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 22nd June 2016

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

20TH CENTURY DESIGN Michael Jeffery Zoe Smith

424505 329477

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

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ARMS & ARMOUR, MEDALS & COINS AND MILITARIA Ned Cowel

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MARKETING Tamzin Corbett

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

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ACCOUNTS Janice Clift (Office Manager)

424500

ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham

424507

FURNITURE, WORKS OF ART & CLOCKS Mark Richards Jim Gale Anna Wimbush

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JEWELLERY Jonathan Edwards FGAA Marielle Whiting FGA Hannah Galbraith

424504 424595 424586

PAINTINGS Victor Fauvelle Jo Butler

GENERAL OFFICE Sharon Ringwood Pauline Jones Nicola Young Amanda Lawrence SALEROOM MANAGER David Jordan

SILVER Rupert Slingsby Lucy Chalmers

424501 424594

TRIBAL ART & ANTIQUITIES Will Hobbs Gemma Bush

339752 339752

424500

BOARD OF DIRECTORS Paul Viney ASFAV Chairman John Axford MRICS ASFAV Deputy Chairman Clive Stewart-Lockhart Managing Director

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424500

FRICS FRSA

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

SOCIETY OF FINE ART AUCTIONEERS AND VALUERS

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

424599

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ARTS & CRAFTS

Wednesday 22nd June 2016 at 10.30am VIEWING TIMES Saturday 18th June Monday 20th June Tuesday 21st June Wednesday 22nd June

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

ENQUIRIES

Michael Jeffery 01722 424505 michaeljeffery@woolleyandwallis.co.uk

Zoe Smith 01722 424505 zs@@woolleyandwallis.co.uk

COLLECTION OF LOTS Please note that all lots will be cleared from our Castle Street Saleroom on Friday 24th June. Furniture will be removed to our Old Sarum warehouse for collection. All remainder lots will be cleared to our Salt Lane office. If you are collecting items on or after this date please contact the department to arrange in advance. Our Old Sarum Warehouse address details and map are at the back of this catalogue. All accounts to be settled prior to collection. TELEPHONE BIDDING Please note that requests for telephone bids cannot be accepted after 5pm on Tuesday 22nd June. LIVE BIDDING ILLUSTRATIONS Front cover: Lot 79 & 199 Back cover: Lot 4 Above: Lot 131 Catalogue £10.00 (£13.00 by post)

www.the-saleroom.com Please register by 5pm on Tuesday 22nd June. Please note there is a 3% +VAT surcharge for using this service.

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GLASS 1. A stained glass window, rectangular, decorated with a eucharistic cup inside a border of fruiting grape vine, above four Christian shield shaped symbols, 79 x 60cm. £50-150

2. Horatio W Lonsdale (1846-1919) Study for East Window of St Anne’s Church, Stanley Liverpool, 1890 watercolour on paper, framed signed and dated 1890 lower left, paper label to reverse 36.5 x 26.5cm.

£150-200

Horatio Walter Lonsdale established an architectural partnership with William Burges and they worked on several buildings together, including Saint Fin Barre’s cathedral, Cardiff Castle and Castel Coch.

3. ‘He Hath Exalted The Humble and the Meek’ a large stained glass window design for Ecclesmachan church, watercolour on paper, annotated in pencil, 183 x 91cm (sheet) £100-200

4. A Glasgow School stained glass panel in the manner of Oscar Paterson, five windows forming a stylised peacock in a formal garden setting with sundial, pond and fountain, largest panel, 64 x 62cm. £400-600

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5. A James Powell & Sons Whitefriars Straw Blue glass vase with patinated metal mount, probably designed by Harry Powell, pinched and fluted form, the metal mount in the manner of W.A.S Benson with scrolling feet 21cm. high. £200-300 Literature Lesley Jackson Whitefriars Glass The Arts of James Powell & Sons, Richard Dennis Publications, page 101 plate 21 for comparable forms 6. A Whitefriars flint dimpled vase designed by Harry Powell, unsigned, 30cm. high £200-300 7. A James Powell & Sons Whitefriars Flint glass square bottle decanter with silver stopper designed by Harry Powell, the silver stopper with winged finial, stamped marks, J P & S London 1908 18cm. high £300-400

Literature Leslie Jackson (edited) Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications, page 113 plate 77 for a comparable decanter with glass version of the stopper 8. A James Powell & Sons Whitefriars Roman glass decanter and stopper designed by Harry Powell, shallow cut with bands unsigned 26.5cm. high £200-300 Literature Leslie Jackson (edited) Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications, page 103 plate 28 for an identical decanter. 9. A James Powell & Sons Whitefriars green glass decanter with silver top, etched with laurel leaf motif cover stamped J P &*S London £300-500 1906, 28cm. high

10. A rare James Powell & Sons sea green glass decanter with silver cover designed by Harry Powell, flat, bellows form, internally decorated with white melted thread stripes, stamped marks, London 1912 26cm. high £300-500 Literature Lesley Jackson, Whitefriars Glass, Richard Dennis Publications, page 107 plate 43 for a comparable form. 11. A set of James Powell & Sons Whitefriars Tear wine glasses designed by Harry Powell, clear flint glass applied with four seagreen tears, comprising six large and six small wine glasses unsigned, 19.5cm and 16cm high (12). £1,000-1,500 Literature Lesley Jackson Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications, page 106 plate 38 for two comparable glasses illustrated.

11 detail

James Powell & Sons Whitefriars Glass 1860-1960 The John Scott Collection, The Fine Art Society, 2014, page 34 catalogue number 48 for a comparable glass illustrated. This glass design was exhibited at the Arts and Crafts Exhibition, London 1898. Originally these glasses had six sea-green tears which was reduced to four in 1901.

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12. An Art Nouveau cameo glass table lamp and shade, in the manner of Galle, decorated in purple over a pale amber ground with butterflies flying amongst pendulous lilac flowers later signature to shade and base 30cm. high. (2) £400-500

13. A rare Steuben Aurene Jack in the Pulpit vase, model no.130, the compressed body with tall cylindrical neck and flaring, pulled rim, covered in a golden iridescence etched Aurene 130 to base 20cm. high £400-600 It is believed pieces of Steuben marked just Aurene and the model number are some of the earliest examples of production.

14. A Loetz Versuvian iridescent glass vase, shape no. 259, shouldered form with three applied loop handles, green glass with iridescent finish, unsigned 20cm. high £150-200 Literature Helmut Ricke Lotz Bohmisches Glas 1880-1940, Prestel Velag, page 83 for this shape illustrated, dated to 1898/99.

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CERAMICS 15. A Minton’s Pottery vase probably designed by A W N Pugin, footed, pear-shaped form, printed and painted, with foliate panels and inscription to neck, in shades of blue highlighted in gilt, unmarked 23cm. high £150-200 Literature Floriated Ornament Designed by A Welby Pugin, a similar vase illustrated on the cover. Creating a Gothic Paradise Pugin at the Antipodes page 18 catalogue number D.27 this quattrolobed design used on a Paten, 1847.

16 15

16. A Minton Cloisonne vase probably designed by Dr Christopher Dresser, cylindrical form on Chinese wood stand, enamelled with panels of stylised flowers and foliage and Chinese characters in colours on a turquoise ground, highlighted in gilt, impressed mark, professionally restored base, 16cm. high £150-200 17. A small Linthorpe Pottery vase designed by Dr Christopher Dresser, compressed form, incised with floral motif glazed ochre to green, and a W.A.S Benson copper tray vase unmarked, 13cm. diam. (2) £150-200 18. A Large Minton Japanese Crane pattern meat platter designed by Dr Christopher Dresser, printed in blue on a white ground printed mark 50cm. wide £200-300

17 18

19. A pair of Watcombe Pottery terracotta wall brackets, each modelled with a dragon amidst scrolling foliage, covered in a green glaze unsigned 19cm. high (2) £250-350 20. A Lauder Barum pottery model of a bird, standing with beak wide open, glazed in shades of green, yellow and ochre incised Lauder Barum, restored 22cm. high £150-200 21. A Baron Barnstaple Pottery vase, shouldered form, incised with scaly grotesque fish, glazed in shades of mushroom, aubergine and green on a mottled purple and blue ground, a continental pottery spill vase modelled as a comical frog playing the accordion and a Vallauris pottery frog spill vase incised Baron Barnstaple 401, 24cm. high (3) £150-200

22. A C. H Brannam Barum pottery wall pocket, modelled as an owl, glazed in shades of ochre, cream and blue incised Barum C H Brannam 1892, restored tips to wings, 17cm. high £200-300

23. A Baron pottery comical figure designed by Blanche Vulliamy, modelled seated with arms crossed and resting on its knees, glazed blue, and a Watcombe model of a frog pulling a shell, on a waterlily base incised Baron, repair to foot and glaze chip, 11cm. high (2). £150-250

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24 25 24. A Minton’s Art Pottery Studio wall charger, painted with a swallow flying past a flowering prunus bough, impressed marks, date mark for 1872, 34cm. diam. £200-300 25. A large plaque after a design by Silas Rice probably Minton’s, tubeline decorated in a maiolica style to the well with a renaissance portrait of Queen Victoria, inside classical and heraldic borders, in colours unsigned 44.5cm. diam. £600-800 Literature Paul Atterbury and Maureen Batkin, The Dictionary of Minton Antique Collector’s Club, page 136 colour plate 22 for a comparable example. 26. An Aesthetic Movement pottery charger in the manner of William S. Coleman, painted with a child holding a sickle and sheaf of corn, in colours, indistinct impressed mark to back, hairlines to rim, 42cm. diam. £150-250 27. A pair of Minton’s Pottery wall plaques the design attributed to William S. Coleman, painted with cherubs and butterflies before an expanse of water, in colours on a pale blue ground, impressed marks, painted Mrs Harry to the reverse, repaired chip to rim of one 36cm. diam. (2) £300-400

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28. A Doulton Lambeth stoneware water filter, cylindrical form with flaring foot and neck, cast in low relief with panels of bull rush and flowers, in shades of green and brown, impressed mark, cast Doulton Lambeth to the foot rim 47cm. high £150-250 29. A Doulton Lambeth stoneware water filter, flaring cylindrical form, cast in low relief with Gothic tracery panels, glazed in shades of blue and brown, impressed Doulton & Co £150-250 Lambeth to the foot rim, 41cm. high

30. A Doulton Lambeth stoneware jug vase by Arthur Barlow, dated 1873, solifleur form incised with scrolling foliage and applied with flowerhead motif, glazed blue on a mottled blue and buff ground, a larger jug and a ewer similar impressed marks, impressed B cipher 17cm. high. (3). £200-300

31. An early Doulton Lambeth stoneware vase by Mark V Marshall, swollen cylindrical form with pinched rim, incised with flowers and scrolling foliage, incised 89 MVM and impressed factory mark, professionally restored top rim, 12.5cm. high £150-200 32. A Doulton Lambeth stoneware jug by Frank Butler, dated 1873, shouldered form incised with scrolling foliage bands in shades of blue and green on an off white ground, a vase and two other jugs similar impressed and incised marks, small underglaze chip to base rim, 16cm. high (4) £250-350

