1,500 22

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65 A fine Carter Stabler & Adams Poole Pottery twin­handled vase designed by Truda Carter and painted by Ann Hatchard, shape 437, pattern BD, shouldered cylindrical form with cylindrical neck and applied handles, painted with columns of geometric foliage in colours on a white ground, impressed factory mark, incised 437, painted artist cipher and pattern BD, 26.5cm. high Provenance The Albert Wade Collection, Sotheby’s, 8th November 2002 lot 207.

The Redstone Collection.

Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis Publications, page 61 this actual vase illustrated.

Robert Prescott­Walker, Collecting Poole Pottery, Francis Joseph, page 63 this actual vase illustrated.

Andrew Casey 20th Century Ceramic Designers in Britain, ACC Books, page 103 figure 99 for a comparable example illustrated. £3,000­5,000

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66

67 66 A Carter Stabler & Adams Poole Pottery vase probably designed by Truda Adams, ovoid with applied loop handles, shape 202, painted with bands of simple geometric design, in purple, green, blue and yellow on an off­white ground, a Poole Pottery vase after an original by James Radley Young, pear shaped form painted in shades of black and terracotta on an unglazed brown ground, and two smaller vases, shape no.563, impressed marks, painted marks, 17cm. high (4) Provenance The Redstone Collection. £120­180

69

67 A Poole Pottery vase painted by Hilda Trim, pattern YE, flaring conical form, painted with geometric flowers and foliage in yellow, grey and black on a white ground, and a Poole Pottery vase pattern GPA designed by Truda Carter, impressed factory marks, painted artist ciphers, 16cm. high, (2) Provenance Doulton, Poole & Carlton Ware, Christie’s South Kensington, 21st August 1998 lot 216 (GPA vase) The Redstone Collection. £150­200 68 A Carter’s Poole Pottery tile designed by Edward Bawden, painted with a young woman turning a wheel, with two pots on the floor, in black and emerald green on a cream ground unsigned, 34B paper label, 12.8cm. square

70

Provenance The Tea Rooms, Poole Pottery.

Richard Dennis Gallery.

The Redstone Collection.

Literature Poole Pottery Tea Room Tiles by Carter & Co, Richard Dennis Gallery, page 6 for a comparable tile illustrated.

71

Catalogue notes Bawden designed a series of tiles which were used at the visitor’s tea room at Poole Pottery.

The tearooms were illustrated in The Studio Year Book, 1934. In 1924 this image was published under the title Throwing on the Wheel in a Poole Pottery leaflet. £150­200

72 24

68 69 A Carter Stabler & Adams Poole Pottery vase

by Ann Hatchard, pattern BR designed by Truda Carter, cylindrical shape, painted with stylised flowers and foliage in mint green, brown, grey and black on a white ground, impressed factory mark, painted artist H cipher and BR mark, 30.5cm. high Provenance Cottees Auctioneers, 12th October 2004, lot 284 The Redstone Collection. £150­200 70 A Carter Stabler & Adams Poole Pottery vase

by Ann Hatchard, pattern BX designed by Truda Carter, shape 970, shouldered cylindrical form, painted with stylised flowers and foliage in colours on a white ground, impressed mark, painted artists H cipher and marks, small nick to base rim, 24.5cm. high Provenance The Redstone Collection.

Literature Leslie Hayward & Paul Atterbury Poole Pottery, Richard Dennis Publications, page 62 this actual vase illustrated. £120­180 71 A Carter Stabler & Adams Poole Pottery vase painted by Ruth Pavely, pattern Y, shouldered form, painted with geometric flowers in colours on a white ground, a vase pattern ZX by Eileen Prangnell, two UE pattern vases and a small jug pattern NA by Winifred Collett, impressed factory mark, painted artist cipher, tall UE vase cracked, 12cm. high (main vase), (5) Provenance The Redstone Collection.

Literature Leslie Hayward & Paul Atterbury Poole Pottery, Richard Dennis Publications, page 62 for this actual tall UE vase illustrated. £120­180 72 A Poole Pottery vase painted by Ruth Pavely, pattern A shape 966, shouldered form painted with flowers and foliage in colours on a white ground, a Poole vase pattern VY and a pair of Poole Pottery candlesticks, pattern JY, impressed and painted marks, damage to vase and restoration to candlesticks, 25.5cm. high (4) Provenance 20th Century British Decorative Arts, Christie’s South Kensington, 29th October 1998, lot 505.

Phillips, sale 597 lot 504 (VY vase) The Redstone Collection. £120­180

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73 73 A Carter Stabler & Adams Poole Pottery vase by Mary Brown, pattern EB designed by Truda Carter, shouldered form with twin stepped handles, painted in colours on a white ground, impressed factory mark, painted artist cipher and marks, 17.5cm. high

74

Provenance Art Deco Ceramics, Vincent Lowe, October 1998 Battersea Antiques Fair.

The Redstone Collection Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis Publications, page 63 for a comparable example illustrated.

Poole Pottery catalogue no.6 (probably 1931) this vase design illustrated page 9. £150­200 74 A Carter Stabler & Adams Poole Pottery jardiniere painted by Mary Brown, pattern EP designed by Truda Carter, shouldered form, painted in colours on an off white ground, impressed factory mark, painted artist cipher and EP, hairline to top rim, 22.5cm. high Provenance Purchased at Battersea Art Deco Fair December 2001.

The Redstone Collection. £300­500 75 A Poole Pottery vase by Ruth Pavely, pattern GEP designed by Truda Carter, shape no.337, swollen cylindrical form, painted in shades of green, grey and mushroom on a white ground, impressed factory marks, painted artist cipher and pattern details, stress hairlines to neck, 24.5cm. high

75

Provenance Phillips sale 30776, lot 198 The Redstone Collection.

Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis Publications, page 62 for a comparable example illustrated. £150­250 76 A Poole Pottery vase painted by Ruth Pavely, pattern KN designed by Truda Carter, shouldered form, painted with geometric foliage panels in colours on an Alpine matt white ground, impressed factory mark, painted artist cipher and KN, 20cm. high Provenance The Martin Brothers, Charles Vyse and Ceramic Design 1860-1945, Bonham’s Auctioneer’s 1st March 2006, lot 51 Literature Leslie Hayward & Paul Atterbury Poole Pottery, Richard Dennis Publications, page 60 for a comparable example illustrated. £150­250

76 25

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77 A large Carter, Stabler & Adams Poole Pottery vase by Ann Hatchard, pattern CR designed by Truda Carter, swollen, shouldered form with collar rim, painted with a band of stylised flowers and foliage in shades of black, grey, terracotta, mushroom and yellow, on a white ground, impressed factory mark, painted artist cipher and pattern mark, 39cm. high Provenance The Albert E Wade Collection, Sotheby’s Olympia 8th November 2002, lot 237.

The Redstone Collection.

Literature Leslie Hayward and Paul Atterbury, Poole Pottery, Richard Dennis Publications, page 62 this pattern illustrated. £400­600 26

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78 A fine Carter Stabler & Adams Poole Pottery vase designed by Truda Carter and painted by Mary Brown, shape no.916, pattern DK, shouldered, flaring form with collar rim, painted with Egyptianesque fan flowers on geometric foliage with black pillars, in colours impressed factory marks, incised 916 and painted marks, 36cm. high Provenance Christie’s South Kensington, 25th August 2000 lot 268 The Redstone Collection.

Literature Andrew Casey 20th Century Ceramic Designers in Britain, ACC Books, page 102 figure 97 for a comparable example painted with purple flowerheads, and figure 98 for the original pattern design painted in this colourway. £5,000­8,000 27

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79

80

79 A Poole Pottery twin­handled tray, shape no.486, pierced and cast with a bluebird flying amongst stylised flowers and foliage, glazed Ice Green and grey, and a similar twin­branch candelabra shape 964 designed by John Adams, impressed and printed marks, small chip to tray, 31cm. wide (2) Provenance The Redstone Collection.

82

Literature Jennifer Hawkins The Poole Potteries Barrie & Jenkins page 106 for a polychrome example illustrated. £120­180 80 A Poole Pottery charger designed by Truda Adams and painted by Ann Hatchard, pattern JC, painted to the well with a vase of stylised flowers and foliage, in colours on an off­white ground, the rim with thin bands and a broader zigzag band, impressed mark, painted JC and artist cipher, crazed, 44cm. diam.

Provenance The Redstone Collection.

Catalogue notes A comparable design, made as a mosaic floor, for the Carter & Company stand at the Building Trades Exhibition, 1928.

83

£400­600 81 A large Carter Stabler & Adams Poole Pottery jug by Mary Brown, pattern ZB designed by Truda Adams, shape 897, ovoid form painted with stylised flowers and foliage in shades of yellow, mushroom, green and black on a white ground, impressed mark, painted artist cipher and marks, re-stuck chip to spout, 26cm. high Provenance J Hume (paper label) The Redstone Collection.

Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis Publications, page 63 this actual jug illustrated. A similar jug was exhibited at the Ideal Home Exhibition, 1927. £120­180

84 28

81

82 A Poole Pottery vase by Ruth Pavely, pattern LT designed by Truda Carter, tapering cylindrical form, painted with Art Deco flowers and foliage, in pink, green yellow and grey on a cream ground, impressed factory mark, painted artist swastika cipher and LT, 29cm. high Provenance John Clark, Battersea Art Deco Fair December 2001.

The Redstone Collection.

Exhibited Brighton Museum 1998. £300­500 83 A Carter Stabler & Adams Poole Pottery vase

by Margaret Holder, designed by Truda Adams, shape 947, shouldered form, painted with panels of stylised flowers and foliage in shades of pink, green, mushroom and grey on a white ground, impressed mark, painted artist cipher, 31cm. high Provenance Christie’s South Kensington, 20th June 2002 lot 108 The Redstone Collection. £300­500 84 A Carter Stabler & Adams Poole Pottery vase

by Ann Hatchard, designed by Truda Adams, painted with stylised flowers and foliage in shades of mushroom, blue, grey, and black on a white ground, impressed mark, painted artists cipher, 28cm. high Provenance Christie’s South Kensington, 20th June 2002 lot 102.

The Redstone Collection.

Literature Leslie Hayward & Paul Atterbury, Poole Pottery, Richard Dennis Publications, page 64 this actual vase illustrated. £300­500

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85 85 A Poole Pottery vase by Marian Heath, pattern NG probably designed by Truda Carter, shape 970, shouldered, flaring cylindrical form, painted with flowers and foliage in spearmint green, black and mushroom on a white ground, the shoulder with a band of geometric shapes, impressed marks, painted artist cipher and NG, professional restoration, 24cm. high

86

Provenance James Miles, 2004.

The Redstone Collection. £150­250 86 A Poole Pottery vase by Ruth Pavely, pattern E probably designed by Truda Carter, shape 966, painted with geometric flowers and foliage in black, grey, mushroom, blue and green on a white ground, impressed mark, painted artist cipher and E mark, 25cm. high Provenance Poole, Doulton & Carltonware, Christie’s South Kensington, 20th September 2001, lot 80 The Redstone Collection. £500­800 87 A Poole Pottery vase by Ruth Pavely, pattern AX designed by Truda Carter, shape 966, painted with geometric flowers and foliage in blue, mushroom and grey on a white ground, impressed marks, painted swastika cipher and AX, 24.5cm. high

87

Provenance The Redstone Collection. £300­500 88 A Poole Pottery vase designed by Truda Carter painted by Anne Hatchard, pattern BR, shape 429, shouldered form, painted with stylised flowers and foliage in shades of mint green, grey, rust and black on a white ground, impressed marks, painted pattern and artist cipher, 26cm. high Provenance The Redstone Collection.

Exhibited Brighton Museum, 1998.

Literature Leslie Hayward & Paul Atterbury Poole Pottery, Richard Dennis Publications, page 69 this actual vase illustrated. £300­500

88 29

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89 ‘Egeria’ a Poole Pottery wall plate drawn by Arthur Bradbury and painted by Ruth Pavely, 1936, painted with a Schooner at full sail, in colours, inscribed Egeria Built by Wanhill Poole 1865 to the rim, painted inscription to reverse, impressed Poole England, incised 662 shape, 30cm. diam.

Provenance Cottee’s Wareham lot 412 The Redstone Collection. £200­300 90 ‘HMS Sloop Viper’ a Poole Pottery dish drawn by Arthur Bradbury and painted by Ruth Pavely, dated 1934, deep, welled bowl painted with the sailing ship at full sail off the Dorset coast, painted in colours on a white ground, the rim inscribed Built at Poole by Tito Durell 1746 H.M.S Sloop Viper, flanked by stylised dolphins, impressed Poole mark, painted inscription, museum restored rim, 37.5cm. diam.

Provenance The Redstone Collection. £150­250

89

91 ‘Brig General Wolfe Newfoundland Trader’ a large Poole Pottey wall charger drawn by Arthur Bradbury and painted by Ruth Pavely, dated 1937, painted harbour­side in colours, inscribed Brig General Wolfe Newfoundland Trader Poole 1797, to rim, impressed Poole England, incised 528 and painted inscription, 38cm. diam.

Provenance Cottee’s lot 409 The Redstone Collection.

Literature Leslie Hayward & Paul Atterbury Poole Pottery, Richard Dennis Publications, page 58 for a comparable example illustrated. £200­300

90

30

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92 ‘Port of Poole’ a rare Poole Pottery charger designed by Arthur Bradbury and painted by Ruth Pavely, dated 1941, painted with the Canopus sea plane in Poole harbour, in colours, inside blue, yellow and green fine bands, painted inscription to reverse, 37.5cm., diam.

Provenance The Poole Pottery Museum and Archive Christie’s South Kensington, 31st March 2004, lot 100.

The Redstone Collection. £2,000­4,000

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93 Her Majesty Queen Elizabeth Coronation June 2nd 1953 a large Poole Pottery commemorative wall charger designed by Alfred Read and painted by Ruth Pavely, made at Poole Pottery in 1953, numbered 14 of 25, painted with Royal Crest to the well, inside geometric border and inscription to rim, painted inscription, impressed 626, 39cm. diam.

Provenance The Redstone Collection.

Literature Andrew Casey, 20th Century Ceramic Designers in Britain. ACC books, page 239 figure 280 for a comparable example illustrated. £250­350 94 ‘Festival of Britain 1951’ a Poole Pottery Contemporary hors d’oeuvres dish by Ruth Pavely, the shape designed by John Adams, model FOB10, five radiating compartments painted vignettes designed by Claude Smale, in shades of red and black on Alpine White glaze, the centre with FoB roundel, impressed factory mark, painted marks and artist cipher, 21.5cm. diam.

Provenance British Art & Design Woolley and Wallis Auctioneer’s 23rd July 2008 lot 138.

The Redstone Collection.

93

Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis Publications, page 166 for a comparable example illustrated. £120­180 95 ‘Poole Pottery’ a rare Poole Pottery Contemporary advertising plate designed by Ann Read, rounded rectangular plate resist decorated with silhouetted Poole Pottery Freeform and Contemporary pots and table ware in shades of black, blue, grey and mushroom, printed Poole mark, 35.5cm. wide Provenance The Redstone Collection.

Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis Publications, page 105 for a comparable example illustrated. £300­500

94

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96

96 ‘Star Turn ­ 2’ a Poole Pottery Studio plate painted by Ann Read, painted with a tightrope walker walking towards a clown, above the audience in a big top, painted in colours on a white ground printed factory mark, painted title and signature, 23cm. diam.

98 A Poole Pottery Contemporary vase designed by Alfred Read, painted by Betty Gooby, pattern FSU, waisted form with flaring top rim, painted with butterfly motif in purple and red on an Alpine matt white ground, printed factory mark, painted marks, 19cm. high

Provenance The Redstone Collection.

Provenance The Redstone Collection.

Literature Leslie Hayward and Paul Atterbury, Poole Pottery, Richard Dennis Publications, page 105 an example of this plate illustrated in black and white from 1955­56.

Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis Publications, page 107 for a comparable vase.

£120­180 97 ‘Freya’ a Poole Pottery Contemporary plate designed by Ann Read, pattern VZ, painted with boats moored in Poole Harbour, in pastel colours on a white ground, printed factory mark painted artist cipher and marks, 30.5cm. diam.

Provenance The Redstone Collection.

Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis Publications, page 105 for a comparable example illustrated. £120­180

97

£150­200 99 A Poole Pottery Freeform vase designed by Alfred Read, pattern X/PW, painted with stripes in shades of purple, turquoise and yellow on an Alpine matt white ground, printed factory mark, painted pattern number, repaired top rim, 31cm. wide

98

Provenance The Redstone Collection Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis Publications, page 107 for a comparable vase. £120­180

99 33

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100

100 A Poole Pottery Contemporary vase designed by Ruth Pavely and Ann Read, pattern GBA, cylindrical form painted with basket weave design in rust red and grey on an Alpine matt white ground, and another Poole Contemporary vase pattern HYT, painted with rope design, printed and painted marks, 23.5cm. high (2)

103 A Poole Pottery Freeform vase designed

by Ann Read, painted by Diane Holloway, pattern PY, swollen cylindrical form with inverted, irregular rim, painted with colours of Totem motif, in red, mint green and yellow on an Alpine matt white ground, printed factory mark, painted D and PY marks, 24.5cm. high

Provenance The Redstone Collection.

Provenance The Redstone Collection

£120­180

Literature Leslie Hayward & Paul Atterbury Poole Pottery, Richard Dennis Publications, page 108 for a comparable example illustrated.

101 A Poole Pottery Contemporary footed vase designed by Alfred Read, pattern X/PS, painted with bamboo stems in yellow, mint green and purple on an Alpine matt white glaze, and another similar painted in the HOL pattern printed and painted marks, 18.5cm. high, (2) Provenance The Poole Lady (X/PS vase) The Redstone Collection.

101

£150­200 102 A Poole Pottery Contemporary vase designed by Alfred Read and Guy Sydenham, painted by Gladys Hallett, pattern PS, rectangular section with rounded, pulled top rim, painted with columns of bamboo in shades of mint green, yellow and purple on an Alpine matt white glaze, printed factory marks, painted artist cipher and pattern number, star crack to base, 23.5cm. wide

102

Provenance The Redstone Collection.

Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis Publications, page 108 for a comparable vase. £120­180

£150­200 104 A Poole Pottery Contemporary vase designed by Alfred Read, pattern X/PQB, waisted cylindrical form, painted with bands of mushroom squares linked with thin turquoise lines, on an Alpine matt white glaze, a Poole Contemporary vase pattern X/PKT, another pattern PLC and a centrepiece bowl pattern X/FST printed and painted marks, hairline to PLC vase 25cm. high, (4) £150­200 105 A Poole Pottery Freeform vase designed

by Alfred Read and Guy Sydenham, painted by Diane Holloway, pattern PW, asymmetric rim, painted with bands in yellow, mint green and purple on an Alpine matt white ground, another Poole Pottery Freeform vase pattern X/PV, and two centrepieces, printed and painted marks, 19.5cm. high (4) Provenance The Redstone Collection Literature Leslie Hayward & Paul Atterbury Poole Pottery, Richard Dennis Publications, page 107 for a comparable vase illustrated. £150­250

103

104 34

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106

106 A Poole Pottery Contemporary vase designed by Ann Read, painted by Diane Holloway, pattern HZU, swollen form, painted with columns of leaf and scroll motif in yellow and purple, highlighted with black, on an Alpine matt white ground, printed factory mark, painted marks, 20cm. high Provenance The Redstone Collection.

107

£120­180 107 A Poole Pottery Contemporary bottle vase designed by Alfred Read, pattern PJ, shape no.708, painted waisted, shouldered form painted with columns of grey rectangular on green bands, on an Alpine white glaze, and another Poole Pottery Contemporary base smaller, pattern PRT printed and painted marks, 32cm. high, (2) Provenance The Redstone Collection.

Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis Publications, page 103 for this design illustrated. £150­250 108 A Poole Pottery Freeform vase designed by Alfred Read and Guy Sydenham, shape no.724, pattern PT, tapering cylindrical form with swollen and flaring asymmetric neck, painted with stylised butterfly motif in purple and green on a matt white ground, incised, printed and painted marks, 35.5cm. high Provenance British Art & Design, Woolley and Wallis Auctioneer’s 23rd July 2008, lot 142 The Redstone Collection.

Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis Publications, page 107 for this shape and the original designs for the pattern illustrated. £300­500 108 35

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109 A Poole Pottery Delphis charger, painted with a Pelican standing, in colours on an orange peel textured ground printed factory mark, painted artist cipher 42cm. diam.

Provenance The Redstone Collection. £300­400 110 A Poole Pottery Delphis charger, shape no.5, painted with an abstract design in black, pale blue and red on a vivid orange ground, another Poole Pottery Delphis charger shape no.5 and another Delphis plate by Shirley Campbell, printed and painted factory marks, 36cm. diam. (3) 109

£150­250

110

111 ‘Corfe Castle’ and ‘Old Harry Rocks’ two unusual Poole Pottery Aegean chargers, shape no.5, each resist decorated with a stylised Dorset landmarks, in chestnut on a pale blue ground and a Poole Pottery Aegean charger by Leslie Elsden resist decorated with a yacht sailing before a setting sun, printed factory marks, Old Harry with RS monogram for Ros Sommerfelt, 35cm. diam. (3) Provenance The Redstone Collection. £200­300 112 A modern Poole Pottery Studio charger by Anita Harris, painted with a leaping dolphin, in blue and black on a red and orange ground, another modern Poole charger by Nicola Massarella and a Poole Pottery plate thrown by Alan White and decorated by Lorna Whitmarsh printed and painted marks, I6 41cm. diam (3)

111

Provenance The Redstone Collection. £150­200 112

113 A tall Poole Pottery Atlantis vase by Guy Sydenham, tapering cylindrical body with wide flaring top rim, incised with vertical grooves, glazed brown and white impressed Poole Pottery mark, GSA monogram and A9/3, 24.5cm. high Provenance The Redstone Collection. £200­300 114 A Poole Pottery Atlantis vase by Guy Sydenham and Beatrice Bolton, ovoid with cylindrical neck, the body with incised columns, glazed white and pale turquoise, the neck white with tan rim, impressed Poole mark, GS monogram and BB monogram reck repaired, 28.5cm. high Provenance The Redstone Collection. £120­180

113 36

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115 115 ‘Old Harry’ a modern limited edition Poole Pottery Studio charger by Sue Pottinger, designed by Karen Brown, dated 1998, painted with the Dorset coastal landmark, in colours, the rim with a band of stylised waves, printed factory mark painted 9/100 KB design 98 and S.M. Pottinger, 41cm. diam. £120­180 116 A modern Poole Pottery Studio Seahorse tile plaque probably by Nicola Massarella or Karen Brown, resist decorated and painted with two entwined seahorses swimming amongst waterweed above a bed of shells, in colours impressed Poole Studio mark, 50.5 x 38cm.

Provenance The Redstone Collection £200­400

117 A modern Poole Pottery Studio ‘Blue Spiral’ charger by Janice Tchalenko, painted with a running blue and green glaze, the exterior mottled blue, printed factory mark, painted JT monogram and DJ, paper label lot 12, 35cm. diam.

116

Provenance Poole Pottery Gala Day, 2nd October 1999 lot 12.

The Redstone Collection. £150­200 118 A Poole Pottery Delphis vase painted by Angela Wyburgh, shape no.85, tapering cylindrical form, painted with geometric design in black, orange and yellow on a lime green ground, a Poole Red Magma wall plate, two Poole Living Glaze vases, and a Poole Pottery Zen large square dish, designed by Karen Ford, resist decorated with sprays of leaf in black metallic finish, printed and painted marks, 40cm. high (Dephis vase), 41.5cm square (Zen plate) (5) Provenance Cottee’s 6th October 1998 lot 8. (Delphis vase) The Redstone Collection.

117

£120­180

118

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119 part 119 Guy Sydenham (1916­2005) original designs for vases pen on paper, various sheets, designs for a Junior Potters wheel, a folio of sketches for working drawings 1990s­ 2000­1, a collection of photographs of Guy working and various pots, The Potter’s Life and The Potter’s Life II two books by Guy Sydenham & John Benfield, both signed, Exhibition of Poole Pottery Studio in the 1960s, New Century Gallery, and a collection of ephemera (a lot)

120

Provenance The estate of Guy and Joan Sydenham. £120­180 120 A Poole Pottery vase thrown by Guy Sydenham, pattern BN, ovoid with collar neck, painted with flowers and foliage in colours on a white ground, a Carter’s lustre vase dated 1903, covered in a green lustre glaze, a Poole Pottery Grand Bahama Club tankard, a Poole Pottery book launch invite dish inscribed to Guy and Joan, 1995, and a small collection of Poole Pottery, incised Please return to Guy Sydenham, painted BN mark, lustre vase chipped rim, 15cm. high (a lot)

121

£150­200

121 A Poole Pottery Atlantis lampbase by Guy Sydenham and Beatrice Bolton, tapering cylindrical form with circular aperture, incised and impressed decoration glazed dark brown on a brown ground, and another taller ‘Seascape’ L2 lampbase by Guy Sydenham impressed and incised marks, 24.3cm. high (Poole lamp), 29.5cm. high (Seascape), (2) Provenance The estate of Guy and Joan Sydenham. £150­250 122 A Poole Pottery plate possibly painted

by Guy Sydenham, painted with stylised trees in colours on a matt pink ground, a jug titled Le Dieu Bleu, painted with an exotic dancer, and a tile painted with a stag’s head design, printed Poole England mark to plate, hairline crack, tile and jug unsigned, 25.5cm. diam. (3) Provenance The estate of Guy and Joan Sydenham. £150­200 123 A Poole Pottery cider flagon and five tankards by Guy Sydenham, the swollen flagon with running matt brown glaze, cork and wooden tap, the five tankards with matt brown running glaze, and off white glazed interiors, impressed Poole England and GS monogram, 41cm. high (flagon), 11.5cm. high (tankards), (6) Provenance The estate of Guy and Joan Sydenham. £150­250

122

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124

124 A Poole Pottery Atlantis vase by Guy Sydenham, tapering cylindrical form with wide flaring neck, the body with insiced vertical geometric columns, glazed black and brown with highlights, and another smaller Poole Pottery Atlantis vase by Guy Sydenham, impressed Poole mark, GS monogram 21cm. high (tallest), (2) Provenance The estate of Guy and Joan Sydenham. £150­250 125 A large pottery vase by Guy Sydenham, swollen ovoid form with tapering neck and collar rim, painted in a speckled hare’s fur glaze, resist decorated with a band of geometric shapes, in white the rim highlighted in white, incised Guy Sydenham signature, 43.5cm. high

125

Provenance The estate of Guy and Joan Sydenham. £200­400 126 A Poole Pottery Atlantis footed bowl by Guy Sydenham, tapering foot supporting flaring, shallow bowl, covered in a Blue Lace glaze to well, and silver­blue glaze to exterior, and another Poole Pottery Atlantis bowl by Guy Sydenham, A143, impressed Poole Pottery and GS monogram, main bowl with paper label Guy Sydenham Studio Collection, hairline crack to rim, second bowl firing crack, 36.5cm. diam. (2)

126

Provenance The estate of Guy and Joan Sydenham. £150­200 127 ‘Queens Silver Jubilee 1952­1977’ a limited edition Poole Pottery twin­handled vase by Guy Sydenham, footed form with applied twin­handles, impressed coat of arms roundel, the foot inscribed with inscription, another similar, and two graduated ‘Queen’s silver Jubilee’ covered cylindrical pots, impressed Poole mark, incised GS monogram, numbered 49 main cup, 19.5cm. high (6) Provenance The collection of Guy & Joan Sydenham Literature The Poole Pottery Museum and Archive Christie’s 31st March 2004, lot 253 for a comparable twin­handled vase £150­250

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119 part 128 A Portland Pottery Moot no.5 by Guy Sydenham, modelled as a flaring tree form, the hollowed out well with various modelled vases, pots, suckers and foliate motif, glazed in colours impressed marks, incised GS monogram and title, paper label no.87, minor losses, 22.5cm. high, 31cm. wide Provenance The estate of Guy and Joan Sydenham.

