Woolley & Wallis by Jamm Design Ltd

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

Clarice Cliff, Art Deco & 20th Century Design

Wednesday 20th April 2016

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

20TH CENTURY DESIGN Michael Jeffery Zoe Smith

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424505 329477

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

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424506 424591 424583 424589

ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham — 424507 FURNITURE, WORKS OF ART & CLOCKS Mark Richards — Jim Gale — Anna Brown — JEWELLERY Jonathan Edwards FGAA Marielle Whiting FGA Hannah Galbraith

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411854 339161 411854

424504 424595 424586

PAINTINGS Victor Fauvelle Jo Butler

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424503 424592

SILVER Rupert Slingsby Lucy Chalmers

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424501 424594

TRIBAL ART & ANTIQUITIES ARMS & ARMOUR Will Hobbs Gemma Bush

Members of The Society

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339752 339752

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

424500

MARKETING Tamzin Corbett

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424590

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424500

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424500

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

FRICS FRSA

COMPANY SECRETARY Jim Macarthur CA ASSOCIATE DIRECTORS Will Hobbs Michael Jeffery Mark Richards Rupert Slingsby Jonathan Edwards FGAA Janice Clift Clare Durham

of Fine Art Auctioneers

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

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CLARICE CLIFF ART DECO & 20TH CENTURY DESIGN

Wednesday 20th April 2016 at 10.30am

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

VIEWING TIMES Saturday 16th April Monday 18th April Tuesday 19th April Wednesday 20th April

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

Front cover: Lots 1038 & 1477 Back cover: Lot 1478 Below: Lot 1410 Catalogue £12.00 (£15.00 by post) Additional images and a catalogue word search facility are available at www.woolleyandwallis.co.uk

LIVE BIDDING

Zoe Smith 01722 424505 zs@woolleyandwallis.co.uk

Please note that requests for telephone bids cannot be accepted after 5pm on Tuesday 19th April.

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

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

Please register by 5pm on Tuesday 19th April. Please note there is a 3% surcharge for using this service.

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

COLLECTION OF LOTS Please note that all lots will be cleared from our Castle Street Saleroom to our Salt Lane office on Friday 22nd April; the furniture will be removed to our Old Sarum warehouse on Friday 22nd April for collection. If you are collecting items after this date please contact the department to arrange in advance.

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CLARICE CLIFF 1001. ‘Original Bizarre’ a Clarice Cliff Globe tea for two, painted with blue and yellow triangles, outlined in orange, comprising teapot and cover, milk-jug and sugar basin, two cups, saucers and a side plate printed factory marks, 11cm. high (9) £250-350

1001 1002. ‘Killarney’ a Clarice Cliff Bizarre 613 vase, painted in colours, and an Original Bizarre vase printed factory marks, Original Bizarre vase 21.5cm. high (2). £150-200

1002

1003. ‘Crocus’ a Clarice Cliff Bizarre large clog, painted in colours, and a Clarice Cliff ‘Autumn’ Fantasque Bizarre plate printed factory marks, chip to rim of plate 13.5cm. long, (2) £150-250 1004. ‘Crocus’ a Clarice Cliff Bizarre Beehive Honeypot and cover, painted in colours, a Globe teapot and cover, and a Grapefruit bowl, printed and painted marks 9.5cm. high (3) £200-300

1003

1004

1005. ‘Coral Firs’ a Clarice Cliff plate, painted in colours inside brown and grey bands printed marks, 23cm. diam. £160-200 1006. ‘Coral Firs’ a Clarice Cliff Bizarre 634 vase, painted in colours above yellow and brown bands printed factory mark, 17cm. high £250-300

1005 1006

1007. ‘House and Bridge’ a Bizarre sandwich plate, painted in colours with a radial design, and a ‘House and Bridge’ preserve pot with electroplated metal cover, printed factory marks, plate restored, 28cm. wide. (2) £150-200 1008. ‘Orange Capri’ A set of three Clarice Cliff Athens jugs, painted in colours, printed factory marks, largest jug professionally restored spout, largest 20cm. high (3) £200-400

1008 1007

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1009 1011

1010

1009. ‘Pastel Melon’ a Clarice Cliff Fantasque Bizarre coffee can and saucer, painted in colours, the saucer with blue, pink and yellow bands printed factory marks, 6.5cm. high (2) £150-200 1010. ‘Secrets’ a Clarice Cliff Bizarre Conical coffee can and saucer, painted in colours, the saucer with green and yellow bands printed marks, professional restoration to can, 7cm. high (2)£150-200

1012

1011. ‘Sungleam Crocus’ a Clarice Cliff Bizarre Conical demi tasse cup and saucer, painted in shades of orange, yellow and green, and two Original Bizarre printed factory marks, 13cm. diam. (3) £150-200 a Clarice Cliff 1012. ‘Autumn’ Fantasque Bizarre Conical coffee can and saucer, painted in colours and an ‘Original Bizarre’ Tankard coffee can and saucer printed marks, 7cm. high (2) £150-200

1013 1013. ‘Autumn’ a Clarice Cliff Fantasque Bizarre Conical cup and saucer, painted in colours, a ‘Melon’ octagonal bowl and a ‘Pansies’ Stamford milk jug, printed factory marks, 6.5cm. high (3) £200-300 1014. ‘Umbrellas & Rain’ a large Clarice Cliff Fantasque Bizarre Conical beaker, painted in colours between orange and blue bands printed factory marks, 11.5cm. high £300-400 1015. ‘Orange House’ a Clarice Cliff Bizarre cigarette and ashtray, shape no.420, painted in colours printed factory mark, 9.5cm. wide £250-350

1015 1014

1016. ‘Tulip’ a Clarice Cliff Bizarre bowl, painted in colours on a honeyglaze, the interior painted blue printed factory mark 24cm. diam. £200-300

1017 1016

1017. ‘Alton’ a Clarice Cliff Fantasque Bizarre bowl, painted in colours, the interior painted with green bands, and a ‘Gay Day’ Clarice Cliff bowl printed factory marks, light wear 21.5cm. diam. (2) £150-200

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1018. ‘Orange Lily’ a rare Clarice Cliff Fantasque Bizarre tea set for six, painted in colours inside green and blue bands, the side plates with orange bands, comprising; milk-jug and sugar basin, six cups, five saucers and six side plates and a sandwich plate printed factory marks, wear and scratches, cake plate 27cm. wide (20) £500-1,000 The side plates and sandwich plate have the impressed date of 1929.

1018

1019. ‘Gay Day’ a Clarice Cliff Bizarre Conical coffee set, painted in colours between yellow and brown bands, comprising, coffee pot and cover, milkjug and sugar basin, five cans and six saucers, printed and painted marks, professional restoration to cover, sugar basin and one can, pot 18.5cm. high (15) £700-900

1019

1020. ‘Melon a Clarice Cliff Fantasque Bizarre cigarette and ashtray, shape no.420, painted in colours printed factory mark, 9.5cm. wide £220-280

1021. ‘Autumn’ a Clarice Cliff Fantasque Bizarre cigarette and ashtray, shape no.420, painted in colours printed factory mark, 9.5cm. wide £250-300

1020

1021

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1023

1022

1022. ‘Pansies’ a Clarice Cliff Bizarre bowl, painted in colours, an ‘Original Bizarre’ bowl and a Blue Chintz’ box and cover printed marks, Original Bizarre restored, 18.5cm. diam. (3) £150-250 1023. ‘Orange Trees & House’ a Clarice Cliff Fantasque Bizarre preserve pot, painted in colours, an ‘Orange Autumn’ Cylindrical preserve pot, a Celtic Harvest ovoid pot, a Delecia flowerbrick and a Stamford milk-jug and a sugar basin, printed factory marks, flat chip to base of Beehive, wear, 6.5cm. high (6) £150-200

1024

1025

1024. ‘Melon’ a Clarice Cliff Bizarre side plate, painted in colours inside orange and black bands, an ‘Oranges and Lemons’ ashtray and a Delecia octagonal bowl printed factory marks, wear to paint, 18cm. diam. (3) £150-200 1025. ‘Umbrellas and Rain’ a Clarice Cliff Fantasque Bizarre bowl, painted in colours, between bands, a ‘Lupin’ pattern bowl and a ‘Lydiat’ bowl printed marks, Lydiat restored 17.5cm. diam. (3) £150-200 1026. ‘Honeydew’ a Clarice Cliff part service, painted in shades of green, yellow and brown, comprising Lynton teapot and cover, milk-jug and sugar basin, muffin dish and cover, taller jug and basin, two slot toast rack, cup, saucer, sandwich plate, twincompartment dish, banded egg cup and miniature cruet, some factory marks, damages 12.5cm. high £150-250

1026

1027

1027. ‘Orange Chintz’ a Clarice Cliff Fantasque Bizarre cake plate, octagonal with central chrome T bar handle, painted in colours inside black and orange bands, a Spring Crocus part tea set and a collection of Clarice Cliff printed marks, 21.5cm. diam. (a lot) £150-250 1028. ‘Pastel Autumn’ a Clarice Cliff Fantasque Bizarre plate, painted in colours inside green, blue and pink bands printed factory marks, 23cm. diam. £150-200

1028

1029. ‘Crow’ a Clarice Cliff figure, painted in colours printed green mark, 20cm. wide. £150-200

1029

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1031

1030

1030. ‘Teepee’ a Clarice Cliff Novelty teapot and cover, modelled in low relief and painted in colours printed marks, Greetings From Canada, 17.5cm. high £300-400

1031. ‘Coral Firs’ a Clarice Cliff Bizarre Biarritz plate, painted to the well and rim, printed factory mark, 26.5cm. wide. £200-300

1032

1033

1034

1035

1032. ‘Honolulu’ a Clarice Cliff Bizarre Cylindrical preserve pot and cover, painted in colours printed factory marks professional restoration to inside top rim,, 9.5cm. high £200-300

1033. ‘Honolulu’ a Clarice Cliff Bizarre Bon Jour sugar sifter, painted in colours printed factory mark, 12.5cm. high £600-800

1034. ‘Cafe au Lait Autumn’ a Bizarre 363 goblet vase, painted in colours on a mottled brown printed factory mark, 16.5cm. high £400-600

1035. ‘Blue Chintz’ a Clarice Cliff Fantasque Bizarre 205 vase, painted in colours above green and blue bands, printed factory marks, professionally restored, 21cm. high £250-300

1036. ‘Orange Gardenia’ a Clarice Cliff Fantasque Bizarre stepped fern pot, shape no.216, painted in colours printed factory marks, 8.5cm. high £150-250

1036 front and back

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1038 1037

ART IN INDUSTRY CERAMICS 1934 1037. ‘Circus - Art in Industry’ a Clarice Cliff Bizarre side plate designed by Dame Laura Knight, printed and painted in colours, highlighted in gilt printed factory marks, 17cm. diam. £150-200 1038. ‘Circus - Art in Industry’ a Clarice Cliff Bizarre tureen and cover designed by Dame Laura Knight, the base modelled with trapeze artists, the cover a clown finial, painted in colours, highlighted in gilt, printed factory mark, restored 28.5cm. diam.£200-300

1039

1040

1039. A Clarice Cliff Art in Industry Bizarre soup bowl and saucer designed by Graham Sutherland, painted with flowers in shades of pink and red, and an Art in Industry small tureen, cover and saucer by Graham Sutherland, printed factory marks, 15cm. diam. (5) £150-200 1040. A rare Foley bone china Green Stars tea cup, saucer and two side plates designed by Graham Sutherland A.R.E, for the 1934 Art in Industry exhibition, printed and enamelled with green star like daisy flowers, detailed in black with pink rope border printed factory mark, repaired handle to cup and hairline, 20.5cm. diam. (plate) (4) £150-200

1041 1042

Literature Graham Sutherland Tate Gallery Exhibition catalogue 1982, page 67 catalogue number 29 for an example of this design. 1041. A Clarice Cliff Art In Industry trio designed by Michael Wellmer, printed in salmon pink and black with a mythical creature repeat, printed factory marks, 17cm. diam. (3) £150-200 1042. ‘Chevaux’ a Clarice Cliff Art in Industry plate designed by John Armstrong, an Art in Industry soup bowl by Dod Proctor and a trio by Milner Gray painted with a red hatch design, printed factory marks, 20cm. diam. (5) £150-200 Literature Sue Lunt Age of Jazz British Art Deco Ceramics, National Museums Liverpool, page 85 catalogue number 77 for a comparable plate illustrated. 1043. A Clarice Cliff Bizarre Bon Jour teapot and cover and sugar basin designed by Eva Crofts, painted with alternate bands in blue and silver printed factory marks, restored, 14cm. high (2) £250-300

1043

Literature Sue Lunt Age of Jazz British Art Deco Ceramics, National Museums Liverpool, page 83 catalogue number 75 for a comparable set illustrated.

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1044 1044. ‘Inspiration Caprice’ a rare Clarice Cliff charger, radially painted in shades of blue, black, ochre and purple, on a turquoise ground painted signature 46cm. diam. £1,200-1,800 Literature Leonard Griffin Clarice Cliff The Art of Bizarre, Pavilion Books, page 66 for a comparable Inspiration Caprice charger.

1045. ‘Inspiration Caprice’ a Clarice Cliff Bizarre Mei Ping vase, painted in shades of blue, black, and beige on a turquoise ground painted Inspiration mark, professional restoration to base and rim, 23cm. high £300-400

1045

1046. ‘Red Autumn’ a Clarice Cliff Fantasque Bizarre wall plaque, dated 1931, radially painted in colours, inside a coral red band printed factory mark, impressed date code 33.5cm. diam. £1,500-2,000 Provevance Muir Hewitt. This wall plaque is illustrated in The Rich Designs of Clarice Cliff, page 224 behind the portrait photograph of Muir.

1046

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1047

1048

ART DECO CERAMICS 1047. A Susie Cooper Studio vase, dated 1932, tapering cylindrical form, painted with tulip flowers in colours on a mushroom glaze, another Studio vase and a plate,and two rectangular dishes and a Quimper vase and jug printed and painted marks, main vase professionally restored, minor damages, 19.5cm. high (7) £100-200

1049 1048. ‘Cubist’ a Gray’s Pottery bowl designed by Susie Cooper, the bowl with inverted rim, painted with geometric design in shades in bold colours printed Liner mark and ‘Cubist’ pattern name 22.5cm. diam. £150-200 1049. ‘Pink Dresden Spray’ a Susie Cooper Productions tea set, printed and painted in colours, comprising; Rex teapot and cover, hot-water pot and cover, milk-jug and two sugar basins, preserve pot and cover, muffin dish and cover, two breakfast bowls and plates, two tea cups, saucers and side plates, two egg cups and two small dishes, and a cruet printed factory marks, cruet smashed, 13cm. high £150-200 1050. ‘Patricia Rose’ a Susie Cooper Productions Kestrel tea set for six, pattern no.2159, comprising, milk-jug and sugar basin, six cups, saucers and side plates and a sandwich plate, printed factory mark, one tea cup handle re-stuck, 22cm. diam. (21) £150-200

1050

1051 marks

1051

1051. An unusual A.E. Gray vase possibly by Susie Cooper, painted to the neck and foot with a band of geometric panels, in colours and gilt on a matt blue ground, a Gray’s Pottery plate painted with oranges, three Gray’s Pottery Gloria Lustre vases a box and cover and a miniature bowl, painted marks to base 19cm. high (7) £200-300 Literature Hand Painted Gray’s Lustre, City Museum Stoke on Trent, 1982, page 21 plate 29 for comparable vases illustrated.

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1052. A Poole Pottery twin-handled vase designed by Truda Carter, painted by Anne Hatchard, pattern CO, painted with geometric foliage in colours on a white ground, and another Poole vase painted with a bird amongst flowers and foliage impressed mark, painted marks and artist cipher 18.5cm. high (2). £150-200 1053. A Carter Stabler & Adams Poole Pottery vase by Ann Hatchard, pattern XE, painted with fuchsia flowers, in colours on a white ground, and a Poole Pottery Bluebird vase, and three Ashtead Pottery jugs impressed and painted marks, hairline to galleon jug 22cm. high. (5) £150-200

1052 1053

1054. A Carter Stabler & Adams Poole Pottery step-handled vase designed by Truda Adams, painted by Mary Brown, pattern EB shape 973, painted with stylised flowers and foliage impressed mark, painted marks and artist cipher, 17.5cm. high £150-250 Literature Leslie Hayward and Paul Atterbury, Poole Pottery, Richard Dennis Publications, page 63 for an identical vase. 1055. A Carter Stabler Adams Poole Pottery Bluebird twin-handled vase designed by Truda Adams, painted by Anne Hatchard, pattern NE shape 901, painted in colours on a white ground impressed and incised marks, painted marks and artist cipher 23.5cm. high £150-200

1054

1055

1056. A Poole Pottery Leaping Gazelle vase designed by Truda Carter, painted by Majorie Batt, pattern TZ shape 440, painted in colours on a white ground, impressed and painted marks, painted artist cipher 14.5cm. high £150-200 1057. A Carter Stabler Adams vase designed by Truda Carter, painted by Anne Hatchard, pattern BR shape 213, painted with stylised flowers and foliage in mint green, black and brown on a white ground, impressed and incised marks, painted marks and artist cipher, professionally restored 23.5cm. high £150-200

1056

1057

Literature Leslie Hayward & Paul Atterbury Poole Pottery, Richard Dennis Publications, page 69 for a comparable vase. Andrew Casey Art Deco Ceramics in Britain ACC page 101 plate 12.9 for a comparable vase. 1058. A Carter Stabler & Adams Poole Pottery vase designed by Truda Adams, painted by Anne Hatchard, pattern ER shape 684, shouldered form, painted with a bouquet of stylised spring flowers, in colours on a white ground, the rim with a frieze of lotus flower and banner, a charger painted with flowers, a tall Chinese Blue vase and six other Poole pottery items various marks, minor damages, 37cm. high (9). £400-600

1058

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1059

1061

1062

1060 1059. A pair of Shelley Pottery Vogue coffee cups, saucers and side plates, pattern no.11754, painted in contrast lime green and gold interiors and banding, printed and painted marks, restored saucers 7.5cm. high (6) £150-250 Literature Andrew Casey Art Deco Ceramics in Britain ACC page 81 plate 11.3 for a comparable trio.

