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

British Art Pottery & 20th Century Design Wednesday 25th November 2015

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

20TH CENTURY DESIGN Michael Jeffery

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424505

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 —

411854 339161 411854

JEWELLERY Jonathan Edwards FGAA Marielle Whiting FGA

424504 424595

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PAINTINGS Victor Fauvelle Jo Butler

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SILVER Rupert Slingsby Lucy Chalmers

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TRIBAL ART & ANTIQUITIES ARMS & ARMOUR Will Hobbs Ellie Osmond

Members of The Society

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

424500 424599

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 — —

339752 339752

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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424599

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BRITISH ART POTTERY & 20TH CENTURY DESIGN Wednesday 25th November 2015 at 10.30am Viewing Times Saturday 21st November 2015 Monday 23rd November 2015 Tuesday 24th November 2015 Wednesday 25th November 2015

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

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

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:

COLLECTION OF LOTS Please note that all lots will be cleared from our Castle Street Saleroom on Friday 27th November. Furniture will be removed to our Old Sarum warehouse for collection. All remainder lots will be cleared to our Salt Lane office. If you are collecting items on or after this date please contact the department to arrange in advance.

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.

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/

Front cover: Lot 88 Back cover: Lot 116 Catalogue £10.00 (£12.00 by post) Images and a catalogue word search facility are available at www.woolleyandwallis.co.uk

LIVE BIDDING

Please register by 5pm on Tuesday 24th November. Please note there is a 3%+ VAT surcharge for using this service.

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.

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MARTINWARE FROM THE COLLECTION OF SIDNEY KYFFIN GREENSLADE (1866-1955) FRIBA Exeter born,1 and later with offices in both Exeter and Grays Inn, London, Greenslade became an architect of some note. With J. H. Eastwood he was architect of the much admired (1901) St. Anne’s RC Cathedral, Leeds and later on his own account, the (1909) National Library of Wales. His success enabled him to indulge his passion for collecting, particularly ceramics, by cultivating the friendship and giving encouragement to several makers, in particular the Martin Brothers of Southall. He first met the Martin Brothers in the late 1890’s at a ‘soiree’ of the Architectural Association. 2 His primary interest in their work was in the later creations of brothers Edwin and Walter, rather than that of their elder brother and founder of the business, Robert Wallace. Greenslade encouraged Edwin in particular to look to continental practice. Edwin moved some way from their previous designs, evolving his own distinctive designs in form and decoration taking inspiration primarily from gourds. Their frequent wartiness kept faith with the Brothers delight in the grotesque, but presented something wholly new in its ideas. Later, he was appointed Consulting Curator to the newly founded Arts and Crafts Museum at the University College of Wales, Aberystwyth. Funded by the Davies sisters, Gwendoline and Margaret, in the 1920s, Greenslade formed a notable study collection (now much expanded and of international standing) that included numerous examples of British studio pottery, often bought direct from their makers.3 After Greenslade’s death, in 1959 a substantial part of his Martin collection was bought by Southall Library, this purchase possibly including some of his papers. His ‘acting executor’, Rev. William Henry Spottiswoode Webb presented ‘a further collection’ of Greenslade’s correspondence to the Southall Library in 1961.4 This voluminous correspondence has provided a valuable insight into the world of Studio Potting at the beginning of the 20th Century. Today’s sale, part of the Greenslade collection, is offered by descent within the Webb family. 5

BIBLIOGRAPHY General Register Office, born 4 September 1866, 41 Cowick Road, St. Thomas, Exeter. Greenslade’s first name has been variously recorded as Sidney or Sydney, but is quite clearly entered as Sidney on his birth certificate. Haslam, Malcolm (1978) The Martin Brothers Potters. London: Richard Dennis pp.113-162. Fairclough, Oliver (2007) ‘Things of Beauty’ What Two Sisters did for Wales. Cardiff: National Museum of Wales pp. 82-91. Southall Library Minutes 9th January 1962. Papers of Sidney K. Greenslade, Ealing Local Archives Accession No.55. Webb may have been a Minister of the Congregational Church. He is said to have served for some years in Devon, in the USA and in 1939 was described as ‘formerly of Hope Park Congregational Church, Edinburgh’. Apart from acting as a Trustee, his precise relationship with the Greenslade family has yet to be defined. In 1970 part of the Greenslade collection was sold by Webb to the Royal Albert Memorial Museum, Exeter. Thanks to Ealing Local Archives, Devon Heritage Centre and the Royal Albert Memorial Museum for help with this research.

Dr. Christopher Jordan

Two Watercolour architectural designs by Sidney Greenslade, dated 1899.

Reverend Henry Webb (centre) at the 1978 Martin Brothers exhibition.

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MARTIN WARE FROM THE COLLECTION OF SIDNEY GREENSLADE 1. A Martin Brothers stoneware miniature gourd vase by Edwin & Walter Martin, dated 1907, ribbed, tapering form glazed in shades of brown, with incised dashed veins, incised 1907 Martin Bros London & Southall 4.5cm. high £350-450 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent.

2. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1906, ovoid form with pulled handles, incised with vertical ribs glazed brown with blue spots incised 1906 Martin Bros London & Southall 5cm. high £400-600 Provenance Sidney Greenslade Reverend William Henry SpottiswoodeWebb, thence by descent. 3. A Martin Brothers stoneware miniature gourd vase by Edwin & Walter Martin, dated 1902, ovoid ribbed form with incised veins, glazed in shades of brown and green on a buff ground 12-1902 Martin Bros London & Southall 3.5cm. high £350-450 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent.

4. A Martin Brothers stoneware miniature gourd vase by Edwin & Walter Martin, dated 1907, ovoid urchin form modelled in low relief with vertical veins, glazed brown and ochre incised 11-07 Martin Bros London 3.5cm. high £350-450 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent. 5. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1907, ovoid urchin form with raised decoration, glazed brown with grey-blue highlights incised 61907 Martin Bros London & Southall 5cm. high £400-600 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent. 6. A Martin Brothers stoneware miniature gourd vase by Edwin & Walter Martin, dated 1907, shouldered form with modelled vertical veins, covered in a dark brown/black glaze incised £350-450 1907 Martin Bros London & Southall 5cm. high

Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent. 7. A Martin Brothers stoneware miniature gourd vase by Edwin & Walter Martin, dated 1906, ovoid urchin form painted in brown and highlighted with blue spots incised 6-1906 Martin Bros London 3cm. high £350-450 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent. 8. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1-1904, ovoid urchin form with dimpled body, glazed in shades of brown and green incised 1-1904 Martin Bros London & Southall 4.5cm. high £350-450

Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent.

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9. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, ovoid with everted rim and modelled vertical ribs, covered in a silver-grey glaze with olive green, incised 1896 C W.F Martin No.56 8cm. high £300-500 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent. 10. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1899, ovoid with everted rim, incised with fine vertical veins in brown on a buff ground incised 1-99 Martin Bros London 6.5cm. high £400-600 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent.

11. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1913, swollen, square section form with modelled veins, glazed green with a splitting grey glaze, incised 7-1913 Martin Bros London & Southall 8.5cm. high £400-600 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent. 12. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1899, with modelled ribs, incised decoration, ochre and buff incised 1-99 Martin Bros London & Southall 12cm. high £400-600 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent.

11 12

13. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1913, tapering cylindrical form with modelled veins and incised ground, glazed ochre incised 6.1913 Martin Bros London & Southall 8cm. high £400-600 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent. 14. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1906, swollen form with moulded warts, painted with grey veins over mushroom, incised 5-1906 Martin Bros London & Southall 9.5cm. high £400-600 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent.

13 14

15. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1902, the flattened disc body with pulled lug handled and solifleur stem, covered in a cream glaze over mushroom, incised 12-1902 Martin Bros London & Southall, 9cm. high £300-500 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent. 16. A Martin Brothers stoneware miniature vase by Edwin & Walter Martin, flattened bottle form with loop handles, painted with grey spots on a mushroom ground, incised Martin Bros London & Southall, small chip to top rim, 8cm. high £350-450 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent.

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17. A Martin Brothers stoneware miniature vase by Edwin & Walter Martin, dated 1904, shouldered ovoid form with collar neck, incised and painted with forget me not flowers in blue and brown on a mushroom ground incised 1904 Martin Bros London & Southall 4.5cm. high £350-450 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent.

18. A Martin Brothers stoneware miniature vase by Edwin & Walter Martin, dated 1902, ovoid, incised and painted with flowers and foliage in brown and white on a brown ground incised 12-1902 Martin Bros London 5cm. high £350-450 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent. 19. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1914, shouldered cylindrical form, modelled in low relief with spots, glazed dark brown/black highlighted with green spots incised 3-1914 Martin Bros London & Southall 5.5cm. high £350-450 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent.

19 20

20. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1913, ovoid body tapering to narrow cylindrical neck with modelled vertical ribs, glazed in dark umber over brown incised 1913 Martin Bros London, small chip to top rim, 7.5cm. high £200-400 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent. 21. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1901, shouldered, square section, with circular neck, slip decorated with fine veins, covered in a buff glaze with brown highlights and rim, incised 12-1901 Martin Bros London & Southall, 5.5cm. high £300-500 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent.

22. A Martin Brothers stoneware miniature gourd vase by Edwin & Walter Martin, dated 1906, shouldered square form with lug handles, covered in a running buff ground incised 6-1906 Martin Bros London & Southall 3.5cm. high £300-500 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent. 23. A Martin Brothers stoneware gourd vase by Walter Fraser Martin, compressed form with everted rim, covered in a tan glaze, the rim a dark umber, incised No.1 WFM, 7.5cm. diam. £150-200

Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent. The unusual signature on this vase suggests it might have been a trial vase made by Walter Fraser Martin. 24. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1898, ovoid with everted rim, covered in a brown glaze, with semi-metallic splashed umber to the shoulder and top rim, and another Martin Brothers stoneware gourd vase incised 3-98 Martin Bros London 6.5cm. high (2) £150-250

Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent.

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25. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1902, swollen, square section, painted with white spots on a buff ground incised 1-1902 Martin Bros London & Southall 8.5cm. high £500-800 Provenance Sidney Greenslade Reverend William Henry SpottiswoodeWebb, thence by descent. 26. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1907, swollen square section with square rim, painted with manganese spots on a mottled brown ground incised 3-1907 £400-600 Martin Bros London & Southall 8cm. high Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent.

27. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1904, tapering cylindrical form modelled with graduated circles glazed brown, incised 11-1904 Martin Bros London, Richard Dennis paper label, small chip to top rim, 6.5cm. high £350-450 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent. Exhibited The Martin Brothers Pottery Exhibition, Richard Dennis , 1978 catalogue number 496. 28. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1904, tall, tapering cylindrical form, modelled with graduated circles glazed green over graduated brown to mushroom ground incised 9-1904 Martin Bros London & Southall 8cm. high £350-450 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent.

29. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1901, shouldered form, incised with circle repeats, glazed mushroom and off-white incised 9-1901 Martin Bros London £350-450 & Southall, small chip to top rim, 7cm. high Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent. 30. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1907, tapering cylindrical form with inverted rim, painted in green on a buff ground incised 3-1907 Martin Bros London & Southall 9.5cm. high £400-600 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent.

29 30

31. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1902, swollen form tapering to triangular rim, modelled with veins, glazed brown and olive incised 2-1902 Martin Bros London & Southall 7cm. high £400-600 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent. 32. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1907, swollen square section, glazed umber with mushroom spots incised 1907 Martin Bros London & Southall 6.5cm. high £400-600 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent.

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33. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1907, the shouldered ovoid body with swollen neck and vertical ribs, covered in a bronzed umber glaze incised 31907 Martin Bros London & Southall 6.5cm. high £250-350 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent. 34. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1900, shouldered form with modelled vertical ribs, covered in a mottled olive green to brown glaze incised 10£250-350 1900 Martin Bros London 12, 5.5cm. high

Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent. 35. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1909, the ovoid body with modelled surface, covered in a pale off white glaze over umber, incised 11-1909 Martin Bros London & Southall 5cm. high £300-500 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent.

36. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1904, the ovoid body modelled with warts, glazed in a metallic dark brown, incised 9-1904 Martin Bros London & Southall, 6cm. high £300-500 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent. 37. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1899, the ovoid body modelled in relief, covered in an umber glaze over brown, incised 3-99 Martin Bros London & Southall 6.5cm. high £300-500 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent.

38. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, the gnarled tapering body, incised with wavy horizontal decoration with everted, pinched top rim, glazed green and ochre incised Martin London 6.5cm. high £300-500 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent. 39. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1907, square section, the swollen body tapering to solifleur neck, painted with dark brown spots over buff, incised 5-1907 Martin Bros, London & Southall 12cm. high £400-600 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent. 40. A Martin Brothers stoneware gourd solifleur vase by Edwin & Walter Martin, dated 1903, the flattened bottle painted with green veins over a pale celadon ground, the interior glazed brown incised 12-1903 Martin Bros London & Southall, broken and re-stuck £200-400 12cm. high Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent.

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41. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1902, swollen square section, painted with green veins on a brown ground incised 2-1902 Martin Bros London & Southall 8cm. high £400-600 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent. 42. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1896, swollen, square section with incised vertical decoration in brown on a buff ground incised 9-96 Martin Bros London 8cm. high £400-600 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent.

43. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1907, swollen square section, painted with brown spots on a buff ground incised 6 1907 Martin Bros London & Southall, broken and re-stuck 8cm. high £200-300 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent. 44. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1902, swollen square section, glazed brown with painted burnt umber veins, and incised decoration to top rim, incised 1-1902 Martin Bros London & Southall 8cm. high £500-700 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent.

45. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, swollen square section, glazed green and painted with white spots, 12 1905 Martin Bros London & Southall 6.5cm. high £400-600 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent. 46. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1902, shouldered, square section buff with painted burnt umber veins, incised 1-1902 Martin Bros London & Southall 8.5cm. high £500-600 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent.

46 47. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1902, swollen square section, painted dark bronze and brown with green spots incised 1-1902 Martin Bros London & Southall 8.5cm. high £500-700

Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent. 48. An unusual Martin Brothers stoneware gourd vase by Edwin & Walter Martin, the swollen square section vase covered in a red lustre glaze highlighted with turquoise patches, indistinct marks to base, minor glaze loss to top rim, 9cm. high £200-400 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent. This is a rare and possibly unique example of a Martin Brothers gourd which has been covered in an experimental red lustre glaze. The remains of their distinctive incised signature is visible on the base but appears to have been intentionally removed.

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49. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1904, ovoid body with tall, slender cylindrical neck and everted rim, painted with green veins over buff and brown incised 1904 Martin Bros London & Southall 11cm. high £300-400 Provenance Sidney Greenslade Reverend William Henry SpottiswoodeWebb, thence by descent. 50. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, shouldered, tapering cylindrical form with everted rim, painted with fine brown spots on a olive green ground incised Martin 7cm. high £300-500 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent. 51. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1899, ovoid form with everted rim, painted in dark green with blue and white vertical ribs, incised 3-99 Martin Bros London & Southall 8cm. high £350-450

Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent. 52. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, shouldered form with collar rim, modelled in low relief with vertical ribs, painted in brown over a buff ground incised Martin Bros London, small glaze chip to foot rim, 6.5cm. high £150-250 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent.

53. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1899, the shouldered ovoid body with modelled twist decoration, with incised horizontal bands, everted rim, glazed in shades of brown, incised 5-99 Martin Bros London & Southall, minor firing fault to side, 7cm. high £300-400 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent. 54. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1896, shouldered, tapering cylindrical form incised with vertical wavy ribs, covered in a buff and brown glaze incised 2-96 Martin Bros London 7.5cm. high £300-400 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent. 55. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1906, the compressed, square section body with vertical modelled veins, glazed green over silver-grey incised 5-1906 Martin Bros London & Southall, 6.5cm. square £300-500

Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent. 56. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1906, the compressed urchin form with inverted top rim, incised with vertical columns, glazed brown, highlighted in mushroom and green incised 5-1906 Martin Bros London & Southall 6.5cm. diam. £300-500 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent.