33. A Doulton Lambeth three-pot stoneware plant trough, dated 1882, each interlocking square trough applied and carved with foliate roundels and columns, glazed in shades of blue, ochre and green impressed marks and incised artists ciphers, minor chips, 18 x 19cm, 17cm. high, overall width 56cm. (3) £200-300 34. A Doulton Lambeth stoneware model of a Kookaburra, the design attributed to Harry Simeon, modelled perched on a tapering square plinth, glazed in colours impressed Lambeth mark, incised NL, 9.5cm. high £100-200

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36 both sides

35 35. Puck a rare Doulton Lambeth stoneware architectural figure designed by Harry Simeon, Puck modelled seated crossed legs, on separate circular bird bath base, stamped Doulton regd 736777, minor losses figure 40cm. high, 63 cm. diam. bowl. (2) £600-800 Literature Desmond Eyles & Louise Irvine Doulton Lambeth Wares, Richard Dennis Publications, page 194 for a comparable figure. 36. A Doulton Lambeth stoneware bowl with electroplated rim by Hannah Barlow, dated 1884, incised with a frieze of a young boy tending his herd of goats, between foliate borders, in shades of blue and brown on a buff ground impressed and incised marks, 22cm. diam. £200-300

37 both sides

37. A Doulton Lambeth stoneware biscuit barrel with electroplated cover and mount by Florence Barlow, dated 1877, cylindrical form, incised with resting and galloping ponies, between bands of stylised foliage, in shades of blue and green, highlighted in white on a buff ground impressed and incised marks, dated 1877 £300-500 18.5cm. high 38. A Doulton Lambeth Faience moonflask by Hannah Barlow, painted with goats resting, inside scroll border, the reverse a heart-shaped vignette of two goats and a young kid, in colours, impressed marks, painted monogram 24cm. high £200-300 Literature Desmond Eyles & Louise Irvine The Doulton Lambeth Wares Richard Dennis Publications, page 147 for three similar faience flasks by Hannah Barlow.

38 both sides

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THE NICK GRIFFIN COLLECTION OF MARTIN WARE & ART POTTERY 39. ‘A Catalogue of the Collection of Martinware formed by Mr Frederick John Nettlefold’ a private press book published by Waterlow & Sons, 1936, with brown board cover and gilt title,this example not library stamped, 38 x 29cm. £150-200 40. A Sunflower Pottery vase by Sir Edmund Elton, swollen for, applied with slip decorated flower spray in ochre and green on a streaked green ground, and a Doulton Lambeth stoneware jug by Hannah Barlow dated 1872, incised with deer painted Elton S £150-250 mark, damages, 12.5cm. high (2)

41. A C J C Bailey Fulham stoneware jar and cover, cylindrical form, cast and incised with stylised foliate roundel with radiating foliage, in shades of blue and green on a buff ground, and a C J C Bailey Fulham stoneware flask, incised marks, CJ monogram, professionally restored cover, 17cm. high (2) £150-250

42. A C J C Bailey Fulham Pottery stoneware vase and cover, low cylindrical form cast with a band of scrolling foliage, the slightly domed cover cast with radiating panels of foliage each with pierced vent, glazed blue and buff incised Bailey Fulham, restored 26cm diam. £150-200 43. A C J C Bailey Fulham Pottery ewer by Eric Kettle, incised with a duck swimming with her ducklings, the reverse a goat with her kids, glazed brown and blue on a buff ground, the handle with carved scrolling foliate design and mask figurehead, and a C J C Bailey Fulham Pottery tyg, incised C J C Bailey Fulham and Kettle signature, professionally restored top rim, 23cm. high (2) £150-250

42 top

44. Three graduated Fulham Pottery vases, the smallest dated 1906, baluster form, incised with stylised foliate design in shades of blue, green and brown on a buff ground highlighted in white, with applied bead work, another near pair of Fulham vases and an oil painting of the Fulham Pottery, on canvas by Edward Masterson dated 1974, impressed and incised marks, two signed JC, damages, tallest 31cm high (6) £150-200

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45. A Martin Brothers stoneware stand, probably for a cheese dish, circular form, incised with a band of stylised foliage, in shades of blue, green and ochre on a buff ground, incised 5-1885 Martin Bros London & Southall, small chip to rim, 30cm. diam. £150-250

46. A stoneware candlestick probably by Robert Wallace Martin, the domed base modelled with three cat masks, on a stylised foliate ground, the knopped stem with stylised flowerhead and geometric panels in shades of blue, green and brown apparently unmarked 15.5cm. high £150-200

47. A Martin Brothers stoneware jug by Robert Wallace Martin, dated 1878, slender, shouldered form incised with a classical figure of a woman collecting water from a stream, the reverse with classical male figure playing a pipe, in shades of blue and brown on a buff ground, and a near pair incised with a classical harp player and a pipe player dated 1876, incised 78 R W Martin London 7-1878, damages, 27cm. high (2) £150-200

48. A Martin Brothers stoneware tyg by Robert Wallace Martin, incised with coat of arms amidst scrolling foliage in shades of brown on a buff ground, incised 7-1886 R W Martin & Bros London & Southall, star crack to base, 17cm. high £200-300 Provenance The Martin Brothers Potters, Woolley & Wallis 24th October 2006, lot 16.

47 both sides

48 both sides

49. A Martin Brothers stoneware twinhandled cup, dated 1887, tapering cylindrical form, incised with birds and insects flying past blossom tree, with scroll inscribed 13th December 1887, in shades of blue, white and brown on a buff ground, the reverse inscribed A.W & G.H.G, incised Martin Brothers London & Southall, professionally restored 15.5cm. high £150-200

49 both sides

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50 (3)

50. A Martin Brothers stoneware clock dial, circular with pierced apertures, incised with foliate panels glazed blue and brown on a buff ground, a Martin Brothers stoneware oil reservoir dated 1876, a cover and two Martin Brothers stoneware architectural kerb stones, incised marks to reservoir, chips, dial 14cm. diam. (5) £150-200 51. A Martin Brothers stoneware jug by Robert Wallace Martin, dated 1882, ovoid with cylindrical neck, incised and painted with Aesthetic sunflower motif, glazed in green, blue and brown on a buff ground, and another Martin Brothers jug dated 1879, incised 9.1.82 Martin London & Southall, professionally restored, 23.5cm. high (2) £200-300

52. A Martin Brothers stoneware jug by Robert Wallace Martin, ovoid form, incised with lily flowers in sand, blue and green on a mottled brown ground incised R W Martin London & Southall, 22cm. high £150-250

53. A Martin Brothers stoneware wall plate by Robert Wallace Martin, dated 1887, incised with a bird flying past a smaller rabbit amongst wild flowers and foliage, in shades of brown on a mottled buff ground, incised 10-1887 R W Martin & Bros London & Southall, hairline to well 25.5cm. diam. £200-300 54. A small Martin Brothers stoneware vase by Edwin & Walter Martin, slender, shouldered form, incised and painted with wildfowl flying above grasses, highlighted in white on a dark brown ground, incised Martin Bros London, small chip to top rim, 10cm. high £150-200

55. A Martin Brothers stoneware tile, probably by Robert Wallace Martin, dated 1881, incised and modelled in low relief with lily flowers, glazed in shades of green, blue and brown on a textured buff ground incised 23-4-81 apparently unsigned, 15.5cm. square. £150-250

56. A Martin Brothers stoneware tile, incised with a crow perched on a bough before a church, in shades of black, brown and green on a buff ground, and a smaller Martin Brothers tile main tile unmarked, 2nd tile cast marks, 15.5 x 13.5cm. (2) £200-300

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57. A Martin Brothers stoneware vase by Robert Wallace Martin, shouldered form, incised with a grotesque dragon amidst scrolling foliage with poppy seed heads, in shades of blue and ochre incised 8-1889 R W Martin & Bros London & Southall, 20cm. high £400-600 Provenance The Martin Brothers Potters Woolley and Wallis, 24th October 2006, lot 49

58. A Martin Brothers stoneware tobacco jar and cover, shouldered cylindrical form, incised with a bird perched amongst tobacco leaves, in blue and green on a buff ground, the domed cover with a grotesque figural finial, incised 5.3.79 R W Martin London & Southall, cover restored, 20cm. high £150-250 Provenance The Martin Brothers Potters, Woolley & Wallis 24th October 2006, lot 21.

59. A Martin Brothers stoneware vase by Robert Wallace Martin, dated 1892, ovoid with flaring neck, incised and painted with wild rose and honeysuckle, painted in shades of white green and blue on an ochre ground, incised 2-1892 R W Martin & Bros London & Southall, repaired damages to body, 20.5cm. high £150-250

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60 all sides 60. A Martin Brothers Medieval Revival stoneware vase by Robert Wallace Martin, large, footed cup form with three applied grotesque mask handles, incised and painted with scenes of a Medieval king seated on his thrown and toasting a Knight, flanked with scenes of knights and peasants drinking, in shades of blue, brown and green on a buff ground incised 16. A17.452 R W Martin & Bros London & Southall, riveted firing fault, ÂŁ200-400 damages 21cm. high 61. A pair of Martin Brothers stoneware architectural panels, each shaped form, cast in low relief with a grotesque mask amidst scrolling fruiting vine, glazed in shades of brown, apparently unsigned, damages and losses, 45cm. high (2) ÂŁ200-300 62. A set of three Martin brothers stoneware Aquatic architectural panels, each tapering form with fluted capital and base, modelled in low relief and incised with grotesque fish, eels and aquatic creatures, in shades of brown and blue on a buff ground, losses and old repairs, 49cm. high, 33cm wide (3) ÂŁ600-900

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63. A large Martin Brothers stoneware Aquatic vase by Robert Wallace Martin, dated 1890, baluster form, incised with shoals of grotesque fish, a seahorse and aquatic animals amidst waterweed, in shades of blue, green and brown, highlighted in white on a buff ground, incised 9-1890 R W Martin & Bros London & Southall, professional restoration to top neck, 31cm. high ÂŁ1,000-2,000 Provenance The Nick Griffin Collection.

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64. A Martin Brothers stoneware jardiniere, dated 1896, ovoid with collar rim, incised with a broad band of scrolling foliage in shades of brown and green highlighted with white on a buff ground incised 1-1896 Martin Bros London & Southal, damages, 24cm. high £200-400

65. A Martin Brothers stoneware jardiniere by Robert Wallace Martin, shouldered, cylindrical form, modelled in low relief with a medieval castle ruin, in shades of brown, blue and green on a mottled brown ground incised R W Martin London & Southall, 20cm. high £250-350

66. A tall and early Martin Brothers stoneware vase by Robert Wallace Martin, dated 1875, slender baluster form, incised with cranes flying past flowering prunus boughs, between bands of stylised foliage, the cylindrical neck with geometric diaper work, in shades of brown and blue highlighted in white on a buff ground, incised 6.64 R W Martin London 9-1875, 48cm. high £300-500

66 both sides

Provenance The Martin Brothers Potters, Woolley & Wallis 24th October 2006, lot 8.