1063

1060. A Shelley porcelain Regent shape tea set for six designed by Eric Slater, pattern W.12486, painted with graduated blue bands, comprising, teapot and cover, milk-jug and sugar basin, slop basin, six cups, saucers and side plates, a sandwich plate and a small side plate printed and painted marks, teapot 13cm. high £200-300 1061. ‘Patricia’ a Shelley Pottery figure designed by Mabel Lucie Attwell, painted in colours printed green mark, 18cm. high £300-400 1062. ‘I’s Shy’ L.A.9 a Shelley Pottery figure designed by Mabel Lucie Attwell, painted in colours printed green mark, 16cm. high £200-300

1064

1063. A Susie Cooper small hot-water pot and cover, printed and painted in colours and pink banding with flowers, a Copeland Spode Winston Churchill commemorative jug, a Crown Devon cake plate with electroplated stand, painted with geometric pattern, and a collection of Art Deco ceramics including Susie Cooper, Shelley, Myott, Radford and Crown Ducal various marks, pot and cover 13.5cm. high (a lot) £150-200 1064. A Bursley Ware vase designed by Charlotte Rhead, pattern 1432, painted with peonies in colours, and a pair of Wood & Sons Orion Ware vases, printed and painted marks, star-crack to base, 15.5cm. high (3) £150-200

1065

1065. A Carlton Ware Moderne tea for two, pattern no.3887A, painted in matt grey with blue detailing, comprising, teapot and cover, milk-jug and sugar bowl, two cups, saucers and a side plate printed and painted marks, 14cm. high £200-300

1066

1066. ‘Tutankhamun’ a rare Carlton Ware lustre dish, footed form printed and painted in colours and gilt on a pearl lustre ground with Egyptian figures and hieroglyphs printed mark, 10.5cm. diam. £150-200

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1067 1067. ‘Travel’ three Wedgwood plates designed by Eric Ravilious, printed with steam train and sailing yacht vignette in black, highlighted in blue on a grey ground, a Garden plate and covered tureen, a Harvest Festival/Persephone tureen, cover, platter, sauceboat saucer and plate and a Wedgwood Orient Line Heartsease bowl and saucer designed by Edward Bawden, various printed and painted marks, hairline crack to £200-400 platter 33cm. wide (platter) (10) 1068. A rare Wedgwood Alphabet egg cup designed by Eric Ravilious, printed with a Yacht and Zeppelin vignette in black and pink, and a Wedgwood Alphabet jug designed by Eric Ravilious, printed Eric Ravilious and Wedgwood marks, hairline to egg cup, chip to spout of jug, 10.5cm. high. (2) £200-300

1068

1070 1069

Literature Ravilious & Wedgwood The Complete Wedgwood Designs of Eric Ravilious, Richard Dennis Publications, page 22 for the egg cup and jug designs illustrated. This design was created in 1937. 1069. A large Wedgwood Dragon lustre bowl designed by Daisy Makeig-Jones, printed in gilt with a ferocious dragon, the exterior pale blue, the interior pearl lustre printed factory marks, 29cm. diam. £200-300

1071

1070. A Wedgwood lustre bowl designed by Daisy Makeig-Jones, model Z5088, printed and painted to the exterior with flying exotic birds, in colours and gilt on a green mottled lustre ground, the interior pearl lustre printed and painted marks, 16.5cm. diam. £100-200 1071. ‘Fairy in a Cage’ a Wedgwood Fairyland lustre octagonal bowl designed by Daisy Makeig-Jones, painted in colours to the inside on a pearl lustre ground, the exterior on a black lustre ground with the Woodland Elves VII-Toadstool’ pattern, highlighted in gilt printed and painted marks, 23cm. diam. £1,000-2,000 Literature Una des Fontaines Wedgwood Fairyland Lustre, Sotheby Parke Bernet, page 155 figure 62 this design illustrated. 1072. ‘Sycamore Tree’ a Wedgwood Fairyland Flame lustre vase designed by Daisy Makeig-Jones, shape no.3150, printed and painted with panels of Feng Hwang, Bridge and Ship and Tree, in colours and gilt on a flame red ground, highlighted in gilt, printed and impressed marks, small glaze frit to top rim, 20.5cm. high £800-1,200

1072 front & back

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1073

1074

1075 1073. A Wedgwood earthenware vase designed by Keith Murray, ribbed ovoid form, covered in a matt straw glaze printed factory mark and facsimile signature, professionally restored, 23cm. high £200-300 1074. A Wedgwood earthenware Moonstone bowl designed by Keith Murray, low form with everted, fluted rim, covered in a matt white glaze printed mark facsimile signature 36cm. diam. £200-300 1075. A pair of Wedgwood Moonstone earthenware vases designed by Keith Murray, ovoid with cut bands, covered in a matt white glaze printed factory marks, facsimile signature 16cm. high (2) £200-300

1077

1076

1076. A Wedgwood earthenware beaker vase designed by Keith Murray, fluted cylindrical form, covered in a Straw glaze printed factory mark, KM monogram 11cm. high £150-200

1078

1079

1077. A pair of Wedgwood earthenware cocktail goblets designed by Keith Murray, cylindrical form on ribbed foot, cream glazed with gilt bands printed and painted marks KM £150-200 monogram 7.5cm. high (2) 1078. A Wedgwood earthenware inkwell and pen tray designed by Keith Murray, rectangular tray with rectangular well, cover and two liners, impressed and printed marks, facsimile signature 26cm. wide £150-200 1079. A Wedgwood earthenware cigarette box and cover designed by Keith Murray, ribbed rectangular box, covered in a Matt Green glaze impressed and printed marks and facsimile signature, professional restoration 18.5cm. wide £150-200 1080. A Wedgwood Black Basalt vase designed by Keith Murray, footed, flaring form with ribbed band, impressed and printed marks, facsimile signature 20cm. high £800-1,200 Literature Andrew Casey Art Deco Ceramics in Britain ACC page 197 plate 216 for a drawing of this shape illustrated, circa 1934.

1080

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CONTINENTAL ART DECO CERAMICS 1081. A Boch Freres Gres Keramis vase designed by Charles Catteau, pattern E.2466, barrel form, decorated with a chevron band in brown on a rust coloured ground impressed, printed and painted marks, hand painted signature 20cm. high £50-100 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 564 for a drawing of this design, the signature is hand painted by Charles Catteau. 1082. A Boch Freres Gres Keramis vase designed by Charles Catteau, pattern D.771, slender, swollen cylindrical form, painted with flowerhead roundels in brown and black on a gunmetal grey ground impressed , printed and painted marks, facsimile signature 27cm. high £100-200

1081

1082

Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 424 catalogue number 989 for a comparable vase 1083. Boch Freres Gres Keramis vase designed by Charles Catteau, pattern D.914, decorated with panels of bell flowers in black enamel on a crackled white glaze impressed, printed and painted marks, 24.5cm. high £100-200 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 553 for a comparable vase. 1084. A Boch Freres Keramis vase designed by Charles Catteau, pattern D.1174. shape 844, enamelled with geometric flowers and foliage in shades of blue, yellow and black on a crackled white ground, and another Gres Keramis vase printed factory marks, professionally restored rim, 31.5cm. high (2) £100-200

1083

1084

1085. A Boch Freres Keramis vase designed by Charles Catteau, pattern D.750, painted with stylised flowerheads in shades of yellow and orange on a crackled white ground impressed and printed marks, facsimile signature 35cm. high £200-300 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 556 catalogue number 1086. A Large Boch Freres Keramis vase designed by Charles Catteau, pattern D.2305, shouldered form, painted with a frieze of scrolling flowers and foliage in mushroom on a brown ground printed and painted marks, facsimile signature 35cm. high £150-250 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 316 catalogue number 600 for a comparable design.

1085

1086

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1087

1088 1089

1090

1087. A Longwy Pottery twin-handled tray, model no.3352, enamelled with flowers and foliage in shades of red, green, pink, yellow and purple on a black ground, a Longwy Pottery bowl enamelled with flowers, a Boch Freres figural centrepiece and a pottery model of a mother and child group printed and painted factory marks, 38cm. wide (4) £150-250 1088. A St Clement pottery model of a racing cyclist, model no. 4259, on shallow incline base, glazed a rich red cast marks 24cm. wide, 23cm high £150-200 1089. A Robj style decanter and stopper, modelled as a comical giraffe, with silver highlights unsigned 28.5cm. high £150-200

1092 1091

1090. A Theodore Haviland Limoges dish designed by Edouard Marcel Sandoz, tapering rectangular form, modelled in low relief and painted with a butterfly, on golden ground, a Limoges vase, a miniature Limoges vase and a dish printed factory marks and facsimile signature 8.5cm. wide (4) £150-200 1091. An Art Deco Bornholm stoneware vase and cover by Lauritz Adolph Hjorth (1834-1912), footed, flaring form, the flat cover with quatrolobed finial, painted with Celtic intertwined frieze in red and black on a mushroom brown ground impressed Hjorth mark, 40cm. high £800-1,200 1092. An Ages ceramic box and cover, by L Trahant, octagonal form, cast in low relief with radiating fronds, glazed in shades of purple painted marks, 22cm. diam. £150-250 1093. A Bauhaus Hamelner Topferei vase designed by Gertrud Kraut and painted design by by Anni Rawitzer, the ovoid body with tall flaring neck, applied with two strap handles, painted with a geometric design in blue and ochre on a crackled cream ground impressed mark to base, chips to foot £500-800 rim, 40cm. high

The H.T. Hamelner Topferei pottery was founded in Hameln, Germany in 1922 by Gertrud Kraut and Dr Georg Rawitzer - who were both members of the Deutsche Werkbund. This vase was designed in 1924 and made circa 1930.

1093

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1094. ‘Girl with a Fan’ a Goldscheider Pottery wall mask, model no. 6542, painted in colours impressed and printed marks, 26cm. high £450-550

1094

Literature Ora Pinhas Goldscheider Pottery, Richard Dennis Publications, page 168 for a version of this mask illustrated.

1095. A small Goldscheider Pottery figure of an exotic dancer by Rose, model no.5513, painted in colours impressed and printed marks, signed in the case £600-800 Rose 14cm. high

1095

1096. A Goldscheider Pottery model of a dancer designed by Josef Lorenzl, model no.7195, modelled leaning back, her arms raised lifting the hem of her dress, in colours printed and impressed marks, facsimile signature, professional restoration to her hands, 38cm. high £700-900 Literature Ora Pinhas Goldscheider Pottery, Richard Dennis Publications, page 156 for an example of this model illustrated.

1096

1097. A Goldscheider Pottery model of a dancer designed by Josef Lorenzl, model no.6227, modelled holding the hem of her blue split skirt in her hands, glazed in shades of blue, black and pink impressed marks, facsimile signature 33cm. high £1,000-1,500 Literature Ora Pinhas Goldscheider Pottery, Richard Dennis Publications, page 156 for an example of this model illustrated.

1097

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1098. A Goldscheider Pottery figure of a woman in a butterfly dress cast from a model by Josef Lorenzl, model no.5715, modelled standing her arms outstretched and holding the hem of her dress, painted in shades of blue, green and purple, impressed and printed marks, facsimile signature to hem of dress, minor professional restoration to one hand, 39cm. high £2,500-3,000 Literature Ora Pinhas Goldscheider Pottery, Richard Dennis Publications, page 106 for examples of this model illustrated.

1098 1099. ‘The Captured Bird’ a Goldscheider Pottery figure cast from a model by Josef Lorenzl, model no.5230, painted in colours and highlighted in gilt, impressed and printed marks, minor professional restoration to tips of fingers 47cm. high £2,500-3,000 Literature Ora Pinhas Goldscheider Pottery, Richard Dennis Publications, page 118 and on the front cover for examples of this model illustrated.

1099

1100. Abruzzese a Lenci Pottery model of a woman designed by Helen Konig Scavini, modelled in traditional peasant dark green dress with embroidered apron, frilled collar and gold buttons, balancing a pot on her head, glazed in colours and highlighted in gilt, painted factory marks, impressed facsimile signature, restored head and base 46cm. high £200-300 Literature Alfonso Panzetta Le Ceramiche Lenci Umberto Allemandie, page 197 catalogue number 558 for this model illustrated.

1100

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ART DECO GLASS 1101. A rare Monart glass ginger jar and cover, mottled blue and white cased in clear unsigned 18cm. high £200-400 Literature The Parkington Collection Part II, Christies South Kensington, 8th April 1998, page 46-47 lot 378 and 379 for comparable examples. 1102. A Monart glass Coupe vase, shape JB, pale blue glass with air bubble inclusions, unsigned 22cm. high £300-500

1101 1102

Literature Ian Turner Ysart Glass, Volo Edition, page 73 plate 57 for a vase with comparable air bubble decoration. 1103. A pair of Vasart glass table lamps, tulip form, red graduated to pink glass with multi-coloured millefiore whorl inclusions, cased in clear unsigned 24.5cm. high (2) £250-350 Literature Ian Turner Ysart Glass Volo Edition, page 115 plate 119 for a comparable tulip lamp. 1104. A Stevens & Williams Rose-du-Barry Alabaster glass powder bowl and cover, pale pink glass with applied opaque glass finial and foot, a Stevens & Williams Alabaster footed vase and an apple paperweight, and two Stevens & Williams Alabaster green glass items unsigned, small flat chip to inner top rim, powder bowl 21cm. diam. (5) £150-250

1103

Literature Charles Hajdamach 20th Century British Glass, ACC books, page 108 plate 213 for comparable covered bowls illustrated. these Bath Powder Bowls are listed as entering the company pattern books in 1919. Provenance The Parkington Collection Part 1, Christie’s South Kensington 16th October 1997, part of lots 502 (green bowl) and 503 (apple)

1104

1105. A Jobling & Co Opalique lovebirds glass paperweight, modelled in relief, and a Jobling flint satin finish glass bear cast rd number and etched Joblings Opalique to base, small frit to base rim, 11cm. high (2) £200-300 Literature Charles Hajdamach 20th Century British Glass, ACC, page 194 for the lovebirds model illustrated. The registration mark of 788543 is for the date 1933.

1105 1106. A Barolac opalescent glass bowl, moulded in low relief with foliage, a Barolac opalescent glass vase moulded in relief with tulips, two boxes and a swan vase bowl signed to the well Barolac, the rest signed, 28cm. diam. (5) £150-250

1106

1107. A Stuart engraved and cut clear and frosted glass vase, flaring cylindrical form on applied foot, decorated with fish surrounded by waves and air bubbles, swimming unsigned 29cm. high £200-300 Literature Art Deco to Post Modernism A Legacy of British Art Deco Glass, Exhibition September 2003, page 13 catalogue number 35 for a comparable vase illustrated. 1108. A John Walsh Walsh Albany cut glass vase designed by Clyne Farquharson, flaring bucket form with cut and engraved geometric decoration etched signature to base 25.5cm. high £200-300

1107

1108

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1110

1109

1109. A Webb emerald green glass vase, footed form, the flaring, shouldered body with raised point decoration, two Webb bowls, two Continental etched glass vases, a Strathearn vase and a dish acid etched mark, 20cm. high (7) £150-200 1110. A Whitefriars Knobbly glass vase designed by Geoffrey Baxter, ruby red glass cylindrical body, five other Whitefriars ruby glass vases and a collection of glass applied paper label, 23cm. high (a lot) £200-300 1111. A James Powell & Sons Whitefriars emerald green glass Tear vase designed by James Hogan, shouldered form with collar neck, applied with six emerald green tailed prunts unsigned 25.5cm. high £250-350

1111

1112

Literature Lesley Jackson, Whitefriars Glass The Art of James Powell & Sons Richard Dennis Publications, page 125 plate 114 for comparable vases. 1112. A Whitefriars Golden Amber wave ribbed tumbler glass vase designed by Marriott Powell, another similar, a green glass bowl, a Schott and Gen glass teapot and cover, and a collection of glass items unsigned 19.5cm. high (a lot) £150-200 1113. A tall amethyst glass vase the design attributed to Keith Murray, probably Stevens & Williams, tall flaring cylindrical body with air bubble inclusions, on clear glass foot, unsigned 30cm. high £150-250

1113

Literature Decades of Design, Fieldings Auctioneer’s 25th April 2015, lot 632 for an identical flint glass vase0

1114

1114. A Stevens & Williams glass vase designed by Keith Murray, the swollen green glass body with everted rim, acid etched mark and facsimile Keith Murray signature 29cm. high £150-200 Provenance Private collection of modern ceramics and glass 1115. A tall Gray-Stan cased glass vase designed by Mrs Graydon-Stannus, the compressed body with tall cylindrical neck, opaque glass with brown striations cased in clear etched Gray-Stan signature 42.5cm. high £200-300

1116. A Gray-Stan glass vase designed by Mrs Graydon-Stannus, flaring bucket form mottled green graduating to white with pulls, cased in clear etched Gray-Stan to base 29cm. high £150-200

1115

1116

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1117. An Artistar French moulded glass plaffonier, pale blue glass moulded with hydrangea flowerheads, and another rose glass moulded plaffonier cast signature to the rim, 34.5cm. diam. (2) £150-250

1118. ‘Rameses I’ a Kosta clear and frosted glass vase designed by Vicki Lindstrand, model no.6392, flattened elliptical form, decorated with Ramses I riding in a chariot, etched marks to base 16.5cm. high £150-200

1117

1119. An engraved glass vase attributed to Orrefors and designed by Simon Gate, engraved with a Bacchanalian scene of a nude female musician playing two pipes, next to two nude female dancers offering up bunches of grapes on a vine, unsigned, flat chip to top rim, 20.5cm. high £150-200 Literature Swedish Glass Factories 1915-1960 Prestel, page 95 G.1935 for a comparable form with engraved figure.

1118

1119

1120

1121

1122

1123

1120. A pair of Baccarat clear and frosted glass candlesticks, on reeded bases, the central column modelled as a young child, with drape, supporting the swollen sconce, cast Baccarat mark, 25cm. high (2) £150-200

1121. A Steuben glass model of a fantailed dove, and another glass fan-tailed dove etched signature to larger figure, 18cm. high, (2). £150-200

1122. An opalescent glass Hirondelle bowl probably Sabino, the flaring rim modelled in relief with a frieze of swallows indistinct acid etched mark to foot rim, 33cm. diam. £150-250

1123. A Sabino opalescent glass model of a fish, on round base, another Sabino opalescent fish, a frosted glass model of a rabbit and a perspex model of a swallow cast Sabino signature 6cm. high (4) £150-200

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1126 1125

1124

1124. ‘Les Introuvables’ a modern limited edition scent bottle collection, five scent bottles in presentation case, 1995, and another Flacon, 1997 limited edition scent bottle, applied labels, (2) £150-250

1125. ‘Volubilis’ No 383 a Lalique amber glass bowl designed by Rene Lalique, etched R Lalique France 21.5cm. diam. £250-350

1127

1128

1126. ‘Lalique’ a rare Lalique clear and enamelled glass display sign, triangular section with moulded Lalique enamelled in black, unsigned 8.5cm. wide £150-200

1127. ‘Chiens No.1’ model no.3214 a clear and frosted glass bowl designed by Rene Lalique, with sepia staining, cast mark to well, etched R Lalique France to foot rim, 24cm. diam. £150-250

1129

1130

1128. ‘Roger’ no.75 a Lalique opalescent glass box and cover designed by Rene Lalique, moulded Lalique to side of box, £50-150 chips to cover, 13.7cm. diam.

1129. ‘Lys’ No.382 a Lalique opalescent glass bowl designed by Rene Lalique, stencilled R Lalique France no.382, 24cm. £300-500

1130. ‘Bulbes- No.2’ No. 3302 a Lalique opalescent glass bowl designed by Rene Lalique, and ‘Coquilles’ No.3200 a Lalique opalescent glass bowl stencil R Lalique France 20.5cm. diam. (2) £200-300

1131. ‘Coquilles’ no.3200 and no.3013, a Lalique opalescent glass bowl and six side plates designed by Rene Lalique, wheel-cut mark R Lalique France 24cm. diam. (7). £400-600

1131

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1132

1133

1132. ‘Chardons’ No.929 a Lalique clear and frosted glass vase designed by Rene Lalique, with turquoise green staining, etched R Lalique France to foot rim, 19cm. high £400-500

1133. ‘Sirene’ No.831 a rare Lalique opalescent glass car mascot/figure designed by Rene Lalique, signed in the case R Lalique, tiny nicks to her hair, 10.5cm. high £1,000-2,000

1133A

This figure was designed in 1920.

1133A. ‘Soucis’ no. 235 a Rene Lalique amber glass seal designed by Rene Lalique, with white metal seal base, etched R. Lalique, 9cm high £400-600

1134. ‘Houbigant 7 la Belle Saisons’ a Lalique glass scent bottle and stopper designed by Rene Lalique, designed in 1920, clear and frosted glass with red staining, with original gilt and lime green card presentation box, with silk lining and silk rope pull and tassels cast mark R Lalique Made in France, etched stopper, 10.4cm. high £1,500-2,000

1134

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1136A 1135. An enamelled glass vase, flaring form cut with vertical columns, enamelled with panels of geometric flowers unsigned 21cm. high £150-250

1136

1135

1136. An enamelled glass decanter and stopper, tapering, faceted form enamelled with geometric panels in black, red and silver, and another enamelled decanter and stopper unmarked 19.5cm. high (2) £100-200 1136A. A pair of Vedar enamelled glass bowls, enamelled with a woman among peacocks in a formal garden setting, in colours on a black ground, a pair of footed bowls decorated with classical musician figures and four enamelled glass plates unsigned 11.5cm. diam. (8) £150-200

1137 1138

1137. An Albert Mazoyer enamelled glass vase, footed cylindrical form, enamelled with panels of geometric flowers and foliage in shades of blue, turquoise, white and yellow, highlighted in black, and another enamelled glass vase enamelled signature to base 23cm. high (2) £200-300 1138. A Degue frosted glass shade, purple graduating to pale pink with orange inclusions, on patinated metal base, curved with applied leaf and foliate panels acid etched Degue to shade 13cm. high (shade), 33cm. high (frame) £150-250 1139. A Moser acid etched amethyst glass vase designed by Heinrich Hussmann, ovoid form, cast and etched with deer amongst stylised flowers and foliage acid etched Moser mark, etched monogram, small frit chips to highpoints of design, 12cm. high £200-300

1139

1140

1140. A Verlys amethyst glass vase, moulded in relief with squirrels perched in a pine tree feasting on pine cones, moulded Verlys France signature to base 28.5cm. high £400-500 1141. A Moser cameo and etched glass vase, green and yellow cameo flowers, £150-200 unsigned 21.5cm. high 1142. A Leerdam glass vase designed by Andries Dirk Copier, tapering, thick clear glass acid etched mark 22cm. high £250-350 Literature Marc Hieremans Andries Dirk Copier Leerdams Glas 1923-1971, catalogue no.42-43 (right). this comparable vase dated circa 1935.