128

£120­180

129 A Portland sculpture by Guy Sydenham, modelled as a pierced tree trunk with anthropomorphic features, glazed in colours impressed Portland, GS monogram, 27cm. high Provenance The estate of Guy and Joan Sydenham. £120­180

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130 A Long Island salt­glazed pottery Mermaid by Guy Sydenham, modelled on her front throwing her head and shoulders back, impressed GS monogram and Mallard feet mark for Long Island, paper label no.62, 18.5cm. wide Provenance The estate of Guy and Joan Sydenham.

130

£300­500

131 A large Mermaid Studios pottery Mermaid by Guy Sydenham, modelled with twisted upper body, glazed black and turquoise highlights, impressed GS monogram and Port Reeves mark to tail, firing flaw to thigh, 25cm. wide, 27cm. high Provenance The estate of Guy and Joan Sydenham.

Literature Guy Sydenham & John Benfield A Potter’s Life II, The Cromwell Press, page 57 for a comparable figure illustrated. £500­700 131

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132 132 A Green Island vase by Guy Sydenham, tapering cylindrical form with flaring rim, covered in a brown salt­glaze glaze, another taller, a pottery vase with four vertical ribs by Guy Sydenham, two Carved vases and two cut jugs,impressed marks including Corfe and quay marks to main vase, 11.5cm. high (7) Provenance The estate of Guy and Joan Sydenham.

Literature Guy Sydenham & John Benfield, A Potter’s LIfe II, Cromwell Press, page 34 the two Carved vases illustrated. £120­180 133 Eleven pottery Ice Skater plaques by Guy Sydenham, incised and impressed with a portrait of Joan Sydenham ice skating, one Long Island pottery plaque of Joan ballet dancing, dated 1967 by Guy Sydenham, glazed in colours, four coat of arms plaques by Guy Sydenham, a similar portrait plaque by Guy Sydenham and two bead necklaces, various impressed marks, 18.5cm. high (largest skater plaque), (19)

133

Provenance The estate of Guy and Joan Sydenham.

Literature £150­200 134 A Green Island ‘green dash’ King William charger by Guy Sydenham, painted to the well with the king standing in a wooded landscape, in green, yellow and brown on an off­white ground, impressed mallard foot Green Island mark, 42cm. high Provenance The estate of Guy and Joan Sydenham. £150­200 135 A salt glaze stoneware Bellarmine by Guy Sydenham, swollen form, cast in low relief with three Prussian eagle roundels, unsigned 30.5cm. high Provenance The estate of Guy and Joan Sydenham. £150­200

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136 119 part 136 A Portland Marine vase by Guy Sydenham, tapering cylindrical form, applied with suckers and incised and painted waterweed motif in green and brown impressed Portland, GS monogram and mallard duck feet mark, and Port Reevs Wakeham mark, 25.5cm. high

137 Neptune and Selina a pair of Mermaid Studios pottery plaques by Guy Sydenham, modelled and incised, glazed in black white and turquoise, impressed marks, neptune with paper label no.88, 43cm. wide (neptune), 36cm. wide (mermaid), (2)

Provenance The estate of Guy and Joan Sydenham.

Provenance The estate of Guy and Joan Sydenham.

£150­200

Literature Guy Sydenham & John Benfield A Potter’s Life II, The Cromwell Press,page 56 for a comparable pair of Neptune and Selina panels. £500­1,000

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138 A Mermaid Studios Portland Marine vase by Guy Sydenham, swollen form with glaring top rim, impressed with small fish animal and bird motif, highlighted black on a terracotta ground, the interior glazed off­white, a small jug impressed with a wavy band and flower motif and a small Long Island pebble

by Guty Sydenham, impressed seal marks, 22.5cm. high (vase), (3) Provenance The estate of Guy and Joan Sydenham. £120­180 139 Four various stoneware chess pieces by Guy Sydenham, comprising two pawns, a salt­glazed knight and a castle, incised and impressed decoration, GS monogram to all four, various other makers marks, losses to ear of knight, castle crenulations and repair to white pawn’s sword, 7.3cm. high (4)

138

Provenance The estate of Guy and Joan Sydenham.

Literature Guy Sydenham & John Benfield A Potter’s Life II, Cromwell Press, page 141 for a complete set of chess pieces illustrated. £150­250 140 A Long Island pottery head by Guy Sydenham, stylised form with long hair with incised detailing glazed blue and green, a salt­glazed stoneware head similar, a head stopper and another larger head, impressed GS monogram to main and stopper, (4)

139

Provenance The estate of Guy and Joan Sydenham. £150­200 141 Ten miniature or small stoneware vases by Guy Sydenham, various shapes and glazes, all with GS monogram 9.7cm. high (tallest), (10) Provenance The estate of Guy and Joan Sydenham. £150­200

140

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143

142 A Poole Pottery Persian Deer vase designed by Truda Adams, painted by Ruth Pavely, pattern SK, shape 966, painted with a deer amongst stylised flowers and scrolling foliage, in colours on a white ground, impressed factory mark, painted pattern and artist monogram, small hairline to top rim, 24.5cm. high Provenance Private collection. £200­300

143 A Poole Pottery Persian Deer vase designed by Truda Adams, painted by Ruth Pavely, pattern SK, shape 966, painted with a deer amongst stylised flowers and scrolling foliage, in colours on a white ground, impressed factory mark, painted pattern and artist monogram, 24.5cm. high Provenance Private collection. £300­500

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144 Carter’s Tiles Poole London a Carter’s Poole Pottery advertising dish, circular, the well cast in low relief with a bottle kiln framed by a leaping dolphin, glazed blue lustre, the rim inscribed Carter’s Tile Poole London in golden lustre unsigned, 15cm. diam. £150­200 145 A Carter Stabler & Adams Poole Pottery by Anne Hatchard, pattern FT, shape no.211, decagonal, painted with a spray of flowers to the well, in colours on a white ground, the rim with blue, green and yellow bands, impressed and painted marks, 28.5cm. diam. £150­200

144

146 A Poole Pottery wall plate designed by Olive Bourne, pattern GZ, painted with a stylised portrait of a woman, in colours printed and painted marks, hairline to rim, 28cm. diam.

Literature Leslie Hayward & Paul Atterbury Poole Pottery, Richard Dennis Publications, page 50 for a comparable example.

Exhibited Art Deco By The Sea Sainsbury Centre, UEA, 9 Feb­20 Sept 2020 for a comparable plate exhibited. £200­300 147 A Poole Pottery Contemporary ‘Feather’ carafe vase designed by Alfred Read, pattern YCS, shape 690, ovoid with tapering cylindrical neck, painted with alternate foliate panels black on a grey ground interspaced with yellow, on a white ground, a Poole Contemporary Purbeck part dinner service, pattern OV comprising; two tureen and covers, six soup bowls and four saucers, six dinner, five entree and six side plates, and a Poole Constellation, Feather , Ariadne, Ripple sideplates, and another pattern DNT painted with flowers, printed factory mark, painted marks, 25cm. high, (a lot).

Literature The Studio Yearbook, 1955­56 page 120 for a Streamlined tea set designed by John Adams in the Ariadne pattern designed by A.B. Read illustrated. £200­300

145

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148 A unique Poole Pottery faience architectural tile slab by Tony Morris originally mounted on the exterior of the pottery, rectangular form painted with abstract pattern in blue, unsigned, 60.5 x 30.5cm Literature Leslie Hayward and Paul Atterbury, Poole Pottery, Richard Dennis Publications, page 176 for the full panel illustrated.

Catalogue notes This panel was one of forty tiles mounted on the exterior of the factory, thirty­two were mounted on the Fisherman’s Road elevation, and a further eight in two columns around the corner, in 1963. It is believed this one comes from the latter eight panels and was purchased from the demolition company directly by the vendor. £300­400 149 A Poole Pottery Atlantis panel from the water feature by Guy Sydenham, originally designed and installed in the Craft section at Poole Pottery, modelled in relief with vases, shell forms and a monkey head to the base, part of the sunrise to the left, glazed in colours, removed before the factory was demolished, later framed as a mosaic panel, unsigned, 83 x 66cm.

Literature Guy Sydenham & John Benfield A Potter’s Life II, The Cromwell Press, page 153 for a photo of the full water display, created in 1969­70. Page 155 shows a comparable montage panel. £500­600 150 Sir Terry Frost RA (1915­2003) Trewellard Blue Black a Poole Pottery Studio prototype charger painted with alternate black and blue radiating lines, on a white ground unsigned 35cm. diam.

148

Literature 20th Century Design Woolley and Wallis Auctioneer’s 24th August 2021 lot 713 for a comparable example. This charger was a prototype for the Queensbury Hunt Partnership, Publicity shots show Terry Frost painting these dishes at Poole.

Leslie Hayward & Paul Atterbury Poole Pottery, Richard Dennis Publications, page 194 for a press photo from 1996 showing Terry frost painting the dishes. £400­600

150

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151 ‘Viking’ a modern limited edition Poole Pottery Studio charger designed by Karen Brown, painted by Sue Pottinger, dated 1998, painted with ships in colours on a white ground, printed factory mark, painted marks, 17/100, 41cm. diam. £150­250 152 A Poole Pottery Egyptian plate by Sabine Neubauer, printed with a Charioteer hinting with a bow and arrow, in colours and gilt, and another plate decorated with an Egyptian Mask in gilt and blue on a black ground, printed mark to main plate 30cm. diam. (2) £120­180

151

152

153

153 A set of three Poole Pottery plates designed

by Tony Morris, printed in black with Arthurian scenes, highlighted in gilt, printed factory marks, 23cm. diam. (3) £200­300 154 A modern unique vase by Tony Morris, the vase hand­thrown by Alan White of flattened, swollen form, painted with a landscape of Guy Sydenham’s garden at Portland, a large fruiting Medlar tree before dry­stone wall, the reverse with Church Ope cove, impressed AW mark, painted TM monogram and 20, 32cm. high £400­600

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156

155 155 A Foley plate designed by Dame Laura Knight, painted with two stylised woman, one picking an apple, in colours and ruby lustre printed factory marks, wear, 21.5cm. diam. £120­180 156 Phoebe Stabler (1879­1955) bust of a young girl, (Garden Fairy) plaster with painted gold patination 21cm. high Catalogue notes The bronze full length kneeling figure of Garden Fairy is in the Scarborough Art Gallery (bequeathed to the gallery in 1955). £150­200

157

158

157 ‘Kaa’ a rare Ashtead Pottery Junge Book figure of a snake designed by Donald Gilbert, model M85, covered in a mottled pearl­barley glaze, printed factory mark, painted number, moulded Gilbert signature, small chip to base, 16.5cm. high £150­200 158 ‘Eastern Lady’ M.37 an Ashtead Pottery figure designed by Phoebe Stabler, painted in blue, green and yellow, on a pearl­barley ground, printed and painted factory marks, chips to base rim, 14cm. high £150­200 159 ‘Spring’ an Ashtead Pottery figure designed by Joan Pyman, dated 1930, model M103, painted in shades of blue, purple, green and yellow on a pearl­barley ground, printed factory mark, painted number, moulded Joan Pyman 1930, 35cm. high £300­500 159

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161

160

162

160 ‘Resting Doe’ a Royal Worcester figure designed by Eric Aumonier, model no.2874, painted in shades of grey, blue, green on a sky blue base, printed factory mark, painted title and modelled by Eric Aumonier, 16.5cm. wide, 12.5cm. high

163 An architectural stoneware model of a seated lion, in the manner of Alfred Stevens, covered in a matt brown glaze, incised MM to base, minor chips to base, 35.5cm. high

£150­200

164 A Minton’s model of a tortoise, covered in a pink­red glaze, a Minton’s modelled of a bear seated, covered in a matt black glaze, a pair of Minton’s seated big cats, a greyhound, and a parrot, impressed marks, 12cm.wide, (5)

161 A Royal Douton stoneware model of a polar bear, modelled seated on a square base, covered in a white glaze, impressed seal mark, 15.5cm. high £120­180 162 A pair of Royal Worcester Chinese figures designed by Agnes Pinder­Davies, model no.3397 and 3398, painted in colours and two modern Royal Worcester caddies and covers and a dish decorated with Chinese figures, printed factory marks, 15.5cm. high (tallest), (7) £120­180

£150­250

£120­180 165 A Spode model of an Elephant designed by Eric Olson, covered in a gun metal grey glaze, a patinated metal book end, modelled as a bird

by F H Darvin, a large Rye model of a Rhino by David Sharp and two cups and saucers, unmarked, 20.5cm. high (7) £120­180

163

164 50

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167

166 A pair of Shelley Pottery Vogue Harlequin tea trios, pattern 11741, comprising two cups, saucers and side plates, printed and painted with flowers and chequerboard, in shades of black, yellow and blue printed and painted marks, 14cm. square (side plates), (6) £200­300 167 A Susie Cooper Studio Ware jug, pattern M.72, ovoid form, painted with stylised orchid flowers in pastel colours on a cream ground, and a Susie Cooper teaset for two, printed with stars in rust, highlighted in gilt, comprising teapot and cover, milk­jug and sugar basin, two cups, saucers and a side plate printed and painted factory marks, 17.5cm. high (10) £150­200

168

168 ‘Pink Dresden Spray’ a Susie Cooper Productions dinner service designed by Susie Cooper, printed with flowers and foliage in colours inside a graduated pink band, comprising; a tureen and two covers, sauce boat, four graduated platters, eight dinner, entree and side plates, eleven twin­handled soup bowls and ten saucers, printed factory marks, impressed date mark 1935, 45cm, wide (largest platter), (53) £150­250 169 A Susie Cooper Productions Red Tango Kestrel shaped coffee set for six designed by Susie Cooper, pattern no.1998, painted with graduated black bands broad coral red, comprising; coffee pot and cover, milk­jug and sugar basin, six cups and saucers, printed factory marks, 19cm. high (coffee pot), (16) £200­300

169

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170 A Wedgwood plate by Emile Lessore, fluted form, the well painted with two boys playing with a pond yacht, in colours impressed factory mark, painted signature to front 23cm. diam. £200­300 171 A Wedgwood Cane ware Sun-Lit vase by Millicent Taplin, swollen form with collar rim, painted with Art Deco flowers and foliage in colours on a straw ground, painted S, Richard Dennis exhibition label, 22.5cm. high Provenance Wedgwood Exhibition, Richard Dennis 1982 catalogue number VIII, purchased by Andrew Harriss for£65.

170

171

Literature Maureen Batkin Wedgwood Ceramics 18461959,, Richard Dennis, page 161 plate 391 for a similar shape vase and also examples of the Sun­lit pattern illustrated. £200­400 172 A Wedgwood Pottery shoulder vase designed

by Keith Murray, shape no.3805, shouldered ribbed form, covered in a Matt Green glaze, impressed and printed marks, printed facsimile signature, small bruise to foot rim, 29.5cm. high Provenance Clarice Cliff & Art Deco, Woolley and Wallis Auctioneers, 25th May 2005, lot 730 £250­350

173

173 A Wedgwood Pottery vase designed by Keith Murray, shape no.3765, ribbed ovoid form, covered in a matt white glaze, and a Robj box and cover, modelled as a lady in a flaring skirt, holding a fan, printed factory marks, hairline and minor chips to vase, 15.5cm. high (3) £200­300 174 A Wedgwood Pottery footed vase designed by Keith Murray, shape no.3753, flaring ribbed form, covered in a matt white glaze, printed factory mark with KM monogram, 14cm. high, 19.5cm. diam.

172

£120­180 175 A rare Wedgwood Pottery ball vase designed

by Keith Murray, shape no.3765, faceted ovoid form with collar neck, covered in a matt blue glaze, printed factory mark with KM monogram, 18.5cm. high £500­600

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176

177

176 ‘Tiger and Buck’ a Wedgwood Pottery figure designed by John Skeaping, on rectangular base, impressed and printed factory marks, 34cm. wide. £120­180 177 ‘Monkeys’ a Wedgwood Pottery figure group designed by John Skeaping, on a rectangular base, covered in a white glaze, impressed Wedgwood J Skeaping to base, 18cm. high, 18.5cm wide.

Literature Maureen Batkin, Wedgwood Ceramics 1846-1959, Richard Dennis Publications, page 188 plate XLVIII for a comparable group illustrated. £120­180 178 King George VI & Queen Elizabeth Coronation 1937 a Wedgwood mug designed by Eric Ravilious, printed in black and red over an emerald green band with fireworks and Royal crest, the reverse dated 1937, printed factory mark, 10.2cm. high

178 both sides

Provenance Andrew Harriss Literature Andrew Casey 20th Century Ceramic Designers, ACC Books, page 214 figure 239 for the original artwork for this mug illustrated. £500­800 179 King George VI & Queen Elizabeth Coronation 1937 a Wedgwood mug designed by Eric Ravilious, printed in black and red over an emerald green band with fireworks and Royal crest, the reverse dated 1937, printed factory mark, 10.2cm. high Provenance Andrew Harriss

179 both sides

£500­800

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180 ‘Leapfrogging Elves’ a small Wedgwood Fairyland lustre vase designed by Daisy Makeig­Jones, pattern Z4968, printed and painted in colours and gilt on a black lustre ground, the interior with pearl lustre, printed and painted marks, 14cm. diam.

Provenance The Jill Napper collection of Wedgwood Fairyland Lustre.

180

£500­1,000

181 ‘Woodland Elves IV’ a small Wedgwood Fairyland lustre Malfrey pot and cover designed by Daisy Makeig­Jones, pattern Z5360, printed and painted in colours and gilt on a flame lustre ground, printed and painted factory marks, cover professionally restored, 9.5cm. high, (2) Provenance The Jill Napper collection of Wedgwood Fairyland Lustre. £500­1,000

181

181 lid

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182 ‘Tree Serpent’ a Wedgwood Fairyland lustre vase designed by Daisy Makeig­Jones, pattern Z5360, shape no. 3150, slender, shouldered baluster form, printed and painted in colours and gilt on a flame orange lustre ground, impressed, printed and painted marks, 30cm. high Literature Una Des Fontaines, Wedgwood Fairyland Lustre, Sotheby Parke Bernet, page 198­199 this design illustrated, plate 44 this design and vase shape illustrated. £1,500­2,000

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183 ‘Imps on a Bridge and Treehouse’ a Wedgwood Fairyland lustre vase designed by Daisy Makeig­Jones, pattern Z5360, shape no 2351, swollen, shouldered form with everted top rim, printed and enamelled in colours and gilt on a flame lustre ground, printed and painted marks, 22.5cm. high Provenance The Jill Napper collection of Wedgwood Fairyland Lustre. £2,000­3,000

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184 ‘Persian Garden’ a Carlton Ware vase, pattern 3893, printed and painted in colours and gilt with flowers and foliage on a black ground, a Carlton Ware ‘Hollyhocks’ vase, three vases, and two covered pot pourri vases, printed and painted marks, restoration to top rim of main vase, damages, 20cm. high (9) Provenance The Michael Burningham Collection.

184

£120­180

185 ‘Nightingale’ a Carlton Ware jug, pattern no.3562, shouldered form, printed and painted in colours and gilt on a black ground, a Carlton Ware jug, pattern 3945, and three various Carlton Ware ‘Rabbits at Dusk’ jugs printed and painted factory marks, damages, 19.5cm. high, (5) Provenance The Michael Burningham Collection. £120­180

185

186 ‘Fantasia’ a Carlton Ware jug, pattern no.

3388, shouldered form, printed and painted in colours and gilt on a pale blue matt ground, a Carlton Ware ‘Rosetta’ jug pattern no.3505, and two other jugs, printed and painted marks, 19.5cm. high (4) Provenance The Michael Burningham Collection. £120­180

186

187 ‘Devil’s Copse’ a Carlton Ware jug, pattern no.3787, shouldered form, printed and painted in colours and gilt on a blue ground, and a Carlton Ware ‘Fantasia’ jug printed and painted marks, small glaze chip to spout of Devil’s Copse, 19.5cm. high (2) Provenance The Michael Burningham Collection. £120­180

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188 ‘Paradise Bird and Tree with Cloud’ a Carlton Ware wall plate, printed and painted in colours and gilt on an orange ground, a Carlton Ware ‘Barge’ charger, an ‘Iceland Poppy’ charger and another, printed and painted marks, 32cm. diam. (4) Provenance The Michael Burningham Collection. £120­180 189 ‘Starflower’ a Carlton Ware vase, pattern no.4215, slender, swollen form, printed and painted in colours and gilt with stylised flowers and foliage on a red lustre ground, another Carlton Ware vase, pattern no.4277, a plate and three other vases, printed and painted marks, damages, 26cm. high (6) 188

£120­180 190 ‘Pagoda’ a Carlton Ware jar and cover, printed and painted in colours and gilt on a rouge lustre ground, a Carlton Ware ‘Kingfisher’ ginger jar and cover, and a collection of Carlton Ware Rouge Royale pottery, printed factory marks, 27.5cm. high (a lot) Provenance The Michael Burningham Collection. £120­180

189

191 ‘Mallards’ a Carlton Ware Tomb jar and cover, printed and painted in colours and gilt on a dark blue lustre ground, the cover set with a gilt, seated Chinese lion, another smaller Catlron Ware jar and cover on a black ground, and two Carlton Ware ginger jar and covers, printed factory mark, 39cm. high (8) Provenance The Michael Burningham Collection. £120­180

190

192 ‘Chinese Dragon’ a Crown Devon Mattajade jug, pattern no.2076, slender form, printed and painted in colours and gilt on a pale blue matt ground, and a collection of Crown Devon pottery printed and painted marks, 23.5cm. high (a lot) Provenance The Michael Burningham Collection. £120­180 192A ‘Chinese Dragon’ a Carlton Ware vase, swollen form, printed and painted in colours and gilt on a green ground, and nine other Carlton Ware and Crown Devon vases printed and painted marks, damages, 19cm. high (10)

191

Provenance The Michael Burningham Collection. £120­180 193 A Shelley China Regent shape coffee pot and cover, pattern C12581, printed and enamelled in colours with a sunrise over rural fields, and a large collection of ceramics and glass, printed factory marks, 18.5cm. high (a lot) Provenance The Michael Burningham Collection.

192

58

192A

£120­180

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CONTINENTAL CERAMICS 194 Ai Monti a Lenci Pottery figure designed by Abele Jacopi, model no .697, the young fashionable lady modelled standing, on shaped rectangular base, with wooden ski poles, painted in colours impressed number, painted mark and monogram, corner of base and figure at ankles re-stuck, 43.5cm. high Provenance Private collection Literature Alfonso Panzetta, Le Ceramiche Lenci, Umberto Allemandi & C., page 244 catalogue number 849 for a comparable example illustrated. £400­600

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199 A Robj Paris set of knife rests and salts designed by Edouard Marcel Sandoz, twelve ceramic knife rests each modelled as a stylised duck, glazed white with gilt highlights, two duck salts with metal spoons, in fitted silk lined display case, stamped marks to base, 10cm long (rests) Provenance Design, Woolley and Wallis Auctioneer’s, 16th October 2019 lot 1402.

Private collection.

196 195 ‘Woman Collecting Potatoes’ a large Royal Copenhagen figure designed by Christian Thomsen, model no.1549, painted in colours, another Royal Copenhagen ‘The Gossips’ figure model no.1319, another ‘Girl Feeding Chickens’ Royal Copenhagen figure model no.2220, and a Herend model of a deer fawn, printed and painted factory marks, impressed facsimile signature, small chip to chicken figure, 26.5cm. high (4)

195

£120­180 196 A Herend Pottery model of Cleopatra holding an asp, designed by Nagy Istvan, modelled falling to her knees, glazed in muted colours a German pottery model of Mephistopheles, and an English Pottery model of a woman holding an apple, impressed signature to base, printed mark to base, 24.5cm. high (3)

197

£120­180 197 A tall Art Nouveau Amphora Pottery figure of a maiden holding an urn, model no.5021, modelled standing in classical robe adorned with pink flowers, glazed in colours, highlighted in gilt impressed factory marks, 66cm. high £150­200 198 A pair of Geo Conde pottery penguins, each cast standing on an ice block, glazed in colours, cast signature Geo Conde, 45cm. high, (2)

£120­180 200 ‘Porteuse d’Eau’ an Art Nouveau Goldscheider pottery model of a maiden with an urn designed by Cherc, model no.4779, modelled standing on a rock, glazed in colours and highlighted with gilt, impressed marks and Cherc signature, 38cm. high Literature Ora Pinhas, Goldscheider, Richard Dennis, page 63, for a comparable figure illustrated model no.3900 designed by Lavergne and page 43 for this figure with model no.2616. £150­250 201 A large Art Nouveau terracotta pottery model of maiden riding a Wave designed by Rossi, model no.595, below her a seagull flying, glazed in colours impressed signature and model 595, plaque missing, 61cm. high (2) £300­500 202 ‘Nature Revealing Herself before Science’ a tall Goldscheider Pottery figure, model no.1086, modelled standing, on rectangular base, glazed in colours impressed marks to base, 64cm. high £200­300

Provenance Tom Watkins Collection £600­800

198

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201

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203 A Goldscheider Pottery free­standing bust of a woman, model no.8339, stylised features, glazed in colours, and another taller free­ standing bust of a woman, printed and impressed marks to Goldscheider bust, indistinct signature to second bust, losses to second bust, 16cm. high, (2) £200­300 204 A Goldscheider Pottery wall mask, model no.6774, modelled as a woman with orange curly hair, holding an apple, glazed in colours impressed and printed marks, restored neck and losses to hair, 20.5cm. long Provenance Design Woolley and Wallis Auctioneers 9th October 2013 lot 1489.

