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

Arts & Crafts

Wednesday 19th June 2019

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Specialist Departments Please dial +44 (0)1722 followed by the number listed below 20TH CENTURY DESIGN Michael Jeffery Zoe Smith ASIAN ART John Axford MRICS ASFAV Jeremy Morgan Amber Lees Sarah Lopez-Ferreiro

424505 446955

424506 +44 (0)7812 601098 424571 424591

CHINESE PAINTINGS & CALLIGRAPHY Freya Yuan-Richards Amber Lees

424589 424571

ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham

424507

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

411854 339161 446974

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

424509 424598

MARKETING Sally Trench Megan Corbett

446959 446960

ACCOUNTS Janice Clift (Office Manager)

424500

GENERAL OFFICE Sharon Ringwood Pauline Jones Nicola Young Ruth Pike Madeleine White

424500

SALEROOM MANAGER David Jordan

424500

CASTLE GATE MANAGER Matt Hill

JAPANESE ART Alexandra Aguilar Sarah Lopez-Ferreiro

424583 424591

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

424595 424504 424586

MEDALS & COINS, ARMS & ARMOUR Ned Cowell Zoe Cordey

341469 446980

PAINTINGS Victor Fauvelle

446961

SILVER Rupert Slingsby Lucy Chalmers

424501 424594

TRIBAL ART & ANTIQUITIES Will Hobbs Zoe Cordey

339752 446980

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

SOCIETY OF FINE ART AUCTIONEERS AND VALUERS

Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Tel: 01722 424500 • Fax: 01722 424508 • www.woolleyandwallis.co.uk

FRICS FRSA

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ARTS & CRAFTS

Wednesday 19th June 2019 at 10.30am at our Castle Street Salerooms, SP1 3SU VIEWING TIMES Saturday 15th June Monday 17th June Tuesday 18th June Wednesday 19th June

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

ENQUIRIES LIVE BIDDING PLEASE NOTE, WE NOW OFFER OUR OWN LIVE ONLINE BIDDING SERVICE, FREE OF CHARGE.

Michael Jeffery 01722 424505 mj@woolleyandwallis.co.uk

LIVE bid.woolleyandwallis.co.uk Please register by 5pm on Tuesday 18th June.

Zoe Smith 01722 446955 zs@woolleyandwallis.co.uk

BUYER’S PREMIUM Each lot is subject to a Buyer’s Premium of 25% plus VAT TELEPHONE BIDDING Please note that requests for telephone bids cannot be accepted after 5pm on Tuesday 18th June. CONDITION OF LOTS Buyers are advised to obtain a full condition report prior to bidding, as descriptions do not necessarily list all faults. COLLECTION OF LOTS Please note that all lots will be cleared from the saleroom back to Castle Gate on Monday 24th June. If you are collecting items on or after this date please contact the department to arrange in advance. Thereafter, collection will be from our new Castle Gate Office Unit 1B Castle Gate Business Park, Old Sarum, Salisbury SP4 6QX. Our Castle Gate address details and map are at the back of this catalogue. All accounts to be settled prior to collection. Payment is still made at Castle Street.

ILLUSTRATIONS Front cover: Lots 78 & 263 Back cover: Lot 373 Inside front cover: Lot 326 Catalogue £12.00 (£15.00 by post)

ARTIST’S RESALE RIGHT / DROIT DE SUITE Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Lots marked with a ‡ symbol which sell for more than 1000 are subject to the levy, payable by the bidder. Please refer to page 145 for full details.

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

GLASS 1. A patinated metal and vaseline glass lantern, modelled with flower terminals, the flaring vaseline glass shade with fluted rim, probably James Powell & Sons, Whitefriars unsigned, 39.5cm. high (2) £300-500 2. A leaded glass hall lantern, flaring verdi-gris copper frame with shallow domed top, the leaded glass panels with foliate motif in red and amber glass unsigned, 34cm. high £150-200 1

3. Twelve stained glass quarries, rectangular, each painted with a grotesque fish, animal, bird or insect in modern ebonised wood frame, unsigned, 36 x 32.5cm. (total) £120-180 Provenance The John Scott Collection Volume 6 A Christmas Spectacular, The Fine Art Society, December 2014, page 10 catalogue number 12. 4. A pair of Aesthetic Movement stained glass panels, diamond shaped, painted with an anthropomorphic bird, one perched on one leg resting by bull rushes before the rising sun, the other the bird standing with a fish in its bill, beside bull rushes before the setting sun, inside coloured leaded glass border with pink and green cut glass jewels, 43cm. high, 40cm wide £300-500

5. An Aesthetic Movement stained glass roundel, painted with an anthropomorphic crane bird standing on a river bank with a fish caught in its bill, a river in the background, amidst long rushes, inside red and clear glass borders, and two painted glass allegorical portrait roundels titled Autumn and Winter, 28cm. diam. (3) £250-300 4

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6. The Industrial Exhibition for 1851 an amber flashed glass vase, urn shaped acid etched with the Crystal Palace, inscription and fruiting vine, a Regency cut glass jug, a tall Aesthetic Movement water jug and six various Greene & Nephew glass items unsigned 15cm. high (9) £150-250

7. A John Walsh Walsh cut clear glass fan vase, the fluted fan shape body with applied green glass teardrops cut with feather motif and panels to the top rim, on slender green glass stem and flaring, circular foot, unsigned, 26cm. high £180-220 8. A W.H.B. & J. Richardson’s vitrified Water Lily enamelled glass goblet, the bowl enamelled with a frieze of water-lily flowers and pad foliage, the foot with berried vine foliage, acid-etched mark and regd diamond, 17cm. high. £150-250 Literature Paul Reeves: An Eye for Design, Lyon & Turnbull, 14th February 2019 lot 6 for a pair of comparable goblets and a water jug 9. A Thomas Webb and Sons Filamentosa glass vase, ovoid with tall swollen neck and everted pulled rim, clear glass with opalescent rims internally decorated with brown and opalescent threaded lines, and two other Webb’s Filamentosa vases unsigned, 20.5cm. high (tallest) (3) £150-200

10. A Thomas Webb and Sons Bronze glass vase designed by Dr Christopher Dresser, ovoid with tapering neck, the neck applied with face features unsigned, 24cm. high £300-400 11. A Thomas Webb and Sons Bronze glass vase, ovoid on applied foot, applied with two lug ‘ear’ handles, aubergine glass with iridescent surface finish, unsigned, 17.5cm. high £150-200

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

12. A rare and tall James Couper and Sons Clutha glass Propeller vase designed by Dr Christopher Dresser, the twisted green and pink striated glass with white swirling striations and gold inclusions, everted, fluted top rim, acid etched Liberty Lotus flower mark to base, 28.5cm. high ÂŁ4,000-6,000 Literature Masterpieces of the John Scott Collection, Volume 1, Fine Art Society, 2004, page 23 catalogue number 6 for a comparable example illustrated. Christopher Dresser (1834-1904), Richard Dennis/John Jesse at the Fine Art Society, catalogue number 112 for a comparable but unsigned piece illustrated. Provenance Private collection.

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13. A James Couper and Sons Clutha glass Propeller vase designed by Dr Christopher Dresser, twisted form with everted flat top rim, pale green glass with aventuring inclusions and white swirls, unsigned, 23cm. high £300-500 Literature Michael Whiteway Christopher Dresser A Design Revolution, V&A Exhibition catalogue, page 208 plate 278 for a comparable example from The Birkenhead Collection. This design was also illustrated in Liberty’s catalogues circa 1908 available in four sizes from 9 to 16 inches.

14. A James Couper and Sons Clutha glass vase designed by Dr Christopher Dresser, compressed ovoid body with tall waisted cylindrical neck with knop, streaked green glass with air bubble inclusions and aventurine, unsigned, 38cm. high £400-600 Literature The John Scott Collection Volume 5 The Fine Art Society, catalogue number 181.

15. A Medieval Revival clear glass candlestick in the manner of James Powell and Sons, the knopped stem with applied rigoree band, the sconce and foot rim with applied glass beads unsigned, 28cm. high £80-120

16. A set of eight James Powell and Sons Whitefriars glass Lotus sherry glasses designed by Harry J. Powell, each engraved with a £500-1,000 frieze of Lotus flowers, unsigned, 11.5cm. high (8) Literature Wendy Evans, Catherine Ross & Alex Werner, Whitefriars Glass James Powell & Sons of London, Museum of London, page 81 plate 82 for an illustration of the Lotus or Water-lily design which according to Harry Powell was designed in the 1890s for the Prince of Siam, who visited England in 1897. Lesley Jackson Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications, page 32 figure 85 for a finger bowl in this design.

17. A James Powell and Sons Whitefriars glass service designed by Thomas G Jackson, after a design by Phillip Webb, dark green glass with swollen bowl on shouldered stem, comprising twelve red wine glass and twelve white wine glasses unsigned, 14.5cm. high (red), 12.5cm. high (white), (24) £400-500 Literature Lesley Jackson, Whitefriars Glass the Art of James Powell & Sons, Richard Dennis, page 97 plate 5 for comparable examples illustrated. The John Scott Collection - James Powell & Sons Whitefriars Glass 1860-1960, The Fine Art Society, 2014, page 11 catalogue number 12 for a comparable form illustrated.

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

18. A James Powell and Sons Whitefriars Roman Cut glass dessert service designed by Harry Powell, comprising pedestal serving bowl and six side bowls, each cut with bands of lens unsigned, 15.2cm. high (pedestal bowl), (7) ÂŁ300-400 Literature Lesley Jackson Whitefriars Glass the Art of James Powell & Sons, Richard Dennis, page 103 plate 28 for a side bowl illustrated. 19. A James Powell and Sons Whitefriars Roman Cut glass service designed by Harry Powell, comprising pear-shaped decanter and stopper, four red wine glasses, six white wine glasses, four sherry glasses and four liquer glasses, 12.5cm. high (red wine glasses), (20) ÂŁ400-600 Literature Lesley Jackson, Whitefriars Glass the Art of James Powell & Sons, Richard Dennis, page 103 plate 28 for examples of this service illustrated. Wendy Evans, Catherine Ross and Alex Werner, Whitefriars Glass James Powell & Sons of London, Museum of London, page 77 figure 76 for similar examples illustrated. 17

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20. A James Powell and Sons Whitefriars Straw Opal glass tazza probably designed by Harry Powell, the fluted flat bowl on twisted, swollen stem and flat foot, unsigned, 19.5cm. diam, £350-450

21. A James Powell and Sons Whitefriars Straw Opal glass vase, the ovoid bowl with inverted pulled rim on knopped, slender stem with twist base and flat, circular foot unsigned 23cm. high £300-500 20 22. A James Powell and Sons Whitefriars Alsatian blue glass goblet vase designed by Harry Powell, flaring diamond-moulded bowl on stem with embedded gold knop and flaring foot, unsigned 21.3cm. high £500-600 Literature Wendy Evans, Catherine Ross and Alex Werner, Whitefriars Glass James Powell & Sons of London, Museum of London, page 54 figure 47 for a comparable goblet vase in Alsatian blue, illustrated.

23. A James Powell and Sons Whitefriars glass goblet vase probably designed by Harry Powell, the tapering clear glass bowl with green tint, on twisted, embedded gold knop stem and flat, circular foot, unsigned, 23cm. high £600-800 Literature Lesley Jackson, Whitefriars Glass the Art of James Powell & Sons, Richard Dennis, page 104 plate 33 for comparable forms illustrated.

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

24 24. A James Powell and Sons Whitefriars glass inkwell with silver cover probably designed by Harry Powell, the spherical inkwell of thick clear glass internally decorated with blue and white swirls and silver inclusions, the silver low conical cover with four radiating panels and ball finial, hammered finish, stamed marks, JP & Ss, London 1906, 9.5cm. high, (2) £1,000-1,500 25. A James Powell and Sons Whitefriars goblet probably designed by Harry Powell, the flaring bowl with amber melted threads, the knopped stem with embedded gold inclusions, on flaring flat foot with amber melted threads unsigned, 21cm. high £150-200 Literature The Studio, 1907, this design illustrated, reproduced in The Studio Decorative Art 1900-1910s, page 333. Lesley Jackson Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications, page 113 plate 76 for comparable goblets with embedded gold knops designed by Harry J Powell probably between 1905-1919.

Catalogue notes The melted threads relate to the Minerbi range of glass tableware designed by Harry Powell and produced by James Powell & Sons in 1906 as a 400 piece service for Count Lionel Minerbi. Provenance Private collection. 26. A rare James Powell and Sons Whitefriars Sea Green glass vase designed by Harry J. Powell, with pulled dark green melted threads, engraved with dragonflies, with applied blue glass eyes, engraved inscription Hodie non Cras, (today tomorrow), unsigned, 13cm. high £600-900 Literature Lesley Jackson, Whitefriars Glass the Art of James Powell & Sons, Richard Dennis/Manchester City Art Galleries, page 108 plate 47 and 48 for comparable examples of Powell glass illustrated. Catalogue notes The original design for this vase is included in Harry J. Powell’s undated sketchbooks on page 70 and 76, held in the Museum of London collection. Although the sketchbooks are undated the vase possibly dates from circa 1903 and exhibited at The Arts and Crafts Exhibition Society, New Gallery 121 Regent’s Street, London in 1903 where several example of Harry Powell’s designs were exhibited by James Powell & Sons, Whitefriars. Eight pieces were exhibited and listed as made by Mr Smith (master blower) and Mr Hillebaur (engraver). Woolley and Wallis would like to thank Alex Werner for his help in cataloguing this vase.

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CONTINENTAL GLASS 27. A glass figure of a naked dancing woman by Istvan Komanromy, in the manner of the Bimini Workshops, opaque white glass modelled standing on one leg, her arms thrust backwards and head forwards, standing on an ovoid clear spherical base with aubergine stripes, unsigned 16cm. high £120-180

28. A Meyer’s Neff etched glass vase designed by Michael Powolny, the goblet bowl etched with a young Bacchanalian boy carrying a large bunch of grapes on his back, the reverse with smaller bunches of grapes, on bell shaped feet with cut elliptical border, unsigned, 27.5cm. high £300-400

29. A Loetz glass vase with applied handles, tapering cylindrical form with inverted top rim, applied with three double loop handles to the shoulder, covered in a rich golden iridescence, unsigned, 10cm. high £1,000-1,500

30. A Loetz Candia Papillon glass shell vase, on applied foot, modelled as a shell, golden-orange iridescent glass unsigned, 15.5cm. high £300-400

31. A Loetz Papillon glass vase, dimpled ovoid body with pulled tri-lobed neck, green glass with blue and green iridescent surface finish, unsigned, 18cm. high £300-400

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

32. An Art Nouveau Loetz silver mounted Metallin glass vase, cylindrical blue glass with inverted rim, overlaid with silver flag iris on scrolling foliage unsigned, 22cm. high £1,000-1,500 33. A Loetz Phaenomen pewter mounted glass vase, the shouldered glass body with dimples and flaring rim, pale pink glass with blue iridescent trails and golden iridescent splashes, in simple pewter three handled mount with cast berry frieze unsigned, 18.5cm. high £800-1,200 34. A large Loetz Phaenomen glass vase, swollen cylindrical form with pinched quattro lobed neck, covered in a splashed iridescence unsigned, 31.5cm. high £800-1,200 Literature Hatje Cantz Loetz Bohemian Glass 1880-1940, Neue Gallerie, page 298 B.66 for a comparable Phanomen piece

35. A Loetz Goldiris glass vase, tall ribbed form with everted top rim, covered in a golden green iridescence unsigned, 29cm. high £600-800 36. A Loetz glass vase after a design by Dr Christopher Dresser, compressed ovoid body with cylindrical neck and everted disc top rim, covered in a green iridescence unsigned, 20cm. high £300-400 Literature C.Dresser Ph.D Dan Klein, 1981, front cover illustration of a comparable form made by James Couper & Sons to a design by Dr Christopher Dresser. 37. A Loetz Papillon glass vase, tall, shouldered cylindrical form with twist to body, green glass with green and gold iridescent surface finish unsigned, 24cm. high £300-400

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

MARTIN BROTHERS POTTERY 38. A monumental Martin Brothers stoneware Aquatic vase by Walter and Edwin Martin, dated 1895, incised with a frieze of scaly fish, eels and star fish swimming amongst waterweed incised Martin Bros London & Southall, 67cm. high £2,000-3,000 Provenance The Harriman Judd Collection - British Art Pottery Part 2, Sotheby’s New York, 6th October 2001, page 32 lot 104 Sinai & Sons. Private collection.

39. An early Martin Brothers stoneware vase by Robert Wallace Martin, ovoid with flaring rim, on carved foliage foot, incised with bands of stylised flowers and foliage in blue, brown and ochre, incised 152 R W Martin, London 3 77, 18cm. high £300-500

40. A Martin Brothers stoneware solifleur vase by Edwin & Walter Martin, dated 1894, ovoid with waisted neck, painted with scrolling flower stems in brown on a cream ground, incised 4-1894 Martin Bros London & Southall, 11cm. high £150-200

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41. A Martin Brothers stoneware vase by Edwin and Walter Martin, dated 1904, tapering square section on four pad feet, incised and painted with sprays of blossom in blue and ochre on a tan ground incised 3-1904 Martin Bros London and Southall, 9.8cm. high £250-350

42. A Martin Brothers stoneware vase by Edwin and Walter Martin, dated 1899, tapering cylindrical form, painted with a pair of finches flying amongst blossom and grasses, in shades of blue, brown and white on a buff ground incised 11-99 Martin Bros London & Southall, hairline to top rim, 11.5cm. high £250-300

43. A Martin Brothers stoneware miniature vase by Edwin and Walter Martin, dated 1902, shouldered ovoid form, painted with finches flying above clumps of grasses in brown and white on a tan ground incised marks concealed by Richard Dennis Exhibition paper label, 7cm. high £1,000-1,500 Provenance The Martin Brothers Pottery Exhibition, Richard Dennis Gallery, 1978 catalogue number 627. Literature Malcolm Haslam The Martin Brothers Potters, Richard Dennis, this actual vase illustrated on the front cover.

44. A Martin Brothers stoneware miniature vase by Edwin and Walter Martin, dated 1903, ovoid incised with scrolling flowers and foliage in brown on a buff ground, highlighted with white and blue incised 12-1903 Martin Bros London 5.5cm. high £400-600

45. A Martin Brothers stoneware miniature vase, dated 1902, ovoid form painted with a bird flying above grasses, in ochre on a buff ground incised 111902 Martin Bros London, 4.5cm. high £500-800 Provenance The Martin Brothers Pottery Exhibition, Richard Dennis Gallery 1978, catalogue number 429 (by repute)

46. A Martin Brothers stoneware miniature vase, dated 1902, ovoid form painted with a bird flying above grasses, in ochre on a buff ground incised 111902 Martin Bros London under exhibition paper label, 5cm. high £600-800 Provenance The Martin Brothers Pottery Exhibition, Richard Dennis Gallery 1978, catalogue number 428.

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

47. A Martin Brothers stoneware Barrister face jug by Robert Wallace Martin, modelled and incised with a smiling barrister on one side, the other with a grimacing face, glazed grey and mottled olive incised R W Martin & Bros, London & Southall, 17cm. high ÂŁ4,000-6,000 Provenance The Martin Brothers Potters Woolley and Wallis Auctioneerâ&#x20AC;&#x2122;s 24th October 2007, lot 32. Private collection.

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49 48. A Martin Brothers stoneware vase by Edwin and Walter Martin, dated 1899, shouldered form incised and painted with finches perched and flying amongst fruiting blackberry sprays, one finch about to catch a fly resting on a stem, in ochre and tan on a blue ground incised 9-1899 Martin Bros London & Southall, 24cm. high £1,500-2,000 Provenance Sidney Greenslade Reverend William Webb The Martin Brothers Pottery, Richard Dennis Gallery, 1978, catalogue number 369 (loan) British Art Pottery, Woolley and Wallis Auctioneers, 25th November 2015 lot 72. Private collection Literature Malcolm Haslam The Martin Brothers Potters, Richard Dennis, page 158 figure 255 this actual vase illustrated. 49. A Martin Brothers stoneware vase by Robert Wallace Martin, dated 1889, shouldered form, incised with finch birds perched and flying amongst fruiting and flowering blackberry stems, above wild flowers, in shades of blue, green and brown on a buff ground, highlighted with white incised 2-1889 R W Martin & Bros London & Southall, small firing fault to top rim, 22.5cm. high £1,500-2,000 Provenance Malcolm Haslam The Martin Brothers Potters Richard Dennis page 74 figure 88 this vase illustrated. Private collection.

50. A Martin Brothers stoneware vase by Edwin and Walter Martin, dated 1892, shouldered square section, incised and painted with tiger lily sprays, in white and ochre on a brown ground incised 31892 Martin Bros London & Southall, firing crack to base, 22.5cm. high £700-900

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

51 51. A Martin Brothers stoneware vase by Edwin and Walter Martin, dated 1907, shouldered form with pushed out opium poppy seed heads, incised stems and foliage in shades of mushroom and ochre on a tan ground incised 2-1907 Martin Bros London & Southall, paper collection labels, 25cm. high £2,000-3,000 Provenance Rhys Morgan Collection of Martinware, Worthing Museum and Art Gallery 8th February-5th April 2003. The Martin Brothers Potters, Woolley and Wallis Auctioneers, 24th October 2006 lot 71. Private collection. 52. An unusual Martin Brothers stoneware Dragonfly vase by Edwin and Walter Martin, dated 1896, slender form, incised and painted with dragonflies flying amongst ornamental grasses, incised 101896 Martin Bros London & Southall, repaired damages, 19.5cm. high £500-800 53. A tall pair of Martin Brothers stoneware Bird vases by Robert Wallace Martin, dated 1887, slender, shouldered form, incised with flying cranes over rushes and iris stems, one crane standing have caught a fish in its beak, glazed in shades of brown, highlighted with white on a buff ground, the cylindrical necks with scroll foliage pattern, incised 4-1887 R W Martin & Bros, London & Southall repaired £1,000-1,500 damages to necks, 35.5cm. high, (2) Provenance British Art Pottery, Woolley and Wallis Auctioneer’s 25th November 2009 lot 14. Private collection.

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54. A Martin Brothers stoneware Bird vase by Edwin and Walter Martin, dated 1892, shouldered form, incised with a frieze of two grotesque birds amongst grasses, bull-rush and a large flag iris, one of the birds with a snake in its beak, insects, birds and butterflies flying past, in shades of brown, blue and green on a buff ground incised 2-1892, Martin Brothers London & Southall, 20cm. high ÂŁ1,500-2,000

54 two views

55. A pair of Martin Brothers stoneware Bird vases by Edwin and Walter Martin, dated 1892, slender, shouldered form, each incised with grotesque wading birds standing amongst rushes and iris flowers on the riverbank whilst other birds and ducks fly past, the shoulder with may fly and insects flying, in shades of brown, blue and ochre, highlighted with white, incised 11-1892 Martin Bros London & Southall, fine hairline to body of one, ÂŁ3,500-4,500 24cm. high, (2)

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

56. A fine Martin Brothers stoneware Bird vase by Edwin and Walter Martin, dated 1904, swollen square section, modelled in low relief to each side with a grotesque bird standing amongst grasses, glazed in shades of green, brown and ochre on a cream ground incised 1-1- 1904, Martin Bros, London & Southall, 24cm. high ÂŁ6,000-8,000

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57. A Martin Brothers stoneware Aquatic vase, dated 1885, ovoid with tall cylindrical neck, the neck painted with birds flying past foliate boughs, the body with an underwater scene of fish swimming amongst waterweed, in green and brown on a buff ground, highlighted with white incised 1-85 Martin Brothers London & Southall 11cm. high £600-800 Provenance Decorative Arts Phillips Auctioneer’s 29th October 1981. Private collection.