1141

1142

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1143 1143. An Amalric Walter Nancy pate de verre glass dish designed by Alfred Finot (1876-1946), oval section cast green glass with an Art Nouveau maiden with flowing red hair to each end, signed in the cast signatures 22.5cm. wide £500-1,000 1144. A Daum Nancy pate de verre figure, modelled kneeling holding a large shell, pale green glass signed Daum Nancy to base 13cm. high £400-600 1145. An Amalric Walter pate de verre coupe designed by Henri Berge, modelled in low relief with pine cones, green graduating to blue with brown and yellow highlights, signed in the cast A Walter, Nancy H Berge Sct, small chip to top rim, 10cm. high £800-1,200 1146. A Gabriel Argy-Rousseau Alpine Thistles pate de verre bowl, modelled with a frieze of flowerhead roundels, in shades of purple and pink, with lime green enamelling, cast signature G Argy£800-1,200 Rousseau 10cm. high Literature Janine Bloch-Dermant G.Argy-Rousseau Glassware as Art, Thames & Hudson, page 188 catalogue number 22.07 for a comparable example from the Petit Palais, Paris collection.

1144

1145

1146

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1147. A WMF Ikora glass table lamp, mottled and streaked green and yellow glass, cased in clear with air bubble inclusions, with chrome fittings unsigned 29cm. high £150-200

1147

1148

1149

1148. A tall WMF Ikora glass table lamp, slender baluster form, mottled red and cream streaked glass, cased in clear, with chrome internal and adjustable external light fittings unsigned 41cm. high (glass) £200-300

1149. A W.M.F Ikora glass table lamp, streaked red glass cased in clear, with adjustable chrome mount and two light fitting, with a modern shade mount stamped WMF 52cm. high (2) £200-300

1150. A tall Loetz cameo glass vase, shouldered form with everted rim, the lemon glass body decorated with a tree lined lakeside scene with a temple in the distance and ducks flying, the overlay black glass. cameo signature Loetz, 36.5cm. high £2,000-3,000 Provenance Private collection

1150 front & back

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1151. A Daum Nancy glass vase, the flaring glass bowl with pulled rims, mottled red glass graduating to deep red foot, internally decorated with aventurine gold panels etched Daum & Nancy France 23cm. high £250-350 Literature Clotilde Bacri Daum Master of French Decorative Glass, Thames & Hudson, page 180-181 for comparable vases with aventurine inclusion decoration, circa 1920.

1151

1152 1152. A Schneider glass tazza, mottled green glass bowl on aubergine glass foot, cased in clear acid etched Schneider signature to foot 20.5cm. diam. £150-250

1153. A Daum Nancy cameo glass footed vase, rectangular section with shaped rim, mottled and streaked pale blue and clear glass body with yellow and russet overlay, acid-etched with autumnal chestnut leaves signed in the cameo Daum Nancy France 17cm. wide £800-1,200

1153

1154. A Schneider Charder cameo glass vase, compressed form with inverted rim, mottled yellow glass graduating to pink, with red overlay, acid etched with pendulous flowers and foliage cameo Charder signature to side 16.5cm. high, 26cm. diam. £800-1,200

1154

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1157

1155

1156

1155. A tall Schneider Le Verre Francais cameo glass vase, slightly, swollen cylindrical form on flaring foot and everted rim, mottled orange and yellow glass decorated with red overlay pendulous berried fronds etched to foot Le Verre Francais 39cm. high £400-600 1156. A Le Verre Francais cameo glass vase, slender, swollen form mottled pink glass overlaid in purple, decorated with Egyptian flower stems, cameo signature, etched Le Verre Francais, 18.5cm. high £250-350

1159

1157. An Andre Delatte Nancy metal mounted blown glass vase, the mottled pink glass internally decorated with silver, cased in clear and blown through wrought iron mount acid etched A De Latte Nancy to rim, 14.5cm. high £300-500 1158. A Degue acid etched vase, shouldered form, mottled pink glass acid-etched with geometric panels, and another Degue solifleur vase etched signature and made in France 18cm. high (2) £200-300

1158

1159. A De Latte Nancy glass low tazza, mottled sky blue glass graduating to royal blue rim, cased in clear, on applied blue foot signed De Latte Nancy to side of foot 35cm.diam. £150-200 1160. A Daum Nancy acid etched vase, footed, cylindrical form with vertical ribs, acid etched textured ground, wheel-cut Daum Nancy France 13cm. high £150-250

1161. A Daum Nancy acid-etched amethyst glass footed charger, etched with bands of scales, and a Schneider acid etched charger similar, etched Daum Nancy France 44.5cm. diam. (2) £200-300

1160 1161

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DODO BURGNER

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1162. Dorte Clara Dodo Burgner (1907-1998) Dodo Plakate Anzeigent Mode Inserate Illustrationen gouache and gold paint on paper poster design, framed signed in gold lower left 67 x 45cm. (image)

£200-400

Provenance Clarice Cliff & Art Deco Woolley and Wallis, 7th April 2009, lot 626

1163. Dorte Clara Dodo Burgner (1907-1998) Moderne Tapeten (modern wallpaper) gouache and gold paint on paper poster design, framed signed Dodo lower right 58.5 x 48.5cm. (image)

£200-400

Provenance British Art Pottery & 20th Century Design, Woolley and Wallis, 25th November 2009, lot 595.

1162

1164. Dorte Clara Dodo Burgner (1907-1998) Design for a Poster watercolour on paper, mounted unsigned, Losses 49 x 36cm.

£150-200

1165. Dorte Clara Dodo Burgner (1907-1998) Sketch for Couple in a Theatre Box, ink wash on paper, mounted, un-framed unsigned 33.5 x 24cm.

£150-200

1163

1164

1165

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1166. Dorte Clara Dodo Burgner (1907-1998) Couple in a Theatre Box, watercolour on paper with silver highlights, mounted signed Dodo lower left, 29 x 20.5cm.

ÂŁ500-800

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1167. Dorte Clara Dodo Burgner (1907-1998) Two Women by a Fireplace, Vogue fashion study pen and ink on paper, signed Dodo annotated in pencil Vogue to lower margin 32 x 21cm (image)

£400-600

1168. Dorte Clara Dodo Burgner (1907-1998) Two Women on a Terrace, Vogue fashion study ink wash and white highlighter on paper, signed Dodo lower right 34 x 22.5cm (image)

£400-600

1169. Dorte Clara Dodo Burgner (1907-1998) Woman with a Shawl, and Woman in a Yellow Dress two pencil and ink wash on paper sketches, unframed unsigned, one dated 1925 (2) 54 x 33cm. (sheet)

£150-200

1170. Dorte Clara Dodo Burgner (1907-1998) At The Opera watercolour and ink on paper, unframed and mounted unsigned 32.5 x 22cm.

£300-500

1167

1168

1169

1170

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1171

1171. Dorte Clara Dodo Burgner (1907-1998) In The Powder Room watercolour and pencil on paper, highlighted with silver, mounted, unframed signed Dodo lower right, 31 x 27 (image) ÂŁ400-600

1172. Dorte Clara Dodo Burgner (1907-1998) Alpine Climbers, watercolour on paper, mounted unsigned 33 x 26cm.

ÂŁ800-1,200

Provenance Private Collection

1172

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1174

1175

1173. ‘Charlie Chaplin in Monsieur Verdoux’ a film poster, directed by Charlie Chaplin, lithograph in colours, printed in England, by Stafford & Co. Ltd., unframed, 151 x 50cm. £200-250 Monsieur Verdoux is a 1947 black comedy starring and directed by Charlie Chaplin. It is credited as the first film Chaplin broke from his famous Tramp character.

1174. A Rowley Gallery embroidered tray, square section, embroidered with a carafe and drinking vessels, in coloured silk threads, glazed and with silvered wooden frame and stepped handles, applied Rowley stamp 40cm wide. £300-400

1173

1176

1175. Parrot and Tulips a Rowley Gallery marquetry panel, oval panel inlaid and stained, inside carver border, applied paper label with title to reverse 54 x 41cm. £150-200

1176. A Rowley Gallery marquetry panel, inlaid with a nude child and a butterfly, and another similar decorated with a sailing boat at harbour, framed impressed marks to child panel 17.5cm. (2) £150-200

1177. Chertsey Bridge a Rowley Gallery marquetry picture in the manner of Sir Frank Brangwyn, the rectangular panel with carved frame, Rowley Gallery label to reverse, titled Chertsey Bridge, impressed Rowley Gallery to front, 75 x 63.5cm. £250-350

Literature British Art and Design, Victoria & Albert Museum, page VI for a similar landscape panel by Brangwyn illustrated.

1177

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1178

1179 1178. A large Bromsgrove Guild zinc alloy frieze panel designed by Walter Gilbert for Derry & Toms department store, 1933, cast in low relief with leaping deer and flying birds before stylised flowers and foliage flanking a central waterfall motif unsigned 182cm long, 43cm high. £2,500-3,500 Literature Charlotte Benton, Tim Benton and Ghislaine Wood, Art Deco 1910-1930 Victoria & Albert Museum exhibition catalogue 2003, V&A Publications, page 16 catalogue 1.6, for a comparable example. Derry & Toms department store in Kensington London was designed by George Bernard and built between 1929 and 1931. 1179. A pair of modern composite wall plaques, cast from a design by Walter Gilbert originally for Derry & Toms department store, cast in low relief with leaping deer and swooping birds before stylised flowers motif, unsigned 76 x 38cm. (2) £200-300 1180. GL Design for an Art Deco Lobby Interior watercolour on card, with three dimensional mounting, framed and glazed signed GL monogram 45 x 30cm. £150-250 1180A. Ronald Hamson Woman in a pink dress watercolour on paper, framed annotated label attached to back, 39.5cm wide x 31cm high (image)

1180

£150-200

1181. Maurice Milliere (1871-1946) Portrait of a young ballerina holding a note and roses, (no.41) etching on paper, framed signed in pencil and number no.41 55.5 x 38.5cm. (image) £150-250

1180A

1181

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1183

ART DECO FURNITURE 1182. An English quartered walnut dining suite, with patinated metal furniture, comprising; sideboard, two-drawer serving table, extending table, two carvers and six chairs sideboard 152cm wide, table 200cm long (closed), 246cm (extended), serving table 97 x 50cm.(11) £1,000-2,000

1182

1183. A walnut veneer standard lamp, the faceted stem on domed octagonal base, ebony knops and ball feet, with brass three light fitting, 178cm. high £150-200 1184. A Marcel C. Coard walnut day bed, with curved wave ends, ebonised wood frame, velvet upholstered cushions, 219 x 128, 70cm. high, stamped mark £200-300 Literature Amelie Marcilhac Marcel Coard Decorateur page 115 for a comparable day bed from Paul Cocteau's home in Tours. Alastair Duncan Art Deco Furniture, Thames & Hudson, front cover for a day bed by Coard illustrated.

1184

Woolley and Wallis would like to thank Amelie Marcilhac for helping to authenticate this day bed.

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1185 1186

1187

1188

1185. A pair of oak bedside cabinets designed by Jules Leleu, each with single drawer, 55cm. high, 50cm. wide (2) £800-1,200

1186. A French carved oak wall mirror, rectangular with rounded top, carved with a panel of stylised flowers and foliage, 122 x 78cm. £300-500

1187. A Finmar bent-ply and birch laminate table designed by Alvar Aalto, rectangular top with painted black edges, bent-ply legs applied label, 100 x 52.5cm, 69cm. high £200-300

1188. A Finmar bent-ply and birch laminate table designed by Alvar Aalto, rectangular top ebonised black, bent ply legs, applied label, 100 x 52.5cm, 69cm. high £200-300

1189. An ebonised wood and brass uplighter, another uplighter with a chrome bowl and another mounted with an opalescent glass panel unsigned tallest 173cm. high (3) £150-250

1189

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1190

1191 1190. An English shagreen mounted cigarette box, satinwood rectangular carcass with hinged cover, mounted with ivory border, with internal divider, stamped London to one hinge 19.5cm. wide £200-300

1192

1191. ‘British Empire Exhibition Wembley 1924’ a commemorative table lamp, patinated metal column with glass orb shade marked to underside of base 57cm. high £150-200 This lamp is copied from the street and pavement lamps outside the Palace of Industry building and around the exhibition. 1192. A shagreen and ivory desk tidy box and cover, cedar wood carcass and dividers, covered with shagreen, the edges and lock with applied ivory banding, unsigned 23 x 12.5cm. £150-200 1193. A lacquered wood tray the design attributed to Jean Dunand, the circular tray with carved and cane finished handles, covered in a golden lacquer unsigned 49cm. diam. £500-1,000 Provenance Given to the present vendor by Noel Tovey from L’Odeon London.

1193

1194. A Brookes and Adams Bandalasta Ware red urea formaldehyde tea set, comprising mottled red, yellow and orange, comprising teapot, diffuser and small cover, milk-jug and sugar basin, one cup and sandwich tray saucer, one cup and saucer and two plates, a British Buttner Product pink and black Phenolic resin ashtray and a green bakelite powder box and cover, cast marks, teapot 11cm. high (11) £150-250 Exhibited Thirties, Arts Council 1979, A comparable example of the BBP ashtray was exhibited, catalogue 3.58, illustrated page 141.

1194

Literature The Pursuit of Style John Jesse at Kensington Church Street, Sotheby’s 22nd February 2006 lot 218.

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1195. An Ecko M23/RS2 bakelite radio designed by J K White, designed 1932, the brown bakelite Odeon case, applied Ecko label to reverse, 40cm. high £200-300

1195

1196. A Modernist Fada 1000 amber catalin radio, rounded rectangular bullet form, paper labels to base 26cm. wide £250-350

1196

1197. A Modernist beech bent-ply side table designed Marcel Breuer, probably made by Isokon, designed in 1936, rectangular top with bent-ply legs, unsigned, 61 cm wide, 39cm deep, 34.5cm. high £400-500 Literature Fiona MacCarthy View from a Long Chair, RKP, page 114 plate 48 for a comparable table next to a full size table at the Consulting Room Upper Harley Street.

1197

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1198

1199

ART DECO SCULPTURE 1198. A pair of patinated metal book ends cast from a model by Scribe, each modelled as a Ram, on veined marble bases, and a pair of Art Deco patinated metal elephant book ends, on rosewood bases etched signature to Ram bases 18cm. wide (4) £250-300

1200

1199. Pierre Hugonnet a patinated bronze sculpture of a pair of exotic birds in courtship, on stepped black, veined marble and polished slate base, with bronze panels, stamped Bronze, etched signature to marble 76.5cm. wide, 31cm.high £200-400

1200. A pair of Modernist oak book ends, each modelled as a geometric braced figure unsigned 17.5cm. high (2) £150-250

1201

1201. A Henry Howell & Co YZ bird with cow bells, circa 1936, the rootwood bird with bakelite beak and tail, and oversize ebony feet, a set of cow bells hanging from his beak, with glass eyes stamped trademark made in England to feet, one glass eye missing 43cm. high £250-350 1202. A rare large Henry Howell & Co YZ rootwood elephant display figure, circa 1936, with applied glass eyes and tusks, the ebony base with cigarette box with cherry bakelite knob, striker pad and cherry ‘faturan’ bakelite ashtray, unsigned, 67cm. high £800-1,200 This large figure, possibly made for Dunhill, was probably intended as a shop window display piece.

1202

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1203

1204

1205

1206 1203. A silvered bronze model of a dancer cast from a model by Josef Lorenzl, modelled balancing on one foot with arms outstretched, on circular black veined marble base signed in the cast Lorenzl 32cm. high £1,500-2,000

1204. A silvered bronze model of a nude woman in the manner of Josef Lorenzl, modelled standing on tiptoes her arms raised upwards, on white veined red marble base, unsigned, 20.5cm. high £200-400

1205. A patinated bronze model of a dancer cast from a model by Josef Lorenzl, modelled running with arms outstretched, on hexagonal base, signed in the cast 5448 - 10 - Lorenzl, losses and repaired arm 21cm. high £150-200

1206. Snake Dancer a gilt bronze sculpture cast from a model by H Calot, modelled nude, standing, balanced on one leg offering up a snake, a smaller snake wrapped around her ankle, on white marble square section base, signed in the cast H Calot 59cm. high £1,000-1,500

1207. A patinated bronze and ivory figure of a female musician cast from a model by Joe Descomps, modelled dancing and balanced on one foot, holding cymbals, on stepped pale grey alabaster base, etched Joe Descomps signature 49.5cm. high £2,000-3,000 Literature Alberto Shayo Statuettes of the Art Deco Period, ACC, 2016, page 85 for a comparable figure 'Throwing the Ball' illustrated.

1207

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1210 1210A 1208

1209 1208. Diana a patinated bronze cast from a model by Zoltan Kovats (18831952), modelled nude standing before a tame deer, on green veined marble base, signed Z Kovats in the cast, stamped Bronze 26cm. high £600-800 1209. An Amsterdam School patinated bronze Cubist woman, on speckled black marble base indistinct signature in cast 32.5cm. high £150-200 1210. A terracotta figure of a woman by Yiszkai-Kovats, modelled gathering fruit in a tray, signed 17cm. high £150-200

1211 1212

1210A. ‘East West Hames Best’ a patinated metal door stop cast in the manner of Louis Wain, unsigned 3 0cm. high £150-250 1211. A silvered bronze figure of a walking pierrot, probably cast from a model by Roland Paris, cast by the Kraas foundry Germany, on stepped red marble base, stamped foundry mark, apparently unsigned, 20.5cm. high £400-600 Literature Alberto Shayo Roland Paris, ACC 2016, page 165 for a comparable figure 'Flute Player' illustrated. 1212. A carved wooden figure of a woman, modelled seated, resting her head on her knee unsigned, 29cm. high £150-200

1213

1213. A massive alabaster sculpture of a lion and snake fighting by J Sargent, dated 1931, incised signature and date to base, 46cm. high, 84cm. wide £200-300

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1214 1214. A Hagenauer black patinated bronze bust of an exotic woman, modelled with flowing turban and loop earring, another similar and a wooden bust of a woman similar stamped marks to main, 25cm. high (3) £300-500

1215

1215. A Hagenauer silvered bronze figure, modelled as a woman on tiptoes, her head thrown back and one arm raised unsigned 29cm. high £250-350 Literature Decorative Arts, Christie’s Scotland, 26th September 1996, page 29 lot 242 for a comparable figure.

1216

1216. A Hagenauer polished bronze figural candlestick, modelled as a kneeling figure offering up the sconce, and a Hagenauer silvered bronze candlestick modelled as a rearing horse, stamped mark, 17.5cm. high (2) £400-500

1217. A patinated bronze model of a woman riding a snail, cast from a model by Bruno Zach, the snail having a jester’s face, on red £400-600 veined marble base signed in the cast 16cm. wide.

1217

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ART DECO METALWARE

1218. Breguet XIX a metal modelled of a bi-plane, on green, veined marble base cast title 17.5cm. wide £150-200 The Breguet XIX bi-plane was designed in 1924.

1219. A Modernist GAB electroplated metal cocktail shaker designed by Folke Arstrom, with black bakelite screw cover, stamped marks to base 21.5cm. high £450-550

1218

1220. A Modernist C G Hallberg electroplated cocktail shaker designed by Sylvia Stave, ovoid with screw top and spout cover, strap handle stamped mark to base 15cm. high £200-300 Sylvia Stave (1908-1994) was artistic director of Hallberg between 1931-1939 and exhibited designs in Chicago 1933, Leipzig 1934-35 and Paris in 1937.

1221. A Mappin & Webb electroplated vase designed by Keith Murray, flaring cylindrical form on stepped foot, and a Mappin & Webb bowl, model no.16514 stamped mark, 16.5cm. high (2) £150-250

1219

1221

1220

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1222 1224

20TH CENTURY DESIGN

1223

GLASS

1222. A Webb Iris glass vase, low, flaring form covered in an orange golden lustrous finish acid etched mark to base 10.5cm. wide. £150-200

1225

1223. A pair of Webb glass decanters and stoppers, compressed body with modelled tapering cylindrical neck and tapering stoppers, and a pair of Royal Brierley wine flute glasses decorated with a design after Rain designed by Paul Nash for Stuart & Sons, acid etched marks, £150-200 minor frit chips to tips 34cm. high (4) The wine glasses are based on the design by Paul Nash and produced by Stuart & Sons for the 1934 British Art in Industry exhibition held at Dorland Hall and then transferring to Harrods department store. 1224. A James Couper & Sons glass bowl and saucer, retailed by Liberty & Co, lime green glass with applied trailed prunts, applied Liberty label 18.5cm. diam. (2) £150-200

1226 part

1225. An Annette Meech studio glass goblet vase, dated 1974, streaked yellow and green glass cased in clear, on applied clear stem, a compressed vase by Christopher Wright, a bowl by Adrian Sankey, a beaker vase by Anthony Stern, and two other studio glass items, etched signature and date, 15cm. high, (6) £150-200 1226. A Whitefriars cased Cinnamon glass vase designed by Geoffrey Baxter, designed in 1965, cased in clear, a collection of Whitefriars glass and a studio glass bowl applied paper label, 21cm. high (a lot) £150-200 Literature Lesley Jackson (editor) Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications page 137 plate 152 for comparable examples.