203

£100­150

204

205 A Keramis terracotta wall mask, model no.942, modelled with stylised female face, glazed in colours with vivid orange hair, impressed and printed factory marks, 22.5cm. long £300­400 206 A Royal Dux model of an Art Deco sailor girl

by Schaff, model no.3230, modelled standing in pantaloons and sailor’s cap painted in shades of pink, purple, blue and yellow, highlighted in gilt, on shaped base, applied pink triangle mark and impressed marks, professional restoration to base, 27cm. high £150­200 207 A Modernist Keralouve Lalouviere vase designed by Charles Catteau, four low square section tube vases flanking central taller square section vase, on octagonal base, printed and enamelled with geometric decoration in yellow and black, printed Keralouve mark, 21.5cm. high

205

£150­250

206

208 A pair of Boch Freres Keramis bottle vases, shape no.252, moulded, twisted body painted with stylised orchids, in black and golden­silver lustre on a bronze lustre ground impressed and painted marks, 31cm. high, (2) £300­400

207

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GLASS 209 A Graystan glass vase designed by Mrs Elizabeth Graydon­Stannus, shouldered ovoid form, with collar neck, white, orange and yellow streaked and cloudy glass cased in clear, etched Graystan signature, 17.5cm. high £120­180 210 A James Powell & Sons Whitefriars White Lattice glass vase, shouldered form with cylindrical neck, white lattice glass cased in clear, unsigned, 29.5cm. high £120­180

209 210

211 A Stevens & Williams Royal Brierley engraved glass vase designed by Keith Murray, flaring cylindrical form, engraved with flowers and foliage, acid etched mark and facsimile signature, 19cm. high £300­400 212 A Stevens & Williams Royal Brierley glass vase designed by Keith Murray, swollen form with polished faceted lower section, acid etched mark with facsimile signature,minor pin-head nicks, 22.5cm. high £150­200 213 A Webb Corbett cut glass table suite, cut with horizontal band and disc geometric design, comprising two decanters and stoppers, twelve lemonade beakers, ten smaller beakers, twelve port glasses, twelve sherry glasses and twelve smaller shot glasses, and a glass jar, acid etched Webb Corbett mark to decanters, 25.5cm. high (tallest decanter and stopper), (63) £120­180

211

212

214 Diana The Huntress a lamp worked glass sculpture probably Bimini Werkstatte to a design by Fritz Lampl, black glass on clear glass stand, modelled with a naked woman firing bow at a rearing stag unsigned, losses 16.5cm. high, 21cm. wide £120­180

213 62

214

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216

215

215 A French opalescent glass bowl in the manner of Sabino, cast in low relief with stylised flower and foliage, a faceted cut glass vase possibly Moser, flaring faceted form on shallow foot, in the manner of Josef Hoffmann, another Orrefors faceted smoky topaz glass vase, and an Orrefors Amethyst glass footed bowl, main bowl cast France mark, vase unsigned, Orrefors with incised marks, 14cm. high (4) £200­300 216 A Marius Sabino opalescent glass perfume bottle and stopper, shouldered form, cast in low relief with Art Deco maidens, with billowing drapes, standing in a water setting, signed Sabino Paris, minor nicks, 18.5cm. high (2) £120­180 217 ‘Suzanne’ a Marius Sabino opalescent glass figure, modelled as a naked woman, arms outstretched and holding a peacock feather robe, mounted on ebonised wood base with back­light fitting, 26cm. high, 23.5cm. wide, 23.5cm. high (figure) Literature Victor Arwas Glass Art Nouveau to Art Deco, Academy Editions, page 271 for a comparable Suzanne figure illustrated, circa 1927. £1,500­2,500

217 63

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LALIQUE GLASS 218 ‘Ormeaux’ no.984 a Lalique grey clear and frosted glass vase designed

by Rene Lalique, etched R Lalique France no.984 to foot rim, 16.7cm. high £300­500

219 ‘Cactus’ model no.5291 a Lalique enamelled glass decanter and stopper designed by Rene Lalique, clear glass, the stopper modelled as a cactus with enamelled black dots, stencil R Lalique France mark, 21cm. high (2)

218

£200­300

220 ‘Coquilles’ no.3009 a Lalique opalescent large plate designed by Rene Lalique, and five modern Lalique clear and frosted glass wine glasses, moulded R Lalique to centre of Lys plate, 30cm. diam. (6) Provenance Michael Luvaglio £120­180

219

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221

221 ‘Rampillon’ no.991 a Lalique opalescent glass vase designed

by Rene Lalique, wheel cut Lalique France, etched No.991 to base, 12.8cm. high £300­500

222 ‘Monnaie du Pape’ no. 897 a Lalique clear and frosted glass vase designed by Rene Lalique, cast in low relief with honesty seedheads, moulded R Lalique signature to base, 23.5cm. high £1,000­2,000

222

223 ‘Calypso’ no.414 a Lalique large opalescent glass plate designed by Rene Lalique, stencilled R Lalique France mark, 38cm. diam. £2,500­3,500 223

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224

225 224 ‘Verone’ no.11218 a modern Lalique clear and frosted glass vase, footed, flaring cylindrical form, cast with birds perched amongst scrolling foliage, in original Lalique presentation box, and a modern Lalique clear and frosted glass bowl, etched Lalique France, 11218, 19.5cm. high, 27.5cm diam, (2) £300­400 225 ‘Bison’ no. 1196 a modern Lalique clear and frosted glass paperweight, originally designed by Rene Lalique, modelled as a standing bison, etched Lalique France to base, 11cm. wide.

227 ‘Libellule’ no. 1145 a modern Lalique clear and frosted glass paperweight, originally designed by Rene Lalique, in original box and cover, etched Lalique France, 20.5cm. high £500­800 228 ‘Libellule’ no. 1145 a modern Lalique blue clear and frosted glass paperweight, originally designed by Rene Lalique, in original box and cover, etched Lalique France, 20.5cm. high £500­800

£80­120

226

226 ‘Cockatoo’ a modern Lalique clear and frosted glass sculpture, modelled as a parrot perched on tapering cylindrical base, wings out­stretched, etched Lalique France, 30cm. high £150­250

227 66

228

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SCULPTURE

λ 229 Claire Jeanne Roberte Colinet (1880­1950) Towards the Unknown (Valkyrie) patinated and gilded bronze and ivory on textured stone base signed in the stone base Cl J R Colinet, 68.5cm high 70cm. wide Provenance From the collection of Richard Hollins Murray, Dinmore Estate, thence by descent.

Literature Bryan Catley Art Deco & Other Figures, ACC Books, page 111 for this and the smaller size illustrated. £7,000­10,000 67

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230 Marcel­Andre Bouraine (1886­1948) Diana with Fawns (Diana The Huntress) patinated bronze sculpture on angled base signed Bouraine 73.5cm. high Provenance Private collection.

Literature Bryan Catley Art Deco and Other Figures, ACC Books, page 50 for a comparable example illustrated. £3,000­5,000

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λ 231 Demetre Chiparus (1886­1947) Danseuse Indoue, (Hindu Dancer) patinated bronze and ivory, on tapering veined black marble base signed in the marble D H Chiparus, and Etling Paris, Sotheby’s lot label, 59.5cm. high Provenance Arts Decoratifs, Sotheby’s Paris, 14th December 2006, lot 18.

Private collection.

Literature Alberto Shayo Chiparus Master of Art Deco, ACC Books, page 127 catalogue number 57 for a comparable example illustrated. £8,000­12,000

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232

233

232 Eugene­Antoine Aizelin (1821­1902) Suzanne patinated bronze model of a woman leaning against a pedestal, her arm raised holding a drape, cast signature to base, title and foundry mark, 41cm. high £700­1,000 233 Noel reclining nude patinated bronze model of a woman reclining over rocks, on polished black slate base, cast Noel 32.5cm. wide, 14.5cm. high £120­180 234 Demetre Chiparus (1886­1947) a patinated bronze, onyx and polished slate pedestal stand, tapering square section set with a bronze panel, cast in low relief with two dancers, signed in the cast D.H.Chiparus 103cm high 52 x 23cm (top) £300­500

234 70

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235 James Pradier (1790­1852) Satyr and Bacchante, patinated bronze on rectangular base, on separate stepped ebonised wood base, unsigned 31cm. high 35cm wide £800­1,200 235

λ 236 Affortunato Gory (1895­1925) Dancer with Ball, a large patinated bronze sculpture of a exotic maiden, nude, kneeling on one knee, with exotic headdress, holding an ivory ball, on veined black marble base signed in the cast A Gory to the side of her foot, 39cm wide, 65cm. high £2,000­3,000 236 71

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238

237 A patinated bronze mask of a lion, on square base, unsigned, 17.5cm. high £150­200 238 Hippolyte Francois Moreau (1832­1927) Comical Pelicans A pair of silvered metal bookends, with applied glass eyes and veined black marble bases, signed in the cast Morreau to wing 13.5cm. high £300­400 239 Ferdinand Victor Blundstone (1882­1951) The Film Weekly Award, 1937 a patinated bronze sculptural award, of Comedy & Tragedy, given to Herbert Wilcox for the production and direction of Victoria the Great, best British Film, 1937, on ebonised wood base signed with monogram FVB in the cast 30cm. high £600­800

239

240 Harold James Youngman RA (1886­1968) Ishmael patinated bronze on square plinth signed H J Youngman and titled Ishmael in the cast 25.5cm. high Catalogue notes An example of Ishmael by Harold Youngman, made in oak, was exhibited at the Leeds City Arts Gallery in 1933. £100­150 241 Szoke Dancer patinated bronze model of a nude female dance on her toes, arms raised, in the manner of Josef Lorenzl, on an oval red marble base signed Szoke to base, 30.5cm. high £700­900

72

240

241

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242 Josef Lorenzl (1892­1950) Bat Girl patinated bronze on domed base, mounted on veined marble base signed Lorenzl to domed base 26.5cm. high £2,000­3,000

73

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243

243 An Art Deco Egyptian Revival mantle clock garniture, comprising central octagonal red marble and onyx clock, with octagonal gilt dial with Arabic numerals,mounted on patinated metal sphinx, on stepped red veined marble and onyx base, and two en suite pedestal bowl vases, with key and pendulum, unsigned, 60.5cm. wide, 31.5cm. high (5) £500­800 244 An Art Deco marble and patinated spelter mantle clock, stepped rectangular base with panels of red veined marble and onyx, the diamond shaped dial with Arabic numerals, set with a patinated spelter nude seated offering up a white laquered wood ball, indistinct mark to dial, 47cm wide, 29.5cm. wide £200­400 245 Alberto Saccardi (1883­1956) Woman with Borzoi alabaster, patinated bronze on rectangular veined marble base, unsigned 36cm high, 65cm wide

244

£500­800

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λ 246 Theodor Ullmann (1903­1966) Pierrot dancer dark patinated bronze and ivory figure, on green veined onyx dish base, signed in the cast TH. Ullmann, and foundry monogram 26cm. high £1,500­2,000 75

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247 Hans Schleeh (1928­2001) Female Torso a polished black marble torso, on rotating disc base, incised Schleeh to leg 53cm. high £200­400 248 Roy Rasmussen (1919­2014) Breton Girl polished aluminium, signed 75cm. high Provenance This figure was made circa 1969­1975 and probably exhibited at the John Whibley Gallery.

Modern British & Continental Pictures & Sculpture, Christies South Kensington, 6th December 1990, lot 276.

Woolley and Wallis would like to thank Kirsten Rasmussen for her help cataloguing this sculpture. £250­350

247

249 Karl Hagenauer (1898­1956) Bust of a Woman, a small Hagenauer Werkstatte patinated bronze and metal bust, stamped Hagenauer marks, 8.7cm. high £150­200 250 Josef Lorenzl, attributed Woman Dancing silvered bronze model of a naked woman dancing, her arms raised, on onyx base, signed Vivian Made in Austria, 25cm. high £250­350

248 76

249

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251 Claire Jeanne Roberte Colinet (1880­1950) Egyptian Dancer, gilt patinated Art Nouveau bronze of a woman standing, balanced on one leg, in exotic headdress and flowing skirt, with cold painted jewels, on later veined black marble base unsigned 22cm. high (figure) £2,000­3,000

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252 Franz Xavier Bergman (1861­1936) Exotic Harpist cold painted bronze, modelled as a woman playing a harp, on later grey marble base, signed in the cast Nam Greb 34cm. high (total) £800­1,200

78

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253 Franz Xavier Bergman (1861­1936) Exotic Dancer a large cold painted bronze figure with hinged dress, on circular base unsigned 34.5cm. high £800­1,200

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WORKS ON PAPER 254 Studio Marnasse Paris Lili Damita seated photograph signed Marnasse 22.8 x 15.5cm.

Provenance The estate of Lili Damita £200­300 255 Madame D’Ora (Dora Kallmus) (1881­1963) Lili Damita photograph impressed mark bottom right 23 x 16.5cm.

Provenance The estate of Lili Damita 254

255

Exhibited Neue Galerie, New York 2021. £300­400 256 Hal Phyfe (Hollywood) (1892­1968) Lili Damita sepia photograph signed in red crayon Hal Phyfe 35.5 x 27.8cm.

Provenance The estate of Lili Damita £200­300 257 Dorothy Wilding (1893­1976) Edna Best photograph in mount, printed marks and anotated Edna Best title to reverse 20.5 x 14.5cm. £200­300

256

257

258 Hadossett Queen with attendant in Exotic Landscape, 1920 pen and ink on paper, framed and a coloured ink on paper of a Maid drawing curtains by R Wadsworth signed and dated lower right 36.5 x 29cm. (2) £150­250

80

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DODO BURGNER ORIGINAL ARTWORK

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‡ 259 Dorte Clara Dodo Burgner (1907­1998) 2 Klasse three pen and ink sketches on board of a woman in black jacket and chequered skirt travelling in a rail carriage, greeted by a doorman and leaving a carriage, signed Dodo, annotated in pencil 33.5 x 25.5cm.

Provenance Clarice Cliff, Art Deco & Design, Woolley and Wallis, 18th March 2020, lot 230.

Private collection.

259

£150­200

‡ 260 Dorte Clara Dodo Burgner (1907­1998) Beach Beauty, woman in a blue swimsuit pencil and ink on paper, mounted signed Dodo in pencil and annotated 33.5 x 26.5cm. £400­500

260

261

‡ 261 Dorte Clara Dodo Burgner (1907­1998) Ich Verstehe Gar Nicht (I do not understand at all) sepia ink on paper, mounted unsigned, annotated in sepia ink 32 x 23cm (sheet) £120­180

‡ 262 Dorte Clara Dodo Burgner (1907­1998) Was Mach Ich Bloss, Wenn der Mir nu Anguatscht (What do I do if he Kisses me now) red ink on paper, mounted unsigned, annotated in red ink, 27.5 x 20.5cm (image) £120­180

‡ 263 Dorte Clara Dodo Burgner (1907­1998) Wenn Du Eine Braut (if you are a bride) sepia ink on paper, mounted unsigned, annotated in sepia ink 29.5 x 22cm. £120­180 82

262

263

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‡ 264 Dorte Clara Dodo Burgner (1907­1998) Woman on a Beach pencil and watercolour on paper with white highlights signed in pencil Dodo bottom right, stamped studio mark to reverse 37.5 x 27cm. £4,000­6,000

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‡ 265 Dorte Clara Dodo Burgner (1907­1998) Couple in Evening Dress pen and ink on paper of a young couple, he smoking a cigarette, mounted unsigned 13.5 x 13cm. £120­180

265

‡ 266 Dorte Clara Dodo Burgner (1907­1998) Dancing Couple, an early pencil on paper, mounted signed Wolff and annotated 25 x 20cm. £200­300 ‡ 267 Dorte Clara Dodo Burgner (1907­1998) The Golden Dress pen and ink fashion study of a woman in a golden evening dress, on paper, mounted unsigned 27.5 x 12.5cm. £300­400 ‡ 268 Dorte Clara Dodo Burgner (1907­1998) The Secret pencil and watercolour on paper of two young fashionable ladies annotated in pencil 16.1.26 possibly for 1926 42.5 x 30cm. £300­500

266

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‡ 269 Dorte Clara Dodo Burgner (1907­1998) Nude standing beside a Candle, watercolour on paper, unsigned 29 x 21cm (image) £200­300

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271

272

FURNITURE 270 A clear and frosted glass ceiling shade, tapering conical form, cut with simple foliate panels, with polished metal mounts unsigned, 36cm. wide £120­180 271 A French moulded glass ceiling shade possibly CVV Vianne, inverted domed form cast in low relief with radiating pillar design, printed stylised floral panels in turquoise, yellow and blue, on metal chains, unsigned, 39cm. diam. £80­120 272 A chrome and frosted glass ceiling light, hexagonal section, with hinged door, the side panels with lattice panels, unsigned, 38cm. wide. £200­300

273

273 An Art Nouveau patinated metal table lamp, the base cast with a maiden standing above stylised thistle panel, the flaring gilded metal shade with red cast jewels and tassle border, unsigned 48cm. high £300­500 274 An Art Deco wrought iron two­light lamp in the manner of Edgar Brandt, the central clustered stem supporting floriform terminal the branches supporting frosted glass Muller Freres conical shades, shades signed Muller Freres Luneville, 61cm. high £500­800 275 A Sonover and Piquet patinated metal and glass table lamp in the manner of Edgar Brandt, square section base on ball feet, rising to square column with cast disk panels, with textured finish, flaring arms supporting domed frosted glass shade by Societe Normande De Verriere (Sonover), signed in the glass cast Sonover, 29.5cm. high £300­400

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274

275

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276 A fine Hille burr walnut and ebonised wood canteen fitted with a suite of Richard Richardson silver cutlery, the wooden canteen designed by Ray Hille in 1935, with rounded rectangular top, four fitted drawers over pedestal with single cupboard with single shelf and hinged door, the Richard Richardson cutlery comprising, 24 grapefruit spoons, one soup ladle, 12 soup spoons, 24 fish knives and forks, 2 fish carvers, 24 table knives and forks, 2 meat carvers, 1 steel, 48 knives and forks, 8 small servers, 26 dessert spoons, 24 dessert knives and forks, 24 dessert forks, 12 cheese knives, 12 coffee spoons, 12 tea spoons, 12 pastry forks, 2 cake knives, 2 forks and 2 sugar tongs, stamped marks Richard Richardson, Sheffield, 1937.

Provenance Private collection Design, Woolley and Wallis Auctioneer’s, 17th October 2018, lot 1395.

Private collection.

Literature Sutherland Lyle, Hille - 75 Years of British Furniture, Elron Press/Victoria & Albert Museum, page 75 this actual canteen partially illustrated (lower right corner) in situ at the V&A Exhibition in 1981. £5,000­8,000 87

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277

278

277 An ebonised wood console table, the rectangular top on D shaped support and tapering rectangular foot, with glass cover, unsigned 122cm wide, 85cm high, 46cm deep.

278 An Art Deco walnut veneer circular library table, on faceted drum base and flaring foot, the circular top with stepped edge inlaid with ebony chequer band, unsigned, 97cm. diam, 74cm. high

Provenance Art Deco & Design, Woolley and Walls Auctioneer’s 21st March 2018 lot 145.

Private collection.

£400­600

£500­700 277A A tall plum tinted wall mirror with electric clock, arched glass with rectangular plum mirror panels, set with sunburst design clock with electric movement, unsigned, 142cm. high, 76cm wide £200­300

279 An Art Deco burr walnut extending pedestal dining table, the rectangular top with quarter­sawn butterfly veneer, central tapering fluted pedestal, with two additional leaves, unsigned, 176 x 112cm, leaves (49cm. wide), (3) £500­800 280 A set of six mahogany dining chairs, tapering gadrooned legs and back, with red seat and back pads, unsigned 94cm. high (6) £300­400

277A

279 88

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281

281 An Art Deco rosewood sideboard in the manner of Andre Arbus, rectangular section, on four flaring legs with brass feet, two double cupboards with hinged doors, internally fitted with drawers, central marquetry and mother of pearl panel of a figure flanked between stylised flower sprays, carved pillars to each end, unsigned, 231 cm. wide, 55cm deep, 95cm high £500­800 282 An Art Deco rosewood and satinwood bureau cabinet in the manner of Andre Arbus, rectangular form, twin cupboard below, fitted bureau desk, the cover with diamond design, below small display cabinet with sliding glass doors, unsigned, 157cm. high, 91cm wide, 45cm deep. £300­500 283 An oak dining table and six chairs in the manner of Jean­ Michel Frank, the rectangular top on tapering, slender legs, the chairs with padded cream seat and back, unsigned, 199 x 99cm (top), 74cm high (table) (7) £500­800 282

283 89

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284 A Finmar laminated birch dining table, lazy susan and four chairs designed by Alvar Aalto, retailed by Heal’s, London, circular laminated satin birch table on four rectangular section plywood legs, with separate circular lazy susan, the four chairs with solid one­piece bent laminated satin birch wood seat and back, applied Finmar label to the table, 127cm. diam, 72cm high (table) 84cm. high (chairs), (6) Provenance Purchased by the vendor’s family from Heal’s in 1936.

Literature Christopher Wilk (editor) Modernism Designing a New World, Victoria & Albert Museum exhibition catalogue, page 164 cat. no.164 for a comparable cantilever chair the manufacture attributed to Huonekalu­Ja Rakennustyotehdas and made circa 1932­33. £2,000­4,000

90

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METALWARE 285 A pair of H G Murphy silver and niello cuff links, rounded rectangular panels alternately decorated with three entwined flower stems and a row of five flower stems, in later presentation case, stamped marks, H.G.M London 1930, 1.9 x 1cm (panels) (2) Literature Paul Atterbury & John Benjamin, Arts and Crafts to Art Deco The Jewellery and Silver of H.G. Murphy, ACC Books, page 44 for comparable sets of cufflinks illustrated, £150­200 λ 286 An H G Murphy Falcon Works silver and ivory wine­ taster or single handled bowl designed by H G Murphy, the hammered silver bowl with carved ivory handle, stamped Falcon mark, HGM and London 1937, 15cm. wide, (5 oz total weight) Literature Paul Atterbury & John Benjamin Arts and Crafts to Art Deco The Jewellery and Silver of H.G. Murphy, AQCC books, page 104 for an identical low sided bowl or wine taster illustrated, dated 1935.

285

£200­400 287 A rare Maison Desny electroplated metal Modernist cocktail shaker and six goblets, the shaker shouldered, flaring conical form on disc foot with flange supports, handles and flat disc cover, the cocktail goblets angular cone form, stamped Desny Paris Made in France, depose stamp mark 26cm. high (shaker) 12.5cm. high (goblets), (7)

286

Literature Victor Arwas Art Deco, Academy Editions, page 96 for a comparable glass illustrated Alastair Duncan and Audrey Friedman La Maison Desny, DAPA journal 1988, page 89 figure 4 for a comparable set on a tray illustrated. £1,500­2,000

287 91

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288 A Cube Teapots Ltd The Cube three piece tea set, comprising teapot with hinged cover, taller hot­water pot and cover, and a milk­jug, all square section with intergral handle and spouts, simple floral swag decoration, cast marks to base, 11cm. high (teapot), (3) £200­300 289 An H G Murphy three­piece silver­mounted maple cruet set, comprising; silver mazer bowl salt, pepper pot, mazer mustard pot and cover with a matched H G Murphy spoon, the circular mazer bowls with plain mounts, rope­ work border, the cover with engraved decoration, with a matched Murphy spoon, stamped marks, London 1931, 8cm. high (pepper), salt 7.5cm diam. (5)

288

Provenance Private Collection. £400­500 290 An Omar Ramsden silver cigarette case, rectangular, the case with simple geometric decoration, etched Omar Ramsden me fecit, stamped London 1939, 17cm., (8.2oz) £250­350 291 Charles Kemble Butler Stoney an original pen and ink design for a bookplate by Omar Ramsden, with white highllights, the original metal engravers block rectangular form, with a print from the plate and a letter from Omar Ramsden to Butler­Stoney dated 1936, (4) 14.3 x 8.5cm.

289

Provenance Charles Kemble Butler­Stoney, Portland Park, Portland Hill, County Tipperary, thence by descent. £150­200 290

291

292 A silver cigarette box by Omar Ramsden and Alwyn Carr, rectangular section with hinged cover, spot­hammered decoration, the hinged cover with three ribbon tied flowers, rope­work borders, cedar wood lining, stamped marks, worn, possibly Birmingham 1913, 9.3cm. wide Provenance Private Collection. £300­500

292

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DESIGN THURSDAY 17TH MARCH 10AM

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GLASS 293 A rare pair of Art Nouveau Lithyalin vases by Friedrich Egerman, swollen square section the glass marbled to resemble agate, acid etched with poppy flower stems and a Sevres marbled glass vase unsigned, 11.8cm. high, (3) Literature Ray & Lee Grover, Art Nouveau Glass, Charles Tuttle Company, page 199 for comparable examples of this firms work. £200­400 293

294 A Moser glass box and cover, purple glass faceted box with thin acid etched foliate border highlighted in gilt, the circular stepped cover with a broad acid etched band of Classical figures, the shallow, circular knop with a seated classical warrior maiden, etched Moser Karlsbad, 13.5cm. diam. (2) £120­180 294

295 A Muller Freres Luneville Cameo glass vase, ovoid with flaring neck, pale blue glass body with green and pink cameo landscape, acid etched Muller Fres Luneville, 11cm. high £300­500 296 An Art Nouveau Galle cameo glass solifleur vase, tapering pear shape with knopped neck and flaring top rim, purple glass overlay decorated with trailing fuchsia flowers, on yellow glass body, cameo Galle signature, 14.5cm. high Provenance From the collection of the late Michael Sherrard QC. £150­200 295 94

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298

297 An Art Nouveau Galle cameo glass vase designed by Emile Galle, shouldered cylindrical form, pink glass over opaque glass body, cameo decorated and polished with stylised grape bunches on a vine, cameo Galle signature, 7.7cm. high £150­200

299

298 A rare Art Nouveau miniature Daum Nancy cameo glass vase, shouldered, cylindrical form with applied amber glass dragonfly, the surface acid etched with water­lily pads, on a mottled pale blue body, etched Daum Nancy to vase, chip to foot rim, 7.5cm. high £150­200 299 Rien Sans Amour an early and large Emile Galle enamelled glass vase, ovoid with slightly flaring cylindrical neck, decorated with a panel with heraldic lion passant, enamelled in blue between inscription, Rien Sans Amour, enamelled in black highlighted in gilt, on a ground of enamelled fleur de lys and scrolling foliage in colours and gilt, engraved creatier de cristal, E Galle depose, 28cm. high Provenance Purchased on November 15th 1954 from C P Burge, The White Shop, Thames Ditton. £2,500­3500 300 An Art Nouveau Loetz iridescent glass vase, shouldered form, trailed iridescent design to shoulder on textured golden lustre glass body, etched Loetz Austria, 17.5cm. high £300­500

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301

301 A Murano Sommerso glass vase, teardrop form red, blue and purple glass cased in heavy clear body, unsigned, 30cm. high £120­180

304

303 305 A graduated set of three Holmegaard Gulvase designed by Otto Brauer, shouldered cylindrical body with slender cylinder neck and flaring rim, remains of label to one, 43cm. high (tallest), 25cm. high (smallest), (3)

302 A Venini glass paperweight, alternate yellow and orange stripes, cased in clear, A Murano glass paperweight dated 1980, decorated with aventurine, a Caithness Fireball paperweight, two other paperweights and two glass pyramid weights, etched Venini Italia, 12cm. diam. (7)

£150­250

£120­180

£200­300

303 Pet’r Viger Axe Head blue glass sculpture etched Pet’r Viger to base 46.3cm. high

307 A Maleras glass block sculpture designed by Mats Jonasson, irregular form, reverse decorated with a portrait of a man, applied sticker label, etched marks to base, 14.5cm. high

£120­180 304 A large glass vase possibly Italian, red and white stripes and spots, cased in clear, signed to base 51cm. high £150­200

306 An Italian glass Aquarium probably Cenedese, rectangular form internally decorated with a tropical fish swimming amongst waterweed, cased in clear, unsigned 15cm wide, 11.5cm. high

£150­200 308 Samuel J Herman (1936­2020) shouldered glass solifleur vase, dated 1968, square section body with tapering cylindrical yellow glass neck, etched Samuel Herman, 1968 29cm. high £150­250

305

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310

311 309 A Wedgwood dark blue glass Sheringham three tier candle holder designed by Ronald Stennett­Willson, another three tier amethyst glass candle holder, seven other Sheringham candle holders, two graduated Wedgwood candle holders, a Wedgwood Sapphire Brancaster candle holder and a clear Helix shaped candle holder, applied Wedgwood label to one, 15.5cm. high (dark blue Sherringham), (13) £300­400 310 A Wedgwood green glass Sandringham candle holder designed by Ronald Stennett­Willson, another shorter, three other Wedgwood Sandringham candle holders, six Wedgwood Brancaster candle holders, a tall thin flute and another with thistle bowl,one with paper label, 25.5cm. high (tallest green Sandringham), (13) £300­400 311 A stained glass window, rectangular with pitched top, decorated with an owl perched on a tree bough, before a crescent moon, in wooden frame unsigned 90 x 51cm £200­300 312 Roy Lewis Abstract stained glass panel, dated 1961, in wooden frame, signed and dated, part of one panel missing 119 x 75cm (panel) £300­500

312

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‡ 313 Cathryn Shilling (born 1957) Glass nest technique ­ glass threads with three lapis eggs unsigned, 16cm. diam.