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67. A Martin Brothers stoneware ewer, dated 1895, square section, painted with birds flying past bullrush and grasses, in colours on a pale blue background, incised to base 12 1895 Martin Bros London & Southall, glaze loss, 17cm. high ÂŁ200-300

67 both sides

68. A Martin Brothers stoneware face jug, modelled in relief with a smiling face, the reverse a similar smiling face, glazed grey and brown with white highlights, incised R W Martin & Bros London & Southall, 13.5cm. high ÂŁ800-1,200

69. A Martin Brothers small face jug by Robert Wallace Martin, modelled to one side with a smiling face, the reverse with a pouting face, glazed buff with white and brown highlights, incised B X 37 R W Martin & Bros London & Southall, 11.5cm. high ÂŁ600-1,000

68 both sides

69 both sides

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MARTIN WARE FROM VARIOUS PROPERTIES 70. A Catalogue of the Collection of Martinware Formed by Mr Frederick John Nettlefold, a reference book by Charles J Beard, and Boobies, Boojums and Snarks a Martin Brothers exhibition catalogue Nettlefold catalogue without Library stamps. (2) £300-500

71. A Martin Brothers stoneware jug by Robert Wallace Martin, swollen cylindrical form, incised with columns of leaves, glazed in shades of green impressed R W Martin £100-200 Fulham 23cm. high

72. A stoneware pottery jug probably Fulham Pottery, shouldered form with metal mount and hinged cover, the handle modelled with a vole, the body incised with a duck and her ducklings swimming, the reverse with a duck and ducklings on the river bank, glazed brown, white and blue on a buff ground unsigned, minor glaze chips to handle, 26cm. high £150-250

73. A Martin Brothers stoneware vase by Robert Wallace Martin, dated 1882, ovoid with collar neck, incised with fan shaped flowers and foliage in shades of blue and green on a buff ground, incised 12.5.82 R W Martin London & Southall, 12cm. high £200-300

74. A Martin Brothers stoneware teapot stand by Robert Wallace Martin, circular with serrated edge, incised with a central blue flowerhead, inside foliate border incised A1 R W Martin Fulham 17cm. diam. £150-200

75. A Martin Brothers stoneware teapot and cover by Robert Wallace Martin, dated 1879, the ovoid body incised with scrolling foliage in shades of blue on a green and brown ground, with tapering cylindrical cover incised 5 7 79 R W Martin, London & Southall, paper collection label, small chips to tip of spout, 17.5cm. high. £700-1,000

Provenance Birmingham City Museum & Art Gallery 1971-1997, on loan. Sotheby’s 8th July 1997 lot 152. The C E Hanley Collection.

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76. A Martin Brothers stoneware sundial by Robert Wallace Martin, dated 1888, stepped square base cast in low relief with radiating rising sun motif, and panels of foliage, the cylindrical column with foliage stems rising up to flaring capital cast and carved in relief with Aesthetic sunflowers, in shades of green and brown on a buff ground, verdi gris metal sundial inscribed 1634, incised R W Martin & Bros London & Southall, chips and firing cracks, 72cm. high, 32cm square top. ÂŁ5,000-8,000 Provenance Sir Richard William Drake FSA, chairman of the Burlington Fine Arts Club in 1886 commissioned a sundial from Robert Wallace Martin for the garden of his house in Weybridge, Surrey. This is the only reference to a sundial in the surviving Martin papers. British Art Pottery, Woolley & Wallis, 1st December 2010, lot 15. Private collection

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77. A rare Martin Brothers stoneware imp musician designed by Robert Wallace Martin, modelled seated with a drum and drum sticks, glazed in cream, on ebonised wood base, incised Martin Bros, professionally restored arms and small bruise to hair, 13cm. high ÂŁ1,500-2,000 Literature Malcolm Haslam The Martin Brothers Potters, Richard Dennis Publications, page 135 figure 209 for a comparable example of an imp musician.

78. A rare Martin Brothers stoneware imp musician designed by Robert Wallace Martin, modelled seated playing a harp, the imp glazed in brown with black harp, incised RWM, Sc, professionally restored harp, 11cm. high ÂŁ1,500-2,000 Literature Malcolm Haslam The Martin Brothers Potters, Richard Dennis Publications, page 134 figure 208 for a comparable example of an imp musician.

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79. A Martin Brothers stoneware bird jar and cover sculpture by Robert Wallace Martin, dated 1884, modelled upright long slender beak, modelled with sideways cast glance, glazed brown and green with green flashes to wings and white highlights incised R W Martin London & Southall 1884 to head and R W Martin London to tail feathers, minor frit chips, 33cm. high ÂŁ25,000-35,000

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80. A Martin Brothers stoneware bird jar and cover designed by Robert Wallace Martin, the bird with piercing staring eyes, his wings tucked back, his clawed feet on domed ceramic base, glazed in shades of green and ochre on later carved wooden base incised R W Martin & Bros Southall to collar and base, firing cracks and faults 23cm. high ÂŁ6,000-9,000 Provenance Private collection, formed in the 1970s

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81. A rare Martin Brothers stoneware triple bird group designed by Robert Wallace Martin, the central bird modelled with wings outstretched enveloping the two smaller birds, glazed in shades of blue, green and ochre with aubergine feet overlapping the rounded rectangular base, incised R W Martin & Bros Southall, 13 37 17cm. high, 16.5cm. wide ÂŁ8,000-12,000 Provenance Private collection, formed in the 1970s. Literature Malcolm Haslam The Martin Brothers Potters, Richard Dennis Publications, page 132 for an earlier example illustrated.

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THE CHAPLIN COLLECTION OF MARTIN WARE

William Augustus Chaplin

82. A Martin Brothers stoneware vase by Robert Wallace Martin, ovoid with collar rim, painted with sunflowers in dark brown on a mottled brown ground, R W Martin London & Southall, chips to base rim, 10.5cm. high £200-300 William James Chaplin (1787-1859), 'The Napolean of Coaching' ran Chaplin stage coaches, from about 1827 he had 16 children including William Augustus Chaplin. Provenance William Augustus Chaplin thence by descent. 83. A Martin Brothers stoneware vase by Robert Wallace Martin, dated 1882, ovoid with applied lug handles, incised with stylised foliage in shades of brown on a buff ground, incised 82 Martin London & Southall, minor glaze faults, 12cm. high £200-300 Provenance William Augustus Chaplin thence by descent. 84. A Martin Brothers stoneware by Robert Wallace Martin, dated 1892, baluster form, painted with a frieze of fighting Greek warriors, in black and brown, incised 11 1892 R W Martin & Bros London & Southall, glaze faults 24cm. high £200-300 Provenance William Augustus Chaplin thence by descent.

85. A Martin Brothers stoneware Aquatic vase by Edwin & Walter Martin, dated 1906, flaring square section, incised with scaly fish amidst waterweed, glazed in rich blue incised 5-1906 Martin Bros London & Southall, 27cm. high £1,000-1,500 Provenance William Chaplin thence by descent. 86. A Martin Brothers stoneware face jug, dated 1910, modelled with smiling face to one side, the other side pursing his lips, glazed brown on a buff ground, highlighted in white incised 5-1910 Martin Bros London & Southall, 15.5cm. high £2,000-3,000 Provenance William Chaplin thence by descent.

86 both sides

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87. A Martin Brothers stoneware bird jar and cover by Robert Wallace Martin, dated 1884, modelled standing with big claw feet, casting a sideways glance, the broad beak painted with brown spots, glazed in shades of green and brown highlighted in white, on ebonised wood base, signed to the head R W Martin London & Southall 5-84, painted panel to back R W Martin London, minor chips to side of beak, and back rim of body, 28cm. high ÂŁ30,000-50,000 Provenance William Augustus Chaplin thence by descent.

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89A

88. A Martin Brothers stoneware solifleur, square section with cylindrical neck, incised with stylised Japoniste fan shaped leaves, glazed brown on a buff ground, unsigned 10cm. high £150-200 89. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, shouldered form with ribbed corners, glazed pale mint-green over cream, and another smaller ovoid gourd covered in a matt cream glaze main vase incised 2, 8cm. high (2). £200-300

89A. A Martin Brothers stoneware jardiniere by Robert Wallace Martin, dated 1881, shouldered form with carved and pushed out foliate decoration, glazed brown, highlighted in white incised to top rim Martin Southall & London 1.11.81 minor firing faults 25cm. wide, 16cm. high £250-350 90. A Martin Brothers stoneware gourd vase by Edwin & Walter, ovoid with tall tapering neck, ribbed form, covered in a blue glaze incised R W Martin & Bros, Southall £300-500 16cm. high 91. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, ovoid with tall tapering neck, ribbed form covered in a mottled brown glaze unsigned, glaze chip to top rim, 14cm. high £200-300 92. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, ovoid with tall tapering neck, ribbed form covered in mottled matt brown glaze, unsigned, £200-300 14.5cm. high

93. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, ovoid with tall tapering neck, ribbed form covered in a mottled bronze glaze incised R W Martin & Bros Southall, 14cm. high £300-500 94. A Martin Brothers stoneware vase by Edwin & Walter Martin, shouldered form, incised with panels of flowers, in pale blue, white and brown on a buff ground, incised Martin Bros London & Southall, 7.5cm. high £250-300 95. A Martin Brothers gourd vase by Edwin & Walter Martin, ovoid with pulled rim and loop handle, incised decoration painted brown on a buff ground, incised Martin Bros London, minor restoration to top rim, 9.5cm. high £150-250

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96. A Martin brothers stoneware ewer by Edwin & Walter Martin, dated 1892, waisted cylindrical form, incised with insects flying around exotic frilled orchids, glazed in shades of brown and green on a buff ground incised 2-1892 Martin Bros London & Southall, small chip to spout 22cm. high £700-1,000

96 both sides

97. A Martin Brothers stoneware Aquatic vase by Edwin & Walter Martin, square section with tapering solifleur neck, incised with a shoal of swimming grotesque fish in brown on a streaked buff and green ground, incised 3-1904 Martin Bros London & Southall, 11cm. high £600-800

97 both sides

98. A Martin Brothers stoneware vase, ovoid form with collar rim, incised with flower stems in shades of green and white on a buff ground, incised Martin Bros London & Southall, 10cm. high £250-350

98 both sides

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99. A Martin Brothers stoneware vase, dated 1898, slender baluster form, incised and painted with finches flying after a butterfly, in shades of brown and green on a buff ground, incised 8-1898, Martin Bros London & Southall, firing crack to shoulder and also one to base, 25cm. high £350-400

100. A Martin Brothers stoneware vase by Robert Wallace Martin, dated 1878, slender baluster form with cylindrical neck, incised with a crane wading in a river, an eel in its mouth, glazed blue on a buff ground, the reverse with four flying cranes, the neck and foot modelled in low relief with geometric foliage bands, incised R W Martin Southall 3 1878, drilled for electric lamp, 41cm. high £400-600 Literature Malcolm Haslam The Martin Brothers Potters, Richard Dennis, page 56 figure 62 for a comparable vase.

101. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, shouldered square section, modelled with warts, glazed in shades of brown on a buff ground incised Martin Bros London & Southall, 10cm. high £700-1,000

99 100

102. A Martin Brothers stoneware vase, shouldered form, incised and painted with ducks and waterfowl, in shades of brown and white on an ochre ground incised 1-1900 Martin Bros, London & Southall, £350-400 repaired section out 13cm. high

103. A Martin Brothers stoneware vase by Robert Wallace Martin, dated 1892, square section, modelled in relief with a crane wading amidst waterweed to one side, the reverse with a kingfisher looking up at a flower, in shades of green and brown on a buff ground incised 3-1892 R W Martin & Bros London & Southall 20cm. high £3,000-4,000 Provenance A Private Collection of Martin Brothers Ware, Peter Wilson, 6th April 1978, lot 11.

101

102

The Martin Brothers Potters, Woolley & Wallis, 24th October 2006, lot 73

103 both sides

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104. A fine Martin Brothers stoneware gourd vase by Edwin & Walter Martin, incised to each side with a frog amidst grasses, painted in shades of brown and ochre, highlighted in white on a cream ground incised 9-1902 Martin Bros London & Southall, 12cm. high £2,000-3,000

105. A Martin Brothers stoneware Aquatic vase by Edwin & Walter Martin, tapering square section, incised and painted with scaly fish swimming, in shades of blue, brown and green on a buff ground, incised Martin Bros London & Southall, 12cm. high £600-800

104 both sides

105 both sides

106. A Martin Brothers stoneware Aquatic jug by Edwin & Walter Martin, dated 1897, incised with grotesque fish swimming amidst octopus, eels and other water creatures in shades of brown and ochre on a mottled pale blue ground incised 6-1897 Martin Brothers London & Southall, professionally restored, 26cm. high £2,000-3,000 Provenance Woolley and Wallis Auctioneer’s lot.

106

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107. A Martin Brothers stoneware solifleur vase, impressed and incised with flowers and foliage in green, ochre and white on a buff ground incised Martin London, 12cm. high £100-200

108. A Martin Brothers stoneware vase by Robert Wallace Martin, dated 1880, shouldered form with cylindrical neck, incised and painted with a bird perched on a foliate bough, glazed in shades of blue, manganese and green incised 14.4.80 R W Martin London & Southall 19.5cm. high £300-400

107

108

109. A Martin Brothers stoneware architectural tile panel by Robert Wallace Martin, cast and carved with panels of geometric foliage, the shoulder painted with a panel of scrolling foliage with dragon mask terminal, in shades of brown highlighted in white, the inside painted with waterweed, a Martin Brothers stoneware pedestal base and a Martin Brothers stoneware column incised with scrolling foliage, probably a jardiniere stand or a fountain base, tile unsigned, pedestal signed R W Martin London, damages and repairs 24.5cm. high, 23cm. wide (5), column 76cm. high (5) £150-200 Provenance 20th Century Decorative Arts 25th May 1990 lot 269 (part) Private collection.

109 110. A Martin Brothers stoneware pond by Robert Wallace Martin, incised with panels of scrolling foliage with dragon masks, in shades of brown, comprising sixteen architectural panels, incised R W Martin & Bros London & Southall, two panels replaced, paper lot label,110cm. wide, 25cm. high. (16) £400-600 Provenance 20th Century Decorative Arts 25th May lot 269. Private collection. Literature 20th Century British Decorative Arts Christie’s South Kensington, 28th October 1998 lot 205 for a comparable pond commissioned by Sir Samuel Hoare in 1884 for his house in Cromer.

110

110 detail

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111. A Martin Brothers stoneware face jug by Robert Wallace Martin, dated 1909, modelled with a smiling face, the reverse with a grimacing face, glazed brown and ochre, highlighted in white incised 1-1900 R W Martin & Bros London & Southall 16.6cm. high £2,000-3,000

111 both sides

112. A Martin Brothers stoneware Aquatic mug by Edwin & Walter Martin, cylindrical, incised with fish and jellyfish amidst waterweed, in brown on a cream ground incised 11-1903 Martin Bros London & Southall, professionally restored 7.5cm. high £500-800

112 both sides

113. A pair of Martin Brothers stoneware Aquatic vases by Edwin & Walter Martin, dated 1903, tapering rectangular section, incised with grotesque fish in shades of ochre on a blue ground, the necks with sprays of waterweed incised 10 1903 Martin Bros London & Southall, 15cm. high £1,500-2,000 Provenance The Martin Brothers Potters, Woolley and Wallis, 31st October 2005, lot 70.

113 both sides

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TILES 114. A set of four Minton’s tiles designed by Dr Christopher Dresser, each printed with panels of crane, bamboo and flower stems around a flower mon, in brown and black on a buff ground, and nine books and catalogues on Dr Christopher Dresser, tiles 15.5cm. square. (13) £150-200

114

115. ‘Little Boy Blue’ a Maw & Co tile designed by Walter Crane, printed and hand coloured, three various tiles with Kate Greenaway type figures and two Carter tiles painted with acrobats, impressed marks, repaired damages 15.5cm. square (6) £150-200

115

116. Four tin-glazed earthenware tiles designed by William Morris, probably Morris & Co, painted with clumps of dairy flowers in yellow and blue on an off white ground, in later wooden frame, unsigned 36cm square (panel) £300-400 117. A Morris & Co Elsley twelve tile panel, tin-glazed tiles in shades of blue and green on a cream ground, framed, each tile 13cm. square £200-300 Literature Richard & Hilary Myers William Morris Tiles, Richard Dennis Publications, page 118. A J C Edwards tile teapot stand designed by C F A Voysey, decorated with a grotesque creature, glazed green impressed marks to reverse, scratches 16cm. high £150-200 119. A J & J G Low, cast in low relief with palm flowers, glazed green £150-200 impressed marks, 15.5cm. square

116

120. A William De Morgan Chelsea Period Berries and Leaves tile, painted in shades green and yellow on a white ground impressed marks, 15.5cm. square £100-150

117

Literature Martin Greenwood The Designs of William de Morgan Richard Dennis Publications, page 139 catalogue number 668 for the original design. 121. A Dutch Sunflower tin glaze tile designed by William Morris or William De Morgan, painted in shades of blue on an off white ground, and two Maw & Co tiles moulded in relief with radiating oak leaf and acorn design, and a slate panel, impressed marks to Maw tiles, glaze chips, 15.5cm. square (4) £100-200 Provenance Private collection Literature Richard & Hilary Myers William Morris Tiles, Richard Dennis Publications, page 105 figure 165 for comparable tiles illustrated.

118

120

119

122. A William De Morgan Merton Abbey tile, modelled in low relief with quartered panels of bird and flower motif, glazed green, a William De Morgan ruby lustre tile, five other William De Morgan tiles and a Morris & Co tile impressed marks, damages 14.5cm. square (9) £200-400

121

122

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125

123. Six William De Morgan Persian border tiles, painted with carnation and tulip flowers, in shades of blue, green and aubergine on a blue ground, a ruby lustre Sunflower tile, six dark turquoise tiles and a collection of spacer and encaustic tiles by William De Morgan and other manufacturers, various marks, damages border tiles 21 x 5.5cm. (a lot). £300-500

124. Three William De Morgan Chelsea Period BBB large 8 inch tiles, painted in shades of blue and green on a white ground, impressed marks, repairs and losses, one reduced,21cm. square (3) £200-300

126 125. A William De Morgan Early Fulham BBB large 8 inch tile, painted in shades of blue, aubergine and green on a white ground impressed roundel mark, minor frit chips, 21cm. square £200-300

126. A William De Morgan Duck and Foliage tile, painted in shades of ruby lustre, later framed 14.5cm. wide £300-500 Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 130 catalogue number 973 for the original design illustrated.

127 127. A William De Morgan Fantastic Bird tile, glazed in red lustre on a cream ground, later framed marks concealed 14.5cm. square £400-600 Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 130 catalogue number 964 for this design.

128. A William De Morgan Farini plate, moulded in low relief with inter-linking circle border, the well with similar raised decoration, glazed in ruby and sand lustre impressed tulip mark, chipped section to rim, 28.5cm. diam. £300-500 Literature William Gaunt & M D E Clayton Stamm, page 125 plate 119 for a comparable charger.

128

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WILLIAM DE MORGAN SUNSET & MOONLIGHT SUITE

129. A Good William De Morgan Sunset and Moonlight Suite vase by Fred Passenger, shouldered octagonal section, painted with columns of alternating scaly fish amongst waterweed and flowers, between stylised foliate bands, in golden lustre on a midnight blue lustre ground painted FP monogram 25.5cm. high ÂŁ4,000-6,000

130. A William De Morgan Sunset and Moonlight suite tazza by Fred Passenger, painted to the well with a grotesque creature, with young resting on its back, its tail rising to form an attacking serpent, inside scrolling border, in ruby and silver lustre on a blue lustre ground painted FP monogram, small chip to rim, 23cm. diam. ÂŁ500-800 Literature William De Morgan Richard Dennis Exhibition, June 2004 catalogue number 8 for a red lustre charger with a comparable group of animals painted by Charles Passenger.

129

130

130 detail

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131 131. A William De Morgan Sunset and Moonlight Suite roundel by Fred Passenger, dated 1902, circular, painted with a central flower roundel inside stylised tulip flower border, in shades of ruby and gold lustre on a blue lustre ground painted monogram and date, applied paper label ‘given to me by Frederick Passenger 29.4.21 this experiment was adopted and a large amount of similar pottery followed’, 18cm. diam. £1,000-1,500 This roundel is a trial development of the triple lustre glazes developed by William De Morgan.

132

Provenance Applied Arts from 1880 Sotheby’s London 19th December 1986 page 58 lot 313. Private collection. 132. A William De Morgan Sunset and Moonlight Suite triple lustre bowl by Fred Passenger, painted to the exterior with a frieze of fruiting grape vine, the interior with stylised flower border and central flower roundel, in gold and ruby lustre on a blue lustre ground, and William De Morgan Arts and Crafts Potter a reference book by Rob Higgins and Christopher Stolbert Robinson painted FP monogram, fine firing crack to rim 19cm. diam. (2) £1,500-2,000 Literature Rob Higgins & Christopher Stolbert Robinson William De Morgan Arts and Crafts Potter, Shire Publications, page 44 this actual bowl illustrated.