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57. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1907, swollen form with vertical ribs and squared neck, covered in a brown glaze incised 91907 Martin Bros London & Southall, small glaze frit to foot rim 9cm. high £300-500 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent.

58. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, the slender modelled body with everted pinched top rim, incised curved horizontal decoration, glazed brown with traces of green on a buff ground incised Martin Bros London, small repair to top rim, 8.5cm. high £250-350 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent.

59. A Martin Brothers miniature stoneware gourd vase by Edwin & Walter Martin, dated 1902, dimpled square section, incised with a wasp to each side, glazed in brown and white on a buff ground incised 1902 Martin Bros London 4cm. high £500-800 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent.

59 two sides

60. A Martin Brothers stoneware miniature Aquatic vase by Edwin & Walter Martin, dated 1902, incised to each side with a jelly fish, glazed brown and buff highlighted in blue incised 1902 Martin Bros London & £500-1,000 Southall 4.8cm. high Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent.

60 two sides

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61. A Martin Brothers stoneware jug by Robert Wallace Martin, ovoid with collar rim, incised with scrolling foliage glazed blue and brown on a mottled brown ground incised R W Martin London & Southall 14cm. high £300-500 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent.

62. A Martin Brothers stoneware jug by Edwin & Walter Martin, dated 1893, ovoid with everted, pinched rim, incised and painted with scrolling flowers and foliage in white and blue on a buff brown ground incised 1893 Martin Bros London & Southall, broken and restuck 8.5cm. high £120-180 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent.

63. A Martin Brothers stoneware vase by Edwin & Walter Martin, dated 1907, the ovoid body with tapering cylindrical neck, painted with a pitted brown glaze over buff 3-1907, Martin Bros London & Southall 12.5cm. high £200-300 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent.

64. A Martin Brothers miniature stoneware ewer by Edwin & Walter Martin, square section with over-slung handle, incised with foliate stems in brown on a mottled brown ground incised Martin Bros London 9cm. high £400-600 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent.

65. An unusual Martin Brothers stoneware vase on stand by Edwin Bruce Martin, the integral octagonal stand supporting slender solifleur vase, painted with a tree on a river bank in blue and brown on a buff ground incised E B Martin Southall Pottery 15.5cm. high £400-600 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent.

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66. A good Martin Brothers stoneware bird jug by Edwin & Walter Martin, dated 1903, tapering cylindrical form, painted with three anthropomorphic birds amongst grass, in ochre highlighted in blue and white on a buff ground incised 10 1903 Martin Bros London & Southall, 21cm. high ÂŁ2,000-3,000 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent.

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67. A Martin Brothers stoneware gourd jardiniere by Edwin & Walter Martin, dated 1912, fluted form, covered in a deep bronze glaze incised 111912 Martin Bros London & Southall 9.5cm. high £300-500 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent.

68. An early Martin Brothers stoneware salt by Robert Wallace Martin, incised with Gothic decoration and crenellated rim, glazed blue and brown, and another early Martin salt dated 1877 incised E19 R W Martin Fulham, chip to top rim, 7cm. diam. (2) £150-200 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent.

69. A Martin Brothers stoneware Gourd jardiniere by Edwin & Walter Martin, dated 2.1909, incised with vertical ribs to the shoulder, glazed brown and ochre, incised 2.1909 Martin Bros London & Southall 15cm. high £500-600 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent.

70. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1905, ovoid with collar rim, incised with vertical ribs and textured surface glazed green inicsed 11-1905 Martin Bros London & Southall 26cm. high £600-800 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent.

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71. A Martin Brothers stoneware ewer by Edwin & Walter Martin, dated 1895, shouldered square form, incised with ferocious dragons fighting, in ochre on a deep umber brown ground incised 2-1895 Martin Bros London & Southall 16.5cm. high £800-1200

Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent.

72. A Martin Brothers stoneware vase by Edwin & Walter Martin, dated 1899, baluster form, incised with finches perched on blackberry stems, in brown on a blue ground incised 9-1899 Martin Bros London & Southall 24.5cm. high £1,000-2,000 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent Exhibited Martin Brothers Pottery Exhibition, 1978, Richard Dennis catalogue number 369.

73. A good Martin Brothers stoneware bird vase by Edwin & Walter Martin, dated 1898, incised with anthropomorphic birds flying and resting by grasses in ochre on a blue ground incised 3 - 1898 Martin Bros London & Southall, small chip to edge of top rim, 21cm. high £800-1,200 Provenance Sidney Greenslade Reverend William Henry Spottiswoode Webb, thence by descent

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75 74. ‘Boobies, Boojums and Snarks The Ceramic Curiosities of the Martin Brothers 1880-1914’ a limited edition exhibition catalogue by Jordan Volpe Gallery £120-180 75. The Potter a Martin Brothers portrait colour photograph on artist board of Walter Martin, modelled throwing a large pot in the studio, framed applied title label to reverse and annotated Southall 28.5 x 23.5cm. £300-500 76. A Martin Brothers stoneware test vase, shouldered form, covered in a green and olive glaze, a small cylindrical pot and a flat sided vase incised N12 Clay W A Martin 1896, damages 10cm. high £120-180

76 77

77. A Martin Brothers stoneware jug by Robert Wallace Martin, ovoid with applied loop handle, covered in a pitted blue glaze incised Martin London, damages 17cm. high £50-100 78. A Martin Brothers stoneware vase by Robert Wallace Martin, dated 1880, shouldered form with cylindrical neck, incised and painted with a bird perched on a foliate bough, glazed in shades of blue, manganese and green incised 14.4.80 R W Martin London & Southall 19.5cm. high £400-600 79. A pair of Martin Brothers stoneware vases by Edwin & Walter Martin, baluster form, incised with scrolling, flowering foliage in buff on a burnt umber ground, highlighted in blue incised 4-1892 Martin Bros London & Southall, restuck neck to one, 15cm. high, (2) £400-600

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80. A good Martin Brothers stoneware poppy seed-head vase by Edwin & Walter Martin, dated 1900, the ribbed ovoid body with modelled lugs, incised with a flying insect to each side, glazed in shades of blue, white and aubergine on a brown ground incised 2 - 1900 Martin Bros London & Southall, applied paper collection label, 14cm. high £1,000-2,000 Provenance A. H. Forsyth.

81. A Martin Brothers stoneware Owl vesta, by Robert Wallace Martin, modelled as an owl, his claws clutching a book entitled Light Here, glazed in brown and blue unsigned 7.5cm. high £1,500-2,000 Provenance Sotheby’s London, circa 1979, by repute.

82. A Martin Brothers stoneware tyg by Robert Wallace Martin, dated 1879, incised with roundels of birds, comprising; four owls perched on a branch, two cranes flying and two doves on a bough before a full moon titled Morn, Noon and Night, in blue and green on a buff ground incised C8 R W Martin London SW 4.1875 15cm. high £500-800

82 all sides

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83. An early Martin Brothers stoneware dish by Robert Wallace Martin, with twin trefoil compartments, central flower with twin looped handles, incised decoration glazed blue, green and brown incised R W Martin Fulham, chips to flower’s petals 18cm. wide. £200-400 84. A Martin Brothers stoneware jardiniere by Robert Wallace Martin, dated 1881, shouldered form with carved and pushed out foliate decoration, glazed brown, highlighted in white incised to top rim Martin Southall & London 1.11.81 minor firing faults 25cm. wide, 16cm. high £400-600

85. A Martin Brothers stoneware Dragon dish by Edwin & Walter Martin, dated 1893, circular form, incised to the well with a ferocious dragon glazed in shades of brown, the rim picked out with blue detailing, the exterior glazed green, incised 1-93 Martin Bros London & Southall 9.5cm. diam. £1,000-1,500

84 86. A Martin Brothers stoneware ewer by Edwin & Walter Martin, square section, incised with finches flying past wild flowers and roosting in tree boughs, whilst insects circle, in shades of blue and brown on a buff ground, incised 1-1896 Martin Bros London & Southall, repaired damages 12.5cm. high £150-200 Provenance The Martin Brothers Potters Woolley and Wallis Auctioneers 24th October 2007 lot 31. 87. A Martin Brothers stoneware tyg by Robert Wallace Martin, dated 1880, tapering cylindrical form, incised with hounds chasing a deer, inside scrolling foliage, glazed in shades or brown on a buff ground incised R W Martin London & Southall, 24.3.80 16.5cm. high £500-700

87 two sides

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88. A good Martin Brothers stoneware Monk bird jar and cover by Robert Wallace Martin, dated 1895, modelled with disgruntled look, shaved feather pate and broad pointed beak, his large talons on domed base, on applied ebonised wood base incised Martin Bros London & Southall 2.1895 to head and Martin Bros London & Southall to base, small chip to underside of eyebrow, 32cm. high ÂŁ30,000-50,000 Provenance Private collection.

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89. An early Martin Brothers stoneware spoon warmer by Robert Wallace Martin, dated 1879, the ovoid body with large gaping mouth, carved snout and eyes, painted blue and brown detailing, its tail rolled back to form a loop handle, incised R W Martin London & Southall 79 14.5cm. high ÂŁ15,000-20,000 Provenance Private collection, it is believed by the family that the grotesque was purchased directly from the Martin Brothers.

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90. A rare Martin Brothers stoneware Imp Musician by Robert Wallace Martin, modelled seated playing the pan pipes, covered in a brown glaze, on ebonised wood base, incised Martin London, chips to toes 12.5cm. high ÂŁ1,000-2,000

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91. A rare Martin Brothers stoneware grotesque jug by Robert Wallace Martin, dated 1880, the ovoid body with ruff neck, its tail looped up to form the handle and two three toed feet, supporting rodent head with gaping mouth, glazed in green, brown and blue incised Martin 1880, London and unusual impressed Martin mark, applied paper collection label, small repair to one foot11.5cm. high ÂŁ2,000-4,000 Provenance A. H. Forsyth.

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92. A rare Martin Brothers stoneware Toby jar and cover by Robert Wallace Martin, dated 1890, modelled seated, with ruff collar, glazed green ochre, highlighted with white, on ebonised wood base, incised to neck Southall 2-1890, applied paper collection label, 14.5cm. high ÂŁ4,000-6,000 Provenance A. H. Forsyth Literature Malcolm Haslam The Martin Brothers Potters, Richard Dennis Publications, page 84 figure 109 for a comparable example of a Toby dog.

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ROYAL DOULTON 93. A pair of Royal Doulton stoneware vases by Florrie Jones, shouldered cylindrical form with everted rim, cast in low relief with rambling roses in cream, green and brown on a blue ground, another two pairs similar, a Natural foliage ware vase and another six Royal Doulton vases impressed and incised marks, 35.5cm. high (13). £300-500

94. A Doulton Lambeth stoneware water jug and two beakers by Elizabeth Sayers, dated 1881, tapering cylindrical form, incised and applied with foliate panels inside applied beadwork trellis, in green and brown highlighted in pink, with applied electroplated metal rims and cover, impressed marks, both beakers repaired £150-200 28cm. high 95. An Art Nouveau Doulton Lambeth flask by Frank Butler, compressed, collapsed form incised with flower stems, glazed green and brown impressed and £150-200 incised marks, 19.5cm. high

96. A Doulton Lambeth stoneware jug, dated 1883, swollen cylindrical form on foot, modelled in low relief with athletes playing the Eton Wall Game, variously kicking and running with a football and a scrummage taking place, a C H Brannam vase and an angular jug probably Ault designed by Dr Christopher Dresser impressed marks, damages 19cm. high (3) £120-180 97. A large Royal Doulton stoneware vase, slender, shouldered form with everted rim, modelled in low relief with classical female figures dancing and playing cymbals, between bands of entwined foliage, in shades of green, blue and brown impressed marks, 42.5cm. high £250-350 98. A Doulton Lambeth stoneware Cricket jug, bellied form, applied with panels of bowling, wicket-keeping and batting, inside Art Nouveau foliate borders in blue, green and brown on a buff ground, £350-450 impressed marks, 21.5cm. high

98 both sides

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101

100

99. A Doulton Lambeth stoneware water filter, cylindrical form with flaring foot and neck, cast in low relief with panels of bull rush and flowers, in shades of green and brown, impressed mark, cast Doulton Lambeth to the foot rim 47cm. high £300-500

102

100. A Doulton Lambeth stoneware water filter, flaring cylindrical form, cast in low relief with Gothic tracery panels, glazed in shades of blue and brown, impressed Doulton & Co Lambeth to the foot rim, 41cm. high £300-500

101. A Doulton stoneware beaker by Hannah Barlow, dated 1880, tapering cylindrical form, incised with three retrievers, between geometric foliate bands and applied beadwork borders, glazed in shades of blue, green and brown impressed and incised marks, hairline to side, applied paper collection label, 13.5cm. high £150-200 Provenance A. H. Forsyth.

102. A Royal Doulton stoneware tobacco jar and cover by Hannah and Lucy Barlow, dated 1883, incised with a frieze of kittens playing and resting, above a band of stiff leaf foliage and beadwork borders, in shades of green, blue and brown on a buff ground impressed mark and date, incised monograms 12.5cm. high £700-900

103. A pair of Doulton Lambeth stoneware vases by Hannah Barlow, baluster form, incised with a herd of deer resting and grazing in a woodland pasture, inside slip scrolling borders, glazed green, brown and blue on a buff ground impressed and incised marks, and incised monogram for Hannah Barlow and Florence Roberts, 37cm. high £800-1,200

103

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104

105

106 104. A Royal Doulton Sung box and cover, probably designed by Charles Noke, the faceted body painted with panels of flowers and foliage, the cover set with a bearded stylised figure printed factory mark, damages 17cm. high £120-180 105. ‘Madonna of the Square - The Lavender Woman’ a Royal Doulton figure designed by Phoebe Stabler, possibly HN.27, painted in shades of blue, black and highlighted in red printed factory mark, impressed Stabler signature, head off and re£150-200 stuck 21.5cm. high 106. J S Hill Royal Doulton Factory bottle ovens, oil on canvas, framed signed lower right 60 x 49cm. £200-300

107

108

107. ‘Crinoline’ H.N.9A, a rare and early Royal Doulton figure by George Lambert, painted in colours painted marks, repaired 16cm. high £200-300 108. ‘Madame Pompadour’ HN. a Royal Doulton figure designed by John Broad, covered in a blanc de chine glaze impressed and printed marks, professional restored neck, 20cm. high £200-300 109. A Royal Doulton Brangwyn Ware vase designed by Sir Frank Brangwyn, shouldered form, decorated in low relief with stylised foliage in green, blue and red over a streaked pale green and blue ground, and a Royal Doulton jug printed factory marks, 30cm. high (2). £200-300

109

110. An usual Royal Doulton Tower of London mantel clock, tapering rectangular form with swollen overhanging mantel, painted in colours, with circular white enamel dial with Roman numerals, gilt metal frame by Cooper & Sons Norwich, printed green Royal Doulton mark, minor glaze chip to top right corner, 29.5cm. high, £500-1,000

110

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111 111. A Royal Doulton Chang vase by Harry Nixon, designed by Charles Noke, shouldered form, covered in a volcanic, running white glaze, with splashes of green and red, over a deep flambe ground printed mark, painted Chang and HN monogram, drilled to side 14.5cm. high £300-500 112. A Royal Doulton Chang stoneware vase by Charles Noke and Harry Nixon, slender, swollen cylindrical form, covered in a running, volcanic white glaze with blue veins, over smoked blue and flambe ground, highlighted with yellow flambe printed Douton mark painted Noke and HN monogram, professionally restored top rim, 23cm. high £1,000-1,500

112 113. 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) £400-600 Literature Royal Doulton Potteries catalogue, page 41 and 45 for comparable chargers illustrated 114. A Doulton stoneware jug probably by Mark V Marshall, the elliptical bowl raised up on pierced Art Nouveau flower stem foot, the handle a dragon modelled climbing the side, glazed in green and blue unmarked 16cm. high, 22.5cm. wide £1,000-1,500

113

114

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GILBERT BAYES (1872-1953)

115. The Water Baby a rare Doulton Lambeth stoneware fountain by Gilbert Bayes for his own garden, modelled as a young boy holding a large fish, glazed cream, purple, green and yellow, signed Gilbert Bayes in the cast on the base, professional restoration to neck, 49cm. high ÂŁ10,000-15,000 Provenance Gilbert Bayesâ&#x20AC;&#x2122; garden at Boundary Road, late 1920s. The Fine Art Society. Private Collection. Literature Louise Irvine and Paul Atterbury Gilbert Bayes Sculptor 1872-1953 Richard Dennis/Fine Art Society 1998, page 32 for a contemporary photograph of the fountain in situ at Boundary Road. Page 146 for a version of the stoneware fountain (1927) and page 148 for a bronze maquette for a sculpture of this subject, (1928). Exhibited Royal Academy 1927, a version exhibited.

