Woolley & Wallis Auctioneers

DESIGN

WEDNESDAY 18TH & THURSDAY 19TH OCTOBER 2023

SPECIALIST DEPARTMENTS

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

DESIGN

WEDNESDAY 18TH OCTOBER 2023

10.30AM - LOTS 1-309

THURSDAY 19TH OCTOBER 2023

10.30AM - LOTS 310-532 at our City Centre Salerooms, SP1 3SU

VIEWING WILL TAKE PLACE AT OUR OLD SARUM GALLERIES

Saturday 14th October 10.00am – 1.00pm

Tuesday

October

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

Unit 1B, Castle Gate Business Park

Old Sarum, Salisbury, SP4 6QX

Client Parking Available

Saturday 14th October 10.00am – 1.00pm

Monday 16th October 10.00am – 4.00pm

Tuesday 17th October 10.00am – 4.00pm

Wednesday 18th October 9.00am – 10.00am

THE AUCTION ON 18TH & 19TH OCTOBER WILL TAKE PLACE AT OUR CITY CENTRE SALEROOMS

51­61 Castle Street, Salisbury, SP1 3SU

BUYER’S PREMIUM

Each lot is subject to a Buyer’s Premium of 26% plus VAT

TELEPHONE BIDDING

Requests for telephone bids cannot be accepted after 5pm on Tuesday 17th October

CONDITION OF LOTS

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

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

All accounts to be settled prior to collection

EXPORT AND CITES LICENCES

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

ARTIST’S RESALE RIGHT / DROIT DE SUITE

Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Lots marked with a Φ symbol which sell for more than €1000 are subject to the levy, payable by the bidder. Please refer to page 133 for full details.

LIVE ONLINE BIDDING – FREE OF CHARGE

bid.woolleyandwallis.co.uk

Please register by 5pm on Tuesday 17th October

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ILLUSTRATIONS

Front cover: Lot 348

Back cover: Lot 13

Inside cover: Lot 452

Catalogue £10.00 (£15.00 by post)

FROM THE COLLECTION OF PHILLIP ALLEN

1

‘Brown Chrysanthemum’ a Moorcroft Pottery miniature vase designed by William Moorcroft, probably a tradesman’s sample, painted in shades of pink, red and ochre on a green ground, painted green monogram, 7cm. high

Provenance

From the collection of Phillip Allen (1938­2022).

£150­200

2

A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1901, shouldered form with tall cylindrical neck, incised vertical ribs and painted brown detail, incised 6-1901 Martin Bros London & Southall, small frits to neck rim, 12.5cm. high

Provenance

From the collection of Phillip Allen (1938­2022).

£200­300

3

A Ruskin Pottery vase by William Howson Taylor, dated 1910, shouldered form with cylindrical neck, mottled blue, purple and green glaze surface painted with flowers and foliage in silver gilt, and a small Bernard Moore flambe bowl, impressed factory marks, stress lines to top rim of Ruskin vase, 20cm. high (2)

Provenance

From the collection of Phillip Allen (1938­2022).

Literature

Paul Atterbury & John Henson, Ruskin Pottery, Baxendale Press, page 95 for a comparable matt black Ruskin vase with silver foliate decoration illustrated.

£100­200

4

Takeshi Yasuda (born 1943)

a sprigged stoneware unomi, three colour glaze, impressed seal mark, signed paper label, number 35 exhibition label, 10cm. high

Provenance

From the collection of Phillip Allen (1938­2022).

£100­200

5

Takeshi Yasuda (born 1943)

a stoneware twin­handled bowl, covered in an ash glaze, and a similar twin­handled bowl by Tessa Fuchs, impressed seal mark, paper labels, 30cm. wide, (2)

Provenance

From the collection of Phillip Allen (1938­2022).

£150­200

6

John Eyre RBA RI (1847­1928)

Vocal Muses, oil on board for a piano front, framed paper exhibition label to reverse, 66 x 32cm.

Exhibited

Arts and Crafts Exhibition (unspecified)

Provenance

From the collection of Phillip Allen (1938­2022).

£100­200

7

An Art Nouveau textile panel, decorated with simple flower stem repeat, in green and blue, framed 56 x 48cm. (image)

Provenance

From the collection of Phillip Allen (1938­2022).

£100­200

8

An Arts and Crafts silver cloak clasp by Charles Thomas, circular cast in relief with a Bacchanalian child inside a vine border set with pink glass cabochon, inside filigree panels and shield shape panels cast with big­cat heads stamped marks, London 1938, 27.5cm. wide

Provenance

From the collection of Phillip Allen (1938­2022).

Exhibited

The Birmingham Art Circle, 75th Exhibition 1947. This clasp is probably the example exhibited catalogue number 222. (clasp: silver and carbuncle).

£100­200

9

A Royal commemorative silver and amethyst Elizabeth II Coronation cup and cover by Charles Thomas, 1953, the footed, flaring body supporting pierced and chased cover, the rim inscribed EIIR Send Her Victorious Happy and Glorious, Heres a Health to the Queen and a Lasting Peace, the finial set with square amethyst panel, stamped marks, London 1953, (15oz approx), 20.5cm. high, (2)

Provenance

From the collection of Phillip Allen (1938­2022).

£150­200

10

A Limoges enamel panel of two young boys, painted en grisaille, one biting into an apple, set in a metal frame probably designed by Charles Thomas, another classical enamel portrait of Caesar V, and a larger enamel panel of Christ in the temple by FP last panel monogrammed in gilt FP, 15 x 8.5cm (grisaille panel) (3)

Provenance

From the collection of Phillip Allen (1938­2022).

£200­300

11

An enamel panel of a young girl in a blue dress by HB, the rectangular panel enamelled in colours, in ebonised wood frame, monogram in gilt HB, 15.5 x 6.5cm (panel)

Provenance

From the collection of Phillip Allen (1938­2022).

£150­200

12

An enamel panel by Charles E Thomas, depicting injured soldiers recuperating in a library room, in colours, framed, another similar enamel depicting a military woman before a steam train carrying field guns attributed to Charles Thomas, a collection of small enamels and enamelled buttons by Charles Thomas, and an archive relating to the work of Charles Thomas including a National medal for success in Art given to Charles Thomas, a carved wood bookend, his painting box, original pencil drawings of his designs, medallions, Good King Wenceslas published by Cornish Brs, Birmingham illustrated by Arthur Gaskin, and a collection of ephemera, photographs and letters (a lot)

Provenance

From the collection of Phillip Allen (1938­2022).

Exhibited

The Birmingham Art Circle, 75th Exhibition,1947, catalogue number 220 (twelve buttons).

Catalogue notes

Charles Thomas was in the RAOC between 9th August 1916 and 5th March 1919.

£150­200

For Thoughts a fine pair of mounted enamel panels by Ernestine Mills, rectangular panels, one enamelled with pansies, rosemary and forget me not flowers, the other with speedwell and honesty, mounted in gilt wood frames signed in gilt with monogram EM

13.5 x 10cm (panels)

20cm. high (frame), (2)

Provenance

From the collection of Phillip Allen (1938­2022).

£1,000­1,500

14

Charles E Thomas ARBSA (1883­1981)

Seated woman athlete, a plaster maquette of a seated naked woman resting on a plinth, painted green, on wooden base, a plaster maquette of a naked woman standing and the final silvered bronze figure, a plaster maquette of an African male bust on plinth, two plaster maquette for portrait medallions of Private F Mellor, and Colonel B P S Rooke, and two maquette plaster panels, paper labels to medallions, 40cm. high (9)

Provenance

From the collection of Phillip Allen (1938­2022).

£150­200

15

Charles E Thomas ARBSA (1883­1981)

A Black Country Beauty Spot, oil on canvas, in gilt frame unsigned, paper label to reverse, 110 x 84.5cm. (image)

137 x 112cm (frame)

Provenance

From the collection of Phillip Allen (1938­2022).

£200­300

16

16

Charles E Thomas ARBSA (1883­1981)

Sumatran Tiger, oil on canvas in ebonised wood frame, original 1939 paper exhibition label with title to reverse,

75 x 63cm (image)

95 x 82.5cm (frame)

Exhibited

The Birmingham Art Circle, 75th Exhibition, 1947, catalogue number 65, (although possibly painted in 1909).

Provenance

From the collection of Phillip Allen (1938­2022).

£200­300

17

Charles E Thomas ARBSA (1883­1981) Coventry Cathedral, watercolour on paper, framed paper exhibition label to reverse with title, 50 x 37cm (image) 70 x 57cm (frame)

Provenance

From the collection of Phillip Allen (1938­2022).

£80­120

17

18

Charles E Thomas ARBSA (1883­1981) Cathedral, 1919, oil on canvas, framed, and an interior of a church, framed signed CT bottom right, dated 1919 80 x 52cm (image) (2)

Provenance

From the collection of Phillip Allen (1938­2022). £150­200

19

Charles E Thomas ARBSA (1883­1981)

Study of a Naked Woman, 1909 oil on canvas, framed, a study from life of a cow, a pencil portrait of a cat and a watercolour of a cloister, unsigned, monogram SM top right, paper exhibition label to reverse of woman portrait, 90 x 59cm. (4)

Provenance

From the collection of Phillip Allen (1938­2022). £150­200

20

Charles E Thomas ARBSA (1883­1981)

Bridge of Sighs, Venice, 1911 pastel on card, framed, another of St Mark’s Square, another of the Arno River, Florence, two other Italian scenes and a waterfall, monogramed and dated bottom right 19 x 14cm (Bridge of Sighs), (6)

Provenance

From the collection of Phillip Allen (1938­2022). £150­200

END OF COLLECTION

GLASS

21

A Monart glass vase, slender, shouldered cylindrical form, the opaque glass body with mottled pink graduating to purple shoulder, cased in clear, original paper label to base, annotated V LD 42B, 32.5cm. high

£150­200

22

A Whitefriars Cloudy glass vase designed by Marriott Powell, bucket form, mottled green glass cased in clear and a Vasart glass vase, both unsigned, 23cm. high (Whitefriars vase), (2)

£120­180

23

A Whitefriars Cinnamon glass Nuts and Bolts vase designed by Geoffrey Baxter, cast decoration, unsigned, 26.8cm. high

£150­250

24

A rare Gray­Stan glass Bacchus vase by Noel Billinghurst, dated 1931, flaring pink opaline glass, etched with a naked lady feeding grapes to a satyr, etched signature and dated 31, 34.5cm. high

£500­800

25

A Gray­Stan glass goblet vase designed by Elizabeth GraydonStannus, blue glass graduating to amethyst internally decorated with white swirls, the base with applied white glass band, etched signature, 23cm. high

£120­180

26

Morag Gordon (born 1959) a cast glass bowl, clear glass cased in brown with design of stylised figures, etched signature, 34cm. diam.

£120­180

27

Peter Dreisler MBE (1936­2006)

an engraved spherical paperweight, 1980, a Venini glass teardrop dish, with lustre finish, a Lalique clear and frosted Lotus flower glass vase and six other glass items, etched signature and 80 date, 6.5cm. high (9)

£120­180

Φ 28

Samuel J Herman (1936­2020) a large glass vase, dated 1978 blown, swollen form streaked green and rust with white lines, surface decorated with metallic patches, etched Samuel J Herman, 1978, SA1851, 35cm. high

£800­1,200

29

Peter Layton (born 1937)

an ovoid vase, dated 1977, ovoid with flaring rim, streaked green and blue glass cased in clear, with air bubble inclusions, a glass vase by Barry Cullen, and a collection of glass signed and dated 13.5cm. high (a lot)

£200­300

30

Peter Layton (born 1937) and Norman Clarke

an ovoid glass vase, surface decorated with lustre, a George Elliott glass vase, and a collection of contemporary glass signed 11.5cm. high (a lot)

£200­300

31

Peter Layton (born 1937)

a glass vase, dated 1986, irregular compressed form, white glass surface decorated with black, another similar and a collection of contemporary glass, etched signature and date to main vase, 17cm. wide, (a lot)

£200­300

32

Karlin Rushbrooke (born 1944)

six goblets, 1974 green glass with yellow trail decoration, and two Kumela textured glass vases by Kai Blomqvist

etched signature and date, 14cm. high (8)

£120­180

An Art Nouveau Galle solifleur vase designed by Emile Galle, flattened disc form with tall cylindrical neck and flaring top rim, off white glass overlaid with green and pale blue, cameo decorated with flowers, cameo Galle signature, 20cm. high

£200­300 34

An Art Nouveau Galle cameo glass vase designed by Emile Galle, shouldered form, pale yellow glass cased in purple, cameo decorated with a mountain landscape, cameo Galle signature, 9cm. high

Provenance

M & D Moir

Private collection

£250­350

35

An Art Nouveau Galle cameo glass vase designed by Emile Galle, flaring cylindrical form with inverted rim, pale pink glass cased in clear, cameo decorated with waterlily flowers and lily pads, cameo Galle signature, 11.5cm. high

Provenance

M&D Moir.

Private collection.

£300­500

An Art Nouveau Galle cameo glass lamp base designed by Emile Galle, slender, shouldered form, pale pink glass cased in blue, cameo decorated with orchid flowers, cameo Galle signature, 34.5cm. high

Provenance

Private collection.

£300­500

37

A small Art Nouveau cameo glass vase possibly Daum, tapering form, frosted glass cased in pink, cameo decorated with inscription Champagne Grand Napoleon, Cognac La Grande Marque, unsigned, 5.8cm. high

Provenance

Private collection.

£120­180

38

An Art Nouveau Daum glass vase, swollen cylindrical form, pale green graduating to clear, acid etched thistle design, highlighted with gilt, and inscribed ‘Qui S’y Frotte S’y Pique’ gilt Daum Nancy mark to base, 11.5cm. high

Provenance

Private collection.

£300­500

39

An Art Nouveau cameo glass vase, diamondshaped section, textured yellow glass, cased in red, cameo decorated with ‘Cuckoo pint’ flower stems, unsigned, 25.2cm. high

Provenance

Private collection.

£150­200

40

A Daum glass jug, shouldered cylindrical form, blue glass with darker blue pulls, with applied handle, Daum Nancy France 8.5cm. high

Provenance

M & D Moir.

Private collection.

£120­180

41

A Tiffany Studios patinated bronze and Favrile glass ‘Grape’ match­holder, model no.28479, circular form cast in low relief with fruiting vine design, stamped marks, 13cm. diam.

Provenance

M & D Moir.

Private collection.

£120­180

42

A set of four Tiffany Studios Favrile glass shades, each flaring, fluted form with moulded trellis decoration in low relief, covered in golden lustre, acid etched LCT mark, minor rim frits, 9cm. high, 17.8cm. wide (4)

£300­500

An Austrian iridescent glass vase possibly Loetz, shouldered, ribbed form with flaring pulled rim, golden iridescent surface decorated with red, unsigned 20cm. diam.

£150­200

44

A Loetz Orpheus glass ewer, shouldered form, pale green glass body with applied blue glass handle, and ribbon trailed decoration, unsigned, 22cm.high

Provenance

M&D Moir.

Private collection.

£150­250

45

A Josef Riedel Secessionist glass vase, diamond­shaped section, deep green glass, decorated with gilt stylised clipped trees, with applied red glass fruit, unsigned, 20cm. high

Provenance

M & D Moir.

Private collection.

£150­200

46

A Darmstadt Secessionist metal mounted glass vase, the shouldered green iridescent glass vase sitting in cast, patinated metal tripod mount, unmarked, 21cm. high

£150­200

47

A Kralik glass inkwell, textured, iridescent green glass, triangular section, with brass hinged cover, an oval metal mounted glass bowl, an Austrian iridescent glass pedestal vase and two small pink glass salts, unsigned, 14cm. wide (5)

Provenance

Private collection.

£120­180

48

An enamelled glass jug attributed to the Wiener Werkstätte, tapering cylindrical form, enamelled in black and white with landscape vignette, a Tango orange glass bowl with applied black rim in the manner of Michael Powolny, a small Moser blue glass ashtray, a small Loetz cased glass vase and six other glass items, etched WW mark, 18.5cm. high (10)

Provenance

Private collection.

£150­200

49

A Harrach cameo glass vase, shouldered, swollen cylindrical form, clear glass cameo decorated with a Hibiscus flower in pink and green, the rims with gilt bands, unsigned 26.5cm. high

Provenance

Private collection.

£120­180

50

‘Bouquet de Fleurs’ an Argy Rousseau pate de verre glass pendant, circular, cast in low relief with flowers, in blue, cast CAR monogram, 6.3cm. diam.

Provenance

Paul Nicholas, thence by descent, one of a group of pendants bought by Nicholas for his wife. Paul Nicholas was a glassworker in Galle’s workshop from 1893.

M & D Moir.

Private collection.

£500­800

51

A Haida Secessionist enamelled glass vase, shouldered, faceted base with cylindrical neck and flaring rim, enamelled with tall flower stems in blue, green and purple, highlighted in gilt, applied paper label, 17.5cm. high

Provenance

Private collection.

£150­250

52

A Moser Oroplastika glass vase, footed, flaring faceted blue glass, with acid etched band of soldier figures, highlighted in gilt, etched Moser mark, 16cm. high

Provenance

M & D Moir.

Private collection.