132 detail 133. A William De Morgan Sunset and Moonlight pedestal bowl by Fred Passenger, the well painted with a mythical crested bird inside a border of clawed creatures on a scrolled foliate ground, the rim a border of carnation, the exterior borders of flowers and foliage in blue and sand lustre painted FP monogram, paper collector’s label, 22cm. diam. £2,000-3,000

133 detail

133

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134. A Burmantoft’s Faience Anglo Persian twin-handled vase designed by Leonard King, model no.644, tapering cylindrical form with strap handles, painted with a ferocious dragon amongst scrolling flowers and foliage, in shades of blue, purple, aubergine and green on a white ground, impressed and painted marks, LK monogram glaze loss, 21cm. high £300-500

135. A Burmantoft’s Faience Anglo Persian vase designed by Leonard King, design 85, swollen form with tapering neck, painted with large peony flowers and foliage in blue, green and aubergine on a brown ground impressed marks, printed and painted marks, painted monogram, minor professional restoration to the top rim, 25cm. high £300-500

134

135 136. A Burmantoft’s Faience vase, shouldered cylindrical form, cast in low relief with panels of daffodils, in blue, brown, green and white impressed and painted marks, hairline to top rim, 45cm. high £150-200

137. A Burmantoft’s Faience Anglo-Persian jardiniere, shouldered ovoid form, modelled in low relief with scaly fish and waterweed in shades of blue, green and turquoise impressed marks, minor damages 24cm. high £150-200

137

136

138. An unusual pair of pottery plaques, each hand modelled with dancers with billowing dress, glazed in colours, one with indistinct signature to reverse 27cm. high (2) £150-200

139. A Compton Pottery book end, circular form, cast in low relief with an archer figure, painted in colours unsigned 18cm. high £150-200

138

139

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140. A Minton’s Secessionist stickstand, model no.3370, ovoid body with tall cylindrical neck and fluted rim, printed and slip decorated with blue poppy stems, in colours on a pale lemon ground impressed marks, professional restoration to base 58.5cm. high £400-600 141. A pair of Minton’s Secessionist vases designed by John Wasdworth and Leon Solon, shouldered twin-handled form, decorated in low relief with a peacock in turquoise, pink and green impressed marks, 28.5cm. high (2) £300-400 142. A Della Robbia Pottery vase by Hannah Jones, ovoid form with flaring neck, incised and painted with bands of scrolling foliage in shades of green, blue, turquoise and sand, incised Della Robbia mark and artist monogram, 40cm. high £400-600

140

141

143. A Della Robbia Pottery bowl by Cannadra Annie Walker, painted with geometric foliage in shades of yellow, ochre and green incised marks and monogram, restored rim 18.5cm. diam. £150-200 144. A Della Robbia bottle vase by Gertrude Russell, tapering form with knopped neck, incised and painted with stylised foliage in shades of green, pink and yellow incised Della Robbia ship mark, and artist’s monogram, and C monogram, professional restoration to neck, 34cm. high £300-500

142

143

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145

146

147

145. A Della Robbia bottle vase designed by Charles Collis, tapering form with knopped neck, incised and painted with stylised foliage in shades of green incised Della Robbia ship mark, and artist’s monogram, and ELL artist monogram, professional restoration to neck, 34cm. high £300-500 The incised C mark is believed to be used on pieces designed by Charles Collis or produced with his assistance. 146. Ellen Mary Rope (1855-1934) Christ Teaching painted plaster panel, framed unsigned 38 x 31cm. £150-200 Provenance Blairman’s No.49 147. A large painted plaster panel of the Crucifixion in the manner of Robert Anning Bell, the rectangular panel depicting Christ on a Celtic cross, wearing a crown above the holy grail, two large angels flanking the cross, in colours, framed, unsigned, 62 x 49.5cm. £150-250

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148. 'Maide at the Inne' a Burmantoft's Faience pottery panel by William James Neatby, rectangular, modelled in low relief with a waitress looking at a house cat, in colours, in carved wood frame impressed title and facsimile signature, 49.5 x 29cm. £500-800 Literature Burmantoft’s Faience, Bradford Art Galleries, page 66, cat. no. 156 for this design illustrated.

149. A pair of Collard Honiton Pottery chargers by Frederick Braddon, painted with stylised flowers and foliage in colours on a cream ground, and a smaller Collard Honiton plate painted with a scaly fish impressed marks, 36cm. diam. (3) £150-250

148

150. A Minton Naturalist Pattern platter designed by William S Coleman, printed with a cockerel, chick and wheat motif, in colours impressed marks, 39cm. wide £150-200

149 150

151. A composite set of three Farnham Pottery graduated Owl jugs, each with incised details, glazed blue and a Farnham Pottery Owl bowl, unsigned, 17.5cm. high £400-600

152. A Farnham Pottery jug, tapering cylindrical form, incised with daffodils above simple grasses, the rim with a scroll border, in green on a brown ground, incised W Cox, Green, small kiln kiss to side, 14.5cm. high £150-200

151

152

154. Michael Cardew (1901-1983) a large Wenford Bridge Pottery footed bowl, decorated with incised vertical columns, glazed in ash impressed seal marks to side of foot 31cm. diam, 18cm. high £300-500

153

153. Michael Cardew (1901-1983) a Winchcombe Pottery terracotta plate, with combed stylised river design and simple grasses, in brown on a mottled green glaze and another smaller Winchcombe Pottery plate by Michael Cardew, impressed seal marks, minor glaze frits, 27cm. diam. (2) £200-300

154

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SUNFLOWER POTTERY 155. A Sunflower Pottery miniature vase by Sir Edmund Elton, ovoid with tapering neck and everted rim, covered in a gold crackled glaze painted Elton 2 to base 8cm. high £150-200

156. A Sunflower Pottery Platinum vase by Sir Edmund Elton, ovoid with cylindrical neck and three scrolled handles, covered in a platinum glaze painted Elton mark, 21cm. high £400-600

155

156 157. A large Sunflower Pottery vase by Sir Edmund Elton, swollen cylindrical form with everted rim, modelled with a band of raised roundel to the neck, covered in a crackled gold lustre glaze painted Elton mark, minor professional restoration to the top rim,51cm. high £400-600

158. A Sunflower Pottery tyg by Sir Edmund Elton, swollen cylindrical form with pinched rim, the handles with mask terminals, slip applied with panels of flowers and foliage in shades of blue and brown on a streaked blue ground, and another Sunflower Pottery vase by Sir Edmund Elton Painted Elton mark, 21.5cm. high (2) £300-400

158 157

159. A tall Sunflower Pottery vase by Sir Edmund Elton, shouldered form, with flaring cylindrical neck and pinched rim, slip decorated with a butterfly flying past flower fronds, in shades of blue, brown and ochre on a streaked green and blue ground, painted £300-500 Elton, 60cm. high

160. A tall Sunflower Pottery vase by Sir Edmund Elton, ovoid with tapering neck, applied band of slip decoration of berried foliage, in blue ochre and green on a streaked green and blue ground painted Elton mark, 52cm. high £500-800

159

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PILKINGTON’S LANCASTRIAN POTTERY 161. A Pilkington’s Royal Lancastrian Pottery Vase by William S Mycock, cylindrical body with tall cylindrical solifleur neck, painted with flower design in blue, purple and green lustre on orange and golden ground, impressed marks, painted artists monogram, 14cm. high £250-350

164

162. A Pilkington’s Lancastrian Pottery vase by William S Mycock, shouldered cylindrical body with cylindrical neck, painted with a band of scrolling carnations in ruby and copper lustre on orange ground, the neck and base in copper lustre, impressed marks, painted artists monogram, 13cm. high £250-300

163. A pair of Pilkington’s Lancastrian tiles, modelled in low relief with a dragon rampant and a Cypress tree, amidst scrolling foliage, in golden lustre on a midnight blue ground, framed 15.5cm. square £150-200 Literature A J Cross Pilkington’s Royal Lancastrian Pottery and Tiles, Richard Dennis Publications, page 36 plate 38a for this tile design which was used at the Franco British Exhibition in 1908. The Studio Yearbook, 1908 page 31 for a fireplace illustrated with this tile design.

165

164. A Pilkington’s Lancastrian Pottery vase by William S Mycock, dated 1908, painted with a bird perched in a Cypress tree repeat, on a scrolling foliate ground, in ruby and golden lustre on a graduated green ground, impressed marks, painted artists monogram and impressed date code, 19cm. high £700-900

165. A Pilkington’s Royal Lancastrian Pottery vase by William S Mycock, dated 1915, cylindrical body with cylindrical neck, painted with scrolling foliate ground in ruby and golden lustre, on a royal blue ground, with Latin inscription and chequered green and golden lustre neck, impressed marks, painted artists monogram and date code, 23cm. high £700-900

166. A large Pilkington’s Lancastrian Pottery vase by Charles Cundall, dated 1911, painted with scrolling flowers and foliage in ruby and silver lustre with a green ground, impressed marks, painted artists monogram and date code for 1911,, 27cm. high £700-900

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MOORCROFT POTTERY

169 168

167. ‘Iris’ a James Macintyre & Son Florian Ware tazza designed by William Moorcroft, slip decorated in green on a mottled blue ground, painted green signature, 19.5cm. diam. £250-300

168. ‘Green and Gold Florian’ a James Macintyre twin-handled coupe and cover designed by William Moorcroft, painted with art nouveau flower stems, in shades of blue and celadon green, highlighted in gilt, printed factory mark, painted green signature, £350-450 22cm. high.