Provenance Possibly purchased from Vessel Gallery.

313

£120­180

‡ 314 Anthony Scala (born 1978) Orrery perfume bottle and stopper, cut and etched glass unsigned 5.5cm. high, 7cm. wide (2) Catalogue notes An Orrery is a mechanical model of the solar system, here it has been re­interpreted by Anthony Scala in the form of a scent bottle. £200­300 314

‡ 315 Anthony Scala (born 1978) Sentinel a glass sculpture on black glass base unsigned 27cm. wide (base) 10.5cm. high (sculpture), (2) Provenance Anthony Scala £200­300 315 98

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316

317

319

318

316 A Whitefriars Cinnamon glass Coffin vase designed by Geoffrey Baxter, textured finish, a Whitefriars Cinnamon cased glass vase designed by Geoffrey Baxter and two other Whitefriars glass items, unsigned, 13.2cm. high (4) Provenance Tom Watkins Collection £100­150 317 A rare Whitefriars Lilac glass vase designed by Geoffrey Baxter, swollen ovoid form with flaring neck, textured finish unsigned, 28cm. high Provenance Tom Watkins Collection £200­300 318 A Whitefriars Willow glass vase designed by Geoffrey Baxter, the ovoid body with moulded star design, unsigned, 14.8cm. high £120­180

320

319 A Whitefriars Tangerine glass TV vase designed by Geoffrey Baxter, the shaped rectangular body with textured surface, unsigned, 17.5cm. high £150­200 320 A Whitefriars Cinnamon glass Banjo vase designed by Geoffrey Baxter, moulded in low relief, unsigned, 31.2cm. high Literature Lesley Jackson, Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications, page 139 plate 18 for comparable Banjo vases. £500­800 321 A Whitefriars Meadow Green glass Banjo vase designed by Geoffrey Baxter, moulded in low relief, unsigned, 32cm. high Literature Lesley Jackson, Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications, page 139 plate 18 for comparable Banjo vases. £800­1,200

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CERAMICS 322 Six Minton’s large tiles designed by John Moyr Smith, each printed in brown on a tan ground, individually framed, marks concealed in framing, 19.5cm. square (tiles), (6) £200­300

322

323

323 ‘Ages of Animals’ four Minton Hollins & Co tiles, printed in black on a sand ground, comprising; ‘The Scholar’, ‘The Lover’, ‘The Infant’ and ‘The Pantaloon’, impressed factory marks, 15.3cm. square, (4) £200­300

324 A set of eight Mintons Hollins & Co tiles, printed and enamelled in colours on a terracotta ground with classical figures, impressed factory marks, 15.2cm. square (8) £120­180

324 325 A set of six Mintons Country Pursuits tiles designed by William Wise, printed in blue with young maiden in idyllic country settings, facsimile signature in the print, impressed factory marks, minor nicks to rims, 15.3cm. square, (6) £120­180

326 A William De Morgan Merton Abbey K L Rose tile, painted with two flowers in shades of yellow, aubergine and green on a white ground, impressed factory mark, minor glaze loss, 15.5cm. square

325

£150­200

327 A large Minton Hollins & Co Moses tile, printed and painted in colours with Moses seated holding a tablet, framed, impressed factory marks, 20.4cm. square £120­180

100

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330

329

334

331

332

333

328 A Doulton Lambeth stoneware baluster vase by Eliza Simmance, dated 1876, swollen form incised, with bands of scrolling foliage and flowerhead panels with applied beadwork borders, inside similar applied floret bands and incised foliage bands in shades of white, green and brown, highlighted in pink, impressed factory marks, incised ES monogram, 25cm. high

333 A Reniassance revival pottery wall plate, dated 1867, painted to the well with Neptune and a maiden, the rim with four reclining figures, painted in colours painted DM mark to reverse and date 1867, chip to rim, 34cm. diam.

£120­180

334 A C H Brannam Barum pottery Comical cat, modelled seated and wearing a bowtie, glazed green ochre and brown, incised C H Brannum, Barum, 1909 and regd number, 31.5cm. high

329 A Doulton Lambeth stoneware preserve pot with electroplated mount and cover by Hannah Barlow, dated 1882, cylindrical form incised with ponies resting and grazing in a grassland setting between applied bead borders, impressed and incised factory marks, incised HB monogram,metal handle missing, 11.5cm. high, (2) £120­180 330 A Bombay School of Art Wonderland Art Pottery charger, circular, the well painted with flowers and foliage, inside a scrolling border of flowers and foliage in green, terracotta and cream on a chestnut brown ground, painted marks, minor chips to rim, 47cm. diam. £150­200 331 An Aesthetic Movement plate by S Donaldson, dated 1884, painted with a portrait of a woman before rhodedendron flowers, in colours, the rim highlighted in gilt, painted signature and date, 33cm. diam. £150­200 332 A large Aesthetic Movement circular plaque, dated 1880, painted with a naked youth deep in contemplation, in colours painted PA monogram and 1880 date 41cm. diam. £150­250

£250­350

£120­180 335 A Burmantoft’s Faience pottery jardiniere and stand, model no.2318, the ovoid bowl, modelled in low relief with a galleon sailing before a rising sun, in colours between green bands, the base with cream, yellow and green columns, impressed and painted marks, 100.5cm. high

335

£150­250 336 A rare Gateshead Art Pottery charger possibly by J G Sowerby, painted with a rectangular panel to the well of a stylised Japanese Galleon at sea, a samuri standing on deck, in colours inside green border and rim, Painted The Gateshead Art Pottery and Bsc monogram, and painted monogram, chips to rim, 36cm. diam.

Litertature A W Coysh British Art Pottery, David & Charles, page 54 catalogue number 48, this actual charger illustrated (Mrs K Coleman collection) £500­1,000 336 101

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337 A Martin Brothers stoneware face jug designed by Robert Wallace Martin, modelled with a smiling face to one side, the reverse with toothy grin, covered in a grey and green salt­glaze, incised R W Martin & Bros London & Southall, handle restored, firing faults 17.5cm. high £700­1,000

102

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338 A Martin Brothers stoneware ‘monk’ bird jar and cover

by Robert Wallace Martin, dated 1912, modelled standing, with short broad beak, forward stare and balding pate, wings tucked behind, glazed in shades of green, blue and brown, with pale blue highlights to wings, on ebonised wooden base incised to head, R W Martin & Bros London & Southall, 17.2.1912,and 5.8.1911 to base, 19cm high £7,000­10,000

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WEMYSS POTTERY 339 A large Wemyss Pottery Pheasant meat platter, oval, painted with a pair of pheasants amongst bracken and grasses, in colours, the rim with a frieze of stylised leaves, painted Wemyss mark, impressed number, paper Rogers de Rim exhibition label, 35cm. wide Provenance Rogers de Rim Private collection. £120­180 340 A pair of Wemyss Pottery Pheasant platters, rounded rectangular section, painted with three birds amongst bracken, in colours, the rim with a border of stylised foliage, impressed, printed marks, applied Rogers de Rin exhibition label, hairlines to one, 30cm. wide (2) Provenance Rogers de Rim Private collection.

339

£200­400 341 A Wemyss Pottery Pheasant teapot and cover, painted with a pheasant walking amongst bracken, in colours impressed factory mark, restored spout, 11cm. high, (2) Provenance Private collection. £120­180 342 A Wemyss Pottery Pheasant plate, painted with two birds to the well, the rim a band of stylised leaves, in colours painted Wemyss mark, Rogers de Rin paper label, 24cm. diam.

340

Provenance Rogers de Rim Private collection. £120­180

341

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343 A Wemyss Pottery Pheasant heart shaped double inkwell, painted with three birds amongst bracken, in colours impressed Wemyss mark, remains of Rogers de Rin exhibition paper label, stress hairlines, 18cm. wide Provenance Rogers de Rim Private collection. £150­200 344 A Wemyss Pottery Pheasant double inkwell with pen tray, the tray painted with a pheasant amongst bracken, in colours impressed Wemyss marks, restored, 26.5cm wide, (3) Provenance Private collection. £150­200 345 A large Wemyss Pottery egg basket retailed by Thomas Goode, flaring fluted form with rope­twist over­slung handle, painted with a frieze of brown chickens and a cockerel, in colours impressed Wemyss, printed Thomas Goode mark, 40.5cm. wide

343

£300­500 346 A large Wemyss Pottery Cockerel cauldron retailed by Thomas Goode, ovoid on three spike feet, applied angular handles, painted with a frieze of black cockerel and hens impressed Wemyss mark, printed Thomas Goode mark, applied Rogers de Rin exhibition paper label, restored, 25.5cm. high Provenance Rogers de Rim Private collection.

344

£250­350

345

346

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348 347

MOORCROFT POTTERY 347 ‘Anemone’ a James Macintyre & Co side plate designed

by William Moorcroft, the rim with a border of flower and foliage in green and blue on a white ground, and a James Macintyre & Co Dura Ware plate, impressed marks, 13.8cm. diam. (2) £200­300

349

350

348 A James Macintyre & Co Dura Ware cup and saucer designed by William Moorcroft, tubeline decorated with flowers in shades of yellow, red, and blue between green and gold bands, a James Macintyre & Co Dura Ware cup and saucer tubeline decorated with foliate design and another James Macintyre & Co cup and saucer printed and painted marks, 6.5cm. high, (6) £200­300 349 ‘Prunus’ a Moorcroft Pottery jug designed by William Moorcroft, dated 1913, tubeline decorated in pink and blue on a white ground, painted green signature and date, 8cm. high £150­200 350 ‘Poppy’ a James Macintyre & Co Ltd Florian Ware coffee cup and saucer designed by William Moorcroft, painted with Art Nouveau flower stems in shades of blue printed factory mark, painted green WM monogram, 7.5cm. high, (2)

351

£120­180 351 ‘Anemone’ a James Macintyre & Co teapot stand designed by William Moorcroft, circular, tubeline decorated with two flowers in blue and green on a white ground, printed factory marks, 16.5cm. diam. £150­200 352 A James Macintyre & Co tea set designed by William Moorcroft, painted with a frieze of daisy chains in yellow, blue and green on a mauve ground, inside gilt, cream and mushroom bands, comprising teapot and cover, teapot stand, large jug with pewter cover, smaller milk­jug and a sugar basin, printed factory mark, hairline to base of teapot and rim of sugar basin, 11cm. high (teapot), (7) £300­500

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353 353 ‘Daisy’ a Moorcroft Pottery Florian Ware vase designed by William Moorcroft, swollen form with four looped handles, tubeline decorated with daisy flowers, in blue on a pale blue ground, printed Florian Ware mark, painted green signature, 12cm. high

355 ‘Eventide’ a Moorcroft Pottery vase designed by William Moorcroft, shouldered form, painted in colours with flambe, painted blue signature, 15.5cm. high

Provenance The Richard Wright Collection of Moorcroft Pottery, Bonhams, 21st September 2010, lot 519.

Private collection.

356 ‘Dawn’ a tall Moorcroft Pottery vase designed by William Moorcroft, flaring cylindrical form with inverted top rim, painted with a band of trees in a hilly landscape in blue and light flambe sky, between chevron borders on a pale blue ground, impressed marks, painted blue signature, bruise to foot rim, 36.5cm. high

£700­900 354 ‘Iris’ an Art Nouveau James Macintyre & Co Florian Ware vase designed by William Moorcroft, swollen, shouldered form, tubeline decorated with flag iris stems in a foliate cartouche, in blue on a pale blue ground, painted green signature, printed Florian Ware mark, 23cm. high

£400­600 354

£700­900

Provenance Rumours Decorative Arts Private collection. £800­1,200

355

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361

358

360

357 ‘Pomegranate’ a Moorcroft Pottery jug designed by William Moorcroft, ovoid, tubeline decorated in shades of blue, purple, pink and green on a mottled blue ground, a Moorcroft Pottery ‘Pomegranate’ pot and cover and another ‘Pomegranate’ pot, impressed marks, painted blue signature, 15.5cm. high, (4)

362 ‘Frilled and Slipper Orchids’ a Moorcroft Pottery perfume bottle and stopper designed

by William Moorcroft, ovoid body, glazed in matt colours, and a Moorcroft Pottery ‘Frilled and Slipper Orchids’ circular box and cover, impressed marks, painted blue signature, 14cm. high, (4)

£200­300

£200­300

358 ‘Flambe Leaf and Berry’ a Moorcroft Pottery vase designed by William Moorcroft, ovoid, shouldered form painted in colours under a flambe glaze, on blue ground, a Moorcroft Pottery ‘Wisteria’ vase and a ‘Wisteria’ milk­jug impressed factory marks, small chip to rim of jug, 7cm. high, (3)

363 ‘Flambe Leaf and Blackberry’ a Moorcroft Pottery plate designed by William Moorcroft, tubeline decorated and painted in colours under a flambe glaze, and a Moorcroft Pottery Wisteria pattern pot, impressed marks, painted blue signature, 22cm. diam. (2)

£150­200 359 ‘Anemone’ a Moorcroft Pottery vase, swollen, shouldered form, tubeline decorated with anemone flowers, impressed mark, painted blue signature, 17.5cm. high 362

359

Provenance Private collection.

£150­200 364 ‘Pansy’ a Moorcroft Pottery brooch designed

by William Moorcroft, circular, painted in shades of pink, purple and yellow, another smaller and a Moorcroft Pottery ‘Clematis’ brooch impressed Moorcroft to main, 4.2cm. diam. (3) £150­200

£150­200 360 ‘Pomegranate’ a Moorcroft Pottery footed vase designed by William Moorcroft, swollen ovoid form, tubeline decorated in shades of ochre, green, pink and purple on a mottled ground, impressed marks, painted blue signature, crazing to base, 15.5cm. high £150­200

363

361 A small Moorcroft Pottery Flamminian Ware vase designed by William Moorcroft for Liberty & Co, compressed ovoid form, with solifleur neck, decorated with Art Nouveau roundel in blue on a red flambe glaze, a Royal Doulton Veined Flambe vase and a stoneware wall plate and bowl by Storth, Bornholm, printed and painted marks, Flamminian vase professionally restored, 10.5cm. high (4) £120­180

364

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365 ‘Pansy’ a Moorcroft Pottery vase designed by William Moorcroft, footed, flaring cylindrical form, tubeline decorated with bands of pansies in purple, yellow, pink and green to top rim and foot, on a white ground, painted green signature, re-stuck top rim, crazed, 22.5cm. high £400­600 366 A Moorcroft Pottery solifleur vase designed by William Moorcroft for Liberty & Co, ovoid with tall cylindrical neck and everted top rim, tubeline decorared with anemone flowers in pink, purple and green on a yellow lustre ground, printed Liberty mark, painted green signature, professional restoration to inside of top rim, 21cm. high

365

366

£200­300 367 ‘Flambe Orchids’ a large Moorcroft Pottery vase designed by William Moorcroft, pear shaped vase, tubeline decorated in colours with Frilled and Slipper Orchids before spring flowers, in colours under a flambe glaze, impressed factory marks, painted blue signature and date 1939, 32.5cm. high Provenance Private collection. £800­1,200 368 ‘Hazledene’ a Moorcroft Pottery saucer designed by William Moorcroft, painted with a radial design of trees in blue and green on a pale celadon ground, impressed factory marks, 11.2cm. diam. £100­150 369 ‘Big Poppy’ a Moorcroft Pottery vase designed

by William Moorcroft, shouldered, cylindrical form, tubeline decorated with flowers in purple, red and green on a blue ground, impressed marks, painted blue signature, paper label, 20.5cm. high

367

Provenance The Professor Abbey Collection.

Ceramic Design from 1860, Bonhams 16th March 2011 lot 318.

Private collection. £300­500

368 369

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372

370

371

370 ‘Springflowers and Orchids’ a large Moorcroft Pottery ginger jar and cover designed by Walter Moorcroft, painted in colours on a pale blue ground, impressed factory marks, painted blue signature, 20cm. high, (2) £120­180

374

375

371 ‘Bramble’ a Moorcroft Pottery ginger jar and cover designed by Sally Tuffin, introduced in 1991, painted in colours on a pale blue ground, another Moorcroft Pottery ‘Clematis’ ginger jar and cover, and three smaller Moorcroft Pottery ginger jar and covers impressed marks painted green WM mongram, chip to inside rim of jar, 15.5cm. high (10)

373 375 ‘Hibiscus’ a Moorcroft Pottery miniature vase designed by Walter Moorcroft, shouldered cylindrical form painted in colours on a blue ground, another Moorcroft Pottery ‘Pink Magnolia’ miniature vase, two Moorcroft miniature ovoid vases in the ‘Anemone’ and ‘Clematis’ patterns and two Moorcroft enamel vases, printed factory marks, 5.3cm. high, (7)

£150­200

£150­200

372 ‘Springflowers’ a Moorcroft Pottery ginger jar and cover, painted with springflowers and Orchids, in colours on a graduated blue and green ground, a Moorcroft ginger jar and cover painted with yellow iris, and three other Moorcroft ginger jar and covers in the ‘Hibiscus’, Magnolia’ and ‘’ patterns, impressed marks, painted blue signature, 13cm. high, (10)

376 ‘Cymric Dream’ a Moorcroft Pottery limited edition vase designed by Rachel Bishop for Liberty & Co, dated 2000, waisted, shouldered cylindrical form, painted in colours, a Moorcroft Pottery ‘Datura’ pattern vase, a ‘Snowdrop’ MCC twin­handled vase, a Moorcroft MCC ‘Iris’ jug and a Moorcroft Pottery sign, impressed, printed and painted marks, 19/250, 21cm. high, (5)

£150­200

Provenance Private collection.

373 ‘Crown Imperial’ a limited edition Moocroft Pottery vase designed by Rachel Bishop, slender baluster form, painted in colours and another Moorcroft limited edition vase designed by Rachel Bishop for Liberty & Co, impressed and painted marks, 101/600, 31cm. high, (2) Provenance Private collection. £150­250

376

377

374 ‘Windrush ­ Yellow Iris’ a modern Moorcroft Pottery vase, dated 2000, baluster form, tubeline decorated with flowers and foliage in colours on a graduated blue ground, another two in the same pattern, a shouldered vase decorated with blue anemones, a Moorcroft Hibiscus jar and cover, a Moorcroft ‘Fly Away Home’ vase, a vase dated 2006 painted with yellow flowers and nine other Moorcroft pieces impressed and painted marks, 15.5cm. high (16) £400­600

£150­200 377 ‘Noah’s Art’ a Moorcroft Pottery MCC ginger jar and cover designed by Rachel Bishop, designed 1995, painted in colours, a Moorcroft Collector’s Club ‘Symphony’ cup and cover designed by Emma Bossons, an MCC ‘Persephone’ vase designed by Nicola Slaney, 2006, and three other Moorcroft Pottery vases, impressed and painted marks, 15cm. high, (8) Provenance Private collection. £150­250 378 ‘Yacht’ a Moorcroft Pottery limited edition vase originally designed by William Moorcroft, dated 1996, painted in shades of blue on a pale blue ground, with original paper certificate, and a set of six Moorcroft Pottery ‘Woodside Farm Fox’ egg cups in presentation case, impressed marks, painted facsimile John Moorcroft signature to vase, 23.5cm. high (2) Provenance Private collection. £120­180 379 ‘Love in a Mist’ a Moorcroft Pottery limited edition vase designed by Rachel Bishop, dated 1995, painted in colours, and another Moorcroft Pottery ‘Solomon’ vase made for Liberty & Co, 2004, impressed and painted marks, 97/100, 31cm. high, (2)

110

378

379

Provenance Private collection. £150­250

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380 380 ‘Flambe floral panel’ a rare Moorcroft Pottery vase designed by William Moorcroft, shouldered, tapering cylindrical form, tubeline decorated with a Poppy, Freesia and Slipper Orchid, in colours under a partial flambe glaze, on graduated green to blue ground, impressed marks, painted blue signature, 22.5cm. high Provenance Rumours Decorative Arts Private collection. £500­800 381 ‘Carribean’ a Moorcroft Pottery plate designed by Walter Moorcroft, tubeline decorated with exotic fish and seahorses amongst waterweed, in colours, under a light flambe glaze, impressed factory marks, 26cm. diam.

381

Provenance Private collection.

Literature Paul Atterbury Moorcroft Pottery 1897-1993 (new edition), Richard Dennis Publications, page 184 figure 2 for comparable examples circa 1960­65. £200­300 382 ‘Rachel’ a near pair of Moorcroft Pottery limited edition solifleur vases designed by Rachel Bishop, made for Liberty & Co, dated 2003, tubeline decorated in colours on a deep blue ground, printed and painted marks, 13/50 and 30/50, 24cm. high (2)

382

Provenance Private collection. £150­250 383 ‘Leila’ a modern Moorcroft Pottery limited edition vase designed by Carole Lovett, slender, shouldered cylindrical form, painted with Art Nouveau flowers and foliage in blue on a pale blue ground, impressed and painted marks, 18/25 dated 2003, 35.5cm. high Provenance Private collection. £150­250 384 ‘Tree Bark Thief’ a modern Moorcroft Pottery limited edition vase designed

by Rachel Bishop, slender baluster form, painted in colours, with original certificate, impressed and painted marks, numbered 154/250, 36.5cm. high Provenance Private collection. £300­500

383

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385

386

389

387

385 ‘Iris’ a Moorcroft Pottery MCC jug designed by Rachel Bishop, 1996, painted in colours on an ivory ground, a Moorcroft Pottery MCC ‘ Rose’ jug and a Moorcroft Pottery ‘Buttercup’ jug impressed and painted marks, 114, 24cm. high, (3)

389 ‘Rough Hawk’s Beard’ a Moorcroft Pottery special events vase designed by Rachel Bishop, dated 1997, painted in colours, a Moorcroft Pottery ‘Heartsease’ vase designed by Rachel Bishop and two other Moorcroft Pottery vases impressed and painted marks, 14cm. high, (4)

£150­200

Provenance Private collection.

386 ‘Lizard Orchid’ a Moocroft Pottery vase designed by Philip Gibson, dated 2003, painted in colours on a deep blue ground, a solifleur vase, a small ‘Finches’ baluster vase, a ‘Clematis’ vase, and a ‘Fuchsia’ Moorcroft Collector’s Club solifleur vase printed and painted marks, 20.5cm. high, (5) 390

391

Provenance Private collection. £150­250

£150­200

387 ‘Walberswick’ a Moorcroft Pottery limited edition vase designed by Emma Bossons, slender baluster form, painted in colours, a Moorcroft ‘Kaffir Lily’ vase designed by Shirley Hayes, 2001, and two other vases impressed and painted marks, 21cm. high, (4)

391 ‘Anemone’ a Moorcroft Pottery ginger jar and cover designed by Walter Moorcroft, dated 1990, painted in colours on a blue ground, a Moorcroft ‘Anemone’ plate, ‘Hibiscus’ tazza and a ‘Magnolia’ bowl, painted inscription to base, green monogram, 15cm. high, (5)

Provenance Private collection.

£120­180

388 ‘Blue Poppy’ a modern Moorcroft Pottery Collector’s Club vase designed

by Philip Gibson, dated 2001, waisted cylindrical form, and a Moorcroft Pottery ‘Ophir’ vase made for Liberty designed by Rachel Bishop, impressed and painted marks, 25.5cm. high, (2) Provenance Private collection. £150­250

392

£150­250 390 ‘Frilled and Slipper Orchids’ a Moorcroft Pottery vase designed by William Moorcroft, ovoid with flaring rim, painted in colours on a blue ground, a Moorcroft Pottery ‘Leaf and Berry’ powder bowl and cover and a modern Moorcroft bowl impressed marks, painted blue signature, 15.5cm. high, (4)

£150­250

112

388

392 A Moorcroft Pottery Centenary 1897­ 1997 limited edition plate, tubeline decorated with a bottle kiln, and five other Moorcroft Pottery plates impressed and painted marks, 22cm. diam. (6) Provenance Private collection. £150­250

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393

394

395

DENNIS CHINA WORKS 393 ‘Carp’ a Dennis China Works Trial large bowl designed by Sally Tuffin, dated 2000, tubeline decorated with two large fish, in red, purple on a blue ground, impressed and painted marks, 37cm. diam. £250­350 394 ‘Red Sunflower’ a Dennis China Works limited edition charger designed by Sally Tuffin, dated 2002, painted with three flowers in colours on a graduated black ground, impressed marks, painted marks, no.15, 36cm. diam. £150­200 395 ‘Butterfly’ a Dennis China Works limited edition charger designed by Sally Tuffin, dated 2001, tubeline decorated and painted in colours printed and painted marks, numbered 4, 37.5cm. diam.

396

Provenance Private collection of Dennis China Works. £120­180 396 ‘Cockerel’ a Dennis China Works limited edition vase designed by Sally Tuffin, dated 2006, shouldered form, tubeline decorated with a standing cockerel in ruby and pink lustre on a cream ground, impressed and painted marks, 19/25, 21.5cm. high £150­200 397 ‘Peacock’ a Dennis China Works limited edition vase and cover designed

by Sally Tuffin, dated 2008, painted in shades of blue, green and purple on a graduated ground, impressed and painted marks, limited edition 19/40, 30.5cm. high £500­800

397 113

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398 ‘Tiger’ a Dennis China Works limited edition pot and cover designed

by Sally Tuffin, dated 1998, painted in colours, and a Dennis China Works ‘Polar Bear’ vase impressed and painted marks, 11.5cm. high, (3) £150­250 399 ‘Tiger’ a Dennis China Works pot and cover designed by Sally Tuffin, dated 2001, painted in colours impressed and painted marks, 11.5cm. high, 12.5cm. diam. (2) 398

399

£150­200 400 ‘Dragonfly’ a Dennis China Works trial Baluster vase designed by Sally Tuffin, dated 2001, shouldered form, tubeline decorated and painted in colours, and a Dennis China Works ‘Imogen’ Baluster vase, impressed and painted marks, 28cm. high (2) Provenance Private collection of Dennis China Works. £120­180 401 ‘Morris Angel’ a Dennis China Works limited edition vase designed by Sally Tuffin after William Morris, dated 1997, swollen cylindrical form, tubeline decorated and painted in colours, a Dennis China Works feather vase produced for The National Portrait Gallery, a pair of Hummingbird vases, and a Birthday present plate impressed and painted marks, angel no.18, 24cm. high (5)

400

Provenance Private collection of Dennis China Works. £120­180 402 ‘Bee’ a Dennis China Works limited edition vase designed by Sally Tuffin, dated 1999, shouldered form, tubeline decorated and painted in colours, another similar and a Dennis China Works ‘Sunflower’ plate impressed and painted marks, 13cm. high (3)

401

Provenance Private collection of Dennis China Works. £120­180 403 ‘Dragonfly’ a Dennis China Works limited edition vase designed by Sally Tuffin, dated 2000, slender, shouldered form with flaring rim, tubeline decorated and painted in colours, another Dennis China Works ‘Dragonfly vase’ and a plate impressed and painted marks, 39cm. high (3) 402

403

Provenance Private collection of Dennis China Works. £120­180 404 ‘Pineapple’ a Dennis China Works limited edition vase designed by Sally Tuffin, dated 2001, tall, slender form with flaring top rim, tubeline decorated and glazed in colours, and a Dennis China Works foxglove vase, impressed factory marks, 38.3cm. high (2) Provenance Phillips (lot 346 (31119) Private collection of Dennis China Works. £120­180 405 ‘Cockerel’ a Dennis China Works limited edition Bottle vase designed

by Sally Tuffin, dated 1999, slender, shouldered form with flaring rim, tubeline decorated painted in colours impressed and painted marks, 39.5cm. high

114

404

405

Provenance Private collection of Dennis China Works. £120­180

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407 406 406 ‘Snowdrop and Bee’ a Dennis China Works limited edition charger designed by Sally Tuffin, dated 2000, tubeline decorated and painted in colours impressed and painted marks, 37.5cm. diam.