58. A Martin Brothers stoneware Aquatic vase by Edwin and Walter Martin, dated 1913, slender shouldered cylindrical form, finely incised scaly grotesque fish swimming amongst jelly fish, glazed in blue, green and ochre on a buff ground, on carved ebonised wooden stand, incised 4-1913 Martin Bros, London & Southall, 12.5cm. high, (2) £1,500-2,000

59. A Martin Brothers stoneware miniature Aquatic jug by Edwin and Walter Martin, the ovoid body painted with fish swimming, in blue and ochre on a buff ground, highlighted with white incised Martin Bros London to base, 7cm. high £800-1,200 Literature Geoffrey Godden British Pottery and Porcelain, Herbert Jenkins, page 215 plate 377 this jug illustrated.

60. A rare Martin Brothers stoneware Aquatic miniature jug, slender, swollen form with pushed out fish, in shades of green and ochre on a mottled blue and buff ground incised Martin Bros London, 8cm. high £1,200-1,800 59

60 61. A Martin Brothers stoneware miniature Aquatic vase by Edwin and Walter Martin, dated 1913, tapering square section with loop handles to shoulder, incised and painted with a shoal of fish in brown on a blue ground incised 7-1913 Martin Bros London & Southall, repaired damages, 8cm. high £300-500

62. A Martin Brothers miniature stoneware Aquatic vase by Edwin and Walter Martin, dated 1913, square section with twisted neck, incised and painted with a shoal of fish, in green on a blue ground, incised marks under Richard Dennis exhibition label, 8cm. high £800-1,200 Provenance The Martin Brothers Pottery Richard Dennis Gallery, 1978 catalogue number 606.

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

63. A Martin Brothers stoneware Aquatic vase by Edwin and Walter Martin, dated 1899, the flat-flask shaped vase incised with scaly fish swimming amongst waterweed to all sides, one side panel with three jelly fish, glazed in shades of green, brown and blue on a buff ground, highlighted in white incised 1-1899 Martin Bros London & Southall, 19cm. high £2,000-3,000

64. A Martin Brothers stoneware Aquatic miniature vase by Edwin and Walter Martin, dated 1902, square section, incised to each side with a jelly fish, glazed in shades of green and ochre incised 10-1902 Martin Bros London and Southall, small burst air bubble to top £500-800 rim, 5.7cm. wide Provenance Arts and Crafts, Woolley and Wallis Auctioneer’s, 23rd June 2010 lot 269.

65. A fine Martin Brothers stoneware Aquatic vase by Edwin and Walter Martin, dated 1904, swollen square section incised to each side with jelly fish, glazed green on a mottled blue ground incised 2 1904 Martin Bros London & Southall, 23cm. high £2,500-3,000

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66. A rare Martin Brothers Aquatic vase by Edwin and Walter Martin, dated 1904, tapering square section on four feet, each side with pushed out fish in brown and white 3-1904 Martin Bros London & Southall, 5.5cm. high £1,000-1,500 67. A Martin Brothers stoneware Aquatic vase by Edwin and Walter Martin, dated 1909, egg shaped, painted with grotesque scaly fish swimming amongst jelly fish in blue, green and aubergine, incised 9-1909 Martin Bros London & Southall, 5.5cm. high £800-1,200 66

68. A Martin Brothers stoneware Aquatic vase by Edwin and Walter Martin, dated 1913, shouldered, ovoid form incised with scaly fish amongst waterweed, in green on a blue ground incised 6-1912 Martin Bros London & Southall, 7cm. high £800-1,200 69. A Martin Brothers stoneware Aquatic vase by Edwin and Walter Martin, dated 1904, square section, the gourd like vase with pushed out fish and water creatures including an eel and two jelly fish, incised and painted in shades of green and brown on a buff ground to each side, incised 3-1904 Martin Bros London & Southall, 15.5cm. high £1,800-2,200 70. A Martin Brothers stoneware Aquatic vase and cover by Walter & Edwin Martin, dated 1912, shouldered cylindrical form with pushed out and incised fish swimming amongst shell fish, jelly fish and a crab, glazed in blue and green, the shallow domed cover with shell finial, incised 2-1912 Martin Bros London & Southall to base and cover, small stress hairline to top rim, 14cm. high £1,000-1,500

Provenance The Estate of Mrs Bessant, Tullochs auctioneers. Private collection.

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

71. A fine Martin Brothers stoneware Aquatic tea caddy and cover by Edwin and Walter Martin, dated 1900, canted square section, incised with scaly fish to each side with jelly fish to the canted corners, shoulder and cover, in shades of brown and pale blue on a buff ground, highlighted with white, incised 3-1900 Martin Bros London & Southall to cover and base, Richard Dennis Exhibition paper label, 11cm. high, (2) ÂŁ2,000-4,000 Provenance The Martin Brothers Pottery Exhibition, 1978, Richard Dennis Gallery catalogue number 386. Private collection.

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72. A Martin Brothers stoneware miniature gourd vase by Edwin and Walter Martin, ovoid with incised vertical ribs, tan glazed with painted green rib highlights, 6-1916 Martin Bros London & Southall, small glaze nick to outside of top rim, 4.5cm. high £300-500 73. A Martin Brothers stoneware miniature gourd vase by Edwin and Walter Martin, dated 1902, ovoid modelled as an urchin, glazed in ochre incised 11-1902 Martin Bros London, 3.5cm. high £400-600 74. A Martin Brothers stoneware miniature gourd vase by Edwin and Walter Martin, 1902, swollen square section incised with fine horizontal ribbing glazed brown, the collar rim with incised decoration highlighted in green, incised 11-1902 Martin Bros London 5cm. high £400-500 72

75. A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1898, ovoid with slender solifleur neck, with applied slip vertical ribs, covered in a bronze glaze, incised 10-98 Martin Bros London, 18.5cm. high £800-1,200

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76. A large Martin Brothers stoneware gourd vase by Edwin and Walter Martin, dated 1900, ovoid with vertical green ribs forming a foot at the base, incised texture glazed green on a brown ground incised 11-1900 Martin Brothers London & Southall, 24.5cm. high ÂŁ4,000-6,000 Literature Malcolm Haslam The Martin Brothers Potters, Richard Dennis, page 120 figure 186 this actual vase illustrated.

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77. A miniature Martin Brothers stoneware bird by Robert Wallace Martin, dated 1914, modelled standing and casting a slight upraised gaze, glazed in shades of green and brown, on an ebonised wood base, incised R W Martin & Bros, Southall, 2.12.14, 8.5cm. high ÂŁ5,000-8,000 Provenance Private collection. Literature Malcolm Haslam The Martin Brothers Potters, Richard Dennis Publications, a comparable bird illustrated on the front cover and page 112 colour plate XVI .

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78. The Wise Owl a fine Martin Brothers stoneware bird jar and cover by Robert Wallace Martin, dated 1884, modelled with claw feet, resting, his round head tilted to one side, one eye remaining vigilantly open, glazed in brown, ochre and buff, incised R W Martin Sc, London 11 1884 to base and c R W Martin & Brothers London & Southall 11 1884 to cover, repaired damages, 29.5cm. high ÂŁ15,000-20,000

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79. A Martin Brothers stoneware bird jar and cover by Robert Wallace Martin, dated 1913, modelled standing erect and casting a sideward glance, with short beak and claw feet, glazed in shades of blue, green and brown, on ebonised wooden base, incised R W Martin & Bros Southall, 13.12.1913 to base and head, 15cm. high ÂŁ8,000-12,000 Provenance Private collection.

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

80. The Barrister and his Defendant an important pair of small Martin Brothers stoneware birds by Robert Wallace Martin, the barrister wearing a wig and his wings thrust backwards forming a gown, leaning forward to whisper to the recoiling client, glazed in green and brown, on ebonised wooden bases, incised R W Martin & Bros to side of base, the defendant with Southall 1914, the barrister with Richard Dennis Exhibition label, 9 and 9.5cm. high, (2) ÂŁ12,000-18,000 Provenance Martin Brothers Pottery Exhibition, Richard Dennis 1978, catalogue number 387 (barrister) Private collection. Literature Malcolm Haslam The Martin Brothers Potters, Richard Dennis, page 154 figure 247 for a comparable barrister figure.

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81. A Martin Brothers stoneware bird jar and cover by Robert Wallace Martin, the small, rotund bird modelled with upcast knowing look, glazed in shades of green and brown, highlighted in white, etched R W Martin & Bros, London & Southall, firing cracks to neck of body, 14.5cm. high, (2) ÂŁ6,000-10,000 Provenance Private collection.

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82. A fine Martin Brothers stoneware spoon warmer by Robert Wallace Martin, the grotesque scaly creature with claw feet and long drooping ears, modelled seated with mouth gaping, incised decoration glazed green, blue and ochre impressed R W Martin stamp, incised R W Martin London & Southall, one toe glued, 16cm. long, 13cm. high ÂŁ12,000-18,000 Provenance by repute this creature was exchanged for half a ration coupon circa 1946 in London by the vendorâ&#x20AC;&#x2122;s relatives. Private collection.

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DOULTON 83. A pair of Doulton Lambeth stoneware ewers by Hannah Barlow, slender, shouldered form, incised with a frieze of grazing horses in a landscape, in mushroom on a buff ground, between bands of incised foliage and applied bead-work, in blue, green and ochre impressed marks and incised monogram, repaired handle to one, 26.5cm. high, (2) £300-500

84. A Royal Doulton stoneware vase by Hannah Barlow and Eliza Simmance, slender, shouldered form with swollen neck, incised with a sheep fighting a fox, whilst two lambs stand watching in shock, two other foxes running towards the fight, below foliate border, in green, ochre and blue on a buff ground, impressed factory mark, incised artists monograms, 31cm. high £800-1,200

85. A pair of Doulton Lambeth stoneware beakers, dated 1880, flaring conical form with incised panel decoration glazed blue and green, with metal mounts, impressed marks, hairline to one beaker, 14.5cm. high, (2) £120-180

86. A Doulton Lambeth stoneware biscuit barrel with electroplated fittings and cover, dated 1886, cylindrical form, incised with medieval couple portrait roundels on stippled ground, inside scrolling foliage, glazed green, blue and ochre, highlighted in white on a buff ground, impressed factory marks, incised artists monograms, 18.5cm. high £250-350

87. A rare Doulton Burslem Dragon dish attributed to Mark V Marshall, the foliate bowl with uprising branch supporting a climbing ferocious dragon, glazed white printed Doulton Burslem mark, minor losses, 24cm. high £120-180

88. A Royal Doulton stoneware model of a duck designed by Harry Simeon, model no 539, resting on an oval base, painted in colours impressed factory marks, incised HS monogram, professional restoration, 17cm. wide. £400-600 Literature Desmond Eyles & Louise Irvine The Doulton Lambeth Wares, Richard Dennis, page 224 for a comparable example illustrated.

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89. A Doulton Lambeth stoneware salad bowl and servers by Hannah Barlow, the bowl dated 1880, incised with a frieze of resting and grazing cattle, a farm dog watches on as a farm hand walks from a loaded hay cart, between bead-work bands and a band of applied florets, in shades of brown, blue and green on a buff ground, the servers with sheep and cattle handles, the silver mounts by Jehoiada Rhodes, impressed Doulton mark, stamped makers marks, Sheffield 1880 to the bowl and 1878 to the servers, 23cm. diam. (3) £250-300 90. Play Goers a rare Doulton Lambeth stoneware Mouse Musician group by George Tinworth, modelled as a punch and judy show in a tent, being orchestrated by a mouse, a family of three mice watch, the tent flanked by a mouse playing a base drum and pan pipes, another holds out a dish, around the back a young mouse peeks into the tent, in shades of blue ochre and brown, incised Play Goers to base rim, impressed Doulton Lambeth mark dated 1881, GT monogram, minor chips to ears 12.5cm. high £1,500-2,500

Literature Design Woolley and Wallis Auctioneer’s 17th October 2018 lot 1118 for a comparable figure. Provenance Private collection. 91. A rare Royal Doulton stoneware Mouse Musician clock by George Tinworth, tapering rectangular section supporting circular case with dial, surmounted with a mouse playing the cello, flanked by mice playing a trumpet, glazed in shades of ochre, the circular dial with Arabic numerals, impressed factory marks to back, repaired damages, 32cm. wide. £2,000-3,000

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92. I Am That I Am Gethsemane a Doulton Lambeth stoneware plaque by George Tinworth, rectangular carved in low relief with Christ rising from the tomb, in blue and ochre, with incised inscription around border, incised H Doulton Lambeth, G Tinworth Sct and GT monogram, minor rim chips, 30.5 x 14cm. ÂŁ500-600

93. A Place of a Skull and The Foot of the Cross two early Doulton Lambeth stoneware plaques by George Tinworth, modelled in relief, glazed blue and ochre, incised to the borders, incised marks and GT monogram, flat chips to rim of skull panel, 31 x 15cm. (2) ÂŁ800-1,200

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94. Eight Minton tiles the design attributed to Dr Christopher Dresser, each printed with a stylised flower and foliage inside geometric borders, in shades of red, green, yellow, black and blue on a white ground, impressed marks to reverse, damages, 20cm. square, (8) £80-120 95. A set of three Minton Hollins & Co tiles in the manner of John Pollard Seddon, cast in low relief with a central flowerhead and radiating flowers and foliage, glazed blue, green and white on a terracotta ground, impressed marks, 15cm. square (3) £120-180 Literature Fired Earth 1000 Years of Tiles in Europe, Richard Dennis/TACS, page 104 catalogue number 198 for an example illustrated.

96. A pair of W.B. Simpson & Sons tile panels, the rectangular tiles painted with classical maidens, one resting whilst holding a scythe, the other standing and blowing a horn, later framed, painted W B & S mark to lower front right corner, maiden with horn tile cracked, 45.5 x 15cm. (2) £150-250 97. A pair of two-tile panels painted by C.D. Salt, dated 1882, one painted with a woman walking with a child in arms, in a walled garden setting, the other a woman carrying a large bowl in a medieval interior, framed, painted CD Salt and date to reverse, one tile cracked, 30 x 15cm. (2) £150-200 98. A set of twelve Minton and Hollins tiles, printed in blue on a white ground with idealised Chinese landscape scenes, including pagodas, fishermen and ships, the roundels inside a simple scroll corner, £120-180 impressed marks, 15.5cm. square, (12)

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99. A John Pearson copper and tile twinhandled tray, rectangular form, the tray set with twelve square tiles, painted with grotesque birds, animals, flowers and a galleon, painted in shades of blue, green and yellow, unsigned, three tiles cracked, 52cm. wide £600-900 Provenance Private collection.

99 100. A set of nine Craven Dunnill Art Nouveau tiles, dust pressed with a stylised floral panel in blue, yellow and green on a green ground, a set of Carter’s Kitchen tiles designed by Alfred Read, designed in 1923, and an Art Deco kidney-shaped cardboard box and cover, impressed marks, 15cm. square (15) £150-250 Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis page 169-170 for the Kitchen tiles (KT) design illustrated.

101. A set of eight Dunsmore Alice in Wonderland tiles designed by Charles Francis Annesley Voysey, printed in colours on a cream ground, unmarked, minor rim frits, 15.5cm. square (8) £400-600

100

Literature Karen Livingstone, Max Donnelly and Linda Parry C.F.A Voysey Arts and Crafts Designer, V&A Publications, page 293 catalogue number 387 for the eight tile set illustrated. Provenance Private collection.

102. A J.C. Edwards four tile panel designed by C.F.A. Voysey, dust-pressed in low relief with a simple flowering stem, in shades of pale yellow and green, framed impressed marks, tiles 15cm square, 66 x 21cm (framed panel) £500-800 Literature Karen Livingstone, Max Donnelly & Linda Parry CFA Voysey Arts and Crafts Designer, V&A Publishing, page 285, catalogue number 371 for a comparable ‘Tulip’ tile designed by Voysey and made by Pilkington’s Tile and Pottery Company.

101

102

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103. A William De Morgan Rose and Scroll tile, painted with alternate Tudor Rose and scroll foliage design in ruby lustre on a white ground, a William De Morgan tile on Architectural Poole blank and a Copeland tile printed and painted with a medieval maiden on horseback holding a hunting falcon, in colours impressed marks to second tile, leaf cracked and re-glued, 15cm. square (3) £150-250

104. A William De Morgan Pottery Persian solifleur vase, ovoid with tapering cylindrical neck, painted with turquoise comma motif on an aubergine ground, impressed Tulip mark to base, minor glaze loss, 15cm. high. £300-400 Provenance Private collection. 103

104

105. A Cantagalli Pottery Persian pot and cover, tapering cylindrical form with arched spiked handle, painted with carnation and tulip flowers in shades of blue, turquoise and aubergine on a white ground, painted mark to base, flat chip to base rim, 21cm. high £150-200 Provenance British Art Pottery Woolley and Wallis Auctioneer’s 5th December 2007 lot 612 Jon Catleugh collection. Private collection.

106. A Cantagalli Pottery lustre plate, painted to the well with a bird amongst scrolling foliage, the rim with a frieze of foliate, in ruby lustre on white painted marks, 25cm. diam. £200-300 Literature Paul Reeves an Eye for Design, Lyon & Turnbull Auctioneer’s, 14th February 2019 lot 171 for a jug with comparable decoration.

105

106

107. A William De Morgan Merton Abbey Wild Boar tile, painted in ruby lustre on a white ground, impressed mark, 15cm. square £700-900 Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis, page 124 catalogue number 1063 for the original drawing illustrated. William De Morgan Blackwell House, 2002, page 31 catalogue number 59 for a comparable example of a wild boar on scroll foliate ground illustrated.

107

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108. A good William De Morgan Pottery Late Fulham Period triple lustre Hoopoe tile, painted in shades of blue and ruby lustre on a cream ground painted with sand grass patches, impressed late Fulham Period mark, 15cm. square ÂŁ1,500-2,000 Literature William De Morgan Blackwell 2002, a comparable example illustrated on the cover and page 28 catalogue no.54 (reversed). British Art Pottery Woolley and Wallis Auctioneerâ&#x20AC;&#x2122;s, 12th December 2018. lots 25 and 26 for two en suite tiles. Provenance Lady Alison Kremer & Mr Tom Kremer. This tile formed part of a four tile tray with two other triple lustre tiles sold in these rooms in December 2018 lots 25 and 26

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

109. A good William De Morgan Pottery Late Fulham Period triple lustre Peacock tile, painted in shades of blue and ruby lustre on a cream ground painted with sand grass patches, impressed late Fulham Period mark, 15cm. square ÂŁ1,500-2,000 Literature British Art Pottery Woolley and Wallis Auctioneerâ&#x20AC;&#x2122;s, 12th December 2018. lots 25 and 26 for two en suite tiles. Provenance Lady Alison Kremer & Mr Tom Kremer. This tile formed part of a four tile tray with two other triple lustre tiles sold in these rooms in December 2018 lots 25 and 26

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110. A large William De Morgan Persian twin-handled vase, painted to both sides with a frieze of three exotic birds on a foliage ground, the foliage with arched snake motif, in shades of blue, turquoise and ochre on a white ground, the swollen neck with a frieze of stylised birds inside and out, unsigned, minor glaze chips to top rim, 45.5.cm. high ÂŁ2,500-3,000

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111. A large and impressive Burmantoftâ&#x20AC;&#x2122;s Faience Partie-Colour jardiniere and stand probably designed by Joseph Walmsley, the ovoid bowl modelled in low relief with two peacocks displaying in a formal garden landscape, the knopped cylindrical base with stylised flowers, in shades of blue, turquoise, green, ochre and yellow, impressed and painted marks, minor glaze loss, 103cm. high, 55cm. diam. (2) ÂŁ3,000-5,000 Provenance Private collection.

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112. A Burmantoft’s Faience Anglo Persian pillar vase by Leonard King, shape no.163, shouldered form, painted with panels of foliage in blue, turquoise, aubergine and green on a white ground, impressed and painted marks, professional restoration to top rim, 46cm. high £1,200-1,500 Provenance Private collection.

112

113. A Burmantoft’s Faience Anglo-Persian bottle vase designed by Leonard King, model no. D.273, painted with vertical panels of flower stems and foliate panels, in shades of blue, turquoise, green and aubergine on a white ground, impressed and painted marks, paper label, minor professional restoration to the top rim, 35.5cm. high £1,500-2,000 Provenance Private collection.

113

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114

114. A Burmantoft’s Faience jardiniere and stand, model no 1857A, modelled in low relief with stems of flowers and foliage, covered in an olive glaze, a Burmantoft’s Faience jardiniere glazed turquoise, a Bretby Pottery Secessionist jardiniere, two jardinieres, two stands and three other items £120-180 impressed marks, 73cm. high (11) 115. A rare C.H. Brannam Barum Pottery Mr Punch money box, dated 1901, possibly retailed by Liberty & Co, glazed in colours, incised C.H. Brannam, Barum, 1901, incised rd mark, 9cm. high £180-220

115

116

116. A C.H. Brannam Barum Pottery vase by William Baron, dated 1886, tapering pear-shaped form with everted rim, incised and painted with birds flying amongst tendrilled foliage sprays, in shades of green, blue and ochre on a cream ground between blue bands, a small Brannam jug by William Baron dated 1887 and a Brannam Owl bowl probably retailed by Liberty & Co, incised marks, 22.5cm. high, (3) £150-200 117. A C.H. Brannam Barum pottery snake vase by Frederick Bowden, dated 1885, ovoid with solifleur neck, the neck applied with a snake, glazed in shades of ochre incised C H Brannam Barum North Devon 1885, FB monogram, 25.5cm. high £200-300 118

117 118. An Aller Vale pottery grotesque jug designed by Blanche Vulliamy, model no.1280, shouldered form, twin-handles modelled as arms, the neck with a grotesque face, glazed cream, green and ochre on a blue ground impressed marks, 15.5cm. high £150-200 Literature Keith Poole The Art of the Torquay and South Devon Potters, page 122 figure 173 this model illustrated in an original catalogue. 119. A large pair of Aesthetic Movement Wedgwood wall plaques, in the manner of Helen Miles, each printed in blue on a white ground with a maiden, one holding a butterfly, the other holding a fan, inside geometric borders impressed marks, 42cm. diam. (2) £200-300 119

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120. A John Pearson ceramic plate, painted to the well with two grotesque pelican birds, the rim a border of slender, stretched pomegranates, in shades of blue, green and purple lustre, the reverse with a lizard amongst scrolling foliage, painted JP monogram, 26.5cm. diam. £180-220

120

121

121. The Princess Belle-Etoile a Copeland plate after a design by Walter Crane, dated 1878, painted in colours impressed marks, £300-500 24cm. diam. 122. A wall plate by Jo Crawhall dated Christmas 1875, made in Newcastle upon Tyne, painted with the crucifixion, in colours painted inscription to reverse, 22.5cm. diam. £120-180 123. A rare Minton’s Secessionist wall charger designed by John Wadsworth and Leon Solon, no.16. tubeline decorated with a border of stylised snowdrop flower stems, in sand, green and white on a blue ground, printed and impressed marks, 36cm. wide £500-800

122 123

124. A Wedgwood jug and cover by Louise Powell, shouldered form with collar rim, painted with intersecting bands of green and blue stylised foliage, the cover with ball finial painted with radiating blue flowers, impressed factory marks, painted artist monogram and 3975 to base and inside of cover, 15.5cm. high £200-400 125. A large Shelley lustre ginger jar designed by Walter Slater, shouldered form, printed with three eagles attacking a sleeping lamb on a hilltop landscape, in gilt on a green and blue lustre ground, unmarked, wear and scratches, 33cm. high £120-180 Provenance The Michael Burningham Collection

124

125

126. A Spencer Edge pottery ewer, tapering cylindrical form, printed and painted with an Art Nouveau maiden holding a rose, in colours on a white ground between green bands, printed factory mark, 25cm. high £120-180 127. A Williamsons Longton Suffrage milkjug, printed with the Suffragette WSPU trumpeting angel roundel for the Women’s Social and Political Union, in green and violet below the spout, printed factory mark, 13cm. high £500-700 Catalogue notes The design has a printed P (which it has been suggested) means it is designed by Emmeline Pankhurst.