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116. Christmas Tree a rare Doulton Lambeth stoneware washing post finial by Gilbert Bayes, for St Nicholasâ&#x20AC;&#x2122; Flats 1937, modelled as a tree decorated with baubles and candles, with inscribed banner Peace on Earth Good Will to Men, glazed in colours signed in the cast Bayes, old restoration to banner, 54cm. high ÂŁ6,000-10,000 Provenance Fine Art Society. Private collection. Literature Louise Irvine and Paul Atterbury Gilbert Bayes Sculptor 1872-1953 Richard Dennis/Fine Art Society 1998, page 171 for an illustration of the Christmas Tree.

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117. Railway Centenary Medal 1825-1925 a bronze medal cast from a design by Gilbert Bayes, cast in low relief to the obverse with portraits of Edward Pease and George Stephenson, the reverse with Vulcan holding Locomotion No.1, in original fitted case, signed GB to the reverse 8cm. diam. £120-180

118. Gilbert Bayes (1872-1953) The Derelict, 1900 two cast metal panels, and three small cast fish motif, mounted and framed signed and dated lower right in the cast of the main panel, 38.5 x 20.5cm. (main panel) £1,000-1,500

117

Literature Louise Irvine and Paul Atterbury Gilbert Bayes Sculptor 1872-1953 Richard Dennis/Fine Art Society 1998, page 102. this group of designs was exhibited at the Royal Academy in 1902. The Studio 1902 volume 25 page 102 this design illustrated.

119. Gilbert Bayes (1872-1953) The Race a large patinated copper plaque, framed in oak titled in the cast 126 x 45cm. (panel) £1,000-1,500 Louise Irvine and Paul Atterbury Gilbert Bayes Sculptor 1872-1953 Richard Dennis/Fine Art Society 1998, page 112.

118

119

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120. Ship a Doulton Lambeth stoneware washing line post finial designed by Gilbert Bayes, made for the St Pancras Housing Association flats, 1937, glazed in shades of red, pink, blue, green and buff, unsigned, chips and repair to finial, 43cm. high £3,000-5,000 Provenance Private Collection Literature Louise Irvine and Paul Atterbury Gilbert Bayes Sculptor 1872-1953 Richard Dennis/Fine Art Society 1998, page 171 for another version illustrated.

121. Thistle a Doulton Lambeth stoneware washingline 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 £2,000-3,000 Literature Louise Irvine and Paul Atterbury Gilbert Bayes Sculptor 1872-1953 Richard Dennis/Fine Art Society 1998, page 90 and 172 for examples illustrated

120

122. Thistle a Doulton Lambeth stoneware washing post finial designed by Gilbert Bayes, made for the St Pancras Housing Association Flats, 1937, glazed in shades of purple, green and blue unsigned 33cm. high £2,000-3,000 Provenance Private Collection Literature Louise Irvine and Paul Atterbury Gilbert Bayes Sculptor 1872-1953 Richard Dennis/Fine Art Society 1998, page 90 and 172 for examples illustrated

122

121

123. Rose a Doulton Lambeth stoneware washingline 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 £2,000-3,000 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.

123 both sides

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124. David Garrick Actor Lived Here a rare and early Minton ‘Blue’ plaque, the circular plaque red encaustic stoneware inlaid with white, titled inside border inscribed Erected by The Society of Arts stamped marks to back 48cm. diam. £100-200 This plaque is believed to have been erected at number 5 Adelphi Terrace in 1876. Provenance Leslie Gooday OBE 125. A collection of twelve Boch Freres tiles designed by Eugene Viollet le Duc, printed with a hunting dog amongst scrolling foliage, in colours on a red ground, and a collection of en suite spacer tiles impressed marks, 17.5cm. square £200-300 126. A Henry Richards tile, painted with a peacock displaying, in colours on a duck egg blue ground impressed marks, 15.5cm. square £120-180

124

127. Five Minton’s Pottery tiles designed by John Moyr Smith, comprising; Lily of the Valley, Convolvulus, Snowdrop, Violet, and Lily, printed in cream on a brown ground impressed marks, printed signature Smith to one 15.5cm. square (5) £120-180 Literature Terence Lockett Victorian Tiles, ACC page 83 for comparable tiles illustrated.

126

125

128. A six tile panel, the semi-circular panel tubeline decorated with a lion passant, in blue on a gilt background over blue, in ebonised wooden frame impressed England to £200-300 back, damages to one tile 47cm. wide 129. A set of four tiles probably by Minton’s, each printed with a classical male figure training vine, harvesting with a scythe, picking bunches of grapes, and picking fruit from a tree, in brown, inside a yellow and blue foliate border, framed tiles 20.5cm. square £150-200

127

130. A set of twelve Minton’s Aesop’s Fables tiles designed by John Moyr Smith, printed in blue on a white ground, impressed marks, minor glaze chips, 15.5cm. square £300-500

128

129

130

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131

WILLIAM DE MORGAN 132 131. A pair of William De Morgan Memland Hall Poole Architectural tiles, painted with a white lily flower on scrolling foliage in shades of white, green and brown on a deep blue ground impressed marks, minor glaze chips, 15.5cm. square £200-300

132. Angel with Dove a rare watercolour design for a mosaic on paper by William De Morgan, framed, image 60 x 45.5cm. £1,000-2,000 Provenance Mrs A.M.W. Stirling at Old Battersea House. Private collection. Literature William Gaunt & M De Clayton Stamm William De Morgan Studio Vista, page 87 plate 64 for an illustration of the mosaic panel. The mosaic is held in the Kensington & Chelsea Borough collection - given by William De Morgan to the library in 1896. Born in London in 1865, Anna Maria Diana Wilhelmina Pickering (later Stirling) was the younger sister of Evelyn De Morgan and the sister in law of William De Morgan.

133

133. A William De Morgan ruby lustre Sunflower tile, painted in ruby on a white ground unsigned, light wear to surface 15.5cm. square £150-200

134. A William De Morgan Galleon tile, painted with a galleon at full sail in red lustre on a cream ground, in wooden stand frame applied Morris & Co label, wear to lustre 15.5cm. square (tile) £400-500 This tile has a Morris & Company 17 George Street, Hanover Square paper label where it was retailed from.

134

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135. A William De Morgan Early Fulham tile, painted with a single flower stem in ruby lustre on a white ground, a ruby lustre tile decorated with a flower stem and two Cinderella tiles probably by Minton’s impressed factory mark, 15.5cm. square 94) £200-300

135

136

136. A William De Morgan Chelsea Period tile, painted with clumps of foliage in green and turquoise blue on a white ground impressed mark, Fine Art Society label, glaze loss to corners, 15.5cm. square £50-100 Exhibited Morris & Company Fine Art Society, 24th April-18th May 1979. (tile 100A).

137

137. A William De Morgan Poole Pottery Architectural blank tile, painted with two flowers in yellow, brown and green on a blue ground, a Rose Trellis tile, a Carnation pattern tile and two other William De Morgan floral tiles impressed marks, chips, 15cm. square (5) £400-500

138. A William De Morgan Chelsea Period Vertical Flower Stems tile, painted with three Tudor rose flower stems in blue and green on a white ground, another William De Morgan Bedford Park Daisy tile painted with five flowers in aubergine, green and turquoise and three other William De Morgan Persian tiles, impressed marks, chips 15.5cm. square (5) £400-600

138

Literature Jon Catleugh William De Morgan Tiles, Richard Dennis, page 87 catalogue number 109 for the main tile design illustrated, page 52 catalogue number 28 for the Bedford Park Daisy design illustrated.

139. A William De Morgan rice dish, painted with a Celtic knot to the well, the rim with entwined Celtic snakes, covered in a golden lustre, and a small William De Morgan bottle vase painted with flowers, and two books on William De Morgan bottle vase has impressed tulip mark, dish unmarked, damages 21.5cm. diam (4) £200-400 Literature Higgins & Robinson William De Morgan Arts & Crafts Potter, page 22 for a comparable dish illustrated.

139

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141 140

140. A William De Morgan Pottery charger, on John Heath Davis blank, painted to the well with a lioness alert, her front paw raised, inside radiating foliate border, in ruby lustre impressed J H Davis mark, 30.5cm. diam. £500-1,000

141. A William De Morgan charger, painted to the well with two mythical creatures, the rim with a frieze of scrolling flowers and foliage in ruby on a white ground, the reverse with scrolling foliage design, unsigned, repaired damages, 44cm. diam. £300-500

142. An unusual William De Morgan vase, compressed ovoid body with flaring foot and knopped cylindrical neck, painted in ruby with fish before stylised foliate palmettes, on a white ground, with applied loop handles, unsigned, restored neck and foot rims 32cm. high £500-1,000

142

This vase is a rare example of a De Morgan vase which has not received its final lustre firing.

143. A William De Morgan charger, on Davis blank, painted to the well with a galleon at full sail, sailing past a setting sun on the horizon, the foreground with a classical dolphin, in ruby lustre on a white ground, the rim with a frieze of snake and leaf, the reverse painted with stylised foliage impressed mark, 30.5cm. diam. £500-1,000 Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 66 catalogue number 1084 for the border design.

143

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144

145

144. A William De Morgan Pottery charger, on John Heath Davis blank, painted to the well with an otter holding a huge fish in its mouth, the rim with radiating foliate design, in golden lustre, impressed J H Davis mark 30.5cm. diam. £800-1,200

145. A William De Morgan charger, on John Heath Davis blank, painted with a flamingo before an exotic palm tree landscape, the rim with scrolling flowers and foliage in a golden lustre glaze impressed H Davis mark, 30.5cm. diam. £500-1,000 Literature Martin Greenwood The Designs of William De Morgan Richard Dennis Publications, page 131 catalogue number 1017 for this flamingo design for a tile.

146

Jon Catleugh William De Morgan tiles, Richard Dennis, page 132 catalogue number 193.

146. A William De Morgan Persian rice dish, painted with tulip flowers to the well and border in green, blue and aubergine on a white ground, the reverse painted with scroll and bands in blue unsigned 20.5cm. diam. £300-500

147. A fine Bushey Heath pottery Persian vase by Fred Passenger, shouldered ovoid form, painted with three peacock’s displaying their tail feathers, painted in shades of blue, turquoise, manganese and green on a white ground printed factory mark, painted FP monogram, minor glaze chips to foot rim, minor professional restoration to top rim, 19.5cm. high £1,000-1,500 Provenance Private collection, on loan to the Bushey Museum.

147

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148. A massive and impressive Burmantoftâ&#x20AC;&#x2122;s Faience Anglo Persian vase by Leonard King, design number 23, swollen form, painted in colours with flowers and foliage in blue, turquoise and aubergine on a white ground, impressed and painted marks to base 49cm. high ÂŁ4,000-6,000 Woolley and Wallis sold a comparable Anglo Persian vase on a blue ground in the Arts and Crafts auction 18th June 2008 lot 111.

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150

151

149 149. An interesting Anglo Persian wall plate in the manner of Burmantoft’s Faience, painted with a grotesque dragon figure in shades of turquoise, yellow and aubergine on blue foliage background on a crazed white ground painted L & Co arrow mark to reverse, minor glaze loss to the rim, 31.5cm. diam. £300-500 150. A Burmantoft’s Faience Anglo Persian bottle vase designed by Leonard King, painted with a frieze of stylised dog rose flower, the tapering neck with overlapping scale decoration, in shades of blue, turquoise, pink and green on a white ground impressed and painted factory marks, painted LK monogram, minor professional restoration to the top £200-300 rim, 20.5cm. high

153 152

151. A Burmantoft’s Faience Anglo Persian jardiniere by Leonard King, design 42, painted with flowers and foliage in shades of blue, turquoise, manganese and green on a cream ground impressed and painted marks, painted artist monogram, professional restoration to top rim, 32cm. high £800-1,200 152. A Burmantoft’s Faience vase, shouldered form, modelled in low relief with blue peony flowers in colours on a cream ground, impressed and painted marks, restored top rim, 33cm. high £200-300 153. A Burmantoft’s Faience grotesque Bull Frog vase, covered in a red glaze over yellow impressed mark, repaired leg and chips, 14cm. high £150-250 Literature Burmantoft’s Pottery Bradford Art Galleries & Museums, page 47 catalogue number 31 for a comparable. 154. A pair of Burmantoft’s Faience Anglo Persian vases, model no.2200, each of shouldered form, modelled in low relief with a galleon at full sail before a rising sun, in colours on a cream ground, impressed and painted marks, restoration to top rim of one and foot rim of the other 33.5cm. high (2) £400-600 155. A Burmantoft’s Faience Anglo Persian vase, model no.2049, shouldered form, modelled in low relief with a stylised flower panel, in shades of blue, turquoise, green and aubergine on a white ground impressed marks, 35cm. high £200-400

154

155

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156. A good Wedgwood twin-handled vase by Alfred Powell, painted with flowering vine on a trellis, in shades of red, yellow and green on a white ground printed Wedgwood mark, painted artist cipher and 183 24cm. high ÂŁ1,000-1,500 Literature Maureen Batkin Wedgwood Ceramics 1846-1959 Richard Dennis Publications, this shape illustrate plate 341 page 138 at the 1907 exhibition of Powellâ&#x20AC;&#x2122;s work at Red Lion Square.

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157. A porcelain plaque by William S Coleman, painted with a reclining maiden, a robe draped on her shoulder, reaching out to an angel before her, before a calm seascape, in colours, in gilt and ebonised wood frame, signed lower left W S Coleman, 14.5 x 10cm. £500-1,000

157 158

158. A Minton’s pottery plate painted with a design by William S Coleman, painted to the well with a young girl looking out to sea in contemplation whilst two butterflies fly past, in colours on a white ground impressed marks, indistinct artist cipher to the front 25cm. diam. £150-200

159. A William Baron Barnstaple Ware vase, dated 1895, ovoid with cylindrical neck, incised and painted with a bird in flight, the reverse with stylised flowers, in shades of yellow and green and a C.H Brannam green glazed jug incised W L Baron 1895, chips to rims, 29cm. high (2) £120-180

159

160

160. A Minton’s pottery wall charger, painted with two finches perched on a bough amidst wild flowers, in colours on a brown ground impressed marks, professional restoration to rim, 39cm. diam. £200-300

161. A Ruskin Pottery vase by William Howson Taylor, dated 1916, painted with a band of clover leaf in white on a blue ground with green patches and streaking impressed marks, 25cm. high £150-200

162. A Ruskin Pottery vase by William Howson Taylor, dated 1917, shouldered cylindrical form, covered in a strawberry pink lustre streaked with sky blue impressed marks, 24cm. high £200-300

161 162 163. A Ruskin Pottery tazza William Howson Taylor, dated 1923, covered in a streaked blue lustre glaze impressed factory marks and date 18.5cm. high £150-200

164. A Ruskin Pottery vase and cover by William Howson Taylor, painted to the shoulder with fruiting vine in blue on an orange lustre ground, and a collection of ceramics and glass painted scissor mark, £50-100 13cm. high

163

164

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165

165. A MInton’s Cloisonne tea caddy and cover the design attributed to Dr Christopher Dresser, modelled as a bound bundle of tea, enamelled with simple flower stems and Chinese characters in colours, highlighted in gilt on a pink ground unsigned 10cm. wide £200-300

166

166. A Linthorpe Pottery vase designed by Dr Christopher Dresser, modelled by Henry Tooth, swollen, shouldered square section with collar rim, incised with bands of stylised foliage, in shades of green, pink and sand on a streaked olive green ground impressed marks, facsimile signature and HT monogram 26.5cm. high £400-600

167. A Minton’s Cloisonne fan vase designed by Dr Christopher Dresser, painted with a crab, the reverse with a butterfly, below five tube vases with peacock feathers, in colours and gilt on a turquoise ground printed mark, T Goode retailers mark, 16.5cm. high £1,000-2,000 Literature Michael Whiteway Christopher Dresser 1834-1904, Skira, page 58-59 catalogue numbers 17 and 18 for this butterfly design illustrated.