Provenance Phillips (30980), lot 233.

Private collection of Dennis China Works. £200­400 407 ‘Polar Bear’ a Dennis China Works pot and cover designed by Sally Tuffin, dated 2000, painted in colours, the cover with modelled polar bear finial, impressed and painted marks, 15.5cm. high., 11cm. diam. (2)

408

£150­200 408 ‘Polar Bear’ a Dennis China Works Trial preserve pot and saucer designed by Sally Tuffin, dated 2004, cylindrical jar and cover with polar bear finial, the saucer modelled with eight polar bears, in shades of blue, yellow and turquoise, painted marks and signature, 19cm. diam. 13.5cm. high, (3) £1,000­1,500 409 ‘Datura’ a Dennis China Works trial vase designed by Sally Tuffin, dated 2003, tubeline decorated with flowers and a bee in green and cream on a black ground impressed and painted marks, 29.5cm. high £300­500 410 ‘Red Orchid’ a Dennis China Works trial vase designed by Sally Tuffin, dated 2005, trial 1 vase, shouldered form, painted in colours on a black ground, impressed and painted marks, 30.5cm. high £150­200

409

410

115

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411 ‘Indian Brave’ HN2376 a large Royal Doulton limited edition figure designed by Margaret Davies, painted in colours, with spear and wooden base, printed factory mark, paper certificate, number 358 of 500, spear repaired, 38cm. high, 41cm. wide, (4) £250­350 412 A pair of Spode Pheasants, the hen and cock painted in colours, in original cardboard cases, printed factory marks, 42cm. wide, 23cm. high, (2) £100­150 413 ‘Monaco’ a Midwinter Modern shape tea for two set designed by Jessie Tait, printed in black, comprising; teapot and cover, milk­jug and sugar basin, two cups, saucers and a cake plate, and a Midwinter ‘Monaco’ pattern coffee set for six designed by Jessie Tait, comprising; coffee pot and cover, milk­jug and sugar basin, six cups and saucers, printed factory marks, 13cm. high (teapot), (25) £150­250 414 A The Fulham Pottery flower urn, model FLA1, footed, flaring fluted form, covered in a grey glaze printed and impressed marks, 32.5cm. high 411

£120­180 415 A rare pair of pottery Crown flower vases designed by Constance Spry produced to commemorate the Coronation of Queen Elizabeth II in 1953, originally designed by Constance Spry for the coronation of Edward VIII, each modelled as a crown, gilt patination, stamped Constance Spry facsimile signature made by Flower Decorations Ltd, losses, 49cm. wide, 16cm. high (2) £300­500

412

413

415 414 116

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CONTINENTAL CERAMICS 416 A Zsolnay Pecs pottery vase, shouldered baluster form with cylindrical neck, enamelled with stylised Persian bird amongst flowers, in colours with butterflies and insects flying around, on a cream ground with gilt highlights, impressed and printed factory marks, chips to foot rim, 31.5cm. high £100­200 417 A Rosenthal Studio LIne ‘ Variation’ coffee set designed by Tapio Wirkkala, comprising coffee pot and cover, milk­jug and covered sugar basin, four cup and six saucers, textured surface glazed white, the saucers matt black glaze, the cover with gilt decorated knop, six dinner and side plates with similar printed design, a Rosenthal footed tazza and a a milk­jug and covered sugar basin, printed Rosenthal mark, saucers with facsimile signature, 22.5cm. high (a lot)

416

£120­180 418 A Rosenthal Studio Line vase designed by Martin Freyer, tall rectangular black body, cast in relief with textured design, three other Rosenthal Studio Line porcelain vases and a shell form vase, printed factory marks, facsimile signature, 44cm. high (5) £200­300 419 A large Vallauris Pottery twin­handled bowl, applied rope­twist handles, covered in a streaked spinach green, yellow and ochre glaze, and seven other Vallauris twin­handled dishes smaller, and a Vallauris Pottery by Picasso poster, framed, impressed marks, 36cm. wide. (9) 417

£120­180 420 Jean Lurcat (1892­1966) White Combatant - Cockerel a plate with lithographic design to well in black and red painted signature printed Salins France mark 24.5cm. diam.

Provenance Andrew Harriss Literature On Nature - The Ceramics of Jean Lurcat, Whitford Fine Art, December 1 to January 15th 2021 for a comparable piece illustrated. £120­180 418

419

420 117

Image courtesy of Stefan Morris

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421

STUDIO POTTERY POTTERY FROM THE ESTATE OF RICHARD BATTERHAM Richard was one of Britain’s leading throwers of stoneware pottery in the ‘Leach Tradition’, having been a student at Bernard Leach’s pottery in the late 1950’s. Working on his own from his purpose built Dorset pottery (built in 1966) – Batterham worked systematically for over sixty years. His range of shapes and glazes developed and were refined over this period, including experiments with porcelain, with an example of each firing being kept for future reference. His work is immediately identifiable, rarely decorated other than with simple chattering bands or cutsides and rarely signed. His ambition was not fame but simply to refine his processes of making, produce pots some of which would ‘sing’ to him.

422

Sadly his passing came before the opening of the retrospective exhibition now on at the Victoria & Albert Museum.

Michael Jeffery Richard Batterham Studio Potter at the V&A from 26th November 2021 – September 2022 Richard Batterham Studio Potter, by Tanya Harrod, Sarah Griffin & Nigel Wood, published 17th March.

421 Richard Batterham (1936­2021) a large salt­glaze stoneware cut­sided bowl, unsigned, bloats to interior 34cm. diam, 20cm. high Provenance The Estate of Richard Batterham, Durweston Pottery. £200­300 422 Richard Batterham (1936­2021) a stoneware bottle vase, covered to the foot in an ash glaze with runs, unsigned, small chip to top rim 32,5cm. high

423 Richard Batterham (1936­2021) a tall three piece stoneware bottle vase, with raised border and chattering bands, covered to the base with an ash glaze with iron speckles, unsigned 76cm. high Provenance The Estate of Richard Batterham, Durweston Pottery. £700­1,000

Provenance The Estate of Richard Batterham, Durweston Pottery. £250­300

423 119

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424

425

424 Richard Batterham (1936­2021) a stoneware footed bowl, the exterior glazed in tenmoku, the interior ash, and two other footed bowls by Richard Batterham unsigned, maino bowl with glaze bloat to interior, 17.5cm. diam. 8.5cm. high, (3) 426

Provenance The Estate of Richard Batterham, Durweston Pottery. £150­200 425 Richard Batterham (1936­2021) a small stoneware footed bowl, covered to the exterior with a running tenmoku glaze over ash, another small stoneware bowl

by Richard Batterham covered in a rich tenmoku glaze, a small bowl covered in a white slip, and two other stoneware bowls

by Richard Batterham, unsigned 13,5cm. diam (main bowl), (5)

427

Provenance The Estate of Richard Batterham, Durweston Pottery. £150­250

426 Richard Batterham (1936­2021) a cut­sided stoneware bowl, on shallow foot, glazed with running ash glaze over River iron slip, unsigned 20cm. diam, 11cm. high Provenance The Estate of Richard Batterham, Durweston Pottery. £150­200 427 Richard Batterham (1936­2021) a large stoneware bowl, flaring form on shallow foot, the exterior glazed tenmoku with ash runs, the interior ash glazed, unsigned, two bloats to interior 33cm. wide, 15cm. high Provenance The Estate of Richard Batterham, Durweston Pottery. £150­200 428 Richard Batterham (1936­2021) a large stoneware sugar jar and cover, cylindrical form with domed cover, covered to the foot in a khaki green glaze, unsigned 32.5cm. high, (2) Provenance The Estate of Richard Batterham, Durweston Pottery.

This jar was used for many years at the pottery to store iron oxide. £150­250 429 Richard Batterham (1936­2021) a beaten salt­glaze stoneware jar and cover, with cut diagonal lines, unsigned, chip to foot rim, cover fused to jar 19cm. high Provenance The Estate of Richard Batterham, Durweston Pottery. £120­180

428 120

429

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430

431

430 Richard Batterham (1936­2021) a large salt­glazed stoneware cut­sided bowl, on shallow foot unsigned 34cm. wide, 21cm high Provenance The Estate of Richard Batterham, Durweston Pottery. £200­300 431 Richard Batterham (1936­2021) a salt­glazed stoneware cut­sided jar, the neck and upper body glazed iron red over salt­glaze incised 30 to base, wad marks, 28.5cm. high Provenance The Estate of Richard Batterham, Durweston Pottery. £150­200 432 Richard Batterham (1936­2021) a large salt­glazed stoneware cut­sided jar, the neck slipped to the shoulder with iron red over salt­glaze, circa 1998­2000 (check date) unsigned 37cm. high

432

Provenance The Estate of Richard Batterham, Durweston Pottery. £300­400 433 Richard Batterham (1936­2021) a salt­glazed stoneware cut­sided jar, unsigned, incised 19 27.5cm. high Provenance The Estate of Richard Batterham, Durweston Pottery. £150­250

433 121

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434 Richard Batterham (1936­2021) a cut­sided stoneware teapot and cover, with chattering band to shoulder, covered to the foot with an ash glaze painted cobalt 9 to base 18cm. high (2) Provenance The Estate of Richard Batterham, Durweston Pottery. £150­200 435 Richard Batterham (1936­2021) an early stoneware footed bowl, covered in a speckled tenmoku glaze, a small ovoid vase with tenmoku glaze, a small celadon glaze bowl and a mug incised Bill all by Richard Batterham, unsigned, the bowl with paper label dating 1968, 14.5cm. diam. (4)

434 both sides

Provenance The Estate of Richard Batterham, Durweston Pottery. £150­200 436 Richard Batterham (1936­2021) an early stoneware jug, glazed to the base, ash over tenmoku, impressed seal mark, paper 101 label, 12.5cm. high

435

Provenance The Estate of Richard Batterham, Durweston Pottery. £120­180

436

437 Richard Batterham (1936­2021) a ball clay oblong dish, glazed to the interior with a pale celadon glaze speckled with iron, and a stoneware bowl covered to the interior and half­way down the exterior with a off­ white slip, unsigned 27.5cm wide, 25.5cm deep (dish 26.5cm. diam, 13cm. high, (bowl), (2) Provenance The Estate of Richard Batterham, Durweston Pottery.

437

£150­200 438 Reuben Batterham (born 1967) a large stoneware flower bowl, incised vertical lined, under an ash glaze with iron speckles, impressed seal mark, minor glaze loss 42.5cm. diam, 17.5cm. high £120­180

122

438

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439 Richard Batterham (1936­2021) an early stoneware jug, covered to the foot with a green tenmoku glaze unsigned, 26cm. high Provenance The Estate of Richard Batterham, Durweston Pottery. £150­200 440 Richard Batterham (1936­2021) a salt­glazed stoneware jug, the neck and upper body with running ash glaze, unsigned, 27cm. high Provenance The Estate of Richard Batterham, Durweston Pottery. £150­250 441 Richard Batterham (1936­2021) a large and early stoneware salad bowl, covered to the interior with an ash glaze with translucent sky blue stripe, the exterior unglazed unsigned, NFS paper label, flat chip to exterior of top rim, 55cm. diam.

439

Provenance The Estate of Richard Batterham, Durweston Pottery.

Catalogue notes This large bowl was made in the 1960s. £200­300 442 Richard Batterham (born 1936­2021) a large stoneware tazza, covered with an ash glaze to the foot, with cobalt rim, unsigned 47cm. diam.

Provenance The Estate of Richard Batterham £150­250

440

441

442 123

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A PRIVATE COLLECTION OF ALDERMASTON POTTERY

‡ 443 Alan Caiger­Smith MBE (1930­2020) an Aldermaston Pottery footed bowl, painted to the interior with stylised panels in blue and pink­red on a tin­glaze painted ACS monogram 29cm. diam., 12cm high

443 two views

Provenance Clarice Cliff, Art Deco & Design, 9th March 2011, Woolley and Wallis Auctioneers, lot 1114 £400­600

‡ 444 Alan Caiger­Smith MBE (1930­2020) a large Aldermaston Pottery footed bowl, dated 1962, painted to the interior with a stylised bird, in blue on a tin­glaze painted monogram and date mark for 1962 38.5cm. diam, 14cm high. £700­900 444 two views

‡ 445 Alan Caiger­Smith MBE (1930­2020) a large and impressive Aldermaston Pottery footed bowl, painted to the interior with stylised flowers and foliage in red and copper lustre on a tin­glaze painted ACS monogram 43.5cm. diam, 16cm. high Provenance Laurimore Gallery Suffolk, purchased in 1986. £1,000­1,500 445 two views 124

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447

446

‡ 446 Alan Caiger­Smith MBE (1930­2020) an Aldermaston Pottery single­handled vase, painted in ruby lustre with an owl standing between two stylised leaves, on a tin­glaze painted ACS monogram, 24cm. high £300­500 ‡ 447 Alan Caiger­Smith MBE (1930­2020) an Aldermaston Pottery footed vase, ovoid, painted with stylised flowers and foliage in ruby and gold lustre on an unusual green ground, painted ACS monogram, applied retail label 14.5cm. high

448

£300­500 ‡ 448 Alan Caiger­Smith MBE (1930­2020) an Aldermaston Pottery Albarello vase from the final exhibition, 1993, waisted cylindrical form with cylindrical neck, painted in golden lustre with stylised flowers, highlighted in ruby lustre on a deep blue ground, painted ACS monogram, applied paper label 27.5cm. high £500­800 ‡ 449 Alan Caiger­Smith MBE (1930­2020) an Aldermaston Pottery Albarello vase from the final exhibition, 1993, waisted cylindrical form with cylindrical neck, painted in golden lustre with stylised flowers, highlighted in ruby lustre on a deep blue ground, painted ACS monogram, applied paper label 27.5cm. high £500­800

449 125

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‡ 450 Geoffrey Eastop (1921­2014) an Aldermaston Pottery wall plate, painted with stylised flowers and foliage to the well in blue and yellow, the rim a band of resist decorated flower stems, on a tin­glaze painted marks, 32.5cm. diam. £100­150

450

451

‡ 451 Laurence McGowan (born 1942) a large pottery jug, swollen form with applied handles, painted with panels of birds and flower stems, in red, green and blue on a tin­ glaze painted marks, 28.5cm. high £150­250 ‡ 452 Alan Caiger­Smith MBE (1930­2020) a small Aldermaston Pottery footed bowl, painted to the interior with a foliate design in gold lustre on a tin­glaze painted ACS monogram to base, 17.5cm. diam. £150­200

452

453

‡ 453 Alan Caiger­Smith MBE (1930­2020) an Aldermaston Pottery jug, ovoid form, painted with stylised foliate panels n blue and brown on a tin­glaze painted ACS monogram, datemark possibly for 1969 or 1970 24.5cm. high £150­200 ‡ 454 Alan Caiger­Smith MBE (1930­2020) An early Aldermaston Pottery bowl, dated 1963, shallow form. painted and resist decorated to the interior with stylised foliage, in shades of yellow and green on a tin­glaze painted ACS mark and datemark for 1963.

26.5cm. diam, 9cm. high £150­250

454

‡ 455 Alan Caiger­Smith MBE (1930­2020) an Aldermaston Pottery footed bowl, dated 1978, painted to the well with stylised flower stems in green and rust on a tin­glaze painted ACS monogram and datemark for 1978, hairline to rim, 30.5cm. diam, 10.5cm. high £200­400

455 two views 126

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456

‡ 456 Edgar Campden (born 1930) an Aldermaston Pottery lamp base, swollen form, painted with flowers and foliage in gold and ruby lustre on a tin­glaze, painted monogram 30cm. high £200­300 ‡ 457 Alan Caiger­Smith MBE (1930­2020) an Aldermaston Pottery vase, ovoid with cylindrical neck, painted with stylised flower and foliage frieze in ruby and yellow lustre on tin­glaze painted ACS monogram, chip to top rim, 29cm. high £150­250 ‡ 458 Alan Caiger­Smith MBE (1930­2020) an Aldermaston Pottery twin­handled vase, swollen, shouldered form, painted with flower and foliage stems in ruby and gold lustre on a tin­glaze painted ACS monogram, later drilled 31.5cm. high

457

458

‡ 460 Alan Caiger­Smith MBE (1930­2020) an Aldermaston Pottery Loving cup, circa 1987, twin­handled form, painted with simple brush design in ruby and gold lustre on a tin­glaze, and a cylindrical storage jar and cover by Alan Caiger­Smith painted mark, 13.5cm high (3) Catalogue notes Alan Caiger­Smith wrote a letter to the vendor in 1995 confirming the piece was probably a trial piece painted by him circa 1987, although made by an apprentice, which explains the lack of an ACS monogram.

459

£150­250 ‡ 461 Alan Caiger­Smith MBE (1930­2020) an Aldermaston Pottery footed bowl, dated 1966, painted to the well with a stylised flowerhead, in a rich golden lustre on tin­ glaze, painted ACS monogram and date mark 28cm. diam.

460

£250­300

£150­200 ‡ 459 Alan Caiger­Smith MBE (1930­2020) an Aldermaston Pottery planter, flaring conical form, painted with stylised flowers and foliage in ruby and gold lustre on a tin­ glaze painted ACS monogram to base 18.5cm. high £250­350

461 two views 127

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462

463 ‡ 462 Alan Caiger­Smith MBE (1930­2020) an Aldermaston Pottery vase, ovoid with flaring neck, painted and resist decorated with columns in shades of brown, green and blue, on a tin­glaze, and two Aldermaston Pottery tin­glazed jugs painted marks, 21cm. high (3) £150­200

464

‡ 463 Alan Caiger­Smith MBE (1930­2020) an Aldermaston Pottery vase, shouldered, ovoid form with collar neck and flaring rim, resist decorated with panel design in blue on a tin­ glaze, another Aldermaston vase, a red lustre candlestick and a golden lustre goblet, all with painted ACS monograms, chip to one vase 12.5cm high, (4) £120­180 ‡ 464 Edgar Campden (born 1930) an Aldermaston Pottery bowl, footed form, painted to the interior with stylised flower sprays in gold and ruby justre on a mauve tin­ glaze, the exterior with a simple band of foliage, and another Aldermaston Pottery bowl

by Edgar Campden, painted in ruby lustre painted marks 21.5cm. diam. (2)

465

£120­180 ‡ 465 Edgar Campden (born 1930) an Aldermaston Pottery bowl, footed form, decorated with stylised flower stem to well and rim of interior, rust and green on a tin­glaze, and another smaller Aldermaston Pottery bowl

by Mohammed Hamid, painted marks, 31cm. diam. (Campden bowl), (2) £150­250

466 two views 128

‡ 466 Alan Caiger­Smith MBE (1930­2020) an Aldermaston Pottery footed bowl, painted with a broad band to the interior, in brown and dark blue on a tin­glaze painted ACS monogram 29.5cm. diam, 12.5cm. high £200­300

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‡ 467 Alan Caiger­Smith MBE (1930­2020) Celia, an Aldermaston Pottery low tureen and cover, circular twin­handled form, the cover painted with a hen, the circular finial painted inscription Celia, in brown and blue on a tin glaze, painted ACS monogram, 33cm. wide (2) £200­300

467 two views

‡ 468 Alan Caiger­Smith MBE (1930­2020) an Aldermaston Pottery shallow bowl, painted with stylised foliate motif in silver lustre on a blue lustre ground, painted ACS monogram and CFD 24cm. diam.

Provenance Clarice Cliff, Art Deco & Design, Woolley and Wallis Auctioneer’s 9th March 2011, lot 1112 £700­900

468 two views

‡ 469 Nick Caiger­Smith (born 1957) a large Aldermaston Pottery bowl, flaring conical form. painted to the interior with brushed panel design in ruby and golden lustre on a tin­glaze, painted monogram, 36cm. diam, 12.5cm. high £300­500 469 two views

129

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471

470 ‡ 470 Bernard Leach CBE (1887­1979) Night on the Thames aquatint on paper unsigned 19.7 x 15cm (image)

Literature Simon Olding The Etchings of Bernard Leach, Crafts Study Centre, page 36 catalogue no.9 for an example of this print illustrated. £120­180 ‡ 471 Bernard Leach CBE (1887­1979) Standing Man by a River, etching on paper unsigned 19.5 x 13.5cm.

472

Literature Simon Olding The Etchings of Bernard Leach, Crafts Study Centre, page 40 catalogue number 13 for an example of this etching illustrated. £120­180 ‡ 472 Bernard Leach CBE (1887­1979) Storm in Venice etching on paper, numbered 1/25 in pencil, annotated to reverse authenticated by Janet Leach, with BL and JL red seal marks 15 x 9.7cm.

Literature Simon Olding, The Etchings of Bernard Leach, Crafts Study Centre, page 47 catalogue number 20 for a comparable print illustrated. £120­180 ‡ 473 Bernard Leach CBE (1887­1979) Boat, Willow Tree and Duck under Clouds, soft ground etching on paper, signed in the plate BL 20 x 15cm. (image) £120­180

130

473

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‡ 474 Bernard Leach CBE (1887­1979) Little Stack etching on paper titled in the plate, number 2./25 in pencil 12.7 x 10cm (image) £120­180 474

‡ 475 Bernard Leach CBE (1887­1979) Hakone Lake (Hakone) soft ground etching on paper unsigned 25 x 24.5cm (image) Literature Simon Olding The Etchings of Bernard Leach, Crafts Study Centre, page 84 catalogue number 57 for an example of this etching illustrated, £120­180

475

‡ 476 Bernard Leach CBE (1887­1979) Coastal Landscape, Japan etching on paper signed and dated Bernard Leach 1918 in the print 30 x 20cm. (image) £150­200 476

131

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477 478

479

‡ 477 Richard Batterham (1936­2021) a small cut­sided stoneware teapot and cover, covered in a speckled ash glaze, a Leach Pottery tankard and a covered small dish covered in a speckled ash glaze, and eight Leach Pottery covered soup bowls, a spare cover and small handled dish, teapot unsigned, cover re-stuck, chipped spout, impressed Leach marks to Standard Ware, 11cm. high, (23) Provenance Private collection. £150­250

480

‡ 478 Ray Finch (1914­2012) a Winchcombe Pottery charger, the well with combed design, six small Winchcombe bowls, a small bowl by Seth Cardew, a flask by Svend Beyer, a rectangular box and cover by David Frith,a bellied jug attributed to John Leach, two bowls and a twin­compartment dish by Sidney Tustin, and a bottle vase by John Bedding painted with a volcano erupting, impressed seal mark, minor damages, 38cm. diam. (16) £120­180

481

‡ 479 Ray Finch MBE (1914­2012) a Winchcombe Pottery salt­glaze stoneware teapot and cover, with simple painted decoration, and an en suite caddy and cover, impressed seal marks, 15.5cm. high (4) £120­180

‡ 480 Wenford Bridge Pottery a large platter, rounded rectangular section, decorated with combed design to well and rim, impressed seal mark, chips to rim 45cm. wide Provenance Private collection. £120­180 ‡ 481 Keiko Hasegawa (born 1941) a raku vase, swollen with ribbed shoudler and flaring neck, covered in a streaked metallic glaze, and a copt and cover by Takatori Futamono, painted with plum blossom, in hinoki wood box and cover, impressed seal mark to Keiko vase, 22.5cm. high (4) Provenance Contemporary Ceramics, Bonham’s Knightsbridge, lot 63A (Keiko pot) Contemporary Ceramics Bonham’s Knightsbridge lot 193 (Takatori pot) Private collection. £120­180 ‡ 482 David Leach OBE (1911­2005) a Lowerdown Pottery charger, decorated to the well with a large leaf motif in tenmoku under Dolomite, impressed seal mark 34.8cm. £150­250 ‡ 483 John Leach (1939­2021) a Muchelney Pottery burnished vase, 2009 ovoid with flaring neck and twin lop handles, burnished black with white stripe impressed seal marks, dated 09 14cm. high Provenance Woolley and Wallis Auctioneer’s, 22nd June 2011 lot 4.

Kate Catleugh £100­150

132

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‡ 484 David Leach OBE (1911­2005) a Leach Pottery stoneware vase made for the Dartington Exhibition, compressed ovoid form with collar rim, painted with a band of concentric circles in tenmoku, over blue, on a speckled ash glaze to the foot, sold with a copy of the Dartington 60 Years of Pottery 1933-1993 catalogue, impressed DL and Leach pottery seal marks, 13cm. high, 18cm wide. (2) Provenance Private collection Literature Dartington 60 Years of Pottery 1933-1993, page 28 for a comparable example illustrated, made in the 1950s for the Elmhirst collection). This painted design is taken from a plate in Bernard Leach’s collection, an 18th or 19th century Seto ware dish with a horse eye or Una No Me abstract design.

484

£200­300

‡ 485 Bernard Leach, attributed a Leach Pottery plate, painted with a Willow tree motif in tenmoku and blue on a mottled ash glaze, and another smaller impressed Leach Pottery seal mark to both, chips to rim of smaller plate 26.5cm. diam. (2) Provenance Private collection. £150­250

485

‡ 486 John Jelfs (born 1946) a cut­sided stoneware bottle vase, with flaring rim, covered tot he foot with a tenmoku glaze with combed column design, and another smaller cut­sided stoneware vase by John Jelfs impressed marks, 27.5cm. high (2) £120­180

‡ 487 William ‘Bill’ Marshall (1923­2007) a stoneware bottle vase with square neck, flat sided, painted with tenmoku brush designs over hakeme and green patches, impressed seal mark, 22.5cm. high £120­180 486

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488 ‡ 488 Deidre Burnett (born 1939) a porcelain bowl with fluted rim, covered in a speckled brown glaze, and a porcelain shallow bowl

by Derek Emms, covered in a pale blue glaze, and a disc vase by Audrey Richardson, impressed seal mark, minor losses to rim, 14cm. wide, 8.5cm. high, (3) £120­180

490

‡ 489 Audrey Richardson (born 1931) a tall oval vase with pierced hole, painted black and white optical design to both sides, impressed seal mark to base, 41.5cm. high Provenance Purchased directly from the artist, circa 1992. £120­180 ‡ 490 Alan Caiger­Smith MBE (1930­2020) an Aldermaston Pottery plate, painted to the rim with a border of flowers in red, green and black on a grey tin­glaze, and a Peter Lane bowl covered with a running and pitted pink glaze over off­white painted monogram and date mark for 1969, 26.5cm. diam. (2) £120­180

489 491

‡ 491 Alan Caiger­Smith MBE (1930­2020) an Aldermaston Pottery bowl and cover, dated 1977, ovoid form with tall loop handle, painted with simple brush design in red lustre on a tin­glaze ground, painted monogram, WA monogram and date code, 11.5cm. diam, 13.5cm. high, (2) £120­180 ‡ 492 Alan Caiger­Smith MBE (1930­2020) an Aldermaston Pottery tankard, painted in rich red lustre glaze, an Aldermaston Pottery vase, a footed bowl by Julian Bellmont, a small Aldermaston Pottery goblet and bowl, and a twin­handled vase resist decorated with a geometric band, painted marks, chip to vase rim, 11.5cm. high (tankard), (6) Provenance Private collection.