126

127

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127A two views

128

127A. A Minton’s pottery moon flask probably designed by Dr Christopher Dresser, flattened disc form on four square feet, printed and painted with a blue tit perched on grasses, the reverse with stylised flowers and foliage in colours, annotated in purple 411 WRB and 821 WRB, impressed Minton’s marks, indistinct date code possibly for 1867, one foot re-stuck, 15cm. high £800-1,200 Literature Widar Halen Christopher Dresser, Phaidon/ Christies, page 122 plate 128 this shape illustrated from the Minton archive, dated 1867, decorated with a stylised bird design. Page 135 plate 152 for the blue tit design used for a Minton’s tile which relates to the bird on this vase. 128. A pair of Minton Pottery moon flasks by William Mussill, each painted with a finch, the reverse with orchids and blossom sprays, painted in colours on a brown ground, impressed marks, painted signature, 15.5cm. high £200-300 129. An Old Hall Indiana wash set designed by Dr Christopher Dresser, printed in colours on a cream ground with scrolling geometric flowers and foliage, comprising wash basin and ewer, chamber pot, brush pot and cover, soap dish, drainer and cover, printed marks, minor damages, 41cm diam. (wash basin), 34cm. high £150-250 (ewer) (8)

129

130. A Linthorpe Pottery tray designed by Dr Christopher Dresser, model no. 441, rounded rectangular form, modelled in low relief with waterlily flowers and pad foliage in yellow, ochre and green, and a Linthorpe Pottery plate designed by Dr Christopher Dresser, impressed marks, facsimile signature and HT Henry Tooth monogram, 32.5cm. wide, (2) £150-200 Literature Widar Halen Christopher Dresser, Phaidon/ Christies, page 165 plate 187 for a comparable tray illustrated.

130

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131

131. A Compton Potter’s Art Guild plaque of an angel, modelled standing enclosed by her wings, holding a circular medallion with three pointed star (Trinity), below a flame motif, in shades of red highlighted in gilt unsigned, 31cm. long £150-200 132. Joyce Bidder FRBS, RMS (1906-1999) Aquarius a pottery sculpture, 1963, glazed in white and turquoise applied card to base signed and titled by the artist, sold with a letter from the artist mentioning the piece, 25.5cm. high £1,200-1,800

132

133. A Della Robbia Pottery vase by Cassandra Annie Walker, dated 1899, cylindrical form with everted rim, incised with three Art Nouveau maiden holding hands, below a band of bluebirds, inscribed He Who Teaches Beauty Teaches Holiness, in shades of green, blue and turquoise on a pale lemon ground, incised DR monogram, signature and date, restored, 41.5cm. high £1,500-2,000 Provenance John Jesse

134. Jog On Jog On the Footpath Way a large Della Robbia four tile panel by Ellen Mary Rope, moulded in low relief with a frieze of young children, walking, playing and running across a stile, a seated child at each end, in shades of blue and yellow on a white ground, framed in oak, signed and dated lower left E M Rope 1896, 115 x 12.5cm (tile panel), 134 x 38cm (frame) £2,000-3,000 Exhibited An Example of the Jog On panel was exhibited at the Walker Art Gallery Autumn Exhibition in 1904, priced at £6.6s, (no.1831) Provenance Ceramics and Glass, Bonhams, Chester, 18th February 2004, lot 118. Private collection.

Provenance Joyce Bidder and Daisy Borne Fine Art Society, 1987 catalogue number 29. Private collection.

133

134

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135

PILKINGTON’S LANCASTRIAN POTTERY 135. A Pilkington’s Lancastrian Advertising Scarab paperweight, covered in a curdled turquoise blue glaze, impressed Pilkington’s Lancastrian Glazes to the underside, impressed marks, 9cm. wide £50-100 Provenance Private collection. 136. Ride a Cock Horse a rare Pilkington’s Lancastrian Nursery Rhyme tile designed by Margaret Pilkington, rectangular tubeline decorated with medieval figures, in colours unsigned, minor glaze frits 23 x 15cm.

136

Literature A J Cross Pilkington’s Royal Lancastrian Pottery and tiles, Richard Dennis, page 16 plate XIV for six tiles from the nursery rhyme series illustrated. British Art Pottery, Woolley and Wallis, 11th December 2013, lot 80 for another example, ‘Little Jack Horner’, illustrated. £1,000-1,500 Provenance Private collection. 137. A Pilkington’s Royal Lancastrian Pottery wall plate by Gladys Rogers, painted to the well with a large flower head design, the rim with a band of foliage in bronze/gold lustre on a streaked yellow and orange ground, impressed mark, painted artist cipher, 22.5cm. diam. £250-300 Provenance A private collection of Pilkington’s Lancastrian Pottery. 138. A PIlkington’s Lancastrian tray, rounded rectangular form, cast in low relief with classical maiden resting, covered in a translucent green glaze, printed early Bee mark, small chip to rim, 33cm. wide £120-180 Provenance A private collection of Pilkington’s Lancastrian Pottery.

137

139. A Pilkington’s Royal Lancastrian Pottery plate by William S Mycock, dated 1920, painted to the well with a bird on scrolling foliage ground, inside bands of scrolling foliage in gold and deep bronze lustre on a blue ground, the back with a band of scrolling foliage, impressed marks, painted artist cipher and dated, 26.5cm. diam. £300-500 Provenance A private collection of Pilkington’s Lancastrian Pottery.

138

139

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140. A Pilkington’s Lancastrian Pottery solifleur vase by William S Mycock, dated 1913, ovoid body with tapering slender neck, painted with a band of scrolling flowers and foliage below palmette to the neck in a ruby glaze impressed mark, painted artist cipher and date mark, 19.5cm. high. £200-300 Provenance A private collection of Pilkington’s Lancastrian Pottery. 141. An early Pilkington’s Lancastrian Pottery vase by Gordon Forsyth, shape no.2153, compressed ovoid form with waisted cylindrical neck, painted with bands of stylised foliage in ruby lustre on a black and white ground, and another early Pilkington’s Lancastrian vase covered in a flambe glaze impressed marks, painted artist cipher, 14cm. high, (2) £150-200 140

Provenance A private collection of Pilkington’s Lancastrian Pottery.

141

142. A Pilkington’s Royal Lancastrian Pottery vase by William S Mycock, dated 1916, swollen, shouldered form, painted columns of stylised flowers in sand and rust on a blue lustre ground impressed marks, painted artist cipher, painted date code, 15.5cm. high £250-300 Provenance A private coll\ection of Pilkington’s Lancastrian Pottery. 143. A Pilkington’s Royal Lancastrian Pottery pedestal bowl by Gladys Rogers, painted with a band of scrolling foliage to the rim and foot, in rust red on a mottled blue lustre ground, the well with a radiating floral design, impressed marks, painted artist cipher, hairline to top rim, 22cm. diam. £150-200 142

143

Provenance Decorative Arts, Bonham’s Auctioneers, 24th March 1999 lot 640. A private collection of Pilkington’s Lancastrian Pottery. 144. A Pilkington’s Lancastrian Pottery twin-handled vase, shape no.2805, covered in a vivid red lustre glaze, the interior glazed gold, an early Pilkington’s vase with a golden, finely streaked glaze over red, a streaked red and blue canister and three red lustre bowls impressed marks, 21cm. high (6) £120-180 Provenance The Harriman Judd Collection, Sotheby’s online auction. Private collection.

144 part

145

145. A Pilkington’s Lancastrian Pottery vase by Annie Burton, shouldered form, painted to the shoulder with a band of entwined flowers and foliage, in white and flambe between golden lustre bands, impressed mark, artist cipher, 14.5cm. high £300-400 Provenance A private collection of Pilkington’s Lancastrian Pottery. 146. A Pilkington’s Lancastrian Pottery vase, dated 1910, model no.2821, shouldered twin-handled form, covered in a green aventurine glaze, and two Pilkington’s Lancastrian Pottery vases covered in a curdled translucent blue and green glaze impressed marks, 13.5cm. high, (3) £120-180 Provenance Private collection.

146

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148

149

147. An early Pilkington’s Lancastrian Pottery vase, shouldered form, painted with a band of simple grass motif, the shoulder with scroll and dot frieze in golden lustre on a midnight blue lustre ground, impressed mark, 8.5cm. high. £300-400 Provenance A private collection of Pilkington’s Lancastrian Pottery. 148. A Pilkington’s Lancastrian Pottery vase and cover by Gladys Rogers, dated 1913, shouldered cylindrical form, painted with columns of foliage and entwined berries, the cover with a wreath of laurel and acorn finial, in golden lustre on a deep blue lustre ground, impressed marks, painted artists cipher, impressed date, 20cm. high £500-800 Provenance A private collection of Pilkington’s Lancastrian Pottery. 149. A Pilkington’s Lancastrian Pottery vase by Charles Cundall, dated 1907, shouldered form, painted with a flock of red breasted birds perched in bushes, above flowering plants, in ruby and copper lustre on a pale cream ground impressed marks, painted cipher and impressed 1907 date, 15.5cm. high £400-600 Provenance A private collection of Pilkington’s Lancastrian Pottery. 150. A Pilkington’s Lancastrian Pottery vase by William S Mycock, dated 1912, shouldered ovoid form, painted with pencil cypress trees between scrolling flower and foliage panels in ruby and golden lustre on a cream ground impressed mark, painted artist cipher and date mark, restored neck, 12cm. high £200-300

150

Provenance A private collection of Pilkington’s Lancastrian Pottery. 151. A Pilkington’s Lancastrian Pottery single-handled vase, dated 1912, compressed ovoid body with collar rim, painted with three medieval long boats, inter-spaced with a flock of flying cranes, the foreground flowering trees, in copper lustre on a cream ground, the neck with a band of laurel, impressed marks, painted date 1912 artists monogram E A P, 11.5cm. high £800-1,200 Provenance The Harriman Judd Collection, Sotheby’s online auction. A private collection of Pilkington’s Lancastrian Pottery. Literature A.J. Cross Pilkington’s Royal Lancastrian Pottery and Tiles, Richard Dennis, page 49 plate 53 for an example of this shape decorated by Gordon Forsyth in the collection of Salford Museum and Art Gallery. The shape was based on a thirteenth century Persian Sava lustre jug (see plate 52). 151

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152. A Pilkington’s Royal Lancastrian Pottery wall plate by William S Mycock, painted to the well with a galleon at full sail, the rim with rope border, in dark blue on a fiery orange glaze impressed marks, painted artist cipher and date mark, 29cm. diam. £120-180 Provenance A private collection of Pilkington’s Lancastrian Pottery.

153 152

153. An unusual Pilkington’s Lancastrian Pottery solifleur vase, dated 1913, model no. 1064, modelled in low relief with a foliage bough, under a streaked green and turquoise glaze, a Pilkington’s Lancastrian vase covered in an aventurine glaze another early vase with a streaked purple and pink experimental glaze, a vase with modelled foliage design under a matt and curdled green glaze, a dish with fluted rim and two other vases impressed and incised marks, 25.5cm. high (7) £150-250 Provenance The Harriman Judd Collection, Sotheby’s online auction (aventurine vase). Private collection.

154 155

154. A Pilkington’s Royal Lancastrian Pottery vase probably designed by Richard Joyce, shape no.3353, shouldered form, modelled in low relief with a frieze of three walking lions, covered in a matt green glaze, impressed marks, 25cm. high £150-250 Literature Arts and Crafts Woolley and Wallis Auctioneer’s, 20th June 2012 lot 192 for an identical vase covered in a matt orange glaze. 157

156

Provenance Private collection. 155. An early Pilkington’s Lancastrian Pottery vase, shouldered form, shape no.2888, cast with large leaves forming the body of the vase the shoulder with simple small flowerheads, under an opalescent clouded turquoise glaze, two Pilkington’s vases with similar sky blue glazes and a flower shaped dish covered in a streaked opalescent blue glaze, impressed marks, 11cm. high, (4) £120-180 Provenance Private collection. One blue vase from the Pilkington’s collection of Bill Coles.

158

156. A pair of early Pilkington’s Lancastrian Pottery vases, dated 1910, model no.2786, tapering cylindrical form with knopped neck, covered in a curdled turquoise blue glaze, a Pilkington’s flower shaped dish covered in an aventurine and orange glaze, a small olive green diamond shaped dish and a blue bowl, impressed marks, 26.5cm. high (5) £150-200

159

160

Provenance Pilkington’s Royal Lancastrian Pottery Exhibition, Richard Dennis, 1980, green diamond dish catalogue number 345. Private collection.

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157. King George VI Coronation a Pilkington’s Royal Lancastrian Pottery limited edition wall plaque designed by William S Mycock, dated 1937, domed, circular form, cast in low relief with crown and inscribed to the rim, under a mushroom glaze, another wall plaque celebrating the coronation of Edward VIII glazed silver-grey and a collection of Pilkington’s Lancastrian pottery including asymmetric dishes by Mitzi Cunliffe, two vases painted with flowers, a Liberty Tudric Pewter mounted vase and a collection of matt glazed ware King George VI plaque incised artist monogram, impressed 250 only of these are made. This is no.68, chips to Edward VIII plaque, 24cm. diam. (37) £150-250 Provenance Private collection. 158. A Pilkington’s Royal Lancastrian Pottery Lapis vase by Richard Joyce, shouldered form painted with stylised foliage band below chevron in turquoise on a matt silver-grey ground, a Pilkington’s Lancastrian Lapis tazza by Gladys Rogers, a vase by William S Mycock and five other blue glazed pots impressed marks, painted artist cipher, 23cm. high, (7) £150-250 Provenance Decorative Arts, Bonhams Auctioneer’s. 24th March 1999 lot 618 (Lapis tazza) Private collection.

161

159. A Pilkington’s Royal Lancastrian Pottery vase designed by William S Mycock, dated 1933, model no.194, swollen cylindrical form, modelled in low relief with scaly fish swimming in turbulent waters, glazed olive on a matt silver-grey ground, a Pilkington’s bowl by Mycock inscribed Carior Libertas Patria Cara, a flaring bowl and two vases decorated in a matt silver-grey glaze impressed marks, incised artist cipher and date mark, 22.5cm. high (5) £150-250 Literature A J Cross Pilkington’s Royal Lancastrian Pottery and Tiles Richard Dennis, page 42 plate 40 for an original design by Mycock for a similar fish vase. Provenance Pilkington’s Royal Lancastrian Pottery Exhibition, Richard Dennis, 1980, Carior Libertas bowl catalogue number 439. Private collection. 160. A Pilkington’s Royal Lancastrian model of two polar bears probably designed by Richard Joyce, modelled standing and walking, in shades of mushroom and turquoise on a grey ground, impressed and incised marks to base, 17cm. wide. £150-200 Provenance Private collection

162

161. A rare Bernard Moore Pottery high-fired vase, swollen form with everted top rim, covered in a mottled flambe glaze over white, with some fissuring, signed Bernard Moore to base, 14.5cm. high £300-500

RUSKIN POTTERY 162. A Ruskin Pottery stoneware pot-pourri jar and cover by William Howson Taylor, dated 1915, with pierced foliate shoulder, shape no.362, covered in a green/black souffle glaze impressed marks, 17.5cm. high, (2) £800-1,200 Literature Paul Atterbury & John Henson, Ruskin Pottery, Baxendale Press, page 40 for a comparable example. Provenance Private collection of Ruskin Pottery. 163. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1920, shouldered form, covered in a fissured purple and blue glaze over white, with flambe patches, impressed marks, professional restoration to neck, 20.5cm. high £500-700 Provenance Private collection of Ruskin Pottery. 163

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164. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, slender, shouldered form with cylindrical neck, covered in a mottled moss green souffle glaze, impressed WHT monogram, 231 shape no and remains of Ruskin Pottery paper label, 11cm. high £400-500 Provenance Private collection. The remains of a paper label on the base of the vase proudly alludes to the occasion of the pottery winning the Grand Prize at the St Louis International Exhibition in 1904.

165

166

164

165. A Ruskin Pottery miniature Kingfisher lustre stoneware vase by William Howson Taylor, dated 1916, ovoid with flaring cylindrical neck, covered in a petrol lustre glaze impressed marks, 7.5cm. high £600-900 Provenance Private collection of Ruskin Pottery. 166. A Ruskin Pottery stoneware miniature vase by William Howson Taylor, dated 1909, ovoid with flaring cylindrical neck, covered in a mottled sang de boeuf glaze under mottled turquoise and lavender to the neck, impressed marks, 7cm. high £600-900 Provenance The Albert E Wade Collection, Sotheby’s London, 2002, lot 326. Private collection of Ruskin Pottery. 167. A Ruskin Pottery miniature vase by William Howson Taylor, dated 1922, ovoid body with cylindrical neck and everted top rim, covered in a running pink souffle glaze impressed marks, small glaze nick to base, 10cm. high £300-500 Literature The Adam Ferneyhough Collection of Ruskin Pottery, Sotheby’s London, 20th April 1993 page 10 lot 16 for an identical vase illustrated.

167

168

Provenance Albert Wade Private collection. 168. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1905, shouldered, cylindrical form, covered in a mottled sang de beouf and purple glaze speckled with turquoise, impressed WHT mark, shape no.100, 10.5cm. high £800-1,200 Provenance Fielding Auctioneer’s Private collection. 169. A Ruskin Pottery stoneware vase by William Howson Taylor, dated 1905, baluster form, covered in a lavender over pink souffle glaze impressed marks, 11cm. high £300-500 170. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1905, slender baluster form, covered in a purple glaze streaked with lavender, turquoise speckles, impressed factory mark and date and shape no.96, 10cm. high £800-1,200 Provenance Fieldings Auctioneer’s Private collection.

169

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171. A tall Ruskin Pottery high-fired stoneware vase by William Howson Taylor, shouldered form with tall cylindrical neck and everted top rim, covered in a running sang de boeuf glaze highlighted in sky blue on a mottled ground impressed ÂŁ1,500-2,000 marks, collection paper labels, 29cm. high Exhibited Taylor Made Exhibition, Birmingham Art Gallery, 1976, catalogue number 20. Literature Paul Atterbury & John Henson Ruskin Pottery, Baxendale Press, page 58 for a comparable example of this shape, dated 1909, illustrated. Provenance A & B Forrester Collection. Ferneyhough Collection. The Albert E Wade Collection, Sothebyâ&#x20AC;&#x2122;s London, 2002, lot 397. Private collection of Ruskin Pottery.

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172. A Ruskin Pottery stoneware vase by William Howson Taylor, dated 1906, baluster form, covered in a mottled matt green souffle glaze impressed marks, paper label, 18cm. high. £300-400 Provenance Private collection 173. A Ruskin Pottery stoneware solifleur vase by William Howson Taylor, covered in an apple green lustre glaze impressed marks, 19cm. high £150-200 Provenance Private collection of Ruskin Pottery.

172

174. A Ruskin Pottery stoneware vase by William Howson Taylor, dated 1906, unusual footed, shouldered form resist decorated to the shoulder with a band of flowers and foliage, in blue souffle over purple impressed marks, 17.5cm. high £700-1,000 Provenance Private collection of Ruskin Pottery.

173

175. A Ruskin Pottery Kingfisher Lustre stoneware vase by William Howson Taylor, dated 1906, tapering cylindrical form on small flaring foot, with flaring neck, covered in a petrol lustre glaze impressed marks, 25cm. high £400-600 Provenance Private collection of Ruskin Pottery. 176. A Ruskin Pottery stoneware vase by William Howson Taylor, dated 1925, shouldered form with cylindrical neck and everted rim, covered in a lilac lustre glaze, and a Ruskin Pottery lustre plate impressed marks, 15cm. high (2) £150-250 Provenance Private collection of Ruskin Pottery.

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177. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1925, ovoid with tapering cylindrical neck, covered in a sang de boeuf and flambe glaze with fine turquoise speckles, impressed marks, 20.5cm. high £300-500 Provenance Private collection of Ruskin Pottery.

177

178. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1933, tapering cylindrical form with everted rim, covered in a mottled sang de boeuf and silver-grey glaze impressed marks, 13.5cm. high £400-600 Provenance Private collection of Ruskin Pottery. 178

179. A Ruskin Pottery high-fired stoneware carafe vase by William Howson Taylor, dated 1922, covered in a fissured sang de boeuf glaze over white impressed marks, professional restoration to neck, 23.5cm. high £300-500 Provenance Private collection of Ruskin Pottery.

179

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MOORCROFT POTTERY 180. Forget Me Not a James Macintyre and Co coffee set designed by William Moorcroft, tubeline decorated with forget me not flowers in blue on a celadon green ground with sky blue band, comprising milkjug and sugar basin, four cups and saucers printed factory marks, damages, 11.5cm. diam (sugar basin), (10) £150-200 Provenance Private collection of Moorcroft Pottery.

180

181. Iris a James Macintyre and Co Gesso Ware biscuit barrel designed by William Moorcroft, tubeline decorated with flowers in yellow, green and blue, with electroplated mount, handle and cover printed factory mark, incised signature, 17cm. high (2) £400-600 182. Yellow Poppy a James Macintyre and Co biscuit barrel designed by William Moorcroft, painted in shades of yellow, green and blue on a white ground, with electroplated mount, handle and cover painted green signature, 15cm. high (2) £500-800

181

183. Daffodil a James Macintyre and Co Florian Ware vase designed by William Moorcroft, slender baluster form, tubeline decorated with Art Nouveau flower panels in shades of yellow, green and blue on a pale blue ground, printed factory mark, painted green signature, restoration to top rim, 29.5cm. high £300-500

182

184. Forget Me Not a James Macintyre and Co Florian Ware twin-handled vase designed by William Moorcroft, waisted cylindrical form tubeline decorated with floral panels in blue and green on a white ground, printed factory mark, painted green signature, restored, 25.5cm. high £400-600 Literature Paul Atterbury William Moorcroft, Richard Dennis, page 56 figure 2 this design illustrated. 185. Peacock Feather a James Macintyre and Co Florian Ware vase designed by William Moorcroft, shouldered cylindrical form, tubeline decorated in blue and celadon green, between geometric panels and a band of stylised foliage to the base, painted green signature, 27cm. high £800-1,200 Literature Paul Atterbury Moorcroft Pottery, Richard Dennis, page 40 plate 3 for a comparable vase illustrated.

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184

185

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187 186

186. Waving Corn a Moorcroft Pottery vase, baluster form, tubeline decorated with waving corn motif on a streaked blue to green ground impressed marks, painted signature, 32cm. high £300-500 187. Revived Cornflower or Brown Chrysanthemum a tall Moorcroft Pottery baluster vase designed by William Moorcroft, dated 1915, painted in shades of red, purple, ochre and green impressed marks, painted green signature and date, 40cm. high £3,000-5,000 Literature Paul Atterbury Moorcroft Pottery, Richard Dennis, page 74 for comparable examples in this pattern. Provenance Private collection of Moorcroft Pottery. 188. Dawn Landscape a large Moorcroft Pottery baluster vase designed by William Moorcroft, painted with trees in a stylised hilly landscape, glazed matt mushroom, green and blue, impressed marks, painted signature, 31.5cm. high. £3,000-5,000 Provenance Private collection of Moorcroft.