167

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A PRIVATE COLLECTION OF PILKINGTON’S LANCASTRIAN POTTERY

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168. A Pilkington’s Royal Lancastrian vase by Richard Joyce, modelled in low relief with a stag amongst trees, covered in a running gold, blue and red flambe lustre glaze impressed marks and incised artist signature 21cm. high £300-400

169. A Pilkington’s Lancastrian vase by William S Mycock, dated 1914, shouldered form, painted with a galleon at full sail, in golden lustre highlighted with flambe on a green ground impressed mark, painted artist cipher and date mark, paper label, 19cm. high £1,000-1,500

169 168

170. A Pilkington’s Lancastrian vase by William S Mycock, dated 1906, ovoid form, painted with heraldic lion and unicorn, in gold and orange lustre on a vivid red ground impressed mark and date mark, painted artist cipher, restored neck, 13.5cm. high £350-450

171. A Pilkington’s Lancastrian bottle vase, hexagonal swollen form with solifleur neck, painted with red carnation in red and gold lustre on a green ground, impressed mark and date code, restored neck 27cm. high £400-600

170

171 172. A PIlkington’s Lancastrian bottle vase by William S Mycock, dated 1912, hexagonal section, painted with scrolling flowers and foliage in ruby and golden lustre in a green ground impressed mark, painted cipher and date code, restored neck 27cm. high £200-400

173. A Pilkington’s Lancastrian vase by Richard Joyce, dated 1906, shouldered form, painted with a frieze of lions running, before stylised tall grasses, in ruby and gold lustre on a mottled green and yellow ground impressed factory mark, date mark and painted artist cipher, restored, 20.5cm. high £300-500

172

173

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174. An early Pilkington’s Lancastrian miniature vase, baluster form, covered in a golden lustre glaze, and eight other small vases covered with experimental glazes impressed marks, 8cm. high. (9) £150-200 175. A Pilkington’s Lancastrian vase, shape number 77, compressed body with flaring neck, covered in a streaked turquoise glaze over strawberry, and a collection of Pilkington’s Lancastrian vases, bowls and dishes impressed marks, 11.5cm. high (a lot). £150-200

174

176. An early Pilkington’s Lancastrian vase, shouldered form with everted rim, covered in a streaked, translucent turquoise and lavender glaze over olive green, a Pilkington’s octagonal bottle vase, three other vases and four dishes impressed marks, 26cm. high (9). £150-250

175

177. A Pilkington’s Royal Lancastrian vase by Richard Joyce, ovoid with flaring neck, modelled in low relief with geometric panels, glazed ruby lustre, a shouldered vase covered in a mustard glaze and two other vases impressed marks, 22cm. high (4). £150-200

176 178. A Pilkington’s Lancastrian vase, dated 1907, shape 2415, modelled in low relief with fruiting vine to compressed body and neck, glazed flambe red, a Pilkington’s Lancastrian vase covered in a streaked blue and turquoise glaze and four other vases, impressed marks, £150-200 32.5cm. high (6).

177

179. A Pilkington’s Lancastrian vase, dated 1906, shouldered form, covered in an aventurine glaze, and three other Pilkington’s aventurine glaze vases impressed marks, repaired neck to one, 23cm. high £200-300 180. A Pilkington’s Lancastrian vase the design attributed to Lewis F Day, shouldered form, covered in a streaked green glaze, another similar, a green aventurine glazed vase and another vase impressed marks, 20cm. high (4). £150-200

178

181. A Pilkington’s Royal Lancastrian vase by Richard Joyce, slender, shouldered form, modelled in low relief and glazed with an experimental turquoise and ruby lustre glaze, a vase slip decorated with scroll motif and another base impressed marks, 23cm. high £150-200

179

180

181

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182. An impressed Pilkington’s Lancastrian ginger jar and cover, tall, slender form covered in a curdled orange and red lustre glaze, impressed factory marks, hairline to cover, glaze loss to body 29cm. high £200-300 Literature The Nick Rocke Collection of British Art Pottery, Woolley and Wallis 25th February 2015, lot 189 for vases with a similar experimental glaze. 183. A Pilkington’s Lancastrian vase by Gordon Forsyth, dated 1906, ovoid, painted with alternate swirling flower stem and scale columns, in ruby, red and golden lustre impressed factory marks, date mark and painted artist cipher 12cm. high £400-600

182 183

184. A Pilkington’s Lancastrian Pottery vase by Gordon Forsyth, shouldered form with solifleur neck, painted with panels of flowers in ruby and golden lustre on a pale lemon ground impressed mark, painted artist cipher and date code, professional restoration to neck, 23.5cm. high £250-350 185. A Pilkington’s Royal Lancastrian pot by William S Mycock, shouldered cylindrical form, painted with panels of stylised flowerhead motif in blue lustre, and a lustre vase moulded in low relief with a dragon, glazed brown lustre impressed marks, painted cipher, main vase missing cover 13cm. high (2). £150-200 186. A Pilkington’s Lancastrian vase by William S Mycock, shouldered form, painted with panel of laurel in golden lustre on a flambe red ground, and another vase impressed factory mark, date mark and painted artist cipher, professionally restored £150-200 top rim, 7cm. high. (2). 187. A Pilkington’s Lancastrian vase by Charles Cundall, dated 1909, the flaring bowl, painted to the exterior with clumps of grasses, the interior with columns of chevrons in gold and flambe lustre over pale lemon ground impressed factory mark, date mark and painted artist cipher 10.5cm. high £200-400

185 184

186

188. A Pilkington’s Royal Lancastrian vase by William S Mycock, dated 1929, ovoid form painted with scrolling flowers and foliage in red and golden lustre on a mottled red lustre ground impressed mark, painted artist cipher and date code, professional restoration to top rim, 13.5cm. high £150-200

187

189. A Pilkington’s Lancastrian vase by William S Mycock, dated 1910, compressed, shouldered form, painted with a band of scrolling foliage in gold on a blue and golden lustre ground impressed mark, painted cipher and date code 8cm. high £200-300

188

189

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191

190

190. A Pilkington’s Lancastrian Pottery pair of wall plaques by William S Mycock, one modelled with a galleon at full sail, the other with a scaly fish leaping up from a wave as a seagull hovers, glazed in matt pale blue and eggshell, and two plates decorated with a seagull by William S Mycock, impressed marks, 27cm. diam. (4) £200-300 Literature A J Cross Pilkington’s Royal Lancastrian Pottery and Tiles, Richard Dennis Publications, page 42 plate 40 for Mycock’s original annotated drawings for the Galleon wall plaque.

192

191. A Pilkington’s Lancastrian model of two polar bears, modelled walking together, glazed in shades of white and pale blue, and another model of a seated big cat glazed matt grey and a model of two leaping deer impressed marks, small hairline to base rim of polar bears, deer’s head re-stuck, 16cm. wide (3). £200-300 192. A Pilkington’s Lancastrian vase, tapering cylindrical form with knopped neck, covered in a curdled blue glaze, another Pilkington’s Royal Lancastrian vase covered in a mottled pale blue glaze and three other vases impressed marks, 27cm. high (5). £150-250 193. A Pilkington’s Lancastrian solifleur vase, dated 1907, slender form covered in a mottled, curdled blue glaze, and seven other Pilkington’s bottled vases in £150-250 experimental glazes impressed marks, 20cm. high (8).

193

194. Two Pilkington’s Lancastrian advertising scarab paperweights, both glazed mottled blue, two matt glaze vases by William S Mycock a matt glaze vase by Richard Joyce and a Lapis box and cover impressed marks, scarab’s 9.5cm. wide (6). £150-200 195. A large Pilkington’s Lancastrian vase by William S Mycock, dated 1930, shouldered form, painted in blue with foliate panels on a turquoise ground, and two others similar decorated on a cream ground impressed mark, incised monogram and date code 32cm. high (3) £150-200

194

196. A Pilkington’s Royal Lancastrian vase, ovoid, modelled in low relief with fish swimming, glazed pale blue, a vase by Richard Joyce and twelve other Pilkington’s items, impressed marks, 15.5cm. high (14). £150-200

195

197

196

198

197. A Pilkington’s Royal Lancastrian vase, shouldered form, cast in low relief with a pride of lions, glazed ochre over vivid orange ground, and another vase similar covered in a mottled orange glaze impressed £200-300 marks, 25cm. high (2) 198. A Pilkington’s Royal Lancastrian vase by William S Mycock, modelled in low relief with a bird flying past Cypress trees, glazed with brown over a matt grey glaze, another modelled in low relief with ibex and another with galleons, impressed marks, 22cm. high (3). £150-250

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200

199

201

199. A pair of Pilkington’s Lancastrian tiles designed by J Henry Seller’s, modelled in low relief with a dragon rampant and a cypress tree, amidst scrolling foliage, in golden lustre on a midnight blue ground, framed 15.5cm. square £300-500 Literature A J Cross Pilkington’s Royal Lancastrian Pottery and Tiles, Richard Dennis Publications, page 36 plate 38a for this tile design which was used at the Franco British Exhibition in 1908.

202

The Studio Yearbook, 1908 page 31 for a fireplace illustrated with this tile design. 200. A pair of Pilkington’s tiles, rectangular form, each press-moulded in low relief with classical maiden seated in a garden landscape, glazed ochre, another similar decorated with a drinking scene, a Pilkington’s tile painted with a river landscape with bridge, a tile painted with a lion and a collection of modern Pilkington’s year tiles impressed marks, 30.5 x 15.5cm. (a lot) £150-200

203

201. A Pilkington’s Royal Lancastrian wall plate by William S Mycock, dated 1936, painted with a seagull hovering above swirling water, in blue on a vivid, curdled orange ground impressed marks, painted artist cipher and date code 29cm. diam. £150-200 202. A Pilkington’s Lancastrian bowl by Annie Burton, footed form, painted to the interior with radiating flowers inside a band of Tudor rose, the exterior with chequered band, in golden lustre on a red ground, impressed marks, £150-200 painted artist cipher 9.5cm. diam.

204 detail

204

203. A Pilkington’s Lancastrian Pottery bowl, painted to the interior with fruiting vine, in ruby and golden lustre on a deep blue ground painted artist cipher, professional restoration tot top rim, 24.5cm. diam. £150-200 204. A small Pilkington’s Lancastrian box and cover by Gladys Rogers, circular, painted with shield motif in ruby lustre on yellow, and two lustre gourd vases impressed seal mark, painted artist cipher, small ship to rim of cover, 5cm. diam. (3) £150-200 205. A Pilkington’s Royal Lancastrian bowl by Richard Joyce, modelled in low relief with two turbaned boys chatting, glazed silver-grey, another bowl with a frieze of birds and a collection of Pilkington’s Lancastrian pottery impressed marks, 21.5cm. diam. (a lot). £150-250

205

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206. A Pilkington’s Lancastrian vase, dated 1911, compressed form with cylindrical neck, covered in a curdled blue glaze, and six other Pilkington’s vases decorated with a curdled and fissured blue glazes impressed marks, 10.5cm. high (7) £150-250

206

207. A Pilkington’s Lancastrian vase, shouldered twin-handled form, covered in a golden lustre glaze, another covered in a streaked green glaze and another Pilkington’s Lancastrian vase covered in a matt green glaze impressed marks, 13.5cm. high (3). £150-200

207 208. A Pilkington’s Royal Lancastrian vase by William S Mycock, dated 1935, painted with flower stems in pink, green and blue on a matt grey ground, another similar painted with fish and six other vases, impressed and incised marks, 17cm. high (8). £150-200

208

209. A tall Pilkington’s Lancastrian vase, dated 1906, shouldered, octagonal section, covered in a streaked cream over red flambe glaze, another covered in a streaked blue glaze and another vase impressed marks, 40.5cm. high £200-300

209

210. A Pilkington’s Lancastrian vase, dated 1912, ovoid with collar rim, covered in a streaked, turquoise glaze, and seven other Pilkington’s items impressed marks, damages, 25cm. high (8) £150-200

210

211 211. A Pilkington’s Lancastrian vase, dated 1910, tapering cylindrical form with knopped neck, covered in a curdled blue glaze, another similar, a smaller vase and two bowls, impressed marks, 26.5cm. high (5) £150-250

212. An Impressive Pilkington’s Lancastrian Sea Maiden wall charger designed by Walter Crane, painted by William S Mycock, painted with a maiden voyaging in a classical sailing vessel, in green on a vivid curdled orange ground, impressed marks, painted artists ciphers and indistinct date code, 48cm. diam. £2,000-4,000 Literature A J Cross Pilkington’s Royal Lancastrian Pottery and Tiles, Richard Dennis Publications, page 9 colour plate V for this design illustrated on three vases.

212

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213. A fine Pilkington’s Lancastrian Pegasus moon flask designed by Walter Crane and painted by William S Mycock, dated 1932, flattened disc form with cylindrical neck and loop handles, painted to one side with Pegasus, inside a foliate border, the reverse with heraldic coat of arms for Manchester and motto Concilio et Labore, (wisdom and effort), glazed in ruby and golden lustre on a blue lustre ground impressed Pilkington’s mark, painted Crane cipher, Mycock cipher and date code 27cm. high £8,000-12,000 Provenance The Collection of Robert Henry Mellers, thence by descent Literature A J Cross Pilkington’s Royal Lancastrian Pottery and Tiles, Richard Dennis Publications, page 51 plate 58 for the original watercolour design of Pegasus. Plate 59 for a comparable moon flask painted by Richard Joyce with a depiction of Manchester and the reverse with the Manchester coat of arms. It is believed that this example combining the Pegasus image and the Manchester coat of arms is unique.

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214. A Pilkington’s Lancastrian vase by William S Mycock, dated 1913, bottle form, painted with wild poppy flowers amongst scrolling foliage in golden lustre impressed mark, painted artist cipher and date code, Richard Dennis exhibition paper label 29.5cm. high £700-1,000 Provenance Pilkington’s Royal Lancastrian Pottery exhibition, Richard Dennis, 1980, catalogue number 72. Literature A J Cross Pilkington’s Royal Lancastrian Pottery & Tiles, Richard Dennis Publications, page 35 colour plate XXI this vase illustrated.

214

215

215. A Pilkington’s Lancastrian vase by Richard Joyce, ovoid with collar neck, modelled in low relief and painted with a kingfisher bird perched on a wild rose bough amidst flag iris, in ruby and golden lustre on a royal blue lustre ground painted artist cipher 14.5cm. high £700-900

216. A Pilkington’s Lancastrian tile by J Henry Sellers, modelled in low relief with a griffin, glazed in golden lustre on a blue ground unsigned 15.5cm. square £200-400 Literature A J Cross Pilkington’s Royal Lancastrian Pottery & Tiles, Richard Dennis Publications, page 36 plate 38a for this tile design which was used in a fireplace as the centrepiece of the Pilkington’s stand at the FrancoBritish Exhibition in 1908.

216

The Studio Yearbook 1908, the fireplace featuring this tile design illustrated page 31.