492 134

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493

494

‡ 493 Alan Caiger­Smith MBE (1930­2020) Dream City, 1985 a large and impressive Aldermaston Pottery charger, golden­red lustre on a tin­glaze painted signature, datemark, applied ACS paper label, 60cm. diam Provenance Purchased directly from Alan Caiger­Smith.

Literature Alan Caiger-Smith and Aldermaston Pottery, 1955-1993, final exhibition catalogue 1993 catalogue number 129 illustrated page 18. £800­1,000 ‡ 494 Jonathan Chiswell Jones (born 1944) a set of five hand­built lustre tiles, each painted in with dragonfly, fox, hare and falcon motif, unsigned 14,5cm, square (5)

495

£120­180 ‡ 495 Jonathan Chiswell Jones (born 1944) Falcon a pottery wall charger, painted to the well wuth a bird of prey perched in an oak tree, glazed in copper and golden lustre on a deep blue ground painted monogram and 5119 34.5cm. diam. £150­200 ‡ 496 Jonathan Chiswell Jones (born 1944) Cockerel, 2008 a pottery deep welled wall charger, painted with a cockerel amongst oak boughs, in gold and ruby lustre on a blye ground, painted monogram and 30/8/2008 date 34.5cm diam. £150­200

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‡ 497 Jennie Hale (born 1956) Spring Hares, an earthenware plate, painted with radiating hares and snowdrop clumps, a white goose to the centre, painted in colours, three mugs and a bowl by Jennie Hale unsigned (5) Provenance purchased by the vendor at the Bristol Guild. £200­300

497

498

‡ 498 Roger Law (born 1941) a large Dartington Pottery charger, decorated with wiped and sprayed design of a Duck­billed Platypus, in black on a white ground, impressed seal mark, painted Roger Law Dartington Pottery, 46cm. diam. £200­300 ‡ 499 A Chelsea Pottery large charger by Joyce Morgan, painted with a family of tabby cats, the rim with laurel border, in colours applied sticker to reverse, signed to front, 43cm. diam. £120­180 ‡ 500 A large Highland Stoneware Cat bowl by Dorell Pirie, 1997, welled bowl, in flambe, red and green, and translucent lavender, unsigned, 49.5cm. diam.

Literature Malcolm Haslam, Highland StonewareFirst Twenty Five Years of Scottish Pottery, Richard Dennis Publications, page 84 this bowl illustrated.

499

500

£200­300 ‡ 501 Roger Cockram (born 1947) a stoneware solifleur vase, swollen cylindrical form with wrapped shell motif, shouldered with narrow tapering neck, covered in a mottled pale blue glaze over salmon pink, impressed seal marks and incised signature, 33cm. high £120­180 ‡ 502 Richard Parkinson a flaring conical porcelain vase, covered in a white glaze, impressed seal mark, 16cm. high £120­180

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503 504

‡ 503 Katrina Pechal (born 1964) flaring stoneware vase with pulled rim, textured surface, glazed manganese to rim and interior impressed seal mark, 16.5cm. high £120­180 ‡ 504 Phyllis Dupuy a flaring porcelain bowl, glazed with blue bands, over turquoise, highlighted with gilt bands, another similar with lavender glaze, two other bowls and a vase with shaped rim by Phyllis Dupuy, and a footed bowl by Bridget Drakeford incised Dupuy 27cm. diam, 5.8cm. high (6)

505

Provenance Private collection. £120­180 ‡ 505 Sasha Wardell (born 1956) a porcelain vase, streamlined, shouldered form, painted with pink, yellow and blue geometric pattern, and a flaring porcelain bowl by Maria Stewart, double walled form, incised SRW monogram 18cm. high, (2) £120­180

506

507

‡ 506 Mary Rich (born 1940) a porcelain footed bowl, purple and blue glaze decorated with gilt geometric panels, impressed seal mark 12cm. high, 22.5cm. diam. £120­180 ‡ 507 Duncan Ross (born 1943) burnished earthenware vessel, ovoid form, rust speckled glaze with geometric panel design, and another similar vase by Tjok Dessauvage, dated 2005, incised mark, second vase with flat chip to top rim, 19cm. high (2) £300­500 ‡ 508 James Campbell (1942­2019) a large welled dish, painted with a rotund bird, with scratched decoration, in colours on a speckled cream ground, the rim blue and terracotta bands, incised signature and marks, 41cm. diam. £200­300

508

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510

509

‡ 509 Michael Casson (1925­2003) a stoneware vase, cylindrical form with applied and modelled geometric panels, glazed tenmoku with white translucent slip, another stoneware cylindrical vase by Michael Casson, glazed gun­ metal blue to top, and another Michael Casson casserole and cover, with incised decoration, impressed seal mark, 22.5cm. high, (4) Provenance cylindrical vase purchased by the vendor at Christie’s South Kensington, circa 1992. casserole and cover purchased by the vendor at Bonhams circa 1990. £150­250 ‡ 510 Julian King­Salter (born 1954) a large amphora vase, smooth surface painted in shades of blue and green impressed seal mark, incised E24 41cm. high

512

£150­200 ‡ 511 Sandy Brown (born 1946) a large earthenware platter, square, painted with dripped design in olive green, brown and pink, painted Sandy Brown signature to front 44.5 x 47cm. £120­180 ‡ 512 Jason Wason (born 1946) a shouldered raku vase with incised band covered in a black metallic glaze with purple lustre to neck, impressed seal mark, 33cm. high

513

Provenance Bonhams Knightbridge, by repute Private collection.

511 ‡ 513 Robin Welch (1936­2019) a stoneware cylindrical vase, with modelled band and collar neck, painted with blue bands over ash, painted Robin Welch signature 16.5cm. high £120­180 ‡ 514 Anna Barlow (born 1982) Unicone painted porcelain sculpture, and ‘Sculpture from 100 Bottles ­ 100 Days Project (day 95) by Anna Whitehouse incised marks to Whitehouse 19cm. long (2) £120­180 ‡ 515 Chinoko Sakamato (born 1992) Bud vase a stoneware bud vase, modelled as an artichoke, on drum base, covered in a pitted mushroom colour glaze, signed Chinoko 14cm. high £120­180 ‡ 516 Kate Malone (born 1959) leaf and flower three crystalline glazed tiles, each moulded in low relief, glazed blue unsigned 13cm. square (3) Provenance Purchased by the vendor in the late 1980s early 1990s from Kate Malone. £150­250

£120­180

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517

‡ 517 Mo Jupp (1938­2018) Gold torso red earthenware torso covered in gold, on wire stand, unsigned 14.5cm. high Provenance Cambridge Ceramics Gallery £200­300 ‡ 518 Anthony Theakston (born 1965) Bird jug salt­glazed stoneware, mottled blue and grey incised signature 19.5cm. high, 26cm. wide Provenance Purchased from Anthony Theakston by the vendor. £200­300 ‡ 519 Anthony Theakston (born 1965) Bastion a tall salt­glaze stoneware sculpture of a Barn Owl, perched on a square base, mottled blue and gun­metal grey, signed Anthony Theakston to base 30cm. high £600­700

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520 Eric James Mellon (1925­2014) Flying Angel, aquatint on paper, artist proof, mounted, and ‘Golden Angel/Ballagh Series’ aquatint by Eric James Mellon signed and titled in pencil, 15 x 9.5cm. (2) £120­180 520 521 Eric James Mellon (1925­2014) Living with Angels: Angel of Port Caman,1996 aquatint on paper, artist’s proof, mounted signed, titled and numbered in pencil, 19.5 x 14.5cm. £120­180

522

521

522 Eric James Mellon (1925­2014) Slack Wire Walker, colour sugar lift aquatint on paper, and Circus Horse and Rider a colour aquatint by Eric James Mellon, signed, titled and numbered 4/50 and 17/50 19.5 x 14.5cm (image), (2) £120­180

523

523 Eric James Mellon (1925­2014) Persephone with a Flautist, 1978 Lithograph on paper, mounted and ‘Persephone about to throw a pomegranate to Pluto’ a lithograph by Eric James Mellon signed, titles and numbered 16/20 and 5/12 30 x 19.5cm (image), (2) £120­180

524 Joanna Veevers (born 1960) Hands, 2004 lithograph on paper, mounted, The Percheron Horse after C F Tunnicliffe, B & White by M Ueda, and three other prints, signed, ap and 2004 in pencil, 30 x 24.5cm. (6) £100­150

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‡ 525 Walter Keeler (born 1942) a salt­glazed stoneware jug, cylindrical form with applied strap handle, mottled blue glaze impressed seal mark 23.5cm. high Provenance The Crafts Potters Association. £150­200 525

‡ 526 David Roberts (born 1947) a large raku vase, ovoid with flaring cylindrical neck with collar, covered to the foot with a white cracked glaze, impressed seal mark to base, stress hairlines 56cm. high Provenance Private collection. £700­1,000 526 141

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527

528

‡ 527 Joanna Constantinidis (1927­2000) a porcelain bowl, flaring form on narrow foot, covered in a banded oatmeal and tan glaze, impressed seal mark to base, 14.5cm. diam, 7.8cm. high £120­180 529

‡ 528 Eileen Lewenstein (1925­2005) a stoneware vase, shouldered form with cylindrical neck, decorated with abstract band on tan, the neck matt black, and a bowl by Bernard Charles, incised EL monogram to vase, bowl minor chips to rim, 21cm. high, (2) £120­180 ‡ 529 Andrew Richardson (born 1949) Houses in a walled castle glazed stoneware castle with five loose and inter­changeable houses, impressed seal marks in the design, 25cm wide, 17cm .high, (6) £120­180 ‡ 530 Peter Hayes (born 1946) a raku wall panel with blue resin band and panels, on wooden frame, 2005 incised Peter Hayes 05 48 x 37.5cm. £250­350

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531

‡ 531 John Maltby (1936­2020) Sleeping Fisherman ceramic tile plaque, glazed, framed impressed seal mark, titled to reverse, 16.5 x 16.5cm (tile), 32.5cm. square £300­500 ‡ 532 John Maltby (1936­2020) Three Big Fish ceramic tile plaque, glazed, framed unsigned, titled to reverse 16.5cm square (tile), 33.5cm. square (frame) £300­500 ‡ 533 John Maltby (1936­2020) Female Figure ceramic sculpture on wooden base, signed to base, untitled 13.5cm. high

533

£200­300 ‡ 534 John Maltby (1936­2020) An Angel cermaic sculpture on stepped wooden base, signed and titled to the base 20cm. high £200­300 ‡ 535 John Maltby (1936­2020) An Angel ceramic sculpture on plinth, wooden base, signed and titled to base 15cm. high £200­300 534

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The Omega Workshops Lounge at the Salon of the Allied Artists' Association, Holland Park Hall, London, 1914. Postcard. Collection of Ben Angwin.

OMEGA WORKSHOPS 536 A pair of Omega Workshops settees, wooden frame with black velvet upholstery, stuffed hair cushion, unsigned 182cm wide, 78cm high 84 cm deep. (2) Provenance Music Room, Gunfield, Norham Gardens, Oxford ­ the home of the Deneke sisters.

James Brister, an Oxford friend, purchased directly from Deneke sisters in the 1970s Private collection, purchased from James Brister in the early 1980s, by repute.

Catalogue notes An example of the settee is illustrated on a publicity postcard for Holland Park Hall interior by the Omega Workshops interior. In the Workshops catalogue the settees are listed as very comfortable, and make an excellent background for brightly coloured cushions. £2,000­3,000

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537

538

537 An Omega Workshops vase by Roger Fry, flaring low conical form, with collar rim, decorated with red lustre dashed bands on a tin­glaze, painted marks, 11.5cm. high Provenance Andrew Harriss £800­1,200 538 An Omega Workshops vase by Roger Fry, shouldered, cylindrical form, painted with bands of dash and cross­ hatching, in red lustre on a tin­glaze unsigned, 8.5cm. high Provenance Andrew Harriss £800­1,200 539 An Omega Workshops vase by Roger Fry, shouldered, hexagonal section with circular aperture, on six feet, painted with geometric panels in blue and red on a tin­glaze, unsigned, 16.5cm. high Provenance Andrew Harriss £400­600

539

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540

541

540 A large Omega Workshops charger, covered in a tin­glaze, the rim with a turquoise splash, impressed Omega mark, stress hairlines to rim, 34.5cm. diam.

Provenance Andrew Harriss £800­1,200 541 An Omega Workshops side plate by Roger Fry, covered in a tin glaze, impressed Omega mark, broken and re-stuck, 17cm. diam.

Provenance Andrew Harriss £120­180 542 A large Omega Workshops plate by Roger Fry, painted with a simple outlined blue basket, on tin­glaze, the rim with a geometric swag design in blue, impressed Omega mark, repaired rim, 30.8cm. diam.

Provenance Andrew Harriss £500­800

542

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543 An interesting Omega Workshops plate by Roger Fry, painted with two cranes in red lustre on a tin­glaze impressed Omega mark, 17cm. diam.

Provenance Andrew Harriss Literature Isabelle Anscombe Omega and After, Bloomsbury and the Decorative Arts, Thames & Hudson, page 117 plate 44 for a printed linen with comparable birds, illustrated. There is also an unattributed design for textile Mantelpiece Modernism, The Omega Workshops, Bloomsbury, Dorich House Museum, page 15 for a comparable plate decorated with figure, attributed to Duncan Grant.

Catalogue notes Roger Fry also produced a comparable marquetry table design for an interior, commissioned by Lady Hamilton which featured comparable cranes. £1,000­1,500

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544

544

544

545

546

546 ‘William De Morgan’ a book by William Gaunt & M D E Clayton­Stamm, published by Studio Vista, 1971, and a collection of reference books and catalogues, comprising ‘Glass A Contemporary Art’ by Dan Klein, ‘Art Deco & Other Figures’ by Bryan Catley, ‘Sevres’ published by Lund Humphries, ‘ This Will be the Place’ Cassina, ‘Fallingwater by Edgar Kaufmann jnr, ‘Sarah Morris Bye Bye Brazil’, White Cube, and a set of ‘Elton John’ Auction catalogues Sotheby’s, 1988, (8) £120­180

WORKS ON PAPER 544 A collection of auction and exhibition catalogues, including design, modern picture, Chinese and Asian Arts Provenance Property from the Estate of Roland Baker deceased. £50­80 545 ‘The Studio’ twenty­nine bound volumes, from 1898 to 1944, and two ‘Studio Yearbooks’ 1920 and 1925, and five loose The Studio magazines, (36) 547

£150­200

‡ 547 Hazel Nothcott Dandelion Days, gouache on paper original book illustration for Dandelion Days by Henry Williamson, framed signed in pencil, annotated to reverse 22 x18cm. £120­180 ‡ 548 Lester Kahn (1922­2014) Mazda Light bulb black and white photograph, framed signed in pencil 30.5 x 22.5cm.

Provenance Tom Watkins Collection £80­120 ‡ 549 Eugene Leliepvre (1908­2013) Reclining female nude, oil on canvas, framed signed lower left 39.5 x 22.5cm. £300­500

548

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550 ‡ 550 Keith Newstead (born 1943) Blue Mystery gouache on paper, Veils gouache on paper, and Apocalypse gouache on paper, signed and titled in pencil framed 49 x 38.5cm (image) (3) Provenance Private collection of modern sculpture Woolley and Wallis would like to thank Keith Newstead for authenticating this lot. £100­150 ‡ 551 E G Oakley Beuttler The 21st Army’s Race to Berlin, 1944 and Some Fool Pressed the Button, 1940 two pen and ink illustrations of comic scenes of army soldiers, sailors and airmen, framed signed and dated (2) 37 x 31cm (image)

551

Provenance Cheffins, 9th February 2005. £200­300 ‡ 552 Leslie Gooday OBE (1921­2013) The Critic’s Eye (Brian Sewell) mixed media and collage, framed signed L Gooday to the newspaper, titled to reverse 28.5 x 21cm.

Provenance Design, Woolley and Wallis Auctioneers, 10th September 2014 lot 1613.

Tom Watkins Collection £80­120 553 Jean Lurcat (1892­1966) La Bouc et la Nuit a printed textile panel of a goat (aries), printed in colours, framed signed lower right, applied title label to reverse 71 x 54cm image

553

552

£200­300 554 Tom Gentleman (1892­1966) The Grey Horses, SP11 lithographic school print on paper, framed and ‘Rosebud’ an etching of a seated cat by Martin Leman, dated 1975, framed faint signature lower left (Gentleman), Leman signed, titled and number 39/50 in pencil, 67 x 42cm. (2) £120­180

554

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556 Mario Borgoni (1869­1936) Prestito Nationale lithograph in colours on paper, printed by Richter & Co, Napoli, linen backed signed in the print, 99.5 x 69.5cm Provenance A private collection of early 20th century posters £100­200

555 555 Theophile Alexandre Steinlen (1859­1923) A La Bodiniere - Exposition De L’oeuvre Dessine et Peint de T A Steinlen, 1894 lithographic poster, printed by MP Charles Verneau, signed with monogram, 80 x 59cm

557 Theophile­Alexandre Steinlen (1859­1923) L’Aisne Devastee, lithograph in colours on paper, printed by imp H Chachoin, Paris, linen backed signed Steinlen in the print 114 x 78.5cm.

Provenance A private collection of early 20th century posters £150­200

Provenance Andrew Harriss £100­200

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558 Jules­Abel Faivre (1867­1945) Oh Les Aura, 1916 (We’ll Get Them) lithograph in colours on paper, printed by imp Devambez, Paris, signed and dated in the print, losses, 113 x 80cm.

Provenance A private collection of early 20th century posters Literature Harold F Hutchison, The Poster an Illustrated History from 1860, Studio Vista, page 79 this design illustrated. £150­250 559 Dominique Charles Fouqueray (1872­1956) Le Cardinal Mercier Protege La Belgique, 1916 lithograph in colours on paper, printed by Lapina Imp, Paris, signed D Charles Fouqueray and dated in the print 118 x 79.8cm.

Provenance A private collection of early 20th century posters Literature Harold F Hutchison, The Poster an Illustrated History from 1860, Studio Vista, page 73 this design illustrated. £150­200 560 Georges Clairin (1843­1919) Pour La Patrie lithographic poster on paper, printed by imp Devambez, Paris, linen backed, signed in the print, stamped visa 9448, losses 119 x 79cm.

558

Provenance A private collection of early 20th century posters £150­200

560

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561 Sean Connery est James Bond - On Ne Vit Que Deux Fois (You Only Live Twice) a French, large film poster, lithographic print

by S E Lalande Courbet, 160 x 119cm. £600­800

562 Conroy Maddox (1912­2005) The Enchanted Domain, lithographic surrealist poster for the exhibition, Exeter 1967, and two other Conroy Maddox lithographic posters signed in the print, 77 x 51cm. (3) £120­180

563 David Hockney OM CH RA (born 1937) New Ways of Seeing - 2 April-2 Juli 2006 lithographic poster of Paper Pool 18, 1978, published by Tyler Graphics 42 x 29.6cm. £300­400

561

562 152

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564 564 Roedyat Martadiredja (Indonesian 1930­2002) Boats on a shore Oil on canvas Signed and dated 76 ROEDYAT (upper right), and further inscribed (to reverse) 97 x 97cm

565 567 Lam Yuk Fai Red Wall (Works in a Decadel), 1990 acrylic on canvas, framed signed Lam Yuk Fai bottom right 153 x 102 (image)

Provenance: Property from the Estate of Roland Baker deceased

Provenance Pao Galleries 4­7 June 1990 (cat no. 6.4).

Property from the Estate of Roland Baker deceased.

£200­300

£150­200

565 Chui Hon Cheung Reflection - Escalator oil on canvas, framed signed bottom left and signed and titled to reverse 81cm square

566

Provenance Property from the Estate of Roland Baker deceased. £150­200 566 Thomas Swimmer (born 1932) Corfu, 1960 oil on canvas, framed signed and dated bottom right, gallery label to reverse 76 x 50cm (image) Provenance The Trafford Gallery, Mount Street, London.

Property from the Estate of Roland Baker deceased. £150­200 567 153

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568

APPLE BOUTIQUE 568 A costings book for The Fool clothes designs for the Apple Boutique, simple pencil line drawings on paper, titled with price costing, some with material swatches, bound 27.5 x 21.5cm.

Provenance John Lyndon Literature Paolo Hewitt The Beatles and Fashion, Fab Gear, Prestel, page 198­199 for two pages from this costing book illustrated. £200­300 569 An Apple Boutique printed Boy and Girl cotton double sheet with two pillowcases designed

by Martin Battersby, the sheet printed with two figures of John and Cynthia Lennon, the pillowcases, head portraits of John and Cynthia, seven pairs of Apple pants designed by Martin Battersby, printed in colours with apple motif to front and back, and a Sew an Apple Cat printed linen cushion pattern designed by Martin Battersby, printed apple motif to sheet, 222 x 222cm (sheet), (11) Provenance John Lyndon Literature Paolo Hewitt The Beatles and Fashion, Fab Gear, Prestel, page 209 two pairs of Apple pants illustrated. £200­300 569

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570 570 detail

570 A rare Apple Boutique Mandarin­ collar sea blue velvet two piece suit designed by The Fool, seven button, with orange silk lining, original Apple Fool label inside, size 36, (2) Provenance John Lyndon Literature Paolo Hewitt The Beatles and Fashion, Fab Gear, Prestel, page 197, this actual suit illustrated. £200­300

571 An Apple Boutique double breasted black velvet jacket designed by Leslie Powell, with four buttons, and a pair of emerald green trousers, applied Apple and Leslie Powell labels to inside (2) Provenance John Lyndon £200­300 572 A rare Apple Boutique Mandarin­ collar emerald green velvet two piece suit designed by The Fool, seven button, salmon pink, silk lining, Apple Fool label to inside, size 36 chest, (2)

571

Provenance John Lyndon £200­300

572 detail

572

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573 A cotton Apple Boutique Happy Coat, white cotton repeatedly printed Apple design in blue, with white cotton belt, size S, £150­200 Provenance John Lyndon

574 A cotton Apple Boutique Happy Coat, white cotton repeatedly printed Apple design in blue, with white cotton belt, size S, £150­200 Provenance John Lyndon

575 A cotton Apple Boutique Happy Coat, blue cotton repeatedly printed Apple design in blue, with blue silk rope belt, size S, Provenance John Lyndon Literature Paolo Hewitt The Beatles and Fashion, Fab Gear, Prestel, the Apple design used for inside front cover boards. £150­200 573

574 156

575

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576 Richard Avedon (1923­2004) The Beatles four limited edition lithographic posters printed by Waterlow & Sons Ltd for the Daily Express newspaper, comprising; Paul McCartney, John Lennon, George Harrison & Ringo Starr, and a black and white photographic poster of The Beatles by Richard Avedon, sold with a copy of Look Magazine January 9th 1968 featuring John Lennon by Richard Avedon to the cover, printers marks to border, in original poster tube 68.3 x 47.5cm (6) Provenance John Lyndon £300­500 576

‡ 577 Sir Paul McCartney CH MBE (born 1942) Twelve studies for stage sets pen and ink on paper, annotated in ink, framed, sold with a note of provenance from the vendor unsigned 49 x 32.5cm. (sheet) Provenance Given directly by Brian Epstein to John Lyndon, director of productions at the Saville Theatre and manager of the Apple Boutique (one of the first business ventures by The Beatles). The bottom left design of red stars and stripes was used, by repute, for The Four Tops concert at the Saville Theatre, December 1966. £800­1,200 577

157

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FURNITURE 578 An Art Nouveau brass three light ceiling light, cast and pierced with stylised whiplash berried sprays, the three radiating branches with two floriform vaseline glass shades, unsigned, 51cm drop, 53cm wide £100­150

578

579 An Arts and Crafts oak and brass mantle clock possibly retailed by Liberty & Co, tapering rectangular section, with circular stamped dial with Arabic numerals, and rectangular glass panel, unsigned, 36.5cm. high

579

£150­200 580 An Arts and Crafts oak occasional table, slender rectangular top, above flaring rectangular legs, the under­tier with carved heart­motif, with pegged joints, unsigned, 69 x 34.5cm. (top), 71cm. high £200­300 581 A J & J Kohn Fledermaus chair designed by Josef Hoffmann, stained bentwood with applied ball decoration on bun feet, stamped factory marks, 73.5cm. high Literature Josef Hoffmann Designs Mak­Austrian Museum, Prestel, page 40 figure 25 for the original design illustrated.

581

£200­300 582 A Lamb of Manchester mahogany writing table the design attributed to Alfred Waterhouse, rectangular section, two drawers with brass handles, with turned bobbin stretcher unsigned, 106 x 55cm, 74cm high

580

£120­180 583 A carved wood novelty gong stand, in the manner of Henry Howell Ltd, the carved bird with applied eyes, modelled perched on a short bough on a table top,, the stand with carved twisted stem and tripod foot, unsigned, 122cm. high £150­200

582 158

583

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584

585

584 open

584 A walnut and sycamore secretaire de voyage Carpet table top desk unit designed by Jaime Tresserra, rectangular with hinged cover, fitted shelves and compartments in sycamore, chrome metal mounts, unsigned, 94cm wide, 51cm deep, 12cm high Provenance Private collection. £1,300­1,500

586

585 A Thomas ‘Gnomeman’ Whittaker oak stool, X frame with tan hide leather seat, carved gnome signature, 52.5cm. wide, 30cm, high £150­250 586 A Linley Santos Rosewood mantel clock, rectangular form with chrome base, face and back­plate, with rectangular black diam, the back­plate lifting to reveal key­safe hooks, signed Linley to dial and back-plate, 25.5cm. high Catalogue notes Woolley & Wallis would like to thank Linley for confirming the wood is Santos Rosewood. £200­300 587 A John Makepeace Furniture high stool, the shaped burr elm seat on holly turned cylindrical legs with bun feet, ebonised bog oak spindles and slats, stamped Makepeace, applied A & M Coleridge paper label, 72cm. high 36 x 30cm (seat) Provenance Anthony & Marietta Coleridge collection. £150­200

587 159

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588 An oak low table by Robert Ingham, rectangular top on L section legs, the top inset with twelve burr veneer panels, unsigned, 182 x 60cm (top), 48cm. high Provenance British Art Pottery & Design, Woolley and Wallis Auctioneer’s, 1st December 2010, lot 554.