188

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189. Pansy a Moorcroft Pottery solifleur vase designed by William Moorcroft, painted in shades of purple, yellow and green on a white ground, two Moorcroft Pottery Wisteria vases and a Moorcroft Leaf and Berry flambe vase impressed marks, chip to rim of Leaf and Berry vase and bruise to base of one Wisteria vase, 9.8cm. high (Pansy), (4) £200-300 Provenance Private collection of Moorcroft Pottery. 189

190. Leaf and Berry a Moorcroft Pottery plate, tubeline decorated to the rim with a band of leaf and berry in shades of pink, purple, yellow and green on a green ground, two Moorcroft Bermuda Lily bowls designed by Walter Moorcroft and a Moorcroft Pottery Anemone plate impressed marks, painted signature, 29cm. diam. (4) £150-250 Provenance Private collection of Moorcroft Pottery. 191. Flambe Anemone a Moorcroft Pottery vase designed by Walter Moorcroft, shouldered form, painted in colours under a light flambe glaze, a modern Moorcroft ginger jar and cover painted with purple magnolia and a solifleur vase impressed marks, painted blue signature, original paper label, 16cm. high, (4) £150-200

190

192. Frilled and Slipper Orchid a Moorcroft Pottery lamp base, painted in colours on a blue ground, on wooden base with a modern paper shade, a Moorcroft Pottery Yacht bowl, a Leaf and Berry jardiniere designed by Marjorie Kubanda, a Hibiscus vase and flambe bowl, a Magnolia dish, two Moorcroft Pottery Studio Ware vases and a continental pottery vase impressed marks, 27cm. high (lamp base excluding fittings) (9) £150-200 Provenance Private collection of Moorcroft Pottery. 193. Flambe Leaf and Blackberry a Moorcroft Pottery side plate designed by William Moorcroft, painted in colours under a rich flambe glaze, and a Moorcroft Pottery Orchid flambe lustre box and cover impressed marks, 18.5cm. diam. (3) £150-250 Provenance Private collection of Moorcroft Pottery.

191

194. Leaf and Berry a tall Moorcroft Pottery vase designed by William Moorcroft, shouldered form, painted in colours on a blue ground, and a Moorcroft Pottery Pansy vase impressed marks, painted signature, flat chip to base of Leaf and Berry vase, 32cm. high (Leaf and Berry), 16cm. high (Pansy), (2) £120-180 Provenance Private collection of Moorcroft Pottery. 195. After The Storm a Moorcroft Pottery limited edition vase designed by Walter Moorcroft, dated 2000, painted in colours impressed and painted marks, original paper £800-1,200 Catalogue notes This vase was produced in a limited edition of 200 pieces.

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196. Pomegranate a Moorcroft Pottery baluster vase designed by William Moorcroft, painted in colours on a blue ground, a Moorcroft Pomegranate vesta, tazza and two small dishes impressed marks 10.5cm. high, 22cm. diam. (tazza), (5) £150-250 Provenance Private collection of Moorcroft Pottery. 197. Pomegranate a Moorcroft Pottery vase designed by William Moorcroft, shouldered, flaring cylindrical form, painted in shades of pink, purple and green on a blue ground impressed marks, painted blue signature, 21cm. high £150-200 Provenance Private collection of Moorcroft Pottery. 198. Pomegranate a Liberty Tudric Pewter dish with Moorcroft Pottery panel designed by William Moorcroft, shape no.0287, the twin-handled dish cast in low relief and pierced with panels of flowers, the panel painted in shades of blue, pink, purple, green and ochre, and a Moorcroft Pottery Pomegranate bowl, stamped Liberty marks to back, bowl painted green signature, hairline to bowl, 28cm. wide (dish), 27cm. diam. (bowl), (2) £150-200

199

Provenance Private collection of Moorcroft Pottery. 199. Hazledene a rare Moorcroft Pottery miniature vase designed by William Moorcroft, shouldered form, painted with trees in a landscape, in green on a celadon green ground, highlighted in yellow, impressed marks, painted green signature, 8.5cm. high. £700-1,000 Provenance Private collection 200. Eventide a Moorcroft Pottery vase designed by William Moorcroft, shouldered form, painted in shades of green, blue, flambe and sand impressed marks, painted blue signature 16cm. high £500-800 Provenance Private collection of Moorcroft Pottery. 200

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STUDIO POTTERY 201. Michael Cardew (1901-1983) a Wenford Bridge pottery jug and cover, covered to the foot with a tenmoku glaze, with incised hatching and circle motif, and a Wenford Bridge jug by Michael Cardew, impressed seal marks, minor glaze loss, 21cm. high (3) £120-180 202. Seth Cardew (1934-2016) a Wenford Bridge pottery teapot and cover, painted in tenmoku with foliate motif on an ash ground, a coffee pot and cover by Seth Cardew, a covered jug similar and a mug, impressed seal marks, chips to spout of teapot 12cm. high, (7) £120-180

201

203. Svend Bayer (born 1946) a salt-glazed stoneware bowl, covered to the foot with a speckled glaze, and a collection of seventeen other studio pottery pieces impressed seal marks, 15.5cm. diam. (18) £120-180

202

204. Michael O Brien (born 1930) a stoneware plate decorated with simple river motif in yellow and ochre glaze, a Wenford Bridge teapot and cover by TE with simple brush design, and three other pieces, impressed seal marks, (6) £120-180 205. Michael Leach (1913-1985) a large Yelland Pottery stoneware jug, incised with a band of scroll decoration glazed in tenmoku and ash, four Yelland Pottery bowls covered in a silver-grey glaze and another Yelland Pottery bowl impressed marks, £120-180 28.5cm. high (6)

203

206. Winchcombe Pottery, attributed a stoneware platter, decorated with a trailed design in ash on a tenmoku ground unsigned, 35.5cm. wide £50-100 206A. Michael Cardew (1901-1983), attributed a Wenford Bridge pottery elliptical platter, comb decorated with a meandering river motif impressed Wenford Bridge seal mark, chip to rim, 37.5cm. wide £120-180 204

205

206

206A

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207. Seth Cardew (1934-2016) a Wenford Bridge pottery service, decorated to the well with a meandering river motif, comprising; eight various dinner plates and sixteen various side plates, glazed in tenmoku and ash, impressed seal marks, 28cm. diam. (dinner plate), (24) £300-500

208. Michael Cardew (1901-1983) a Wenford Bridge pottery plate, comb decorated with a meandering river motif in a sand colour ash glaze, and another similar impressed seal marks, 20cm. diam. (2) £120-180

209. Rupert Spira (born 1960) five stoneware cups and saucers, painted in tenmoku on an ash glaze, and a tankard impressed seal mark, 7cm. high (cups), (11) £120-180

207

210. Wenford Bridge a stoneware bowl, painted to the interior with a geometric panel in tenmoku and blue on a celadon ground, and three other bowls, impressed seal mark, 15cm. diam. (4) £120-180

208

209

210

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CONTINENTAL POTTERY 211. An Eugene Lion stoneware vase, shouldered form with inverted rim, with a running celadon green glaze from the shoulder, an Auguste Delaherche stoneware beaker vase incised with foliate motif, and another solifleur vase, incised mark, 11.5cm. high, (3) £150-200 212. A Bombay School of Arts Wonderland Art Pottery vase, pear shaped with everted rim, painted with alternate panels of dancers and flowers, in green and buff on an ochre ground unmarked, repaired damages, 52cm. high £150-250

211

Literature Wonderland, Ceramics The International Journal of Ceramics, August 1987 page 51 plate 4 for a comparable vase illustrated. 213. A miniature Dalpayrat high-fired stoneware vase, shouldered, swollen cylindrical form, flambe and mustard glazes, the shoulder with turquoise and blue, and four other miniature high-fired porcelain vases, incised Dalpayrat to main vase, 8cm. high (5) £150-200

212

214. An Alexander Bigot stoneware inkwell with patinated metal mount and cover, no.973, the compressed ovoid stoneware body applied with hammered mount set with three turquoise enamel stones, the domed cover enamelled with flag iris, impressed C Bigot, incised number, 9.5cm. diam. £150-200

213 214

215. A pair of Art Nouveau Brantjes & Co Purmerende twin-handled vases, model no.1026, shouldered form, each painted with a sunflower on each side, in yellow, green and brown, painted factory marks, number and initials, 20cm. high (2) £200-300 215

216

217

216. An attractive Rookwood Pottery vase by Irene Bishop, slender, shouldered form, painted with stems of blue daisy flowers, in blue, yellow and green on a graduated pale celadon to white vellum finish ground £200-300 impressed marks, 19.5cm. high 217. A Pfeiifer and Lowenstein Wiener Werkstatte coffee set for eighteen designed by Josef Hoffmann, model no.1167/36, fluted cup and flat saucer with raised rim, the cups painted with birds, the saucers a bull like animal in blue on a white ground, comprising eighteen cups and saucers, and a spare saucer, printed Pfeiifer and Lowenstein mark, WW mark and painted number, 11cm. diam. £200-400 (saucer), (37)

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218

218. A large Art Nouveau Goldscheider Pottery bust of a maiden by Gambeauche, model no.2437, modelled casting a sideward glance, wearing a dress of grasses and flowers in matt pale celadon, highlighted in gilt impressed marks to back, artist signature to shoulder, £500-700 59cm. high Literature Ora Pinhas Goldscheider Pottery, Richard Dennis, page 56 for a comparable bust illustrated.

220

219. A large pottery charger probably Theodore Deck, painted with a pair of exotic birds perched on a prunus bough, in colours on a crazed cream ground incised T mark, minor rim chips, 55.5cm. diam. £400-500 220. A large and impressive Clement Massier wall charger by Emile Belet, painted with a large red gurnard fish swimming amongst waterweed close to the sea bed, amongst shoals of smaller fish, in colours on a peach ground impressed CM mark, painted Belet signature, museum restoration, 58.5cm. diam. £150-250 Provenance Private collection. 221. A massive Kahlsruhe Majolika pottery vase, the design in the manner of Max Lauger, model no.120, shouldered form, incised with stylised fruiting gourds, in shades of orange, brown and green on a blue ground, painted marks, stress hairline to neck, 43cm. high £2,000-3,000

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WORKS ON PAPER & TEXTILES 222. Truth Beauty and Power Principles of Design by Dr Christopher Dresser, a book published by Cassell, Petter & Galpin, with tooled leather cover, 26 x 20cm. £120-180 223. Grammar of Ornament by Owen Jones, 1868, published by Bernard Quaritch, London, with burgundy binding, 33.5 x 25cm. £250-350 224. The Studio General Index volumes 1-42, published by Sims & Reed, 1979, and The Studio a Bibliography 1893-1943, (2) £200-250 225. The Modern Carpenter and Joiner and Cabinet Maker volumes 1-8 with covers designed by Talwin Morris, eight volumes published by The Gresham Publishing Co, published in 1904 with cover designs by Talwin Morris, (8) £50-100

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225

226. The Studio volume 60 1913, with green boards, including Seven Happy Days prints by Jessie M King, a Christmas supplement, 29 x 21cm. £200-300

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228

227. Paul Berthon (1872-1909) Femme de Profil, 1898 lithograph on velin paper, published by Maitres de L’affiche, framed signed in the print bottom left, seal mark lower right 33 x 24cm (image) £200-250

228. Paul Berthon (1872-1909) Sa Tres Gracieuse Majeste La Reine Wilhelmine, 1901 lithograph on paper, signed in the print top left corner 38.5 x 35.5cm. £200-250

229. Henry Stacy Marks RA (1829-1898) White Marabou Stork watercolour on paper, framed signed with monogram HSM lower left 38 x 31cm. (image)

£400-600 229

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230 230. Sir William Nicholson (1872-1949) Queen Victoria, Cecil Rhodes, Rudyard Kipling and The Archbishop of Canterbury woodblocks on paper, framed and a print of Edward VII by another hand 24 x 22cm (image of H.M The Queen), (5) £250-300 231. Harry Clarke (1889-1931) Rime of the Ancient Mariner, 1913 print on paper, framed signed in the print and dated 1913, 17.5 x 11.5cm. £120-180

233. A painted satinwood triptych depicting a Proper Sonnet, the exterior doors decorated with two cavaliers standing beside a cherub holding comedy and tragedy masks, the domed mantel panel with cavaliers before a lady, with ivory handles, the interior with illuminated text I smile to see how you devise...the doors with scenes of a medieval banquet, inside Glasgow rose borders, unsigned 56cm. high £300-400

Provenance Thomas Howarth The Thomas Howarth Collection, Important Works by Charles Rennie Mackintosh, Christie’s King Street, 17th February 1994, lot 59.

‡ 232. Harry Fabian Ware (1903-1980) Tree Trunks, 1938 etching on paper, framed signed and dated lower left 32.5 x 26cm.

234. Charles Rennie Mackintosh (1868-1928) Certosa di Pavia pencil on paper studies of the gateway, framed annotated, unsigned, 31.5 x 23.5cm. (image), 54 x 44cm (framed) £800-1,200 Exhibited Charles Rennie Mackintosh Memorial Exhibition, Art Gallery of Ontario, Toronto. (18th November-31 December) 1978, no.74.

235. Charles Rennie Mackintosh (1868-1928) Certosa di Pavia, Studies of Bronze Outlets, pencil on paper, framed annotated, unsigned 22.5 x 17cm (image), 54 x 44cm. (framed) £800-1,200 Exhibited Charles Rennie Mackintosh Memorial Exhibition, Art Gallery of Ontario, Toronto. (18th November-31 December) 1978, no.77.

£120-180

Provenance Rodmarton Manor

Provenance Thomas Howarth The Thomas Howarth Collection, Important Works by Charles Rennie Mackintosh, Christie’s King Street, 17th February 1994, lot 62. 231

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233

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237

238 detail

236. Seven various wall paper wood blocks each with different foliate designs, one stamped J Barrett, one titled The Bexhill to the selvedge painted design numbers to edges, 63 x 55cm (largest), (7) £800-1,200 Provenance John Perry purchased these blocks for his wallpaper manufacturers. His company was founded in 1875 being taken over by Cole & Son in the 1940s. Private collection.

237. Nine rolls of Sanderson Morris & Co Willow wallpaper, unopened in original cellophane cover, 10.05 meters long, 52cm. wide. £120-180

238. Four various Morris & Co Trent printed linen curtains designed by John Henry Dearle, designed 1888, decorated with a floral repeat unsigned, 216 x 256cm (largest), (4) £120-180 Provenance Rodmarton Manor Literature Linda Parry William Morris Textiles, Crescent, page 158 figure 63 this design illustrated 239 detail 239. A pair of Morris & Co Tulip & Rose woven curtains designed by William Morris, designed in 1876, in shades of green and beige on a deep green ground, losses to one edge, 288 x 167cm and 28 x 162cm (2) £800-1,200 Literature Linda Parry William Morris Textiles, Crescent, page 148 figure 12 for this design illustrated. It is stated that the textile was woven by Heckmondwike. Provenance Napier Road, Kensington, by repute.

240. A pair of curtains, decorated with flower and foliage panels, inside wide borders of bell flower repeats, unsigned, 244cm long, 133cm. wide, (2) £150-250 240 detail

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241

241. A Morris & Co Merton Abbey woven kneeler, the long thin panel decorated with a waving grape vine motif in red, green and salmon pink on a blue ground, unsigned, 648cm long. ÂŁ1,200-1,800 Provenance West Down Preparatory School, Winchester Private collection. Literature Malcolm Haslam, Arts and Crafts Carpets, David Black, page 6-7 this kneeler illustrated.

241

242. A large Morris & Co carpet the design attributed to John Henry Dearle, rectangular, with tulip, flowers and foliage design on green ground inside scrolling foliate border on red, 305 x 436cm (10ft x 14ft) ÂŁ10,000-15,000

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242

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243. A large Morris & Co fumed oak sideboard/buffet, three cupboards under two tier shelf mantel with simple mouldings and panel backs, under crenulated overmantel on sleigh feet, with copper furniture unsigned, 183 high, 183cm wide, 57cm deep. ÂŁ2,000-3,000 Literature Specimens of Furniture & Interior Decoration, Morris & Company original catalogue, cat. no.548 this design illustrated at a price of ÂŁ22 10 0.

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244. A Morris & Co walnut sideboard/buffet designed by Philip Webb, rectangular section, three panelled doors below one single and one double fronted drawer, the top with shelf, arched full mantle with turned cluster pillar supports, brass furniture unsigned, 156cm. high, 158cm. wide, 51cm deep. £5,000-10,000 Literature The Best of British Design from the 19th and 20th Centuries, The Selling Exhibition, Sotheby’s/Paul Reeves, 4-20th March 2008 catalogue number PR72. Provenance Sir Henry Howse, given as a wedding present in 1881, thence by descent. Catalogue notes Sir Henry Howse (1841-1914) was a senior surgeon at Guy’s hospital and was given this piece of Morris & Co furniture by his colleagues as a wedding present in 1881. He was knighted in 1902 in the Coronation Honours, commemorating the Coronation of Edward VII for services to medicine.

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245

245. A Cotswold School silk embroidered pillow case, embroidered with stylised carnation flowers and foliage, another decorated with tulips, an embroidered panel dated 1909 embroidered with classical panels of flowers and foliage with indistinct signature Mary, and a tablecloth, unsigned, 58 x 41cm. (silk pillow case), (4) £120-180 Provenance Rodmarton Manor 246. A pair of Cotswold School silk embroidered curtains, each cotton, embroidered with panels of figures, trees, deer and birds, unsigned 282 x 130cm. (2) £150-250 Provenance Rodmarton Manor 247. A Glasgow School embroidered linen hanging/table cover, possibly by Jessie Newbery, embroidered with Glasgow Rose design in pink and green unsigned 198 x 151cm. £300-500 Literature Mary Greensted The Arts & Crafts Movement in Britian, Shire page 15 for a comparable design illustrated.

246

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248 detail

248

248. An embroidered silk panel of a saint on horseback designed by Mr Geoffrey Webb and worked by his wife, the saint possibly Saint George, riding a white steed, on a gilt ground, in colours highlighted in gold metallic thread and another embroidered panel of The Annunciation by Mrs Geoffrey Webb, both framed, applied paper label to reverse of the Annunciation panel, 28cm. square, (image), (2) £200-300 Catalogue notes The paper label suggests the panel was produced for an exhibition, numbered no.2 and titled Burse The Annunciation designed by Geoffrey Webb Sackville House, East Grinstead and embroidered by Mrs Geoffrey Webb. Geoffrey Fuller Webb (1879-1954), the brother of Christopher Webb and nephew of the architect Sir Aston Webb, trained at Westminster School of Art before taking a position at Charles E Kempe stained glass manufacturers. in 1914 he established his own stained glass studio in East Grinstead. His commissions include The Tree of Jesse (1951) and The Annunciation and Visitation (1952) in Llandaff Cathedral, Llandaff Cardiff.

249. A silk embroidered panel of a trumpeting angel, coloured silks, highlighted with gold thread and sequins, in oak frame unsigned, 72 x 30cm. (image) £150-200

250. Faerie Queene an interesting large painted, stencilled and silk embroidered panel, on linen, decorated with scenes from Spenser’s Faerie Queen including St George, Sir Guyon, Briomart, Sir Artegall, Duessa Archimago, Sir Turpine and Acrasia, six panels inside Tudor rose stencil and inscriptions, unsigned, 222 x 65cm. £200-400

249

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FURNITURE 251. An Aesthetic Movement ebonised wood hall table, slender, rectangular section, on turned and knopped legs, with casters, the table with carved classical foliate panels, incised decoration with painted gilt highlights 93 x 50cm, 73.5cm. high. £300-500 Provenance Commissioned as part of a fourteen piece suite of furniture by a Miss Sutcliffe of Halifax circa 1875. Christopher Gilbert (furniture historian) Private collection 252. An Aesthetic Movement ebonised wood table, hexagonal section, with small circular shelf supported on radiating stretchers, the carved under-tier with turned, knopped legs, carved panels of decoration with painted gilt highlights, 92cm. diam, 76cm. high £400-600 251

Provenance Commissioned as part of a fourteen piece suite of furniture by a Miss Sutcliffe of Halifax circa 1875. Christopher Gilbert (furniture historian) Private collection. 253. An Aesthetic Movement ebonised wood Jacobean armchair designed by Edward William Godwin, circular padded seat on tapering, turned legs with streamlined, curved arms and lattice back, turned bobbin stretchers unsigned, 83cm. high £150-200 Literature Susan Weber Soros The Secular Furniture of E.W. Godwin, Yale, page 89 catalogue number 108 for a comparable example illustrated. this example bearing the William Watt enamel label. Soros notes this Old English or Jacobean design was one of Godwin’s most popular designs and was produced in many different versions (our example has different turned bobbin stretchers). Provenance Private collection. 254. A walnut coffee table originally designed by Edward William Godwin, square top on four turned legs, square shelf with dowel decorative undercarriage, unsigned, 65cm. high, 40.5cm. square top £150-250

252

253

255. An Aesthetic Movement ebonised wood bedroom chair, with low slung arms, the lattice back with turned spindles, on turned, flaring legs, black silk padded seat, 77cm. high £120-180

254

255

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256. A Collinson & Locke style Aesthetic Movement oak sideboard, rounded rectangular section, two mirrored panel doors flanked by D shelves and drawers carved with floral roundels, the top with glazed, mirror-backed cabinet flanked by mirror backed shelves, turned columns with carved flower-head mon and mother of pearl square inlay, before stencilled rose frieze, brass furniture,168cm. high, 141cm.wide ÂŁ500-800

256

257. A mahogany fireplace and overmantel in the manner of Bruce Talbert, the fireplace panelled with carved and gilded foliate panels below carved border of stylised flowers, flaring overmantel supporting rectangular mirror, the frame with simple carved feather-leaf panels, below bobbin top rail, 142cm high, 195cm wide (fireplace), 107cm high, 190cm wide (overmantel) (2) ÂŁ500-1,000

257

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258. A Gothic Revival pitch pine chest of drawers in the manner of Charles Bevan, rectangular section with crenellated borders, two short drawers over three long drawers, with brass fittings, and a pitch pine cabinet similar, panelled doors and sides flanked with pilasters, crenellated bands, and brass furniture unsigned, 107 x 52cm, 103cm. (2) £300-500 259. An Aesthetic Movement ebonised wood hall chair, turned front legs, the back set with Wedgwood Nell Etticoat tile, 82cm. high £120-180 Provenance Private collection.

258

260. An oak Thebes stool possibly retailed by Goodyer, the curved, rectangular rush seat, on flaring turned legs, with dowels, unsigned, 45cm. wide £200-300 261. An Aesthetic Movement ebonised wood corner cabinet, triangular section, two shelves flanking central twin door cabinet with painted flower spray panels, the mirror backed, tapering top shelf, 167cm. high, 81cm. wide £300-500

260

259

Provenance Commissioned as part of a fourteen piece suite of furniture by a Miss Sutcliffe of Halifax circa 1875. Christopher Gilbert (furniture historian) Private collection. 262. An enamelled cast iron stick-stand in the manner of Thomas Jeckyll, rectangular section, cast iron low relief with foliate panels, the top with twelve partitions, two square drip trays to base, enamelled black, cast regd diamond, 65cm. wide, 65cm. high £150-250

261

262

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263. A large Aesthetic Movement sideboard/buffet the design attributed to Bruce Talbert, rectangular, with central two door cupboard with painted floral panel doors, flanked by single fitted cupboards, below three drawers all with panelled fronts, the overmantel with central rectangular mirror, with painted floral panels behind turned columns, below shelves and turned rail unsigned, 166cm. high, 184cm £400-600 wide, 64cm deep.