1227

1227. A Whitefriars glass Knobbly vase designed by Geoffrey Baxter, tapering amorphic clear glass with green striations, a trailed amethyst glass bowl, a Sapphire glass vase and four other items unsigned 25.5cm. high (7) £150-200 1228. A large Whitefriars Knobbly glass vase designed by Geoffrey Baxter, thick clear cylindrical glass vase internally decorated with olive green striations, and two other Whitefriars Knobbly vases unsigned 21.5cm. high (3) £150-200 1229. A Whitefriars Shadow Green glass vase designed by Geoffrey Baxter, angular, mould blown soda glass, two Whitefriars Knobbly glass vases, a thick emerald green flaring bowl probably designed by Geoffrey Baxter, and four other items unsigned 17.5cm. high (8) £150-250

1228 1230

Literature Lesley Jackson, Whitefriars Glass, The Art of James Powell & Sons, Richard Dennis Publications, page 136 plate 148 for comparable vases. 1230. A Whitefriars Willow glass vase designed by Geoffrey Baxter, rectangular form, unsigned 27.5cm. high £150-250

1229

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1231. Eight pieces of Mdina glass, comprising; five various paperweights, a solifleur vase, a bowl and a basket, and a collection of glass by other makers etched marks, vase 19.5cm. high (16) £50-150 1232. A Mdina glass Angular Fish vase based on a design by Michael Harris, slab form with pulled solifleur neck, dated 1979, Tiger pattern overlaid with blue, etched Mdina 1979 £150-200 applied Mdina paper label 18.5cm. high

1231

1232

1233. A pair of Wedgwood Sheringham two disc candlesticks designed by Ronald Stennett-Willson, a Wedgwood Sheringham three disc candlestick, a Wedgwood Sandringham candlestick, a Brancaster candlestick and another, acid etched marks, paper label to one, two disc candlesticks 11.5cm. (6) £150-250 Literature Charles Hajdamach 20th Century British Glass, ACC, page 329 plate 694 for examples of the Sheringham candlesticks.

1233

1234. A Vasart miniature millefiore paperweight glass bar set, comprising two various corkscrews, two bottle tops and one cork mounted shot-measure, each chrome mounted glass with cane inclusions, another chrome mounted gear stick knob and a pair of Strathearn chrome mounted twin-sconce candlesticks on weight bases, unsigned, paper label to one £150-250 Strathearn candlestick, corkscrew 14cm. long, (7) Literature Ian Turner Ysart Glass Volo Edition, page 157 plate 200 for examples of a similar bar set.

1234

1235. An Ysart glass paperweight by Paul Ysart, decorated with a pink and white butterfly, inside cane border on a striated green ground, PY cane, 7cm. diam. £250-300 Provenance Private collection of Ysart paperweights 1236. An Ysart glass paperweight by Paul Ysart, internally decorated with an orange and pink butterfly on radiating green and white lattice stripes PY cane 6.5cm. diam. £200-300

1235

Provenance Private collection of Ysart paperweights 1237. An Ysart glass Dahlia Head paperweight by Paul Ysart, decorated with a central red flowerhead floating over sand, inside pink and purple cane border, PY cane 7.5cm. diam. £250-300 Provenance Private collection of Ysart paperweights

1236

Literature Ian Turner, & Frank Andrews Ysart Glass, Volo Edition, page 143 catalogue number 171 for a comparable weight illustrated. 1238. An Ysart glass paperweight by Paul Ysart, decorated with multi-coloured butterfly and dragonfly, inter-spaced with canes on a black ground PY cane 8cm. diam. £300-500

1237

Provenance Asprey’s Private collection of Ysart paperweights Literature The Parkington Collection of Glass Part 1, Christie’s South Kensington, 17th October 1997 page 58 lot 483 for a comparable weight.

1238

1239

1239. A modern St Louis Cristal glass paperweight, dated 1997, ovoid with flattened top, inset with a red grouper fish, in presentation box with blue SL date cane and acid etched mark to underside of base 7.5cm. diam. £200-300

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1240

1241

SAM HERMAN

1242

1240. Samuel J Herman (born 1936) A Rosenthal Studio Line limited edition glass vase designed by Sam Herman, opaque glass with blue and ochre decoration band, cased in clear, and a smaller Studio Line vase acid etched Rosenthal mark, 27/200 18.5cm. high (2) £300-400 1241. Samuel J Herman (born 1936) a Val St Lambert glass vase designed by Sam Herman, shouldered form, opaque glass cased in clear, decorated with swirling green and yellow bands with metallic lustre etched V.S.L 22cm. high £250-350

1242A 1242. Samuel J Herman (born 1936) a Val St Lambert glass vase, tapering cylindrical white glass with metallic stripe, cased in clear etched Val St Lambert SJH 38cm. high £150-200

1243

‡ 1242A. Samuel J Herman (born 1936) a large Val St Lambert glass vase, dated 1979, flaring bucket form opaque glass with splashes of yellow, blue and metallic oxide, cased in clear acid etched Val St Lambert, etched signature and date 28cm. high £300-400 ‡ 1243. Samuel J Herman (born 1936) a shouldered glass vase, dated 1978, slender elliptical form, mottled opaque and yellow glass with a band of brown spots, surface marvered with metallic oxide waving stripe with blue drip, etched signature and date 29.5cm. high £400-600 ‡ 1244. Samuel J Herman (born 1936) a large Val St Lambert vase, amorphic ovoid form with offset aperture, pale purple glass with pale yellow and blue clouds, orange stripes and aubergine spots, with pulled glass to the shoulder, metallic oxides, etched signature CA.47, 32cm. high £400-600

1244

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1246 1245

1245. An early Art Nouveau Galle scent bottle and stopper designed by Emile Galle, pale green glass with red inclusions, enamelled in colours with a river-scape to one side, the reverse with a nude female figure seated in a crescent moon, etched E Galle Nancy to foot rim, repaired neck, 11cm. high £500-800

1246. A Galle cameo glass vase designed by Emile Galle, orange and yellow overlaid decorated with daffodil flowers, and another Galle cameo glass vase decorated with trailing flowers cameo signature 12cm. high (2) £150-200

1247. An Art Nouveau Galle cameo glass solifleur vase designed by Emile Galle, the ovoid body with tall slender cylindrical neck and swollen everted top rim, pale pink glass decorated with flowers and foliage in green and white cameo glass cameo signature Galle 30cm. high £800-1,200

1248. An Art Nouveau Daum Nancy solifleur vase, tapering tri-lobed form, yellow streaked blue and aubergine etched Daum Nancy 60cm. high £300-500

1247

1248

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1249. An Art Nouveau Galle cameo glass table lamp and shade, designed by Emile Galle, decorated in purple on a pale amber ground with butterflies flying amongst pendulous lilac flowers cameo signature to shade and base 30cm. high. (2) £800-1,200 Literature Alastair Duncan & Georges De Bartha Galle Lamps Antique Collectors Club, page 174 plate 7.277 for a comparable Wisteria table lamp.

1249

1250. A Daum Nancy Art Nouveau cameo glass scent bottle, the mottled frosted blue glass cased in green and yellow glass, cameo decorated with a dragonfly flying above water-lily flowers and pads, the dragonfly with applied glass body and head, the wings with wheel carved decoration, etched Daum Nancy mark, minor nicks 13.5cm. high £3,000-5,000 Literature Clotilde Bacri Daum Masters of French Decorative Arts, Thames & Hudson, page 121 for a baluster vase with similar decoration dated to circa 1904. Arts Decoratifs du XX Siecle Sotheby’s Monaco, 15th October 1989 page 35 lot 102 for a vase decorated with the same motif dated circa 1900.

1250

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1251. A set of six Theresienthal hock glasses, the clear glass bowls applied with wavy green thread decoration, unsigned, small nick to rim of one, 19.5cm. high (6) £150-200 Literature Karl-Wilhelm Warthorst Die Glasfabrik Theresienthal page 43 for this shape and page 51 for an example with the green thread decoration.

1251

1252. An Austrian copper overlaid iridescent glass vase probably Palme Konig, tapering conical form with everted rim, overlaid with Secessionist copper and red enamelled stone, and a mottled glass vase with Art Nouveau pewter overlay decorated with crocus and coral red stones, unsigned 10.5cm. high (2) £150-200

1252 1253

1253. A cut and etched glass vase by Eugene Michel Nancy and retailed Edmont Enot, square section, cut with flag iris before a pond, etched signature 17cm. high £200-300

1254. A tall Austrian iridescent glass vase with gilt metal handles and mounts, the flaring cylindrical, shouldered glass vase with textured surface and golden iridescence, with polished bronze foot and mounts cast in low relief with leaf motif, unsigned 44cm. high £200-300

1254 1255

1255. A pair of Rindskopf Pepita iridescent glass vases, tall, tapering cylindrical body with swollen neck and fluted rim, mottled green glass graduating to red iridescence unsigned 34cm. high (2) £200-300

1256. A Secessionist Fachschule Steinschonau enamelled glass vase, footed form, enamelled with foliage design in green and black, an enamelled glass box and cover and another enamelled glass vase unsigned 17.5cm. high (3) £200-300 Literature The Pursuit of Style John Jesse at Kensington Church Street, Sotheby’s 22nd February 2006 lot 119.

1256

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1257

1258

1257. A Loetz Papillon glass vase, ovoid with flaring, fluted rim, covered in a splashed green iridescence unsigned 12.5cm. high £180-220

1259

1258. A pair of Loetz Papillon glass vases, each footed, pear shape form, splashed blue iridescence over green unsigned 10.5cm. high (2) £150-200

1259. A Loetz Papillon glass vase, the tear shaped vase with pulled and twisted top rim, covered in a splashed golden opalescence, unsigned 26.5cm. high £200-300

1260. An Art Nouveau Loetz Papillon glass water-dropper vase, the ovoid dimpled body with tall waved cylindrical solifleur neck, covered in a blue-green lustrous finish unsigned £400-500

1260

1261. An Art Nouveau Loetz Papillon glass vase, the compressed body with tall irregular stem with three aperture, covered in a golden iridescence unsigned 31cm. high £400-500

1261

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1262. An orange glass vase after a design by Michael Powolny for Loetz, shouldered form with everted, fluted rim, with black glass columns and rim, and an opaque and blue glass basket similar unsigned 9.5cm. high (2) £250-350 1263. A Kralik Helios glass vase, the swollen diamond section body with cylindrical neck and angled rim, lemon yellow glass surface decorated with orange lustre spots and pulled streaks, £200-300 unsigned, rim chips, 31cm. high 1264. A Loetz Papillon glass vase, ovoid body with cylindrical solifleur neck, covered in a blue splashed iridescence, and three other Austrian Iridescent glass vases unsigned 9.5cm. high (4) £200-300

1262

1263

1265. A pair of Loetz glass bowls on ball feet, mottled pink glass with mottled silver splashes, and applied green rim, with three applied black glass feet, and another en suite bowl unsigned 21cm. diam. (3) £200-300 1266. A Borske Sklo glass vase by Karel Wunsch, clear glass cased in ruby, polished flattened sides and cut decoration, unsigned 25.5cm. high £150-200 Literature Mark Hill Hi Sklo Lo Sklo, Mark Hill Publications, page 20 for a comparable bowl illustrated.

1264

1265

1267. A blue glass scent bottle with chrome stopper designed by Niki de Saint Phalle, enamelled in colours and gilt with two entwined snakes, in presentation case and card slip case 5cm. high £200-300 1268. A Kristallglasfabriken A.G glass vase attributed to Vereinigte Bayerische, clear glass bucket form, internally decorated with a green wavy line design, with gilt top rim, unsigned 21.5cm. high £150-200 1269. A Skruf glass vase designed by Bengt Edenfalk, cylindrical blue glass with applied trailed detail, another smoked glass vase and a smaller ruby glass vase etched signatures and £150-250 date 1960 to main, 21cm. high (3)

1267 1266

1269A. An Iittala glass Devil’s Churn vase designed by Timo Sarpanava, free bowl, sand blasted and acid matted, and another similar etched signature to rim, 8.5cm. high (2) £200-300 Literature Marianne Aav IITTALA 125 Years of Finnish Glass, Arnoldsche, page 223 for comparable examples illustrated.

1268

1269

1269A

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1270

1271

1272

1270. Two Kosta glass fish designed by Vicke Lindstrand, streamlined form, internally decorated with air bubbles smaller with etched signature 20 and 15.5cm. long (2) £150-200 1271. A Tall Holmegaard Snowdrop glass vase designed by Per Lutken, white and green glass cased in clear, on opaque glass knopped foot, etched L 46cm. high £150-200 Literature Scandinavian Ceramics and Glass in the 20th Century, Victoria & Albert Museum, page 51 catalogue number 115 for a smaller version illustrated. 1272. An Iittala glass Kalvolan Kanto vase designed by Tapio Wirkkala, dated 1987, heavy moulded clear glass etched signature and date 14cm. high £150-200 Literature Iittala 125 Years of Finnish Glass, Arnoldsche Publishing, page 133 and 243 this range illustrated. 1273. A Kosta glass vase designed by Vicki Lindstrand, model number 1119, 1955-56,slender, swollen cylindrical form, pale green cased in clear etched marks and acid etched £150-250 Lindstrand Kosta mark 33cm. high

1274 1273

Literature Helmut Ricke and Lars Thor, Swedish Glass Factories, Prestel, page 349 this design illustrated 1274. A Nuutajarvi Nottsjo glass vase designed by Kaj Franck, dated 1962, flaring cylindrical form, blue glass cased in clear etched marks, 26cm. high £150-200 1275. A Kosta glass vase by Vicke Lindstrand, model no. LH 1592, teardrop form, aubergine glass with threaded design, cased in clear, etched marks to base, 20.5cm. high £200-300 1276. An Orrefors Graal vase by Eva Englund, dated 1986, pink glass internally decorated with blue striations, cased in clear, applied paper label, etched marks, signature and date 15.5cm. high £200-300

1275

1276

1277

1278

1277. An Orrefors Ariel glass vase by Ingeborg Lundin, rounded, square section, decorated with columns of graduated green glass circles cased in clear, etched marks and signature to base, 14.5cm. high £500-600 1278. An Orrefors Graal vase by Edward Hald, pear shaped form, internally decorated with fish and waterweed in green and brown cased in clear, etched marks and signature 16cm. high £300-500

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1280

1279

1281

1279. A hand cut Wheat Ear pattern glass platter by Josef Svarc etched signature to rim, 37cm. diam. £250-350 1280. A Salviati & Co glass model of a tortoise, pale blue glass with gold aventurine, cased in clear, a Murano Sommerso glass vase, a Kaj Franck glass shell dish, a Gusum studio glass vase by Milan Vobruba dated 1985, and five other glass items applied Salviati label 12cm. wide (9) £200-300

1282

1281. A Barovier & Toso glass cornucopia, mottled pink glass with aventurine, cased in twisted clear glass, on applied foot, applied paper label 28cm. wide £350-450 1282. A Murano Sommerso glass bowl, slender elliptical form with one puller rim, blue graduating to turquoise glass cased in clear unsigned 49.5cm. wide £150-200 1283. A Murano Sommerso glass bowl, with pulled symmetrical rim, pink glass with blue and amber bands, cased in thick clear glass unsigned 36cm. wide, 30.5cm. high £200-300 1284. An Archimede Seguso glass vase, ribbed shouldered pale pink glass with gold aventurine inclusions, on applied foot, and two modern I Quadernio di Archimede Seguso catalogues, (no.2 and no.12) etched Archimede Seguso Murano 43cm. high (3) £200-300

1283

Literature I Quadernio di Archimede Seguso No.2, (1994) this model illustrated on the back cover. 1285. A Pulegoso glass vase in the manner of Napoleone Martinuzzi, mint green bubbled glass on applied foot with applied handles, unsigned 31cm. high £150-200 Literature Venetian Glass 1910-1960 An Important Private Collection, Sotheby’s Geneva 10th November 1990, lot 112 for a comparable white vase by Martinuzzi.

1284

1285

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1287 1286

1286. A Rossi e Neri glass model of a fish in the manner of Napoleone Martinuzzi for Venini, the black glass body with applied blood red details unsigned, repair to tail, 12.5cm. high £150-200 Literature Venini Catalogue Raisonne 1921-1986, page 38 for comparable dolphin by Martinuzzi.

1288

1287. An Archimede Seguso glass vase, clear ovoid vase with everted rim, applied with alternate blue and turquoise columns, etched Archimede Seguso, Murano 16cm. high £250-350

1288. An Archimede Seguso Carnival glass vase, ovoid dimpled form, pink and red glass panels flanking central clear column, cased in clear etched Archimede Seguso Murano 18.5cm. high £150-250 Literature Umberto Franzoi Art Glass by Archimede Seguso, Arsenale Editrice, page 61 plate 39 for a comparable design on a bottle vase.

1289. A Murano glass easel backed picture frame possibly Venini or Barovier & Toso, clear glass rope border with polished bronze mount and easel support, unsigned 33cm. high £300-500

1289

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1290

1291

CERAMICS 1290. A Vion & Baury swan centrepiece, modelled as two entwined swans swimming amidst waterlily flowers, in colours printed anchor mark, painted Exposition de Paris 78, minor chips to tail feathers, 42cm. wide. £150-200

1294

1292

1293

1291. ‘Exposition Universelle’ 1889 a large commemorative tile, printed in sepia on a cream ground with the Eiffel tower rising above the Seine, with three hot-air balloons flying past, in wooden frame makers marks obscured 20.5cm. square. £150-200 1292. Mater Amabilis an Italian faience pottery figure designed by Angelo Minghetti, modelled wearing floral robe and blue head scarf titled to base 29cm. high £150-200 1293. Petite Souree a Nymphenberg porcelain figure cast from a model by Charles Emile Jonchery, signed and titled in the cast 38cm. high £150-250 1294. An Ernst Wahliss pottery jug, tapering cylindrical form, the handle cast in relief with a mask, the spout with Bachanalian mask, printed in colours, highlighted in gilt printed and impressed marks, 27cm. high £150-200

1295

1296

1295. A pair of Ernst Wahliss pottery figures, modelled as a man wearing a turban, and a barebreasted woman, holding baskets, glazed in colours with gilt highlights, impressed and printed marks, 33cm. high (2) £300-500 1296. A Hjorth Danish stoneware dish by Lauritz Adolphe Hjorth, modelled with a stylised warthog drinking from a pool, glazed red flambe, a Hjorth stoneware small bear similar and a stoneware lamb similar, impressed marks, 10cm. wide (3) £150-200

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1296A

1296A. A Choisy le Roi plate, painted to the well with a cow grazing by a riverside, in colours, and a Sarreguemines vase modelled in low relief and glazed red various marks, 24cm. diam. (2) £50-100

1297 1297. A tall terracotta sculpture of a woman crouching cast from a model by Emil Caver, dated 1903, modelled crouching to pick up a frog, painted grey signed in the cast and dated 60cm. high £300-400 1298. An Art Nouveau terracotta bust of a woman, cast from a model by Bromont, modelled with flowers in her hair, painted white incised signature to socle, 56cm. high £200-300 1299. A Gustavsberg Farsta stoneware vase designed by Wilhelm Kage, shouldered form, moulded in low relief and glazed in shades of blue and turquoise impressed marks, Kage signature, Gustavsberg paper label, 20cm. high £300-500

1298

Exhibited Stockholmia 55, by repute 1300. A modern Longwy Pottery vase after a design by Charles Catteau, ovoid enamelled with nude figures in an exotic landscape, and another modern Longwy globe vase printed mark, 19.5cm. high (2) £300-500 1301. ‘Faun with Lizard’ a Royal Copenhagen figure designed by Christopher Thomsen, introduced 1903, painted in colours, and nine other figures printed and painted marks, 21cm. high (10) £100-200 1302. ‘Fly’ a Royal Copenhagen figure, probably designed by Christopher Thomsen, model no.927, painted in colours. ‘Goose Girl’ no528, ‘Girl Knitting’ no1314 by Lotte Benter, ‘Lovebirds’ no.402 and a collection of twenty four other Copenhagen figures factory marks, (28) £150-250

1299

1300

1302 1301

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1304

1303

1306

BRITISH CERAMICS

1303. A near pair of large Lauder Barum pottery vases by Alexander Lauder, shouldered cylindrical form, slip decorated with stylised flowers and foliage in colours on a sand coloured ground, incised Alex Lauder Barum 12/15/1891, restored, 49cm. high (2) £100-200 1304. A Minton’s Secessionist vase designed by Leon Solon and John Wadsworth, model no.42, the ovoid body with tapering neck, tubeline decorated with spiky foliage in green and blue on a purple ground, a Wedgwood ball vase designed by Keith Murray, a Michael Casson stoneware vase and a Winchcombe Pottery plate by Sidney Tustin, various marks, minor professional repair to the slip, ball vase lamped, 13.5cm. high (4) £150-200

1305

1305. A rare Doulton Lambeth Persian pottery charger by William Rowe, painted with flower stems in shades of blue, green and turquoise on a white ground, with a photocopy of a contemporary Doulton catalogue illustrating the range, printed factory mark, glaze loss 32cm. diam. (2) £200-300 Literature Royal Doulton Potteries catalogue, page 41 and 45 for comparable chargers illustrated 1306. ‘I Want My Vote’ a Suffragette commemorative pottery model of a seated cat, in the manner of Louis Wain, modelled seated, mouth open, wearing a bow to its neck, the base with cast inscription, glazed white unmarked 9.5cm. high £150-200 1307. ‘Lord Salisbury’ a rare Foley Intarsio pottery teapot and cover designed by Frederick Rhead, model no.3357, the spout and teapot modelled as his arms, the cover a portrait, printed in colours printed and painted marks, damages, 12cm. high £300-500 Literature Watkins, Harvey & Senft Shelley Potteries, page 35 for a version of the Lord Salisbury Intarsio coffee pot illustrated.