170

169. ‘Green and Gold Florian’ a James Macintyre vase designed by William Moorcroft, painted with art nouveau flower stems in blue and celadon green, highlighted in gilt, printed mark, painted green signature, 22cm. high £500-800

171 170. A James Macintyre & Son Florian Ware twin-handled bowl designed by William Moorcroft, painted in shades of blue and green £350-450 printed registration mark, 27cm. wide

171. ‘Florian Ware’ a James Macintyre twin-handled coupe designed by William Moorcroft, painted with floral panels in blue on a pale blue ground 19.5cm. wide. £200-300

172. ‘Poppy’ a James Macintyre & Son Florian Ware vase designed by William Moorcroft, shouldered, tapering cylindrical form, painted in blue on a pale blue ground, incised signature and printed Florian mark, professional restoration to base rim, 20cm. high £250-350

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173. ‘Poppy’ a James Macintyre & Son Florian Ware jardiniere designed by William Moorcroft, cylindrical with fluted top rim, painted with panels in shades of yellow, green and blue on a blue ground, printed factory mark, painted green signature, star crack to base, professional restoration 13cm. high £300-500 174. ‘Anemone’ a James Macintyre & Sons twinhandled vase designed by William Moorcroft, painted in shades of blue and green on a white ground, printed factory mark, painted green signature, professional restoration, 17cm. high £300-400

173

175. ‘Tudor Rose’ a Moorcroft Pottery vase designed by William Moorcroft, retailed by Liberty & Co, painted in shades of green, blue and pink on a turquoise ground printed Liberty mark, painted green signature, professional restoration to top rim, 13.5cm. high £300-400

174

176. ‘Banded Pomegranate’ a Moorcroft Pottery vase designed by William Moorcroft, baluster form, painted in colours on a blue ground, and a Wisteria pattern vase painted in colours impressed marks, professional restoration to base rim, 8.5cm. high (2) £150-250 177. ‘Powder Blue Cornflower’ a Moorcroft Pottery vase designed by William Moorcroft, ovoid with collar rim, painted in blue on a speckled blue ground, impressed marks, painted blue signature 12.5cm. high £200-300

176

178. ‘Moonlit Blue’ a Moorcroft Pottery ginger jar designed by William Moorcroft, painted in shades of blue and green, impressed marks, painted green signature, 13.5cm. high £200-400

175

179. A Moorcroft Pottery Powder Blue service, designed by William Moorcroft, comprising; five graduated platers, six dinner, four entree and six side plates, six smaller side plates, four small dishes, seventeen various bowls, four twin-handled cups, covers and saucers, four egg cups and saucers and a cruet set impressed marks, £50-100 180. ‘Big Poppy’ a Moocroft Pottery salt-glaze stoneware bowl, painted in shades of blue and pink on a cream ground, impressed marks, painted blue signature, professionally restored, 22cm. diam. £300-500

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181. ‘Anemone’ a pair of James Macintyre & Son candlesticks designed by William Moorcroft, painted in shades of blue and green on a white ground, printed mark, painted green signature, professional restoration to sconce of one, 20.5cm. high (2) £500-800

182. ‘Peacock Feathers’ a James Macintyre Florian Ware vase designed by William Moorcroft, painted in shades of green, yellow and blue, printed mark, painted green signature, professionally £300-500 restored handles, 19cm. high

183

183. ‘Frilled Orchid’ a rare early Moorcroft Pottery vase designed by William Moorcroft, waisted cylindrical form with loop twinhandles, painted in shades of blue and purple on a mottled blue and green ground, impressed Burslem mark, painted green signature, professionally restored base rim, 21.5cm. high £400-600

184. ‘Spanish’ a Moorcroft Pottery twin-handled vase designed by William Moorcroft, waisted cylindrical form, painted in shades of pink, purple, red and green on a mottled sand and green ground impressed Burslem mark and painted green signature, minor over-painting to base rim, 26.5cm. high £1,500-2,500

184

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CONTINENTAL CERAMICS 185. A Creil Service Rousseau plate and two soup bowls designed by Jean-Jacques Rousseau, each printed and painted with creatures and flowers in colours inside a blue border, two small Maw & Co tiles designed by J P Seddon and a patinated bronze wall bracket printed marks, 24.5cm. diam. (6) £150-200

185

186. A Theodore Deck tile by Jules Antoine Legrain, dated 1867 painted in colours with an owl perched on a classical mantle watching putti playing with a flower garland, in colours printed mark dated 1867 and painted JL monogram 19.5cm. wide £150-200 Literature Theodore Deck 1823-1891, Musees de Marseille, page 108 for a comparable plaque. 187. A Della Robbia style architectural panel by Cantagalli, modelled in relief with the Madonna and Child, glazed in blue and white impressed cockerel roundel, chips and losses, 50cm. high, 53cm wide. £250-350

186

188. A Clement Massier lustre vase, dated 1887, ovoid with cylindrical neck, painted with carnation flowers and foliage in ruby and golden lustre on a yellow ground, and a pair of Clement Massier ovoid lustre vases, painted CM mark and date, minor chips and overpainting to top rim, 13cm. high (3) £200-300 Provenance Arts and Crafts, Woolley and Wallis, 20th June 2012, lot 320 (main vase). The Harrimann Judd Collection, Sotheby’s Online, pair of vases 189. A Vion & Baury swan centrepiece, modelled as two entwined swimming amidst waterlily flowers, in colours printed anchor mark, painted Exposition de Paris 78, minor chips to tail feathers, 42cm. wide. £100-150

187

190. An Alexander Forster pottery figure of an Art Nouveau maiden, model no. 123, model standing in diaphanous robe, one arm outstretched, impressed and painted marks, museum restored feet and hands, signed Marschall to base, 51cm. high. £200-250 191. A Rookwood Pottery Vellum glaze vase, dated 1909, shouldered form, painted with trees on a riverbank scene, in colours, impressed marks, hairline to top rim, 20.5cm. high £150-200

188

Literature Rookwood Pottery, page 129 catalogue number 1289 for a tile plaque with a comparable design. 192. A Rookwood Pottery vase, model no.486, ovoid with cylindrical neck, painted with foliage in green and yellow on brown ground, and two Rookwood Pottery ewers, repaired damages, restoration tallest 21cm. high (3). £150-250 193. A Nymphenburg porcelain model of a Guinea Fowl designed by Theodor Kaerner, model no.459, painted in colours impressed factory marks, 24cm. high, 30cm wide. £500-800

189

190

194. A large Art Nouveau Gouda Pottery vase, painted with an exotic blue bird with long tail, amidst panels of stylised flowers and foliage in purple, yellow and green on a white ground with later gilt metal lamp mount painted marks, 61cm. high £250-350

193

191

192

194

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195. An Art Nouveau Charles Korschann porcelain vase on gilt bronze mount, the tapering body with square aperture, cast in low relief with a panel of a child amongst scrolling flowers and strapwork, the reverse with Louchet Paris seal signed Pl Alp to vase 19cm. high ÂŁ1,500-2,000

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TEXTILES 196. A German Secessionist woven silk portiere, decorated with columns of stylised flower stems in orange on a red ground, unsigned 280 x 126cm. £200-300 197. A large woven textile hanging in the manner of William Morris, decorated with flowers and foliage in shades of pink, red and ochre on a green ground, 250 x 230cm. £150-200

196

198. A set of six Flora’s Feast silk napkins designed by Walter Crane, probably manufactured by John Wilson & Sons, each printed and hand coloured with a flower fairy design from Flora’s Feast A Masque of Flowers, with fringes, each image 15 x 12cm (6) £400-600

197

Literature Greg Smith Walter Crane Artist, Designer and Socialist, Lund Humphries, page 126 catalogue number H4 for comparable examples illustrated. This design was exhibited at the Arts and Crafts Exhibition, 1893. 199. ‘Flower Garden’ a Morris & Co jacquard woven silk panel designed by William Morris, blue and copper red on a blue ground, later mounted on a stretcher, 138 x 78cm. £1,000-1,500 Literature Linda Parry William Morris Textiles Crescent, page 152 plate 31 for another colourway of this design. This silk was designed by William Morris in 1879 for the collection of Laurence William Hodson (1846-1933) to refurbish Compton Hall between 1895-6.

198

199

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200 201

WORKS ON PAPER 200. The Decorative Arts Society Journals twenty-four volumes, a run, volume numbers 10-15, 17-22, 24, 25, 27-31, 33, 34, 37-39, (24) £100-150

201. The Grammar of Ornament by Owen Jones, 1868, published by Bernard Quaritch, London, chromolithographic colour plates, original burgundy cloth binding, with gilt decoration to upper cover, folio. 34 x 25.5cm. £250-350

202

202. The Studio volumes 1-30, thirty volumes bound in green, General Index volume 1-20 1893-1901 and Modern British Domestic Architecture and Decoration, 1901, Modern Etching and Engraving, 1902 and Masters of English Landscape Painting , 1903 three Studio Specials, (34) £400-600

203. George Heywood Sumner (1853-1940) Glory to God - Adoration of the Magi lithograph on paper, framed signed lower left corner in the print HS 35 x 35cm.

£150-200

204. William S Coleman, manner of Exotic Woman in an Interior watercolour on paper, framed unsigned 52.5cm. wide (image)

£150-200

203

204

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205. Dante Gabriel Rossetti (1828-1882) Dante’s Dream at the time of the death of Beatrice photogravure print, framed, image 45cm x 30cm, 57cm x 42cm (framed) £150-200 Dante Gabriel Rossetti, founder of the Preraphaelite Brotherhood, English poet, illustrator, painter and translator. The photogravure was published by The Berlin Photographic Company.

205

206

206. Sir Edward Coley Burne-Jones, (1833-1898) Perseus and the Graiae limited edition of 200 photogravures by the Berlin Photographic Company, framed, gallery label to verso - Peter Nahum Gallery Ltd., 45cm x 43cm (image), 64cm x 61cm. (frame) £150-200 Provenance Peter Nahum Gallery. 207. Walter Crane (1845-1915) The Tempest, 1893 woodblock on paper, six prints in common frame signed with artist’s cipher in print, foxing 130 x 34.5cm (overall) £100-200

207

208. Sir Edward Coley Burne-Jones (1833-1898) Caritas photogravure print, dated 1867, framed, image 40cm x 18cm, 55cm x 33cm (framed) £150-200 209. A set of four lithographic Christmas postcards by Henry Stacey Marks, published by Marcus Ward & Co, comprising ‘They’re Doomed for Christmas’, ‘The Turkey’s’, ‘A Horn of Honest Wholesome Beer’ and ‘Wife, Husband and Children on their way to Dine’ framed each signed in the £150-200 print, 78.5 x 22cm. (frame)

208

210. ‘Alleluiah - Study of a Chorus of Five Angels’ a poker work panel in the manner of Thomas Cooper Gotch, modelled wearing Renaissance clothes singing from a hymn book and playing instruments, in colours on a gilt ground, framed, unsigned, 113 x 21cm. £400-600 Literature Little Thakeham auction, Rupert Toovey & Co, lot 301 for a comparable panel.

209

210

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211

211. George Frampton (1860-1928), manner of Daedalus and Icarus, pencil on paper drawing, framed in oak, unsigned 49 x 32cm (image)

212

213

£300-500

212. Sir Frank Brangwyn R.A. (1867-1956) Man Pulling Net, study for the mural Water (The Net), 1914 red chalk on brown paper, framed monogrammed FB behind left knee £200-300 Provenance Hilary Barton John Everett Water is one of eight panels designed by Frank Brangwyn and painted for the Panama Pacific International Exposition, 1914. Woolley and Wallis would like to thank Libby Horner for her help in cataloguing this lot.

213. Mackay Hugh Baillie Scott (1865-1945), manner of design with Rowan Berries, pencil and watercolour on paper, unsigned 76 x 55.5cm. £300-500

214. Mackay Hugh Baillie Scott, (1865-1945), manner of Little Thakeham, 1911 watercolour on paper architectural design, unframed signed in yellow Baillie Scott 1911 38 x 26.5cm. £800-1,200

214

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215

FURNITURE 215. Nine various ebonised wood Sussex chairs, in the manner of Morris & Co, with turned bobbin backs and rush seats 87cm. high (9). £500-700 216. An ebonised wood ‘Sussex’ settle, in the manner of Morris & Co, with turned ebonised wood spindle back and arms, strung seat 114cm. wide. £150-200 217. A Thomas Elsley cast iron and painted wood fireplace set with Morris & Co Swan tiles, the tiles painted with alternate swan and foliate panels, cast Elsley to reverse, 117cm wide, 130cm. high £200-400 Literature Richard & Hilary Myers William Morris Tiles, Richard Dennis Publications, page 42 catalogue number 10g for this design illustrated.