£150­250

53

A WMF Ikora glass lamp base, ovoid with chrome metal collar, mottled cream and pale blue with blue veins, cased in clear unsigned, 26cm. high

£150­200

54

A George De Feure amethyst glass vase, cast in low relief with dancing figures, cast De Feure signature to base, 14cm. high

£120­180

LALIQUE

55

‘Roger’ a Lalique opalescent glass box and cover designed by Rene Lalique, circular form, cast R Lalique mark to side of cover, 13.7cm. diam. (2) £250­350

56

‘Avalon’ No.986 a Lalique opalescent glass vase designed by Rene Lalique, wheel-cut signature, etched No. 986, small bruise to top rim, 14.5cm. high £600­1,000

57

‘Ceylan’ No.905 a Lalique opalescent glass vase designed by Rene Lalique, wheel-cut R Lalique, chips to base and top rim, 24cm. high £800­1,200

58

‘L’Origan’ a Lalique clear and frosted glass box and cover made for Coty designed by Rene Lalique, circular form, cast R Lalique Depose and Coty, 8.5cm. diam. (2)

£120­180

59

A modern Lalique clear and frosted glass vase, baluster form, cast in low relief with flowers and foliage, etched Lalique France to base, small chip to base, 28cm. high

£150­250

60

A Modern Lalique clear and frosted glass model of a cat, modelled seated licking its paw, in original presentation box, a Lalique Owl, a Lalique figure of young woman praying, and a Daum clear glass model of a seated cat, etched marks, applied label to Lalique cat 12.3cm. high (4)

£150­250

61

‘Lotus’ five Lalique clear glass table glasses designed by Rene Lalique, each modelled in low relief with lotus leaf design, comprising three Champagne bowls and two wine glasses, engraved R Lalique France, 8.6cm. high (champagne), 10.7cm. high (wine), (5)

£150­200

62

clear

frosted

Provenance

Lalique Christie’s 22nd May 2013, lot 123.

£500­800

63

Provenance

M & D Moir.

Private collection.

£800­1,200

‘Beauvais’ No.1069 a Lalique

and

glass vase designed by Rene Lalique, script Lalique France mark, 19.5cm. high

‘Roitelets’ a Lalique sepia stained clear and frosted glass vase designed by Rene Lalique, stencil mark R Lalique, 28.5cm. high

64

A Daum Nancy glass bowl, circular with fluted rim, pale green glass internally decorated with air bubbles, etched Daum Nancy France to base rim, 25.5cm. diam.

£120­180

65

A Baccarat glass desk paperweight, modelled as a seated frog, and a Czechoslovakian Exbor green glass paperweight, acid etched marks, 10cm. wide (frog), (2)

£120­180

66

A graduated set of three Kosta Boda glass candlesticks, clear, cylindrical candlesticks with cast surface decoration, flaring top rim, applied label, 30cm. high (tallest) (3)

£120­180

67

A glass table lamp probably Murano, footed cylindrical form, blue glass in thick clear casing with bubbles, unsigned, 24cm. high (glass)

£120­180

68

A Venini green glass Pharmacist’s jar and cover designed by Paolo Venini, designed 1958, footed urn shape vase with swollen cover and tall pointed finial, acid etched Venini mark to base, 21.5cm. high (2)

Literature

Venini Catalogue Raisonne 1921-1986, Skira Publications, page 207 figure 95 this shape illustrated.

£120­180

69

A Magnor enamelled glass pedestal bowl, frosted glass enamelled in black with geometric design, and three graduated bowls similar, applied label, 21cm. high (4)

£120­180

70

An etched glass vase by Paolo Martinuzzi, shouldered, rectangular clear glass, etched with stylised figures, two Venini miniature glass vases in the manner of Carlo Scarpa, eight Italian glass vases in the manner of Venini or Paolo Martinuzzi and seven other miniature glass vases, an Italian glass miniature hen, three other glass animals and ten glass miniature corked bottles each set with mineral sample, 17cm. wide (32)

£120­180

71

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

Provenance

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

£120­180

72

A Nuutajarvi footed glass vase designed by Kaj Franck, faceted clear glass foot with flaring cylindrical smoked glass body, applied Nuutajarvi label, 26.5cm. high

£150­200

73

A Kosta glass Zebra vase designed by Vicke Lindstrand, flat, elliptical form, red glass with white lines, cased in clear, etched Kosta 1116 to base, 14cm. high

£120­180

74

An Orrefors glass Ariel bowl by Edvin Ohrstrom, footed form, blue glass with pulled bubble radiating panels, cased in clear, etched Orrefors Ariel 1711 E Edvin Ohrstrom, 19cm. wide

£180­220

75

An Iittala glass Varsanjalka vase designed by Tapio Wirkkala, swollen cylindrical form with cut vertical lines, etched Tapio Wirkkala 56, 22.3cm. high

Literature

Iittala 125 years of Finnish Glass, Arnoldsche, page 243 for a comparable vase.

£150­200

76

A Riihimaki Harlekiini (Harlequin) glass tazza and vase designed by Nanny Still McKinney, the blue glass shallow bowl tazza on clear glass stem, the vase of tapering cylindrical form, unsigned, 18.5cm. high (vase), (2)

Literature

Charlotte & Peter Fiell, Scandinavian Design, Taschen, page 610 this range illustrated.

£150­200

CERAMICS

77

A Doulton Lambeth stoneware Queen Victoria 1837-1897 jug, ovoid applied with portrait roundels and inscription to neck, a similar stoneware commemorative mug, a Doulton Lambeth stoneware ‘Relief Exhibition 1887­1889’ jug, a Doulton Lambeth ‘General Gordon’ jug, a Royal Doulton stoneware drinking jug cast with bearded mask panel, and five other salt­glaze stoneware pieces, impressed factory marks, minor damages, 18.5cm. high (10)

£120­180

78

An Aesthetic Movement Royal Worcester pedestal dish in the manner of Charles Baldwin, rectangular lily pad bowl with inverted rim on a water­lily flowerbud foot, painted with a starling perched on a bough, whilst another flies away, in colours, highlighted in gilt, a Thomas Ivester Lloyd Leaping Hounds, ink on paper framed and a coloured lithograph of Westminster Pit, framed, printed factory mark, 25cm. wide (3)

£120­180

79

A large Art Nouveau Royal Doulton stoneware baluster vase by Margaret E Thompson, painted with a band of stylised flowerheads in colours on a pale green ground, between mottled blue­lavender bands, impressed factory marks, painted monogram, 36cm. high

Provenance

Sylvia Powell Decorative Arts, 2002. Private collection.

£300­500

80

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

£100­200

81

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

£300­500

82

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

£200­300

83

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

Provenance

The Redstone collection.

£200­300

84

A pair of William De Morgan Merton Abbey Persian ‘Mongolian’ tiles, each painted with a stylised lotus flower in blue, turquoise, green and black on a white ground, another William De Morgan tile painted with three daisy flowers and ten various tiles, impressed factory marks, 15.5cm. square (13)

£300­500

85

A William De Morgan Persian single­handled vase, shouldered form with knopped neck, painted with foliage sprays in aubergine, green, turquoise and blue on a white ground, unsigned, professional restoration, 25cm. high

£300­500

An early Pilkington’s Lancastrian twin­handled tazza, covered in a streaked aventurine glaze, impressed P mark, 31.5cm. diam. 11.5cm. high

Provenance

The family of Lewis F Day.

£120­180

87

A Maw & Co pottery vase possibly designed by Lewis F Day, ovoid with tapering neck, painted with interlaced vine design in orange lustres, unsigned, neck re-stuck, 25cm. high

Provenance

The family of Lewis F Day.

£120­180

88

A Pilkington’s Lancastrian vase, shape no. 2153, shouldered form, covered in an aventurine glaze, two Bernard Moore vases, a Salopian vase, a Holyrood dish and four other vases, impressed marks, 14cm. high (9)

£120­180

89

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

£200­300

90

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

£200­300

91

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

£150­200

92

A Ruskin Pottery crystalline glaze vase, dated 1931, shouldered form with flaring neck, mottled cream graduating to orange and blue crystalline glaze, and another similar, stamped marks, 15cm. high (2)

£120­180

93

A Ruskin Pottery stoneware brooch in white metal mount, the mount pierced and stamped with foliate frame, with white ceramic roundel, a Ruskin Pottery high­fired stoneware roundel unmounted and three others similar, various factory marks, 3.8cm. wide (5)

£120­180

94

A Ruskin Pottery vase by William Howson­Taylor, dated 1920, slender baluster form, covered in a yellow lustre glaze, and a Shelley Pottery ‘Green Block’ Regent milk­jug, impressed marks, 27.5cm. high (2)

£120­180

95

A large Ruskin Pottery high­fired stoneware jardiniere by William Howson­Taylor, dated 1925, shouldered form with flaring rim, mottled sang de boeuf over silver grey, with lavender and turquoise to the base, impressed marks to base, 17.5cm. high

£500­700

96

A large Ruskin Pottery high­fired stoneware vase by William HowsonTaylor, low, shouldered body with tall tapering neck and flaring top rim, covered in a mottled red over white glaze, with turquoise splashes and lavender, painted Ruskin Pottery mark, 32.5cm. high

£2,000­3,000

A Linthorpe Pottery vase designed by Dr Christopher Dresser, shouldered, twin­handled form, incised with geometric bands, glazed green and ochre, unsigned, minor chips, 24cm. high

£400­600

98

A Linthorpe Pottery vase designed by Dr Christopher Dresser, shape no.157, shouldered form, with swollen cylindrical neck, cast geometric bands, green and white streaked glaze over brown, impressed factory marks and facsimile signature, 31cm. high

£400­600

99

An Ault Pottery vase designed by Dr Christopher Dresser, shape no.129, flat disc form cast in low relief with loop handles and flaring neck, impressed mark, 19cm. high

£150­200

100

A Linthorpe Pottery bottle vase designed by Dr Christopher Dresser, ovoid with tapering cylindrical neck, covered in a streaked green and white running glaze, impressed factory marks, facsimile signature, 23cm. high

£200­300

101

A Linthorpe Pottery Propellor vase designed by Dr Christopher Dresser, twisted form with flaring neck, covered in a streaked blue glaze over ochre, unsigned, 21.5cm. high

£300­500

102

A Linthorpe Pottery vase designed by Dr Christopher Dresser, shape no.24, shouldered dimpled body with tall cylindrical neck, covered in a streaked green glaze over brown, impressed factory marks, 24cm. high

£150­200

103

A rare Linthorpe Pottery vase designed by Dr Christopher Dresser, compressed form on three angled feet, cast in low relief with radiating geometric columns, covered in a streaked green and white glaze, impressed mark, facsimile signature, hairline crack, 13cm. high

£300­400

A Minton Pottery Cloisonne vase the design attributed to Dr Christopher, compressed form on flaring tripod spike feet, painted with a band of wild rose flowers and hips, in colours, on a turquoise ground, highlighted in gilt, impressed factory marks, 17cm. wide

£150­200

105

A Mintons Pottery vase probably designed by Dr Christopher Dresser, compressed form on three spike feet, streaked blue glaze on a turquoise ground, impressed factory marks, 19cm. wide

£120­180

106

A pair of Mintons Pottery Cloisonne moon flasks, painted with wildflowers and raspberries, in colours on a turquoise ground, highlighted in gilt unsigned, 19.8cm. high (2)

£300­500

107

A pair of Minton Pottery Cloisonne vases the design attributed to Dr Christopher Dresser, compressed form with tall cylindrical necks with raised turquoise jewels, printed and enamelled with stylised flowers and geometric design in colours and gilt, indistinct impressed marks to base, painted H to one, small bruise to top rim of one, 10cm. high (2)

£250­300

108

A large Mintons Pottery Cloisonne moon flask designed by Dr Christopher Dresser, printed and painted in colours and gilt with a central flowerhead motif, inside a band of Chinese dragons, the neck with stylised mask panels, on a turquoise ground, printed factory mark, professional restoration to base, 32cm. high

Literature

Widar Halen Christhopher Dresser Phaidon, page 104 plate 102 for a comparable vase illustrated.

£1,000­1,500

109

A large Ault Pottery jardiniere designed by Dr Christopher Dresser, shouldered form with pulled handles, moulded in low relief, glazed turquoise, olive and brown, impressed mark, old restoration, 32.5cm. high

£150­200

110

A Linthorpe Pottery vase designed by Dr Christopher Dresser, model no.210, ovoid with flaring neck and fluted rim, covered in a crackled white and claret red glaze, over tan, impressed factory marks, facsimile signature, 18.3cm. high

£200­300

111

A Linthorpe Pottery urn vase designed by Dr Christopher Dresser, model no.433, covered in a streaked brown, green and blue glaze, impressed factory marks, facsimile signature, 23.5cm. high

£200­300

112

A rare Linthorpe Pottery Peruvian pouring vessel designed by Dr Christopher Dresser, domed form with twin spouts supporting overslung handle, cast in low relief with a stylised face, glazed mottled green and ochre, unsigned, minor glaze chips, 15.5cm. high

£800­1,200

113

A Foley Faience twin­handled vase probably designed by Frederick Rhead, twin­handled, shouldered form, slip decorated with Art Nouveau flowers and foliage in yellow, green, and ochre on a midnight blue ground, another similar and another decorated with water lily flowers in slip on a yellow ground, printed factory marks, incised marks, restoration, 34.5cm. high, (3)

£200­400

114

A Foley Intarsio vase and cover designed by Frederick Rhead, model no.3135, shouldered form with domed top, printed and painted with a band of rabbits between Art Nouveau floral borders, in colours, printed factory marks, restored, 38cm. high (2)

£120­180

115

A Foley Intarsio jardiniere designed by Frederick Rhead, model no.3170, printed in colours with a frieze of fish, in colours, a Foley Intarsio bowl model no.3064 printed with yellow flowers and a Foley Faience jug, printed factory marks, restored, 18.5cm. high (3)

£120­180

116

A Foley Intarsio ‘Saint Cecilia’ vase designed by Frederick Rhead, model no.3024, shouldered form with tall tapering neck and applied loop handles, printed and painted in colours with figural panels flanked by panels of birds perched amidst berried foliage, printed factory marks, number 3024, restored, 41cm. high

Literature

Robert Prescott­Walker, Collecting Shelley Pottery, Francis Joseph, page 37 for a comparable vase.

£120­180

117

‘Wisteria’ a Moorcroft Pottery egg cup set for four designed by William Moorcroft, in blue, green, purple and red, on an electroplated stand with four spoons, impressed factory mark, stamped marks to stand, 14.5cm. high (9)

£200­300

118

‘Clematis’ a Moorcroft Pottery ginger jar and cover, painted in colours, a Moorcroft Pottery ‘Anemone’ ginger jar and cover, a large ‘Pink Magnolia’ ginger jar and cover on a white ground, two graduated ‘Pink Magnolia’ ginger jar and covers on blue, three small Moorcroft Pottery ginger jars and a vase by Rachel Bishop, painted blue signature, 16cm. high (17)

£200­400

119

‘Fresia’ a large Moorcroft Pottery lamp base, painted in pink, yellow and blue on a green ground, impressed factory marks, painted blue signature, paper label, 38cm. high

£150­200

120

‘Flambe Anemone’ a Moorcroft Pottery lamp, shouldered cylindrical form, painted in colours under a rich flambe ground, with gilt metal mounts marks concealed, 53cm. high

£300­500

121

‘Pomegranate’ a large Moorcroft Pottery vase designed by William Moorcroft, dated 1919, shouldered form, tubeline decorated in shades of pink, purple, ochre and blue, painted green signature and date, small bruise to foot rim, 40.5cm. high

£500­1,000

122

A James Macintyre & Co vase designed by William Moorcroft, shouldered form, tubeline decorated with panels of flowers in colours, printed factory mark, painted green signature, 18cm. high

£400­600

123

‘Cornflower’ a Moorcroft Pottery solifleur vase designed by William Moorcroft, tubeline decorated with flowers in blue on a celadon green ground, painted green signature, 28.5cm. high

£300­500

124

A James Macintyre & Co Florian Ware vase designed by William Moorcroft, shouldered form, tubeline decorated with flower panels in blue, green and yellow, printed factory marks, painted green signature, 22cm. high

£500­800

125

‘Pomegranate’ a Moorcroft Pottery biscuit box and cover designed by William Moorcroft retailed by Liberty & Co, square section, tubeline decorated in shades of pink, purple, ochre and green painted green signature, printed Liberty mark, small chip to top rim, 16.5cm. high, (2)

£300­500

126

A tall Royal Cauldron vase by Edith Gater, slender baluster form, tubeline decorated with Chinese style symbols, in brown, turquoise and blue on a salmon pink ground, and another smaller, printed factory marks, 51cm. high (2)

£150­200

127

‘Shepherd’ M17 a rare Royal Doulton miniature figure, modelled standing in black cape, hat and breeches, printed Doulton mark, 9.5cm. high

£150­250

128

‘John Peel’ a Royal Doulton Loving cup designed by Charles Noke, modelled in low relief, painted in colours, printed factory mark, number 352/500, stress hairlines, 23.5cm. high

£150­250

129

A Wemyss Pottery mug, painted with a resting Friesian cow, in colours impressed Wemyss mark, 9cm. high

£100­150

130

A Wemyss Pottery honey­pot and tray, square section painted with bees flying around a beehive, in colours, three small Wemyss preserve pots, one cover, a Wemyss B Adams sleeping pig and a Plichta coffee can, impressed marks, 19cm square (tray), (8)

£100­150

131

A Shelley Pottery Tall Trees sandwich set for six, pattern 11678, printed and enamelled in black and yellow on a white ground, with a sunrise country scene, comprising rectangular twin­handled tray with electroplated stand, and six side plates, printed and painted factory marks, 33cm.wide (tray), (8)

£120­180

132

An Art Deco Aynsley Butterfly tea set for twelve, pattern 1322, comprising twelve cups, saucers and side plates, two cake plates, milk­jug and sugar basin, cast butterfly handles, decorated in pale blue with gilt rim, printed and painted marks, small chip to rim of one cup, 17.5cm. diam (side plates), (40)

£1,000­1,500

WEDGWOOD

133

King Edward VIII a rare Wedgwood Pottery Coronation mug designed by Eric Ravilious, printed and painted in shades of blue, black and yellow, impressed and printed factory mark, bruise to side of handle, 10.2cm. high

Provenance

Private collection.