1308

1307

1308. A Wemyss Pottery trough, rectangular, flaring section, painted with sprays of tulip flowers in red, yellow and green impressed Wemyss to rim, chip to edge and hairline crack, 28 x 20cm. £150-200 1309. A Bernard Moore flambe vase, shouldered form, painted with a peacock feather, in colours with turquoise enamel on a flambe ground indistinct mark, 12.5cm. high £150-200 1310. A Bernard Moore flambe vase, flaring rectangular section, painted with a ferocious dragon, in ruby on a pale flambe ground, another small Bernard Moore flambe vase painted with blossom and another Bernard Moore vase painted marks, damages 10cm. high (3) £150-200

1310

1309

1312. A Crown Ducal flambe ginger jar and cover, painted with panels of flowers in flambe red, two E R Wilkes flambe vases and three other vases, printed factory mark, damages, 17cm. high (6) £200-300

1311 1312

1311. A rare Bernard Moore model of a startled running pig, with applied glass eyes, covered in a flambe glaze, and a small model of a mouse covered in a golden lustre glaze probably Bernard Moore, BM mark, tail re-stuck, 9cm. wide. (2) £150-200 Literature Aileen Dawson Bernard Moore Master Potter 1850-1935, Richard Dennis Publications, page 42 for an illustration of the pig figure.

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1313. A Royal Doulton Sung bowl designed by Charles Noke, painted to the interior with laurel sprays in blue on a flambe ground, the exterior mottled blue, a Flambe bowl by Harry Nixon, and four other Doulton Flambe and lustre vases printed marks, painted Sung, 7.5cm. diam. (6) £200-300 1314. A Royal Doulton Sung vase by Charles Noke, cylindrical form with flaring foot and inverted rim, painted with a flying exotic bird in blue on a flambe red ground printed factory mark, hairline crack to base, 17cm. high £150-200

1314

1313

a Doulton Lambeth 1315. Rose stoneware washing-line post finial designed by Gilbert Bayes, modelled in relief on rectangular plinth with Yorkshire and Lancashire roses, glazed red, white, green, yellow and blue unsigned, minor chips, 34.5cm. high £1,500-2,000 Literature Louise Irvine and Paul Atterbury Gilbert Bayes Sculptor 1872-1953 Richard Dennis/Fine Art Society 1998, page 90 and 172 for a comparable Rose finial illustrated. 1316. Thistle a Doulton Lambeth stoneware washing-line post finial designed by Gilbert Bayes, made for the St Pancras Housing Association Flats, 1937, modelled in relief on rectangular plinth, glazed purple, green and blue unsigned, minor chips, 33cm. high £1,500-2,000 Literature Louise Irvine and Paul Atterbury Gilbert Bayes Sculptor 1872-1953 Richard Dennis/Fine Art Society 1998, page 90 and 172 for examples illustrated

1316

1315

1317. A Royal Doulton stoneware floor vase by Vera Huggins, shouldered form, incised with flowers and foliage in colours on a blue ground impressed mark and incised signature 46cm. high £200-300 1318. A Doulton Lambeth stoneware vase by Mark V Marshall, baluster form with flaring rim, incised with panels, painted in pate sur pate with foliage in white, green and brown on a blue ground and a Frank Butler stoneware vase cast and incised with scrolling foliate panels, impressed and incised marks, Butler vase restored, 33cm. high (2) £150-200 1319. A Royal Doulton stoneware Maori Ware jardiniere, modelled in low relief with Maori masks and Tikki, in green, buff and blue on a mottled blue ground, and a Doulton Lambeth Impasto charger, painted with a blackbird perched on a wild rose stem, impressed factory marks, 20cm. high (jardiniere) (2) £150-200 Literature Desmond Eyles & Louise Irvine The Doulton Lambeth Wares, Richard Dennis Publications, page 212 for a comparable jardiniere.

1318

1317

1319

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1320 1320. A Troika Pottery coffee set for six, designed by Benny Sirota, cylindrical form, sgraffito decorated with a band of blue lines under a black metallic glaze, comprising; coffee pot and cover, milk-jug and sugar basin, six cups and saucers unsigned 26cm. high (coffee pot) £250-350 Literature Ben Harris & Lawrence Illsley Troika 63-83, page 24 for a comparable coffee set at the Troika saleroom Wheal Dream. 1321. ‘Town of Flowers’ a modern Moorcroft vase designed by Kerry Goodwin, dated 2009, painted in colours on a blue ground impressed and painted marks, 46.5cm. high £500-1,000 1322. ‘Highland Stag’ a modern Moorcroft trial vase designed by Kerry Goodwin, dated 2012, painted in colours impressed and painted marks, 52.5cm. high £300-500 1323. Shakespeare a set of ten Moorcroft Pottery limited edition ginger jar and covers, designed by Rachel Bishop and Emma Bossons, comprising Othello, Ophelia, Twelfth Night, Romeo & Juliet, A Midsummer Night’s Dream, Love’s Labour’s Lost, The Winter’s Tale, Cymbeline, King Lear, and The Tempest painted in colours printed and painted marks, 14.5cm. high (10) £800-1,200 Provenance Produced for B & W Thornton, Stratford Upon Avon.

1321 1322

1323

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1324

1324. ‘Claremont’ a Moorcroft Pottery floating bowl designed by William Moorcroft, painted in shades of red, purple, yellow and green on a blue ground, painted green signature, hairline crack to rim, 29cm. diam. £800-1,200

1325

1325. ‘Peacock Feathers’ a Moorcroft Pottery vase designed by William Moorcroft, shouldered form, painted in shades of matt blue and green on a pale blue ground, painted blue signature, professionally restored top rim, 20.5cm. high £500-1,000

1326. ‘Eventide’ a Moorcroft Pottery footed bowl designed by William Moorcroft, painted in shades of green, blue and sand under a flambe pink sky, the exterior mottled blue impressed marks, painted green signature 27cm. diam. £800-1,200

1326

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1327

DENNIS CHINA WORKS

1328

1327. ‘Indian Elephant’ a Dennis Chinaworks limited edition vase designed by Sally Tuffin, painted by Heidi Warr, thrown by Rory Mcleod, dated 1999, the elephant painted in colours with black outline on a vibrant blue ground, painted marks, 16cm. high £150-200 1328. ‘Corn and Poppy’ a Dennis Chinaworks limited edition flask and lid designed by Sally Tuffin, painted by Natasha Chapman-Cox, thrown by Rory Mcleod, dated 2011, the lid with mouse finial, painted in colours on a graduated blue to yellow ground, painted marks, 21.5cm. high £200-250 1329. ‘Thisbe’ a Dennis Chinaworks limited edition ovoid vase designed by Sally Tuffin, after a design by William Morris, painted by Vanessa Whitemore, thrown by Rory Mcleod, dated 1997, painted in colours, painted marks, 24cm. high £200-250

1329 1330

1330. ‘Jousting Tent’ a Dennis Chinaworks Trial jar and cover designed by Sally Tuffin, painted by Adam White, thrown by Rory Mcleod, dated 2010, painted in colours depicting a jousting scene on green ground, painted marks, Trial 5, 25cm. high £200-250 1331. ‘Green Rose Lines - Glasgow Style’ a Dennis Chinaworks Trial T-bud vase designed by Sally Tuffin, painted by Adam White, thrown by Rory Mcleod, dated 2013, painted in various shades of green on a graduated green ground, painted marks, Trial 1, 32cm. high £250-300 1332. ‘Klimt Dancer’ a Dennis Chinaworks limited edition vase designed by Sally Tuffin, painted by Theresa Blackmore, thrown by Rory Mcleod, dated 2015, painted in colours and golden lustre, with golden lustre rim, painted marks, one off colour variation, 31cm. high £350-400 1333. ‘Jade Geisha’ a Dennis Chinaworks Trial vase designed by Sally Tuffin, painted by Vanessa Thompson, thrown by Rory Mcleod, dated 2012, jade, black and golden lustre geisha’s on cream ground, gold lustre rim, painted marks, Trial 1, 31cm. high £250-300

1331

1332

1333

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1334

1334. ‘Football’ a Dennis Chinaworks limited edition vase designed by Buchan Dennis, painted by Adam White, thrown by Rory Mcleod, dated 2010, painted in white and black colours on a green ground, painted marks, 18cm. high £200-250

1335. ‘Chilkat’ a Dennis Chinaworks Trial vase designed by Sally Tuffin, painted by Theresa Blackmore, thrown by Rory Mcleod, dated 2014, American Indian Inspired, red, green and black colours, painted marks, Trial £200-250 2, 18cm. high

1335 1336. ‘Klimt Kiss’ a Dennis Chinaworks limited edition Sidestep vase designed by Sally Tuffin, painted by Heidi Warr, thrown by Rory Mcleod, dated 2006, painted in a unique colour-way on a yellow ground, painted marks,, 25cm. high £250-300

1337. ‘Birds in Branches’ a Dennis Chinaworks Trial Conical vase designed by Sally Tuffin, after C.F.A. Voysey, painted by Vanessa Thompson, thrown by Rory Mcleod, dated 2013, everted silver lustre rim, painted in colours with black outline on a green ground, painted marks, Trial 2, 23cm. high £200-250

1338. ‘Black Cat’ a Dennis Chinaworks limited edition Conical vase designed by Sally Tuffin, painted by Natasha ChapmanCox, thrown by Rory Mcleod, dated 2014, everted gold lustre rim, painted in shades of brown and black on a gold lustre ground, £350-400 painted marks, 29cm. high

1336

1337

1338

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THE PETER HAYES COLLECTION OF STUDIO CERAMICS, SCULPTURE & PAINTINGS

Peter Hayes (born 1946) started potting on his travels through India and Africa in the 1970s and his work has been exhibited all over the world. He states his interest in ceramics was aroused whilst ‘digging Neolithic iron age and Roman samien (glossy red-brick tableware) shards on archaeological digs somewhere in Wales while trying to survive as an art student in Birmingham.’ His raku discs and standing forms are instantly recognisable but his early pots and sculptures made in Lesotho in the 1970s are rarely seen. Included in the auction are several examples, inspired by the native pottery of Africa (lots 1339-1341). His travels throughout Africa, India, New Mexico and Japan and the information gleaned by working with local potters led to the development of his own work where he builds up layers of textured clay combined with polishing and burnishing the surface – creating a tension between smooth and textured finish (brilliantly exhibited in lot 1359 the standing pierced blade, 1988). The sale also includes Peter’s first experimental raku sack vase (lot 1343) dated 1974. Recent experiments led to an increase in scale, with large commissions taking him back to India and Udaipur in Rajasthan a warm break full of inspiration where he is free to experiment with materials including glass, marble and Damascus steel. While Peter is still potting from Cleveland Bridge in Bath, the need to downsize has necessitated the dispersal of pots collected from potters he has known, exhibited with or just pots he has seen and admired. His collection includes important examples of contemporary ceramics by Ewen Henderson and Gordon Baldwin and also a selection of the painted, often sculptural works by Robin Welch – including two fine totem forms (lots 1363 and 1364). The auction also includes a selection of paintings, sculptures and prints with a strong link to St Ives, one of Peter’s spiritual homes. These include a group of four acrylic paintings by Breon O’Casey (lots 1391-1394), and works by Bryan Pearce, Albert Irvin and Bryan Ingham.

Michael Jeffery

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1339

1340

1341

1342

1343

1339. Peter Hayes (born 1946) a rare early Lesotho pot, dated 1979, ovoid with twin looped handles, incised with a band of warrior figures holding shields, signed and dated to base 23cm. high £150-200 Provenance: Peter Hayes 1340. Peter Hayes (born 1946) an early Lesotho stoneware pot dated 1974, flaring bucket form incised with a frieze of warriors holding spears and shields. incised Peter Hayes 74 to base, minor chips to top rim, 25.5cm. high £150-200 Provenance: Peter Hayes 1341. Peter Hayes (born 1946) a Lesotho stoneware vase, dated 1979, twinloop handled form, incised and painted with a band of warriors holding shields and spears, in brown on a buff ground impressed seal mark, signed and dated 28cm. high £150-250 Provenance: Peter Hayes 1342. Peter Hayes (born 1946) a handbuilt raku vessel with loop handles, matt black with turquoise glaze incised £150-200 marks, 26cm. high Provenance: Peter Hayes

1343. Peter Hayes (born 1946) an early Lesotho sack form, dated 1974, flattened form with solifleur neck, incised with circle motif, signed and dated 1974 in pen, firing crack to base 38cm. wide, 39cm. high £150-200 This was the first example of a sack form produced by Peter. Provenance: Peter Hayes

1344

1344. Peter Hayes (born 1946) an early Lesotho stoneware vase, dated 1980, shouldered form, painted in tenmoku with a geometric band, a stoneware flagon by Peter Hayes, another larger, Peter Hayes’ spell box, and a stoneware jar and cover by Toft Milway, various signatures, 32cm. high (5) £150-200 Provenance: Peter Hayes

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1345. Peter Hayes (born 1946) Cubist Head, dated 1994, a porcelain sculpture on a slate base, and another taller incised signature and date 94, 16cm. high (2) £150-250 Provenance Peter Hayes 1346. Peter Hayes (born 1946) Cubist Head, a polished porcelain sculpture, on slate base and another taller painted white, incised signature 21.5cm. high (2) £200-300 Provenance Peter Hayes 1347. Peter Hayes (born 1946) a white bone china porcelain arrowhead form, wire mounted to raku base etched Peter Hayes, 19cm. high £150-200 Provenance Peter Hayes

1345

1346

1348. Peter Hayes (born 1946) a white bone china porcelain pierced blade form, on raku stand and slate base etched Peter Hayes, 25cm. high £150-200 Provenance Peter Hayes 1349. Peter Hayes (born 1946) a small white bone china porcelain disc form, dated 2007, on rake stand and slate base, etched signature and date 07 20cm. high. £150-200 Provenance Peter Hayes 1350. Peter Hayes (born 1946) a rare early double disc vase, two flat, textured circular panels, and another, signed in pencil 14cm. high, 17.5cm. wide. (2) £150-200 Provenance Peter Hayes

1347

1349

1348

1350

1351. Peter Hayes (born 1946) standing figures, a stoneware sculpture, unglazed, and a burnished sack form vase impressed seal mark and signature to vase 20cm. wide (figures) (2) £150-200 Provenance Peter Hayes

1351

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1352

1353

1354

1352. Peter Hayes (born 1946) Shattered porcelain teardrop disc, dated 2014, on Raku stand and slate base, the disc with resin joints and tip, and gilt rim aperture signed and dated, 81cm high (2) £400-600 Provenance Peter Hayes

1353. Peter Hayes (born 1946) a raku standing form inset with keyhole, dated 1994,on slate base etched Peter Hayes and dated 1994 10cm. high £150-200

1355

Provenance Peter Hayes

1354. Peter Hayes (born 1946) a tall Raku vase form on white stone base, flaring textured finish glazed white incised Peter Hayes to base 58.5cm. high £200-400 Provenance Peter Hayes

1355. Peter Hayes (born 1946) a large white raku mounted blade form, textured finish, on black raku stand with copper bands unsigned 90 x 44cm. £800-1,200 Provenance Peter Hayes

1356. Peter Hayes (born 1946) a large Raku sack-form vase, slender elliptical form with solifleur neck, textured burnished surface impressed seal mark, 53cm. high £500-1,000 Provenance Peter Hayes

1356

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1357. Peter Hayes (born 1946) Standing form, 1993, a polished porcelain sculpture on polished slate square base, incised Peter Hayes 93, 21cm. high £150-200 Provenance Peter Hayes

1358. Peter Hayes (born 1946) a tall bronze raku sack form with copper disc, burnished glaze, on slate base etched signature 49cm. high £500-800

1357

1358

Provenance Peter Hayes

1359. Peter Hayes (born 1946) Standing Pierced Blade, 1988, polished black porcelain on a split raku base signed and dated in pen 68cm. high £400-600 Provenance Peter Hayes

1359

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1360

1361

1362 1360. Robin Welch (born 1936) a stoneware Oval vase, incised and painted with slips and a red enamel panel, and another Robin Welch Oval vase similar impressed seal marks to base, applied exhibition number 15cm. high (2) £150-200 Provenance Peter Hayes 1361. Robin Welch (born 1936) a stoneware Oval footed vase, painted with panels in red and white slip impressed seal mark, 13.5cm. high £150-200 Provenance Peter Hayes 1362. Robin Welch (born 1936) a slab built stoneware vase with two small apertures, with blue line, surface decorated, impressed seal mark, 51cm. high £300-500 Provenance Peter Hayes ‡ 1363. Robin Welch (born 1936) a large Totem form tube vase, on swollen base, constructed in four sections, with white and red bands and black detailing impressed seal mark, 218cm. high £1,000-2,000 Provenance Peter Hayes ‡ 1364. Robin Welch (born 1936) a large Totem form tube vase with swollen base, constructed in four sections, painted with white, red and black bands, impressed seal mark, 233cm. high £1,000-2,000 Provenance Peter Hayes

1363

1364

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1365. Crafts and Ceramic Review a large archive of magazines, and various other studio pottery magazines and publications (a lot) £100-200 Provenance: Peter Hayes 1366. A Robert Minton Taylor encaustic tile, probably from a design by A.W.N. Pugin, decorated with a central pillar flanked with ribboned staff, in white and blue on a rust and sand, Five Minton Industrial tiles designed by John Moyr Smith and nine other tiles, impressed marks, damages (15) £150-200

1365

Literature: Annemarie Stapleton John Moyr Smith 18391912 A Victorian Designer Richard Dennis Publications, page 66 for the set of Industrial tiles illustrated. Provenance: Peter Hayes 1367. Sandy Brown (born 1946) a flaring conical bowl on tripod foot, painted with blue swirls on a white ground, and a Bjorn Wiinblad figural vase and a collection of jugs and vases painted signature, damages to vase 30cm. diam. ( a lot) £150-250 Provenance: David Lay Auctioneer’s 12th October 1991 lot 28. Peter Hayes

1366

1367

1368. Leach Pottery a stoneware jug, ovoid with cylindrical neck and strap handle, covered to the foot with a celadon glaze with rust spots, and a large collection of jugs and vases by various makers including Winchcombe Pottery impressed seal marks, damages 20.5cm. high, (a lot) £150-250 Provenance: Peter Hayes 1369. Edmund de Waal (born 1964) a porcelain teapot and cover, hand modelled, with wire handle, covered in a blue celadon crackled glaze, and a matched milk-jug and two tall cups and saucers impressed seal mark to shoulder of pot 11cm high (teapot) (6). £150-250

1368

Literature: Victoria & Albert museum for a comparable porcelain teapot purchased from Soft Clay, Contemporary Applied Arts, London 1996 Provenance: Peter Hayes 1370. Patty Wouters (born 1957) two Rocking Antenna pots, each pot with rounded base and cover set with porcelain finial, burnished finish incised signature 19cm. high (2) £150-250 Literature: Swinging - Patty Wouters, Artterre (2000), page 23 for a comparable Rocking Antenna pot.