217

218

217. A Compton Pottery box and cover, rectangular section, cast in low relief with fruiting vine, in green and blue, a Pilkington’s Lancastrian fiery aventurine vase and another Pilkington’s bowl glazed in curdled blue impressed marks to Pilkington’s pieces, aventurine vase broken and repaired on rim, 12.5cm. wide (Compton), (3) £150-200

218. A Pilkington’s Lancastrian bowl by Richard Joyce, dated 1919, painted to the interior with carnation flowers in red and copper lustre on a red ground painted artist cipher and date code 10cm. diam. £200-250

219. A Pilkington’s Royal Lancastrian vase by Richard Joyce, modelled in relief with three grotesque fish swimming, glazed ochre over vibrant orange ground impressed mark and incised artist cipher 21cm. high £250-300

219

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220

221

DELLA ROBBIA POTTERY

222

220. A pottery architectural plaque in the manner of Della Robbia Pottery, possibly continental, modelled with a frieze of children loading a galleon for a voyage, two seated on the harbour wall checking off the load, glazed in colours unsigned, rim chips, 81 x 26cm. £500-800

221. A Della Robbia Pottery bowl by HP, painted to the well with radiating foliate stems in green and yellow on a terracotta ground, and a Della Robbia plate dated 1902 and a Watcombe Pottery vase incised factory marks and artists monograms, damages 20cm. diam. (3). £100-150

222. A Della Robbia Pottery Moorish vase by Cassandra Annie Walker, slender form with twin loop handles, incised and painted with dense grape vine in blue, turquoise and green incised factory marks and ELL monogram and painted CW monogram 26cm. high £300-500

223 223. The Apple Gatherer a rare Della Robbia Pottery plaque by Cassandra Annie Walker, dated 1900, modelled in low relief with a maiden collecting apples in a basket, her blond hair blowing in the wind painted CAW 1900 to bottom right, incised numbers to reverse, restored 57.5 x 37cm. £2,000-3,000 Literature Peter Hyland The Della Robbia Pottery, ACC books, Appendix B page 243, this panel listed, priced £2,10 (1461) Exhibited The Home Arts and Industries, 1900 and listed in The Studio, 1900 page 98, Walker Art Gallery Autumn 1900

224. An Art Nouveau Della Robbia Pottery plaque, possibly a daily menu board, octagonal form, cast in low relief with maiden and children resting inside scrolling foliage, glaze blue and cream with green highlights, apparently unsigned 53.5 x 45cm. £400-600

224

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225 226

227

225. A Bursley Crown Pottery wash basin and ewer designed by Frederick Rhead, tubeline decorated with garlands of Glasgow Rose, in green, blue and black on a white ground, A Wood & Sons Prunus vase and a Wood & Sons Orion Ware vase, printed and painted marks, 41cm diam. (basin), (4) £150-200

MARTIN SECESSIONIST WARE

229

228

226. A Minton’s Secessionist vase designed by John Wadsworth and Leon Solon, swollen cylindrical form. tubeline decorated with Art Nouveau ivy stems, in green, purple and blue on a white ground, another Minton’s Secessionist twin-handled vase an Upsala Ekeby stoneware figure of a boy and another smaller Swedish pottery figure printed factory marks, 17cm.high (4) £200-400 227. A pair of Minton’s Secessionist vases designed by John Wadsworth & Leon Solon, tapering cylindrical form, tubeline decorated with foliate panels in green on a streaked red ground printed mark, 25cm. high (2) £150-200 228. A Minton’s Secessionist vase designed by John Wadsworth & Leon Solon, slender form with applied handles, tubeline decorated with flower stems outlined in green on a red ground, over olive green printed factory mark, restored neck and handle 32cm. high £150-200 229. A Minton’s Secessionist vase designed by John Wadsworth & Leon Solon, swollen cylindrical form, tubeline decorated with stylised cornflowers in green and blue on a streaked purple ground, and another Minton’s Secessionist vase printed factory £150-200 mark, restored 21cm. high, (2)

230

231

230. A pair of Minton’s Secessionist vases designed by John Wadsworth and Leon Solon, tapering cylindrical form with flaring feet and rims, tubeline decorated with stylised flower panels in green and aubergine on a blue ground printed and incised marks, restoration to rims, 29cm. high (2) £200-300 231. A Minton’s Secessionist toilet set designed by John Wadsworth and Leon Solon, tubeline decorated with fruit and foliage in colours on a vivid yellow ground, comprising two candlesticks, toothbrush holder, soap dish and cover printed factory marks, 16cm. high (5). £150-200

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232. A Minton’s Secessionist vase designed by John Wadsworth and Leon Solon, twisted, twin handled form on flaring foot, printed in colours with flowers and foliage printed factory mark, 26.5cm. high £150-200

233. A Minton’s Secessionist vase designed by John Wadsworth and Leon Solon, shouldered, twin-handled form, tubeline decorated with Art Nouveau flowers, in shades of yellow and green on a blue ground printed factory marks, over-painted chip to top rim, 25.5cm. high £150-200

232

233

234. A Minton Secessionist vase designed by John Wadsworth and Leon Solon, shouldered, twin-handled form, slip decorated with a peacock, in colours on a green ground impressed marks, professional restoration to one handle, 29cm. high £200-300

234

235

235. An unusual Minton’s Secessionist vase designed by John Wadsworth and Leon Solon, tapering cylindrical form with flaring rim and applied handles, printed with a hawk perched in a tree amidst stylised flowers and foliage, in colours printed and painted marks, restored top rim 27cm. high £200-300

236. A Minton’s Secessionist floor vase designed by John Wadsworth & Leon Solon, shouldered form, modelled in low relief with Art Nouveau flowers and foliage in shades of blue and green on a pale sage green ground impressed marks, 47cm. high £400-500

236

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MOORCROFT POTTERY 237. A James Macintyre & Co cup and saucer designed by William Moorcroft, tubeline painted with a frieze of flowers in blue, highlighted in gilt on a salmon pink ground printed factory mark, painted green signature 7.5cm. high £200-300

237

238. ‘Pomegranate’ a Moorcroft Pottery vase designed by William Moorcroft, shouldered form with everted rim, painted with in shades of ochre, pink and purple on a mottled blue ground, another smaller and a metal mounted ashtray impressed marks, painted blue signature 25.5cm. high £300-500

238

239. ‘Wisteria’ a Moorcroft Pottery vase designed by William Moorcroft, compressed form, painted in shades of pink, purple, yellow and green on a graduated green to blue ground, a Moorcroft Pomegranate dish, A Moorcroft Clematis vase and tazza and a Moorcorft Studio vase glazed green impressed and painted marks, painted green signature to Wisteria 13cm. high. (5) £300-500

239

Provenance Reverend William Henry Spottiswoode Webb, thence by descent.

240 240. ‘Frilled and Slipper Orchids’ a Moorcroft Pottery lamp base designed by William Moorcroft, waisted cylindrical form, painted in colours on a graduated blue ground impressed marks, painted signature and paper label 28cm. high £300-500 241. ‘Reeds at Sunset’ and ‘Honeycomb’ two Moorcroft Pottery vases designed by Philip Richardson, in colours on a blue ground impressed and painted marks, 17cm. high £150-200

242

241

242. ‘Carousel’ a Moorcroft Pottery charger designed by Rachel Bishop, painted in colours on a deep blue ground, and a Moorcroft Pottery Puffins vase impressed and painted marks, silver dash mark to charger, 35cm. diam. (2) £150-200 243. ‘Red Tulip’ a Moorcroft Pottery vase, compressed form painted in colours, a ‘Carnation’ vase, a ‘Bullrush’ plate, two Hibiscus’ vases and four other vases printed and painted marks, 11cm. high (9). £200-300

243 244. ‘Frilled Orchid and Springflowers’ a Moorcroft Pottery vase, painted in colours on a green ground, impressed marks, painted green signature 24.5cm. high £250-300

244

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245

246

245. ‘Flambe Frilled Orchid’ a Moorcroft Pottery lamp base designed by William Moorcroft, compressed body with tapering cylindrical neck, painted in colours under a light flambe glaze impressed marks, painted green signature and paper label 32cm. high £400-600

246. ‘Frilled Orchid and Springflowers’ a Moorcroft Pottery vase, painted in colours on a yellow ground, impressed marks, painted green signature 26cm. high £200-300

247. ‘Pansy’ a Moorcroft Pottery vase designed by William Moorcroft, dated 1914, shouldered form, tubeline decorated with a band of purple and yellow pansies, green foliage on a white ground painted green signature and date, fine craze lines to base 18.5cm. high £1,000-2,000

247

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WEDGWOOD 248. A Wedgwood Pottery Queensware mug commemorating the firing of the new Barlaston kiln designed by Victor Skellern, 1940, the shape designed by Keith Murray, printed in shades of pink with vignette, and a modern Sun & Wind invitation for the Wedgwood Ceramics book launch from Richard Dennis printed marks, 12.5cm. high £50-100

248

249

Literature Maureen Batkin Wedgwood Ceramics 18461959, Richard Dennis Publications, page 217 plate 528 for this design illustrated. Provenance The Geoffrey Godden Reference Collection. 249. A Wedgwood Dragon lustre vase designed by Daisy Makeig-Jones, shape no.3177, cylindrical form with flaring foot and top rim, printed in gilt on a mottled blue lustre ground, and a Wedgwood Hummingbird lustre footed bowl printed factory marks, 28.5cm. high (2). £350-450

251 250

250. A Wedgwood Butterfly lustre vase designed by Daisy Makeig-Jones, printed in gilt on a mottled orange ground, the interior pearl and blue lustre ground, and a Hummingbird lustre dish, printed factory mark, 11cm. high (2) £200-300 251. A Wedgwood Dragon lustre bowl designed by Daisy Makeig-Jones, the exterior printed in gilt on a blue ground, the interior pearl lustre, and another octagonal bowl similar printed marks, 10.5cm. diam. (2) £200-300 252. A Wedgwood plate by Therese Lessore, painted with a woman and a couple drinking at tables in a bar, in pink lustre on a white ground impressed mark, painted artist monogram 23cm. diam. £150-200 253. A Wedgwood Fairyland Lustre ‘Argus Pheasant’ bowl designed by Daisy MakeigJones, pattern no.5486, printed and enamelled in colours and gilt on a powder blue lustre ground printed and painted marks, 23cm. diam. £1,500-2,000

252

Literature Una Des Fontaines Wedgwood Fairyland Lustre, page 257 plate 69 for this design illustrated.

253 253 detail

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254

254 detail

254. ‘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. £1,500-2,500 Literature Una des Fontaines Wedgwood Fairyland Lustre, Sotheby Parke Bernet, page 155 figure 62 tis design illustrated.

255. ‘Imps on a Bridge - Tree House’ a rare Wedgwood Fairyland lustre Lincoln plate designed by Daisy Makeig-Jones, enamelled in colours and highlighted in gilt, the border with an usual design of orange and red flowers on a back ground, printed factory mark, 27cm. diam. £2,500-3,000 Literature Una Des Fontaines Wedgwood Fairyland Lustre, page 213 plate 49 for a plaque in this design illustrated

255

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256. A Wedgwood Fairyland lustre brooch, printed and painted in colours, highlighted in gilt on a flame yellow and orange ground printed factory mark, 5cm. diam. £500-800

256

257. A Wedgwood Fairyland lustre Octagon bowl designed by Daisy Makeig-Jones, printed to the exterior in the ‘Castle on a Road’ pattern, the interior ‘Bird in a Hoop’, printed factory marks, 18cm. diam. £1,500-2,000

257

258

258. A Wedgwood Fairyland Lustre bowl designed by Daisy Makeig-Jones, the exterior in the Woodland Bridge Variation 1’ pattern on a black lustre ground, the interior in ‘Picnic by a River’ printed and painted marks, 20.5cm. diam. £1,500-2,000

258 detail

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259

260

CLARICE CLIFF 259. ‘Red Trees & House’ a Clarice Cliff Fantasque Bizarre Stamford tea for two, dated 1931, painted in colours inside black, red and green bands, comprising teapot and cover, milk-jug and sugar basin, two cups, saucers and side plates printed factory marks, tea pot and cover restored, 12.5cm. high £800-1,200

260. ‘Original Bizarre’ a Clarice Cliff Bizarre plate, painted with a radiating orange star inside green and blue triangles and orange band, a Clarice Cliff ‘Orange Trees & House’ preserve and a ‘Blue Chintz’ egg tray printed factory marks, 22.5cm. diam. (3). £200-300

261. ‘Original Bizarre’ a Clarice Cliff twin-handled Lotus jug, painted with a band of red, yellow and blue triangles, outlined in green between bands, the handles painted blue, and a Fruit Clarice Cliff part tea set, comprising teapot and cover, one sugar basin, cup and saucer painted red Bizarre mark, damages 29cm. high (6) £200-400

261

262. ‘Butterfly’ a Clarice Cliff Fantasque Bizarre Isis vase, painted with two butterflies in colours, between orange and black bands, printed factory marks, drilled for electricity 25cm. high £500-800

262

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263. A Bough Pottery baluster vase and cover by Elizabeth Amour, painted with a band of anemones in shades of pink, purple and green, outlined in grey and highlighted in black on a white ground printed Bough mark, painted EA monogram 30cm. high £150-250 Literature Elizabeth Cumming Hand, Heart & Soul The Arts and Crafts movement in Scotland, page 76 for a Bough Studio charger by Elizabeth Armour.

265

264

263

264. A rare Foley bone china Green Stars tea cup, saucer and plate 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, 20.5cm. diam. (plate) £150-200 Literature Graham Sutherland Tate Gallery Exhibition catalogue 1982, page 67 catalogue number 29 for an example of this design. 265. A Shelley Pottery ginger jar and cover designed by Walter Slater, printed and painted in enamels and gilt with flag iris to the vase and cover, on a rich blue lustre ground printed Shelley mark, 24cm. high £1,000-1,500 Literature Chris Watkins, William Harvey & Robert Senft Shelley Potteries, Barrie & Jenkins page 53 colour plate V for comparable lustre designs by Walter Slater circa 1920. 266. A large Carlton Ware lustre vase, slender baluster form, printed and painted in colours and gilt with chickens amongst oriental flowers and foliage, on a blue highly lustrous ground printed factory mark, 47cm. high £150-250

267

266

267. A large Carlton Ware Rouge Royale ‘New Stork’ Tomb jar and cover, the cover with modelled dog of fo finial, enamelled in colours and gilt with wading herons and trees on a riverbank, on a red lustre ground printed factory marks, original paper label 35cm. high £150-200 268. A rare Gray’s Pottery toucan designed by Nancy Catford, modelled, perched on a rock with head titled back and beak raised, glazed in colours printed clipper mark, 29cm. high £200-300

268

269

269. An Art Deco Crown Devon plate, pattern A19, printed and enamelled with a geometric design in black, red and yellow, a Crown Devon jug in the same pattern and a collection of Art Deco ceramics including Edna Best, Myott and Arcadian printed and painted £200-300 marks, 26.5cm. diam. (a lot) 270. A rare Shelley Sunray Vogue tea set for one, painted in shades of yellow and black, comprising; tea pot and cover, milk-jug and sugar basin, one cup, saucer and side plate printed factory marks, spout professionally restored 11cm. high £400-600

270

Literature Chris Watkins, William Harvey and Robert Senft Shelley Potteries, Barrie & Jenkins, page 106 colour plate X for a comparable set illustrated.