£1,000­1,500

134

King George VI 1937 a rare Wedgwood Pottery Coronation mug designed by Eric Ravilious, printed and painted in shades of green, black and orange, impressed and printed factory mark, 10.4cm. high

Provenance

Private collection.

£1,000­1,500

135

King George VI 1937 a rare Wedgwood Pottery Coronation mug designed by Eric Ravilious, printed and painted in shades of blue, black and yellow, impressed and printed factory mark, 10.2cm. high

Provenance

Private collection.

£1,000­1,500

134

133

135

136

A Wedgwood Pottery vase by R Mallory, dated 1930, no.27, swollen, cylindrical form, painted with sprays of stylised flowers in red, orange, blue and brown on a cream ground, impressed factory marks, painted signature and date, 16.5cm. high

Provenance

Richard Condon (1915­1996)

£120­180

137

Monkeys a Wedgwood Pottery figure group designed by John Skeaping, covered in a celadon glaze, impressed Wedgwood J Skeaping, glaze line, 17cm. high

£200­300

138

A large Wedgwood Pottery vase designed by Keith Murray, ovoid ribbed form, covered in a matt white glaze, printed factory mark, KM monogram, 23cm. high

£200­300

139

A Wedgwood Pottery vase designed by Keith Murray, ovoid, ribbed form covered in a matt yellow glaze, printed factory mark, KM monogram, small chip to foot rim, 16cm. high

£100­200

140

A Wedgwood Pottery vase designed by Keith Murray, footed form, the flaring fluted body glazed matt blue, printed factory mark, KM monogram, small chips to foot, 24cm. high

£150­200

141

A Wedgwood Pottery vase designed by Keith Murray, shape no. 4124, footed, flaring form, glazed matt green, another Wedgwood vase glazed matt white, another glazed matt yellow and a wall pocket similar, printed factory mark, facsimile signature, hairline to main vase, 21cm. high (4)

£100­200

142

A Wedgwood Pottery vase designed by Keith Murray, shape no.3805, shouldered form with horizontal ribs, covered in a matt white glaze, impressed marks, printed facsimile signature, small stress hairlines, 28.5cm. high

£150­200

143

A Wedgwood Pottery vase designed by Keith Murray, shape no.3805, shouldered form with horizontal ribs, covered in a matt green glaze, printed factory mark and facsimile signature, 28.5cm. high

£200­300

144

A Wedgwood Pottery vase designed by Keith Murray, shape no.3805, shouldered form, covered in a matt yellow glaze, printed factory mark, facsimile signature, 28.5cm. high

£250­350

145

A Wedgwood Pottery vase designed by Keith Murray, shape no.3820, compressed shouldered form, covered in a matt green glaze, impressed marks, printed facsimile signature, 17cm. high

£200­300

146

‘Woodland Elves IV’ a Wedgwood Fairyland lustre small Malfrey pot designed by Daisy Makeig­Jones, printed and painted in colours and gilt on a flame lustre ground, printed and painted factory marks, 8cm. high

£400­600

147

‘Daventry’ a Wedgwood Fairyland lustre bowl designed by Daisy Makeig­Jones, pattern Z5419, printed and painted in gilt and green on a red lustre ground, printed and painted factory marks, 14.4cm. diam.

£300­500

148

‘Leapfrogging Elves’ a Wedgwood Fairyland lustre bowl designed by Daisy Makeig­Jones, printed and painted in colours and gilt on a flame lustre ground printed and painted factory marks, 10cm. wide.

Provenance

Michael Kayne.

£400­600

149

‘Leapfrogging Elves’ a Wedgwood Fairyland lustre bowl designed by Daisy Makeig­Jones, printed and painted in colours on a black lustre ground, printed and painted factory marks, 12cm. diam.

Provenance

Michael Kayne.

£300­500

150

A Wedgwood Fairyland lustre Rainbow vase designed by Daisy Makeig­Jones, printed and painted in colours and gilt, printed and painted factory marks, 20.5cm. high

£400­600

151

‘Willow’ a Wedgwood Fairyland lustre vase designed by Daisy Makeig­Jones, printed and painted in colours and gilt on a midnight blue ground, printed and painted factory marks, 19cm. high

Provenance

Michael Kayne.

£800­1,200

152

‘Jewelled Tree’ a Wedgwood Fairyland lustre vase and cover designed by Daisy Makeig­Jones, slender baluster form, printed and painted in colours and gilt on a black lustre ground, printed and painted factory marks, professional restoration to top rim, 29cm. high (2)

Provenance

Michael Kayne.

£1,000­2,000

153

A Wedgwood Fairyland Lustre Pillar vase designed by Daisy Makeig­Jones, shape 3451, printed and painted in colours and gilt with panel decoration, printed and painted factory marks, 30cm. high

Literature

Una Des Fontaines, Wedgwood Fairyland Lustre, page 140 plate 28 for a comparable vase illustrated.

£4,000­6,000

154

A Wedgwood Argus Pheasant lustre bowl designed by Daisy Makeig­Jones, printed and painted in colours and gilt to the exterior with a frieze of exotic birds, on a white ground, the interior with a band of birds perched in circular hoops, on an orange lustre ground, printed factory marks, 21.5cm. diam.

£600­1,000

155

A Wedgwood Butterfly lustre miniature bowl designed by Daisy Makeig­Jones, printed in gilt on a purple lustre ground, another Dragon lustre miniature bowl, two other Wedgwood lustre miniature bowls, a Crown Devon vase and cover and four various lustre miniature bowls, printed factory marks, 8cm. diam. (10)

Provenance

Michael Kayne.

£200­400

156

A Wedgwood Fairyland lustre Octagonal bowl designed by Daisy Makeig­Jones, the interior decorated in the ‘Ship and Mermaid’ pattern on pearl lustre ground, the exterior in the ‘Fiddler in Tree’ pattern on a black lustre ground, printed and painted factory marks, 19.5cm. diam.

Literature

Una des Fontaines, Wedgwood Fairyland Lustre, page 152 plate 33 for a comparable bowl with flame lustre ground.

£1,500­2,000

157

A Wedgwood Pottery Dragon lustre bowl designed by Daisy Makeig­Jones, pattern no. Z.4829, printed in gilt with Chinese dragons on a pale blue lustre ground, the interior with dragons on a pearl lustre ground printed and painted factory marks, 22.5cm. diam.

£150­200

158

A Wedgwood Butterfly lustre bowl designed by Daisy Makeig­Jones, printed and painted in colours and gilt on a pearl lustre ground, the interior orange, printed and painted factory marks, 22.5cm. diam.

Provenance

Michael Kayne.

£150­200

159

A Wedgwood Dragon lustre bowl designed by Daisy Makeig­Jones, octagonal, printed in gilt on a blue ground, the interior with gilt dragons on a white ground, printed and painted marks, 18cm. diam.

Provenance

Michael Kayne.

£150­200

CLARICE CLIFF

160

A Clarice Cliff Bizarre Age of Jazz figure designed by Clarice Cliff, modelled as a dancing couple, he in tails, she in an orange dress, glazed in colours printed factory marks, professional restoration to waist, 19cm. high £3,000­5,000

162

161

‘Inspiration Persian’ a Clarice Cliff Bizarre plate, octagonal, painted in colours, printed factory mark, 22cm. diam.

£120­180

162

‘Bizarre by Clarice Cliff’ a rare Clarice Cliff advertising bowl, painted in colours printed factory marks, scratches,16cm. diam.

£150­200

163

‘Orange House’ a Clarice Cliff Fantasque Bizarre Cylindrical preserve pot and cover, shape no.30, painted in colours, the lid banded in blue and green, printed factory marks, 9cm. high (2)

Provenance

Private collection of Clarice Cliff

£600­1,000

164

‘Blue Japan’ a Clarice Cliff Bizarre Cylindrical preserve pot and cover, painted in colours printed factory marks, 9.5cm. high (2)

Provenance

Private collection of Clarice Cliff

£120­180

165

‘Oasis’ a rare Clarice Cliff Bizarre bowl and cover, shape no.645, painted in colours inside green and pink bands, printed factory marks, 15.5cm. diam. (2)

£120­180

166

‘Rudyard’ a Clarice Cliff Fantasque Bizarre biscuit barrel and cover, shape no.335, painted in colours, with cane handle, printed factory mark, 15.5cm. high (2)

£300­500

167

‘Green Erin’ a Clarice Cliff Bizarre vase, shape no.358, painted in colours between green and black bands, printed factory mark, 20.5cm. high

Provenance

Private collection of Clarice Cliff

£800­1,200

168

‘Acorn’ a Clarice Cliff vase, shape no.362, painted in colours printed factory mark, 20.5cm. high

Provenance

The Barry Jones Collection of Clarice Cliff, Christie’s South Kensington, 25th February 2000, lot 59.

Clarice Cliff, Christie’s South Kensington, 29th March 2001, lot 288.

£120­180

169

‘Honolulu’ a Clarice Cliff Fantasque Bizarre vase, shape no.362, painted in colours between green and black bands, printed factory marks, 20cm. high

Provenance

Private collection of Clarice Cliff

£800­1,200

170

‘Rudyard’ a Clarice Cliff Fantasque Bizarre vase, shape no.602, flaring cylindrical form, painted in colours between blue, green and pink bands, printed factory mark, 24cm. high

Provenance

Private collection of Clarice Cliff

£500­800

171

171

‘Latona Tree’ a Clarice Cliff Bizarre vase, shape no.369A, painted in colours on a Latona ground, printed and painted marks, 19.4cm. high

Provenance

Private collection of Clarice Cliff

£500­800

172

‘Gloria Bridge’ a Clarice Cliff Bizarre vase, shape no.265, painted in pastel colours, printed factory marks, 15cm. high

Provenance

Private collection of Clarice Cliff

£150­250

173

‘Clouvre Waterlily’ a Clarice Cliff Inspiration Bizarre vase, painted with flowers in colours on a mottled midnight blue ground over turquoise, printed factory marks, painted Clouvre, 21cm. high

Provenance

The Louis K and Susan P Meisel Collection, Bonham’s, lot 137. Private collection.

£500­1,000

174

‘Cafe Au Lait Red Roofs’ a Clarice Cliff Bizarre vase, shape no.205, painted in colours on a speckled green ground, printed factory mark, 21.5cm. high

Provenance

Private collection of Clarice Cliff

£300­500

175

‘Summerhouse’ a Clarice Cliff Fantasque Bizarre vase, shape no. 365, painted in colours inside black and red bands, printed factory mark, 21cm. high

Provenance

Private collection of Clarice Cliff

£1,200­1,800

176

‘House and Bridge’ a Clarice Cliff Fantasque Bizarre vase, shape no.365, painted in colours between yellow, orange and black bands, printed factory marks, 20.5cm. high

Provenance

Private collection of Clarice Cliff

£1,200­1,800

177

‘Orange Roof Cottage’ a Clarice Cliff Fantasque Bizarre vase, shape no.365, painted in colours between orange, yellow and black, printed factory marks, professional restoration, 20.5cm. high

Provenance

Private collection of Clarice Cliff

£800­1,200

178

‘Autumn’ a Clarice Cliff Fantasque Bizarre bowl, painted in colours between green, yellow and red bands, printed factory marks, overpainted bands to interior, 23.5cm. diam.

£250­350

179

‘Red Tulip’ a Clarice Cliff Fantasque Bizarre bowl, painted in colours, printed factory marks, 19cm. wide

Provenance

The Louis K and Susan P Meisel Collection, Bonham’s, lot 9. Private collection of Clarice Cliff

£120­180

180

‘Fruit’ a Clarice Cliff Fantasque Bizarre bowl with fluted rim, painted in colours between orange and blue bands, printed factory marks, 30cm. diam.

Provenance

The Louis K and Susan P Meisel Collection, Bonham’s, lot 16. Private collection.

£200­300

181

‘Melon’ a Clarice Cliff Fantasque Bizarre bowl, painted in colours inside an orange band, printed factory marks, 25cm. diam.

£200­300

182

‘Sunray’ a Clarice Cliff Bizarre bowl, painted in colours, the interior with blue band, printed factory marks, blue band overpainted, 21cm. diam.

£300­400

183

‘Sunray’ a Clarice Cliff Bizarre Conical beaker, painted in colours printed factory marks, professional restoration to top rim 9.5cm. high

£300­500

184

‘Applique Lucerne’ a Clarice Cliff Bizarre single­handled Lotus jug, painted in colours, between black bands, printed and painted marks, 29.5cm. high

£6,000­10,000

185

‘Delecia Poppy’ a Clarice Cliff Bizarre bowl, painted in colours, and a ‘Delecia Pansies’ plate printed factory marks, 22cm. diam. (bowl), (2)

£200­300

186

‘Banded’ a Clarice Cliff bowl, painted with alternate red and yellow bands, the interior with blue rim band, painted red Bizarre signature, interior restored, 20cm. diam.

Catalogue notes

It has been suggested the red Bizarre mark is in Clarice Cliff’s own hand.

£150­250

187

‘Acorn’ a Clarice Cliff Bizarre Conical Rose bowl, shape no. 400, painted in colours printed factory mark, 15cm. high

£120­180

188

‘Umbrellas and Rain’ a Clarice Cliff Fantasque Bizarre vase, shape no.341, painted in colours between orange and blue bands, printed factory marks, 13.5cm. high

Provenance

Private collection of Clarice Cliff

£400­600

189

‘Original Bizarre’ a Clarice Cliff Isis vase, painted with a band of triangles in orange, brown, purple and blue, outlined in black, between orange and blue bands, printed factory mark, 24.5cm. high

£300­400

190

‘Viscaria’ a Clarice Cliff tube vase, shape no.465, painted in colours printed factory mark, 18.5cm. high

£200­400

191

‘Blue Crocus’ a Clarice Cliff Bizarre vase, shape no.602, painted in colours between yellow and blue bands, printed factory mark, painted 6393, 17cm. high

£200­300

192

‘Orange Gardenia’ a Clarice Cliff Fantasque Bizarre flower vase, shape no.453, painted to the interior and exterior in colours, printed factory mark, stained firing stress hairline to interior, 17cm. high

Provenance

This vase is photographed

£150­250

193

‘Orange Lily’ a Clarice Cliff Fantasque Bizarre vase, shape no.365, painted in colours between green, orange and blue bands, printed factory mark, 17.5cm. high

Provenance

Private collection of Clarice Cliff

£250­350

194

‘Applique Avignon’ a Clarice Cliff Bizarre vase, shape no.356, painted in colours, printed and painted factory marks, 17.5cm. high

Provenance

Private collection of Clarice Cliff

£1,500­2,000

with an arrangement of roses by Miss Dorothy Cullen for her parents Golden Wedding.

195

A Poole Pottery Persian Deer vase by Gwen Haskins, shouldered form, painted in colours on a white ground, impressed factory mark, painted signature, fine stress hairline to top rim, 34cm. high

£100­200

196

A Carter Stabler & Adams Poole Pottery vase, shape no.212, shouldered form with collar rim, covered in a matt brown glaze, the shoulder glazed buff, a Poole Pottery cylindrical vase with Picotee spray glazed bands and a Harold Stabler Burnham Beeches lithographic framed poster, impressed factory mark, incised 212, 28.5cm. high (3)

Provenance

Sir Ambrose Heal, thence by descent.

£150­200

197

A Poole Pottery Contemporary Peanut vase, pattern X/PLC, painted with geometric columns in mushroom and pale grey, highlighted in white, a Poole Pottery Contemporary vase pattern X/PJB, two Poole Pottery Freeform vases and a Poole Pottery Studio bowl, printed and painted factory marks, (5)

£200­400

198

A Poole Pottery Delphis charger by Pamela Bevans, painted with geometric abstract design in yellow, orange, blue and black on a red ground, printed and painted factory marks, 36cm. diam.

£120­180

199

A Crown Devon Memphis pottery vase designed by Colin Melbourne, shape CM5, swollen cylindrical form, pale blue matt glaze with gilt bands, and another Crown Devon CM7 vase designed by Colin Melbourne, impressed and printed marks, 21.5cm. high (2)

£150­200

200

A pair of Rye Pottery vases, tapering cylindrical form, tin­glazed in blue and yellow, with lightly incised decoration, printed factory marks, 30.5cm. high (2)

£120­180

201

A Beswick model of an Owl designed by Colin Melbourne, model no.1420, glazed grey on a lime green ground, a Polar Bear, a Bull and a small Seal designed by Colin Melbourne, printed factory marks, 12.5cm. high (4)

£200­400

202

A Troika Pottery Shoulder Bottle vase by Linda Taylor, modelled in low relief with geometric panels, in shades of blue, green, black and brown on a white ground, a Troika Pottery Slab vase, a Coffin vase, a Wheel vase, a Cube vase and two Marmalade pots, painted factory marks, 20cm. high (7)

£400­500

203

An early Troika Pottery Shoulder Bottle vase designed by Lesley Illsley, impressed and incised with a keypad design, above a circle with impressed stamps, in blue on a bronze ground, painted mark and artist monogram, 20cm. high

Provenance

Purchased by the vendor directly from the Wheal Dream in June 1965 whilst on holiday.

Literature

Ben Harris & Lawrence Illsley Troika 6383, catalogue no.15 for comparable items

£150­200

205

Yayoi Kusama (born 1929) ceramic plate framed 26cm. diam.

£150­200

206

Sir Grayson Perry (born 1960)

Lion Queen a plate, printed with heraldic lion and border of portrait busts and ER monograms in black, the rim highlighted in gilt, framed unsigned 21cm. diam.

£120­180

204

A rare Troika Pottery Helmet lamp base by Alison Brigden, designed by Leslie Illsley, the cut, ovoid form covered in a bronze glaze, on domed base, painted Troika and AB monogram, 28.5cm. high

Provenance

The Collection of Pat and David Redstone.