264. A large Gothic Revival overmantel mirror designed by William White, rectangular frame with tapering triangular top, with pierced and stencilled rose window roundel below carved scroll foliage rim and finial, carved and stencilled flower mon above glass, flanked by carved Corinthian pillars, painted gilt highlights, 214cm. high, 160cm. wide £800-1,200 Provenance Clement Francis, Quy Hall, Cambridgeshire, thence by descent until 2000.

265. A large and impressive Victorian Gothic Revival oak library bookcase possibly designed by Sir George Gilbert Scott, of canted form, with pierced carved tracery mantle, twin glazed doors, flanked by similar angled doors, the base with panelled cupboards carved with linen fold design, below frieze drawers with tracery decoration, with polished brass furniture, raised on stile supports, unsigned, 300cm. high, 230cm wide. £800-1,200

263

Provenance The Admiral’s House, Hampstead - Sir George Gilbert Scott’s house.

264

265

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266 266. An interesting Aesthetic Movement red walnut writing desk the design attributed to Thomas Jeckyll, rectangular section, two banks of graduated drawers, with a border of spindles and a foliate moulding, subtle flaring legs on castors, with brass furniture, 131 x 68cm, 76cm. high £500-800 Literature Susan Soros Thomas Jeckyll Architect and Designer 1827-1881, DGC/Yale, page 188 figure 551 for a comparable desk in walnut for 1 Holland Park. Catalogue notes There are several examples of furniture designed by Jeckyll to be made in walnut, comparable to this example, the most important being for 1 Holland Park, London for Alexander Ionides in 1875.

267. A Barnard Bishop and Barnard cast iron fireplace designed by Thomas Jeckyll, cast in low relief with Japanese mon on a striped ground, cast Bee mon, 92cm. high, 71cm wide. £200-300 Literature Susan Soros Thomas Jeckyll Architect & Designer 1827-1881, BGC/Yale, page 220 figure 6.53 for a comparable fireplace illustrated. 268. A Gothic Revival wrought iron fire basket and fire dogs, the fire dogs of triangular form with polished brass flowerhead motif, the fire basket with cast geometric panel to back, 69cm. high (dogs), 56cm. wide (fire grate) (3) £400-600 269. A pair of oak folding chairs designed by Bruce Talbert, the back with two rows of spindles below a carved foliate panel, with green velvet seats, 73cm. high (2) £120-180 270. A mahogany occasional table probably retailed by Liberty & Co, rectangular top on flaring, turned legs, with low shelf, unsigned, 68 x 40.5cm, 64cm. high £200-300

267

268

269

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272 271. A stencilled wood panel in the manner of Augustus Welby Northmore Pugin, the rectangular panel with stylised flower sprays and chevron inscription, We Give Thanks to Thee for Thy Great Glory, on gilt ground unsigned, 61 x 51.5cm. £120-180 272. A pair of Hardman Powell & Co painted wrought iron gates for St Mary’s Church Derby designed by Augustus Welby Northmore Pugin, scrolling form with gold trefoil terminals and heraldic M, below trefoil fleur de lys and points, cast Hardman Powell & Co panel, 119cm. high, 61cm wide (each), (2) £500-1,000 Provenance The Church of St Mary, Derby (1837-39)

273

Catalogue notes Begun in 1837, the church of St Mary was Pugin’s first major parish church commission. This pair of gates were removed from the church during the mid 1980s when a refurbishment was undertaken. 273. A Gothic Revival oak library table the design attributed to E.W. Pugin, octagonal with inset baize top, with four drawers and four blind drawers, one drawer with writing slope, each with Webb & Grew Birmingham locks and brass furniture, the four cruciform arched legs on cross base and inset castors, with carved geometric bands ebonised black, 120cm wide, 77cm high. £700-900 Literature Paul Atterbury & Clive Wainwright Pugin A Gothic Passion, V&A exhibition catalogue, 1994, page 13 plate 24 for a table with similar configuration to under-carriage. Provenance Robert Kime The Estate of Professor Rodney Fitch CBE 274. A large Holland and Sons Gothic Revival oak and walnut wardrobe designed by Bruce Talbert, in four sections, the central bank of drawers surmounted by two short hinged doors, each with inlaid stylised flowers on vertical planking with a trefoil frame, the two outer, full length compartments with similar doors, framed by chamfered stiles and attached collared columns with carved finials, all below a moulded and crenellated cornice, 228cm high, 259cm wide, 61cm deep. £800-1,200

274

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275. An ebonised wood Sussex chair in the manner of Morris & Co, with turned legs, bobbin back and rush seat 78cm. high £50-100

276. An oak occasional table, square section on flaring, tapering square section legs, with square shelf, the undercarriage with carved heart-shaped foliage motif, unsigned, 45cm. square, 69cm. high £120-180

276

275

277. A set of six Scottish School dining chairs the design attributed to Ernest Archibald Taylor, comprising four chairs and two carvers, tapering stylised tulip flower back splats and central carved flower aperture, padded green leather seats, £150-250 107cm. high (6)

278. An Art Nouveau mahogany armchair, marquetry banded, the pierced tapering back with marquetry flower stem, red velvet padded seat and back pad, 119cm. high, 59cm wide £120-180

279. A wrought-iron firescreen, rectangular, the central field a vase of scrolling flower stems, inside rectangular frame with scroll foliate panel edges, with turned wirework handle, unsigned, 78 cm wide, 54cm high £150-250

280. A pair of oak bookshelf ends in the manner of Charles Francis Annesley Voysey, one carved with heraldic shield for Balliol College, Oxford, the ends with carved foliate finials, 134cm. high, 73cm wide £200-400

277

278

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281

281. A mahogany gate-leg table designed by Mackay Hugh Baillie Scott, model no.14, rectangular with two flaps with hinged legs, inlaid elliptical decorative panel, 72cm. high, 82 x 100.5cm £1,500-2,000 Literature Furniture Made at the Pyghtle Works, Bedford by John P White, original catalogue, this table design illustrated as model no.14 with a variation to the decoration. The table was available in oak or the more expensive mahogany at £11.11.0. 282. A patinated metal wall light designed by Mackay Hugh Baillie Scott, made for Glencrutchery House, Douglas, Isle of Man, in 1897, the scroll stem supporting Art Nouveau heart-shaped foliate stems, unsigned, 53cm. high, 44cm deep. £1,500-2,000 Literature Arts and Crafts, Christie’s South Kensington, 2nd November 2000 lot 158 for a comparable pair. Provenance Glencrutchery House, Douglas, 1897. Private collection Catalogue notes These light fittings were designed by Baillie Scott for the dining room of Glencrutchery House, Douglas in 1897-1898. In the same year he was also commissioned by the Grand Duke of Hesse to redecorate and furnish both the dining room and drawing room in the Ducal Palace, Darmstadt. The metalwork was produced under the supervision of Charles Robert Ashbee at the Guild of Handicrafts.

283 284. A pair of gilded metal wall lights designed by Mackay Hugh Baillie Scott, made for Glencrutchery House, Douglas, Isle of Man in 1897, the scroll stem supporting Art Nouveau heart-shaped foliate stems, unsigned, 53cm. high, 44cm deep, (2) £3,000-5,000 Literature Arts and Crafts, Christie’s South Kensington, 2nd November 2000 lot 158 for a comparable pair. Michael Jeffery Christie’s Arts and Crafts Style, Pavilion, page 173 for a comparable pair of lights illustrated. Provenance Glencrutchery House, Douglas, 1897. Private collection

283. A patinated metal wall light designed by Mackay Hugh Baillie Scott, made for Glencrutchery House, Douglas, Isle of Man in 1897, the scroll stem supporting Art Nouveau heart-shaped foliate stems, painted black, unsigned, 53cm. high, 44cm deep. £1,500-2,000 Literature Arts and Crafts, Christie’s South Kensington, 2nd November 2000 lot 158 for a comparable pair. Exhibited This example loaned to the Manx Museum, Isle of Man Provenance Glencrutchery House, Douglas, 1897. Private collection 284

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285. An Art Nouveau mahogany three fold screen, with tooled leather panels, below bevelled glass, 162cm. wide. £150-200

285

286. An Art Nouveau mahogany and glass three-fold screen, the graduated panels with stylised ‘cloud’ tops, carved scroll and foliate frame on feet, with bevelled glass 190cm. high, 141cm wide (maximum) £120-180

286

287. A long oak refectory table, plank top with flaring flat board ends and central stretcher unsigned, 244cm. long, 67cm wide, £300-500 67cm high

287 288. A limed oak wing-back armchair in the manner of Sir Robert Lorimer, carved limed oak legs and stretchers, patinated green leather padded seat, back and arms, unsigned, 121cm. high £300-500

289. A Cotswold School oak occasional table, octagonal top on four flaring plank legs and sleigh feet, unsigned, 51cm. high, £150-200 44.5cm. diam.

288

289

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290. A fine walnut long case clock the design attributed to the Guild of Handicraft to a design by Charles Robert Ashbee, the clock movement by John Moore & sons, the barometer by Negretti and Zambra, the tall case surmounted with pepper pot finial, the cover with carved open panels to the sides, crenellated top and pillasters, the slightly flaring body carved with sunflower stem, the flower set with a barometer and inscribed Take Time While Time is For Time Will Again, 275cm. high ÂŁ3,000-5,000 Catalogue notes A comparable clock case is illustrated in The Studio volume XII The Guild of Handicraft A Visit to Essex House, page 34. The Essex House workshop on Mile End Road was relatively close to John Mooreâ&#x20AC;&#x2122;s workshop in Clerkenwell Close.

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291. An oak armchair probably retailed by Goodyers, slat back, the solid plank arms with cut-out circle motif, the padded seat and back covered with Brer Rabbit material designed by William Morris, unsigned, 85cm. high £200-300

292. A Glasgow School oak stickstand in the manner of John Ednie, square section with central division, the top carved with square aperture border unsigned, 74cm. high, 30.5cm square £600-800 291

292

293. An Arthur Simpson of Kendal oak bookcase, two shelves with hinged dust guards, above hinged cupboard, the door with carved Tudor rose border, the shaped top with three similar carved foliate borders, 82cm wide, 115cm high, 36cm. deep. £1,000-1,500 Literature Hugh Wright The Beautiful Furniture of the Simpsons of Kendal, Bookcase, page 115 cat. no. 47 for a plain bookcase.

294. An oak coffer designed by William James Neatby possibly retailed by Liberty & Co, rectangular with hinged top, panelled, the front carved with two heart shaped foliate panels, unsigned, 120 x 45cm, 54cm. high £200-400

293

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295

295. A Heal’s limed oak dressing table and stool, two low bands of twin drawers flanking long central mirror, the stool with embroidered seat impressed ivorine roundel to stool, 149cm. high, 107cm. wide. £400-600 296. A Heal’s limed oak table lamp, turned cylindrical stem on stepped square section base, unsigned, 53cm. high £150-250 297. A Gordon Russell oak table, rectangular with carved fluted square legs, factory mark, 76cm. high, 137 x 82cm. £400-600 298. A Heal’s oak sideboard designed by Ambrose Heal, possibly exhibited at the Paris Exposition 1900, of canted rectangular form, inset with ebony and boxwood chevron bands, the doors and back inlaid with diaper diamond motif, with shelf top overmantel with carved column supports, unsigned, 152cm. wide. 143cm. high, 55cm deep £1,200-1,800 Provenance Arts and Crafts, Woolley and Wallis Auctioneer’s 23rd June 2010 lot 470. Private collection 298

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299. A large copper ceiling light, circular section stamped in low relief with rose flowers and foliage to the rim and column supports, hanging from a cylindrical support decorated with similar roses and three pierced light apertures, the light with red silk shade, unsigned, 52cm. diam, 77cm. drop. ÂŁ500-800

299

300. A Jacob & Josef Kohn stained beechwood nest of four tables the design attributed to Gustav Siegel, rounded, rectangular top on turned legs, the sides with pieced arrowhead panels, unsigned, 75cm. high, 65 x 42cm (largest top), (4) ÂŁ500-800 Literature Jacob & Josef Kohn catalogue, 1916, page 79 this design illustrated, (no.958a) 300

301. A Meubles Horgen Glaris bentwood armchair, circular wood seat, curved back and arm configuration, the back with pierced panel, applied painted white ball supports under the arm-rests, on four cylindrical legs, applied paper label, 77cm. high ÂŁ120-180

301

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

302. A Robert Mouseman Thompson oak wardrobe, rectangular with hinged panel doors and carved arch mantel, panelled side, with carved mouse signature to top border, with internally fitted shelves on the right, carved wooden handle, carved mouse signature, 168cm. high, 58cm. deep, 122cm. wide ÂŁ2,500-3,000

303. A good Stanley Webb Davis Indian Silver Greywood writing table, dated 1950, by Ernest John Oldcorn and Sidney Allan Johnston, no.1871, panelled back, on eight carved octagonal legs, peg joints, two bands of two short drawers flanking a larger central drawer all cedar lined, with wooden handles, paper label to drawer, incised artists monograms and date, 53 x 106cm. (top), 77cm. high. ÂŁ1,500-2,000

303 detail

302

303

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METAL WARE 304. A Benham and Froud brass chamberstick, the lily-pad bowl with scroll handle, a Hukin & Heath twinhandled bowl and glass liner model no.2228, a Persian mixed metal vase, a Burmantoft’s Faience bottle vase, a Minton Aesthetic Movement jug and five other items, stamped mark to handle of chamberstick, 23.5cm. wide (chamberstick), (10) £120-180 305. A copper and brass door plate probably Benham & Froud, decorated with a griffin creature before trellis ground with scrolling foliage and stylised flowers, and another door plate decorated with geometric panels unsigned, 60cm. long (2) £150-200

304

305

306. A Hukin and Heath (Heath and Middleton) silver and glass wine carafe the design attributed to Dr Christopher Dresser, the flat-sided glass body, the silver neck with scroll handle and flat hinged cover, stamped marks JTH 7 JHM Birmingham 1907, 22.5cm. high £500-800 307. An electroplated metal toast rack the design attributed to Dr. Christopher Dresser, model no.1965, probably made by Hukin & Heath, diamond shaped section on four ball feet, with four triangular dividers and inverted triangle handle, and a Hukin & Heath electroplated Lily pad inkwell with hinged cover, stamped marks, 12.5cm wide (toast rack), (2) £120-180

306

307

308. A Hukin & Heath electroplated cruet stand and glass bottles designed by Dr Christopher Dresser, canted triangular base with three bowls and central rod with D shaped finial, with one faceted glass bottle and stopper, one open bottle and a glass mustard pot with hinged metal mount and serving spoon, stamped designed by Dr C. Dresser and regd diamond, 19cm. high (6) £300-500 Literature Christopher Dresser 1834-1904, The Fine Art Society and Haslam & Whiteway Ltd, catalogue number 44 for the stand illustrated. Michael Whiteway Christopher Dresser a Design Revolution, V&A, page 143 figure no.175 for a variation of this design with six bowls illustrated. 309. An electroplated three piece tea set in the manner of Dr Christopher Dresser, domed form on bun feet, with ebonised wood handles and finial, stamped EPNS mark, 17cm. wide (teapot), (4) £120-180

309

308

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310. A John Pearson repousse patinated copper charger, dated 1892, circular repousse hammered with a frieze of scaly classical fish and scrolling foliage to the rim, the well with two classical fish, signed J Pearson, 1892 38.5cm. diam. £700-900 310

311. A John Pearson repousse copper wall charger probably made at the Guild of Handicraft, dated 1890, the well decorated with four radiating phoenix, the rim with a frieze of fruiting vine, stamped J Pearson 1890, 267, 38.5cm. diam. £600-800 Catalogue notes John Pearson was one of the four founding members of the Guild of Handicraft (in 1888), it is recorded that he left the guild in 1892 which would suggest this charger was produced by Pearson whilst at the Guild of Handicraft.

311

312. A repousse copper charger the design attributed to John Pearson, octagonal form, the well hammered with a sailing ship on a calm sea, the rim with panels of scrolling flowers and foliage unsigned, 41cm. wide. £300-400 312

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313. A pair of Art Nouveau patinated metal twin-branch wall lights, flowerhead bracket supporting splitting rod stem entwined with foliage decoration, on wooden mount, unsigned, 33cm. deep, (2) £150-250 Provenance Paul Reeves Private collection.

314. A pair of silvered metal double wall sconces in the manner of Keswick School of Industrial Arts, octagonal back plates stamped in relief with fruit and foliage panels, with two sconce on detachable scrolling arms, unsigned, 34cm. high (4) £200-300

313

315. A pair of W.A.S. Benson style ceiling lights, each with conical vaseline glass shades, unsigned, 28cm. high £150-250

316. A pair of Birmingham Guild of Handicraft patinated copper and brass hall lanterns designed by Arthur Stansfield Dixon, domed base with ball finial, supporting flaring rod body and shallow, hammered domed top, with flaring conical opaque glass shades unsigned, 27cm. high, (2) £600-1,000

314

315

316

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317. A Jesson Birkett and Co patinated copper ceiling light, circular hammered collar set with three Ruskin Pottery turquoise stones, supporting three radiating scroll arms with fittings, three turned metal supports to entral ball and long twisted central stem linking to the hammered, patinated copper ceiling rose with ball, unsigned, 62.5cm. drop ÂŁ1,000-1,500

318. A Birmingham Guild of Handicraft copper and brass table lamp, the extendable cylindrical stem on four square cruciform base, with curved rectangular copper reflector shade stamped B.G.H to base, 38.5cm. high ÂŁ300-500

319. An impressive W.A.S. Benson copper and brass ceiling light, the floriform rose supporting circular body with six brass scroll brackets and five hanging copper light fittings with tapering vaseline ÂŁ1,500-2,000 glass shades, 72cm. diam, 79cm. drop Literature Ian Hamerton W.A.S Benson Arts and Crafts Luminary and Pioneer of Modern Design, ACC Books, page 258 for a comparable example illustrated.

317

318 319

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320. A W.A.S. Benson silvered copper inkwell, model no.486A, on circular lily-pad base, the urn shaped well with shallow domed cover, unsigned, 16.5cm. diam. £120-180 Literature Ian Hamerton W.A.S Benson Arts and Crafts Luminary & Pioneer of Modern Design, ACC Publishing, page 255 plate 30 this design illustrated. 321. A pair of W.A.S. Benson copper and brass candlesticks, model no., the square base supporting domed base, knopped stem and flaring copper drip tray, three spike sconce, and a brass wall light, stamped WAS Benson to sconce, 24.5cm. high, (3) £150-250

320

322. A W.A.S. Benson copper and brass hand candlestick, circular brass section with curved copper reflector panel stamped with a foliate design by George Heywood Sumner, with brass handle, stamped Benson shield £500-700 mark to handle,22.5cm. high 323. A W.A.S. Benson copper and brass fender, the frame on six heart shaped feet, set with repousse and engraved plaques designed by Heywood Sumner, unmarked, 129 cm long, 32cm. deep £2,000-3,000 Literature Catalogue of Lighting & Hollow-ware Designs, W.A.S Benson catalogue plate 32 cat. no.502. Provenance The Best of British Design from the 19th and 20th Centuries - The Selling Exhibition, London 14-20th March 2008 Sotheby’s/Paul Reeves PR93 page 114. Private collection. Exhibited W.A.S Benson Genius of the Arts and Crafts, Lakeland Arts Trust Blackwell, Cumbria 2007. 321

322

323

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324. A pair of patinated bronze fire dogs, on tripod foot, the turned column set with cast circular, foliate terminal with heart motif, unsigned, 30cm. high, (2) £120-180

325. A set of eight Thomas Elsley & Co brass hinges designed by Charles Francis Annesley Voysey, cast with open heart motif, the hinge with pointed detail, stamped Elsley mark 41cm. long £800-1,200 Literature Karen Livingstone C.F.A Voysey Arts and Crafts Designer, Victoria & Albert Museum, page 237 cat. no.297 for a comparable pair of hinges in the Crabtree Collection.

324

Provenance Private collection.

326. A brass three well desk inkwell and pen-stand designed by Charles Francis Annesley Voysey, probably manufactured by Thomas Elsley Ltd, tapering rectangular form with three hinged, domed covers, with circular wells, with two applied pen-holders with riveted heart-shaped terminals, unmarked, 38cm long, 15.5cm. wide £800-1,200 Literature Karen Livingstone with Max Donnelly and Linda Parry, C.F.A Voysey Arts and Crafts Designer, V&A Publishing, page 247 figure 314 for a comparable triple inkwell with heart motif (but no pen rests) from the General Manager’s desk at Essex & Suffolk Equitable Insurance Society, circa 1906. 325

326

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327. A twin-handled copper tray, rounded rectangular form hammered in low relief with Tudor Rose flowers and foliage, with two applied twisted copper handles, unsigned, 59.5cm. wide £300-500

327

328

328. A patinated copper charger, circular, hammered in low relief with a band of Art Nouveau heart-shaped foliage panels radiating from the well, unsigned, 35.5cm. diam. £300-400

329. A copper tray probably Fivemiletown Ireland, rectangular, repousse hammered in low relief with a pair of facing peacocks in a fruiting tree, on punched ground, unsigned, 41 x 24.5cm. £120-180 Paul Larmour The Arts and Crafts Movement in Ireland, Friar’s Bush Press, page 42 for a photograph of the Fivemiletown stall at the Home Arts exhibition, 1897 with a comparable copper tray illustrated.

330. A Glasgow School copper and enamel jewellery box and cover, circular section on three cube feet, decorated with a frieze of swallows above a band of stylised butterfly, the domed cover set with four yellow and blue enamel roundels, the rim inscribed Sweet is the Breath of Morn, blue velvet lining, unsigned, 11.5cm. diam. £250-300

329

330

331. An Iona carved wood Celtic Cross by Alexander Ritchie, dated 1902, based on the remains of the MacKinnons Cross dedicated to Lachlan MacKinnon and his son John (Bishop of Hy), 1489, signed A.R. Iona, 1902, 71cm high. £800-1,200 Catalogue notes The remains of the medieval MacKinnons Cross were reproduced in Iona its History and Antiquities by Robert Brydall, published in 1898. Literature E Mairi Macarthur Iona Celtic Art, New Iona Press, page 36 plate 6d for an example of St Martin’s Cross illustrated.

332

331

332. A Scottish brass wall mirror, rectangular form, stamped in low relief with a butterfly to each corner, on scrolling, textured ground, with bevelled glass, unsigned, 57 x 44.5cm. £200-300

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332A 333 332A. A rare Newlyn Industrial Classes copper tea caddy, rectangular section with hinged cover, hammered in relief to the front with a bird perched on a buoy with wings outstretched, the sides with cormorants perched on a rock, the back a decorative strap design inset with seashells, the cover with domed centre, and a Newlyn Industrial Classes plate hammered in relief with a large scaly fish, stamped Newlyn to base, 17cm. high, (2) £300-350 Literature Daryl Bennett & Colin Pill Newlyn Copper, Sansom & Company, page 121 this design illustrated.

333. An early Newlyn Industrial Classes copper hotwater jug, tapering square section, hammered in relief with a cormorant standing with a fish in its beak to each side, the front with a large scaly fish, on hammered ground, stamped Newlyn to front, 23cm. high £250-350

334

334. A Newlyn Industrial Classes copper rose bowl and cover, circular section, repousse hammered with fruit and foliage sprays to the side, hammered finish, a Newlyn Industrial Classes tea cannister and cover, the cover hammered with a fish, and a small circular tray stamped marks, stamped marks, 15.5cm. diam, (5) £200-300

335. A rare Newlyn Industrial Classes repousse hammered wall mirror, square, hammered in high relief with Cornish apples and foliage, with central circular bevelled mirror, stamped Newlyn 52.5cm. square £800-1,200 Literature Daryl Bennett & Colin Pill, Newlyn Copper, Sansom & Company, page 75 for a rectangular frame with similar apple decoration.