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272

271

271. A rare Carter Stabler & Adams Poole Pottery Holly vase designed by Truda Carter, painted by Ann Hatchard, pattern LG, shape no.949, painted in colours with geometric berried foliage panels impressed and painted marks, 34cm. high £2,000-3,000 Literature Sue Lunt Age of Jazz British Art Deco Ceramics, National Museums of Liverpool, page 128 catalogue number 136 for a comparable vase illustrated. Andrew Casey (editor) Art Deco Ceramics in Britain, Antique Collector’s Club, Chapter 12 Carter Stabler & Adams by Michael Jeffery page 103 plate 12..11 for a comparable piece. 272. A rare Carter Stabler & Adams Poole Pottery Holly vase designed by Truda Carter, painted by Ann Hatchard, pattern LG, shape no.949, £2,000-3,000 painted in colours with geometric berried foliage panels impressed and painted marks, original paper label 34cm. high Literature Andrew Casey 20th Century Ceramic Designers, Antique Collector’s Club, page 107 figure 105 for a comparable vase illustrated.

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273. A large Carter’s Poole Pottery lustre charger probably designed by James Radley Young, dated 1900, with fluted rim and modelled roundel motif, glazed in a streaked green lustre incised Carter’s Poole 1900, chips, 44cm. diam. £200-300 Literature Leslie Hayward & Paul Atterbury Poole Pottery Richard Dennis Publications, page 25 for comparable lustreware.

274. An Art Deco Poole Pottery vase, shape no.212, painted with a band of alternate foliate stems and geometric bands in yellow and black on a pale grey ground, impressed and incised marks, painted artist cipher, 28cm. high £150-200

273

275. A Poole Pottery Studio Atlantis lamp by Guy Sydenham, shouldered tapering form with elliptical cut out aperture, the interior glazed vibrant orange, the exterior a running green and turquoise, set with metal fittings and internal light fitting impressed mark, incised monogram, small glaze imperfection to back, 52cm. high £300-500

274

Literature Guy Sydenham A Potters Life The Island Potters of Poole, page 129 colour plate 1 for an illustration of Guy working at the Poole studio, surrounded by comparable lamps, in the 1960s.

275

276. A Poole Pottery Delphis plate, shape no.4, carved with a geometric design, glazed bronze printed and painted marks, 26.5cm. diam. £50-100

276

277. Kenneth Clark (1922-2012) two three tile panels, each painted with a single flower stem, in shades of yellow, green and mushroom on a white ground, a set of four Dorincourt Potters The Beatles tiles each printed with a portrait and facsimile signature, and two Pilkington’s tiles originally designed by Walter Crane depicting Hiems and Aestas factory marks, Kenneth Clark tiles £150-200 15cm. square (8)

277

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278

279

280

281

DENNIS CHINA WORKS 278. Blue Footed Booby a Dennis China works sample Barrel vase designed by Sally Tuffin, dated 2000 made for the Neville Pundole Gallery painted in colours in a cream ground printed and painted marks, 20cm. high £150-250

279. Indian Elephant a Dennis China works Barrel vase designed by Sally Tuffin, dated 2001, painted in colours on a yellow ground printed and painted in colours 18.5cm. high £150-250

280. Orange Sunflower a Dennis China works Trial vase designed by Sally Tuffin, dated 2001, painted in shades of green, orange and brown on a graduated brown ground printed and painted marks, 27cm. high £150-200

282 281. Primrose a Dennis China works Barrel vase designed by Sally Tuffin, dated 2001, painted in colours printed and painted marks, 24.5cm. high £150-250

282. Tumbling Blocks a Dennis China works Trial bottle shape vase designed by Buchan Dennis, dated 2014, in shades of blue, green, black and white printed and painted marks, 32cm. high £400-500

283. ‘Lobster’ a Dennis China works limited edition vase designed by Sally Tuffin, dated 2003, flaring cylindrical form with inverted rim, painted in shades of orange, white and green on an olive green ground printed and painted marks, 28cm. high £400-500

283

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284

286

285

STUDIO POTTERY 284. Edwin Beer Fishley (1832-1911) a Fremington Pottery ovoid vase with four loop handles, covered in a mottled brown running glaze incised E B Fishley Fremington N Devon 22cm. high £250-300 Provenance Arts and Crafts Woolley and Wallis 23rd June 2010 lot 219. Private collection. 285. Danlami Aliyu (1952-2012) A Wenford Bridge vase, swollen shouldered form with knop neck, incised with vertical cut columns, glazed to the foot with ash glazes impressed seal marks to side 27cm. high £150-200 Danlami Aliyu was born in Nigeria, coming to Britain in 1975 where he studied under Michael Cardew at Wenford Bridge for a year before studying at Farnham School of Art.

287 288

286. Michael Cardew (1901-1983), attributed a Winchcombe Pottery slip ware platter, decorated to the well and rim with combed design, in brown on a yellow ground impressed seal mark, 30cm. wide £200-300 287. Phil Rogers (born 1951) a salt-glaze stoneware jug, tapering form with applied slip decoration, impressed seal mark, 33.5cm. high £120-180 288. Phil Rogers (born 1951) a resist decorated stoneware vase, swollen, square section, decorated in resist to each side with foliate and trellis panels impressed seal mark, 25cm. high £150-200 289. Phil Rogers (born 1951) a tall stoneware vase, slightly swollen cylindrical form, with incised band and impressed decoration, covered to the foot in an ash glaze impressed seal mark, 42.5cm. high £250-350 290. Jim Malone (born 1946) an Ainstable Pottery cut sided stoneware bottle vase, with simple incised grass design, covered to the foot with an ash glaze impressed seal marks, 33cm. high £150-200

289

290

Provenance Woolley and Wallis 28th November 2012 lot 430. Private collection. ‡ 291. 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 £200-300

‡ 292. Michael Cardew (1901-1983) an earthenware commemorative tankard dated 1935, commemorating the silver jubilee of the Coronation of King George V, incised with crown GR and 1910-1935 dates on a mustard and green ground impressed seal marks to rim 13cm. high £700-1,000

291

292

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‡ 293. Michael Cardew (1901-1983) a Winchcombe Pottery slip ware jug dated 1935, probably made to commemorate a wedding, bellied form, incised with date and initials BM and EJM, with applied scroll handle, glazed to the foot in brown and mustard impressed seal marks to base and side of base 28cm. high £500-800

293

‡ 294. Michael Cardew (1901-1983) five Winchcombe Pottery slip ware tankards, 1935, probably commemorating a wedding, tapering cylindrical form, three incised EJM and two inscribed BM impressed seal marksto the base rim, chip to foot rim of one 12cm. high £300-500 Provenance En suite to the commemorative jug by Michael Cardew, lot 293

‡ 295. Michael Cardew (1901-1983) a large Wenford Bridge Pottery footed bowl, decorated with incised vertical columns, glazed in ash impressed seal marks to side of foot 31cm. diam, 18cm. high £500-800

294

295

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296. Charles Vyse (1882-1971) a flaring bowl painted with brushed foliate motif in tenmoku over celadon, and a model of a seal by L Cookes, 1928 glazed with incised marks and dates, repaired damages 19cm. diam. (2). £50-100 Provenance The Geoffrey Godden Reference Collection.

296 297

297. Charles Vyse (1882-1971) an unusual stoneware bowl, moulded to the interior with three scaly fish amidst carved geometric waterweed, glazed celadon under a curdled blue glaze, the exterior olive green incised C Vyse Chelsea to base 20cm. diam. £200-400 Literature Charles Vyse Richard Dennis/Fine Art Society exhibition catalogue, page 49 catalogue number 88 for this design in a Lung Chuan glaze.

298. Charles Vyse (1882-1971) a stoneware footed vase dated 1938, ovoid with incised decoration covered in a pale off blue/grey glaze to the foot incised Vyse and date 20cm. high £150-250

299. A Dulwich pottery figure of a Dutch boy by Jessamine Stella Bray and Sybil V Williams, dated 1931, painted in colours painted marks and date 20cm. high £120-180

‡ 300. Stella R Crofts (1898-1964) Herring Gulls, 1926 a pottery figure, incised Stella R Crofts , 1926 28.5cm. high £400-600

298

Literature Paul Hughes Stellas Ark-Stella Crofts, private press, page 86 for another example dated 1928 illustrated

299

300

301. Katharine Pleydell-Bouverie (1895-1985) a stoneware bowl, covered to the foot with an ash glaze with blue streak decoration, an Aldermaston Pottery goblet by Alan CaigerSmith and a Winchcombe Pottery jug by Sidney Tustin impressed seal mark to side, 8cm. high, 10cm. diam. (3) £120-180

302. Katharine Pleydell-Bouverie (1895-1984) a large stoneware bowl with finely carved fluted design, covered to the foot in a celadon ash glaze, and another smaller impressed seal marks 19.5cm. wide (2) £250-350

301

302

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303. An Iroko wood print/drawing chest with Urushi lacquer BL monogram, made for Bernard Leach (to his design) whilst in Japan (19091920), the hinged external doors concealing three short drawers above four graduated long drawers, 95cm wide, 48cm. deep, 69cm. high ÂŁ7,000-10,000 Provenance Bernard Leach Purchased from Mrs Leach by the Trenowden Family. Private Collection. Exhibited Bernard Leach Graphic Artist Crafts Study Centre, Farnham July-December 2010. Leach Pottery, St Ives.

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304

305

306

304. David Leach (1911-2005) a Lowerdown Pottery cut sided porcelain teapot and cover made for Geoffrey Godden dated 1973, covered in a Ting Ch’ing celadon glaze, another painted with a foxglove motif and a celadon glaze box and cover, both also purchased in 1973 impressed seal marks, 14cm. high £100-200 Provenance The Geoffrey Godden Reference Collection. Literature Geoffrey Godden Encyclopedia of British Porcelain B Jenkins, 1988 page 474 the foxglove teapot illustrated. 305. David Leach (1911-2005) a Lowerdown Pottery porcelain bowl, flaring, footed form, painted with simple tenmoku brush stroke design between blue bands, a bowl by Eleanor Whittall purchased in 1964, two vases by Irene Sims and another vase incised with birds impressed seal mark, 12.5cm. diam. (5) £100-200 Provenance The Geoffrey Godden Reference Collection. Literature Geoffrey Godden Encyclopedia of British Porcelain B Jenkins, 1988 page 474 the David Leach bowl illustrated. 306. David Leach (1911-2005) and John Solly (1928-2004) an earthenware bowl, dated 1964, painted with a swag band in manganese over ochre painted signature, monogram and date 34cm. diam. £120-180

307

308

307. David Leach (1911-2005) a Lowerdown Pottery stoneware bottle vase, shouldered form, painted with a simple trailed brush design in celadon and blue over tenmoku, impressed DL seal 31cm. high £100-150 Provenance The Geoffrey Godden Reference Collection. Exhibited Exhibition by The Leach Pottery, 1964 Crafts Centre of Great Britain catalogue number 13. 308. William Bill Marshall (1923-2007) a Leach Pottery cut-sided stoneware bottle vase, covered to the foot in an ash glaze, the shoulder with translucent blue and lavender glaze impressed seal marks, 31cm. high £200-300 309. William Bill Marshall (1923-2007) a stoneware bottle vase, glazed to the foot in a hare’s fur glaze with painted green spots, impressed seal mark, 14.5cm. high £250-350

309

310

310. William Bill Marshall (1923-2007) a stoneware unomi, painted with simple brushed grasses in tenmoku, with green spots on a translucent white glaze £250-300 impressed seal mark, 11cm. high

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311. 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. ÂŁ8,000-12,000 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.

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312. Takeshi Yasuda (born 1943) a twin-handled stoneware platter, decorated in a sansai glaze unsigned 28cm. wide £250-350

313. Mashiko a large stoneware charger, resist decorated in blue, brown and white glazes on a celadon ground unsigned 41cm. diam. £300-500 Provenance Arts and Crafts Woolley and Wallis 22nd June 2011 lot 23.

312 313

314. Shigeyoshi Ichino (1942-2011) a stoneware bottle vase, shouldered, square section, with tapering neck, painted with a simple flower stem in red and blue on a deep celadon ground impressed seal mark to base 30cm. high £400-600 Exhibited Shigeyoshu Memorial Exhibition 1942-2011, Leach Pottery 9th March to 6th April 2013 where it was purchased by the vendor.

315. Wakimoto Hiroyuki (born 1952) a large stoneware monolith incense burner in two parts, in wooden box incised mark, signed to the box 29cm. high £120-180

314 315

316. Richard Batterham (born 1936) a tall shouldered stoneware vase with cut rib decoration, covered to the foot with a celadon glaze painted 21 39cm. high £150-200

316

317. Richard Batterham (born 1936) a cut sided stoneware vase with everted rim, covered to the foot with an ash glaze painted with number 2 to the base 35cm. high £150-200 Provenance Bought from the Durweston Pottery.

318. Richard Batterham (born 1936) A large stoneware floor vase, the shouldered form with cut decoration to the side, covered to the foot with an ash glaze unsigned 61cm. high £300-500

317

Provenance Given to the vendor as a gift by the potter.

319. Richard Batterham (born 1936) a tall, shouldered cut-sided stoneware vase covered to the foot in a tenmoku glaze, the shoulder and rim with a running celadon £150-200 glaze unsigned 39cm. high

318

319

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‡ 320. Joanna Constantinidis (1927-2000) a porcelain vase, elliptical form, covered in a duck egg blue glaze impressed C seal 15.5cm. high £200-300

‡ 321. Joanna Constantinidis (1927-2000) a porcelain vase, tall elliptical form, covered in a duck egg blue glaze with thin stripes impressed C seal 34cm. high £300-500

320

321

322

323

‡ 322. Joanna Constantinidis (1927-2000) a stoneware vase, with incised spiralling lines, covered in an off white glaze with green spots impressed C seal 19cm. high £300-500

‡ 323. Joanna Constantinidis (1927-2000) a stoneware vase, with incised spiralling lines, covered in a speckled off white and rust glaze impressed C seal 19cm. high £300-500

‡ 324. Joanna Constantinidis (1927-2000) a tall porcelain vase, glazed gold and bronze lustre with painted iron spiral design, impressed seal mark, 28.5cm. high £400-600

324

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325. Delan Cookson (born 1937) a tall stoneware bottle vase with squared neck, matt finish impressed seal mark, a tall celadon glaze vase by Derek Emms and a Ray Marshall stoneware vase, pencil date 1964 37cm. high (3) £100-200 Provenance The Geoffrey Godden Reference Collection.

326. Derek Davis (1926-2008) a rare ceramic plaque, framed signed Davis to reverse 40 x 26cm.

£200-300

327. Derek Davis (1926-2008) a porcelain ovoid vase with solifleur aperture, pale celadong glaze with flambe red and turquoise blue splashes painted signature £150-200 13.5cm. high

325

328. Robin Welch (born 1936) a narrow based stoneware sculpture, with applied slips, on slate base, and a bowl by Robin Welch, painted RW monogram 31.5cm. high, (2) £300-500 Provenance Robin Welch New Ceramics, Beaux Arts, Bath 19th May-14th June 2003 for the sculpture. Beaux Arts, Bath for the bowl.

326

327

‡ 329. Alan Wallwork (born 1931) a large stoneware split disc form, glazed mottled green over brown incised AW monogram 40cm. high £250-350

328

329

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330

‡ 330. Colin Pearson (1923-2007) a tall winged pot, elliptical section with applied wavy handles, pale pink glaze over silver-grey, highlighted in gilt impressed seal mark to side 26.5cm. high £800-1,200

331 ‡ 331. Paul Philp (born 1941) a stoneware vase form with irregular rim, glazed matt white with sand impressed seal mark, 27cm. high, 35cm wide. £300-500 Literature Fired Clay The Ceramic Work of Paul Philp, page 58 & 59 for a comparable vase illustrated.

‡ 332. Paul Philp (born 1941) a stoneware vase form, flattened section with irregular rim, glazed matt blue, sand and salmon pink impressed seal mark, 23.5cm. high, 28cm wide. £250-350

332

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ROBERT J WASHINGTON 333. Robert J Washington (1913-1997) Two female figures a tall stoneware pot, painted with female figures in red iron oxide on an off white ground, painted W to base 52.5cm. high £600-1,000 Provenance From the estate of R J Washington. There is a similar pot from the same family series in the collection of Tuscon Museum. of Art, Arizona. 334. Robert J Washington (1913-1997) Female form brushing her hair, 1980 a tall stoneware pot, painted with a female figure in red iron oxide on an off white ground, incised monogram and 80 to foot rim £600-1,000 75cm. high Provenance From the estate of R J Washington.