Literature

Carol Cashmore, Troika Pottery, plate 38 for a comparable form.

Ben Harris & Lawrence Illsley, Troika 63-83, HA publishing, page 130 for a comparable Helmet sculpture illustrated.

£2,000­3,000

207

Philippa Perry (born 1957) Normal Life, earthenware plate made for Grayson Perry’s Art Club, printed in blue and white, framed unsigned 27cm. diam.

£150­200

208

A Fulham Pottery vase probably designed by Constance Spry, model no.FMC2, footed, twinhandled form, glazed interior, another Fulham Pottery twin­handled vase glazed grey, a Fulham Pottery Hulingham Club jug and another small vase, impressed and incised marks, stress hairlines to main, 44cm. wide (4)

£120­180

209

209

A Fulham Pottery vase designed by Gerard De Witt, four flaring tubes, on stepped base, covered in a matt white glaze impressed marks, no.3, 19.5cm. high

£200­300

210

A Fulham Pottery vase probably designed by Constance Spry, model FW.3, footed, flaring cylindrical form, glazed interior, impressed factory mark, incised FJ3, 19cm. high

£120­180

211

A Fulham Pottery vase probably designed by Constance Spry, model no.FME, footed, flaring form, the body with three flutes, glazed interior, impressed and incised marks, 16.5cm. high

£120­180

212

‘Fish’ a Dennis China Works preserve pot and cover designed by Sally Tuffin, dated 2005, painted in colours, and a Dennis China Works preserve pot and cover decorated with a snake, impressed marks, 10.5cm. high (4)

£100­150

213

Ron Hitchens (1926­2019)

untitled a sixty­six tile panel, framed signed to the reverse 82 x 13cm.

£200­300

214

Stella Crofts (1898­1964)

Shire Horse, 1945

stoneware figure, glazed in colours incised Stella R Crofts, 1945 9.5cm. high

£120­180

215

Stella Crofts (1898­1964)

Black cocker spaniel dog, 1927 pottery figure, glazed in colours incised Stella R Crofts, April 1927 20.5cm. wide

£150­250

216

Stella Crofts (1898­1964)

Giraffes

a stoneware tile plaque, glazed in colours incised Stella R Crofts, repaired 39.5 x 21cm.

Literature

Paul Hughes, Stella’s Ark, Stella Crofts, Studio Potter, Animal Modeller & Designer, Private Press, page 176 plate E this plaque illustrated.

£200­300

217

Stella Crofts (1898­1964)

Indian Elephants, 1926

a rare stoneware figure group, glazed in colours signed Stella R Crofts, 1926 and titled Indian Elephants 30cm. high

Provenance

Bonhams, Edinburgh, 16th February 2012, lot 5.

Literature

Paul Hughes, Stella’s Ark, Stella Crofts, page 65 for an original exhibition display in 1930 including this figure group which was also made as a lamp base.

£500­1,000

STUDIO POTTERY

218

Leach Pottery a stoneware pourer and cover, covered in a textured tenmoku glaze, and a Leach Pottery footed bowl covered in a celadon glaze, impressed seal mark

13cm high (pourer), (3)

£120­180

219

Colin Pearson (1923­2007)

an early stoneware vase, shouldered form, covered in a dark chestnut brown and blue glaze, and two other early vases by Colin Pearson, impressed seal marks, 31cm. high (3)

£150­200

220

Jason Wason (born 1946)

a St Ives footed vase, covered in a textured ground glazed in shades of ochre, a Winchcombe Pottery jug by Sidney Tustin, a Winchcombe preserve pot and cover and another covered pot by Sidney Tustin, impressed seal marks

21cm. high (6)

£120­180

221

Marianne De Trey (1913­2016)

porcelain bottle, shouldered form with flaring top rim, impressed decoration, covered to the foot in a metallic bronze glaze, and a bowl by Mary Rich, impressed seal mark, flooded, bowl unsigned, 12cm. high (vase)

25cm. wide (bowl), (2)

Provenance

Devon Guild, Summer Exhibition (bowl).

£120­180

222

Alan Wallwork (1931­2019)

an early stoneware slab vase, modelled in low relief with a vase design, glazed in shades of brown, blue and red on a buff ground, and three other vases by Alan Wallwork, incised W 23.5cm. high (4)

£200­300

223

Alan Wallwork (1931­2019)

an early Forest Hill vase, shouldered form with incised and inlaid slip design, incised W 36.5cm. high

£200­300

224

John Maltby (1936­2020)

a stoneware basket with bamboo handle, enamelled with cobalt flower motif, highlighted in gilt, on a grey chequered ground, impressed seal mark, 15cm. wide

£120­180

225

John Maltby (1936­2020)

a stoneware footed dish, glazed with large cross motif, in shades of dark chestnut, red and white impressed seal mark 20cm. wide

£120­180

226

Dylan Bowen (born 1967)

Jug form

a tall hand­built pottery sculpture

unsigned, 42cm. high

Provenance

Purchased from the potter directly.

£150­200

227

Dylan Bowen (born 1967)

Totem, a large hand­built pottery sculpture painted Dylan Bowen to base rim

52cm. high

Provenance

Purchased from the potter directly.

£200­300

224

FROM THE ESTATE OF RICHARD BATTERHAM

228

Henri Gaudier­Brzeska (1891­1915), after

Torpedo Fish or Toy, an aluminium sculpture designed by Henri Gaudier­Brzeska, unsigned, 15cm. wide.

Provenance

The Estate of Richard Batterham. Catalogue notes Torpedo Fish was originally commissioned in bronze by the writer T E Hulme, who paid £2 for the bronze cast.

£150­250

229

Reuben Batterham (born 1967)

A large stoneware twin­handled garden vase, incised flutes, covered to the foot with an ash glaze above black iron, with three drainage holes, impressed seal mark, 50cm. high

Provenance

The Estate of Richard Batterham.

£200­300

230

Richard Batterham (1936­2021)

a salt­glaze stoneware square jar and cover, used by Richard Batterham in his studio for Iron Spangles, unsigned, applied Iron Spangles label, 19.5cm. high (2)

Provenance

The Estate of Richard Batterham.

Literature

Tanya Harrod and Sarah Griffin, Richard Batterham Studio Potter, page 51 this jar visible behind Richard on the middle shelf in his studio.

£150­200

231

Richard Batterham (1936­2021)

A salt­glaze large beaten jar and cover, unsigned, incised 30 to base, large bloat to side, 25cm. high (2)

Provenance

The Estate of Richard Batterham.

£150­200

232

232

Richard Batterham (1936­2021)

a stoneware medium bottle, beaten, covered to the foot with an ash glaze, unsigned, painted cobalt 6 34cm. high

Provenance

The Estate of Richard Batterham.

£300­500

233

Richard Batterham (1936­2021)

a cut­sided salt­glaze stoneware lily jar, unsigned, incised 19 34.5cm. high

Provenance

The Estate of Richard Batterham.

£300­400

234

Richard Batterham (1936­2021)

a salt­glaze stoneware large fluted store jar and cover, salt­glaze with a white slip, unsigned 32.5cm. high (2)

Provenance

The Estate of Richard Batterham.

£200­300

235

Richard Batterham (1936­2021)

a salt­glaze stoneware beer jar and cover unsigned, paper exhibition label no.2 43cm. high (2)

Provenance

The Estate of Richard Batterham.

£400­600

234

235

233

236

Richard Batterham (1936­2021) a salt­glaze stoneware teapot and cover, cut sided form unsigned, 11.5cm. high (2)

Provenance

The Estate of Richard Batterham. £150­200

237

Richard Batterham (1936­2021)

a large two­handled stoneware teapot and cover, with chatter band, covered in an ash glaze, unsigned, painted cobalt 2 22cm. high (2)

Provenance

The Estate of Richard Batterham. £200­300

238

Richard Batterham (1936­2021) a salt­glaze stoneware coffee pot and cover, with simple chatter band, unsigned, 17.5cm. high (2)

Provenance

The Estate of Richard Batterham. £150­200

239

Richard Batterham (1936­2021) a large stoneware five­pint jug, covered to the base with an ash glaze, unsigned, 39cm. high

Provenance

The Estate of Richard Batterham. £300­400

237

240

Richard Batterham (1936­2021)

a tall stoneware jug, with combed vertical decoration, glazed ash to the foot, unsigned, applied paper price label, 28cm. high

Provenance

The Estate of Richard Batterham. £200­400

241

Richard Batterham (1936­2021)

a stoneware medium caddy and cover, with chatter band, covered to the foot with an ash glaze, unsigned, 14.5cm. high (2)

Provenance

The Estate of Richard Batterham. £200­300

242

Richard Batterham (1936­2021)

a salt­glaze stoneware little square jar and cover, with chatter band, covered to the foot with an ash glaze, unsigned, 14.5cm. high (2)

Provenance

The Estate of Richard Batterham. £200­300

243

Richard Batterham (1936­2021)

a stoneware large fruit dish with chatter band, glazed ash to the well, the rim manganese, unsigned, 41cm. diam.

Provenance

The Estate of Richard Batterham.

Literature

Tanya Harrod and Sarah Griffin, Richard Batterham Studio Potter, page 117 catalogue number 101 and 102 for comparable dishes. £400­500

244

Richard Batterham (1936­2021)

a stoneware small fruit dish, the well glazed ash, the rim manganese, unsigned 30.5cm.diam.

Provenance

The Estate of Richard Batterham. £300­400

243

244

241

242

245

Richard Batterham (1936­2021)

a stoneware large flat box and cover, the cover with chatter bands, glazed ash, over salt­glaze, and a stoneware small butter dish and cover by Richard Batterham, unsigned, 13cm. diam. (4)

Provenance

The Estate of Richard Batterham.

£200­300

246

Richard Batterham (1936­2021)

a small cut­sided footed bowl, covered in an ash glaze, a small pie dish and three egg bakers by Richard Batterham, unsigned, 8cm. high (5)

Provenance

The Estate of Richard Batterham.

£150­250

247

Richard Batterham (1936­2021)

a pair of small porcelain footed bowls, one with chatter band, covered in a pale ash glaze, unsigned, paper exhibition label no.116 11cm. diam. 4.5cm. high (2)

Provenance

The Estate of Richard Batterham. Exhibited CAA number 116

£150­200

248

Richard Batterham (1936­2021)

a small porcelain mustard pot and cover, with cut flutes and a chatter band, covered in a pale ash glaze

unsigned, painted cobalt mark to base 7cm. high (2)

Provenance

The Estate of Richard Batterham.

£120­180

249

Richard Batterham (1936­2021)

a cut­sided stoneware bowl, glazed to the interior with ash, the exterior a running manganese glaze unsigned, 15cm. diam.

Provenance

The Estate of Richard Batterham. £150­200

250

Richard Batterham (1936­2021)

a salt­glaze cut­sided stoneware bowl, unsigned 30cm. diam. 17cm. high

Provenance

The Estate of Richard Batterham. £200­300

251

Richard Batterham (1936­2021)

a salt­glaze cut­sided bowl, unsigned 17cm. diam. 10.5cm. high

Provenance

The Estate of Richard Batterham. £150­200

252

Phil Rogers (1951­2020) a stoneware cylindrical vase, covered in an ash glaze, and a waisted jug by Phil Rogers impressed seal marks, 18.3cm. high (2)

£150­200

Φ 253

Richard Batterham (1936­2021) a small cut­sided stoneware vase, covered in a tenmoku glaze, and two others similar, unsigned, painted DKT, 7.5cm. high (3)

£120­180

Φ 254

Richard Batterham (1936­2021) a stoneware coffee pot and cover, covered to the foot with an ash glaze, unsigned, small chip to spout, 15cm. high (2)

£150­250

Φ 255

Richard Batterham (1936­2021) a stoneware medium bottle, the neck with ash glaze over black iron, unsigned, chip to inside of top rim, 41cm. high

Literature

Tanya Harrod and Sarah Griffin (edited) Richard Batterham, Studio Potter, V&A Publishing, front cover for a comparable bottle.

£400­600

Φ 256

Richard Batterham (1936­2021) a large stoneware platter, internally decorated with simple combed pattern, glazed ash, the exterior unglazed with chatter band, unsigned, painted cobalt II 55cm,. diam.

£500­1,000

257

An Omega Workshops pottery vase probably by Roger Fry, swollen cylindrical form, covered to the foot with a pale lavender glaze, impressed omega mark to base, minor glaze loss, 10cm. high £500­800

CONTINENTAL CERAMICS

258

A Cantagalli Pottery Hispano­Moresque twinhandled vase, painted with panels in ruby and blue lustre, painted cockerel mark, 14cm. high

£150­200

259

A Gualdo Tadino pottery Renaissance Revival vase, in the manner of Cantagalli, compressed body with cylindrical solifleur neck, painted with a band of a young child between goats, the reverse with hounds, before scrolling foliage, between scrolling foliage bands, in red, blue and sand yellow, painted factory marks, 22.5cm. high

£150­200

260

An early Cantagalli twin­handled bowl, elliptical form on four classical dolphin feet, with entwined snake handles, the fluted body painted with classical putti in a mountainous landscape, in colours, printed factory mark, repaired, 40cm. wide.

£150­200

261

A pair of Cantagalli Pottery ewers, each modelled as a classical dolphin, its tail rising to form the handle, with mask terminal, glazed in colours painted factory marks, minor damages and glaze loss, 31.5cm. high (2)

£400­600

262

A Sarreguemines crystalline glaze vase, shouldered form with swollen neck, covered in a pale mint­green crystalline glaze, another smaller and other continental vases including Delft, printed and impressed marks, damages, 27.5cm. high (a lot)

£120­180

263

A Pierrefonds twin­handled stoneware vase, ovoid body with tall, slightly flaring neck and applied handles, and five other vases, impressed marks, 27.5cm. high (6)

£150­250

264

An Austrian Wiener Keramic wall plaque, modelled as a young child’s face with a headdress of leaves, acorns and conkers, in colours unsigned, 11.5cm. high

£120­180

265

An unusual Art Nouveau pottery ewer probably Tiffany Studios, gourd, dimpled form with pinched handle, glazed matt mint green, the shoulder a metallic bronze running glaze, unsigned, 14.5cm. high

Literature

Edgar Pelichet & Michele Duperrex, La Ceramique Art Nouveau, page 41, catalogue number 42­43 for comparable examples. Fine Arts and Crafts, Woolley and Wallis Auctioneer’s, 23nd June 2023 lots 248­249 for comparable examples.

£500­800

266

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

Literature

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

£400­500

267

A Dalpayrat high­fired stoneware vase by Pierre­Adrien Dalpayrat, waisted cylindrical form with flaring top rim, covered in a silver­grey glaze with sang de boeuf and purple, signed Dalpayrat to base, professional restoration to top rim, 8.5cm. high

£150­200

268

A Sevres porcelain vase, model no.30117, shouldered ribbed form, covered in a pale celadon green glaze with flambe patches, printed factory mark, painted FAB monogram and 30117, 18.5cm. high

£300­500

269

An Aesthetic Movement Cloisonne vase probably French, in the manner of Dr Christopher Dresser for Mintons, on gilt metal mount, the cylindrical vase printed and painted with panels of butterflies in colours and gilt on a turquoise ground, indistinct makers plaque to the interior, crazed 28.5cm. high

£150­200

270

An Art Deco pottery charger, painted with a Classical portrait, in red on a cream ground, printed EWG 34 to base, 36cm. diam.

£120­180

271

A Vielliard Bordeaux pottery dish, by WC dated 1877, oval, painted with two naked women seated on rocks on the shoreline, printed factory mark, painted WC monogram, 28.5cm. wide

£120­180

272

An Art Nouveau Royal Dux figural centrepiece, model no.1521, modelled as two standing maidens resting beside a giant shell rising up from foliage, in colours highlighted in gilt, another Royal Dux figure group, model number 597, and another modelled as a Charioteer, impressed factory marks, raised pink triangle, 39cm. high (3)

£200­300

273

A Zsolnay Pecs beaker vase, flaring conical form, cast in low relief with Bacchanalian figures, covered in a green lustre glaze printed factory marks, 15.5cm. high

£120­180

274

An Art Nouveau Ignac Fischer Hungarian pottery vase, shouldered form with three modelled foliate panels forming a neck, the body decorated with flowers and foliage in colours, on a cream ground, printed and impressed marks, restored 48cm. high

£150­200

275

A large Boch Freres Keramis jardiniere designed by Charles Catteau, model no. D740, shouldered form, painted with a band of stylised fruit clusters in colours on a cracked white ground, printed, impressed and painted factory marks, 25.5cm. high, 34cm. wide.

£200­300

276

276

A Boch Freres Keramis Gres stoneware vase, model D.622, ovoid with cylindrical neck, painted with a frieze of roses, and another Boch Freres Gres stoneware vase, impressed and printed marks, 30cm. high, (2)

£200­300

277

A Boch Freres Keramis vase designed by Charles Catteau, shouldered ovoid form with cylindrical neck, factory marks,21.5cm. high

£120­150

278

A Boch Freres Keramis vase designed by Charles Catteau, model no.D.2504, shouldered form, painted with stylised flowers and foliage, in colours on a brown ground, impressed, printed and painted marks, 29cm. high

£200­300

279

A Boch Freres Keramis vase designed by Charles Catteau, model no.D.1740, shouldered form, painted with a exotic longtailed bird amongst stylised flowers and foliage, in colours printed and painted factory marks, 31cm. high

£400­600

280

A Longwy Pottery Tropic vase, slender, shouldered form, enamelled with exotic flowers and foliage in red, pink, yellow, turquoise and green on a black ground, printed and painted factory marks, 32.5cm. high

£150­200

281

A large Boch Freres vase designed by Raymond Chevallier, decorated with a band of stylised deer in black on a blue ground, highlighted in gilt, between matt black bands, printed factory marks, 31cm. high

Literature

Art Deco Keramik Mettlach Ceramics Museum 1981, page 25 cat. no.28 this design illustrated.