216

217

218. A pair of ebonised wood Sussex armchairs, possibly retailed by Liberty & Co, with turned bobbin backs, rush seat, stamped 45040 and 45672, 90.5cm. high (2) £150-200

218

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219 219. A C. Seddon & Co inlaid mahogany dressing table mirror designed by John Pollard Seddon, the rectangular frame inset with rod and bar decoration, the adjustable stand with pegged joints, remains of C. Seddon & Co 58 South Molton Street label, 78cm. high, 65cm wide £300-500 Literature Important 20th Century Decorative Arts, Christie’s King Street, 11th May 2000, lot 11 page 17 for an inlaid oak sideboard with a similar label by Seddon. 220. A carved oak cabinet the design attributed to A.W.N. Pugin, possibly manufactured by J D Crace, with deep carved foliate moulding and cresting finials, open book case with adjustable shelves above twin-cupboard with carved linen panels to doors, 104cm. wide, 60cm. deep, 218cm. high £1,500-2,000

220

Literature Alexandra Wedgwood A W N Pugin & The Pugin Family, Victoria & Albert Museum, page 249-250 plate 67 catalogue number 690 for a bed with similar carved panels, moulding and crestings. 221. A Whytock & Reid oak and burr oak quartered walnut occasional table designed by Sir Robert Lorimer (1864-1929), the canted, square top with quartered walnut panels, on cruciform carved legs 84cm. square, 73cm high £2,000-3,000 Provenance Sir James Norton, Cragiehall, Edinburgh and by family descent Private Collection. Literature Jocelyn Morton Three Generations in a Family Textile Firm, pages 314-315. Cragiehall was leased for the first time by James Morton in 1926 staying some 21 years in total. This table, which stood in the entrance hall, was an addition by Sir Robert Lorimer, who was commissioned to work on the house (1926-1927).

221

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222. A mother of pearl inlaid walnut dressing table mirror by Sidney Barnsley, the rectangular, bevelled glass mirror with articulated mount, the tapering hexagonal column supports inset with circular mother of pearl decoration and domed rectangular panels to base and terminal, on stepped foot, losses to the mother of pearl, 54cm. high, 36.5cm. wide £2,000-3,000 Provenance Sidney Barnsley Edward Barnsley to Nic Antonini (Sidney’s great grandson).

222

Literature Mary Comino Gimson & The Barnsleys Wonderful Furniture of a Commonplace Kind, Evans, page 172 figure 132 for a comparable dressing mirror illustrated.

223. A rosewood wall mirror by Sidney Barnsley probably made for Kenton & Co, the shaped rectangular frame applied with holly and ebony borders, inset with mother of pearl and abalone roundel panels and tesserae borders, 75 x 49cm. £4,000-6,000 Provenance Sidney Barnsley Edward Barnsley to Nic Antonini (Sidney’s great grandson). Literature Mary Comino Gimson & The Barnsleys Wonderful Furniture of a Commonplace Kind, Evans, page 57 figure 30 for a comparable mirror by Sidney also thought to be made for Kenton & Co. this photograph is signed by Sidney Barnsley and dated 1903 to the reverse.

223

224. A pair of wrought iron fire dogs designed by Ernest Gimson and made by Alfred Bucknell, on arched feet with scrolling terminals, the swollen stem with simple stamped decoration, the circular terminal with pierced heartshaped motif unsigned, 56cm. high £2,000-3,000 Provenance Sidney Barnsley Edward Barnsley to Nic Antonini (Sidney’s great grandson).

224

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225. An oak cupboard by Sidney Barnsley, with angled sides and front, four hinged cupboard doors, the frame inset with columns chevrons and a border of inlaid flower panels in holly and ebony, on five chamfered legs, the interior with shelves, painted red, later alterations, 153cm. high, 90cm wide, 53cm deep. £1,000-1,500 Provenance Sidney Barnsley Edward Barnsley to Nic Antonini (Sidney’s great grandson). Literature Annette Carruthers Ernest Gimson & The Cotswold School of Craftsmen, Leicester Museum, page 45 catalogue F9 for a panelled version of this cupboard illustrated. British Design, Phillips, 25th September 2001 page 22-23 lot 14 for a comparable wardrobe designed by Ernest Gimson for Lea Cottage, Ulverston, circa 1898. Lea Cottage was designed by Ernest for his brother Mentor Gimson.

226. An oak coffer by Sidney Barnsley, rectangular section with hinged lid and flaring feet, chip carved heart and diamond motif to front, chip carved panels to edges and wrought iron furniture, 120cm wide, 30cm deep, 54cm. high £3,000-5,000 Provenance Sidney Barnsley Edward Barnsley to Nic Antonini (Sidney’s great grandson). Exhibited Bedales School Literature The Andrew Keith Collection, Law Fine Art lot 201 for a comparable example.

225

226

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A PRIVATE COMMISSION OF FURNITURE BY EDWARD BARNSLEY & THE BARNSLEY WORKSHOP

Edward Barnsley, Charles Bray and Robert Etherington

227. A walnut table lamp designed by Edward Barnsley, octagonal, domed base supporting octagonal column, unsigned 37cm. high £150-200 Provenance A private collection of Edward Barnsley furniture.

228. A set of eight Cuban mahogany dining chairs designed by Edward Barnsley, 1934, with flaring lattice backs, comprising two carvers and six chairs, with drop in seat pads unsigned 104cm. high £3,000-4,000 Provenance A private collection of Edward Barnsley furniture, made as a wedding present in 1934

227

228

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229. A desk and chair by Edward Barnsley, the English Walnut desk on two graduated banks of four drawers, the rectangular top with three drawers, ebonised wood handles, the English Walnut chair with curved, flaring lattice back, drop in embroidered seat, desk 151 x 63cm, chair 102cm. high (2) ÂŁ500-1,000 Provenance Philip Inman, thence by descent. A private collection of Edward Barnsley furniture. This desk and chair were commissioned from Edward Barnsley in 1934. The original design submitted was an armchair in English Walnut.

229

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230

231

232

230. A dressing table by Edward Barnsley, the shaped rectangular top with three drawers, the adjustable mirror between short drawers, ebony handles, 99cm wide, 51cm deep, 150cm. high £250-300 Provenance A private collection of Edward Barnsley furniture.

233

231. A cherry dressing table designed by Edward Barnsley, the shaped rectangular top with inlaid ebony bands, turned wood drawer handles, adjustable mirror, the mirror frame inlaid with fruitwood border, 123 x 51cm. 146.5cm. high £250-300 Provenance A private collection of Edward Barnsley furniture. 232. A walnut cupboard designed by Edward Barnsley, twinhinged doors with three adjustable shelves to interior, 83 x 38cm, 91cm. high £300-500 Provenance A private collection of Edward Barnsley furniture. 233. A Barnsley Workshops walnut desk, the rectangular top on tapering legs, the top set with three drawers, inlaid fruitwood border, 153 x 83cm. £250-350 Provenance A private collection of Edward Barnsley furniture.

234

234. A pair of walnut hall chairs designed by Edward Barnsley, with lattice backs and drop in embroidered seats, unsigned 106cm. high £700-900 Provenance A private collection of Edward Barnsley furniture. 235. A pair of Yew hall chairs by Edward Barnsley, with spindle backs and drop in rush seats, 99cm. high. (2) £500-800 Provenance A private collection of Edward Barnsley furniture.

235

END OF COLLECTION

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236

236. A set of six oak dining chairs the design attributed to Edward Barnsley, with lattice backs, comprising two carvers and four chairs, carvers 93cm. high (6) £1,000-1,500

237. A Heal’s teak student’s bureau, over two short drawers and one long drawer, applied ivorine button label to drawer 119cm. high, 75cm wide, 36.5cm deep £200-300

237

238. A Gordon Russell oak chest of drawers, rectangular section with low raised back rail, two short drawers above two long, with £2,000-3,000 dowel pegged joints, 106 x 48cm, 87.5cm. high

238

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239 240

239. A Cotswold School occasional table, the circular section top on square section legs and sleigh feet 54.5cm. diam. £200-300 240. A Hugh Birkett walnut wall mirror, octagonal, with carved reeded edges and inlaid boxwood band, with butterfly pegged joints, applied brass wall mount to back, applied paper label 34.5cm. wide £400-600 241. An oak octagonal table, with radiating legs, 72cm. high, 98cm. diam. £150-200 242. A Stanley Webb Davis oak coffer, dated 1951, rectangular form with hinged top, carved pie crust rim and chip carved decoration, a large carved carry handle to each end, carved signature and date to inside 124cm wide, 51cm high £2,500-3,500

241

242

242 mark

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243. A modern Bruce Hamilton oak highback chair after a design by Charles Rennie Mackintosh, originally for The House of an Art Lover, with stencilled design to the back, with drop in strung seat, applied maker’s label and stencilled marks to underside 165cm. high £150-250

243 244. An oak Abingwood chair designed by George Walton, solid upright back with heartshape cut out, wide sweeping arms, rush seat, 82cm. high. £1,200-1,800 Literature Karen Moon George Walton Designer & Architect, White Cockade, page 48 figure 55 for a comparable chair.

244

The Best of British Selling Exhibition, Paul Reeves/Sothebys London March 2008, page 140 catalogue number PR117 for a comparable chair.

245. A Robert Mouseman Thompson oak table lamp, the tapering stem with carved foliate motif, carved mouse signature 25.5cm. high £150-200

246. A Robert Mouseman Thompson oak library chair, with carved lattice back and side panels, carved mouse signature 79cm. high £300-500

246 245

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247. A spindle back mahogany armchair designed by Harry Napper, with low arms, probably manufactured by Norman & Stacey, mahogany with stained beech and ash, 130cm. high £600-800 Literature Pauline Agius British Furniture 1880-1905, Woodbridge, page 119 for a comparable chair.

247A. A satinwood armchair the design attributed to G M Ellwood, the back with inlaid floral panel, strung seat, 95cm. high £100-200

247A 247

248. A Cotswold School oak occasional table, the circular top on four legs with chipcarved decoration, on sleigh feet, unsigned 46cm. diam, 56cm. high £300-500 20th Century Design, 9th October 2013, Woolley and Wallis, lot 1669 for a comparable table.