Robert Washington

335. Robert J Washington (1913-1997) Mother and Child graphite on pencil, tracing for a pot, framed numbered 0305 in the R J Washington archive, signed R J W 3.42 to reverse, 49.5 x 17cm (image) £300-500 Provenance From the estate of R J Washington.

333

334

335

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336

338

337 336. Robert J Washington (1913-1997) Woman with Washboard, study for a bowl well graphite on paper, mounted numbered 0302 from the R J Washington archive 25 20.5cm. (image)

£400-600

Provenance From the estate of R J Washington. 337. Robert J Washington (1913-1997) Leda and the Swan, study for a pot graphite on paper, framed numbered 0300 in the R J Washington archive, signed RJW 3.38 46 x 22cm (image) £400-600 Provenance From the estate of R J Washington. 338. Robert J Washington (1913-1997) Study for a figure pot, 1950s pen wash on paper, framed numbered 0307 in the R J Washington archive 43 x 20cm. (image)

£400-600

Provenance From the estate of R J Washington. 339. Robert J Washington (1913-1997) Diana Dancing - study for a pot graphite on paper, mounted numbered 0304 from the R J Washington archive 37 x 27cm. (image)

£400-600

Provenance From the estate of R J Washington.

339

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340. Robert J Washington (1913-1997) Mother and Child gouache on paper, mounted numbered 0306 in the R J Washington archive 34 x 20.5cm. (image) £400-600 Provenance From the estate of R J Washington

341. Robert J Washington (1913-1997) Norma a gouache on paper, mounted on yellow paper, framed numbered 0301 in the R J Washington archive 46 x 37.5cm. (image) £500-700

340

341

Provenance From the estate of R J Washington

342. Robert J Washington (1913-1997) landscape, type 1 platter a stoneware platter, green chrome with engobes numbered 1264 £500-600 Provenance From the estate of R J Washington

342

343 343. Robert J Washington (1913-1997) The Elements Type 1 platter, chrome tin pink with applied engobes, numbered 1272, 42cm. wide £500-600 Provenance From the estate of R J Washington

344. Robert J Washington (1913-1997) landscape, circa 1992 multi fired ceramic pulp and engobes with applied collage panel, mounted on painted board, numbered 1217 50 x 23cm (image) £600-900 Provenance From the estate of R J Washington

344

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345. Robert J Washington (1913-1997) a tall stoneware pot with painted abstract design, multi fired with engobes, painted 1078 to base 52cm. high ÂŁ600-800 Provenance from the estate of R J Washington

345 both sides

346. Robert J Washington (1913-1997) a unomi with multi fired stoneware and ceramic fibre mix, numbered 1156 13.5cm wide. ÂŁ300-500 Provenance From the estate of R J Washington

346

347. Robert J Washington (1913-1997) a small stoneware pot, 1981, with multi fired glaze and engobes painted monogram and date to foot rim, numbered 1062, 23cm. high ÂŁ400-500 Provenance From the estate of R J Washington

347 both sides

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348. Edgar Campden a large and impressive Aldermaston Pottery bowl, painted to the interior with panels in shades of blue and ochre on a grey tin-glaze ground, the exterior with a similar band of decoration printed mark, painted monogram 48.5cm. diam. £300-500

348

‡ 349. Alan Caiger-Smith MBE (born 1930) a large Aldermaston Pottery tin glaze earthenware bowl, dated 1993, painted to the interior with brushed design in ruby, gold and silver lustre, on a tin glaze painted artist cipher, date mark 45cm. diam. £300-500 Literature Alan Caiger-Smith & Aldermaston Pottery 1955-1993 page 21 for a comparable bowl also dated 1993 from the final exhibition held at Aldermaston 1993.

349

‡ 350. Colin Saunders (born 1938) a large porcelain pedestal bowl with fluted rim, 1990, covered in a celadon glaze painted monogram and date, 43cm. wide £300-500

350

‡ 351. Maureen Minchin (born 1954) an earthenware lidded jar, the vase on three cast foliate feet painted with geese amongst flowers and foliage, in colours on a cream ground, the cover surmounted with a goose finial impressed seal mark, 21cm. high £300-400

‡ 352. Maureen Minchin (born 1954) an earthenware lidded vessel, painted with an otter, jellyfish and crab, painted in colours, the cover modelled with a partridge finial impressed seal mark, 26cm. high £300-400

351

352

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353 354

‡ 353. Walter Keeler (born 1942) a salt-glaze stoneware vase on offset base, the exterior glazed mottled blue, the inside of the bowl olive green, and a salt-glaze wall pocket by Toff Millway impressed seal mark, 13cm. high, 16cm wide (2) £200-300

‡ 354. Walter Keeler (born 1942) a large salt-glaze stoneware bowl with tube rim, covered with a mottled blue glaze, the interior olive green impressed seal mark 35cm. diam. £300-500

‡ 355. Walter Keeler (born 1942) a salt-glazed stoneware vessel on three pipe feet, covered in a grey and blue glaze, the interior dark blue impressed seal mark, 18.5cm. high £200-300

355

‡ 356. Walter Keeler (born 1942) a salt-glaze stoneware jug, elliptical form with applied handle, glazed blue and ochre, impressed seal mark, 31cm. wide. £150-250

356

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‡ 357. Dame Lucie Rie DBE (1902-1995) and Hans Coper (1920-1981) a stoneware pouring vessel, glazed speckled white to exterior and deep brown to interior, impressed seal marks, minor professional restoration to tip of spout, 10.5cm. high £500-1,000

357

358 ‡ 358. Dame Lucie Rie DBE (1902-1995 a stoneware pepper pot, shouldered, cylindrical form white glaze with rust speckles and inlaid blue lines impressed seal mark, fine hairline to base rim, 7.5cm. high £300-500 Literature Dame Lucie Rie Sale of a Lifetime Bonhams, 17th April 1997 lot 107 for a comparable example circa 1954, illustrated

359

‡ 359. Dame Lucie Rie D.B.E (1902-1995) an early stoneware bowl, flaring slightly elliptical form, glazed yellow to the interior, the exterior off white impressed LR seal mark, 14.5cm. wide £1,000-2,000 Provenance Contemporary Ceramics, Bonhams Private collection

‡ 360. Dame Lucie Rie DBE (1902-1995) a small footed stoneware bowl, covered to the foot rim with a pitted and bubbled brown glaze, the rim highlighted with darker brown impressed seal mark, 14cm. diam. £1,500-2,500

360

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364

361

362

363

‡ 361. Dame Lucie Rie D.B.E (1902-1995) a stoneware bowl glazed to the foot with a pale grey glaze with manganese speckles and drips, and Hans Coper a book by Tony Birks, impressed seal mark, chip to top rim 15.5cm. diam. (2) £300-500 ‡ 362. Dame Lucie Rie D.B.E (1902-1995) a stoneware flaring elliptical bowl, the interior glaze pale celadon, the exterior a speckled pale grey glaze impressed seal mark, 15cm. wide. £400-600 ‡ 363. Dame Lucie Rie D.B.E (1902-1995) and Hans Coper (1920-1981) a stoneware bowl with squared ends, the interior glazed pale blue, the exterior a speckled pale grey glaze impressed seal marks, 14.5cm. wide £500-800 ‡ 364. Dame Lucie Rie D.B.E (1902-1995) and Hans Coper (1920-1981) a stoneware plate, the exterior glazed pale grey to the rim, the interior with manganese glaze with incised band impressed seal marks, 17.5cm. diam. £300-500 Literature Margot Coatts Lucie Rie & Hans Coper Potters in Parallel, Barbican Art Gallery, 1997, page 57 catalogue number 2.30 for a service in a comparable design., circa 1955

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â&#x20AC;Ą 365. Dame Lucie Rie DBE (1902-1995) a stoneware bottle vase, with ovoid body and flaring rim, covered in a pitted and speckled buff glaze impressed seal mark, 15.2cm. high ÂŁ1,500-2,000 Provenance Barry Moore, (1941-2015) Economist at Downing College, Cambridge.

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â&#x20AC;Ą 366. Dame Lucie Rie DBE (1902-1995) a flaring footed bowl, glazed to the foot in a matt blue glaze with pitting and lavender to the interior, the exterior running blue over turquoise, the rim with bronze running highlights, impressed seal mark, 23.5cm. diam. ÂŁ6,000-10,000 Provenance Bought directly from the artist at Albion Mews in 1988 for the present vendor. Sold with a letter from Dame Lucie Rie about the bowl.

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â&#x20AC;Ą 367. Dame Lucie Rie DBE(1902-1995) a porcelain beaker vase, flaring form with manganese sgraffito lines and manganese bands impressed seal mark 13.5cm. high Provenance Barry Moore, (1941-2015) Economist at Downing College, Cambridge.

ÂŁ2,000-3,000

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â&#x20AC;Ą 368. Dame Lucie Rie DBE (1902-1995) a stoneware bottle vase with ovoid body and flaring rim, covered to the foot with a pitted white glaze, the top rim with running bronze band impressed seal mark, 23cm. high ÂŁ10,000-15,000 Provenance Purchased for the vendor from Liberty & Co in the early 1980s. Literature John Houston & David Cripps, Lucie Rie, Crafts Council, page 77 figure 123 for a comparable vase.

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â&#x20AC;Ą 369. Hans Coper (1920-1981) ovoid volume with flattened cylinder, stoneware layered with white porcelain slips and engobes, over textured and incised body, the interior with manganese glaze impressed seal mark, 18.5cm. high ÂŁ10,000-20,000 Provenance Barry Moore, (1941-2015) Economist at Downing College, Cambridge. Literature Tony Birks, Hans Coper, Collins, page 178 for a comparable example covered in a burnished manganese glaze, and page 179 for a larger example covered in white porcelain slips. This example, from the Sainsbury Collection, was used as the front cover for Hans Coper 1920-1981 retrospective exhibition catalogue.

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â&#x20AC;Ą 370. Hans Coper (1920-1981) Black Cycladic Pot circa 1972, with pinched rim and incised column impressed seal mark, 19cm. high ÂŁ8,000-12,000 Provenance Barry Moore, (1941-2015) Economist at Downing College, Cambridge. Literature Design Phillips London 1st October 2015 lot 54 for a comparable vase.

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371. Eric James Mellon (1925-2014) Bird Charmers a charger, 1998, painted in colours on an elm ash glaze signed, titled and dated to the rim, 31cm. diam. £150-200 372. Eric James Mellon (1925-2014) Musician a stoneware vase, painted in colours on a philadelphus ash glaze, painted signature and title to foot rim, chip to foot rim 12.5cm. high £120-180

372

373. Quentin Bell (1910-1996) a Fulham Pottery plate painted with a female portrait, in shades of blue, yellow and aubergine, and another Fulham Pottery plate by Quentin Bell painted and sgraffito etched with a mermaid, painted B to first, mermaid plate signed Fulham Pottery Quentin Bell 25.5cm. diam. (2) £200-300 Provenance purchased by the present owner from Quentin Bell at the Fulham Pottery directly.

371

374. John Maltby (born 1936) two stoneware sculptures, both glazed verdi gris impressed seal mark, 25.5cm. high £150-200 ‡ 375. John Maltby (born 1936) Seabird and Wall, a stoneware sculpture, on ebonised wood base impressed seal mark, painted signature and title, tape catalogue number, 31cm. high £250-300

374

Provenance Candover Gallery, Private collection ‡ 376. John Maltby (born 1936) Standing Queen, a stoneware figure on stepped base, painted in colours, highlighted in gilt impressed seal mark, painted signature £250-300 and title 28cm. high

373

‡ 377. John Maltby (born 1936) a large stoneware platter on shallow foot, the irregular shaped top painted and impressed with geometric decorations impressed seal marks to front 39.5 x 33cm. £400-600

375

376

377

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379

378

‡ 378. Christie Brown (born 1946) Medium white head, 2000, T-material clay, unsigned 22cm. high

£300-500

‡ 379. Christie Brown (born 1946) Medium white head, 2000, T-material clay, painted G19, 22cm. high

£300-500

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380

381

380. Marianne de Trey (born 1913) a porcelain bottle vase, ovoid with tapering cylindrical neck and everted rim, painted in shades of purple and turquoise over pale celadon blue, another bottle vase by Deidre Burnett and five stem bowls impressed marks, 18cm. high £300-400

382 381. Rupert Spira (born 1960) a stoneware tea set, comprising teapot and cover, four large tea cups and saucers, each painted with grasses in blue and tenmoku on a pitted celadon ground impressed seal mark to tea pot 15cm. high £120-180

382. Sandy Brown (born 1946) a pottery unomi, painted with simple blue brush design over white with manganese splashes, a plaque by Alex Leckie and a raku plate by David Cohen painted monogram, unomi 8.5cm. high (3) £150-200

383

383. Geoffrey Swindell (born 1945) a large porcelain vase, the swollen ovoid body tapering to narrow foot, with pinched central aperture, glazed matt cream with burnished black band incised S to base, 16cm. high £150-200

‡ 384. Alev Siesbye (born 1938) a large open bowl, covered in a rich lapis lazuli glaze with bronze rim, incised Alev, 23cm. high, 30cm. diam. £1,000-1,500 Provenance Private Collection.

384

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385 ‡ 385. Kate Malone (born 1959) Medium Sliced Triple Peapod, 2000, glazed in shades of pink, yellow and blue, unsigned 27cm. wide £300-500

386

386. Sotis Filippides (born 1963) a large stoneware rippled bowl, covered in a sage glaze with black highlights incised mark, 36cm. diam. £250-350

387. Sotis Filippides (born 1963) a ribbed, waisted cylindrical stoneware vase, the exterior glazed matt black, the interior streaked pink and sky blue impressed seal mark, 28cm. high £120-180

388. Sotis Filippides (born 1963) a tall stoneware cylinder vase, textured finish with matt black glaze incised mark 47.5cm. high £400-500

389. Sotis Filippides (born 1963) a raindrop bowl and cover with 24ct gold decoration over matt black textured finish incised mark 29cm. diam. £400-500

387

388

389 detail 389

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20TH CENTURY DESIGN 390. St George & The Dragon a good Arts and Crafts stained glass window probably by Clayton & Bell, painted in colours with St George on horseback spearing the dragon unsigned 50.5 x 39cm. £1,000-2,000 Provenance Royal Chest Hospital, Ventnor, Isle of Wight, by repute. Woolley and Wallis would like to thank Peter Cormack, author of Arts and Crafts Stained Glass, Yale University Press, for his help in catalogue this lot

391. Naiade by a River a good Arts and Crafts stained glass window probably Heaton, Butler & Bayne, after a design by Henry Holiday, painted with a Pre-Raphaelite maiden wearing a green gown, dipping her toe into a stream, before painted ferns and laurel unsigned 50 x 37.5cm. £1,000-2,000 Provenance Royal Chest Hospital, Ventnor, Isle of Wight, by repute. This window possibly depicts Daphne visiting the river to plead to her father the river god Ladon.

390

Woolley and Wallis would like to thank Peter Cormack for his help in catalogue this lot.

392. ‘St Peter Ora Pro Nobis’ a stained glass window, unsigned 85 x 47cm.£250-300

393. A Modern Lalique clear and frosted glass centrepiece, each curved form with fluted rim, etched Lalique France 20cm. wide. £100-200

394. An Art Nouveau Poschinger opaque glass vase designed by Carl Schmoll von Eisenwerth, model no.H112, the blue opaque glass body of tapering form with knopped neck, enamelled with flower stems in red, white and green painted marks to base 22cm. high £250-350

391

392

395. A pair of James Powell & Sons Whitefriars sea green glass champagne flutes, the design attributed to Harry Powell, tall flaring fluted bowls, unsigned 18cm. high (2) £150-250 Literature Lesley Jackson, Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications, page 102 plate 23 for a wine glass from this range illustrated.