£500­700

282

A Boch Freres vase designed by Charles Catteau, model D.943, slender, shouldered form, painted with deer resting and grazing, in blue, turquoise and black on a crackled white ground, between geometric bands, printed and painted factory marks, 40.5cm. high

£350­450

277

280

279

283

A Longwy Pottery solifleur vase, shape 1168, footed, ovoid form with tall cylindrical neck, decorated with panels of flowers inside scale ground, in shades of yellow, pink and green on a turquoise ground, impressed Longwy mark and shape no., painted 39, 24.5cm. high

£120­180

284

A Longwy Pottery urn shaped vase, footed form, enamelled with stylised flowers and foliage in colours printed factory marks, 25cm. high

£150­200

285

A pair of Longwy Pottery vases on stands, model no.1146, the shouldered cylindrical vases decorated with blossom sprays in colours on a turquoise ground, on square section stands with elephant mask legs, impressed factory marks, 28cm. high, (4)

£350­450

286

A Longwy Pottery plate, shape no.1283, decorated with cranes amidst water­lily flowers, in colours impressed marks, 31cm. diam.

£150­200

287

A Laroche Belgium pottery Persian vase, shouldered, flattened form, enamelled with flowers and foliage in blue, turquoise, rust and black on a crazed white ground, printed factory mark, 23.5cm. high

£120­180

288

A Longwy Pottery vase, shape no.1946, shouldered form with cylindrical neck, decorated with panels of stylised flowers, in colours impressed shape mark, printed Longwy mark, 18.5cm. high

£120­180

289

A pair of Longwy Pottery vases, pattern D.536, cylindrical form, enamelled with Oriental dragons amongst scrolling peony flowers and foliage, in colours on an imperial yellow ground, printed and painted factory marks, 23cm. high (2)

£300­500

290

A Longwy Pottery Dragon bowl, model no.1654, shouldered, twin­handled bowl, on tripod foot, moulded in low relief with a band of Dragons, glazed blue with gilt highlights, impressed factory marks, small chip to top rim, 31cm. diam.

£300­500

Φ 291

Pablo Picasso (1881­1973)

Tetes, (Ramie 367)

Madoura Pottery jug, glazed earthenware with black oxide, conceived in 1953 in an edition of 500 impressed factory marks, painted Edition Picasso, hairline crack, 14cm. high

Provenance

Richard Condon (1915­1996).

£500­1,000

292

A Charles Gruber twin­handled stoneware vase, shouldered form, covered in a streaked mushroom coloured glaze, impressed signature, 27.5cm. high

£120­180

293

A Charles Gruber stoneware vase, shouldered form covered in a running mushroom and pale green glaze to the shoulder over speckled light silver ground, impressed signature, 23cm. high

£120­180

294

A pottery wine ewer and stopper and tray designed by Rene Herbst for Cusenier, Modernist form, glazed green and red, painted RH monogram and CVSENIER, 26.5cm. high (3)

£250­350

295

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

Provenance

Sir Ambrose Heal, thence by descent.

Literature

Heal’s At The Sign of the Fourposter’ page122 for a contemporary photo of the artist standing by a Heal’s horse van, 1936.

Catalogue notes

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

£120­180

296

La Casa dell’ Arte Pottery Modernist tea set, painted with geometric design in green, tan and mushroom, comprising; teapot and cover, milk­jug and cover, sugar basin and cover, six cups, saucers and side plates painted factory marks, 10.5cm. high (24)

£300­400

297

A Pentik pottery model of a pigeon by Henrik Allert, glazed in shades of blue, purple and tan, painted Henrik Allert Pentik Finland, 29cm. wide

£120­180

298

A pair of Royal Copenhagen Amager figures designed by Lotte Benter, modelled as a young boy and girl, painted in colours printed and painted marks, 14.5cm. high (2)

£200­300

299

Wave and Rock a Royal Copenhagen figure group designed by Theodor Lundberg, model no.1132, glazed in colours printed and painted factory marks, 46cm. high

Provenance

Clarice Cliff, Art Deco & Design, Woolley and Wallis, 18th March 2020, lot 151.

£300­500

300

A Royal Copenhagen pottery vase by Nils Thorsson, model no.1065/5380, shouldered form, painted with fish amongst waterweed, in colours on a white ground printed and painted factory marks, 31cm. high

£120­180

301

A Bing & Grondahl stoneware Bacchanalian figure group designed by Kai Nielsen, model no.1912, in an erotic embrace, impressed marks, incised signature, 20cm. high

£300­500

302

A Bing & Grondahl stoneware Bacchanalian figure designed by Kai Nielsen, modelled standing straddling a large bunch of grapes, impressed marks, incised signature, 24cm. high

£300­500

303

A Rosenthal porcelain Gropius teapot and cover designed by Eduardo Paolozzi, compressed form, printed with geometric design in colours on a grey ground, unsigned, 13cm. high (2)

Provenance sold with a letter sent to Eduardo Paolozzi in 1993 stating this is the first of the Gropius teapots.

£150­250

304

A large Gustavsburg pottery bowl designed by Stig Lindberg, cylindrical form glazed with simple coloured stripes on a blue ground, the interior pale blue, impressed marks, painted Lindberg hand mark, 29.5cm. diam, 14cm. high

£300­500

305

A Rorstrand Pottery stoneware slender ewer by Gunner Nylund, covered in a streaked chestnut brown and tan glaze, another similar and another with pale yellow glaze by Carl­Harry Stalhane, incised marks, chip to rim of one, 20.5cm. high, (3)

£150­250

306

A Berndt Friberg stoneware solifleur vase by Stig Lindberg, shouldered ovoid form, tall cylindrical neck with flaring rim, covered in a streaked pale blue and mushroom glaze, incised marks, Lindberg hand mark, restored top rim, 15cm. high

£150­200

307

‘Olandesina’ an Essevi figure designed by Sandro Vacchetti, modelled as a young girl holding a basket of flowers, in traditional costume painted marks, glaze chip to bonnet, 17cm. high

£150­200

308

A Russian Moscow 1980 Olympic porcelain part coffee set, printed in red and gilt, with Olympic rings and Moscow 1980 Olympic motif, comprising coffee pot and cover, one can, two saucers and side plates and a Russian model of a bird, printed factory marks, 13.5cm. high (8)

£120­180

309

Esias Bosch (1923­2010)

Vase of Flowers in a Landscape a massive tile, painted, and a book on the artist signed by Esias Bosch unsigned 124 x 124cm.

Provenance

Private collection, commissioned by the vendor directly.

£2,000­3,000

END OF DAY ONE

DAY TWO

THURSDAY 19TH OCTOBER 2023 10.30AM

310

Herbert Percy Horne (1864­1916)

Snipe and Berried Foliage

seven painted ceiling panels on canvas for the Drawing Room at Pownall Hall, Cheshire, one snipe panel and six berried foliage panels, unsigned 62.5 x 62.5cm (each panel), (7)

Provenance

Pownall Hall in Wilmslow, Cheshire

Victorian Paintings, Drawings & Watercolours, Sotheby’s 12th November 1992, lot 161.

Private collection.

Literature

T Raffles Davison A Modern Country Home (a Review of Pownall Hall), the Art Journal, 1891, pages 329, 325, Drawing Room illustrated page 333. Nikolaus Pevsner and Edward Hubbard The Buildings of England, Cheshire, pages 385­386.

Stuart Evans & Jean Liddiard Arts and Crafts Pioneers - The Hobby Horse Men and their Century Guild, page 114 and 115 for larger figural panels from the Drawing room, painted by Selwyn Image, illustrated. On page 120 figure 5.34 is a photograph, circa 1890, showing the squared ceiling.

Catalogue notes

Pownall Hall in Wilmslow, Cheshire was built circa 1830­1835. In 1866 a plan of refurbishment was begun by the brewer Henry Boddington and his associate, William Ball. For the interior decoration of the house they called upon members of the progressive Century Guild: Herbert Horne, Arthur Haygate Mackmurdo and Selwyn Image. The ceiling was divided into square panels decorated with hare, snipe and fruit enclosed within scrolls of citron leaves. After 1884 Horne became editor of the Century Guild’s magazine, The Hobby Horse, which influenced William Morris and the Arts and Crafts movement.

£3,000­5,000

ORIGINAL ARTWORK

BY DODO BURGNER

Φ 311

Dorte Clara Dodo Burgner (1907­1998)

The Wedding black ink on paper, mounted signed Dodo, 28.5 x 25cm (image)

£150­200

Φ 312

Dorte Clara Dodo Burgner (1907­1998)

Taking Tea black ink on paper, mounted signed Dodo 18.5 x 14.5cm. (image)

£150­200

Φ 313

Dorte Clara Dodo Burgner (1907­1998)

The Shopping Trip black ink on paper, mounted signed Dodo 28.5 x 19cm. (image)

£150­200

Φ 314

Dorte Clara Dodo Burgner (1907­1998)

The Dress black ink on paper, mounted signed Dodo 36 x 21.5cm. (image)

£150­200

£4,000­6,000

Φ 315

Dorte Clara Dodo Burgner (1907­1998)

Women in Black, watercolour and heightener on paper, mounted signed in pencil, 37 x 27cm. (image)

Φ 316

Dorte Clara Dodo Burgner (1907­1998) Devil watches the woman coloured inks on paper, mounted unsigned, 35 x 25.5cm. (image) £400­600

Φ 317

Dorte Clara Dodo Burgner (1907­1998) Cords Stoffe black ink with white heightener on paper unsigned 66 x 42.5cm. (image) £300­500

Φ 318

Elizabeth Jane Lloyd (1928­1995)

Fountain in Kew Gardens, 1985 watercolour on paper, framed, and two other watercolours by Elizabeth Jane Lloyd both depicting iris by a fountain in Kew Gardens, framed, signed and dated in pencil bottom right, 58 x 41cm (image), (3)

£200­300

319

Jacques Leclerc

Downhill Skier, watercolour on board signed bottom right 24.5 x 17cm. (image)

£120­180

Φ 320

Richard Bawden RWS NEAC RE (born 1936)

Hydrangeas etching and aquatint on paper, unframed signed, titled and number 24/75 in pencil, foxing to top margin, 59 x 46.5cm (sheet)

44 x 32.5cm (image)

Catalogue notes

This print was sold at The Hambledon Gallery, Blandford Forum. £120­180

Φ 321

Sir Frank Brangwyn RA (1867­1956)

Tournay Cathedral and Belfry &Town Hall Ghent, two engravings engraved by G W Moore, signed and titled in pencil, 17 x 12.5cm. (2)

£80­120

320 321

DAN DARE ORIGINAL ARTWORK BY

FRANK HAMPSON

322

Frank Hampson (1918­1985)

Pilot of the Future (1/33/1)

gouache on board original front cover artwork for Dan Dare in the Eagle volume 1 episode 33, published 1950, framed numbered 1/33/1 bottom right, 47 x 36cm (image)

Provenance

Frank Hampson, thence by descent.

Exhibited

Frank Hampson The Man Who Drew Dan Dare, The Atkinson, Southport, Centenary exhibition September 2018­March 2019.

£1,500­2,000

323

Frank Hampson (1918­1985)

Treens, sheet 2

a bromide design sheet for the Treens from Dan Dare in the Eagle, framed, facsimile signed bottom left, 44.5 x 23cm (image)

Provenance

Frank Hampson, thence by descent.

Exhibited

Frank Hampson The Man Who Drew Dan Dare, The Atkinson, Southport, Centenary exhibition September 2018­March 2019.

Catalogue notes

This sheet was designed by the artist for reference use in the studio, to enable the artists to remain consistent when drawing details of the characters and machines used in the stories.

£200­300

324

Frank Hampson (1918­1985)

Voyage to Venus (2/23/1)

gouache on board original front cover artwork for Dan Dare in the Eagle volume 2 episode 23, published in 1951, framed numbered 2/23/1 bottom right, 42 x 32.5cm (image)

Provenance

Frank Hampson, thence by descent.

Exhibited

Frank Hampson The Man Who Drew Dan Dare, The Atkinson, Southport, Centenary exhibition September 2018­March 2019.

Catalogue notes

The Voyage to Venus story begins to draw to a conclusion as the combined UN invasion force launch a pre­emptive attack on the Treensusing low­level technology ­ in 1996.

£1,000­1,500

325

Frank Hampson (1918­1985)

The Voyage to Venus (1/33/2)

gouache on board original artwork for Dan Dare in the Eagle, published 1950, signed by the artist bottom panel, numbered 1/33/2 bottom right, 53 x 39cm (image)

Provenance

Frank Hampson, thence by descent.

£1,500­2,000

326

Frank Hampson (1918­1985)

Pilot of the Future (1/27/1)

gouache on board original artwork for Dan Dare in the Eagle, numbered 1/27/1 bottom right, 47 x 36.5cm (image)

Provenance

Frank Hampson, thence by descent.

£1,500­2,000

325

324

326

327

Flash Gordon (Buster Crabbe), a lithographic film poster distributed by Grand National, laid on board and framed, and ‘A Wedding’ film poster directed by Robert Altman, 1978, ‘Remember My Name’ poster and ‘And The Ship Sails On’ film poster, directed by Federico Fellini, 1983, 101 x 76cm (image), (4)

Provenance

Mike Hodges film director, (1932­2022), who directed Flash Gordon in 1980, featuring Sam J Jones. Mike also directed Get Carter, Pulp, The Terminal Man, Dandelion Dead, Croupier, Black Rainbow and I’ll Sleep When I’m Dead.

£150­250

328

‘Flash Gordon’

a film poster designed by Renato Casaro for the 1980 film directed by Mike Hodges and featuring the music of Queen, colour lithograph printed by Lonsdale & Bartholomew, framed bottom right printers details 153 x 102cm (image)

Provenance

Mike Hodges film director, (1932­2022).

£150­250

329

‘Craigie Aitchison ­ Paintings 1953­1981’, (Georgeous Macauley)

a Serpentine Gallery exhibition poster, printed in colours, framed, and a ‘Max Beckmann’ Los Angeles County Museum exhibition poster, 1984­1985, 68 x 48cm (Craigie poster), (2)

Provenance

Mike Hodges film director, (1932­2022).

£80­120

330

‘Ashcombe The Story of a Fifty Year Lease’ by Cecil Beaton, first edition published by B T Batsford, 1949, ‘It Gives Me Great Pleasure’ by Cecil Beaton (two copies) and ‘Near East’ by Cecil Beaton, (4)

Provenance

Mike Hodges film director, (1932­2022).

£200­300

331

‘A Sense of Reality’ by Graham Greene a first edition review copy published by The Bodley Head, 1963, with compliments slip, ‘The Comedians’ by Graham Greene, first edition published by The Bodley Press, ‘The Captain and The Enemy’ by Graham Greene and ‘Doctor Fischer of Geneva or The Bomb Party’ by Graham Greene, (4)

Provenance

Mike Hodges film director, (1932­2022).

£120­180

332

126

Provenance Mike

£800­1,200

Andy Warhol (1928­1987)

The American Indian Series, Ace Gallery, 1977 lithographic exhibition poster, published by Ace Galleries, framed signed Andy Warhol to right side of image

x 89cm (image)

Hodges film director, (1932­2022).

333

David Hockney RA (born 1937)

Still Life (from the Hollywood Collection), offset lithograph published by PSA unsigned, signed in the print 92.3 x 63.5cm.

£150­200

334

Bridget Riley CH CBE (born 1931)

Poster

offset lithograph published by Editions Alecto unsigned 79 x 76cm.

£120­180

335

Robin Denny (1930­2014)

Six Miniatures, (blue), 1975 screen print published by PSA unsigned, signed in the print 96.5 x 71.5cm

£150­200

336

Sir Edouardo Paolozzi CBE RA (1924­2005) Selasa, screen print, Editions Alecto, published by PSA, unsigned, signed in the print 93 x 72.6cm

£150­200

337

Allen Jones RA (born 1937)

A Fury for Prints 1960-1981, lithograph in colours, Alecto retrospective, A New Perspective on Floors, 1966 screen print poster, and Life Class, 1968 an offset exhibition by Allen Jones RA signed in pencil, 2/75 84.5 x 59.5cm, (3)

£200­400

338

Keith Haring (1958­1990)

Dancing figures printed in colours, framed facsimile signature in print, 38.5 x 26.5 (image)

£120­180

339

Sir Grayson Perry CBE RA (born 1960)

Flo Liberty printed textile designed for Prints Charming exhibition, 2009, framed unsigned

53 x 38cm. (image)

£150­200

341

David Shrigley OBE (born 1968)

I Ate a Spider polypropylene screen print, framed signed in the print

41 x 28cm (image)

£120­180

342

David Shrigley OBE (born 1968)

Be Nice screen print on cotton, framed unsigned 65 x 45.5cm. (image)

£150­200

343

David Shrigley OBE (born 1968)

Give me a Worm, polypropylene screen print, framed signed in the print

41 x 28.5cm. (image)

£120­180

340

Julian Opie (born 1958)

Beach Head, 2017

off­set lithograph in colours, framed unsigned 36 x 30cm.

£120­180

343

341

342

344

344

Peter Rice (1928­2015)

Manon - Julia Migenes, and Scaramuchio, two costume designs, framed signed and titled, 38.5 x 26cm (Manon), (2)

£150­200

345

Oliver Messell (1904­1978)

Lady Teasel (1st Dress)

pencil and watercolour design for a costume, framed, and another costume design by Oliver Messell, signed bottom right in pencil, one titled top left 35.5 x 24cm. (2)

£300­500

346

The Coronation of Elizabeth II 1953 two silk scarves designed by Oliver Messel, square, decorated with the royal carriage below ER monogram, the corners with national flower emblems, with hand painted highlights, signed in the print 89 x 88cm. (2)

Literature

Charles Castle Oliver Messel, Thames & Hudson, page 202 for a comparable scarf illustrated.