1369

1370

Provenance: Peter Hayes 1371. Sally MacDonell (born 1971) Winged Figure, an early college work raku figure, circa 1991/92, unsigned 30cm. high £150-200 Sally MacDonell has authenticated this figure and suggested the date of 1991/92. Provenance: Peter Hayes 1372. Martha Allen (born 1952) Sun Rise, dated 1987, a stoneware box and cover sculpture, covered in a green glaze, painted signature, title and date 42cm. high £150-200 Provenance: Peter Hayes

1371

1372

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1373

1374

‡ 1373. Ewen Henderson (1934-2000) a stoneware unomi, irregular form, covered in a volcanic glaze and porcelain slip, unsigned 15cm. wide £150-200 Provenance Peter Hayes 1374. Ewen Henderson (1934-2000) a stoneware unomi, irregular, split form, covered in volcanic glaze and porcelain slips, 11cm. high £150-200 Provenance Peter Hayes 1375. Ewen Henderson (1934-2000) a fine, tall pot, hand-built stoneware with applied mixed laminates and slips, unsigned 67cm. high £1,500-2,000 Exhibited Ewen Henderson Potter - A Retrospective View 1970-1986. British Crafts Centre, this actual vase illustrated on the Private View invite Provenance The collection of Valerie Lloyd. Peter Hayes

1375

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1376. Paul Soldner (1921-2011) large winged form, a large American Raku sculpture on metal base, numbered 978, 73cm. high, 95cm. wide £500-1,000 Provenance Peter Hayes

1377. Ray Rogers (born 1935) Fungoid Form, a large raku ovoid pot, burnished finish incised signature, stress cracks, 45cm. high £200-300

1376

Provenance Pit Fired Ceramics, Wysling Arts, Cambridge Australia, for a similar pot illustrated. Peter Hayes

1378. Dinah Molefe (born 1927) a Rorke’s Drift stoneware jar and cover, dated 1974, ovoid with applied strapping and three crenulated handles, glazed blue and silver over tenmoku, painted signature 178/74, 37cm high £500-800 Dinah Molefe worked at Rorke’s Drift between 1969 and 1983. Provenance Peter Hayes

1377

1378

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‡ 1379. Gordon Baldwin O.B.E. (born 1932) Sky Grey Vessel with Two Holes and a Line, 1997, a stoneware hand-built pebble form covered with thick applied white paint, incised GB monogram, 97, 26cm. wide. £800-1,200 Provenance Purchased from a charity auction at the Rufford Craft Centre, February 1998. Peter Hayes

1380. Colin Pearson (1923-2007) a small porcelain footed pot, covered in a white glaze, impressed seal to side of foot 9.5cm. high £150-200 Provenance Peter Hayes

‡ 1381. Colin Pearson (1923-2007) a porcelain winged pot, covered in a golden, bronze reduction fired glaze impressed seal mark, 19cm. high £500-1,000

1379

Literature Peter Lane Studio Porcelain Pitman House, page 48 for a porcelain winged pot similar dated 1979. Provenance Beaux Arts, Bath, 1987 Peter Hayes

1380

1381

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1382. Hilary LaForce (born 1957) Ceremonial Vase, 1989, coil built terracotta with alkaline matt glazes, painted marks to base 45cm. high £150-200 Provenance Hilary La Force, Beaux Arts Bath, 3rd November 1989. Peter Hayes

1382

1383. Mo Jupp (born 1938) standing figure on a plinth, a terracotta sculpture incised monogram, paper exhibition number label 16cm. high £150-200

1383

Provenance Peter Hayes

1385

1384

1384. John Ward (born 1938) a hand-built stoneware vase, covered in a mottled white and pale turquoise, and another John Ward miniature vase impressed £150-200 seal mark, 15.5cm. high (2) Provenance Beaux Arts, Bath, 1989. Peter Hayes

1385. Janet Leach (1918-1997) a Leach Pottery stoneware vase, compressed oval form, with incised panel, lug handles to the rim, pitted and splashed glaze impressed seal marks, 16.5cm. high £150-250 Provenance Peter Hayes

1386. John Maltby (born 1936) Seated Figure, a stoneware sculpture, signed and titled to base 26cm. high £150-200 Provenance Peter Hayes

1386

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‡ 1387. Jacob Hordijk (born 1948) Playing Time, patinated bronze on black marble base signed J Hordyk, titled in bronze 41cm. high

£150-250

Provenance Peter Hayes

‡ 1388. Jacob Hordijk (born 1948) Warrior torso holding a shield, patinated bronze on a polished slate base incised signature 36cm. high

£150-250

Provenance Peter Hayes

1387

1389. E.S. sculpture with aperture, a burnished oak sculpture, signed ES in roundel 42 cm. wide, 28cm high £150-250 Provenance Peter Hayes

‡ 1390. Mike Scott (born 1943) a large Chai burr oak flaring bowl, 1989, turned and painted, signed Chai and dated to base 36cm. high, 58cm. wide £300-500 Provenance Peter Hayes

1388

1389

1390

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1391

1392

1393

1394

‡ 1391. Breon O’Casey (1928-2011) abstract, 1988 acrylic on paper, framed signed and dated in pencil 59 x 40cm. (sheet) £800-1,200

‡ 1393. Breon O’Casey (1928-2011) abstract, 1988 acrylic on paper, framed signed and dated in pencil 59 x 40cm (sheet) £800-1,200

Provenance Salthouse Gallery, St Ives Peter Hayes

‡ 1392. Breon O’Casey (1928-2011) abstract, 1988 acrylic on paper, framed signed and dated in pencil 59 x 40cm (sheet) £800-1,200

‡ 1394. Breon O’Casey (1928-2011) abstract, 1988 acrylic on paper, framed signed and dated in pencil 59 x 40cm (sheet) £800-1,200

Provenance Salthouse Gallery, St Ives Peter Hayes

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1395

1396

1397

‡ 1395. Louise McClary (born 1958) Nurture acrylic on paper, framed signed and titled to reverse, 60x 100cm (image) £200-300 Provenance Peter Hayes

‡ 1396. Louise McClary (born 1958), attributed Untitled figures acrylic on paper, framed unsigned 24.5 x 24cm. £150-200

‡ 1397. Roger Large (born 1939) Screen, 1988 and Causeway, 1988 two oil on canvas paintings, framed, signed Large bottom right, signed and dated to the reverse 75 x 75cm (image), (2) £150-200

Provenance Peter Hayes

We would like to thank Roger Large for confirming the titles of these works. Provenance Peter Hayes

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1398

‡ 1398. Ian Stonehouse Axe Edge Moor, 1986/7, Ireland, 1986/7 Untitled (Cheshire), 1987 acrylic on board, framed signed, dated and titled to reverse 44 x 46cm. (Axe Moor image), (3) £200-400 Provenance Peter Hayes

‡ 1399. Jennifer Semmens (born 1964) Blue Vertical, 1994 and Through The Centuries, 1993 mixed media on paper, framed signed and dated lower right, paper label to reverse 36 x 27cm. (2) £150-200

1399

Exhibited Recent Work 3rd May-2nd June 1995, Coram Gallery, London (Blue Vertical) Provenance Peter Hayes

‡ 1400. Brian Graham (born 1945) White Sanctuary, 1994 acrylic on paper, framed, ‘Loki Carrying Off Idin in the Form of Art’ a lithographic print by Peter Cox, and an abstract collage in the manner of Ben Nicholson, signed and dated lower right, title to reverse 34 x 30cm. (3) £150-250 Provenance Peter Hayes

1400

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1401

1402

‡ 1401. Patrick Hayman (1915-1988) Exotic Flowers and Buildings, 1983 gouache on paper, framed signed lower right, paper exhibition label and annotation to reverse 22 x 30cm. £400-600 Exhibited Alive to it All, Arts Council of Great Britain, 1983 catalogue number 45. Provenance Peter Hayes

‡ 1402. Patrick Hayman (1915-1988) Conversations with Nice People, 1985 watercolour and coloured pencil on paper, framed signed lower right, signed and titled to reverse 20 x 22cm. £150-200 Provenance Peter Hayes

1403

‡ 1403. Larry Wakefield (1925-1997) Figures in the Sea, watercolour on paper, framed signed L Wakefield lower right 50 x 37cm. £150-200 Provenance Peter Hayes

‡ 1404. Louise McClary (born 1958) Still life with yellow dog, acrylic on paper, framed signed lower left 73 x 53cm. £150-250 Provenance Peter Hayes

1404

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‡ 1405. Roy Walker (1936-2001) Untitled abstract, 1985 collage and oil on paper, framed signed and dated lower border 76 x 56cm. £150-200 Provenance Peter Hayes ‡ 1406. Roy Walker (1936-2001) untitled abstract, 1987 relief painting and collage, framed etched signature and date lower right 83 x 75.5cm £150-200

1405

1406

Provenance Peter Hayes

‡ 1407. Jill Chandler (born 1942) Reflections, 1989 and The Printer, 1989 gouache on paper, framed signed, dated and titled to the reverse 43 x 43cm. (image), (2) £200-300 Provenance Peter Hayes

1407

‡ 1408. Jeremy Annear (born 1949) untitled abstract, 1987 acrylic on paper, framed signed Annear and date lower right 90 x 67cm. £200-400 Provenance Peter Hayes

1408

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‡ 1409. Bryan Pearce (1929-2007) Pink Lillies and Oranges, 1982 silkscreen print in colours on paper, framed signed, dated and numbered in pencil, 75/90 44.5 x 35cm £200-300 Provenance Peter Hayes

1409

‡ 1410. Albert Irvin O.B.E. (1922-2015) For Castlefield, 1994 gouache on paper, framed signed and dated lower left 21.5 x 30cm. £1,500-2,500 Provenance Albert Irvin Gouaches and Small Paintings, Anthony Hepworth gallery, 21st May-21st June 1994. Peter Hayes

1410

‡ 1411. Bryan Ingham (1936-1997) untitled collage, framed unsigned 34 x 44cm, (13 x 17cm image)

£1,500-2,000

Provenance Salthouse Gallery, St Ives Peter Hayes

1411

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STUDIO CERAMICS 1412. Gwendoline Muriel Parnell (1878-1957) a porcelain figure of a maiden holding a bouquet of wild flowers dated 1927, painted in colours, incised Chelsea Cheyne ML and date 18cm. high £150-200 In June 1927 The Leicester Galleries held an exhibition Chelsea Cheyne Figures by Gwendoline Parnell. 1413. Charles Vyse (1882-1971) a stoneware vase, covered to the foot in a Chun glaze incised C Vyse Chelsea 12cm. high £150-250

1413

1412

1414. Charles Vyse (1882-1971) Seated Tabby Cat a stoneware figure, painted in tenmoku and ochres, incised Charles Vyse Chelsea small chip to one ear, 22cm. high £1,000-1,500 Provenance Private collection Literature Charles Vyse Richard Dennis/FAS catalogue 1974, page 48 catalogue number 86 Terence Cartlidge Charles & Nell Vyse, Dennis & Pascoe, page 52. 1415. Wilfred Norton (1880-1973) a shouldered vase, incised to the shoulder with and glazed in purple and pink running glaze over silver, another Wilfred Norton vase glazed turquoise, with wooden stand, a small dish and an Upchurch cylindrical vase, square section, glazed in off white with blue and lavender streaks, incised cipher mark, small chip to top rim of Upchurch vase, 25cm. high (4). £150-200 Wilfred Norton’s work was illustrated in The Studio magazine. He and his wife Lily held joint exhibitions from their Kerama studio in London. 1416. Katharine Pleydell-Bouverie (1895-1985) a stoneware vase, shouldered form with everted rim, covered to the foot in a running and streaked blue and green ash glaze impressed seal mark, painted glaze code RCXIV 12cm. high £150-200 1417. Katharine Pleydell-Bouverie (1895-1984) a stoneware lotus flower vase, footed form with fluted top rim, covered with a pale ash glaze, a small dish by Katherine Pleydell-Bouverie, a Norah Braden beaker vase, a Henry Hammond beaker vase and an Avoncroft Pottery unomi by Geoffrey Whiting, various impressed marks, 9.5cm. high (5) £150-250

1414

1416

1415

1417

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1418. Shoji Hamada (1894-1978) a large stoneware bowl, circa 1955, painted tenmoku brush design to the well, the rim with resist design in wooden box signed to the box 42cm. diam. £5,000-8,000 Provenance Purchased from the potter while on scholarship to Japan. Hamada, Bernard Leach and Yanagi flew to Santa Fe New Mexico, in 1953, to see first-hand the old handmade pots, and textiles, having been inspired by native American Indian pottery. As San Ildefonso they met Maria Martinez the renowned potter.

1418

1419. Bernard Leach (1887-1979) a porcelain teapot and cover, the pulled ovoid body with vertical cut motif, covered in a pale celadon glaze, impressed Leach Pottery and Bernard Leach seal marks, hairlines to handle and some old restoration to handle and spout tip, 11.5cm. high £200-300 Provenance The Bernard & Janet Leach Collection, New Craftsman Gallery, St Ives, 1994. The C E Hanley Collection. 1420. Colin Pearson (1923-2007) a stoneware vase, tapering cylindrical form, the rim with tenmoku glaze, impressed seal mark, 13.5cm. high £150-200 1421. Janet Leach (1918-1997) a Leach Pottery stoneware vase, shouldered form with cylindrical neck and lug handles, with impressed rope column repeat, partially glazed with an ash glaze, another taller and two Janet Leach bowls, impressed seal marks to all four items, minor frits, 13.5cm. high (4) £300-500

1420

1419

1421

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1422. Michael Cardew (1901-1983) a Winchcombe Pottery jug, painted with a simple brush frieze of grasses, in sand on a brown ground impressed seal marks, small chips to top rim 18cm. high £150-200 1423. Toff Milway (born 1949) a salt-glazed stoneware jar and cover, with impressed leaf motif, a tall Toff Milway ewer, a Jane Hamlyn saltglaze jar and cover, a David Leach Dolomite bowl and a David McDowell vase impressed seal marks, 23.5cm. £150-200 high (jar and cover), (5)

1422

Provenance Private collection. 1424. Mick Casson (1925-2003) a stoneware Curling Stone vase and cover, covered to the foot with a mottled green and ochre glaze impressed seal mark, 18cm. high £200-300

1423

1425. Jim Malone (1923-2007) a stoneware bowl, incised to the inside with simple flower design, glazed celadon green impressed seal mark, 29cm. high £150-200 1426. Bryan Newman (born 1935) a stoneware charger, painted to the well with a galleon at sea, in blue and brown on an ash glaze impressed seal mark, 40.5cm. diam. £150-200

1424

1427. Ray Finch (1914-2012) a Winchcombe Pottery salt-glaze stoneware vase, shouldered form, incised with simple motif inside chevron borders, mottled pale brown ash glaze impressed seal mark, 38cm. high £150-200

1425

1428. Nic Collins (born 1958) a salt-glaze stoneware jug, the bellied jug with strap handle, covered in a rust coloured glaze, another Nic Collins jug and a vase incised signature 37cm. high (3) £150-200 Provenance Private collection. 1429. Derek Clarkson (1928-2013) a stoneware charger, painted with an ash glaze and simple tenmoku brushstroke design and seven other studio pottery items, impressed seal mark, 33.5cm. diam. (8) £150-200 1430. Malcolm Pepper (1937-1980) a tall stoneware vase, covered in a running tenmoku glaze and another vase by Malcolm Pepper, a Poh Chap Yeap plate and two other items impressed seal mark, 35cm. high (5) £150-200

1426 1427

1428

1429

1430

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1431

1431. Rosemary Wren (1922-2013) a bronzed model of a stylised owl, signed in the cast with bird motif and R D Wren 24cm. wide. £150-200

1432 1432. Phil Rogers (born 1951) a tall stoneware vase with applied strap handles, incised with combed decoration, covered to the foot in an ash glaze impressed seal marks, 51cm. high £300-400

1432A. Richard Batterham (born 1936) a stoneware vase with cut fluted decoration, shouldered form with everted rim, covered with a tenmoku glaze over ash unsigned, applied paper exhibition label marked 17 35cm. high £150-200

1432A

1433. Jim Malone (born 1946) an Ainstable Pottery stoneware vase, shouldered slab form, covered to the foot with an ash glaze impressed seal marks, 35cm. high £150-200

1433

1434. William Plumptre (born 1959) a stoneware charger, decorated with painted flower motif in rust and blue on a wood ash glazed textured rope ground painted P mark to reverse 37.5cm. diam. £150-200 Provenance Private collection.

1434

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1435. A large stoneware pottery bowl, incised with a band of stylised swans, glazed brown on a buff ground, and a jug painted with lizard and flower motif in sepia, jug signed Noviko 16.5cm. high (bowl), (2) £150-250

1435

1436

1436. Peter Smith (born 1941) a large earthenware twin-handled platter, with slip decoration, another smaller, a jug and another covered jug by Peter Smith, a plate by Poh Chap Yeap, a salt-glazed stoneware vase by Svend Bayer,a jug by Phil Rogers, a pale blue glazed bowl, a celadon glazed porcelain bowl by Joanna Howells and a collection of ceramics, glass and treen various seal marks, largest platter 31.5cm. wide (a lot) £150-250 Literature Oliver Watson Studio Pottery, Phaidon V&A, page 140 plate 117 for a comparable jug. 1437. Paul Jackson (born 1954) a tall earthenware ewer with applied handle, 2004, painted with geometric fish in an abstracted seascape, in colours, painted signature and date 37cm. high £150-200 Provenance Private collection.

1437 both sides

1438. Carol McNicoll (born 1943) an earthenware bowl, painted in shades of white, blue and brown, another similar and three Next Interiors vases designed by Carol McNicoll, painted signature, one dish with repaired tip, 23cm. wide. (5) £150-200 1439. Carol McNicoll (born 1943) A Next Interiors vase, shouldered form, painted in shades of blue and white on a blue ground, two other Next Interior vases, a Habitat vase, and three other items printed retail mark, 16.5cm. high (7) £150-200 1440. Carol McNicoll (born 1943) a cup form on triangular saucer, painted in shades of lime green and lemon yellow, and another Carol McNicoll cup and saucer painted signatures, small chip to saucer, £150-200 18cm. wide, (4)

1438

1439

1440

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1441. Paul Young (born 1961) Tithe Pigeon Fancier, 2015, earthenware glazed in colours, 29cm. high, 28cm. wide £500-1,000

1442. John Maltby (born 1936) Seated Mother and Child, a stoneware figure, painted highlights in blue and cream impressed seal mark, 19cm. high £150-200 Provenance Private collection.

1441

1443. John Maltby (born 1936) a slab built stoneware vase, with applied cloud and rock panels, the body painted with a fishing boat and moon design, painted Maltby, small nick to top rim, 23cm. high £400-600 Provenance Private collection.

1443

1442

1444. John Maltby (born 1936) a stoneware cup form vase, enamelled with ships at sea, in white and brown on a blue ground, the angled vase on rectangular pottery base painted Maltby 17cm. high £150-200

1444 front and back

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1445

1446

1447

1445. Emma O’Dare (born 1972) A small Volcanic sphere, 2000, blue with green interior pate de verre glass, and another Volcanic sphere by Emma O’Dare, unsigned 11cm. high (2) £150-200 1446. Danny Lane (born 1955) two Drinking Glass on Loose Base, 2000, borosilicate and float glass, etched signature 26cm. high (4) £200-300

1448 ‡ 1447. Colin Pearson O.B.E (1901-1983) a stoneware winged pot, rectangular form, applied with entwined handles, covered in a pale blue and pink glaze impressed seal mark, 26cm. high £300-500 ‡ 1448. Emmanuel Cooper (1938-2012) a stoneware flaring bowl, covered in a running, volcanic white glaze, impressed seal mark, applied paper exhibition label, 31.5cm. diam. £300-500 Provenance Emmanuel Cooper Ceramics, Russell-Coates Museum selling exhibition, 2001

1449

‡ 1449. Emmanuel Cooper (1938-2012) a stoneware jug, the flattened elliptical form with applied spout and handle, covered with a white volcanic glaze over mottled blue, with applied gold patches to one side impressed seal mark, paper exhibition label, 19.5cm. high £200-300 Provenance Emmanuel Cooper Ceramics, Russell-Coates Museum selling exhibition, 2001 ‡ 1450. Edmund de Waal (born 1964) a porcelain vase and cover, impressed panel, glazed with flambe on a celadon crazed ground impressed seal mark, 13cm. high £200-300

‡ 1451. Edmund de Waal (born 1964) a porcelain pouring jug, pale celadon glaze with bleeding blue rim, impressed seal mark, 8.5cm. high £150-200

1450

1451

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‡ 1452. Christie Brown (born 1946) Stone Mother Head, 2002, bronze with black and green patina signed with CB initials 2/10 16.5cm. high £700-1,000

1452

‡ 1453. Christie Brown (born 1946) Huge Head, 2000 T-material with red and brown unsigned 33cm. high £500-1,000

1453

1454. Mo Jupp (born 1938) standing figure, earthenware on metal base, unsigned 19.5cm. high £100-200

1454

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1455. Ewen Henderson (1934-2000) a stoneware unomi, irregular form with applied slips, another slender, footed vase by Ewen Henderson and another Unomi impressed seal mark to third pot, 10.5cm. high (3) £200-300

1456. Ewen Henderson (1934-2000) A stoneware unomi with applied slips, unsigned 9cm. high, 10.5cm wide. £200-300

1457. Ewen Henderson (1934-2000) a stoneware unomi, irregular form, covered in a volcanic glaze and porcelain slips, 13cm wide £150-200

1455

‡ 1458. Abigail Ozora Simpson (born 1964) Squash vessel, 2012, a large hand-coiled vase, glazed in Egyptian blue, dolomite and graphite, signed, 36cm. high £1,200-1,800 Provenance Private collection, acquired direct from the artist’s studio.