Private collection. £150­250

588

589 A Design Institute of America polished chrome and brass display cabinet, rectangular section, with adjustable glass shelves and side lock, 192cm high 35.5cm deep 46cm wide Provenance Talisman Private collection. £400­600 590 A mid­century Rocket floor lamp probably Novoplast, teak tripod frame with fibreglass shade, unsigned, 113cm. high £150­200 591 A pair of David Linley ebonised wood and polished metal candlesticks, each modelled as a column on stepped, square base, stamped Linley to side of base, 30.5cm. high, (2) £150­200 592 A Vanson teak sideboard designed by Robert Heritage possibly retailed at Heal’s, rectangular on cylindrical legs, the twin, hinged door compartment with adjustable shelf, the doors with ‘Helix’ design, bank of three drawers to the right, unsigned, 137 x 45.5cm, 83.5cm. high

589

£300­500

590

593 A large John Makepeace sideboard designed

by John Makepeace and made by Norman Illingworth in 1982, sycamore, holly and Adnan padouk, long, rectangular form, three drawers above three twin­door cabinets, inscribed and dated to inside of left-hand door, 300cm wide, 56cm deep, 83cm high

591

£200­300

160

592

593

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594

594 A Memphis Carlton limited edition miniature bookcase designed by Ettore Sottsass, designed 1981, multi coloured laminates, signed and numbered 194/500, 33cm. high Provenance Tom Watkins Collection £500­700 595 Driade Celine 1 a tall red glass and white porcelain vase designed by Borek Sipek, unsigned 72cm. high Provenance Viaduct, January 1997.

Tom Watkins Collection £500­700 ‡ 596 A Memphis Milano Alcor glass vase designed by Ettore Sottsass, made by Compagnia Vetraria Muranese,designed 1983, clear, green and opaque white glass swollen panels, applied with black spiral, blue and golden­brown geometric panels, etched to base rim E Sottsass per Memphis by Compagnia Vetraria Muranese, 49cm. high

595

596

Provenance Bonhams Auctioneers, January 1997.

Tom Watkins Collection £2,000­2,500 ‡ 597 A Memphis Milano Sol glass bowl designed by Ettore Sottsass, designed 1982, blue glass bowl on clear stem and red domed base, highlighted with white glass, applied red, green and white supports, the rim with blue glass triangles and red etched E Sottsass Memphis to side, 26cm. high Provenance Phillips, March 1998 Tom Watkins Collection Literature Memphis Milano, manufacturer’s catalogue, 1986, page 77 for this design. £2,500­3,000 597 161

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598 A Fischietto Whistle vase designed by Ettore Sottsass, made for Habitat, 2000, blue circular section on dark blue foot, with post­box apperture, and another taller applied Habitat price label, 17.5cm. diam, (main), 31.5cm. high (second vase), (2) Provenance Tom Watkins Collection £300­400

598

599

599 A Memphis Milano Teller Rucola plate designed by Ettore Sottsass, made nu A Sarri Ceramiche, moulded in low relief to the rim, glazed white with printed black border, printed factory marks, 30cm. diam.

Provenance Tom Watkins Collection £150­200 600 A Memphis Giotto vase designed by Johanna Grawunder, 1991, tapering blue conical body with four white and black flanges, supporting grey bowl with white rim and yellow interior unsigned, 27cm. high Provenance Tom Watkins Collection £300­400

600

601

601 A Cenedese glass Penguin vase designed by Hans Hollerin, black glass body with applied red beak and yellow feet, etched Cenedese Hans Hollerin, 37.5cm. high Provenance Francesca, Alfies Market, London 2000.

Tom Watkins Collection £150­200 602 Petite Etrangete Contre Un Mur a Daum vase designed

by Philippe Starck, clear rectangular glass with frosted blue cornucoppia, unsigned, 50cm. high Provenance Tom Watkins Collection £200­400 603 Petite Etrangete Sous un Mur a Daum glass vase designed by Philippe Starck, designed 1988, clear rectangular glass with frosted blue cornucoppia, etched Daum Starck to side, 46cm. high

602

603

Literature Clotilde Bacri Starck, Taschen, page 256 for a comparable form illustrated.

Provenance Tom Watkins Collection £400­600 604 A Florian Goto vase designed by Gaetano Pesce for Lavazza, designed 1995, irregular cast orange form inscribed with words, and a Ritzenhoff glass jug and four beaker glasses designed by Nathalie du Pasquier, printed in colours cast factory marks, 15.5cm. high (6)

162

604

Provenance Tom Watkins Collection £200­300

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606 605

605 A Flos Taccia 121 table lamp designed by Achille Castiglione, designed in 1962, enamelled and chromed metal with clear glass and white enamelled shade, applied label to the inside of the base, 52.5cm. high Provenance Tom Watkins Collection £300­400 606 An Artifort Mobilis lounge chair designed by Marcel Wanders, enamelled black and grey metal and plastic adjustable frame with canary yellow upholstery and pillows unsigned, 115cm. high, Provenance Tom Watkins Collection £300­500 607 A Swan armchair designed by Philippe Starck for the Sanderson Hotel, tub chair form with carved swan arms, silvered finish, pale yellow upholstery, unsigned, 84.5cm. high

607

Provenance Tom Watkins Collection £100­200 608 A Dalila chair designed by Gaetano Pesce for Zani & Zani, designed in 1993, red polyurethane and urethane, unsigned, 85cm. high Provenance Tom Watkins Collection £1,500­2,000 608 163

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609 An Alessi Twergi lime wood Centrepiece bowl designed by Ettore Sottsass, model ES14, designed 1990, with red stained foot, stamped Twergi mark, 29.5cm. diam, 13.5cm high £200­300 610 A Zani & Zani Vesuvio cast and painted aluminium and resin coffee maker designed by Gaetano Pesce, cast marks and facsimile signature to base, 36cm. high Provenance Tom Watkins Collection 609

£300­500 611 A Giotto ceramic vase in metal stand designed

by Johanna Grawunder, designed 1991, tapering blue ceramic vase in wave polished chrome frame, and another Giotto vase and stand by the same designer, applied Giotto labels, second vase chipped, 22.8cm. high (4)

610

Provenance Tom Watkins Collection £150­200 612 A Giotto ceramic three vase in a metal stand set designed by Johanna Grawunder, designed 1991, three tapering ceramic pots in white, turquoise and yellow on a wave polished and chrome stand, applied label, 40cm. wide (4)

611

Provenance Tom Watkins Collection £150­200 613 Three Yantra 28 ashtrays designed by Ettore Sottsass for Habitat, glazed grey, red and black, unsigned small glaze frit to black ashtray, 14.2cm. wide (3) 612

Provenance Bonhams, May 1996.

Tom Watkins Collection 613

£300­400 614 An Archap Moto Magis stool, black enamelled frame with burbber covered seat, back and feet cast Moto Magis to seat, 75cm. high Provenance Tom Watkins Collection £80­120 615 A Levi’s limited edition Skull fleece hooded jacket designed by Damien Hirst, with original labels, size XL, Provenance Tom Watkins Collection £300­500

614 164

615

616

616 Eight Memphis electric wall clocks made by Neos, circular, printed in colours signed to dial, 33.3cm. diam. (largest), (8) Provenance Tom Watkins Collection £800­1,200

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617

618

617 A pair of Dryiad Toy armchairs designed by Phillipe Starck, orange moulded polypropylene, with white loose pad cushions, unsigned, 77.5cm. high (2) Provenance Tom Watkins Collection £100­200 618 A Memphis Milano Alfiere etagere designed by Ettore Sottsass, tapering marble base supporting tapering veneer back panel, two curved shelves and central chrome support, unsigned, 174.5cm. high, 38cm wide.

Provenance Tom Watkins Collection £400­500 619 A pair of Baleri Mac Gee shelving units designed by Philippe Starck, designed 1973, enamelled metal support with five graduated shelves, signed to upright, 240cm long, shelves 99cm wide (2) Provenance Tom Watkins Collection £400­500

619 pair 165

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620

620 A Myer coffee table designed by John Piper for retail by Heal’s, enamelled metal frame with rectangular shelf, the rectangular top with printed formica surface depicting St Paul’s and St Martin in the Field and Lincoln’s Inn, in a winter landscape, unsigned, 115 x 38cm (top), 35cm. high £150­200 621 A Kandya drop­leaf table the design attributed to Frank Guille, on turned legs, the top and hinged leaves with black and white abstract laminate, applied paper label to base, 68cm square (top), 33cm wide (leaves), 73cm. high Literature620 Lesley Jackson, Modern British Furniture, V&A, page 82 and 83 for comparable tables illustrated from original Kandya adverts circa 1954. £120­180 622 A Fornasetti low table designed by Pierro Fornasetti, circular section revolving top printed with bands of antique cameo, on a faux green marble ground, on black, waisted cylindrical base with brass band, unsigned 48cm. high, 100cm diam.

Literature Patrick Mauries Fornasetti Designer of Dreams, Thames & Hudson, page 184 this design illustrated. £800­1,200

621

622 166

622 top

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623 A Fornasetti Studios Sun chair designed by Pierro Fornasetti, printed in black with a face with radiating sunrays, with black ebonised legs, printed marks, dated 98, 95cm. high Provenance Holly Johnson Private collection.

Literature Patrick Mauries Fornasetti Designer of Dreams, Thames & Hudson, page 230 for comparable chairs illustrated. £1,000­1,500 624 A pair of Fornasetti Studios Quattro Stagioni chairs designed by Pierro Fornasetti, each printed with a maiden to both sides of the back, emblematic of spring and summer, ebonised black seat and legs printed factory marks, dated 2000, 95cm. high, (2)

623

624

Provenance Holly Johnson Private collection.

Literature Patrick Mauries Fornasetti Designer of Dreams, Thames & Hudson, page 245 for the full set of four seasons chairs illustrated. £2,000­3,000 625 A pair of Fornasetti Studios Lyre chairs designed by Pierro Fornasetti, printed in black and white, black ebonsied legs printed factory marks, one dated 1997 the other 2000, 96cm. high, (2) Provenance Holly Johnson Private collection.

Literature Patrick Mauries Fornasetti Designer of Dreams, Thames & Hudson, page 167 for comparable chairs illustrated.

625

£2,000­3,000 626 Three Fornasetti Studios Capitello chairs designed

by Pierro Fornasetti, comprising; two Ionic and one with Corinthian capitals, in black, with ebonised black seat and legs, printed factory marks, Corinthian dated 1999, 93cm. high, (3) Provenance Holly Johnson Private collection.

Literature Patrick Mauries Fornasetti Designer of Dreams, Thames & Hudson, page 120 for two comparable chairs illustrated. £3,000­4,000

626

167

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627 An enamelled metal Compas table designed by Jean Prouve, model no.512 designed circa 1953, rectangular grey laminated top with red side band, on emerald green enamelled metal legs unsigned 80 x 180 (top), 70cm. high Provenance Faggionato Gallery.

Literature Jean Prouve Somogy Editions, page 264­265 for a Compas desk illustrated, circa 1953. £1,000­2,000

168

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628 A ‘Cityscape’ sideboard by Paul Evans, probably made by Directional, polished brass and walnut veneer, two twin­door compartments, internally fitted with adjustable shelves, facsimile signature to side, 167cm wide 78cm high 55cm deep Provenance Talisman Private collection Literature Constance Kimmerle Paul Evans, Crossing Boundaries and Crafting Modernism, James A Michener Art Museum, Pennsylvania, exhibition catalogue 2014, pages 186­189 for Cityscape pieces illustrated. £5,000­8,000

169

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630

629

SCULPTURE

632

631

629 William Wild (1904­1985) Lamb resting, 1952 carved wood on rectangular base, and a small carved wood mouse modelled on haunches eating lamb signed William Wild 1952 to base 17cm. wide (2)

‡ 633 Kenneth Carter (1928­2007) Sculptural Relief, 1980 patinated bronze plaque with gilding signed K Carter, 80 36 x 29.5cm.

£150­200

£100­200

‡ 630 Kenneth Carter (1928­2007) Dancer with ribbon, 1978 three small patinated bronze figures, signed and dated in the bronze cast 17cm wide, (widest), (3)

‡ 634 Sir William Reid Dick KCVO RA (1878­1961) Menin Gate Lion (Ypres) a plaster maquette, white patinated finish, originally designed 1927, unsigned, chips, 29.5cm. wide, 17.5cm. high

Provenance A private collection of sculpture

Provenance A private collection of sculpture

£300­500

£150­200

631 Gottschalk Untitled (geometric panel) polished aluminium on a slate base, signed Gottschalk 38 x 16cm (panel)

‡ 635 Sir William Reid Dick KCVO RA (1878­1961) Menin Gate Lions (Ypres) a pair of plaster maquette, patinated finish, originally designed 1927 unsigned, chips to plaster and one with repair to base 30cm. wide, 17.5cm. high (2)

Provenance A private collection of sculpture £200­300 ‡ 632 Sava Botzaris (1894­1965) Maquette for Danicing Couple, patinated plaster on a rectangular base signed in the base Sava Botzaris 38cm. high Provenance A private collection of sculpture £80­120

633

170

634

Provenance A private collection of sculpture.

635

Provenance A private collection of sculpture Literature Design, Woolley & Wallis 7th October 2020 lot 629 for a verdi gris bronze version of this lion. £300­500

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METALWARE 636 An Art Nouveau WMF copper and brass trough, rectangular section with applied brass handles, the body stamped in low relief with Secessionist seedheads, on four bun feet, stamped WMF ostrich mark, 40cm. wide £150­200

636

637 An Art Nouveau Kayserzinn pewter inkwell designed by Hugo Leven, model 4333, the elliptical tray cast in low relief with Glasgow rose motif, the cover a young maiden, her hand drawn to her lips, cast mark, 29.7cm. wide Literature Gerhard Dietrich Kayserzinn Arnoldsche, page 178, this design illustrated. £200­300 638 An Art Nouveau Dutch KMD Tiel pewter planter, flaring cylindrical form, cast in low relief with tulip flower stems, stamped factory mark, 20cm. high

637

638

£150­200 639 A Newlyn Industrial Classes copper plaque, fluted circular form hammered in low relief with a galleon at full sail, stamped Newlyn to well, 32.5cm. diam.

Literature Daryl Bennett & Colin PIll, Newlyn Copper Arts and Crafts Copper Work in Newlyn, Sansom & Company, page 108 for a comparable galleon on a circular plate. £120­180 640 An Art Nouveau silver pedestal dish with electroplated bowl, pierced and cast with flag iris stems, supporting scrolling foliage bowl, stamped marks to bowl, 13.5cm. wide. (2)

640

639

£150­200 641 A Duchess of Sutherland’s Cripples Guild silver footed bowl, tapering cylindrical foot supporting flaring bowl with cast foliate border, stamped marks, Birmingham 1911, 13.5cm. diam, 8cm. high, (6.48 ozt) £150­200 642 A Hukin and Heath electroplate and glass claret jug the design attributed to Dr Christopher Dresser, model no.5060, the ovoid textured glass body with electroplate collar neck, angled handle and spout, flat hinged cover, stamped mark to collar and number to cover, 16.5cm. high

641

£120­180

642

643 A Bernard Cuzner silver and enamel hand­mirror and two brushes, model no.50405, each with simple foliate band, cast in low relief and enamelled in shades of green and blue stamped marks, 50405 B&Co Birmingham 1938, 27.5cm. long (mirror), (3) £250­350 644 A Liberty & Co silver cruet set, model no.491, comprising footed salt with blue glass liner, pepper pot, mustard pot with hinged cover and blue glass liner, and two serving spoons, each with simple stamped bands, the mustard cover with a band of stylised foliage stamped marks, L & Co Birmingham 1931, 5cm. high (mustard pot), (5) £200­300

643

644 171

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645

647 646

JEWELLERY 648

645 An Art Nouveau James Fenton silver and enamel pendant, cast as a simple flower form, enamelled in sky blue and green, with simple blue enamel drop, stamped marks J.F Birmingham 1909, 4.2cm. long £150­250 646 A Charles Horner silver and enamel pendant necklace, pierced and cast in low relief with foliate panels, enamelled in shades of sky blue and green, with simple enamelled drop, stamped marks, C,H Chester 1908, 3cm wide. £200­300

649

647 A Secessionist James Fenton silver and enamel pendant, pierced and cast elliptical form set with central mother of pearl panel, enamelled with blue and green panels and simple green enamelled drop, stamped marks, J.F Birmingham 1908, 5cm. long £200­300 648 A Marples & Bearsley silver and enamel brooch, cast in low relief with stylised foliate design, enamelled with green panels, stamped marks, Birmingham 1909, 3.4cm. wide £120­180 649 A Secessionist James Fenton silver and enamel brooch, circular cast form, with pendulous design, enamelled in green and blue stamped marks, JF Birmingham 1908, 2.5cm. wide. £150­200

650

650 A Secessionist continental silver buckle, cast in low relief with a moth design, with applied loops, unsigned, 5.5cm wide. £120­180

172

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650A

653

652

651

650A Wendy Ramshaw CBE (1939­2018) Time Spent on the Beach (Picasso's Ladies) a two ring set, triangular gold ring set with triangular lapis cabochon, and a silver ring with textured blue and gold vitreous enamelling, gold ring stamped WR gold ring size N, stove enamelled ring size P, (2) Provenance Given to the vendor's aunt by Wendy Ramshaw, in the 1990s.

Literature Wendy Ramshaw, Picasso's Ladies, Jewellery by Wendy Ramshaw, Arnoldsce Publishing, catalogue number 58 for comparable enamelled rings illustrated. £400­600

654

651 An Italian silver bangle, cast in low relief with geometric panels, mark, 7.2cm. wide £120­180 652 A red and black plastic bangle by Jean Marie Poinot, Paris, twisted black plastic with red front, cast jean marie Poinot Paris mark 8cm wide. £120­180 653 A Taxco Mexican silver brooch, twisted elliptical form stamped marks, 7cm. wide. £120­180 654 A Taxco Mexican silver necklace, corrugated silver links, and a similar Taxco silver bracelet stamped marks, 46cm. long (necklace), 19cm. long (bracelet) £150­200 655 A Taxco Mexican silver necklace, linked, twisted bar panels, stamped marks, 43.5cm. long £120­180

655

173

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658

656

656 An Aarikka Finland silver and wood necklace, chain link necklace with three articulated graduated wooden sphere pendant, stamped marks to clasp disc, 8cm. long (pendant)

657

£120­180 657 A Wege Tenn pewter pendant necklace, circular with central pink glass drop, a Logeskov pewter bracelet, a Tyr pewter pendant necklace and two brooches stamped marks, 5cm drop, (5) £120­180 658 A silver and turqoise pendant necklace, the pendant cast as a stylised bird, set with turquoise cabochon, and three other pendant necklaces, main stamped Sterling P long, (4)

659

£120­180 659 A Taxco Mexican silver bracelet, three panels cast in low relief with a man resting by a cactus, the central panel cast with a man standing by a campfire, and another bracelet stamped marks, 16cm. long (2) £150­200 660 A Mexican silver pendant/brooch necklace, circular cast in low relief with two stylised figures, highlighted in black, with pin back, a Mexican silver and enamel link bracelet and a silver necklace , abstract form with six articulated drops, stamped marks, 2.5cm. diam.

(3) £150­200 660

661 A Bernard Instone pin brooch, cast with flaring Art Deco terminal, a Mexican copper and brass link necklace and en suite earrings, brass link bracelet, and a green glass bead necklace, stamped Sterling Made in England and BI stamped marks, 6.3cm. wide (6) £120­180

661 174

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662

663

664

665

666

662 An English silver ring set with polished moonstone cabochon, a pair of English silver rings, with curved collar set with green and red cabochon and two other rings, first three indistinct hallmarks, stamped ESM makers mark, M1/2 (main ring), (5)

666 A David Anderson silver necklace, elliptical disc pendant with two flaring, curved drops, on a collar, a Hans Hansen silver ring, a pair of Georg Jensen silver clip earrings, an unmarked necklace with small bird decoration, two bangles and a pair of earrings, various marks, 22cm long, (9)

£120­180

£200­300

663 An English silver ring, the clasp ball shoulder encasing a spherical red/amber stone, a Mexican silver ring a poisoners ring and another, indistinct marks, J (main ring) (4)

667 A Jorgen Jensen pewter necklace, model no,2200, two shaped rectangular panels with turquoise cabochon, another single panel necklace with cabochon and another disc pendant stamped marks, 7.8cm. long (3)

£120­180 664 A Hans Hansen silver and enamel necklace the design attributed to Bent Gabrielsen Pedersen, model no. 317E, five streamlined panel links each with fixed triangular pendant with black enamel panel, stamped marks, 37cm. long. £200­300 665 Marc Newson (born 1963) Orgone, a silver bracelet and two rings by chi ha paura, the bracelet and one ring lacquered red, the other ring lacquered blue, in original box for bracelet all stamped 925 9.3cm. wide (bracelet), K1/2 (rings), (3)

667

£120­180 668 A Niels Erik From silver and tiger’s eye pendant necklace, central bar with four tiger’s eye cabochon, stamped marks, 6cm. long £120­180 669 A Tico silver pendant necklace, looped drop with sphere terminal on torq, indistinct stamped marks to pendant, 8cm. drop £120­180

Provenance Quittenbaum Auctioneers, 26th September 2014 lot 156.

Tom Watkins Collection Literature Shonquis Moreno, Jewelry in a Virtual World, The Future is Here, American Craft, December­January 2009 £1,200­2,000 668

669

175

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670

671

672 670 A Georg Jensen silver pendant necklace designed by Arno Malinowski, model no.102, cast in low relief with mermaid riding a hippocamp, stamped marks, 6cm. wide £150­250 671 A Georg Jensen silver brooch designed by Arno Malinowski, model no.283, circular, pierced and cast with two butterflies resting on a flower stem stamped marks, 5.2cm. diam. £150­200 672 A Georg Jensen silver pendant necklace designed by Arno Malinowski, model no.97, heart­shaped, pierced and cast in low relief with a bird flying past foliage fronds, stamped marks, 4cm. long £150­200 673 A Georg Jensen silver brooch designed by Harald Nielsen, model no.217, modelled as an articulated bunch of grapes, below leaves, stamped marks, 7cm. drop

673

£120­180 674 A Georg Jensen silver brooch, model no.70, the dove designed by Christian Mohl­Hansen, circular, pierced and cast in relief with a bird perched in a foliate wreath, stamped marks, 6cm. diam.

Literature Elyse Zorn Karlin Jewelry and Metalwork in the Arts and Crafts Tradition, Schiffer Books, page 215 for a comparable piece illustrated.

David A Taylor (Editor) Georg Jensen Jewelry, BGC/Yale, page 37 figure 1­25 for seven brooches with variations to this design illustrated, £150­200 674

176

675 A Georg Jensen silver link necklace, model no.

286, simple ball and panel links stamped marks, 68cm. long 675

£120­180

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676 676 A Georg Jensen silver and amethyst necklace designed by Georg Jensen, model no.6, alternate cast panels of flower head and pendulous flowerhead, set with amethyst cabochon, stamped marks, 42cm. long Literature David A Taylor (Editor) Georg Jensen Jewelry, BGC/Yale, page 199 figure 147 for a comparable necklace illustrated with Labradorite cabochon. £500­1,000

677 A Georg Jensen silver brooch designed by Georg Jensen, model no.96, cast in low relief with flowers and foliage, applied with amber drops and cabochon, with green chrysoprase, stamped marks, 9cm. long Literature David A Taylor (Editor) Georg Jensen Jewelery, BGC/Yale, page 209 catalogue number 158 for a comparable example. £1,500­2,000

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678 A Georg Jensen silver pendant necklace designed by Arno Malinowski, model no.95, pierced and cast in low relief with a resting deer before stylised flowers, stamped marks, 4/3cm wide £150­200 679 A Georg Jensen silver brooch designed by Arno Malinowski, model no.256, pierced and cast in low relief with a deer resting before stylised flower stems, stamped factory marks, 4.2cm. wide £150­200

678

680 A Georg Jensen silver brooch designed by Vivianna Torun Bulow­Hube, model no.374, simple form, stamped marks, 6.8cm. wide.

Literature David A Taylor (Editor) Georg Jensen Jewelry, BGC/Yale, page 279 figure 311 this brooch design illustrated. £150­200 681 A Georg Jensen silver brooch designed by Nana and Jorgen Ditzel, model no.326, tapering streamlined form with pin to top, stamped marks, 6cm. high £120­180

679

681

680

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683 682

682 A Georg Jensen silver link necklace designed by Henning Koppel, model no.68, thirteen linked panels, stamped marks, 46cm. long £500­1,000 683 A Georg Jensen silver bracelet designed by Henning Koppel, model no. 68, five links and a clasp panel, stamped marks, 19.5cm. wide Literature David A Taylor (Editor) Georg Jensen Jewelry, BGC/Yale, page 116 figure 5­14 for a comparable bracelet illustrated, designed 1947. £300­500 684 A Georg Jensen silver neckring and pendant designed by Vivianna Torun Bulow­Hube, model no.133, simple veined agate stone pendant, stamped marks, signed Torun 6.5cm long (pendant), (2) Literature Georg Jensen Jewellery, BGC/Yale page 284 catalogue no.323 for comparable examples illustrated. £400­600 684 179

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685 ‘Holly’ an A Michelsen silver and enamel Christmas 1922 spoon designed by Bertha Dorph, cast in low relief, an A Michelsen Cathedral in Copenhagen silver Christmas 1923 spoon designed by Anton Rosen and a Michelsen Slesvig 1920 spoon stamped marks, 15.5cm. long, (3) Provenance A private collection of silver and enamel Christmas spoons. £150­200 686 ‘Spire of Famous Church in Copenhagen 1927’ an early A Michelsen silver and enamel Christmas spoon designed by Hans Tegner, cast in low relief and enamelled in blue, a Michelsen Christmas in Port 1930 Christmas spoon designed by Arne Bang and a Christmas Boat Jul 1921 spoon designed by Kay Bojesen stamped marks, 15.8cm. long (3)

685

Provenance A private collection of silver and enamel Christmas spoons.

686

£150­200 687 ‘Spire of Famous Church in Copenhagen’ an A Michelsen silver and enamel Christmas 1927 spoon designed by Hans Tegner, cast in low relief and enamelled in blue, a Michelsen Peace on Earth silver Christmas 1919 spoon designed by Gudmund Hentze, and a Michelsen Snow-Berries silver and enamel Christmas 1938 spoon designed

by Ebbe Sadolin, stamped marks, 16cm long (3) Provenance A private collection of silver and enamel Christmas spoons.