393

394

395

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396. A Rookwood Pottery vase, model no.486, ovoid with cylindrical neck, painted with foliage in green and yellow on brown ground, and two Rookwood Pottery ewers, repaired damages, restoration tallest 21cm. high. (3) £150-250 397. An Art Nouveau Gouda Pottery ewer and cover by Helena F, painted with stylised flowers and foliage in colours on a cream ground, an Arnhem pottery twin-handled vase and another vase printed and painted marks, Arnhem vase chipped top rim with £150-200 chip missing, 26cm. high. (3).

396

397

398. A large Rozenburg Pottery vase, shouldered form, painted with an exotic bird amidst flowers and foliage in colours on a cream ground painted marks, professional restored base rim, 45cm. high £400-600 399. A tall Art Nouveau Cantagalli lustre vase, ovoid body with knopped cylindrical neck, flanked with sinuous foliate stem handles, painted with flowers and foliage in red, yellow and green lustre painted cockerel mark, small glaze frit to neck 53cm. high £200-400

398

400. A pair of pottery lamp bases probably by Theodore Deck, bottle form. painted with butterflies flying past boughs of flowering prunus, in colours on a crazed white ground, with gilt metal mounts, cast Gagneau marks to metalwork, 34cm. high £300-500 401. A rare Art Nouveau Rozenburg eggshell porcelain vase, swollen, square section with everted rim, painted with an exotic bird perched on foliage printed and painted marks, 12.5cm. high £600-900

401 both sides

399 400

401 mark

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402. A Goldscheider Pottery figure of a water carrier, model no.875, modelled as female Nubian carrying a water-jar on her head, painted in colours impressed marks, 42.5cm. high £150-200

403. A Goldscheider Pottery model of a Bat Girl by Josef Lorenzl, with gilt metal lamp base fitting, modelled modelled wearing flowing pink dress, confidently striding, on stepped hexagonal base, glazed in colours impressed factory marks and Lorenzl signature, small chips to base figure 27cm. high £800-1,200

404. A large Rambervillers Ecole de Nancy model of an owl designed by Jack Gruber, modelled seated on a tree stump, covered in a green lustre glaze impressed marks, chip to ear, 46cm. high £100-150 Provenance The Geoffrey Godden Reference Collection.

405. A Royal Copenhagen Fajance cylinder vase by LB, model no.797/3101, painted with panels of stylised heads in black and tan, highlighted in yellow on a cream ground, and another Royal Copenhagen Fajance vase model 233/3101 printed and painted marks, 35.5cm. high. (2) £150-200

402

403

406. An Italian Pottery figure of a Siren possibly Essevi, the siren modelled resting with a fish on her lap and one leaping behind her, glazed in colours painted EB Milano 128, 40cm. wide £300-500

404

405

406

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407. An Aesthetic Movement ebonised wood table after a design by E.W.Godwin, the square section top on four turned wood legs, supporting square shelf and dowel decoration, unsigned 76.5cm. high, 45cm square top. £50-100 408. An ebonised wood ‘Sussex’ settle, in the manner of Morris & Co, with turned ebonised wood spindle back and arms, strung seat 114cm. wide. £300-500 409. An English Art Deco burr walnut veneer bureau, with satin birch interior, bakelite handles and chromed metal fittings, 100cm. high, 71cm wide. £250-350 Provenance Leslie Gooday OBE

407 408

410. An ebonised wood piano stool, double width, with hinged seat, the seat with faux shagreen covering, 107cm wide. £120-180 Provenance Leslie Gooday OBE 411. A HK furniture two seat settee designed by Howard Keith, chromed metal frame with padded seats and arms, and a HK Furniture revolving armchair designed by Howard Keith applied manufacturer’s label to settee 172cm wide, 79cm. high. (2) £150-250

410

412. A Gordon Russell R411 two door birch sideboard designed by W.H Russell, the cupboards and drawers routed with oval and circle design, and a Gordon Russell R.423 American Black Walnut sideboard, 1963, designed by W.H. Russell FSIA, applied labels 114cm. high, 122cm wide. (2) £200-400

409

Literature Lesley Jackson Modern British Furniture, page 113 plate 119 for this sideboard design illustrated in a room setting.

411

412

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413

414 413. A pair of W.M.F electroplated metal candlesticks, each modelled as an Art Nouveau maiden, offering up a large urn sconce and flowing drape, on pierced stepped base on bun feet, a Phillip Ashberry & Sons electroplated dolphin centrepiece with glass bowl, a WMF coaster, mug with glass liner and an Art Nouveau electroplated cigar box with cedar lining stamped marks, candlesticks 25.5cm. high, (7). £200-400

415

414. ‘Autumn’ and ‘Winter’ a pair of Aesthetic Movement painted wooden panels, each depicting a female portrait roundel, inside foliate panel border and title, in colours on a gold ground unsigned 24.5cm. square. (2) £150-250 415. ‘Centaurs’ an Edinburgh Weavers jacquard woven cotton and linen designed by Alan Jarvis, 252 x 105cm £100-200

417

Literature Lesley Jackson Edinburgh Weavers, V&A Publishing, page 260 plate 457 for a comparable example. Provenance The part contents of a Wiltshire Rectory. 416. A W.A.S Benson brass table or wall light, on tripod foot, with articulated stem, with opaque glass shade stamped WAS Benson to foot 39cm. high £400-600

416

417. A Walker & Hall electroplated sugar basin and shovel designed by Dr Christopher Dresser, model no.119, the shovel with ebonised wood handle, and an electroplated tureen and cover with ivory finial in the manner of Dr Christopher Dresser stamped marks, basin 16.5cm. wide (2). £200-400

418

419

418. A Hukin & Heath electroplated letter rack designed by Dr Christopher Dresser, model no. 2555, the arched support on four bun feet with articulated rod and ball dividers and central handle, stamped marks, 12.5cm. high £300-400 Literature Michael Whiteway Christopher Dresser 1834-1905 Skira page 84 figure 59 for a comparable. 419. A Britain’s Ltd cold painted lead zoo, comprising four palm trees and a 134 animals and birds including; elephants, giraffe, monkeys, snakes, swans, penguins, Lions, kangaroo, pelican, flamingo, bears, polar bears, gnu, cast copyright marks, 12cm. wide (largest elephant), (approx 138) £150-250

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420

421

422

420. A Charles Horner silver and enamel brooch, cast in low relief and enamelled in shades of blue and green stamped marks, Chester 1909, 2cm wide £120-180

423

421. An Art Nouveau Smith & Ewen silver and enamel pendant, cast in low relief with fleur de lys panels and foliate motif, enamelled in shades of green and mustard yellow, highlighted with blue, with blue enamelled drop stamped marks, Birmingham £150-200 1908, 2.5cm. high

424 422. A Smith and Ewen silver and enamel pendant, pierced square section cast in low relief with a flower motif, enamelled sky blue stamped marks, Birmingham 1909 2.5cm. wide £120-180 423. An Arts and Crafts white metal and enamel pendant , set with abelone shell and natural pearl drop unmarked 6.5cm. wide £120-180 424. A Murrle Bennett silver and enamel link bracelet, cast in low relief with a viking longboat at full sail, enamelled in shades of blue stamped mark and 950 18.5cm. long £200-300 425. An Art Nouveau Smith & Ewen silver and enamel pendant, cast in low relief, enamelled in shades of purple and green, with green enamelled drop stamped marks, Birmingham 2.5cm. long £150-200

425

426

426. An Art Deco Egyptian Revival Goldman & Kolber silver and plique a jour enamel pendant, modelled as an eagle wings outstretched, enamelled in purple and green, set with blue paste stones stamped £200-300 marks, GK 4.5cm. wide 427. A Gourdel Vales & Co silver and enamel brooch, pierced heart form with hammered finish, enamelled in green and blue stamped marks, Birmingham 1907, 2.8cm. wide £120-180 428. A John Atkins & Sons silver and enamel brooch, modelled as a butterfly, enamelled pink with green highlights cast £120-180 marks, 3.5cm. wide

427

428

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429. An Arts and Crafts ring possibly Murrle Bennett, cast with foliate panels and a central mother of pearl stone unsigned £100-150

429

430

430. A Liberty & Co Cymric silver brooch designed by Archibald Knox, model no.1199, pierced and cast in low relief with two entwined foliage stems stamped marks, 4.5cm. wide £150-250 Literature Stephen A. Martin Archibald Knox, ARTMEDIA, page 267 top left illustration for an example with blue enamel.

431

431. A pair of Georg Jensen Acorn pattern silver sugar tongs, stamped marks 10.5cm. long £50-100

432. John Hall Thorpe (1874-1947) Primroses in a vase and Primula in a vase two wood block prints on paper, framed signed in pencil, 16.5 x 15cm. (image), (2) £200-300

100

432

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433

434

435

436

433. ‘Monaco - Monte Carlo’ a modern lithographic printed poster after a design by Alphonse Mucha, authorised by Jiri Mucha, framed, signed in pencil and numbered 230/350,, 57 x 39cm (image) £1,000-1,500 Literature Ann Bridges Alphonse Mucha The Complete Graphic Works page 59 catalogue A21 for the original design illustrated. 434. ‘Sitra’ an off-set lithograph by Alphonse Mucha, 1900, framed signed in the print 19 x 7cm (image) £120-180 435. ‘Madonna with Child’ a colour heliogravure on paper by Alphonse Mucha, 1919, framed, 15 x 10.5cm. £150-200

437

436. ‘Kapitola III’ a colour lithograph by Alphonse Mucha, 1897, framed, 19.5 x 15cm (image) £150-200 437. ‘Ilsea’ four colour lithograph prints on paper by Alphonse Mucha, 1897, framed, signed in the print 29 x 20cm (sheet) £300-500 438. ‘Clio’ thirteen lithographs by Alphonse Mucha, 1899, with hand gilding, individually framed signed in the print 12 x 8cm. £500-1,000 Literature Ann Bridges Alphonse Mucha The Complete Graphic Works, page 168 catalogue L.25 439. ‘Slavia’ a colour heliogravure print by Alphonse Mucha, 1919, framed, and ‘The Feast of Svantovit on Rgen Island’ by Alphonse Mucha, 22 x 14cm. £120-180

438

439

101

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440

441

WALT DISNEY ARTWORK 440. The Sorcerer’s Apprentice - Fantasia (Mickey Mouse the young apprentice to Yen Sid chops the broom in half), 1940 a Walt Disney concept drawing on paper under celluloid, annotated lower left, 20 x 14.5cm. (image) £500-1,000 441. The Sorcerer’s Apprentice - Fantasia (Broom climbing the stairs), 1940 a Walt Disney celluloid mounted concept drawing on card annotated image 16.5 x 12cm. £500-1,000 442. The Sorcerer’s Apprentice - Fantasia (Brooms filling the cauldron), 1940 a Walt Disney concept drawing on paper, under celluloid annotated in pencil 21.5 x 16cm. (image) £500-1,000 443. The Sorcerer’s Apprentice - Fantasia (Hop Low with Dancing Mushrooms), 1940 a Walt Disney concept drawing on black paper under celluloid, 26.5 x 20cm. (image) £500-1,000

442

102

443

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445

444 444. Bambi (a deer and her foal in the forest) a Walt Disney concept drawing on paper under celluloid stamped Discard lower right 26.5 x 20cm. £200-300

445. Bambi (a deer and her foal in the forest) a Walt Disney concept drawing on paper under celluloid stamped Discard lower right 26.5 x 20cm £200-300

446

447

448

449

446. Bambi (two Deer) a Walt Disney original pencil drawing on paper under celluloid 19.5 x 15cm (image) £200-300

447. Bambi (herd of deer in an autumnal forest) a Walt Disney concept drawing on paper under celluloid stamped Discard lower right 26.5 x 20cm £200-300

448. Flower the skunk (asleep) a Walt Disney drawing on paper under celluloid, 19.5 x 15cm (image) £200-300

449. Flower the skunk (hiding amongst flowers) a Walt Disney pencil on paper under celluloid, possibly by Bill Justice, annotated 5 to the lower border 24 x 20cm. (image) £200-300

450. Clown fishing in a wooden pale a Walt Disney drawing on paper under celluloid, 18 x 14cm. £200-300

END OF SALE

450

103

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English & European Ceramics & Glass Tuesday 24th November

ENQUIRIES Clare Durham Tel: +44 (0)1722 424507 claredurham@woolleyandwallis.co.uk

Three Thomas Webb & Co (Stourbridge) cameo glass scent bottles. Estimates between £800 - £3,000

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20th Century Design 2016 Sale Calendar

20th April Clarice Cliff, Art Deco & 20th Century Design Closing date for entries 17th February 22nd June Arts and Crafts Closing date for entries 27th April 19th October 20th Century Design Closing date for entries 24th August 30th November British Art Pottery Closing date for entries 5th October.

ENQUIRIES Michael Jeffery Tel: +44 (0)1722 424505 michaeljeffery@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 Salisbury Salerooms 51 – 61 Castle Street SP1 3SU

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LONDON, ANDOVER & WINCHESTER

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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

WOOLLEY & WALLIS Salisbury Salerooms

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

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

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

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WOO L LE Y & WA L LI S Absentee Bid Form

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

British Art Pottery

Brief Decription

Price Excluding buyer’s premium & VAT

25th November 2015 Please bid, on my behalf, for the undermentioned lots up to the prices shown which do not include the buyer’s premium or any V.A.T. payable on lots. These bids are to be executed as cheaply as is permitted by other bids, and/or reserves if any, and subject to the Conditions of Sale printed in the Catalogue. Please note we cannot guarantee that bids received after 4pm on the day prior to the auction will be executed. Billing Name (please print)

Address

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

Signature

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

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www.woolleyandwallis.co.uk

AUCTION CALENDAR ASIAN ART 17th & 18th November 18th & 19th May John Axford +44 (0) 1722 424506 • johnaxford@woolleyandwallis.co.uk Sophie Lister +44 (0) 1722 424591 • sophielister@woolleyandwallis.co.uk ENGLISH & EUROPEAN CERAMICS & GLASS 24th November 23rd February – Fine Porcelain & Pottery Clare Durham +44 (0) 1722 424507 • claredurham@woolleyandwallis.co.uk PAINTINGS 9th December –

Part I - 20th Century & Contemporary Art Part II – Fine Old Masters & 19th Century Paintings Part III – Works on paper from the Collection of Henry Rogers Broughton, second Baron Fairhaven (1900-1973) 16th March – Oils, Watercolours, Prints & Miniatures Victor Fauvelle +44 (0) 1722 424503 • victorfauvelle@woolleyandwallis.co.uk Jo Butler +44 (0) 1722 424592 • jobutler@woolleyandwallis.co.uk FURNITURE, WORKS OF ART & CLOCKS 7th January 6th April Mark Richards +44 (0) 1722 411854 • markrichards@woolleyandwallis.co.uk SILVER 19th & 20th January – Silver, Vertu, Coins & Medals 27th April – Fine Silver & Objects of Vertu Rupert Slingsby +44 (0) 1722 424501 • rupertslingsby@woolleyandwallis.co.uk Lucy Chalmers +44 (0) 1722 424594 • lucychalmers@woolleyandwallis.co.uk JEWELLERY 21st January 28th April Jonathan Edwards +44 (0) 1722 424504 • jonathanedwards@woolleyandwallis.co.uk Marielle Whiting +44 (0) 1722 424595 • mariellewhiting@woolleyandwallis.co.uk TRIBAL ART & ANTIQUITIES 9th February Will Hobbs +44 (0) 1722 339752 • willhobbs@woolleyandwallis.co.uk ARMS & ARMOUR 6th April Will Hobbs +44 (0) 1722 339752 • willhobbs@woolleyandwallis.co.uk ®

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Paper from responsible sources www.fsc.org

FSC® C014531

20TH CENTURY DESIGN 25th November – British Art Pottery 20th April – Clarice Cliff, Art Deco & 20th Century Design Michael Jeffery +44 (0) 1722 424505 • michaeljeffery@woolleyandwallis.co.uk