1456

1457

1458

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‡ 1459. John Ward (born 1938) a hand-built stoneware tulip vase, the compressed form with stepped rim, glazed with faint bands in blue and off white impressed tulip mark, 26.5cm. high £300-500 Provenance Private collection.

‡ 1460. John Ward (born 1938) a large hand-built stoneware vase, internally glazed green/blue the exterior black, impressed tulip mark, 26cm. high, 42.5cm. wide £500-1,000 Provenance Private collection. Literature Lucie Rie Hans Coper and Their Pupils, Sainsbury Centre for Visual Arts, page 55 catalogue number 100 for a comparable bowl.

1459

1460A. Colin Saunders (born 1938) a large porcelain pedestal bowl with fluted rim, 1990, covered in a celadon glaze painted monogram and date, 43cm. wide £150-250

‡ 1461. Kate Malone (born 1959) Reclining Pine Cone Box, 2013 stoneware covered in a crystalline glaze incised signature and 2012, minor professional restoration, 29cm. wide £600-1,000

1460

1460A

1461

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detail

‡ 1462. Dame Lucie Rie D.B.E (1902-1995) an early porcelain footed bowl, the flaring conical bowl glazed yellow to the exterior, the interior translucent with a manganese band and a blue celadon well, the rim highlighted with manganese impressed seal mark, 16.3cm. diam. 6.5cm. high £2,000-3,000 Provenance The collection of Anne Saïd (1914-1995) Private collection Literature Tony Birks Lucie Rie, Marston House, page 98 for an identical bowl from the collection of Charmain Young, circa 1959. John Houston & David Cripps, Lucie Rie, Crafts Council, page 75 catalogue number 11 for another comparable example.

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â&#x20AC;Ą 1463. Dame Lucie Rie D.B.E (1902-1995) a large stoneware vase, shouldered square section with in-curved lip, glazed with bands of Dolomite white and muted blue with hints of rusty red impressed seal mark, 25cm. high ÂŁ7,000-10,000 Literature Muriel Rose Artist Potters in England Faber & Faber, a similar vase with pink stripes illustrated on the front cover, dated 1967.

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1465

1464

‡ 1464. Dame Lucie Rie D.B.E (1902-1995) and Hans Coper (1920-1981) a porcelain cup and saucer, covered in a deep, rich black glaze with grey rims, impressed seal marks, small nick to top rim of cup 8cm. high, saucer 14cm. diam. £300-500

‡ 1465. Dame Lucie Rie D.B.E (1902-1995) and Hans Coper (1920-1981) a porcelain cup and saucer, covered in a deep, rich black glaze with grey rims, impressed seal marks, 4cm. high, 14cm. diam. £500-800 Literature Oliver Watson Studio Pottery, Phaidon, page 236 catalogue number 528 for a black glazed teapot dated to 1951.

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PICASSO CERAMICS

‡ 1466. Pablo Picasso (1881-1973) Corrida sur Fond Noir, Ramie 198 a Madoura Pottery Edition Picasso rounded square plate, designed in 1953, painted in blue, white and black, impressed marks, 39cm. wide. £3,000-5,000 Literature Georges Ramie Ceramics of Picasso, catalogue number 89 for a comparable rounded square plate, 1953 Picasso Ceramics The Attenborough Collection, New Walk Museum Leicester, catalogue number 44, illustrated opposite acknowledgements page for another example. Provenance Private European collection.

1466

‡ 1467. Pablo Picasso (1881-1973) Still life, Ramie 219 a Madoura Pottery Edition Picasso platter, painted in colours impressed marks, 39cm. wide £4,000-5,000 Literature Picasso Ceramics, Christie’s South Kensington, 26th June 2014 lot 53 for a comparable example. Provenance Private European collection.

1467

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DESIGN 1468. A Poole Pottery Studio plate by Tony Morris painted with a geometric sun-face motif in orange on an olive green ground printed Studio mark, 27cm. diam. £600-1,000 Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis Publications, page 117 for comparable examples illustrated. 1469. Sir Eduardo Paolozzi CBE Kt RA (1924-2005) a textile collage design printed by David Whitehead, screen-printed rayon on a red ground, mounted on £250-350 wooden stretcher, unsigned 70 x 50cm.

1468 1469

Literature Geoffrey Raynor Artist Textiles in Britain, 1945-1970 page 52 catalogue number 35. 1470. Sir Peter Blake R.A. (born 1932) Babe Rainbow, an enamelled tin panel commissioned by Dodo Designs, 1968, printed text to reverse, 66.5 x 44cm. £200-300 1471. Sir Peter Blake RA (born 1932) Peter Blake Retrospective, City Art Gallery Bristol 1969 a silk-screen printed poster, with portrait of Peter Blake by Ugo Mulas, framed 75.5 x 50.5cm. (image) £200-300 1472. Sir Eduardo Paolozzi CBE Kt RA (1924 - 2005), in the manner of Cyborg Head - With Computer Chips fibreglass and plaster unsigned, minor losses 60cm high £600-1,000 1473. Clive Sheppard (1930-1973) Three studies for sculptural forms,1962 ink on brown paper, framed signed and dated Sheppard 62 40.5cm. high x 74cm. wide

1471

1470

1472

£150-200

Born in 1930 Sheppard served in the Royal Navy between 1945-47 before studying sculpture at St Martin’s School of Art under Anthony Caro, Peter King and Frank Martin. He worked as an assistant to Henry Moore, combining this with working on his own sculpture and teaching at both Bournemouth College of Art and Hornsey College of Art.

1473

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‡ 1474. Lynn McGregor (born 1959) In Moonlight acrylic on board, framed signed lower right, paper labels and title to reverse, 29 x 29cm (image) £300-500 1475. A Herman Miller 670 Lounge chair and 671 Ottoman designed by Charles & Ray Eames, bent ply rosewood veneer, with padded black leather pad cushions, on aluminium swivel base applied Herman Miller labels, dated 22 Jul 1975 80cm. high, 85cm. wide, ottoman 66 x 53cm. (2) £1,500-2,000

Literature Leslie Pina Fifties Furniture, Schiffer, page 120 for a comparable Lounge and Ottoman illustrated. 100 Masterpieces from the Vitra Design Museum Collection, page 90-91 catalogue number 33 for a comparable example. Woolley and Wallis have been issued an A10 license to sell this lot (containing Brazilian Rosewood) by DEFRA.

1474

1476. Pat Cooke (1935-2000) Derbyshire Farm Whaley Bridge, 1972, and Sightseeing, 1971 watercolour on paper, annotated to Anton Pieck, framed signed and dated in ink 25 x 15cm and 22.5 x 20.5cm. (2) £200-300 Pat Cooke lived in Mottram-in-Longdendale, Cheshire, where she met L.S.Lowry (via her father’s builiding works for him). Lowry, who would later move to Mottram, became her artistic mentor and lifelong friend sharing trips around the country. These watercolours are dedicated to Anton Pieck (1895-1987) the Dutch artist and graphic designer who was also a friend of Pat Cooke.

1475

1477. Barbara Jones (1912-1978) Fairground SP2, 1945-46 a School Print, lithograph in colours printed by The Baynard Press, Harbour by Julian Trevelyan, SP9, Tractor by Kenneth Rowntree SP3 and Elephant by Russell Reeve SP 17 three School Prints, unframed signed in the print 49.5 x 76cm (4) £400-600 Literature Ruth Artmonsky A Snapper Up of Unconscious Trifles, Artmonsky Arts, page 10 for an example illustrated.

1476 1478. Milton Glaser (born 1929) lithographic poster design printed in colours, unframed signed top right in the print 84 x 55.5cm. £150-250 This poster was included in Bob Dylan’s Greatest Hits album sleeve in 1967.

1477

1478

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1479. Alan Peters O.B.E (1933-2009) An elm refectory table, made by Alan Peters, the rectangular top with curved ends and hand reeded edges, 213cm x 89cm. (top) 75cm. high ÂŁ6,000-8,000 Provenance The Estate of Alan Peters. This fine table was the last piece made by Alan Peters. Alan Peters was credited as one of the main exponents of the British crafts revival of the 1970s. His furniture is characterised by its simplicity, elegance and restrained use of decoration - and is usually constructed of solid timbers. He studied at the Central School of Arts and Crafts, he was an apprentice at Edward Barnsley's workshop and in 1962 he set up his first workshop in Hindhead. Following an interest in educating as well as practical production he published Cabinetmaking - The Professional Approach, in 1985. He was awarded the OBE in 1990.

100

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â&#x20AC;Ą 1480. Matthew Burt (born 1951) a European Walnut and American Black walnut dining table and chairs, the swollen rectangular table with angled edges and two fin bases, and ten Coopered high-back chairs, with red, padded seats stamped Matthew table 231 x 95cm, 72cm. high ÂŁ4,000-6,000

101

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THE DECORATIVE ARTS SOCIETY 40TH ANNIVERSARY APPEAL 1481. A Linthorpe Pottery coffee pot and cover designed by Dr Christopher Dresser, model no.647, covered in a crackled amber glaze, and a leaf shaped dish glazed green impressed marks to the pot 24.5cm. high (2) £150-200 Literature Judy Rudoe Decorative Arts 1850-1950, British Museum, page 184 catalogue no.101 for a comparable pot illustrated.

1481

1482

1482. Emmanuel Cooper OBE (1938-2012) a flaring conical bowl, covered in a bright lemon yellow glaze, and a tall Susie Cooper Studio vase incised with dash motif, glazed white, and six Powell Whitefriars clear glasses impressed seal mark 13cm. diam. (8) £150-200 1483. A Boyerischen Metallwaren Fabrik electroplated molecular candlestick designed by Caeser Stoffi and Fritz Nagel, with four tripod sections and circular bowl section, and a gilt metal bottle opener in a Mappin & Webb box, unmarked, (6) £150-200 The design for this molecular structure was inspired by the Brussels exhibition.

1483

102

1484

1484. ‘George Walton Designer and Architect’ by Karen Moon, a book published by White Cockade, and six other books on design comprising; Charles Rennie Mackintosh The Architectural Papers, Tea and Taste the Glasgow Tea Rooms 18751975, Glasgow’s Great Exhibitions, Patrick Geddes: The French Connection, Built for a Better Future: The Brynmawr Rubber Factory, Is Mr Ruskin Living Too Long Selected Writings of E W Godwin, and Winchcombe Pottery, all published by White Cockade, (7) £150-200

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1485. Robert Austin (1895-1973) Bookplate for the Prime Minister’s Library, 1931 line engraving on paper, unframed, and eight other prints various signed and monogrammed RSA 18 x 11cm. (9) £150-200 Provenance Liss Llewellyn Fine Art, Paul Liss

1485

1486. Evelyn Dunbar (1906-1960) & Charles Mahoney (1903-1968) A Design for Gardener’s Choice, eight prints, framed, published by Routledge, 1936 32 x 25cm. (largest). (8) £150-200

1487. Barnett Freedman CBE (1901-1958) Charade, circa 1937-38, a Lithograph in colours on paper, printed by The Curwen Press, published by Contemporary Lithographs Ltd, unframed, signed in the print 84 x 58.5cm. £250-350

1486

1487

1488. Sir Frank Brangwyn R.A. (1867-1956) Man Pulling Net, study for the mural Water (The Net), 1914 red chalk on brown paper, framed monogrammed FB behing left knee £300-500 Provenance Hilary Barton John Everett Water is one of eight panels designed by Frank Brangwyn and painted for the Panama Pacific International Exposition, 1914. Woolley and Wallis would like to thank Libby Horner for her help in cataloguing this lot.

1488

103

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1489. An English 1950s teak low table, the rounded rectangular top inset with hardwood veneer panels, unsigned, 151cm long, 46cm wide, 34.5cm. high £150-250 1490. A Gordon Russell ltd nest of three occasional tables, graduated, each with rectangular tops, stamped marks, 61 x 38cm (largest) £150-200

1489

Literature Jeremy Myerson Gordon Russell Designer of Furniture, Gordon Russell Trust, page 100 for a comparable example illustrated. 1491. A 1950’s Atomic laminated wood wall clock, angular form the black laminated face with cut and painted hour marks, with later electric movement unsigned 32cm. wide. £150-200 1492. A pair of chrome Art 4020 table lamps designed by Harvey Gazzini, with orange plastic shades, Harvey Gazzini label to one shade 59cm. high (2) £200-300

1490

1491

1493. A Seid International set of six GF40/4 stacking chairs designed by David Rowland, designed 1964, polished steel rod construction with bent ply seat and back pad, applied factory label, 75.5cm. high £150-200 This chair design was the result of David Rowland setting out to design an ergonomic stacking chair for concert and lecture hall. The individual chair (whose seat and back adds no depth) stack depth is half an inch. 1494. A Viners Studio stainless steel cutlery set designed by Gerald Benney, in original fitted box, comprising; two serving spoons, six soup spoons, six knives, forks, dessert spoons, dessert forks, cake forks, cake spoons, teaspoons and butter knives stamped Sheffield marks, serving spoons 21cm. long £200-250

1492 1493

Literature Graham Hughes Gerald Benney Goldsmith, Starcity publishers, page 157 for this design illustrated. 1495. A collection of Viners stainless steel cutlery designed by Gerald Benney, comprising; six knives and forks, six soup spoons, six desert spoons, six desert knives and forks, six tea spoons and two serving spoons, together with two Viners condiment spoons and six other dinner knives, stamped marks (52) £150-200 1496. A Walker & Hall electroplated metal Pride four piece tea set designed by David Mellor, model no.53722, comprising teapot and cover, hot-water pot and cover, milk-jug and sugar basin, with black plastic handles and finials, stamped marks, 16cm. high (hot-water pot) (4) £200-300 The Pride tea set, designed by David Mellor in 1958 won a Council of Industry Design Award in 1959 for aesthetic beauty and practicality.

1494

1495

1497. A Rosenthal teapot, milk-jug and covered sugar basin designed by Walter Gropius glazed black, a Rookwood Pottery vase, dated 1913, ovoid with inverted rim, painted with a frieze of berried foliage, in red, orange and black, a Doulton Faience vase, another Doulton vase and two figures impressed marks, 10cm. high (8) £150-200

1496

104

Literature British Art and Design Victoria & Albert Museum, page 216 for this design illustrated.

1497

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1498

‡ 1498. An Andrew Varah sycamore desk, the rectangular top inlaid with trefoil motif, on gadrooned square section legs, with carved wooden trefoil handles 151 x 75cm, 77cm. high £300-500 ‡ 1499. An Andrew Varah Umbrella Men surrealist three door gentleman’s wardrobe, designed by Andrew Varah 1989, each hinged door modelled as a gentleman’ s knee-length overcoat and boots, the central figure with a peg leg, hanging on a clothes hanger, each with an umbrella the handle forming the door-handle of the wardrobe internally fitted with two low drawers, on low foot bar, mixed exotic veneers comprising Brazilian Rosewood coats and boots, pressure dyed Tabu veneers for shirts, Satinwood coat hangers Oak and Burr Oak background, metal door furniture, stamped to metal furniture AV and paper label to reverse of each cabinet 207cm. high, 201cm. wide, 42.5cm. deep £1,500-2,500 The Umbrella Men wardrobes (cupboards) were produced in about five variations between 1987 and 2003, each one is unique. Literature Betty Norbury Furniture for the 21st Century, Stobart Davies Ltd. one example illustrated in the chapter on Andrew Varah. David Linley Star Pieces The Enduring Beauty of Spectacular Furniture, Thames & Hudson, page 212 for another example of an Umbrella Man wardrobe illustrated. Woolley and Wallis have been issued an A10 license to sell this lot (containing Brazilian Rosewood) by DEFRA.

1499

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SCULPTURE & METALWARE 1500. An erotic Bergman patinated and cold-painted bronze harem dancer, cast with hinged flowing robe on waisted circular base, signed in the cast Namgreb, 26.5cm high £2,000-3,000 1501. An Art Nouveau patinated metal bust of a woman cast from a model by Paul Eugene Mengin (1853-1937), signed in the cast 34cm. high £150-200 1502. A Goldscheider table lamp designed by E. Tell, modelled as a nude maiden holding forward a large clam shell tray, a scarf blowing in the wind, glazed matt green impressed factory mark, 56cm. £500-1,000

1500 open

Literature Ora Pinhas Goldscheider, A Catalogue of Selected Models, Richard Dennis Publications, model no. 2046, c.1898, artist E. Tell for an example of the model. ‡ 1503. Thomas Bayliss Huxley Jones RCA (1908-1969) Resting Woman, 1963 a fibreglass sculpture, on shallow wooden base signed and dated in the casting 93cm. high £800-1,200 Huxley-Jones studied at the Royal College of Art under Richard Garbe and Gilbert Ledward between 1929 and 1933, where he would later teach. One of his most famous commissions was for the Fountain of Helios at BBC Television Centre, and the Hyde Park Fountain in 1958. 1504. The Artists Model a patinated bronze figure cast from a model by Rudolf Marcuse (1878-1929), on triangular marble base, and a patinated metal bust of a maiden cast from a model by George Van Der Straeten, signed Rud Marcuse 02 and foundry seal Akt Ges.v.H.Gladenbecku, in the cast, 34cm. high (2) £200-300

1501

1502

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1503

1504

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1505

1506

‡ 1505. Trevor Faulkner (born 1929) Golden Pheasants, 1970 a pair of patinated iron sculptures, each inset with gold eyes the cock with circular cut fancy yellow diamonds, the hen with sapphires, on alabaster rectangular plinths, incised signature and 70 35.5cm. wide (2) £400-600 1506. An Art Nouveau patinated bronze vide poche cast from a model by Rubinstein, modelled as a bare breasted woman with billowing floriform dress, and another bronze vide poche cast from a model by Berndorf signed in the cast 12.5cm. high (2) £150-200

1507

1507. Gesualdo Gatti (1855-1893) a bronze model of a hound resting, signed in the bronze G Gatti, impressed foundry mark for Siot Decauville Fondeur Paris, and 5976 20cm. wide £300-500

1508

1508. A Bernard Buffet etched silver plate, etched with a gazelle, in velvet lined wooden frame, signed in the design, stamped marks, 20cm. diam. £150-200 1509. A pair of Art Nouveau patinated metal vases cast from a model by Melle Sibeud, each cast with Art Nouveau maiden portraits, signed in the cast 45cm. high (2) £150-200 1510. A patinated bronze model of a stretching nude woman, on veined marble base, a gilt-bronze model of a bird feeding her chicks, and two bronze paperknives unsigned 18cm. high (4) £100-150

1509

1510

1511. A German enamelled copper bowl, on three snail feet, the bowl enamelled in colours with stylised flowers and foliage stamped marks, Munchen 12cm. high £150-200 1512. An Art Nouveau gilt metal mounted glass dish, the foliate mount with winged caryatid finial, with cast scallop shell dish unsigned 21.5cm. high £200-250

1511

1512

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1513. An Orion Secessionist pewter centrepiece with green glass liner, model no.825, cast in low relief with stylised leaf motif, stamped marks, 34.5cm. wide £150-200 1514. An Elkington Aesthetic Movement tazza with hinged handle, model no.10092, in the manner of Dr Christopher Dresser, cast in low relief with floral bands and borders stamped marks and regd 35cm. wide £200-400

1513

1515. An Art Nouveau W.M.F pewter tray, trilobed form with central over-slung handle, cast in low relief with flowers, berried stems and secessionist strapwork, stamped marks to rim edge 45.5cm. wide £150-250

1514

1516. A pair of W.M.F electroplated tazza bases, each modelled with an Art Nouveau maiden rising from a domed turbulent base with berried foliage sprays stamped marks, glass bowls missing 33.5cm. high (2) £200-300 1517. An Art Nouveau W.M.F polished pewter tray, twin bowl form on four ball feet, cast in low relief with sinuous foliage, mounted with central Art Nouveau maiden holding a hand mirror, stamped marks, 40cm. wide. £200-300

1515

1518. A Liberty Solkets Pewter tray designed by Archibald Knox, model no.0357, cast in low relief with ivy leaf and berried tendrils, with over-slung handle stamped marks, 30cm. wide £150-200

1516

1519. A pair of Liberty & Co English Pewter Thousla candlesticks designed by Archibald Knox, model no.08, flat, circular base supporting cylindrical stem and flat drip pan, cast in low relief with Celtic knot bands stamped marks, 16cm. high (2) £500-1,000

1518

Literature Archibald Knox Beauty and Modernity a designer ahead of his time, 150th anniversary exhibition, Olympia, page 32 catalogue number 41 for a comparable candlestick.