687

£150­200 688 ‘Organ Pipes’an A Michelsen silver gilt Christmas 1926 spoon designed by Hans Tegner, cast in low relief, and a Michelsen The MIll of Dyboll silver gilt Christmas spoon and fork designed by H Slott­ Moller, stamped marks, 15cm. wide, (3) 688

Provenance A private collection of silver and enamel Christmas spoons. £150­200

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689 ‘The Infant Christ’ an A Michelsen silver Christmas 1911 spoon designed by Gudmund Hentze, an A Michelsen silver Christmas Bells Christmas 1912 spoon, designed by Poul Michelsen, an A Michelsen silver Christmas Angel Christmas 1914 spoon designed by H Slott­Moller and a silver fork, stamped marks, 15.5cm. long (4) Provenance A private collection of silver and enamel Christmas spoons. £150­200 690 ‘The Little Match Girl’ an A Michelsen silver Christmas 1933 spoon designed by Ib Lunding, cast in low relief, an A Michelsen silver and enamel Christmas in Port Christmas 1930 spoon designed by Arne Bang, an A Michelsen silver and enamel Holy Night Christmas 1934 spoon designed by O Staehr­ Nielsen and an A Michelsen silver and enamel Birds in the Christmas Sheaf Christmas spoon 1937 designed by Palle Suenson, stamped marks, 15.3cm. long, (4) Provenance A private collection of silver and enamel Christmas spoons. £150­200 691 ‘Epiphany’ an A Michelsen silver Christmas 1917 spoon designed by Kay Bojesen, an A Michelsen silver The Madonna Christmas 1916 spoon designed by Marie Henriques, an A Michelsen silver Mistletoe Christmas 1918 spoon designed by Gustav Lorenzen and an A Michelsen silver Peace on Earth Christmas 1919 spoon designed by Gudmund Hentze, stamped marks 14.5cm,. long (4)

689

690

Provenance A private collection of silver and enamel Christmas spoons. £150­200 692 ‘The Three Kings of Cologne’ an early A Michelsen silver Christmas 1915 spoon designed by H Slott­Moller, cast in low relief, an A Michelsen silver gilt and enamel SnowBerries Christmas 1938 spoon designed by Ebbe Sadolin, an A Michelsen silver and enamel Christmas Rose Christmas 1929 spoon designed

by Ebba Holm, and a Star of Bethlehem Christmas 1931 fork, stamped marks, 15.5cm. long, (4) Provenance A private collection of silver and enamel Christmas spoons. £150­200

691

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693

694

693 An A Michelsen silver gilt and enamel Christmas 1978 spoon and fork designed by Vibeke Alfert, an A Michelsen silver and enamel The Little Match Girl Christmas 1933 spoon designed by Ib Lundig, an A Michelsen Santa and the Reindeer Christmas 1952 spoon designed by Arne Ungermann, an A Michelsen Christmas 1960 silver gilt and enamel spoon designed by Rolf Middelboe, a Christmas 1970 spoon designed by Zieler and a Christmas 1968 spoon designed by Henry Heerup, stamped marks, 16./3cm. long (7) Provenance A private collection of silver and enamel Christmas spoons. £150­200 694 An A Michelsen silver gilt and enamel Christmas 1972 spoon designed by Bjorn Wiinblad, another similar with purple enamels, Georg Jensen silver­gilt and enamel Christmas spoon 1974 and 1975 by Raab, a pair of Georg Jensen silver­gilt and enamel Christmas 1984 teaspoon, and two A Michelsen silver­gilt and enamel christmas spoons 1971 and 1974, stamped marks, facsimile signature, 16.3cm. long, (8) Provenance A private collection of silver and enamel Christmas spoons. £150­200

695

696

695 An A Michelsen silver gilt and enamel Christmas 1974 spoon and fork designed by Carl Henning Pedersen, in original box, and an A Michelsen silver­gilt and enamel Christmas Ram Christmas 1948 spoon and fork designed

by Ilse Nalbandian, an A Michelsen silver gilt and enamel Christmas 1990 spoon and fork designed by Pig Schultzman, and an A Michelsen silver­gilt and enamel spoon and fork Juleskeen Christmas 1973 designed by Ib Spang Olsen, stamped marks, 16cm. long (8)

697 A Georg Jensen silver gilt and enamel Christmas 1981 spoon and fork designed by Arne Bang, each enamelled with a robin red breast, in original retail box, an A Michelsen Christmas 1999 silver­gilt and enamel spoon and fork, an A Michelsen silver gilt and enamel Christmas 1971 spoon and fork, and a Georg Jensen Glowing Heart silver gilt Christmas 2003 spoon and fork designed by Esben Hanefelt Kristensen stamped marks, facsimile signature, 16.3cm long (8)

Provenance A private collection of silver and enamel Christmas spoons.

Provenance A private collection of silver and enamel Christmas spoons.

£150­200

£150­200

696 ‘Christmas Candle’ an A Michelsen silver gilt and enamel Christmas 1936 designed by Arno Malinowski, an A Michelsen silver and enamel Christmas Ram Christmas 1948 spoon designed

by Ilse Nalbandian, an A Michelsen silver gilt Star of Bethlehem Christmas 1940 spoon designed by Paul Erlinger, an A Michelsen silver and enamel The Dove of Peace Christmas 1943 spoon designed by O Staehr­Nielsen, an A Michelsen silver gilt and enamel Christmas 1975 spoon, and an A Michelsen Christmas 1974 spoon, stamped marks, 15cm long (6)

698 ‘Splendour of Yule’ an A Michelsen silver gilt and enamel Christmas 1967 spoon and fork designed by Paul Rene Gauguin, an A Michelsen Christmas 1960 matched spoon and fork designed by Rolf Middleboe, an A Michelsen Christmas 1944 spoon designed by Ole Hagen and 1966 spoon designed by Jorgen Dahlerup and an A Michelsen 1776 and 1979 fork, stamped marks, 16cm. wide (8)

Provenance A private collection of silver and enamel Christmas spoons.

Provenance A private collection of silver and enamel Christmas spoons. £150­200 699 ‘Snow Flowers’ an A Michelsen silver gilt and enamel Christmas 1956 spoon designed by Jorgen Michelsen, an A Michelsen silver gilt and enamel Candles of Advent Christmas 1949 spoon designed by Morgens Nilsson, an A Michelsen silver gilt and enamel The Herald Angels Christmas 1953 spoon designed by Karen Clemmensen, an A Michelsen silver gilt and enamel Falling Snowflakes Christmas 1947 spoon designed by Ibi Trier Morch, an A Michelsen silver gilt and enamel The Flight into Egypt Christmas 1966 spoon and an A Michelsen Chistmas 1980 spoon, and two commemorative spoons 1960 and 1967, stamped marks, 15.5cm. long (8)

£150­200

697 698 699

Provenance A private collection of silver and enamel Christmas spoons. £150­200

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700

701

700 ‘The Christmas Tree’ an A Michelsen silver and enamel Christmas 1965 spoon designed by Theresia Hvorslev, an A Michelsen silver gilt and enamel Christmas 1972 spoon designed

by Bjorn Wiinblad, an A Michelsen Christmas 1978 spoon designed by Vibeke Alfert, an A Michelsen Christmas 1958 spoon, an A Michelsen Christmas 1973 fork, an A Michelsen Christmas 1977 spoon, and an A Michelsen Christmas 1976 spoon, stamped marks, 16.5cm. long, (7) Provenance A private collection of silver and enamel Christmas spoons. £150­200 701 ‘Greenlander’ an A Michlsen silver gilt and enamel Christmas 1969 spoon designed by Ib Antoni, an A Michelsen Danish Yule-Nisses silver and enamel Christmas spoon 1957 designed by Erik Frederiksen, an A Michelsen silver and enamel Christmas 1959 spoon, an A Michelsen silver and enamel Christmas 1974 spoon, an A Michelsen Christmas 1963 spoon and an A Michelsen Christmas 1961 spoon, stamped marks, 16cm. long (6) Provenance A private collection of silver and enamel Christmas spoons. £150­200 702 ‘The Wise Men from the East’ an A Michelsen silver gilt and enamel Christmas 1958 spoon and fork designed by Karl Gustav Hansen, an A Michelsen silver gilt and enamel Christmas 1987 spoon designed by Morgens Anderson, an A Michelsen silver gilt and enamel Organ Pipes Christmas 1961 spoon designed by Arne Hansen, an A Michelsen silver gilt and enamel Christmas 1991 spoon and fork, an A Michelsen Christmas 1972 fork designed by Bjorn Wiinblad and a A Michelsen Falling Snowflakes Christmas 1944 fork designed by Ibi Trier Morch, stamped marks, 16.8cm. long, (8) Provenance A private collection of silver and enamel Christmas spoons.

703

702 703 ‘The Christmas’ an A Michelsen silver and enamel Christmas 1965 spoon and fork designed by Theresia Hvorslev, an A Michelsen silver gilt and enamel Christmas 1989 spoon and fork, an A Michelsen silver gilt and enamel Christmas 1988 spoon and fork and an A Michelsen silver gilt and enamel Christmas 1974 spoon and fork designed by C H P, stamped marks, 16.5cm long (8)

705 ‘Orion’ an A Michelsen silver gilt and enamel Christmas 1964 spoon and fork designed by Inger Hanmann, an A Michelsen silver gilt and enamel Christmas 1992 spoon and fork, an A Michelsen silver gilt and enamel Christmas 1979 spoon and fork and an A Michelsen silver gilt and enamel Splendour of Yule Christmas 1967 spoon and fork designed by Paul Rene Gaugain, stamped marks, 16cm. wide (8)

Provenance A private collection of silver and enamel Christmas spoons.

Provenance A private collection of silver and enamel Christmas spoons.

£150­200

£150­200

704 ‘Colorful Christmas’ an A Michelsen silver and enamel Christmas 1951 spoon designed by Eigel Jensen, an A Michelsen silver gilt and enamel Christmas 1960 spoon designed by Rolf Middleboe, an A Michelsen Christmas 1970 spoon designed by Zieler, an A Michelsen Christmas 1955 spoon designed by Palle Pio, an A Michelsen Christmas 1946 spoon designed by Johan Pedersen, and an A Michelsen Christmas 1979 spoon, stamped marks, 15.5cm. long (6)

706 ‘The Lucia Bride’ an A Michelson Christmas 1959 silver gilt and enamel spoon and fork designed by Henry Thelander, enamelled with angels, an A Michelsen Candles of Advent Christmas 1949 silver gilt and enamel spoon and fork designed by Mogens Nilsson, an A Michelsen silver gilt and enamel Christmas 1984 spoon and fork, and A Michelsen silver gilt and enamel Christmas 1976 spoon and fork, and an A Michelsen silver gilt and enamel Christmas 1974 spoon and fork, stamped marks, 15.5cm. long (10)

Provenance A private collection of silver and enamel Christmas spoons. £150­200

Provenance A private collection of silver and enamel Christmas spoons. £150­200

704

705

£150­200 706 183

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707 An early S Mordan & Co Makers gold dip pen, hexagonal with seal top, engraved with panels of scrolling foliage, in original fitted case, stamped marks, 12.8cm long. £150­200 708 A Mabie Todd & Co Swan rolled gold Snail pattern overlay eyedropper pen, the cartouche inscribed AFV 1918, in fitted case with guarantee and glass eyedropper, stamped marks, 14ct, 13.3cm long

707

Provenance Presented to Col. Aubrey Herbert M.P. President of the Anglo Albanian Society by the Albanian Federation Vatra, by repute. £200­300 709 A Mabie Todd & Bard Swan gold filled eyedropper fountain pen, cast in low relief, in original fitted case, stamped marks, 13.7cm. long Literature George Fischer Fountain Pens and Pencils, Schiffer, page 148 for comparable pens illustrated. £150­250 710 A Mabie Todd & Bard Swan rolled gold eyedropper fountain pen, engraved B.M.A 1905 H J Blakesley FRCS, Leicester, in fitted case, 13.7cm. £120­180

708

710

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711

712

713

711 A Parker Duofold Special red permanite button filler fountain pen, with rolled gold clip, Parker Duofold nib, stamped marks, 13.5cm. long £120­180

714

712 A Waterman 9ct gold fountain pen and ball pen, made in France, with engine turned decoration, in original retail box, stamped marks, 12.7cm. long (2) £120­180 713 A Parker rolled gold 61 fountain pen pencil and ball pen set, stamped marks, 13cm. long, (3)

715

£120­180 714 A Waterman red ripple No 5 lever filler fountain pen, with rolled gold clip and gold cap band, Waterman Blue nib stamped marks, 12.8cm. long Literature George Fischler Fountain Pens and Pencils, Schiffer, page 71 for the set of no.7 Red Ripple pens with coloured cap bands illustrated. £120­180 715 A Parker 75 silver aerometric fountain pen pencil and ball pen set, each textured with gilt clip and Parker gold nib, stamped marks, 12.7cm. long (3) £120­180 716 A Waterman’s Ideal Fountain Pen counter­top shop display case, rectangular section, oak and glass frame with mirrored, twin­doors to reverse above single parts drawer, set with three oak removable fitted pen trays with Waterman’s decal, and one replacement tray, printed Waterman decal transfers, 43.5cm wide, 25cm deep, 49cm high £400­600

END OF SALE

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SILVER & OBJECTS OF VERTU TUESDAY 12TH & WEDNESDAY 13TH APRIL 2022

By Omar Ramsden, an Arts and Crafts silver tazza, London 1930 Provenance: From a Private Collection of Omar Ramsden Estimate £4,000 ­ 6,000*

ENQUIRIES Rupert Slingsby | +44 (0)1722 424501 | rs@woolleyandwallis.co.uk Lucy Chalmers | +44 (0) 1722 424594 | lc@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

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FINE CHINESE PAINTINGS AND WORKS OF ART TUESDAY 17TH MAY 2022

Li Guijun (19640­ ) ‘Warm Night’ Oil on Canvas Signed and dated 1997 Provenance: private collection, London Purchased by the current owner from Schoeni AA Gallery Ltd in 1997 Estimate £20,000 ­ 30,000*

ENQUIRIES Michelle Yu +44 (0)1722 424571 my@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

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AUCTION INFORMATION OPENING HOURS Castle Street Salerooms Monday to Friday 9am – 5.30pm Castle Gate Offices Monday to Friday 9am – 5.30pm VIEWING All our auctions are on view at least two days prior to the sale and details will be found in the relevant catalogues.

REGISTERING WITH US All first time buyers need to register with us. Once registration is complete you will be provided with a permanent paddle number which can be used in all future sales.

To register, you will need to provide two forms of identification: 1. a passport or photographic driving licence 2. a utility bill or document showing your name and address You can register in person or by contacting the office on 01722 424500 or emailing id@woolleyandwallis.co.uk You will be asked to show your documents, or fax or email copies.

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

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

BIDDING IN THE ROOM To bid at auction you will need a paddle number. This can be obtained from the office either during the view or on the day of the sale. We now provide permanent paddle numbers which can be used for any future sale, once registered.

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

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

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

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

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

The colours printed in the catalogue are not necessarily true.

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

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

Alban Shipping

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

Kimdan Ltd

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

Mailboxes

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

Pack & Send

+44 (0)1635 887237 newbury@packsend.co.uk www.packsend.co.uk/newbury

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

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

Please note that due to the withdrawal of the Retail Export Scheme by HMRC, we are unable to provide VAT refund documentation (C88) for hand­carried exports.

In order to qualify for a VAT refund, your lots must be exported by a shipper and valid export documentation must be provided.

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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 card­holder is not present.

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

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

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

CITES REGULATIONS Please note that lots marked Regulations when exported.

λ may be subject to CITES

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

ARTIST’S RESALE RIGHT / DROIT DE SUITE Lots marked with a a levy.

‡ symbol are potentially subject to

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

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

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

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

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

FIREARMS

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

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SOCIETY OF FINE ART AUCTIONEERS AND VALUERS and the ROYAL INSTITUTION OF CHARTERED SURVEYORS CONDITIONS OF BUSINESS INFORMATION FOR BUYERS

TERMS OF CONSIGNMENT FOR SELLERS

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.

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. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed. Accordingly if you buy your primary contract is with the seller.

3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive.

4. The purchase price.

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

5. VAT. (†) indicates that VAT at the current standard rate is payable by the purchaser on the hammer price as well as being an element in the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. The omega symbol (Ω) indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5%) on the gross lot price (i.e. both the hammer price and the buyer’s premium). Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the Premium is not recoverable as input tax. (As at 31st December 2020.

Please refer to SOFAA website for updates to the Terms and Conditions).

2. Commission is charged to sellers at the following rates: 15% + VAT on each lot sold for up to £999, 10% + VAT on each lot realising £1,000 and above.

3. Removal costs. Items for sale must be consigned to the sale room by any stated deadline and at your expense. We may be able to assist you with this process but any liability incurred to a carrier for haulage charges is solely your responsibility.

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

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

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

7. We may sell lots below the reserve provided we account to you for the same sale proceeds as you would have received had the reserve been the hammer price. If you specifically give us ‘discretion’ we may accept a bid of up to 10% below the formal reserve.

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).

Reserves.

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.

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.

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.

(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.

10. Descriptions. Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary.

Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds. The liability to reimburse the sale proceeds shall not arise where you are acting reasonably and honestly and are unaware of the forgery but we are or ought to have been aware of it.

11. Methods of Payment. As a general rule any cheques tendered will need to be cleared before removal of the goods is permitted. Please discuss with our Office in advance of the sale if other methods of payment are envisaged (except cash).

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. 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.

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.

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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.

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

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

5. VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with a † or Ω. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant lots. (Please refer to ‘Information for Buyers’ for a brief explanation of the VAT position).

6. PAYMENT (a) Immediately a lot is sold you will: (i) give to us, if requested, proof of identity, and (ii) pay to us the total amount due in pounds sterling (b) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied.

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.

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

CONDITIONS OF SALE

(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.

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.

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.

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

8. REMEDIES FOR NON­PAYMENT OR FAILURE TO COLLECT PURCHASES (a) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (i) to proceed against you for damages for breach of contract; (ii) to rescind the sale of that lot and/or any other lots sold by us to you; (iii) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (iv) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (v) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale; (vi) to retain that or any other lot sold to you until you pay the total amount due; (vii) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (viii) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of any of your property in our possession for any purpose until the debt due is satisfied. (b) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay­out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

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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’.

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

PAINTINGS, DRAWINGS, LITHOGRAPHS, ENGRAVINGS AND PRINTS In accordance with long standing practice in Fine Art Sale Rooms certain terms used in descriptions in the Catalogue have the meanings ascribed to them in the glossary below.

GLOSSARY Any statement as to authorship, attribution, origin, date, age, provenance and condition is a statement of opinion and is not to be taken as a statement of fact.

The Company reserves the right, in forming their opinion, to consult and rely upon any expect or authority considered by them to be reliable. (a) Edward Lear: In our opinion a work by the artist. (When the artist’s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named. (b) Attributed to Edward Lear: In our opinion probably a work by the artist but less certainly as to authorship is expressed than in the preceding category. (c) Studio of Edward Lear: In our opinion a work by an unknown hand in the studio of the artist which may be or may not have been executed under the artist’s direction. (d) Circle of Edward Lear: In our opinion a work by an as yet unidentified but distinct hand, closely associated with the named artist but not necessarily his pupil. (e) Style of ...; Follower of Edward Lear: In our opinion a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil. (f) Manner of Edward Lear: In our opinion a work in the style of the artist and of a later date. (g) After Edward Lear: In our opinion a copy of a known work of the artist. (h) The term signed and/or dated and/or inscribed means that in our opinion the signature and/or date and/or inscription are from the hand of the artist.

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

(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.

15. FORGERIES

(j) Dimensions are given height before width.

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

GENERAL 16. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person.

17. (a) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (b) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them.

(k) Pictures are framed unless otherwise stated.

BOOK AUCTIONS If, on collation, any named item in this catalogue proves defective in text or illustration, the lot may be returned within 14 days of the sale with the defects stated in writing.

This proviso shall not apply to defects stated in the catalogue or announced at the time of sale; nor to the absence of blanks, half titles, tissue guards or advertisements, damage in respect of bindings, stains, spotting, marginal tears or other defects not affecting completeness of text or illustration; nor to drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps or periodicals; nor to books not identified by title; nor to books sold not subject to return.

ARTIST’S RESALE RIGHT / DROIT DE SUITE Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death.

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

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.

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.

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.

Royalties for Droit de Suite are as follows:

20. Any indulgence extended to bidders buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect.

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

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

4% Up to €50,000 3% €50,000.01 ­ 200,000 1% €200,000.01 ­ 350,000 0.5% €350,000.01 ­ 500,000 0.25% In excess of €500,000 Up to a maximum levy of €10,000 Lots marked with a ‡ symbol are potentially subject to the levy.

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

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

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

If you have any questions about how we use your personal data, whom we share it with, or if you wish to exercise any of the rights set out in this Notice, please contact us using the following details: • By post – Privacy Officer, Woolley and Wallis Salisbury Salerooms, 51­61 Castle Street, Salisbury, SP1 3SU. • By email – privacyofficer@woolleyandwallis.co.uk • By telephone – +44 (0)1722 424599 HOW WE COLLECT YOUR PERSONAL DATA We collect your personal data from the following sources: From you when you: • interact with us before entering into a contract with us, for example when you express your interest in our Services; • instruct us to provide Services to you, sign contractual documentation and provide information in connection with those instructions; • communicate with us by post, telephone, email or via our website, for example in order to make enquiries or register for an online account; • in various other ways as you interact with us during your time as a user (or potential user) of our Services, for the various purposes set out below.

From third parties such as: • other auction houses and individuals and organisations in the auctioneering trade whom we may contact to check background details about you; • the­saleroom.com who enable live online bidding and provide us with the name, contact details, the last four digits of registered payment cards and transaction history (in relation to activity on the­saleroom.com) of individuals who register for one of our auctions (please see the­saleroom.com’s privacy policy for further information). We also receive names, contact details, sale details and payment details (the amount and date paid) from realex payments (the­saleroom.com’s payment provider); • sage pay who process payments on our behalf and who provide us with your name, contact details and payment details (only the last four digits of your payment card are provided); • shipping companies whom you hire to collect items you purchased from us.

THE CATEGORIES OF PERSONAL DATA WE COLLECT

THE BASIS FOR PROCESSING YOUR DATA, HOW WE USE THAT DATA AND WITH WHOM WE SHARE THAT DATA WHERE WE HAVE A CONTRACTUAL RELATIONSHIP WITH YOU We will process your personal data because it is necessary for the performance of a contract with you (for example, a contract to use our Services) or in order to take steps at your request prior to entering into a contract. In this respect, we use your personal data for the following: • to interact with you before you enter into a contract with us, such as when you express your interest in our Services (for example, to send you information about our Services or answer enquiries about our Services); • once you have engaged us and entered into a contract, to provide you with the Services set out in any contractual documents.

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

LEGITIMATE INTERESTS We may also process your personal data because it is necessary for our or a third party’s legitimate interests. Our legitimate interests include our commercial interests. In this respect, we may use your personal data for the following: • to monitor and evaluate the performance and effectiveness of our Services, including by training our staff or monitoring their performance; • to deal with any concerns or feedback you may have in the performance of the Services; • for our internal business record keeping and processes; • to seek advice on our rights and obligations, including obtaining legal advice; • to contact you for marketing purposes. If you do not wish to receive such information, please let us know now or at any time in the future, and your details will be removed from our marketing list. We will not provide your personal data to third party organisations to use for their own marketing purposes; • to customise our website and marketing communications in line with your particular interests or preferences; • to collect money owed to us or our consignors; • to carry out background and credit checks in relation to bidders and buyers.

We may collect the following personal data about you:

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

• your name and contact details including address, telephone and email address; • your image, as captured by CCTV, if you attend our premises; • personal identification documents, including copies of government­issued identification such as passport and driving license which are required to register bidders (or when we need to verify a seller’s details); • account details and other information relating to your transactions/dealings with us and your use of our Services; • payment details such as credit card and bank account details; • credit and payment history (where you open an account with us as a buyer or bidder); • information on your collecting preferences and aspirations, and your collections, acquisitions and disposals; and • other information that you provide to us, for example, when you have a comment/complaint, submit a question, take part in a survey or where you express an interest in receiving marketing material or request further information.

• our professional advisors; • the­saleroom.com; • debt collection agencies; • third parties who assist us with our marketing; • our website and email management software provider.

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

LEGAL OBLIGATIONS We may also process your Personal Data for our compliance with our legal obligations.

In this respect, we may use your Personal Data for the following: • to meet our compliance and regulatory obligations, such as our tax reporting requirements or to carry out identity checks; • in order to assist with investigations (including criminal investigations) carried out by competent authorities; In this respect we will provide your data to the following: • external auditors; • the police and other competent authorities, including HMRC;

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CONSENT

HOW LONG YOUR INFORMATION IS KEPT

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

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

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

In particular:

SPECIAL CATEGORIES OF PERSONAL DATA We process special categories of personal data for the following reasons: • if it is necessary to protect your or another person’s vital interests (for example, where you have a life­threatening accident or illness and we have to process your personal data to ensure you receive appropriate medical attention); • if it is necessary for the establishment, exercise or defence of legal claims (for example, to protect and defend our rights, and/or the rights of our customers); We may process information relating to your health where we have your explicit consent to do so (for example, when you provide information about your access requirements prior to attending one of our events).

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

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

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

• in relation to CCTV images taken when you attend our premises, we will retain these for a few months; • in relation to personal data relating to the transactions you have entered into with us as part of the provision of our Services, we will retain that data for period of seven years after that transaction has concluded in case any legal claims arise out of the provision of those Services; • we will retain your details on our marketing database until you inform us that you no longer wish to receive our marketing communications. However, where you do unsubscribe from our marketing communications we will keep your details on a suppression list to ensure that we do not send you information you have asked not to receive; • in relation to personal data relating to the provenance of works, we may retain that data indefinitely in our legitimate interests and the legitimate interests of the wider art market in maintaining the integrity of that market.

YOUR LEGAL RIGHTS Under the DPA you have the following rights: • to obtain access to, and copies of, the personal data that we hold about you; • to require that we cease processing your personal data if the processing is causing you damage or distress; • to require us not to send you marketing communications.

• to require us to correct the personal data we hold about you if it is incorrect; • to require us to erase your personal data; • to require us to restrict our data processing activities (and, where our processing is based on your consent, you may withdraw that consent, without affecting the lawfulness of our processing based on consent before its withdrawal); • to receive from us the personal data we hold about you which you have provided to us, in a reasonable format specified by you, including for the purpose of you transmitting that personal data to another data controller; • to object, on grounds relating to your particular situation, to any of our particular processing activities where you feel this has a disproportionate impact on your rights.

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

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

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

Woolley & Wallis Salisbury Salerooms Ltd. 51­61 Castle Street, Salisbury, Wiltshire SP1 3SU Registered in England No. 02998482 VAT No: 631 9832 29

Design & Production

by Jamm Design Ltd +44 (0) 20 7459 4749 jammdesign.co.uk

WW102-713 listing.qxp_Layout 1 22/02/2022 14:04 Page 196

PLEASE PRINT CLEARLY IN BLOCK LETTERS

ABSENTEE BID FORM

CLARICE CLIFF ART DECO AND DESIGN

Lot Number

Brief Decription

Price Excluding

in numerical

buyer’s premium

order

& VAT

16TH AND 17TH MARCH 2022 Please bid, on my behalf, for the undermentioned lots up to the prices shown which do not include the buyer’s premium or any V.A.T. payable on lots. These bids are to be executed as cheaply as is permitted by other bids, and/or reserves if any, and subject to the Conditions of Business printed in the catalogue. Please note we cannot guarantee that bids received after 4pm on the day prior to the auction will be executed.

Billing Name (please print)

Address

Postcode Daytime telephone Email ID may be required even if you have bid with us before.

Signature

Salisbury Salerooms, 51­61 Castle Street, Salisbury, Wiltshire SP1 3SU | Tel: +44 (0)1722 424500 | Fax: +44 (0)1722 424508

w w w.woolleyandwallis.co.u k

AUCTION CALENDAR 2022

ENTRIES ARE CURRENTLY BEING ACCEPTED FOR OUR 2022 AUCTIONS

MARCH 16th & 17th 30th

Clarice Cliff, Art Deco & Design Furniture, Works of Art & Clocks

APRIL 7th 12th & 13th 26th 27th

Fine Jewellery Silver & Objects of Vertu English & European Ceramics & Glass African & Oceanic Art | Antiquities

MAY 17th & 18th 25th 31st

Asian Art, Chinese Paintings & Japanese Works of Art Medals & Coins, Arms & Armour Modern British & 20th Century Art

JUNE 15th 29th

Fine Arts and Crafts Furniture, Works of Art & Clocks

Dates may be subject to change

+44 (0) 1722 424500 enquiries@woolleyandwallis.co.uk 51­61 Castle Street, Salisbury, SP1 3SU www.woolleyandwallis.co.uk *Price includes buyer’s premium

James Tower (1919­1988) Sea Piece, 1985 SOLD FOR £35,000*

www.woolleyandwallis.co.uk