335

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336. A collection of Hope polished steel door furniture possibly designed by Sir Edwin Lutyens, comprising; five pairs of plates with knob handles and articulated lock cover, three pairs of rectangular door plates, one spare rectangular door plate and one bar handle plate, stamped Hope mark, 35.5cm. high (15) £400-600

337. A pair of Deutsch Werkbund style patinated copper and enamel pricket candlesticks, each tapering cylindrical bases, cylindrical stems with flaring bowls, enamels with geometric bands in turquoise and white indistinct mark and 258 painted to underside, 35cm. high (2) £600-1,000

336

338. A WMF Secessionist copper and brass centrepiece, twin-handled rectangular form on flaring foot, the bowl with pierced square panels flanking applied copper panels of Classical warriors, stamped marks, 45.5cm. wide £50-100 Provenance Private London collection.

339. A large copper and brass wall mirror, possibly Scottish, rectangular, stamped in relief with simple flowerheads, the corners with a pierced raised trellis design over brass, with brass stud border to the edge, on wooden back, unsigned, 96 x 72.5cm. £300-500

337

338

339

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SCULPTURE ‡ 340. Gilbert Bayes (1872-1953) The Scales of Time, 1908 patinated bronze on green veined marble base signed, titled and dated in the cast, 5FB, 43cm. high

£4,000-6,000

Literature The Art Journal January 1909, page 30 for an example illustrated. Louise Irvine & Paul Atterbury Gilbert Bayes Sculptor 1872-1953, Richard Dennis/Fine Art Society, page 113 for a comparable example illustrated. Provenance Private collection

‡ 341. Mary Spencer Watson (1913-2006) Thought, 1928 a cire perdue bronze cast by John Galizia at the Central School of Arts & Crafts circa 1934-35 after the original sculpted in plasticine by Mary Spencer Watson in 1928, unsigned, 21cm. high £1,500-2,000 Literature Annette Ratuszniak Mary Spencer Watson Sculpture 11th September4th December 2004 Salisbury & South Wiltshire Museum, page 76 catalogue number 1. This bust was, by repute, the first piece modelled by Mary Spencer Watson at the age of fourteen. Exhibited Mansard Gallery (heal’s) 1937 Sculpture in Britain Between the Wars, Fine Art Society 1986, curated by Peyton Skipwith, page 145, catalogue no.103. Provenance Fine Art Society. Private collection. Woolley and Wallis Auctioneers would like to thank Peyton Skipwith and Annette Ratuszniak for their help in cataloguing this lot.

‡ 342. William George Simmonds, (1876-1968), manner of Shire Horse and Farrier, carved oak on rectangular oak base, unsigned, 34.5cm. high, 34cm. wide

341

340 £600-800

342

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343. Warmuth Snake Dancer a patinated bronze model of a naked maiden holding two snakes, on marble base signed in the bronze Warmuth 27cm. high ÂŁ800-1,200

343

344. Franz Bergman (1861-1936), attributed Snake Dancer a patinated bronze model of an exotic dancer, applied with paste jewels, on marble base unsigned, 45cm. high ÂŁ1,000-1,500

344

100

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345. Desire Grisado (born 1872) Medieval Maiden a gilt bronze and ivory figure of a medieval maiden in long ermine lined cloak, descending two steps, clasping a book to her breast, her right hand holding a laurel stem, signed D Grisard in the cast to the base, 45.5cm. high £2,000-3,000 Provenance Private collection. 345

346. Dominique Alonzo The Lecture a gilt bronze and ivory figure of a medieval maiden gazing at an open book, on veined onyx step base signed in the cast D Alonzo 33cm. high £3,000-5,000 Literature Bryan Catley Art Deco and Other Figures, Antique Collector’s Club, page 28 for a comparable example illustrated. Provenance Private collection. 346

101

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347. Paul Phillipe (1870-1930) Girl and Mirror, Vanity a tall alabaster and ivory figure, modelled with arms out-stretched, admiring her reflection in her hand-mirror, on veined onyx base etched P Phillipe to side of base 45cm. high £5,000-7,000 Literature Bryan Catley Art Deco & Other Figures, Antique Collector’s Club, page 250 for an example of this figure illustrated. It was also produced in bronze and ivory by the Etling foundry. Provenance Private collection.

348. A Symbolist gilt bronze roundel, cast in low relief with a young girl looking down on a circular spider’s web, flanked by two classical winged creatures forming the rim, indistinct cast mark to reverse, 22.5cm. diam. £200-300

349. Franz Xaver Bergman (1861-1936) Leda and the Swan gilt bronze signed in the cast Nam Greb 19.5cm. high

347

348

102

349

£700-900

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â&#x20AC;Ą 350. Pierre Le Faguays (1892-1962) Exotic dancer seated patinated bronze and ivory signed in the cast P Le Faguays 21cm. high

ÂŁ2,000-3,000

103

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351. A Keswick School of Industrial Arts silver tea caddy spoon, flaring tear-shaped bowl with hammered finish, interlaced wirework handle, stamped marks KSIA, Chester, 1914, 7.8cm. long, (0.475 oz) £150-200

351

352

352. A silver footed bowl by Albert Edward Bonner, simple form with hammered finish, stamped AEB marks, London 1912, 10.5cm. diam. (3.5 oz) £150-200 353. An electroplated metal bud vase made for Miss Cranston’s Tearooms Ingram Street Glasgow, the solifleur vase cast with floriform stem on fluted circular base, and a small Willow pattern ceramic cup also made for Miss Cranston’s Tearooms, stamped and printed marks, 18cm. high £300-500 (vase), (2)

354

354. A John Gatecliff silver milk-jug and twin-handled sugar basin, shallow bowl form on four, square section feet, with applied rope border to rim, hammered finish, and a H.C. Davis silver pen tray and a London Assay Office silver jug, stamped marks, JC (John Gatecliff), Chester 1922, 15cm. wide £150-250 (sugar basin), (4) 355. A Synyer and Beddoes silver dressing table mirror in the manner of Kate Harris, rectangular, stamped in low relief with a border of stylised flowers and scrolling foliage, with leather back and easel support, stamped SB mark Birmingham 1904, 32 x £200-400 23.5cm.

353

356. A William Hutton & Sons Ltd silver hand mirror designed by Kate Harris, elliptical, stamped in low relief with a maiden bust portrait and two lily stems stamped marks, London 1904, 24.5cm. long £150-250

356

104

355

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358

357

359 357. A modern Guild of Handicraft silver tankard by George Hart, footed, swollen form with scroll handle, stamped marks, GofH, London 2003, 14.5cm. high, (16.6oz) £120-180 358. A pair of Omar Ramsden & Alwyn Carr silver sugar tongs, simple twist decoration to stem, hammered finish, stamped marks, RN & CR, London 1912, 10.5cm. long. (0.97 oz) £150-200 359. An Omar Ramsden silver salt, with later cut glass liner, hexagonal form, the tapering base with rope border, flaring bowl with two rope borders, stamped marks, OR London 1922, 5.5.cm. high, 6.8cm. wide. (2), (2.1 oz) £150-200 360. A Guild of Handicraft Ltd silver salt with green glass liner designed by Charles Robert Ashbee, circular section hammered base with three swollen columns each set with green stone terminals, with green glass liner, with en suite hammered silver spoon with chrysoprase terminal made by George Hart, stamped GofH ltd mark, 6.7cm. diam, 3.5cm. high (3) £1,000-2,000 Literature Simplicity or Splendour, Cheltenham Museum, page 56 figure 51, catalogue number 44 for a comparable piece. Provenance A private collection of Guild of Handicraft silver and jewellery. 360

105

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361

362

361. A pair of William Aitken silver photograph frames, shaped rectangular form on wooden mount and easel back support, stamped in low relief with Art Nouveau foliate panels, stamped marks, WA Birmingham 1907, 18cm. high, (2) £1,200-1,800

362. A pair of James Deakin silver photograph frames, on wooden back with easel support, stamped in low relief with a maiden and young girl walking amongst flower boughs, stamped marks, Birmingham 1905 and 1906, 25cm. high (2) £1,200-1,800

363. Five Darmstadt Clarfeld Springmeyer (Hemer) electroplated metal serving implements designed by Joseph Maria Olbrich, comprising sauce ladle, a cake slice, two serving spoons, and a fish slice, each with cast entrelac motif to the handle (forming JO monogram) and CB monogram stamped marks, 27cm. long (serving spoons), (5) £250-350

363

Literature British Museum, 2005 0102 for comparable items from the same service. Joseph Maria Olbrich 1867-1908, Mathildenhohe, Darmstadt, 1983 page 347 this design illustrated. Joseph Maria Olbrich Die Zeichnungen in der Kunstbibliothek, Berlin, 1972, Gerb. Mann Verlag, page 306 plate 11978 for the original design of cutlery with the same handle design, illustrated. Provenance The Pursuit of Style : John Jesse at Kensington Church Street, Sotheby’s London, 22nd February 2006, lot 88 (part).

364. Two Darmstadt Clarfeld Springmeyer (Hemer) eight piece electroplated metal cutlery settings designed by Joseph Maria Olbrich, comprising knife and fork, fish knife and fork, butter knife, two graduated spoons and a knife rest, each with cast entrelac (forming JO monogram) motif to the handle and CB monogram, stamped marks, 25.5cm. long (knife), (16) £400-600

364

106

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365 detail 365. A Georg Jensen silver sugar caster designed by Johan Rohde, designed 1919, model no. 270, swollen, fluted form with flattened domed cover, hammered finish, stamped marks, 10cm. high, (3.5oz) £400-600 Literature 100 Years of Georg Jensen Christie’s New York, 19th January 2005 lot 255 for a comparable caster illustrated.

366. A Georg Jensen silver three piece tea set, probably designed by Johan Rohde, model no.181, comprising teapot and cover, milk-jug and sugar basin, compressed form on flaring 10 sided foot with ball motif, hammered finish, the teapot with ivory insulators to handle, stamped marks, imports marks, George Stockwell London 1924, 21.5cm. wide (teapot), (4), (21.6oz) £1,000-1,500 Literature Janet Drucker Georg Jensen A Tradition of Splendid Silver, Schiffer, page 210 for a bowl in this design illustrated. Page 225 for an original design by Johan Rohde for a similar design.

365

366

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ENAMELS

367. Arthur Henri Lefort des Ylouses (1846-1912) Sirens, allegories of Abundance and Fame, 1880 and 1889 two large enamelled lava panels, in original stained beech frames signed and dated top right, 54 x 43cm (panels), 66 x 55cm (frame), (2) ÂŁ2,000-4,000 Provenance Fraysse & Associes Paris, 22nd October 2008, lots 64 and 65.

368. A Pre-Raphaelite enamel on copper panel of an angel, painted kneeling and holding an incense burner, in gilt metal frame mounted on wood, apparently unsigned, 15 x 9cm. (panel) ÂŁ300-500

367

108

368

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369 369. A Dutch Family an enamel plaque by Eleanor Doris Varley, dated 1923, enamelled with a farm worker walking with a yolk and two pails, her children walking in front, helping, in colours in an ebonised wood frame, and another enamel plaque with Praise to the King of Heaven verse, framed, paper label to first panel 12.5 x 8.5cm, (2) £150-250

370

Eleanor Doris Varley was born in Willesden, London on 26th October 1902, the daughter of Illingworth Varley (the artist and teacher) and his wife Eleanor (nee Pack). She grew up living at Knoll Lodge Malvern Wells where she was educated at Lawnside, Great Malvern and before studying at Willesden and Regent Street Polytechnic Schools of Art. moving to East Anglia and the north of England where she had several teaching positions and where she was a member and exhibitor at the Norfolk and Norwich Art Circle (1946-1953). 370. Enchanter an enamel panel by Eleanor Doris Varley, painted with a young boy playing a whistle to charm the wild rabbits, framed remains of paper label to reverse, 14.5 x 7cm. £200-300 371. Sunset an enamel panel by Eleanor Doris Varley, dated 1927, painted with a liner steaming directly towards, the sun setting in the distance, framed signed, titled and dated to back, 19 x 9.5cm. £200-300 372. A fine silver mounted cloisonne enamel panel by Harold Stabler, dated 1915, the rectangular panel depicting a faun training a hare or rabbit, holding a laurel sprig, in colours on a vivid blue ground, the silver frame with hanging loop, signed HS to the front, the reverse signed Harold Stabler London 1915, 9.5cm wide, 9cm high £1,000-2,000 Literature Annette Carruthers and Mary Greensted Simplicity or Splendour The Cheltenham Museum Collection, figure 87 catalogue number 156 for a comparable framed enamel by Harold Stabler.

371

Catalogue notes Harold and Phoebe Stabler were often assisted by S Kato who was a Japanese enamel worker. 373. Mermaids a Limoges enamel plaque, rectangular enamelled with two mermaid resting on rocks above sea waves, in ebonised wood frame, painted JS monogram, paper label to £200-300 reverse, 21 x 14.5cm Catalogue notes The remains of the paper label on the reverse suggests a John S.... teacher at an institute in New Cross, with an address below of Shepherds Bush.

373 372

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JEWELLERY A PRIVATE COLLECTION OF ARTS & CRAFTS JEWELLERY 374. A Liberty & Co silver necklace, circular wirework filigree pendant set with central abalone shell, with band of small turquoise stones, hanging from similar wirework flowerhead and larger panel set with mother of pearl disc, with wirework panel link chain unsigned, 6cm. drop. £250-300 Provenance A private collection of Arts and Crafts jewellery. Exhibited Art & Fashion Cheltenham Museum & Art Gallery

374

375. A silver and turquoise pendant necklace possibly Liberty & Co, cast as a ribbon bow, with simple turquoise cabochon drop, unsigned, 2cm. wide. £150-250

375

Exhibited Art & Fashion Cheltenham Museum & Art Gallery Provenance A private collection of Arts and Crafts jewellery. 376. A Liberty & Co silver and mother of pearl shell brooch, cast flowerheads to one end, set with copper wire tendrils, set with elliptical mother of pearl shell, unsigned, £200-300 6cm. wide. Exhibited Art & Fashion Cheltenham Museum & Art Gallery Provenance A private collection of Arts and Crafts jewellery.

376

378

110

377

379

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377. An Art Nouveau Liberty & Co silver and mother of pearl pendant necklace, the pierced silver frame cast with scrolling foliage design, with elliptical mother of pearl drop with wirework frame, on link chain, unsigned, 4cm. drop. £300-500 Exhibited Art & Fashion Cheltenham Museum & Art Gallery Provenance A private collection of Arts and Crafts jewellery. 378. A Liberty & Co silver bar brooch, model no.1766, elliptical wirework frame with scrolling leaves and central moonstone cabochon, unsigned, 3.5cm. wide. £150-250 Exhibited Art & Fashion Cheltenham Museum & Art Gallery Provenance A private collection of Arts and Crafts jewellery. 379. A Liberty & Co silver brooch designed by Oliver Baker, cast with two scrolling leaves and studs, unsigned, 2.8cm. wide. £150-200 Exhibited Art & Fashion Cheltenham Museum & Art Gallery Provenance A private collection of Arts and Crafts jewellery.

380. A Liberty silver and turquoise matrix negligee pendant necklace, pierced and cast with central flower head motif with radiating stems of foliage, with foliate drop set with turquoise matrix, unsigned, 5.5cm. long. £300-500 Exhibited Art & Fashion Cheltenham Museum & Art Gallery

380 382. A Liberty & Co silver and chalcedony pendant necklace, simple wirework flower head form around central chalcedony stone, unsigned, 2.5cm. long. £150-250 Exhibited Art & Fashion Cheltenham Museum & Art Gallery Literature Victor Arwas Liberty Style Parco, page 22 this design illustrated in a Liberty & Co catalogue, no.3, listed set with a moonstone. Provenance A private collection of Arts and Crafts jewellery. 383. An Art Nouveau Liberty & Co gold and turquoise pendant necklace designed by Archibald Knox, model no. 500/95 the sinuous wirework frame with central turquoise matrix cabochon above a natural pearl drop, unsigned, 5.3cm. long £1,000-1,500 Exhibited Art & Fashion Cheltenham Museum & Art Gallery

Exhibited Art & Fashion Cheltenham Museum & Art Gallery

Literature Victor Arwas Liberty Style Parco, page 70 catalogue numbers J73, J74 and J75 for three variations of this design set with different stones. Stephen A. Martin, Archibald Knox ARTMEDIA Press, page 66 this design illustrated. Archibald Knox: Beauty and Modernity, a Designer Ahead of His Time, The Archibald Knox Society, page 46 catalogue number 100 for a comparable example with opal stone.

Provenance A private collection of Arts and Crafts jewellery.

Provenance A private collection of Arts and Crafts jewellery. 381. A Liberty & Co silver pendant necklace, cast with three simple leaf sprays and elliptical lapis lazuli stone drop, unsigned, 4cm. drop. £200-300

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384. A Liberty & Co gold and turquoise matrix necklace, the link chain with seven turquoise matrix stones, 150cm. long. £400-600 Exhibited Art & Fashion Cheltenham Museum & Art Gallery Provenance A private collection of Arts and Crafts jewellery. 385. A Liberty & Co silver and turquoise link chain, set with five faux turquoise ceramic stones, unsigned, 76cm. long. £120-180 Exhibited Art & Fashion Cheltenham Museum & Art Gallery Provenance A private collection of Arts and Crafts jewellery.

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385

386. A Liberty & Co silver pendant necklace, pierced circular form, cast with scrolling foliage border with berry clusters and central mother of pearl cabochon, unsigned, 3.5cm. drop. £150-250 Exhibited Art & Fashion Cheltenham Museum & Art Gallery Provenance A private collection of Arts and Crafts jewellery. 387. A large turquoise matrix and silver pendant necklace possibly retailed by Liberty & Co, the large stone secured with silver foliate mount, and a silver bar brooch set with mother of pearl shell, unsigned, 5cm. drop, (2) £150-200 Exhibited Art & Fashion Cheltenham Museum & Art Gallery Provenance A private collection of Arts and Crafts jewellery.

386

387

388. A Liberty & Co silver and enamel shield brooch on bar, the domed and pierced Celtic cross motif enamelled blue and green, hanging on chain links from bar, stamped marks, London 1904 3.5cm. wide. £120-180 Exhibited Art & Fashion Cheltenham Museum & Art Gallery Provenance A private collection of Arts and Crafts jewellery.

388

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389. A silver and enamel pendant necklace the design attributed to Jessie M King, probably retailed by Liberty & Co, pierced and cast triangular panel of foliage enamelled in purple and blue, with simple amethyst drop, on link chain, unsigned, 3.5cm. drop. £300-500 Exhibited Art & Fashion Cheltenham Museum & Art Gallery Provenance A private collection of Arts and Crafts jewellery. 390. A Liberty & Co gold pendant necklace designed by Jessie M King, the wirework circular frame with central moonstone cabochon and enamelled blue small leaves, on later chain unsigned, 1cm. drop. £300-500 Exhibited Art & Fashion Cheltenham Museum & Art Gallery Provenance A private collection of Arts and Crafts jewellery.

389

390

Catalogue notes This model is probably number 9109. 391. A Liberty & Co silver and enamel brooch the design attributed to Jessie M King, circular, domed wirework body with gold collet set with moonstone cabochon, simple leaf border enamelled green, inside beadwork border, unsigned, 2cm. diam, £200-300 Exhibited Art & Fashion Cheltenham Museum & Art Gallery Provenance A private collection of Arts and Crafts jewellery. 392. A silver and enamel pendant necklace in the manner of Jessie M King, possibly retailed by Liberty & Co. the wirework frame with three flowerhead frieze above foliate columns each enamelled blue, set with central mother of pearl stone with rope-twist border, the link chain set with four blue enamel roundels, unsigned, 4cm. long. £500-800 Exhibited Art & Fashion Cheltenham Museum & Art Gallery

391

Provenance A private collection of Arts and Crafts jewellery.

392

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393. A silver and mother of pearl necklace, the link chain set with mother of pearl discs and amazonite stones, with small marcasite trefoil clusters, unsigned, 7cm. drop. £150-200 Provenance A private collection of Arts and Crafts jewellery. 394. A silver and mother of pearl drop pendant necklace, flowerhead form, with blue and turquoise panels, with elliptical drop, unsigned, 5.5cm. long. £120-180 Provenance A private collection of Arts and Crafts jewellery. 395. A silver brooch square section, pierced and cast in relief with four radiating leaves and berry clusters, set with central blue lapis stone unsigned, 2.6cm. square. £120-180 Exhibited Art & Fashion Cheltenham Museum & Art Gallery Provenance A private collection of Arts and Crafts jewellery. 396. A silver pendant necklace, circular wirework frame with small leaf motif set in diamond shaped panel with wire scroll and central mother of pearl shell, 4.5cm. drop. £150-250 Provenance A private collection of Arts and Crafts jewellery. 393

394

397. A silver dress clip in the manner of Dorrie Nossiter, wirework frame set with two moonstones, sapphires and various coloured stones, unsigned, 3cm. long £150-250 Provenance A private collection of Arts and Crafts jewellery. 398. An Art Nouveau continental yellow metal brooch, wirework stem frame with six cast flowers, with central peridot and peridot drop stamped 15ct, 4cm. wide. £150-200 Exhibited Art & Fashion Cheltenham Museum & Art Gallery 399. A silver and enamel bracelet, alternate silver panels one cast with flower-head motif enamelled in green, blue and red, the other a pierced aperture, rectangular clasp, with £200-300 safety chain, unsigned, 19cm. long. Provenance A private collection of Arts and Crafts jewellery.

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400. A silver and chalcedony pendant necklace, shield shape cast in low relief with berried foliage tendrils, set with rectangular chalcedony stone, below a small rectangular panel similar, set with central moonstone cabochon, on link chain, unsigned 4.5cm. drop. £150-250 Exhibited Art & Fashion Cheltenham Museum & Art Gallery Provenance A private collection of Arts and Crafts jewellery. 401. A William H Haseler silver and turquoise pendant necklace, pierced circular form with radiating star motif set with central turquoise, hammered finish on link chain with wirework panels, unsigned 3cm. drop. £300-400 Exhibited Art & Fashion Cheltenham Museum & Art Gallery Provenance A private collection of Arts and Crafts jewellery. 402. A silver pendant necklace, star-shaped wirework frame with simple radiating foliate stems and berry clusters, set with central chrysoprase cabochon, unsigned, 3.5cm. drop. £150-200 Exhibited Art & Fashion Cheltenham Museum & Art Gallery

400

401

Provenance A private collection of Arts and Crafts jewellery. 403. A Dawn silver and mother of pearl brooch, circular form with simple leaf border on hammered finish, set with central mother of pearl cabochon, unsigned, 2.5cm. diam. £120-180 Exhibited Art & Fashion Cheltenham Museum & Art Gallery Provenance A private collection of Arts and Crafts jewellery.

403

402

404. A silver link bracelet, square wirework links set with alternate citrine and aqua stones, unsigned, 17.5cm. long. £250-350 Exhibited Art & Fashion Cheltenham Museum & Art Gallery Provenance A private collection of Arts and Crafts jewellery. 405. A Bernard Instone silver bar brooch, elliptical wirework frame with simple leaf panels, set with central chalcedony cabochon, a Bernard Instone turquoise matrix mounted bar brooch and another Bernard Instone bar brooch set with a moonstone, unsigned, 3.5cm. wide (3) £200-300 Exhibited Art & Fashion Cheltenham Museum & Art Gallery (turquoise mounted bar brooch) Provenance A private collection of Arts and Crafts jewellery.