1517 1520. An Arts and Crafts copper vase probably by John Williams, cylindrical form with two strap handles, repousse hammered with scrolling foliage, and a Liberty & Co Tudric pewter tray vase, unsigned 29.5cm. high (2) £150-200

1519

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1520

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1521. A Continental Secessionist wall clock, probably Dutch or German, the shaped rectangular face carved with central mask flanked by golden trees, circular dial above two stylised figures in profile linked with laurel swag, painted in colours unsigned 38.5cm. high £150-200

1522. A Continental Secessionist mantel clock, the rectangular oak frame set with brass plates and circular copper dial, with Arabic numerals, 27.5cm. high £150-200

1521

1522

1523. A stacking nest of three occasional tables, rounded rectangular section, unsigned largest table 39 x 29cm, 33cm. high (3) £150-250

1524. A Modernist electroplated trio, tapering square section with hinged cover and ebonised wood handles, comprising coffee pot and cover, milk-jug and cover and a sugar basin, coffee pot stamped 7, 15.5cm. high (3) £150-200

1524 1523

1525. A Wiener Werkstatte Ivy Prunt pierced silver decagonal frame designed by Josef Hoffmann, each side pierced with foliate panel design, stamped WW mark and Austrian silver hexagonal mark, missing glass liner, 9.2cm. diam. £500-800 Literature Modern Art of Metalwork, Brohan Museum, page 529 catalogue number 471 for a cigar and cigarette holder with identical decoration designed by Josef Hoffmann.

1525 1526

1526. A small Wiener Werkstatte enamelled copper bowl, enamelled to the interior with stylised flowers and foliage on a black ground, the exterior enamelled blue, painted WW monogram, small dent and chip to rim, 10.5cm. diam. £150-200 Provenance From the collection of Peter & Ann Law.

1527 1527. A Limoges enamelled copper vase, painted in enamels with a spray of blossom on a blue ground, a near pair of Limoges enamelled copper vases and three others similar, signed to the foot with indistinct signature and Limoges in gilt, losses 6.5cm. high (6) £150-200

1528. A Duban & Christel Limoges enamel dish, painted with geometric design in orange, blue and purple, and a collection of various enamel dishes, various marks, 23.5cm. wide (10) £150-200

1528

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1529

1531

1530

JEWELLERY 1529. A Limoges enamel portrait of a woman, on blue guilloche enamel ground, framed unsigned 7cm. high £120-180 1530. A Limoges style enamelled copper necklace, three chain linked discs enamelled green and amber, another enamelled copper link necklace, an enamelled bracelet, pendant and pair of earrings, pendant indistinct signature in gold, discs 4cm. diam.(6) £150-200 1531. A James Fenton silver and enamel rose pendant necklace, cast in low relief and enamelled in shades of green and blue, stamped JF Birmingham 1908, 2.5cm. diam. £150-200

1532

1533 1534

1532. A James Fenton silver and enamel pendant necklace, tear-shaped pierced panel, set with central mother of pearl panel on a green and blue enamel ground, with enamelled silver drop stamped marks, JF Birmingham 1908 4.5cm. long £150-200 1533. An Arts and Crafts Gourdel Vales & Co silver and enamel necklace, cast foliate form enamelled in green and blue, with natural pearl drop, on link chain, 3cm long £150-200

1535

1534. An Egyptian Revival plique a jour and enamelled pendant necklace, modelled as Horus, with teardrop pendant suspended by chain, the chain set with enamelled lotus flowers and green enamelled stone, indistinct stamped makers mark, stamped 800 6.5cm. high £300-400 1535. A large silver brooch in the manner of Charles Ricketts, circular with cast columns set with amethyst and amber glass cabochon unsigned 6.5cm. diam. £150-200

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1536

1536. A Mexican silver figure brooch/pendant, with applied brass limbs and hair, set with stone buttons, a Mexican silver bangle, a pair of Mexican silver cufflinks and a tie-clip, and a collection of jewellery, stamped marks 7cm. high (16) £150-200

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1537

1538

1537. An enamelled brass cat brooch, modelled standing, details enamelled black, another Pelican brooch, and a collection of costume jewellery in a red leather jewellery case, unsigned 4cm wide (cat) (12) £150-200 1538. A Mexican silver Los Castillo fish brooch by Sigi Pineda, stylised form, another Mexican silver fish brooch, a skeletal fish pendant and two other stylised fish brooches, stamped marks, 6.5cm. wide (5) £150-200

1539

Literature Penny Chittim Morrill & Carole A Berk, Mexican Silver, Schiffer Publishing page 196 colour plate XIX-10 for a comparable stylised fish brooch.

1540

1539. A Los Ballesteros Mexican silver and amethyst mask bracelet, with hinged reeded band, stamped marks, 4cm. high £200-300 1540. A Los Ballesteros Mexican silver brooch, modelled as a stylised Aztec queen, with carved pale blue hardstone face £400-600 stamped marks, 6.5cm. high 1541. A Mexican silver Alpaco brooch, circular form inlaid with mother of pearl and enamelled black, a Taxco silver bar brooch, a Mexican silver and agate Totem necklace, two other brooches and a ring, various marks, 3.5cm. diam. (6) £150-200 1542. Two Mexican Spratling silver ladles, hammered bowls with ebony handles, a set of ten William Spratling silver and ebony teaspoons, a Spratling silver cake slice, six silver teaspoons cast with Mexico stem and heraldic terminals and six mate or cocktail spoons with heart-shaped bowls and hollow straw stems, stamped Spratling Silver round mark, 30cm. long, (largest serving ladle), (25). £150-200 Literature Penny Chittum Morrill and Carole A. Berk Mexican Silver, Schiffer, page 49 plate III-40 for silver and ebony bracelet and pin and IIII41 for two comparable butter knives.

1541 1542

1543. A Mexican Spratling silver bowl, decorated with three loop handles with ball terminals, the bowl with simple column decoration, hammered finish, and a Spratling covered tureen similar stamped circular Spratling Silver mark, 19cm. wide, 33oz approx. (2) £150-200 Literature Penny Chittum Morrill and Carole A. Berk Mexican Silver, Schiffer, page 42 plate III-26 for a milk and sugar basin similar.

1543

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1545

1544 part

1547

1544. An American Parker 51 piston-fill fountain pen, with silver cap, another similar, a Parker 61 and a collection of pens and pencils including Parker, Waterman and Montegrappa, (a lot) £100-150

1546 1545. A Silver and Niello dress-watch strap, each link decorated with niello inlaid panel, stamped Sterling, 14cm. long £150-200

1546. A Goldsmith’s & Silversmith’s silver footed cup, with three applied loop handles, hammered finish, London 1906 10cm. high £150-200

1547. A Stuart Devlin silver Leopard’s Head bowl, designed by Stuart Devlin, the leopard’s head carved by Lexi Dick and made by Nicholas Plummer, in original presentation box, stamped marks, London 1996 12.5cm. diam. £150-200

1548

1548. A set of four silver wine goblets by Graham Watling (1930-1996), hammered bowls on flaring cylindrical textured bases stamped marks, two hallmarked 1975 and two hallmarked 1973 13.5cm. high (4) £500-800 Literature John Andrews & Derek Styles, Designer British Silver ACC books, page 479 colour plate for comparable textured goblets from 1975-1980.

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1549. A Jaeger Le Coultre lapis mounted desk clock, oval section, with burnished metal face, electric movement signed to face 19cm. high £200-300

1550. An Art Deco enamelled silver cigarette case, hinged, rectangular form enamelled black, the front set with small apple green jade panel and diamond chip borders stamped import mark, PMV London 1936, chip to enamel 8.5 x 5.5cm. £200-300 Provenance Lady Docker

1551. An Alfred Dunhill 9ct gold cigarette lighter, model no.390107, the tapered rectangular body with engine turned decoration, stamped marks AD 375 London 1935, and cast Dunhill mark, 4.5cm. high £300-500

1549

Provenance Lady Docker

1550

Lady Docker

1551

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1552 front & back

1552. A Dunhill Aquarium table lighter by Margaret Bennett, the perspex panels reverse painted with exotic and tropical fish, with polished brass fittings, cast Dunhill and stamped made in England, 10cm. wide, 8cm. high £1,000-2,000 Provenance Lady Docker

1553. A rare Dunhill Aquarium perspex cigarette box and cover by Margaret Bennett, rectangular, the sides reverse painted with exotic and tropical fish amongst waterweed, the cover an aerial view of a pond with flowering water-lily and pads, cedar lining, the base with felt, hinged cover, unsigned, the cover missing hinge 18.5cm. x 11cm, 5.5cm. high £1,500-2,000

1553

Provenance Lady Docker (1906-1983). Very few of these aquarium boxes were produced, this box was commissioned by Sir Bernard & Lady Docker along with a similar box for Sir Winston Churchill. The Bennett’s were only told of the recipient once the box had been completed. The Docker’s were notorious socialites in the post war period. Sir Bernard was the chairman of BSA group whilst Lady Docker was appointed as a director of the coach builder Hooper & Co. - with a role to advise on style. This resulted in numerous extraordinary motor cars including The Golden Car (a golden Daimler), 1951, a car covered in 7000 gold stars, and The Golden Zebra, 1955, with gold plated trim, an ivory dashboard and zebra trim upholstery. Lady Docker also owned a yacht Shermara.

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FINE ARTS & CRAFTS

Wednesday 22 June 2016 Closing date for entries 27th April

A fine rosewood mirror by Sidney Barnsley, inlaid with holly, ebony and mother of pearl, probably made for Kenton & Co, circa 1903. Estimate: £4,000 - £6,000 ENQUIRIES Michael Jeffery Tel: +44 (0) 1722 424505 | michaeljeffery@woolleyandwallis.co.uk

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ENGLISH & EUROPEAN CERAMICS & GLASS Tuesday 19th April 2016

A selection of items from a private collection of salt-glazed stoneware included in the sale. Various estimates. ENQUIRIES Clare Durham | Tel: +44 (0)1722 424507 | claredurham@woolleyandwallis.co.uk

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FINE SILVER & OBJECTS OF VERTU Wednesday 27th April 2016

By Omar Ramsden, an Arts and Crafts silver inkwell, London 1930, the underside inscribed 'OMAR RAMSDEN ME FECIT', length 26cm. Estimate: £2,000 - £3,000

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

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FINE JEWELLERY

Thursday 28th April 2016

A gem set floral brooch in the style of Dorrie Nossiter, set with pink, yellow and blue sapphires, moonstones and zircons in white gold. 9cm high. Estimate: £3,000 - £5,000

ENQUIRIES Hannah Galbraith | Tel: +44 (0)1722 424586 | hannahgalbraith@woolleyandwallis.co.uk

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20TH CENTURY & CONTEMPORARY ART Wednesday 8th June 2016

Entries are now being accepted for this sale

Edward Ardizzone R.A. (1900-1979) The artist with his model. Signed, pen, ink and watercolour 28.5 x 27.5cm. One of a private collection of watercolours and drawings by this artist. Estimate: £1,500 - £2,000

ENQUIRIES Victor Fauvelle | Tel: +44 (0)1722 424503 | victorfauvelle@woolleyandwallis.co.uk Jo Butler | Tel: +44 (0)1722 424592 | jobutler@woolleyandwallis.co.uk

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FURNITURE, WORKS OF ART & CLOCKS Wednesday 6th July 2016

Entries are now being accepted for this sale

A pair of Art Deco leather upholstered easy armchairs. Estimate: £500 - £800

ENQUIRIES Mark Richards | Tel: +44 (0)1722 411854 | markrichards@woolleyandwallis.co.uk

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

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

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

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

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

APS

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

Mailboxes

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

Pack & Send

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

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

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SOCIETY OF FINE ART AUCTIONEERS AND VALUERS and the ROYAL INSTITUTION OF CHARTERED SURVEYORS CONDITIONS OF BUSINESS INFORMATION FOR BUYERS 1. Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand. 2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed. Accordingly if you buy your primary contract is with the seller. 3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive. 4. The purchase price. The Buyer shall pay the hammer price together with a premium thereon of 22% on the first £500,000 and 12% thereafter + VAT at the appropriate rate. 5. VAT. (*) indicates that VAT at the current standard rate is payable by the purchaser on the hammer price as well as being an element in the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. The double symbol (**) indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5%) on the gross lot price (i.e. both the hammer price and the buyer’s premium). Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the Premium is not recoverable as input tax. 6. We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. However, in so far as we have examined the goods and make a representation about their condition, we shall be liable for any defect which that examination ought to have revealed to the auctioneer but which would not have been revealed to the buyer had the buyer examined the goods. Additionally, in specified circumstances lots misdescribed because they are ‘deliberate forgeries’ may be returned and repayment made. There is a 3 week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale). 7. Electrical goods. These are sold as ‘antiques’ only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. 8. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required for the goods to leave the U.K. and (b) whether there is any specific prohibition on importing the goods in question into the destination country because, e.g. they may contain prohibited materials such as ivory. Charges may be applicable for export licences. Ask us if you need help. The denial of any permit or licence shall not justify cancellation or rescission of the sale contract or any delay in payment. 9. Bidding. Bidders will be required to register before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification will be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding. 10. Commission bidding. Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding buyers’ premium. They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received. Please enquire in advance about our arrangements for the leaving of commission bids by telephone or fax. 11. Methods of Payment. As a general rule any cheques tendered will need to be cleared before removal of the goods is permitted. Please discuss with our Office in advance of the sale if other methods of payment are envisaged (except cash).

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

TERMS OF CONSIGNMENT FOR SELLERS 1. Interpretation. In these Terms the words ‘you’, ‘yours’, etc. refer to the Seller and if the consignment of goods to us is made by an agent we assume that the Seller has authorised the consignment and that the consignor has the Seller’s authority to contract. Similarly the words ‘we’, ‘us’, etc. refer to the Auctioneers. 2. Commission is charged to sellers at the following rates: 15% + VAT on each lot sold for up to £999, 10% + VAT on each lot realising £1,000 and above. 3. Removal costs. Items for sale must be consigned to the sale room by any stated deadline and at your expense. We may be able to assist you with this process but any liability incurred to a carrier for haulage charges is solely your responsibility. 4. Loss and damage waiver. We are not regulated by the FSA for the provision of insurance to clients. However, we for our own protection assume liability for property consigned to us at lower pre-sale estimate. To justify accepting liability, we make a charge of 1.5% of the hammer price plus VAT or, if unsold, our mid estimate of the hammer price. If the owner of goods consigned instructs us in writing not to take such action, they then remain at owner’s risk unless and until the property in them passes to the Buyer or they are collected by or on behalf of the owner, and clause 4 is inapplicable. 5. Illustrations. The cost of any illustrations is borne by you. If we consider that the lot should be illustrated your permission will usually be asked first. The copyright in respect of such illustrations shall be the property of us, the auctioneers, as is the text of the catalogue. 6. Minimum bids and our discretion. Goods may be offered subject to a reserve agreed between us before the sale in accordance with clause 7. 7. We may sell lots below the reserve provided we account to you for the same sale proceeds as you would have received had the reserve been the hammer price. If you specifically give us ‘discretion’ we may accept a bid of up to 10% below the formal reserve. . Reserves. (a) You are entitled to place prior to the auction a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve (in which case goods carry the storage and insurance charges stipulated in these Terms of Consignment). (b) A reserve once set cannot be changed except with our consent. (c) Where a reserve has been placed only we may bid on your behalf and only up to the reserve (if any) and you may in no circumstances bid personally. 8. Electrical items. These are subject to detailed statutory safety controls. Where such items are accepted for sale you accept responsibility for the cost of testing by external contractors. Goods not certified as safe by an electrician (unless antiques) will not be accepted for sale. They must be removed at your expense on your being notified. We reserve the right to dispose of unsafe goods as refuse, at your expense. 9. Soft furnishings. The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense. The rights of disposal referred to in clause 8 and 9 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection on request. 10. Descriptions. Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary. Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds. The liability to reimburse the sale proceeds shall not arise where you are acting reasonably and honestly and are unaware of the forgery but we are or ought to have been aware of it.

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

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

2. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion. (c) Bidders shall be deemed to act as principals. (d) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved. 3. INCREMENTS Bidding increments shall be at the auctioneer’s sole discretion. 4. THE PURCHASE PRICE The Buyer shall pay the hammer price together with a premium thereon of 22% on the first £500,000 and 12% thereafter + VAT at the appropriate rate. 5. VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with an asterisk or double asterisk. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant lots. (Please refer to ‘Information for Buyers’ for a brief explanation of the VAT position). 6. PAYMENT (a) Immediately a lot is sold you will: (i) give to us, if requested, proof of identity, and (ii) pay to us the total amount due in pounds sterling (b) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied. 7. TITLE AND COLLECTION OF PURCHASES (a) The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due. (b) You shall at your own risk and expense COLLECT any lots that you have purchased and paid for from our premises not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment (IF LATER) after which you shall be responsible for any COLLECTION, storage and insurance charges. (c) No purchase MAY be COLLECTED AND WE SHALL NOT RELEASE ANY LOT TO YOU OR YOUR AGENT until it has been paid for. 8. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES (a) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (i) to proceed against you for damages for breach of contract; (ii) to rescind the sale of that lot and/or any other lots sold by us to you; (iii) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (iv) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (v) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale; (vi) to retain that or any other lot sold to you until you pay the total amount due; (vii) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (viii) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of any of your property in our possession for any purpose until the debt due is satisfied. (b) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

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

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

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

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

ARTIST’S RESALE RIGHT / DROIT DE SUITE

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

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

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

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

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

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

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

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

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

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WOOLLEY & WALLIS

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

LONDON, ANDOVER & WINCHESTER

CASTLE RD A345

DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO OLD SARUM

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A345 Castle Rd

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

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

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Registered in England No. 2998482

Salisbury Salerooms

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WOOLLEY & WALLIS

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

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

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VAT No: 631 9832 29 TESCO

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

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

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WOO L LE Y & WA L LI S Absentee Bid Form Clarice Cliff, Art Deco & 20th Century Design

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

Brief Decription

Price Excluding buyer’s premium & VAT

Wednesday 20th April 2016 Please bid, on my behalf, for the undermentioned lots up to the prices shown which do not include the buyer’s premium or any V.A.T. payable on lots. These bids are to be executed as cheaply as is permitted by other bids, and/or reserves if any, and subject to the Conditions of Sale printed in the Catalogue. Please note we cannot guarantee that bids received after 4pm on the day prior to the auction will be executed. Billing Name (please print)

Address

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

Signature

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

128

www.woolleyandwallis.co.uk

AUCTION CALENDAR ARMS & ARMOUR 6th April Will Hobbs +44 (0) 1722 339752 • willhobbs@woolleyandwallis.co.uk FURNITURE, WORKS OF ART & CLOCKS 6th April 6th July Mark Richards +44 (0) 1722 411854 • markrichards@woolleyandwallis.co.uk 20TH CENTURY DESIGN 22nd June – Arts & Crafts Michael Jeffery +44 (0) 1722 424505 • michaeljeffery@woolleyandwallis.co.uk SILVER 27th April – Fine Silver & Objects of Vertu 19th & 20th July – Silver, Vertu, Coins & Medals Rupert Slingsby +44 (0) 1722 424501 • rupertslingsby@woolleyandwallis.co.uk Lucy Chalmers +44 (0) 1722 424594 • lucychalmers@woolleyandwallis.co.uk JEWELLERY 28th April 21st July Jonathan Edwards +44 (0) 1722 424504 • jonathanedwards@woolleyandwallis.co.uk Marielle Whiting +44 (0) 1722 424595 • mariellewhiting@woolleyandwallis.co.uk ASIAN ART 17th & 18th May John Axford +44 (0) 1722 424506 • johnaxford@woolleyandwallis.co.uk Sophie Lister +44 (0) 1722 424591 • sophielister@woolleyandwallis.co.uk PAINTINGS 8th June – 20th Century & Contemporary Art Victor Fauvelle +44 (0) 1722 424503 • victorfauvelle@woolleyandwallis.co.uk Jo Butler +44 (0) 1722 424592 • jobutler@woolleyandwallis.co.uk TRIBAL ART & ANTIQUITIES 20th September Will Hobbs +44 (0) 1722 339752 • willhobbs@woolleyandwallis.co.uk ENGLISH & EUROPEAN CERAMICS & GLASS 19th April – English & European Ceramics & Glass September 2016 Clare Durham +44 (0) 1722 424507 • claredurham@woolleyandwallis.co.uk