£120­180

347

Plaquet

Air France - Reseau Aerien Mondial, lithograph in colours, printed by Perceval, Paris, framed signed top left, printers details lower margin, 267/P/9/48, 97.5 x 62cm. (image)

£300­400

Φ 348

Georges S Dorival (1879­1968)

Vers Le Mont Blanc, PLM, 1928

lithographic railway poster printed in colours by Lucien Serre & Cie, Paris, framed signed in the print, 104 x 74cm (image)

Provenance

19th and 20th Century Posters, Christie’s South Kensington, 7th October 1999, lot 251.

Private collection.

£1,500­2,000

347

A PRIVATE COLLECTION OF ADVERTISING WARE

349

A Park Drive cigarettes ­ Two Coppers Buy... enamel advertising sign, rectangular stamped in low relief, and a Park Drive double sided enamel sign, 51 x 40.5cm (Coppers sign), (2)

£200­300

350

A Huntley & Palmer Ginger Nuts enamel advertising sign, square, with central roundel depicting John Ginger, in colours, 46 x 47cm.

£150­200

351

A Brooke Bonds’ Tea enamel advertising sign, ‘Brooke Bonds’ tea is stronger and better than a big spoonful of other Tea’, 45.5 x 30.5cm.

£120­180

352

A Marsh & Co Biscuits advertising poster, colour lithograph on board, framed, 64.5 x 40.5cm (image), 77.5 x 53cm (frame).

£200­300

353

‘Bovril for Health’ an advertising sign, printed with a young woman playing golf, framed, a Jacob & Cos Cream Crackers sign and a collection of ephemera including; Cadbury’s Cocoa, Gallaher’s Golden Spangled cigarettes, and Clarke’s Mersey Navy Cut, (a lot)

£150­200

354

A Huntley & Palmer Sentry Box enamelled metal biscuit tin, enamelled in colours, unsigned 17.5cm. high Catalogue notes

First designed in 1909 this tin featured a German soldier. In 1913 it was re­designed with a Belgian soldier in his place, as diplomatic relations with Germany became strained. As a consequence of the worsening diplomatic situation many of the earlier tins were defaced.

£150­200

355

A Huntley & Palmer Sentry Box enamelled metal biscuit tin, enamelled in colours, 17.5cm. high

£150­200

356

A Jacob & Co’s House Boat advertising enamelled tin, enamelled in colours, a Huntley & Palmer Waverley enamelled metal biscuit tin, modelled as eight leather bound books, and a collection of advertising ware including St Bruno flake, Ogden’s Redbreast Flake, Blue Bell tobacco advertising table bell, Cadbury’s Dairy Milk Chocolate, Highnett & Brothers, Lovells Toffee Rex, United Cooperative Baking Society Victory Chlorodyne and Gum Factory and others, (a lot)

£200­300

357

A Borax Starch Glaze enamelled metal advertising sign, rectangular, enamelled in blue and white, a Hudson’s Soap enamel sign, a Hall’s of Rotherham insulating Contractor enamel sign and a Wm Glover & Sons Warwick enamel sign, 37.5 x 25.3cm, (4)

£120­180

354

355

358

359

‘The Studio’ volumes 1­47, and volumes 72, 95 and 99, bound, three later bound volumes 1894, 1910 and 1911 and seven unbound volumes from 1945­1955, (60)

£400­600

359

‘Image’ two bound volumes, a quarterly of the Visual Arts, volume 2­4 Autumn 1949 and volume 5­6 A History of English Wood Engraving, 2 pages missing (2)

£50­100

360

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

£300­500

361

A collection of art reference books and catalogues, including Thirties Art Council exhibition catalogue, 1979, A Century of Chair Design by Russell, Garner and Read and Twentieth Century Furniture by Phillipe Garner, (a lot)

£120­180

362

Fifteen art reference books, comprising; Hans Coper by Tony Birks, British Studio Pottery by Oliver Watson, Pioneer Studio Pottery by Sarah Riddick, Hamada Potter by Bernard Leach, Decorative Arts 1850­1950 by Judy Rudoe, Ash Glazes by Phil Rogers, Scandinavian Ceramics & Glass (V&A), Stella’s Ark ­ Stella Crofts by Paul Hughes, Pollock by Leonhard Emmerling, The ABC of English Salt­Glaze Stoneware by J F Blacker, British Art Pottery by A W Coysh, British Studio Ceramics by Paul Rice, Studio Pottery in Britain by Jeffrey Jones, Poole Pottery by Hayward & Atterbury, The Doulton Lambeth Wares by Desmond Eyles, William Morris by Christine Poulson, three copies of Charles Vyse exhibition catalogue by Richard Dennis/Fine Art Society, Katharine Pleydell­Bouverie (Crafts Study Centre catalogue) and a collection of Decorative Art Society journals, (a lot)

Provenance

The Daryl Fromm collection.

£100­200

363

Never Say Never Again a British James Bond film poster, printed by W E Berry Ltd, Bradford 101 x 75cm

£150­250

364

The Land That Time Forgot

a film poster, printed by Leonard Ripley & Co, 76.x 50.5cm

£150­200

365

Superman IV The Quest for Peace a British Quad film poster, the movie featuring Christopher Reeve and Gene Hackman, and Popeye a British Quad film poster featuring Robin Williams

101 x 76cm (Superman), (2)

£120­180

366

‘Robinson Crusoe’ lithographic poster, printed in colours by John Waddington Ltd, framed printers details bottom right. 75 x 49cm.

£80­120

367

‘The Simpson’s Movie’ (Marge) printed plastic laminate film poster, 211 x 122cm.

£200­300

363

364 366

367

365

as Popeye, printed by W E Berry,

THE TOM WATKINS COLLECTION

368

Krispy Kreme an American illuminated advertising sign, rectangular metal frame, 93.5cm wide, 38.5cm high

Provenance

The Tom Watkins Collection. Tom purchased this sign on one of his trips to LA.

£200­300

369

Coiffeur Henry a hanging, barber’s shop advertising sign, with metal frame 100 x 50cm.

Provenance

The Alias Collection of Modern Design, Christie’s 16th July 2006, lot 224.

The Tom Watkins Collection.

£200­300

370

Roy Lichtenstein September 19-November 16 1969, a lithographic poster for The Solomon R Guggenheim Museum, New York, exhibition, framed 70 x 70cm.

Provenance

The Tom Watkins Collection.

£120­180

371

A Griffin & George Ltd chrome and glass display case, the cube case with hinged door and flaring metal base, set with narrow plastic shelf and latch locking system, applied metal factory label, 33cm. high, 31 x 28cm.

Provenance

The Tom Watkins Collection.

£150­200

372

A Ravarini Castoldi & C Fun Skate, blank enamelled metal frame with plastic handles, orange nylon wheels, applied label, 100cm. long

Provenance

The Tom Watkins Collection.

£120­180

373

A pair of Hille aluminium office chairs designed by Frederick Scott, aluminium frame with five flaring feet with castors, red padded seats and backs, unsigned, 105cm. high

(2)

Provenance

The Tom Watkins Collection.

£150­200

374

A Havana Bench designed by Joseph Massaca, curved plywood seat on painted metal frame 98cm wide, 87cm high, 76cm deep

Provenance

20th Century Design, Bonhams, 5th October 1996 lot 282.

The Tom Watkins Collection.

£300­500

375

A glass cactus bowl the design attributed to Keith Murray, probably manufactured by Stevens & Williams, clear glass cased in green, cut with five radiating cactus plants, apparently unsigned, 29.5cm. diam.

Provenance

The Tom Watkins Collection.

£200­300

376

A Whitefriars glass dish probably designed by Geoffrey Baxter, clear glass the well with tangerine, unsigned 29.5cm. diam.

Provenance

The Tom Watkins Collection.

£150­200

377

375 two views 376

A set of four Holmegaard Season glass sun­catcher panels designed by Per Lutken, designed in 1975, each circular, cast in low relief, in original card boxes, unsigned, with certificates, 39.5cm. diam. (4)

Provenance

The Tom Watkins Collection.

£500­800

Φ 378

A Venini Luna vase designed by Ettore Sottsass, 1997, the round, pale green glass body with flaring neck, resting inside a circular white and grey veined marble base, etched Ettore Sottsass 1/29 Venini 97 and retail plastic label to glass, 22cm. high (glass), 27.5cm. high (overall height), (2)

Provenance

The Tom Watkins Collection.

Literature

F. Deboni, I Vetri Venini catalogue 1921­2007, Vol II, Allemandi, figure 353 for a comparable example illustrated. Barovier, Bischofberger, Carboni, Sottsass Glass Works, Vitrum,page 108 for three examples illustrated.

£1,000­2,000

Φ 379

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

Provenance

Bonhams Auctioneers, January 1997.

The Tom Watkins Collection.

Literature

Barbara Radice, Memphis, Thames & Hudson page 158 for a comparable vase illustrated.

£1,000­2,000

Φ 380

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 panel, etched E Sottsass Memphis to side, 26cm. high

Provenance

Phillips, March 1998.

The Tom Watkins Collection.

Literature

Memphis Milano, manufacturer’s catalogue, 1986, page 77 for this design Barbara Radice, Memphis, Thames & Hudson page 157 for a comparable bowl illustrated.

£1,000­2,000

382

Φ 381

Susan Elliott (born 1959)

Captain Mickey, 2007 mosaic skull and crossbones wall panel, signed and titled to reverse 80.5 x 80.5cm.

Provenance

The Tom Watkins Collection.

£300­500

381

Φ 382

Brad Howe (born 1959) untitled, 1998 an enamelled metal wall sculpture, with articulated arms, signed and dated to reverse 50.5 x 50.5cm.

Provenance

The Tom Watkins Collection.

£200­400

Φ 383 Carl Freedman

Kepler’s Apple, 1999 aluminium, hanging metal mobile sculpture signed J Carl Freedman, dated 1999 DX 90cm wide (largest element)

Provenance

The Tom Watkins Collection.

Catalogue notes

‘My work reflects the order and harmony that I see in the world of nature around me… Johann Kepler was an astronomer and mathametician of the 17th Century. He was the first person to determine the elliptical paths followed by the planets in their rotation around the sun.’

J Carl Freedman

£300­500

Φ 384

A Memphis Milano Freemont cabinet designed by Ettore Sottsass, designed 1985,raised, shelved structure with coloured laminates and gilded columns above twin rectangular door compartment with painted wood finish, on ebonised base applied label Memphis E Sottsass, 1985

185cm high

193cm wide

59cm deep

Provenance

Modern Design, Christie’s South Kensington, 20th October 1999, lot 286. The Tom Watkins Collection.

£3,000­5,000

385

A Meta Memphis Tutti Designers neon lamp designed by Michelangelo Pistoletto, designed 1989, shaped neon tube light and aluminium suitcase screen printed factory marks, 45 x 34cm (briefcase) 75cm, wide (neon bulb)

Provenance

The Tom Watkins Collection.

£1,500­2,000

386

An Ingo Maurer Bibibibi bird table lamp designed by Ingo Maurer, enamelled metal and plastic on a ceramic base, facsimile signature and title to base, paper label, 38.5cm. high

Provenance

The Tom Watkins Collection.

£500­800

387

Theatre du Monde a lacquered metal cabinet designed by Philippe Starck for XO, architectural form, rectangular cupboard with hinged door, below smaller compartment and hinged pyramid top, on castors, unsigned, 112cm. high Design, Christie’s South Kensington, 20th October 2004 lot 257.

Provenance

The Tom Watkins Collection.

£500­800

388

A Memphis Pottery Reel vase designed by Ettore Sottsass, shouldered, cylindrical form, screen printed in black and white, painted Sottsass 1986 to base, 45cm. high

Provenance

The Tom Watkins Collection.

£600­1,000

A Memphis Pottery Alzata vase designed by Ettorre Sottsass, shape no.501, footed cup form, screen printed in black and white, painted Sottsass 1986 to base, 22.5cm. high, 24cm. diam.

Provenance

The Tom Watkins Collection.

£400­600

389

388

FURNITURE

390

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

£1,000­2,000

391

A large William Ingham oak glazed bookcase in the manner of A.W.N. Pugin, probably for Constantine & Co, three cupboard form with linen fold carved panels, brass furniture, with Hobbs & Co locks, stamped mark to underside of door, locks stamped Hobbs & Co 56cm. deep, 223cm high, 179cm. wide

£200­300

392

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

£150­200

393

393

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

£300­500

394

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

£300­500

395

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

218cm high

183cm wide

67cm deep

Provenance

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

Literature

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

Catalogue notes

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

£5,000­8,000

394

395

396

397

An oak rocking chair in the manner of George Montague Ellwood, with inlaid Art Nouveau flowers to the back splats, strung seat, unsigned, 101cm. high

£120­180

397

A brass wall or table lamp with vaseline glass shade, stepped domed base with scrolling, adjustable stem, the fitting with flaring, fluted vaseline glass shade, cast marks, 38cm. high

£150­200

398

An Art Nouveau brass desk lamp, tapering, circular base with curved reed stem, the shade with amber glass jewels, stamped in low relief with flowers, unsigned, 38cm. high

£120­180

399

A pair of Robert Mouseman Thompson oak side tables, each with adzed octagonal top on curved cruciform pedestal, carved mouse signature to side 48cm. high, 49cm diameter top, (2)

£800­1,200

λ 400

398

An Aesthetic Movement Howard & Son rosewood corner cabinet, on turned legs, the cupboard with hinged door, below single drawer, with carved panels of acorn and oak leaf boughs, below glazed cabinet, stamped Howard & Son to drawer, 205cm. high, 54 x 54cm (top),

£300­500

401

A Hugh Birkett walnut stool, rectangular section, on four tapering octagonal legs, with fitted, padded green seat pad, unsigned, 51 x 38.5cm, 47cm.high

Provenance

The Delighted Eye Part II Work from the Collection of Allen and Beryl Freer, Chiswick Auctioneer’s, 25th February 2012, lot 178.

£150­200

402

A limed oak dressing table in the manner of Heals, asymmetric form, tall single cupboard and shorter two drawer pedestal, flanking central glass shelf, below a central mirror, on later castors, unsigned, 98cm. wide 159cm. high.

£100­200

403

A large Dun Emer Guild Carpet, rectangular, decorated with central celtic knot motif, surrounded by figures jousting and deer hunting, inside celtic kink border, in colours on a red ground, unsigned, 366 x 270cm.

£800­1,200

404

A Heal’s oak wardrobe, wide, rectangular form with single door, internally fitted with rail, patinated metal fittings, stamped Heal’s mark to interior, 169cm. high, 106cm wide.

£200­400

403

405

406

A set of four 19th century ash and elm ladderback chairs, on turned legs, 90cm. high, (4)

Catalogue notes

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

Provenance

Sir Ambrose Heal, thence by descent.

£200­300

406

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

Provenance

Sir Ambrose Heal, thence by descent.

£120­180

407

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

Provenance

Sir Ambrose Heal, thence by descent.

£150­200

408

A painted 20th century four fold screen, each panel inset with three 18th century engravings depicting the English and Spanish Armada fleets taken from ‘The Tapestry Hangings of the House of Lords Representing the several Engagements between the English and Spanish Fleets in the Ever Memorable Year 1588’ engraved by John Pine after Lempriere and Gravelot 171 x 77cm each panel, 38.2 x 61.3cm aperture of one plate

Provenance

Herve Coatalen RNVR, thence by descent.

£400­600

409

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

Provenance

Sir Ambrose Heal, thence by descent.

Catalogue notes

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

£1,200­1,800

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

Literature

Charlotte Gere & Michael Whiteway

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

Provenance

Sir Ambrose Heal, thence by descent.

Catalogue notes

The four­poster bed that is being offered for sale is a fairly simple piece of early 20th century furniture and yet this particular bed is laden with symbolism. This was the bed in which Sir Ambrose Heal (1872­1959) slept for much of his life. It brings together comfort, design history and social history.

The Heal’s business in London’s Tottenham Court Road had been founded in 1810 to manufacture beds and mattresses. Bedding was at the heart of the business throughout the 19th century and most of the 20th century, even as the firm expanded into dealing in other items of furniture and furnishing. The small bedding factory remained on the same site in Tottenham Court Road until the 1980s and the skilled upholsterers and makers continued to use the same traditional techniques and the finest natural materials that their ancestors had used. One of Heal’s major contributions to sleep comfort was the design of the “Sommier Elastique Portatif” which was patented in 1860 by John Harris Heal. It was still in production over 100 years later. It folds in order to make cleaning, removals and storage easy and has no top stuffing so it was “quite free from all risk of moth”. The Victorian catalogue described it as “the most comfortable Spring Mattress yet invented” and it “requires just one good mattress over it”.

The Four­Poster is fitted with one of these bed­bases containing nine rows of star­lashed, nine inch, nine turn, hourglass springs made from eight­and­ahalf gauge wire mounted on insulating pads.

As well as being a furniture designer, Sir Ambrose was fascinated by the history of London trades. Before the buildings in streets were numbered many displayed hanging signs to enable businesses to be found. Heal recorded hundreds of these 18th century signs which were eventually published under the title “London Shop Signs” in 1939. For example there were no less than sixteen that incorporated an anchor, ranging from the Anchor & Bible in St Paul’s Churchyard to the Anchor & Wheatsheaf, Whitehouse Court near Tooley Street. In 1904 when looking for a symbol that would act as a logo and trademark for the Heal firm he came up with the idea of using the Four­Poster bed. Since then Heal & Son Ltd has traded “At The Sign of The FourPoster”. Appropriately this bed is thought to date from that time. Not only did he trade under the four­poster sign but henceforth he slept in one.