404

406. A Bernard Instone silver ring, elliptical wirework frame with gilt highlights set with amazonite elliptical stone, another similar attributed to Bernard Instone and another ring set with Lapis stone, unsigned, K1/2 (Instone ring), (3) £300-400 Exhibited Art & Fashion Cheltenham Museum & Art Gallery Provenance A private collection of Arts and Crafts jewellery.

405

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407. A Murrle Bennett silver pendant necklace, pierced teardrop form with panels of simple scroll, with gold collet and mother of pearl cabochon, stamped marks, 3.5cm. drop. £150-250 Exhibited Art & Fashion Cheltenham Museum & Art Gallery Provenance A private collection of Arts and Crafts jewellery. 408. A Murrle Bennett silver pendant necklace, pieced, flaring foliate form with gold collet, set with small cultured pearl and mother of pearl elliptical cabochon, hanging on link chains from bar, stamped MB and 950, 3.5cm. drop. £200-300 Exhibited Art & Fashion Cheltenham Museum & Art Gallery

407

408

Provenance A private collection of Arts and Crafts jewellery. 409. A silver and opal bar brooch, the bar with cast laurel wreath set with black opal cabochon, unsigned 4.5cm. wide. £160-200 Exhibited Art & Fashion Cheltenham Museum & Art Gallery Provenance A private collection of Arts and Crafts jewellery.

409

410

410. A silver bar brooch, cast with two leaves and central pale green chrysoprase cabochon, and a silver kilt pin cast with laurel berried foliage terminal, and amazonite cabochon, unsigned, 5cm. wide, (2) £120-180 Exhibited Art & Fashion Cheltenham Museum & Art Gallery (kilt pin) Provenance A private collection of Arts and Crafts jewellery.

411

411. A Celtic Revival silver link bracelet attributed to W.T. Blackband, alternating panels of pierced diamond shaped ropetwist panes and elliptical panels with applied wirework and set with central coral cabochon probably Carnelian unsigned, 18cm. long. £200-300 Provenance A private collection of Arts and Crafts jewellery. 412. A Murrle Bennett silver buckle, arched, rectangular form with panels of pierced scroll decoration, hammered finish, stamped marks, 4.5cm. wide. £120-180 Provenance A private collection of Arts and Crafts jewellery.

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413

414

413. A silver and chalcedony pendant necklace, the diamond shaped wirework frame with border of grape vine decoraton, set with central elliptical green chalcedony stone and similar drop with rope twist frame, unsigned, 6cm. drop. £200-300

416. A silver and chrysoprase brooch, wirework form with scroll terminals set with central chrysoprase, and a clip similar unmarked, 4.5cm. wide (2) £150-250

Provenance A private collection of Arts and Crafts jewellery. 414. A silver and amethyst set necklace in the manner of the Artificer’s Guild, seven elliptical and round amethyst cabochon on figure of eight link chain, with simple amethyst cabochon drop, unsigned 38cm. long. £200-300 Exhibited Art & Fashion Cheltenham Museum & Art Gallery Provenance A private collection of Arts and Crafts jewellery.

415

Provenance A private collection of Arts and Crafts jewellery. 417. A Murrle Bennett gold ring, cast with four leaves to the shoulder, set with central opal cabochon, stamped regd mark, size K. £200-300 Exhibited Art & Fashion Cheltenham Museum & Art Gallery Provenance Didier A private collection of Arts and Crafts jewellery. 418. A William H Haseler gold ring, with four cast leaves, set with central mother of pearl cabochon, stamped regd marks, Chester 1911, size L. £200-300

416

415. A silver wirework pendant necklace, open wirework form with central opal doublet, with similar drop unsigned, 4.3cm. long. £120-180 Provenance A private collection of Arts and Crafts jewellery.

Provenance A private collection of Arts and Crafts jewellery.

Provenance Didier A private collection of Arts and Crafts jewellery.

417

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419

Exhibited Art & Fashion Cheltenham Museum & Art Gallery

419. A silver ring, cast wirework floriform shoulder set with carnelian cabochon, unmarked, size M. £120-180

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420

421 420. A Birmingham School silver and moonstone pendant necklace, a central elliptical moonstone in simple wirework frame above drop of three citrine cabochon in trefoil wirework frame, and further mother of pearl drop, the chain with two further citrine cabochon, pierced wire panel links and mother of pearl roundel, on link chain, unsigned, 11cm. drop. £500-700 Exhibited Art & Fashion Cheltenham Museum & Art Gallery Provenance A private collection of Arts and Crafts jewellery. 421. A Birmingham School silver locket pendant necklace, the central circular frame with rope border and cast leaf berry clusters, on circular foliate drop on link chains, unsigned, 4.5cm. drop. £200-300 Exhibited Art & Fashion Cheltenham Museum & Art Gallery Provenance A private collection of Arts and Crafts jewellery.

422

422. A Birmingham School silver pendant necklace, pierced circular form with cast foliate clusters between fine rope borders, set with three radiating green cabochon and central amber conical cabochon, unsigned, 3cm. drop. £200-300 Exhibited Art & Fashion Cheltenham Museum & Art Gallery Provenance Didier A private collection of Arts and Crafts jewellery. 423. A Celtic Revival copper and enamel bar brooch attributed to the Bournville School, simple wirework decoration with deep red enamel roundel, unsigned, 6.5cm. wide. £120-180 Exhibited Art & Fashion Cheltenham Museum & Art Gallery

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Provenance A private collection of Arts and Crafts jewellery.

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424

425

424. A silver and chrysoprase brooch the design attributed to H.G. Murphy, shaped and pierced rectangular form cast in low relief with stylised radiating flower stems, scroll tendrils with ball terminals, set with central green chrysoprase unsigned, 6.5cm. wide. £400-600 Exhibited Art & Fashion Cheltenham Museum & Art Gallery Provenance Didier A private collection of Arts and Crafts jewellery. 425. A Bernard Cuzner silver bar brooch, shaped rectangular form, pierced and chased with a panel of a bird perched on a fruiting tree bough, flanked with two smaller bough panels, stamped BC mark to reverse, 6cm. wide. £800-1,200 Exhibited Art & Fashion Cheltenham Museum & Art Gallery Provenance Liberty & Co Including the Collection of the Late Keith Carpenter Christie’s South Kensington, 24th September 2003 lot 199A. A private collection of Arts and Crafts jewellery. 426. A rare silver and chrysoprase pendant necklace by Arthur & Georgie Gaskin, the silver laurel wreath frame set with three floral panels set with green chrysoprase roundels and with two hanging tear-shaped drops, each with fine rope-twist borders, stamped G mark to reverse 6cm. long. £1,500-2,000 Exhibited Art & Fashion Cheltenham Museum & Art Gallery Provenance Phillips Auctioneer’s A private collection of Arts and Crafts jewellery. 426

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427. A continental Secessionist silver pendant necklace, wirework frame with central enamelled heart in shades of blue, turquoise and red, with pearl drop, indistinct marks stamped Sterling, 6cm. drop. £120-180

431. A continental Secessionist silver brooch in the manner of Theodore Fahrner, pierced wirework triangular frame with green, white and blue enamelled border, set with small green stones and central chrysoprase cabochon, with natural pearl drop unsigned, 3cm. wide. £200-300

Provenance A private collection of Arts and Crafts jewellery. 427

428. A continental Egyptian Revival silver and enamel brooch, semi-circular form cast in low relief with a papyrus flower, enamelled in colours unsigned, 5.2cm. wide. £150-200 Provenance A private collection of Arts and Crafts jewellery. 429. A continental silver and enamel Scarab brooch, set with mother of pearl body and small turquoise stones, enamelled blue to green wings unsigned 4.5cm. wide. £120-180 Exhibited Art & Fashion Cheltenham Museum & Art Gallery Provenance A private collection of Arts and Crafts jewellery. 430. An Art Nouveau continental plique a jour enamel pendant necklace in the manner of Levinger & Bissinger, modelled as a stylised moth with red enamel body, the wings swept backwards, enamelled green unsigned, stamped 900 2.5cm. drop. £150-250 Provenance A private collection of Arts and Crafts jewellery.

Exhibited Art & Fashion Cheltenham Museum & Art Gallery Provenance Didier A private collection of Arts and Crafts jewellery. 432. A continental silver gilt pendant necklace, pierced metal frame with three radiating leaf motif inside a border of forget me not flowers, central mother of pearl roundel unsigned, 3cm. drop. £150-250 Provenance A private collection of Arts and Crafts jewellery. 433. An Art Nouveau continental silver brooch in the manner of Victor Mayer, cast in relief with a maiden with long flowing hair, with pearl drop, cast Depose 900 to back, 3.5cm. wide. £120-180 Exhibited Art & Fashion Cheltenham Museum & Art Gallery Provenance A private collection of Arts and Crafts jewellery.

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434. A fine silver and gilt Saint George and the Dragon pendant necklace by Omar Ramsden, dated 1921, St George modelled triumphantly standing over the dead dragon, with sword and shield, below a crown, the dragon clasping a green chrysoprase, on twisted link chain, etched Omar Ramsden Me Fecit, MCMXXI, 6.2cm. long ÂŁ3,000-4,000 Literature Jewellery by Design The Collection of Anne Shannon, An Academic Eye Woolley and Wallis Auctioneers, 31st October 2018 lot 165 for a comparable figural pendant of a medieval musician dated 1928. Provenance Private collection.

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437

435. A silver and mother of pearl necklace attributed to the Newlyn Industial Classes, the chain with long heart-shaped links with ball terminals, two elliptical wirework panels set with mother of pearl, with small mother of pearl drop, unsigned, 44.5cm. £200-300

436. An enamelled white metal peacock pendant necklace, set with abalone shell panel and with small seed pearl drop, the tail and crown set with stones, unsigned, 4.5cm. long £120-180

437. An Art Nouveau Barnet Henry Joseph gold pendant necklace, entwined wirework set with amethyst and amethyst drop, stamped BHJ 9ct, 4cm. drop £200-300 438

438. A silver and rose quartz pendant necklace the design attributed to Dorrie Nossiter, the triangular scrolling wirework frame set with green nephrite cabochon and two pink tourmaline, the rose quartz drop carved with fruit and foliage, on link chain, unsigned, 7cm. drop. £300-500 Provenance Private collection.

439. A silver and turquoise matrix pendant necklace by Beatrice Cameron, the silver scrolling frame set with diamond shaped turquoise matrix, on link chain, in original presentation case, unsigned, 7cm. drop. £200-300

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440 Edgar Gilstrap Simpson (1867-1945) Born in Basford, Nottingham, was the son of Henry Simpson a lace manufacturer and Elizabeth Gilstrap. He initially worked in the lace industry before setting up his own studio to concentrate on craft and silver making in Nottingham. He exhibited work at both the Arts and Crafts Exhibition in 1900 and also the Vienna Secession exhibition of 1902. His designs are a blend of the English Arts and Crafts and the continental Art Nouveau and Secessionist styles. Although his marked jewellery is rare, he is believed to have supplied additional designs for Charles Horner, this design of leaping scaly fish or dolphins can be considered typical be it for a waist clasp, bell push or even as a decorative key.

441

442

440. An Edgar Simpson silver belt buckle, rectangular, pierced and cast with two swimming fish amongst turbulent water, on black silk belt, stamped £1,500-2,000 ES hallmark once, 13.5cm. wide Provenance Victor Arwas The Art Nouveau Buckle with Arts and Crafts Christie’s South Kensington, 27th November 2007 lot 12 (mark incorrectly listed as CES, A private collection of Guild of Handicraft silver and jewellery. 441. An H.G. Murphy silver and lapis lazuli brooch, the silver frame with wirework flower stems, flanking a central lapis lazuli roundel, stamped H.G.M sterling, 5cm. wide £500-800 442. A silver bar brooch in the manner of the Artificers Guild, swollen rectangular form, decorated with wirework flowering stems with gilt leaves, inside rope border, set with three blue chalcedony stones, unsigned, 7cm. wide £200-300

443

443. A silver and gold ruby and peridot ring the design attributed to Dorrie Nossiter, triangular form, the scrolling wirework frame set with two rubies flanked by specimen peridot stones, unsigned, size N £250-300 Provenance Private collection. 444. A silver stick pin brooch probably by Dorrie Nossiter, scrolling wirework set with central moonstone, flanked by a smaller moonstone and four pink stones unsigned, 7.5cm. high £150-200

444

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446

445. A Stainton Brothers silver and enamel link bracelet, pierced and cast links with turquoise, green and blue enamel, stamped marks SB 1910, 20cm. long £200-300

445

446. A Queensway silver and enamel bar brooch, the rectangular panel enamelled green and blue, set with two pearl roundels, stamped Queensway Sterling Silver, 4.2cm. wide £120-180 447. An Art Nouveau Murrle Bennett gold and turquoise matrix brooch the design attributed to Archibald Knox, the entwined wirework frame with central turquoise matrix cabochon, stamped marks MB Co 15ct, 4cm. wide £250-350 448. An Art Nouveau Charles Horner silver and enamel pendant necklace, pierced and cast with foliate panels, enamelled in shades of blue and green, with enamelled foliate drop, on link chain, stamped marks, 3.5cm. drop £200-300 449. An Art Nouveau Charles Horner silver and enamel pendant necklace, cast as a stylised moth, enamelled in shades of green and blue, set with blister pearl cabochon, with blue enamel drop stamped marks CH Chester 1910, 7cm. drop £200-300 450. A Smith and Ewen silver and enamel pendant necklace, the pierced diamond shape modelled with a central flowerhead inside foliage, in shades of pink, green and blue, with blue and green enamel drop, on link chain stamped marks, S&E Birmingham 1909, 3cm.wide £120-180

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452

451. A Queensway silver Tudor Rose brooch, enamelled in black and pink, stamped Queensway Sterling Silver, 3cm. wide £120-180

452. An Art Nouveau Charles Horner silver and enamel brooch, cast with pierced entwined floriform design, enamelled in shades of green and red, stamped marks, CH, Chester, indistinct date mark for 1909, 2.8cm. wide £120-180

453. A continental gold and enamel brooch probably retailed by Liberty & Co, the circular knot frame enamelled in white with blue dots, central amethyst stone and two freshwater pearls stamped marks, L & Co 9ct, 2.8cm. wide £250-350

454. An A.H. Darby and Son silver and enamel brooch, pierced and cast with a leaping fish, the waves enamelled green and black, stamped marks, A.H.D & S, Birmingham 1945, 4.5cm. diam. £120-180

455. A pair of silver and opal doublet earrings in the manner of Bernard Instone, each with circular foliate stud, screw backs, set with circular opal doublet, with elliptical pierced foliate panel and floral drop set with elliptical opal doublet, unsigned, the gilt metal screw stamped 9C, 5cm. drop, (2) £400-600 453

454

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456. A Guild of Handicraft silver and enamel brooch, rectangular form with wirework frame of berried foliage, with central green and blue enamel panel, stamped GofH Ltd, London marks, 3cm. long £1,500-2,000 Literature The Guild of Handicrafts Ltd, undated catalogue page 10 this design illustrated priced at 12s. 6d. Provenance A private collection of Guild of Handicraft silver and jewellery. 456

457. A silver and enamel brooch the design attributed to the Guild of Handicraft, rectangular form with scrolling foliate panels to each end, set with rectangular green and blue panel, unmarked, 3.5cm. wide. £800-1,200 Provenance A private collection of Guild of Handicraft silver and jewellery. 457

458. A Guild of Handicraft silver and amethyst pendant necklace, pierced and chased with a briar rose inside scroll border, set with central amethyst above amethyst drop, unsigned, 6.5cm. long £1,500-2,000 Literature Elyse Zorn Karlin Jewellery & Metalwork in the Arts and Crafts Tradition, Schiffer, page 40 this exact piece illustrated. Provenance Tadema Gallery. A private collection of Guild of Handicraft silver and jewellery. 458

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459. A fine Guild of Handicraft silver, enamel and mother of pearl Peacock brooch designed by Charles Robert Ashbee, the wirework feathers with enamelled blue and green eyes, on mother of pearl shell back, bird set with Demantoid Garnet eye, holding a mother of pearl drop, stamped marks to side and back, GoH Ltd, London 1907, 7.5cm. high. £7,000-10,000 Literature Modern Design in Jewellery and Fans The Studio Special Winter 1901-1902 plate 20 for a comparable peacock brooch by C.R. Ashbee illustrated. Alan Crawford C.R. Ashbee Architect, Designer and Romantic Socialist, Yale, page 360 plate 178 for a variation of the Peacock design. Michael Jeffery Christie’s Arts and Crafts Style, Pavilion, page 159 for another example of a Guild of Handicraft peacock brooch illustrated. Provenance Dukes Auctioneer’s 27th April 2006 lot 820. A private collection of Guild of Handicraft silver and jewellery. Catalogue notes. This example is probably number 10, dated 1907, listed by Alan Crawford in C.R Ashbee Architect Designer and Romantic Socialist (page 456 footnote number 55 in a private collection). The Peacock, along with the galleon was one of Ashbee’s favourite subjects and he used as the basis for some dozen individual brooches in the early 1900s. he wrote ‘I hold the Peacock a most fitting symbol of the Arts and Crafts. It started with a splendid tail, all eyes and pride but that the tail subsequently came off in fireworks. However too the peacock is a symbol of the resurrection’. The Poor Peacock of the Arts and Crafts with his proud tail exploding in fireworks, Charles Robert Ashbee, 1892.

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460

460 detail

460. A fine Guild of Handicraft gold, silver and opal necklace the design attributed to Charles Robert Ashbee, the gold wire frame supporting large elliptical white opal, above smaller drop, the chain with three natural pearls in claw setting, unsigned, 4.5cm. long £3,000-4,000 Exhibited Cockneys in Arcadia, C.R. Ashbee in Chipping Campden Court Barn, August 10th to November 19th 2016, catalogue number 25. Provenance A private collection of Guild of Handicraft silver and jewellery. Catalogue notes The critic Aylmer Vallance in Modern Jewellery and Fans, Studio publication, 1902, claimed of Ashbee’s contribution to British jewellery design ‘He stood almost alone in the beginning’. Get to love your stones, handle them, finger them, play with them, dip them in the water and get to know them intimately in various lights...the fairy carbuncle, which nobody will wear because it is so cheap.. the prismatic olivine and the glorious opal of a thousand tints.... Charles Robert Ashbee, The Art Journal, 1894. 461. A gold and opal ring probably by the Artificers Guild and designed by Edward Spencer, the shoulder with fruiting foliage panels flanking an elliptical opal, in later fitted case, unsigned, size R £800-1,200 Literature Elyse Zorn Karlin Metalwork in the Arts and Crafts Tradition, Schiffer page 115 for a comparable ring illustrated. Tadema Gallery ref 7697 for a comparable example.

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462. A fine silver and emerald paste cross pendant necklace by Arthur and Georgie Gaskin, the scrolling wirework body set with nine green paste stones, with a further green paste drop, in modern fitted case unsigned, 7.5cm. drop. ÂŁ2,500-3,000 Exhibited Arts and Crafts Jewellery The Work of Arthur and Georgie Gaskin, Court Barn Museum, 2014. Catalogue notes A similar cruciform pendant by the Gaskins, made for Laurence Hodson about 1904, was exhibited at the Victorian and Edwardian Decorative Arts exhibition at the V&A Museum in 1952 and is now in the Birmingham Museum and Art Gallery collection. Literature The Studio Volume 61, 1914 page 296. Arthur and Georgie Gaskin, page 90 for a similar pendant necklace of wirework and green paste stones.

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463. A silver and enamel pendant necklace attributed to Fleetwood Charles Varley, the elliptical enamel panel with trees in a mountain landscape, inside wirework frame, on chain necklace, unsigned, 4.5cm. drop £500-800 464. An early Liberty & Co Cymric silver belt buckle designed by Oliver Baker, cast scrolling foliate form with hammered finish, set with four lapis lazuli cabochons, stamped marks, L & Co, Birmingham 1900, £350-450 10cm. wide. Literature Modern Design in Jewellery and Fans The Studio Special Winter 1901-1902 plate 35 for this design illustrated. Victor Arwas Art Nouveau in Britain From Mackintosh to Liberty, Papadakis, page 96 this example illustrated. Provenance Victor Arwas The Art Nouveau Buckle with Arts and Crafts Christie’s South Kensington, 27th November 2007 lot 109 (part). A private collection of Guild of Handicrafts silver and jewellery. 465. An early Liberty & Co Cymric silver belt buckle designed by Oliver Baker, cast scrolling foliate form with hammered finish, set with central turquoise matrix cabochon, stamped marks, L & Co, Birmingham 1899, 9cm. wide. £350-450 Literature Modern Design in Jewellery and Fans The Studio Special Winter 1901-1902 plate 35 for this design illustrated. Victor Arwas Art Nouveau in Britain From Mackintosh to Liberty, Papadakis, page 96 this example illustrated. Provenance Victor Arwas The Art Nouveau Buckle with Arts and Crafts Christie’s South Kensington, 27th November 2007 lot 109 (part). A private collection of Guild of Handicrafts silver and jewellery.

463 Oliver Baker (1856-1939) Born in Birmingham, the son of the artist Samuel Henry Baker, Oliver originally trained under his father and at the Birmingham School of Art as a fine artist. He was elected a member of the Royal Birmingham Society of Artists in 1884 before returning to the Birmingham School of Art to learn silver and jewellery making as a mature student meeting and being taught by Georgie Gaskin. His designs for silver and jewellery were sold to William H Haseler who manufactured them, selling them to Arthur Liberty for retail at his store in Regent Street in London. Liberty registered their own hallmark at both the London and Birmingham assay offices in 1899 launching their Cymric range - a range which included many of Oliver Baker's designs - which were influenced by his antiquarian interests. The designs therefore were more in keeping with the Arts and Crafts movement than the more modern Art Nouveau designs produced by Archibald Knox for Liberty & Co.

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466. A Liberty & Co Cymric silver belt buckle designed by Oliver Baker, cast scrolling foliate form with hammered finish, set with three turquoise matrix stones, stamped marks, L & Co, Cymric Birmingham 1900, £400-600 9cm. wide. Literature Victor Arwas Art Nouveau in Britain From Mackintosh to Liberty, Papadakis, page 96 this example illustrated. Alan Crawford By Hammer and Hand The Arts and Crafts Movement in Birmingham, Birmingham Museums, 1984, page 111 plate 90 for a comparable example. Provenance Victor Arwas The Art Nouveau Buckle with Arts and Crafts Christie’s South Kensington, 27th November 2007 lot 109 (part). A private collection of Guild of Handicraft silver and jewellery. 467. A Liberty & Co Cymric silver belt buckle designed by Oliver Baker, cast scrolling foliate form with hammered finish, set with four turquoise matrix cabochon, stamped marks, L & Co, Birmingham 1906, £400-600 10.5cm. wide. Literature Victor Arwas Art Nouveau in Britain From Mackintosh to Liberty, Papadakis, page 96 for a comparable example illustrated. Alan Crawford By Hammer and Hand The Arts and Crafts Movement in Birmingham, Birmingham Museums, 1984, page 111 plate 90 for a comparable example. Provenance Victor Arwas The Art Nouveau Buckle with Arts and Crafts Christie’s South Kensington, 27th November 2007 lot 109 (part). A private collection of Guild of Handicrafts silver and jewellery. 468. A rare early Liberty & Co Cymric silver belt buckle designed by Oliver Baker, cast foliate form with scrolling border, hammered finish, set with two fire opals and central amethyst cabochon, stamped marks, L & Co, Birmingham 1899, 8cm. wide. £400-600 Literature Modern Design in Jewellery and Fans The Studio Special Winter 1901-1902 plate 35 for this design illustrated. Provenance A private collection of Guild of Handicraft silver and jewellery.