Sir Ambrose was inspired by the work and writings of William Morris so it was fitting that he acquired some of Morris’s original “Bird” pattern wool cloth to make up a bed­spread and curtains for the Four­Poster. There was no better way of signalling his connection to the Arts & Crafts Movement that influenced his own design philosophy. Morris designed this pattern (with a huge repeat) in 1877­8 and it was hand­loom jacquard­woven. It was available through Morris & Co but interestingly Morris himself used this particular pattern to decorate the walls of the drawing room of his own home at Kelmscott House, Hammersmith. An inventory of Ambrose Heal’s home taken in 1914 records “An oak frame four post bedstead with panelled back and floral linen curtains and valances lined green twill 4’ 6” wide”. It was then valued at £20.

Oliver S Heal.

£2,000­3,000

412

411

A pair of Rowley Gallery Anglo-Chinese oak tables, rectangular top with stepped under rail, on square legs, one with inset leather top, applied label, 182 x 60cm. 77cm. high (2)

£150­200

412

A Pickwick patent Penny in the Slot machine, printed makers mark, 74cm, high, 46cm wide.

£300­400

413

A Chester Jones folio stand, rectangular panelled top, with four shelves each set with rollers, unsigned, 120 x 60cm. (top) 87cm. high

£300­500

414

A Danish Art Deco sofa, kidney shaped sofa covered in a green striped velvet, unsigned, 173cm. wide, 71cm high, 71cm deep

£200­300

415

A pair of oak table lamps by Jean Michel Frank, cruciform section, stamped J M Frank Chanaux, 22cm. high (2)

Catalogue notes

J M Frank’s partner Adolph Chanaux had a retail shop in 140 Faubourg St Honore until 1939 when he left France due to the outbreak of war.

£200­300

416

A Bauhaus style enamelled metal table lamp, on circular base, enamelled black, unsigned, 44cm. high

£150­200

417

An Art Deco frosted glass panel, the shaped panel decorated with a naked maiden and leaping gazelle, inside scrolling wave motif, unsigned, 119.5 x 56.5cm.

£200­300

418

An Adnet table lamp, five graduated clear glass spheres on circular base, and another smaller on metal base, with modern shades, unsigned, 40cm. high (2)

£150­200

419

A Paul Kiss gueridon wrought iron table, circular section, with four square section open work legs which arch to form lower tier, the rim cast with a band of flowers and foliage, drop in grey marble top, signed with stamp P Kiss Paris

51cm diam.

61cm high

Provenance

Martin Battersby Collection, Brighton Museum & Art Gallery, by repute.

Literature

Pierre Kjellberg Le Mobilier du XXe Siecle, Les Editions de L’Amateur, page 339 for a similar example illustrated.

£1,500­2,000

420

A black lacquered sideboard designed by Jacques Adnet, made for Gilbert Poillerat, rectangular form with hinged cupboards, the right cupboard fitted with drawers, with gilt door furniture

unsigned

229.5cm wide, 50cm deep

89cm high

Literature

Alain­Rene Hardy and Gaelle Millet, Jacques Adnet, page 101 for a comparable sideboard illustrated and page 196 for comparable door furniture.

£3,000­5,000

421

421

Beatles Pin Up Screamers designed and printed by Gordon Currie, in black and orange, comprising a poster of John, Paul, George and Ringo, in slip cover annotated in ink to Richard with regards Gordon Currie

30 x 22.3cm

Provenance

Richard Condon (1915­1996).

£120­180

422

‘Songs for Swingin’ Lovers!’ a signed copy of the LP record by Frank Sinatra, and a collection of ephemera relating to Frank Sinatra and Richard Condon, comprising; a photograph of Frank Sinatra’s swimming pool with motif from The Manchurian Candidate by Richard Condon, two Frank Sinatra programmes, a black and white photograph of Frank Sinatra and a framed Christmas photograph of Frank Sinatra and Barbara Sinatra, 1976 dedicated to Evelyn & Richard (Condon), (6)

Provenance

Richard Condon (1915­1996).

£500­800

423

John Mainwaring

Femme Fatale painted wood sculpture, and a studio pottery teapot and cover painted signature and title, 31.5cm. high (3)

£120­180

424

Peter Markey (1930­2016) Sparkling Music, 2007 an automata, and another automata of a kissing couple, 2004, by Peter Markey, signed, titled and dated, 27.5cm. high (2)

Provenance

The First Gallery, Southampton.

£200­300

425

A Twergi Faces With Blue painted wood box with hinged cover designed by Nuala Goodman, painted with portraits of a young couple, in colours on a blue ground, with hinged pyramid cover, stamped marks no.1223, 33cm. high

Provenance

British Art Pottery & Design, Woolley and Wallis, 20th October 2021, lot 356.

£120­180

426

Julian Opie (born 1958)

This is Shahnoza in Three Parts, jigsaw pieces, published by Alan Cristea Gallery, 2008, framed unsigned 64.5 x 30.5cm.

£150­250

Φ 427

Sir Grayson Perry CBE RA (born 1960) Gentrification, limited edition lens cloth, print on textile, framed facsimile signature P bottom left 18.5 x 14cm. (image)

Catalogue notes

This lens cloth was produced in a limited edition for Cubitts Optical group to raise money for Shelter.

£120­180

428

Yoshitomo Nara (born 1960) inkjet portraits on tin, framed, 32.5 x 30cm.

£120­180

430

429

429

A Surrealist woven wool hanging, in red, black, and cream colourway, unsigned, 162 x 84cm. £120­180

430 Yaacov Agam (born 1928) Mohair wall hanging, red, purple, blue and orange design on cream ground, signed and number 30/50, 219 x 154cm. £1,000­1,500

Φ 431 Larry Rivers (1923­2002) Golden Oldies 60s a modern limited edition silk tapestry, facsimile signature Larry Rivers 78-88, 252 x 183cm. £400­600

432

A set of ten bent­ply chairs designed by Jakob Berg, unsigned 83cm. high (10)

£500­1,000

433

A gilt metal wall light by Mark Brazier­Jones, with cut glass lustre shade, applied makers medallion to back plate, 35cm. high

£150­250

434

A pair of Prima Denmark polished steel candlesticks, on tripod base, a taller four branch chrome candlestick and three others, stamped marks, 7.5cm. wide (6)

£120­180

435

A set of three Finmar bent ply stacking chairs designed by Alvar Aalto, birch frame with bent ply seat, stamped Aalto mark and applied Finmar labels, 79cm. high (3)

Provenance

The vendor believed they were probably bought directly from Heal’s.

£500­1,000

436

A Marko bent­ply child’s chair, with pierced circle to back plate, and another similar, unsigned, 43cm. high (2)

Literature Design, Tajan, 5th March 2014, lot 123 for a comparable chair.

£120­180

λ 437

A near pair of Howard Miller trolley tables, each rectangular chrome frame with rosewood veneer shelf and bronzed glass top, on castors, original receipt, 60.5 x 42cm, 41cm. high (4)

Provenance

Purchased by the vendor from John Lewis, Oxford Street, 1977.

Catalogue notes

The rosewood is probably East Indian rosewood (Dalbergia latifolia) or North Indian RW (Dalbergia sissoo) and therefore does not require a license to sell but may require a cities certificate for export.

£200­400

438

A large Italian brass and ebonised wood ceiling light, radiating arms supporting eight lights, the central rod with loop terminal, unsigned 115cm. high

£200­300

439

A Herman Miller polished aluminium EA108 office chair design by Charles & Ray Eames, with tan padded seat, unsigned, 80cm. high

£150­200

440

An H Morris & Co Cloud table designed by Neil Morris, laminated Hondurus mahogany on ash underframe with American black walnut legs, the lobed top with chamfered edge, flaring, tapering legs, unsigned 104cm wide

46cm. high

Literature

Lesley Jackson, Modern British Furniture, Victoria & Albert Museum, page 91 figure 97 for a comparable table, designed 1947.

£300­400

441

A Kandya Ltd Trimma sideboard designed by Frank Guille retailed by Heal’s London, painted metal frame with painted wood and veneered plywood, two drawers offset to the right, over cupboard with twin­sliding doors, applied Heal’s roundel to inside of one drawer, 91.5cm. high

136cm wide

39cm deep

Literature

Austerity to Affluence British Art & Design 1945-1962, Fine Art Society, page 25 catalogue number F.35 for a comparable sideboard.

£300­500

442

A pair of Artemide Pipe lamps designed by Herzog & de Meuron, each with flexible stems with rubberised coating, cone shades with led lights, factory label, 115cm. long, (2)

£200­300

443

A large Murano glass shade, domed white glass with clear rim, internally decorated with murine, applied Murano label, 43cm. high

£120­180

444

A patinated metal Octopus table lamp, cast standing on seven tentacles, the eighth tentacle holding up the bowl shade, unmarked, 48.5cm. high Provenance

Lalique & 20th Century Bronzes, Christies South Kensington, 13th May 1999 lot 185. Private collection.

£300­500

445

A perspex and glass occasional table, rectangular section, with drop in glass top, unsigned, 91 x 75cm (top), 51cm. high (2)

£120­180

446

A teak veneer side table, triangular top over offset ebonised shelf, on three flaring legs, unsigned, 53cm. high, 57cm. wide

£120­180

447

A Syroco gilt plastic wall mirror, rectangular, cast in low relief with brutalist design cast marks Syroco made in USA, 106.5 x 50cm.

£150­200

448

A Brutalist steel and glass sculpture, abstract figure form set with two panels of blue glass tesserae, unsigned

52cm. high

£200­300

Φ 449

Brian Willsher (1930­2010)

Totem cedar wood, signed, dated and dedicated 28cm. high

£150­200

Φ 450

Brian Willsher (1930­2010)

Totem, stained cedar wood sculpture of a figure signed and dated 1988 26.5cm. high

Provenance

Purchased from Heal’s circa 1990, by repute.

£200­400

Φ 451

Brian Willsher (1930­2010)

Totem, stained cedar wood sculpture of two figures, unsigned

52cm. high

Provenance

Purchased from Heal’s circa 1990, by repute.

£400­600

449

452

Yayoi Kusama (born 1929)

Pumpkins

screen print on orange cotton, framed signed in the print

89 x 32cm (image)

£200­300

453

Yayoi Kusama (born 1929)

Pumpkins

screen print on white cotton, framed signed in the print 88 x 31.5cm.

£200­300

454

Yoshitomo Nara (born 1959)

Peace Dog printed on cotton, framed printed marks, bottom right 53 x 53cm.

£120­180

455

Yoshitomo Nara (born 1959)

Peace Dog (blue) printed on cotton, framed printed marks bottom right 51cm x 51cm.

£120­180

456

Yayoi Kusama (born 1929) untitled (red faces)

screen printed red cotton, framed printed marks bottom right 51 x 51cm.

£120­180

457

Pablo Picasso, manner of Bull’s Head a modern bike saddle and handlebar sculpture unsigned 48cm. wide

£100­200

458

A pair of Linley sycamore candlesticks, turned, on square section base, with brass sconces, stamped Linley, 27cm. high (2)

£120­180

459

A graduated pair of Linley photograph frames, rectangular, inlaid with abstract band, easel back, impressed Linley mark, 35.5 x 30.5cm. (largest), (2)

£150­200

460

A pair of Matthew Burt walnut wall cabinets, each of triple arched form, with clusters of pillars, stamped ADH, 71cm wide, 66cm high (2)

£500­800

461

A Matthew Burt sycamore key cabinet, slender elliptical form with hinged door, unsigned 76.5cm. long, 16cm wide.

£200­300

462

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

£800­1,200

461 two views

458

459

460

464

463

A black patinated metal wall light by Peter Marsh, the light square section with tapering , hammered top, applied with multi­coloured glass jewels, unsigned, 56cm. deep

£150­200

464

A black patinated metal lantern by Peter Marsh, the tapering, square section shade set with multicoloured jewels, unsigned, 38cm. long

£120­180

465

A set of three gilt metal candlesticks, each modelled as a pair of balancing frogs supporting flower stem sconce, on square base, unsigned, 18.5cm. high (3)

£120­180

466

A pair of patinated metal frog candlesticks, twin­branch form supported by a standing frog, on stepped onyx base unsigned, 21.5cm. high (2)

£120­180

467

A Maison Jansen ostrich egg table lamp, with gilt metal mounts on black veined marble base unsigned 31cm. high

£150­200

468

468

Alexander Lamont, manner of three graduated metal bowls, hammered burnished finish, the interior bright gilt, unsigned, 21cm. high (3)

£300­400

Φ 470

Charles Jencks (1939­2019)

an Egyptian revival Symbolic Range dining table, 1984, circular with four extending leaves, decorated with geometric motif, and six Sun chairs with Egyptian fan backs, unsigned

187cm. diam. (table extended)

96cm. high (chairs), (13)

£500­1,000

469

Φ 469

Philip Koomen (born 1953)

a pair of satinwood and glass display shelves over plan shelves, the three rectangular glass shelves supported on Egyptian obelisk supports, with inlaid geometric panels, unsigned

177cm. high

80.5 x 46.5cm (base), (2)

£400­600 470

472

471

La Pensee

an Art Nouveau terracotta bust, monochrome glaze indistinct signature to side, title to base, minor chips 55cm. high

£150­250

472

Antoine Boffil (1875­1926)

an Art Nouveau patinated bronze vase, cast in high­relief with an Art Nouveau maiden filling her horn from a waterfall, the reverse with two frogs around pond landscape, signed Bofill to side in the cast, 36cm. high

£250­350

473

Fernand Ouillon Carrere

Spear Dancer, 1919

patinated bronze on a veined onyx, stepped base signed in the bronze F Ouillon Carrere, 1919 36cm. high

Literature

Bryan Catley, Art Deco & Other Figures, ACC Books, page 243 for a comparable figure illustrated entitled ‘Sword Dancer’, which was exhibited at the 1919 Paris Salon.

£300­500

474

Zoltan Kovats (1883­1952)

Diana with a Deer patinated bronze on a red marble base, signed in the cast Zoltan 23.5cm. high

£150­250

475 Roger Godchaux (1878­1958)

Eléphant courant trompe enroulée (Elephant Running Coiled Trunk), cire perdue patinated bronze model of a young elephant running, cast by Susse Fres foundry, signed in the cast Roger Godchaux, cire perdue, Susse fres, 23cm. wide 15cm. high

£6,000­10,000

Φ 476

Tim Shaw RA (born 1964)

Dancer on Bull, 2000

patinated bronze on black slate base and a patinated bronze model of a French artillery soldier, signed in the bronze, dated and 3/8, small chip to tail tip, 27cm. high (2)

Provenance

Lemon Street Gallery.

£200­300

477

Maurice Guiraud­Riviere (1881­1947)

Bust of a Woman, cire perdue verdi gris patinated bronze, on black marble base cast signature and Etling foundry mark, 27cm. high

£500­800

Φ 478

Marcel Debut (1865­1933)

African Tribesman

patinated metal figure of a man walking, holding a large water jug, signed in the cast 32cm. high

£250­350

Φ 479

Jean de Roncourt

Le Chasseur (The Hunter), patinated metal on marble base of an athletic male, crouching and looking forward, holding a spear behind him, incised signature, with applied plaque dated 18 Janvier 1937 to the base, chips to base 54cm. wide 51cm. high

£300­500

480

U Cipriani

Woman holding a bird

a patinated spelter sculpture, modelled kneeling, with two birds resting on a polished black slate base, signed to the slate base, 50.5cm. wide

£120­180

Φ 481

Peter Eugene Ball, (born 1943) Isadora, 1979

pewter and driftwood sculpture, Gilbert Parr Gallery label to the base 100cm. high

£400­600

482

482

A large cast iron Indian Chief plaque, by repute from a fairground ride, covered in a rust­red enamel paint, unsigned, 37cm. high

£150­250

483

Joe Descomps (1869­1950)

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

£300­400

λ 484

A patinated bronze and ivory model of a female skater mounted as a lamp base, modelled balancing on one skate, on stepped circular red marble base, with large silk shade, unsigned, 32cm. high (figure)

Ivory declaration reference EVA79MKK.

£300­500

485

Mark Hall (born 1970)

Divide and Conker patinated bronze, model of a conker, signed, titled and number AP/35 8.5cm. high, (2)

£200­300

Φ 486

Miguel Ortiz Berracol (1933­2006)

Micro David, 1981­1982 polished bronze puzzle sculpture, in presentation box unsigned 16.5cm. high

£500­800

489

487

A large slate mantel clock by Wassell & Halford designed by Lewis F Day, rectangular with circular dial with Arabic numerals, the dial painted with a panel of daisy flower stems in blue and white on a gold ground, the case with incised floral lunette panels, between two rectangular ceramic panels of flowers Night shade and Day’s eye, signed Wassell & Halford to the dial, 38cm. high

Provenance

The family of Lewis F Day.

£500­800

488

A Barbedienne style gilt bronze and cloisonne enamel tazza, circular form, decorated with radiating flowers and foliage, unsigned, 15.8cm diam, 8.5cm. high.

£150­200

489

A Liberty & Co brass mirror, circular form, cast in low relief with four roundel, applied ivorine label, 55cm. diam.

£80­120

490

A Liberty English Pewter and glass preserve pot and cover designed by Archibald Knox, model no.01031, the domed pewter cover with streamlined loop handle, hammered finish, clear cut glass body, and a Liberty Tudric Pewter butter dish with green glass liner, model no. 0202, stamped marks, 10.5cm. wide (preserve pot), 16cm. wide (butter dish), (4)

£150­250

491

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

£150­200

492

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

£400­600

493

A Liberty & Co Tudric pewter mantel clock, model no.01155, rectangular section, cast in low relief with foliate panels, the circular dial enamelled blue and green, with Roman numerals, stamped marks, dented top, 19.5cm. wide

£300­500

494

An Arts and Crafts patinated copper wall mirror with enamelled panel, flaring rectangular form, hammered in low relief with stylised fish and waterweed columns, the top set with semi­circular enamel panel of Poseidon holding a trident, before a setting sun, unsigned, 69 x 51cm.