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464

465

467 466

468

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469

470

LIBERTY 469. An Anglo Moorish ebonised three fold screen possibly retailed by Liberty & Co, three panels of Mushrabeyah the central panel with open aperture, the side panels with hinged small doors, above Jacobean panels, 153 x 62cm, (186cm wide) £150-250 470. A mahogany occasional table possibly retailed by Liberty & Co, hexagonal top with five flaring, turned legs and hexagonal tray unsigned, 72cm. high, 47cm. diam (top) £150-200

472 471

471. An Anglo Moorish inlaid occasional table possibly retailed by Liberty & Co, octagonal section, solid plank sides, inlaid with mother of pearl and marquetry panels, 60cm. high, 42.5cm. wide £120-180 472. Two Anglo Moorish inlaid occasional tables possibly retailed by Liberty & Co, graduated in height, hexagonal section with hinged covers to reveal a silk lined compartment, inlaid with marquetry panels and mother of pearl, 48cm high and 52cm high. (2) £250-350 473. Two Anglo Moorish inlaid occasional tables possibly retailed by Liberty & Co, square section on eight legs with Moorish arches, inlaid with panels of mother of pearl and marquetry Arabic panels, 52cm. high, (2) £400-600

473

474

474. Two Anglo Moorish inlaid occasional tables possibly retailed by Liberty & Co, octagonal section, with hinged covers to reveal a silk lined compartment, inlaid with marquetry and mother of pearl panels, 53cm. high £250-350

475. An Anglo-Moorish marquetry, ivory and mother of pearl occasional table probably retailed by Liberty & Co, decagonal section on arched legs, the top with radiating geometric star motif, unsigned, 52cm. high, 41cm diam. £150-200 476. A pair of Anglo-Moorish inlaid occasional tables possibly retailed by Liberty & Co, octagonal section, inlaid with mother of pearl and ivory floral panels and borders, with pierced sides, 41cm. high, 40cm. wide (2) £200-300

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475

476

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

477. A Liberty & Co Anglo Moorish mahogany bureau, fall front fitted bureau over long single drawer, over arched shelf, on tapering square legs , the top with mushrabeyeh panel border, applied paper label to drawer, 94cm. high, 63cm. wide. £200-400 Literature Daryl Bennett Liberty’s Furniture 1875-1915 The Birth of Modern Interior Design, ACC Books, page 106 plate 4.40 for a comparable Medina bureau.

477

478. A Liberty & Co oak sideboard/buffet designed by Harris Lebus, rectangular top with mirror back, the overlapping top with pierced tulip supports, the mirror flanked by marquetry tulip flower stems and short shelves, single cupboard with two drawers and shelf, on turned wood legs, with patinated metal furniture, 138cm. wide, 164cm. high £300-500 Provenance The Arts and Crafts Furniture Company, Chiswick, London 8th July 1994. 478

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479. A pair of Japanese patinated metal frog candlesticks retailed by Liberty & Co, one modelled standing on a lily pad with long legs, his short arms holding a sconce, the other frog modelled seated on a lily pad with long arms holding up a sconce, unsigned, 29cm. high, (2) ÂŁ300-500 Literature Liberty Yule-Tide Gifts, page 22 this design illustrated and priced at 3/9 each. 479

480. A large Liberty & Co copper wall mirror designed by Archibald Knox, rectangular form, with stamped Celtic Knot to the top panel and corners, rivet borders, over wooden frame, applied Liberty Ivorine label to reverse 90 x 61cm. ÂŁ1,000-1,500 Provenance Private collection. 480

481. A large Liberty & Co copper wall mirror designed by Archibald Knox, rectangular form, with stamped Celtic Knot to the top panel and corners, rivet borders, over wooden frame, applied Liberty Ivorine label to reverse 90 x 61cm. ÂŁ1,000-1,500 Provenance Private collection.

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

482

483

482. A Liberty & Co English Pewter mantel clock, model no.01153, domed rectangular section with applied turquoise blue roundel, the circular dial with Arabic numerals, stamped marks, 16.5cm. high. £350-450 Provenance A Prominent London Liberty collection

483. A Liberty & Co Tudric Pewter and enamel clock, model no. 0756, swollen rectangular form, with cast foliage panel set with elliptical blue enamel panel, the circular blue enamel dial with Roman numerals, stamped marks, 11cm. high £600-800 Provenance A Prominent London Liberty collection.

484. A Liberty & Co English Pewter and enamel mantel clock designed by Archibald Knox, model no. 0370, rectangular section, cast in low relief with Art Nouveau whiplash foliage, applied with two blue and green enamel roundels, the circular dial enamelled in shades of blue and green, stamped marks, 20.5cm. high £1,500-2,000 Literature Stephen A. Martin Archibald Knox ARTMEDIA Press page 239 model 0370 illustrated. Provenance Private collection.

484

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486 485 485. An Art Nouveau Liberty & Co pewter vase designed by Archibald Knox, model no. 0226, streamlined cylindrical bombe shaped body with three flanking buttress feet, cast in low relief with scrolling honesty flower stems stamped marks to feet, 19cm. high £120-180

486. A Liberty & Co pewter and enamel cedar lined box and cover, model no.01021, rectangular, the hinged cover set with enamel riverscape by Fleetwood Charles Varley, stamped marks to base, 17cm. wide. £800-1,200 Literature Isabelle Anscombe & Charlotte Gere Arts and Crafts in Britain and America, VNR publishing, page 203 plate 296 for three comparable enamelled boxes by Varley. 487 487. A Liberty & Co English Pewter and enamel circular box and cover, model no.01113, the circular domed cover cast in low relief with geometric bands and set with circular enamel panel by Fleetwood Charles Varley, the panel depicting a mountain riverscape, stamped marks to pewter base, enamel signed Varley, 10.5cm. diam. (2) £400-600

488

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488. A Liberty & Co English Pewter and enamel three piece tea set designed by Archibald Knox, model no.0231, low compressed form on sleigh feet, cast in low relief with Art Nouveau scrolling honesty enamelled in green and blue, comprising teapot and hinged cover, milk-jug and sugar basin, stamped marks, 25cm. wide (teapot), (3) £500-800

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

490

489

489. A Liberty & Co English Pewter and enamel Bollellin dish designed by Archibald Knox, model no 044, cast in low relief with Art Nouveau scrolling foliage, the well with blue and green shield shaped enamel to the well, stamped marks, 26.5cm. wide. £250-350 Literature Stephen A. Martin Archibald Knox ARTMEDIA Press page 31 for a full page illustration of this model. 490. A Liberty & Co English Pewter rose bowl designed by Archibald Knox, model no.0229, twin-handled form on fin feet, cast with a band of stylised honesty on Art Nouveau whiplash stems, stamped marks, 28cm. wide £450-550

491

Provenance A Prominent London Liberty collection. 491. A Liberty & Co English Pewter three piece tea set designed by Archibald Knox, model no.0231, streamlined, compressed form, cast with stylised honesty on Art Nouveau whiplash stems, comprising teapot with hinged cover, milk-jug and sugar basin, stamped marks, 23cm.wide £200-300 (teapot), (3) Provenance A Prominent London Liberty collection. 492. An Omersa leather pig footrest probably retailed by Liberty & Co, brown leather with applied tail, ears and eyes, modelled standing unmarked, 53cm. wide £400-600

END OF SALE 492

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DESIGN

Wednesday 16th October 2019 Closing date for entries 23rd August

A Gino Cenedese Somerso glass fish by Antonio Da Ros. Estimate: ÂŁ1,000-1,500*

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

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BRITISH ART POTTERY

Wednesday 27th November 2019 Closing date for entries 2nd October 2019

Linda Gunn-Russell (born 1953) Two vessels from a private collection.

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

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FURNITURE, WORKS OF ART & CLOCKS Wednesday 3rd July 2019

To include: Over one hundred and twenty lots from the Estate of the late John Frederick Braund.

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

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JEWELLERY

Thursday 18th July 2019

To be included: An Art Deco diamond solitaire ring, marquise diamond 4.80cts approx. Estimate: ÂŁ12,000-15,000*

ENQUIRIES Charlotte Glyde | Tel:+44 (0)1722 424586 | cg@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

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FINE SILVER & OBJECTS OF VERTU Tuesday 29th October 2019

Entries are now being accepted for this sale

A modern silver rose bowl, by Leslie Durbin, London 1985. Estimate: Â£1,500-2,000*

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

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FINE CHINESE PAINTINGS & WORKS OF ART JAPANESE WORKS OF ART

Tuesday 12th & Wednesday 13th November 2019 Entries are now being accepted for this sale

ZHANG DA QIAN (1899-1983) Mountain Chao (Detail), dated 1965. Sold for £2,641,000*

ENQUIRIES Amber Lees | Tel: +44 (0)1722 424571 | aml@woolleyandwallis.co.uk *Sold price includes buyer’s premium

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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:

LIVE ONLINE BIDDING Live online bidding is now available free of charge for most of our auctions via bid.woolleyandwallis.co.uk, enabling you to take part in the bidding from anywhere in the world live as it happens. CONDITION REPORTS The relevant department will be pleased to give condition reports on any lot, where practical. All weights and measures given in the catalogue should be regarded as approximate. The colours printed in the catalogue are not necessarily true. SALE RESULTS These will be posted on our website shortly after the sale. PACKING AND SHIPPING Woolley & Wallis do not offer a packing and despatch service but the following are carriers in our area. Alban Shipping

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

Kimdan Ltd.

07973 389436 andy@kimdan.co.uk

Mailboxes

01962 622 133 mbewinchester@btconnect.com www.mbe.co.uk/winchester

Pack & Send

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

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 our website, or any third party website, does not automatically register you to bid 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. BUYER’S PREMIUM The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter.

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

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PAYMENT AND CLEARANCE Payment is due immediately after the auction in pounds sterling. If you are a first time buyer we will need your name, address and bank details and will require funds to be cleared before purchases can be released. The following methods of payment may be made: Bankers draft, cashiers cheque, personal cheque, travellers cheques, debit and credit cards and cash up to a sterling equivalent of 10,000. We are no longer able to accept card payments of over £1,000 where the card-holder is not present. Wire transfers should be sent to: Lloyds Bank plc, Blue Boar Row, Salisbury SP1 1DB. Account no. 00957707 Sort code 30-97-41 IBAN no. GB20LOYD30974100957707 BIC code LOYDGB21063 Credit cards: Visa or Mastercard Debit cards: Delta, Switch, Connect Where practical, payment can be made and purchases collected during the auction. Storage charges will be levied on all lots in the furniture and works of art and clock sales not collected within 30 calendar days of the sale. This will include a handling fee of £20 (+ VAT) per consignment and a storage charge of £2 (+ VAT) per lot per day. No goods will be allowed to be collected until these charges have been paid.

LOT SYMBOLS VAT Lots marked with an dagger (†) are subject to VAT on the hammer price. Lots marked with an omega ( ) have been temporarily imported from outside the EU and are subject to VAT at 5% on the hammer price and the buyer’s premium. In online catalogues, the Sales Tax % column indicates the rate of VAT on hammer price. CITES REGULATIONS Please note that lots marked may be subject to CITES Regulations when exported. The CITES Regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites/ ARTIST’S RESALE RIGHT / DROIT DE SUITE Lots marked with a ‡ symbol are potentially subject to a levy. Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of 1,000 and the maximum royalty payable on any single lot is the sterling equivalent of 10,000. Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency. Please enquire for the accepted exchange rate on the day of the sale. Royalties for Droit de Suite are as follows: 4% Up to 50,000 3% 50,000.01 - 200,000 1% 200,000.01 - 350,000 0.5% 350,000.01 - 500,000 0.25% In excess of 500,000 Up to a maximum levy of 10,000 FIREARMS Lots marked Ƒ in the catalogue are subject to the UK firearms/shotgun licencing regime, and may only be viewed and/or purchased by individuals with appropriate licences. Such lots are offered on an auctioneer’s permit, and must be collected prior to the expiry thereof. For further information, please contact Ned Cowell.

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SOCIETY OF FINE ART AUCTIONEERS AND VALUERS and the ROYAL INSTITUTION OF CHARTERED SURVEYORS CONDITIONS OF BUSINESS INFORMATION FOR BUYERS 1. Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand. 2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed. Accordingly if you buy your primary contract is with the seller. 3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive. 4. The purchase price. The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter. 5. VAT. (†) indicates that VAT at the current standard rate is payable by the purchaser on the hammer price as well as being an element in the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. The omega symbol ( ) 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).

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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. 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

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unsaleable you must collect such items from the saleroom promptly on being so informed. Otherwise, storage charges may be incurred. We reserve the right to charge for storage in these circumstances at a reasonable daily rate. 12. Withdrawn and bought in items. These are liable to incur a charge of up to 10% plus VAT of the reserve or low estimate on being bought in or withdrawn after being catalogued. 13. Conditions of Sale. You agree that all goods will be sold on our Conditions of Sale. In particular you undertake that you have the right to sell the goods either as owner or agent for the owner. You undertake to compensate us and any buyer or third party for all losses liabilities and expenses incurred in respect of and as a result of any breach of this undertaking. 14. Authority to deduct commission and expenses and retain premium and interest. (a) You authorise us to deduct commission at the stated rate and all expenses incurred for your account from the hammer price and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement. (b) You authorise us in our discretion to negotiate a sale by private treaty not later than the close of business on the day of the sale in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these terms apply. 15. Warehousing. We disclaim all liability for goods delivered to our saleroom without sufficient sale instructions and reserve the right to make minimum warehousing charge of £2 per lot per day. Unsold lots are subject to the same charges if you do not remove them within a reasonable time of notification. If not removed within three weeks we reserve the right to sell them and defray charges from any net proceeds of sale or at your expense to consign them to the local authority for disposal. 16. Settlement. Subject to our normal trading conditions, payment will be made by BACS or cheque 5 weeks after the sale unless the buyer has not paid for the goods. In this case no settlement will then be made but we will take your instructions in the light of our Conditions of Sale. You authorise any sums owed by you to us on other transactions to be deducted from the sale proceeds. You must note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 10 above. You should therefore bear this potential liability in mind before parting with the proceeds of sale until the expiry of 28 days from the date of sale.

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

2. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion. (c) Bidders shall be deemed to act as principals. (d) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved. 3. INCREMENTS Bidding increments shall be at the auctioneer’s sole discretion. 4. THE PURCHASE PRICE The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter. 5. VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with a † or . Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant lots. (Please refer to ‘Information for Buyers’ for a brief explanation of the VAT position). 6. PAYMENT (a) Immediately a lot is sold you will: (i) give to us, if requested, proof of identity, and (ii) pay to us the total amount due in pounds sterling (b) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied. 7. TITLE AND COLLECTION OF PURCHASES (a) The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due. (b) You shall at your own risk and expense COLLECT any lots that you have purchased and paid for from our premises not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment (IF LATER) after which you shall be responsible for any COLLECTION, storage and insurance charges. (c) No purchase MAY be COLLECTED AND WE SHALL NOT RELEASE ANY LOT TO YOU OR YOUR AGENT until it has been paid for. 8. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES (a) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (i) to proceed against you for damages for breach of contract; (ii) to rescind the sale of that lot and/or any other lots sold by us to you; (iii) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (iv) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (v) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale; (vi) to retain that or any other lot sold to you until you pay the total amount due; (vii) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (viii) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of any of your property in our possession for any purpose until the debt due is satisfied. (b) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

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

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

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

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

ARTIST’S RESALE RIGHT / DROIT DE SUITE

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

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

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Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of 1,000 and the maximum royalty payable on any single lot is the sterling equivalent of 10,000. Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency by the auctioneer. Please enquire for the accepted exchange rate on the day of the sale. Royalties for Droit de Suite are as follows: 4% Up to 50,000 3% 50,000.01 - 200,000 1% 200,000.01 - 350,000 0.5% 350,000.01 - 500,000 0.25% In excess of 500,000 Up to a maximum levy of 10,000

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PRIVACY NOTICE FOR CUSTOMERS WHAT THIS PRIVACY NOTICE DOES This privacy notice (Notice) explains how Woolley and Wallis Salisbury Salerooms Limited (us, we, our, Woolley & Wallis), processes the personal data of users of our auction and valuation services (Services) and includes buyers, bidders and sellers of auction items as well as prospective users of our Services (you, your). It also explains your rights in relation to the personal data we hold about you. This Notice is effective from May 2018. We may change this Notice from time to time. Any significant changes will be notified to you. DATA CONTROLLER AND CONTACT DETAILS Woolley and Wallis is the data controller of your personal data and is subject to the Data Protection Act 1998 (DPA) and, once in force, the General Data Protection Regulation (GDPR). If you have any questions about how we use your personal data, whom we share it with, or if you wish to exercise any of the rights set out in this Notice, please contact us using the following details: • By post – Privacy Officer, Woolley and Wallis Salisbury Salerooms, 51-61 Castle Street, Salisbury, SP1 3SU. • By email – privacyofficer@woolleyandwallis.co.uk • By telephone – +44 (0)1722 424599 HOW WE COLLECT YOUR PERSONAL DATA We collect your personal data from the following sources: From you when you: • interact with us before entering into a contract with us, for example when you express your interest in our Services; • instruct us to provide Services to you, sign contractual documentation and provide information in connection with those instructions; • communicate with us by post, telephone, email or via our website, for example in order to make enquiries or register for an online account; • in various other ways as you interact with us during your time as a user (or potential user) of our Services, for the various purposes set out below. From third parties such as: • other auction houses and individuals and organisations in the auctioneering trade whom we may contact to check background details about you; • the-saleroom.com who enable live online bidding and provide us with the name, contact details, the last four digits of registered payment cards and transaction history (in relation to activity on the-saleroom.com) of individuals who register for one of our auctions (please see thesaleroom.com’s privacy policy for further information). We also receive names, contact details, sale details and payment details (the amount and date paid) from realex payments (the-saleroom.com’s payment provider); • sage pay who process payments on our behalf and who provide us with your name, contact details and payment details (only the last four digits of your payment card are provided); • shipping companies whom you hire to collect items you purchased from us. THE CATEGORIES OF PERSONAL DATA WE COLLECT

THE BASIS FOR PROCESSING YOUR DATA, HOW WE USE THAT DATA AND WITH WHOM WE SHARE THAT DATA WHERE WE HAVE A CONTRACTUAL RELATIONSHIP WITH YOU We will process your personal data because it is necessary for the performance of a contract with you (for example, a contract to use our Services) or in order to take steps at your request prior to entering into a contract. In this respect, we use your personal data for the following: • to interact with you before you enter into a contract with us, such as when you express your interest in our Services (for example, to send you information about our Services or answer enquiries about our Services); • once you have engaged us and entered into a contract, to provide you with the Services set out in any contractual documents. In this respect we will provide your data to our third party suppliers or subcontractors as necessary whom we engage to help us perform our Services or who assist us in conducting our business, such as our IT suppliers, data storage providers, and valuation companies. LEGITIMATE INTERESTS We may also process your personal data because it is necessary for our or a third party’s legitimate interests. Our legitimate interests include our commercial interests. In this respect, we may use your personal data for the following: • to monitor and evaluate the performance and effectiveness of our Services, including by training our staff or monitoring their performance; • to deal with any concerns or feedback you may have in the performance of the Services; • for our internal business record keeping and processes; • to seek advice on our rights and obligations, including obtaining legal advice; • to contact you for marketing purposes. If you do not wish to receive such information, please let us know now or at any time in the future, and your details will be removed from our marketing list. We will not provide your personal data to third party organisations to use for their own marketing purposes; • to customise our website and marketing communications in line with your particular interests or preferences; • to collect money owed to us or our consignors; • to carry out background and credit checks in relation to bidders and buyers.

We may collect the following personal data about you:

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

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

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

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

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

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CONSENT

HOW LONG YOUR INFORMATION IS KEPT

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

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

Please note that where our processing of your personal data relies on your consent and where you then withdraw that consent, we may not be able to provide all or some aspects of our Services to you and/or it may affect the provision of our Services. SPECIAL CATEGORIES OF PERSONAL DATA We process special categories of personal data for the following reasons: • if it is necessary to protect your or another person’s vital interests (for example, where you have a life-threatening accident or illness and we have to process your personal data to ensure you receive appropriate medical attention); • if it is necessary for the establishment, exercise or defence of legal claims (for example, to protect and defend our rights, and/or the rights of our customers); We may process information relating to your health where we have your explicit consent to do so (for example, when you provide information about your access requirements prior to attending one of our events). INTERNATIONAL TRANSFERS OF DATA We transfer names and addresses on our Asian mailing list to a printing company in Hong Kong to distribute our auction catalogues and promotional material. In these circumstances, your personal data will be transferred subject to standard data protection clauses (adopted by the European Commission) and included in our contract with the printing company. We share your data collected for marketing purposes and through our website with our website and email management software provider who are based in Jersey. In these circumstances, your personal data is transferred to them subject to an Adequacy Decision made by the European Commission in respect of Jersey. PROFILING We may use your geographical location to target our communications and advertising and promotions to you. If you do not wish us to do this, then please contact us using the details provided above.

In particular: • in relation to CCTV images taken when you attend our premises, we will retain these for a few months; • in relation to personal data relating to the transactions you have entered into with us as part of the provision of our Services, we will retain that data for period of seven years after that transaction has concluded in case any legal claims arise out of the provision of those Services; • we will retain your details on our marketing database until you inform us that you no longer wish to receive our marketing communications. However, where you do unsubscribe from our marketing communications we will keep your details on a suppression list to ensure that we do not send you information you have asked not to receive; • in relation to personal data relating to the provenance of works, we may retain that data indefinitely in our legitimate interests and the legitimate interests of the wider art market in maintaining the integrity of that market. YOUR LEGAL RIGHTS Under the DPA you have the following rights: • to obtain access to, and copies of, the personal data that we hold about you; • to require that we cease processing your personal data if the processing is causing you damage or distress; • to require us not to send you marketing communications. • to require us to correct the personal data we hold about you if it is incorrect; • to require us to erase your personal data; • to require us to restrict our data processing activities (and, where our processing is based on your consent, you may withdraw that consent, without affecting the lawfulness of our processing based on consent before its withdrawal); • to receive from us the personal data we hold about you which you have provided to us, in a reasonable format specified by you, including for the purpose of you transmitting that personal data to another data controller; • to object, on grounds relating to your particular situation, to any of our particular processing activities where you feel this has a disproportionate impact on your rights. Please note that the above rights are not absolute, and we may be entitled to refuse requests where exceptions apply. If you are not satisfied with how we are processing your personal data, you can raise a concern with the Information Commissioner. You can also find out more about your rights under data protection legislation from the Information Commissioner’s Office website available

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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.

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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.

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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.

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17 (2nd floor) Clifford Street, London W1S 3RQ (open by appointment only)

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

Woolley & Wallis Salisbury Salerooms Ltd. 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Registered in England No. 2998482 VAT No: 631 9832 29

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

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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

Arts & Crafts

Brief Decription

Price Excluding buyer’s premium & VAT

Wednesday 19th June 2019 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. 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

152

www.woolleyandwallis.co.uk

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First Friday of every month 10am-1pm. No appointment necessary.

NEXT VALUATION DATES: 5th July, 6th September, 4th October No valuation day in August.

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