£800­1,200

495

A Glasgow School brass planter the design attributed to Margaret Gilmour, oval section with twin ring handles, on four ball feet, the body stamped with an Art Nouveau butterfly between Glasgow rose and stylised foliage, unsigned, 29.5cm. wide

Provenance

Art Nouveau Originals, Circa 1900. Private collection.

£300­500

496

A Glasgow School brass planter, oval with twin loop handles, on four ball feet, stamped in low relief with Art Nouveau entrelac panels, unsigned, 38cm. wide

Provenance

Paul Reeves, 2003. Private collection.

£300­500

497

A Scottish Arts and Crafts brass tray probably Alexander Fisher of Iona, oval, twin­handled form, hammered in low relief with celtic knots with mythical beast terminals, on four ball feet, unsigned, 68.5cm. wide.

£120­180

498

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

Provenance

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

Literature

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

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

£500­800

495

496

498

497

494

499

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.

£80­120

500

A patinated bronze vase, cast in low relief with a maiden wearing an elaborate hat with feathers, on later rotating base, base signed Triangle Oshkosh Wis, 21.5cm. high

£100­150

501

An enamelled metal roundel of a Japanese musician, depicting a man playing a stringed instrument, in bakelite frame, apparently unsigned, 13.5cm. diam. (frame)

£150­200

502

An Art Nouveau Osiris gilt metal and glass claret jug, model no.502, cast in low relief with panels of fruiting grape vine, stamped marks 31cm. high

£150­200

503

An electroplated wine cooler or ice bucket probably Christofle, flaring cylindrical form with streamlined wood handles, worn stamped makers mark to base, 20.5cm. high

£120­180

504

A Christofle Gallia silver­plated tea set designed by Lino Sabattini, comprising; teapot and cover, milk­jug, sugar basin and cover, on circular tray, streamlined modernist form, stamped marks, 19cm wide (teapot), (6)

£800­1,000

503

501

505

A Viners Studio stainless steel canteen of cutlery designed by Gerald Benney, comprising; six dinner forks and twelve knives, twelve dessert spoons and forks, twelve soup spoons, twelve teaspoons, twelve smaller coffee spoons, four serving spoons, thirteen various butter knives, twelve various fish knives, six forks, seventeen various forks, six cake forks, six spoons, eleven small spoons, and a cake slice stamped marks, 19cm long (slice), (a lot)

£200­400

506

A pair of Georg Jensen Pyramid silver fish servers designed by Harald Nielsen, each blade pierced and stamped with a stylised dolphin to the blades, stamped marks, 24.5cm. long (2) £150­200

507

A Georg Jensen stainless steel cutlery service, comprising; six dinner knives, forks and spoons, six dessert spoons, six lunch forks and knives, six fish knives and forks, six teaspoons, two serving spoons and a fork, stamped marks, 20cm. long (serving spoons), (57)

Provenance

Georg Jensen, 15 New Bond Street, purchased by John Pinckheard, 1959.

£150­200

508

A Georg Jensen Caravel silver cutlery service for twelve designed by Henning Koppel, comprising; twelve dinner knives, forks and spoons, twelve soup spoons, twelve fish knives and forks, twelve dessert knives, forks and spoons, a carving knife and fork, a small serving ladle, large serving spoon and three smaller serving spoons, and a cake slice, in a Christofle canteen stamped marks, (114)

Literature

Charlotte & Peter Fiell Scandinavian Design, Taschen, page 365 for this design illustrated.

£3,000­5,000

508 canteen

509

A Mont Blanc Meisterstuck fountain pen and ball pen, with Mont Blanc leather desk blotter, pen case, replacement cartridges and blotter paper, 13.5cm. long (fountain pen), (9)

£150­250

510

A John Dickinson & Company Carvacraft amber bakelite desk set designed by Charles Boynton, comprising Modernist, streamlined double inkwell, blotter and stamp sponge holder, factory marks to stamp sponge holder, 26cm. wide (inkwell), (3)

£150­200

511

An Omega Watches counter­top mirror, rectangular, enamelled red with gilt Omega marks, chip to corner, 31.5cm. high £120­180

512

A silver and diamond watch by Linda Parry, hammered silver case, black rhodium plated dial, grey leather strap, signed to reverse, 3.3cm long

Provenance

Private collection, purchased from the artist in 2017.

£300­500

513

A Georg Jensen stainless steel ladies watch designed by Henning Koppel, model no.429, with grey leather strap, and a spare tan leather strap , in original presentation case, stamped marks, 3cm. diam.

£150­200

514

A Georg Jensen ladies watch designed by Jorgen Moller, with grey dial, blue strap, 3cm. diam dial.

£150­200

515

An Omega silver ladies dress watch, set with four small lapis stones, circular blue dial, stamped marks, 2.2cm. diam. (dial)

£150­200

516

‘Saint Cecilia’ a small gold and enamel brooch, circular enamel depicting St Cecilia playing an organ, in colours unsigned, 3.5cm. wide.

£600­800

517

A Wiener Werkstätte silver locket designed by Berthold Löffler, oval form, cast in low relief with a putto riding a bird, stamped marks to back, 3cm long

£200­300

518

An unusual Arthur & Frank Parsons Tessiers novelty silver lighter modelled as a bomb, modelled with four tail fins and a propellor, stamped marks, London, 1926, 10.5cm. high, £300­500

519

A Georg Jensen silver and moonstone brooch, cast in low relief with flowers and foliage, set with two amber cabochon, above four moonstones, stamped marks, 5cm. wide

£250­350

520

A Georg Jensen silver Corset cuff bangle, designed by Regitze Overgaard, waisted form with waxed string chord, stamped marks, 6.5cm. high

£600­700

521

A Georg Jensen silver brooch, model no.165, circular, pierced form, cast with a dove perched inside a foliate border, stamped marks, 4cm. wide £120­180

522

A Georg Jensen silver brooch designed by Nanna Ditzel, model no. 328, streamlined form, in original card box, stamped marks, 5cm wide

£250­300

523

A Montan silver Sledge Track bangle by Vibeke Maarsso, stamped marks, 8.5cm. wide

Provenance

purchased by the vendor from Montan, 2003.

£200­400

524

A Hans Hansen silver necklace and bracelet designed by Bent Gabrielsen, model no.239, triangular links, stamped marks, 38cm long (necklace), (14 links) 17cm long (bracelet), (11 links) (2)

£500­800

526

525

A David Anderson silver and amethyst pendant necklace, pierced square section drop on five chains, suspended from link collar necklace with a large amethyst cabochon flanked by the smaller cabochon, stamped marks, 10cm. drop

£300­500

526

A Glen Campbell silver pendant necklace and earrings, waisted rectangular form, textured surface, stamped marks, 6cm. long (4)

£200­300

527

A Jane Adam oxidised silver Pod pendant necklace, set with freshwater pearls, on silver cable, and two pairs of earrings, unsigned, 8.5cm long (pendant) (5)

Provenance

Purchased by the vendor from the artist in 2016.

£200­300

529

528

A Sean Leane resin tusk bangle, with silver mount, a pair of Angela Caputi clip earrings, a Santa Fe necklace and a Lalique box, stamped marks, 10cm. wide (5)

£150­200

529

A silver freeform bracelet by Rowena Park, five sprung wire hoops, with original instruction card dated 1982, a red lips ear clip by Herman Hermsen, a red painted wire angle pin by George Dobler, a perspex bangle by Gijs Bakker, a Shopring, a Louise Slater laminate ear stud and brooch and a collection of modern jewellery, 12.5cm wide (bracelet) (a lot)

Provenance

Fine Jewellery, Dreweatts 11th March 2009 (lots 209, 213 and 214).

£150­250

530

A Paula Bolton silver and pearl brooch and earrings set, circular form set with central pearl, the brooch with hanging loop to be worn as a pendant, stamped marks, 5cm. diam. (3)

£150­200

531

A pair of Vicky Lew white rhodium and half pearl clip earrings, stamped marks, 5.8cm. long (2)

£150­200

532

A Rhona McCallum silver link bracelet, square links, and a double stacking ring stamped marks, 20cm long (bracelet) (3)

Provenance

Purchased from the artist directly

£300­500

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

BUYER’S PREMIUM

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

CONDITION REPORTS

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

The colours printed in the catalogue are not necessarily true.

SALE RESULTS

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

PACKING AND SHIPPING

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

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

ZIXIS Fine Art Limited +44 (0)7873 981026 zixisfineart@163.com www.zixisfineart.co.uk

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

EXPORTING YOUR PROPERTY FROM THE UK

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

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

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

PAYMENT AND CLEARANCE

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

The following methods of payment may be made: Bankers draft, cashiers cheque, personal cheque, debit and credit cards. 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

Debit and Credit cards: Visa, Mastercard, Amex or Union Pay. Where practical, payment can be made and purchases collected during the auction.

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

LOT SYMBOLS

VAT

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

CITES REGULATIONS

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

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

ARTIST’S RESALE RIGHT / DROIT DE SUITE

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

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

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

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

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

Royalties for Droit de Suite are as follows:

4% Up to €50,000

3% €50,000.01 ­ 200,000

1% €200,000.01 ­ 350,000

0.5% €350,000.01 ­ 500,000

0.25% In excess of €500,000

Up to a maximum levy of €10,000

FIREARMS

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

INFORMATION FOR BUYERS

INSTITUTION OF CHARTERED SURVEYORS CONDITIONS OF BUSINESS

1 . Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand.

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

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

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

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

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

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

8. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required for the goods to leave the U.K. and (b) whether there is any specific prohibition on importing the goods in question into the destination country because, e.g. they may contain prohibited materials such as ivory. Charges may be applicable for export licences. Ask us if you need help. The denial of any permit or licence shall not justify cancellation or rescission of the sale contract or any delay in payment.

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

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

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

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

TERMS OF CONSIGNMENT FOR SELLERS

1. Interpretation. In these Terms the words ‘you’, ‘yours’, etc. refer to the Seller and if the consignment of goods to us is made by an agent we assume that the Seller has authorised the consignment and that the consignor has the Seller’s authority to contract. Similarly the words ‘we’, ‘us’, etc. refer to the Auctioneers.

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

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

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

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

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

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

Reserves.

(a) You are entitled to place prior to the auction a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve (in which case goods carry the storage and insurance charges stipulated in these Terms of Consignment).

(b) A reserve once set cannot be changed except with our consent.

(c) Where a reserve has been placed only we may bid on your behalf and only up to the reserve (if any) and you may in no circumstances bid personally.

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

9. Soft furnishings. The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense. The rights of disposal referred to in clause 8 and 9 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection on request.

10. Descriptions. Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary. Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds. The liability to reimburse the sale proceeds shall not arise where you are acting reasonably and honestly and are unaware of the forgery but we are or ought to have been aware of it.

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

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

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

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

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

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

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

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

CONDITIONS OF SALE

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

1. DEFINITIONS

In these Conditions:

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

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

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

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

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

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

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

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

2. BIDDING PROCEDURES AND THE BUYER

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

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

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

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

3. INCREMENTS

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

4. THE PURCHASE PRICE

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

5. VALUE ADDED TAX

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

6. PAYMENT

(a) Immediately a lot is sold you will:

(i) give to us, if requested, proof of identity, and

(ii) pay to us the total amount due in pounds sterling

(b) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied.

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

7. TITLE AND COLLECTION OF PURCHASES

(a) The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due.

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

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

8. REMEDIES FOR NON­PAYMENT OR FAILURE TO COLLECT PURCHASES

(a) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies:

(i) to proceed against you for damages for breach of contract;

(ii) to rescind the sale of that lot and/or any other lots sold by us to you;

(iii) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller;

(iv) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere;

(v) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale;

(vi) to retain that or any other lot sold to you until you pay the total amount due;

(vii) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted;

(viii) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of any of your property in our possession for any purpose until the debt due is satisfied.

(b) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions

9. THIRD PARTY LIABILITY

All members of the public on our premises are there at their own risk and must note the lay­out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

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

11. WARRANTY OF TITLE AND AVAILABILITY

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

12. AGENCY

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

13. TERMS OF SALE

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

14. DESCRIPTIONS AND CONDITION

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

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

15. FORGERIES

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

GENERAL

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

17. (a) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate.

(b) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them.

18. Any notice to any buyer, seller, bidder or viewer may be given by first class mail or Swiftmail in which case it shall be deemed to have been received by the addressee 48 hours after posting.

19. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing in the catalogue.

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

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

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

PAINTINGS, DRAWINGS, LITHOGRAPHS, ENGRAVINGS AND PRINTS

In accordance with long standing practice in Fine Art Sale Rooms certain terms used in descriptions in the Catalogue have the meanings ascribed to them in the glossary below.

GLOSSARY

Any statement as to authorship, attribution, origin, date, age, provenance and condition is a statement of opinion and is not to be taken as a statement of fact. The Company reserves the right, in forming their opinion, to consult and rely upon any expect or authority considered by them to be reliable.

(a) Edward Lear: In our opinion a work by the artist. (When the artist’s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named.

(b) Attributed to Edward Lear: In our opinion probably a work by the artist but less certainly as to authorship is expressed than in the preceding category.

(c) Studio of Edward Lear: In our opinion a work by an unknown hand in the studio of the artist which may be or may not have been executed under the artist’s direction.

(d) Circle of Edward Lear: In our opinion a work by an as yet unidentified but distinct hand, closely associated with the named artist but not necessarily his pupil.

(e) Style of ...; Follower of Edward Lear: In our opinion a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil.

(f) Manner of Edward Lear: In our opinion a work in the style of the artist and of a later date.

(g) After Edward Lear: In our opinion a copy of a known work of the artist.

(h) The term signed and/or dated and/or inscribed means that in our opinion the signature and/or date and/or inscription are from the hand of the artist.

(i) The term bears a signature and/or date and/or inscription means that in our opinion the signature and/or date and/or inscription have been added by another hand.

(j) Dimensions are given height before width.

(k) Pictures are framed unless otherwise stated.

BOOK AUCTIONS

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

ARTIST’S RESALE RIGHT / DROIT DE SUITE

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

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

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

Royalties for Droit de Suite are as follows:

4% Up to €50,000

3% €50,000.01 ­ 200,000

1% €200,000.01 ­ 350,000

0.5% €350,000.01 ­ 500,000

0.25% In excess of €500,000

Up to a maximum levy of €10,000

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

PRIVACY NOTICE FOR CUSTOMERS

WHAT THIS PRIVACY NOTICE DOES

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

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

DATA CONTROLLER AND CONTACT DETAILS

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

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

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

• By email – privacyofficer@woolleyandwallis.co.uk

• By telephone – +44 (0)1722 424599

HOW WE COLLECT YOUR PERSONAL DATA

We collect your personal data from the following sources:

From you when you:

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

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

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

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

From third parties such as:

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

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

• sage 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

We may collect the following personal data about you:

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

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

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

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

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

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

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

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

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

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

WHERE WE HAVE A CONTRACTUAL RELATIONSHIP WITH YOU

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

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

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

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

LEGITIMATE INTERESTS

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

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

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

• for our internal business record keeping and processes;

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

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

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

• to collect money owed to us or our consignors;

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

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

• our professional advisors;

• the­saleroom.com;

• debt collection agencies;

• third parties who assist us with our marketing;

• our website and email management software provider.

LEGAL OBLIGATIONS

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

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

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

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

• external auditors;

• the police and other competent authorities, including HMRC;

CONSENT

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

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

SPECIAL CATEGORIES OF PERSONAL DATA

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

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

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

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

INTERNATIONAL TRANSFERS OF DATA

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

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

PROFILING

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

HOW LONG YOUR INFORMATION IS KEPT

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

In particular:

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

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

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

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

YOUR LEGAL RIGHTS

Under the DPA you have the following rights:

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

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

• to require us not to send you marketing communications.

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

• to require us to erase your personal data;

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

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

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

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

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

VALUATIONS

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

INSURANCE VALUATIONS

Written valuations for insurance can vary from a single item to a large estate. Before starting we discuss the various options available so that the valuation is specifically tailored to individual client’s needs. For valuations of an entire house contents an itemised bound valuation is produced and can be accompanied by photographs when required. In addition to providing an inventory, written valuations can prevent painful arguments with a loss adjuster in the event of a claim.

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

PROBATE VALUATIONS

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

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

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

FREE AUCTION VALUATIONS

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

ABSENTEE BID FORM DESIGN

18TH & 19TH OCTOBER 2023

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

Billing Name (please print)

Address Postcode

Daytime telephone

Email

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

Signature

ENTRIES ARE CURRENTLY BEING ACCEPTED FOR OUR 2024 AUCTIONS

AUCTION CALENDAR

OCTOBER

4th & 5th Furniture, Works of Art & Clocks & Kenneth Neame: An Enduring Legacy

18th & 19th Design

24th The Jewellery Collection of the late Jean Louis Chameroy

25th & 26th Fine Jewellery

29th Horatio's Garden Charity Online Art Auction

31st Fine Silver & Objects of Vertu (Day One)

NOVEMBER

1st & 2nd Silver & Objects of Vertu (Day Two & Three)

14th The Lawrence Collection & Fine Asian Art

15th Asian Art II

16th Japanese Works of Art & The Allen Collection

28th Medals & Coins, Arms & Armour

29th British Art Pottery

DECEMBER

13th Modern British & 20th Century Art

2024

JANUARY

17th & 18th Furniture, Works of Art & Clocks

24th & 25th Fine Jewellery

30th & 31st Silver & Objects of Vertu

Dates may be subject to change