249. A Shapland & Petter oak hall stool, rectangular with carved fret panels, one end with copper umbrella stand with drip-tray, the other a glove box with hinged cover, applied Raleigh label, 37cm. deep, 85cm. high, 102cm wide. £200-300 Literature Daryl Bennett Shapland & Petter of Barnstaple, page 32 figure 3.17 for an original photograph illustrated. Page 65 figure 5.1 for a detail photograph of this design

248

250. A set of three Wylie & Lochhead oak tub chairs designed by Ernest Archibald Taylor, with strung drop in seats, 70.5cm. high (3) £300-500

251. A pitch pine library table, the shaped rectangular top with chip carved border, 127 x 59cm, 74cm. high £150-200

249

250

251

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METALWARE

252 253

252. A pair of cast iron fire dogs designed by Thomas Jeckyl, cast in low relief with a Japanese mon on a geometric ground, and a pair of Minton’s tiles designed by Dr Christopher Dresser, printed in colours with stylised flower panels unsigned, firedogs 15cm. wide (3) £150-200 Provenance Paul Reeves Sold on behalf of the Decorative Arts Society. 253. A massive Benham & Froud Japoniste brass tray, decorated with sunflower stems, inside a geometric border, stamped mark, 59cm. diam. £200-300

DR CHRISTOPHER DRESSER

254 255

254. An Elkington & co electroplated metal coffee pot and cover designed by Dr Christopher Dresser, model no.26587, ovoid with cylindrical neck and hinged cover, the angled handle cast in low relief with decorative borders, stamped marks, 24cm. high £150-200 255. A Hukin & Heath electroplated metal and wood mounted basin designed by Christopher Dresser, model no.2446, the metal bowl with wooden casing, on tripod foot, with rod and bar, stamped marks and registration, 18cm. wide £300-500

256

256. An electroplated metal teapot designed by Dr Christopher Dresser, ovoid on three scroll feet, hinged flat cover, with ebonised wood rod handle stamped 2 to the base 11cm. high £300-500 257. A Hukin & Heath electroplated metal chamberstick the design attributed to Dr Christopher Dresser, model no.10537, the ovoid section base supporting central column stick and cone snuffer, with ebonised wood rod handle, stamped marks, 13cm. wide £200-300 258. A modern electroplated teapot originally designed by Dr Christopher Dresser, compressed cylindrical form on spike feet, with hinged cover and over-slung ebonised wood rod and bar handle, and another modern teapot after a design by Dr Christopher Dresser unmarked, 23cm. wide. (2) £200-300

257

258

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259

260

261

259. A Perry Son & Co Kordofan tin chamberstick designed by Dr Christopher Dresser, with brass mounts and curved rod handle, cast Perry mark to base 14.5cm. high £300-500 Literature Paul Carter Robinson, 20th Century Pewter Art Nouveau to Modernism, Antique Collector’s Club, page 14 catalogue number O.13 this actual example illustrated. 260. An Elkington & Co electroplated metal cruet set designed by Dr Christopher Dresser, three bowls with central T bar handle, with salt, pepper, mustard pot and cover stamped marks, 11cm. high (4) £250-350

262 263

261. An Elkington & Co electroplated metal cruet set designed by Dr Christopher Dresser, model no.20183, three bowls with central rod and loop handle, with salt, pepper and mustard pot and cover, stamped marks, 14cm. high (4) £250-350 262. Two Lear pottery jugs, in the manner of Dr Christopher Dresser, one glazed green the other turquoise one stamped Lear 27cm. high (2) £150-250 263. A tall pottery vase the design attributed to Dr Christopher Dresser, probably made by Ault, slender tapering form with knopped shoulder and flaring conical neck, glazed from green graduating to yellow, apparently unsigned, professionally restored neck, 33.5cm. high £200-300 264. A rare Heath and Middleton silver basket designed by Dr Christopher Dresser, flaring form with rolled rim and hinged handle, stamped marks, JWH & JTH London 1881, 16.5cm. wide £800-1,200

Literature Michael Whiteway Christopher Dresser A Design Revolution, V&A Publications page 142 plate 174 for a comparable silver basket.

264

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266 265 265. A large plaster roundel, cast in low relief with a female figure resting before wheat sheaf ground, patinated, 89cm. diam. £200-300 266. A Gothic Revival painted wood display cabinet possibly designed by William Burges, square section, with glazed panels to all sides, the gilt wood stencilled architectural panels, with applied metal corner panels, lock-plate and handle unsigned 25.5cm. square, 42cm. high £200-400 267. A pair of painted wood panels in the manner of John Moyr Smith, rectangular painted with a seated scholar reading, the other with a seated jester, in colours on a gilt ground, framed 23 x 14cm. (2) £300-400 Literature Annamarie Stapleton J M Smith A Victorian Designer, page 27 figure 33 for a Cox & Sons cabinet with comparable reversed images 268. A pair of enamelled brass candlesticks designed by John Pollard Seddon, tapering conical base supporting twisted stem, with central knop and crenelated drip pan, enamelled with geometric and foliate bands, the central knop with coloured glass cabouchon, 35.5cm. high (2) £300-500

267

269. A Longden & Co brass and wrought iron Old English fire basket, the tapering columns on flaring feet, with cast, pierced Medieval Revival foliate round terminals, 81cm. wide, 50cm. deep. £800-1,200 Literature 19th & 20th Century Design Woolley and Wallis 3rd October 2012 lot 1655 for a comparable pair of fire dogs. An almost identical pair of fire dogs can be seen in the Morris & Co interior of Stanmore Hall, an interior designed by W R Lethaby. Arts and Crafts Woolley and Wallis

268

Stanmore Hall.

269

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271

270. An Aesthetic Movement bronze and iron fireplace, in the manner of Thomas Jeckyll, cast with panels of bullrush and stylised flowers unmarked cast in 84 x 77cm. £200-300

270

271. An Aesthetic Movement patinated cast iron fender, cast and pierced with foliate repeat, the corners with single flower stem pillars, stamped regd diamond 111cm wide, 27cm. deep £100-200 272. A pair of ebonised wood and silver candlesticks, in the manner of M H Baillie Scott, the domed base on three bun feet, waisted stem set with silver trellis panel, flaring drip pan and cylindrical sconce, unmarked 33cm. high (2) £150-200 Provenance Blackwell House, Windemere, by repute Private collection. 273. An Artificers Guild patinated copper bowl designed by Edward Spencer, footed form with inverted rim, stamped with chevron border to top rim and foot rim, with hammered finish, stamped mark, 593, 20cm. diam. £100-200 274. A Guild of Handicrafts Limited silver box and cover, rounded rectangular section, the cover with copper panel and beadwork border, hammered finish stamped marks, London 1902 10 x 8cm. £150-200

272

273

274

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275. A polished steel candlestick designed by Ernest Gimson, probably made by Alfred Bucknell, the domed base supporting tapering stem, sconce and drip pan, stamped with simple bands of decoration,on three faceted ball feet, unsigned 24cm. high £800-1,200 Literature Arts and Crafts Woolley and Wallis, 18th June 2014 lot 413 for a comparable pair of candlesticks.

276. A Guild of Handicrafts electroplated metal muffin dish and cover designed by Charles Robert Ashbee, the shallow base with broad flaring rim, supporting hammered conical dome cover with silver wirework finial set with moonstone, Stamped Guild of Handicrafts Ltd mark to cover and base £1,500-2,000 23cm, diam.

275

Literature Arts and Crafts Metalwork, Blackwell exhibition 2003, page 19 catalogue number 62 for a comparable muffin dish.

277. A Guild of Handicrafts patinated copper and enamel box, the rectangular casket with hammered finish, on ball feet, hinged cover set with enamel riverscape probably by Charles Fleetwood Varley, cedar lined, unsigned, 12.5 x 10cm. £700-900

276

277 277 detail

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279

278

280 278. A Newlyn Industrial Classes copper charger, designed by Tom Batton, repousse hammered to the rim with a frieze of fruit and foliage large stamped Newlyn mark to reverse 49cm. diam. £200-250 Literature John Curnow Laity, Newlyn Copper, Morab studios page 12 for a similar design 279. A John Pearson repousse copper twin-handled vase, cylindrical form with applied handles, the body hammered in relief with stylised fruiting foliage sprays, stamped JP to base rim of vase 22.5cm. high £250-300

281

282

280. A Hayle silvered copper box and cover, tapering rectangular section, stamped in low relief with foliate panels, the hinged cover with a turquoise ‘Ruskin Pottery’ stone, and a Hayle copper jug unmarked 30cm. wide (2) £400-500 Literature Colin Pill Cornish Art Metalwork, Sansom Company, page 29 for a comparable box illustrated (cat. no.1314) from an original 1903 catalogue. 281. A Keswick School of Industrial Arts brass wall sconce, single sconce, the rectangular back panel hammered in low relief with birds amidst scrolling foliage and a central vase stamped KSIA, 33.5cm. high £200-300 282. An Irish copper wall sconce possibly Yugal, single sconce, the back plate hammered in low relief with a stylised tree and Celtic knot motif unsigned 41cm. high £200-300

284

283. A Herbert Dyer repousse copper tobacco jar and cover, cylindrical form with flaring rivetted foot, the cover tapering conical form with applied brass finial, hammered in relief with a fishing vessel at full sail, on hammered ground stamped H Dyer 16cm. high £250-350 Literature Colin Pill Cornish Art Metalwork, Sansom & Company, page 82 for a tea caddy and cover by Dyer with similar sailing vessel decoration.

283

284. A Newlyn Industrial Classes copper chamberstick, the square section base repousse hammered with facing seahorses, the loose circular sconce with three fish, stamped Newlyn mark, crack in copper handle, 26cm. long £150-200

285

285. A hammered copper roundel in the manner of John Pearson, hammered in relief with St George killing the dragon, a copper wall plate decorated with a frieze of fish, another Newlyn style copper plate with fish to the well, two other copper plates, a tray, a Perry jug and a Benham & Froud kettle probably designed by Dr Christopher Dresser, unsigned, 41cm. diam. (8) £250-350

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W.A.S BENSON 286. A rare W.A.S Benson copper and brass fire screen, the copper stylised flowerhead screen with brass centre, on rise and fall central stem with loop carry handle terminal, unmarked, 74cm. high £1,500-2,000 Literature Ian Hamerton W.A.S Benson Luminary & Pioneer of Modern Design, Antique Collector’s Club, page 96 plate 73 for a comparable screen illustrated.

286

287. A W.A.S Benson copper and brass chamberstick designed by George Heywood Sumner, the curved copper back plate with simple flower stem motif, with brass drip tray and handle unsigned 22.5cm. high £350-450 Literature The Best of British Paul Reeves/Sotheby’s selling exhibition page 116 PR96 for a comparable piece.

288. A W.A.S Benson brass table/wall lamp, with vaseline glass shade, the articulated stem on tripod foot wall mount aperture unsigned 34cm. high £200-300

289. A W.A.S Benson copper and brass oil lamp, cruciform foliate foot with knopped cylindrical stem and flaring copper oil reservoir, unsigned 38cm. high £200-300

287

288 289

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290. A brass ceiling light in the manner of W.A.S Benson, central ball finial with four radiating lights, each with foliate terminals, unmarked, 28cm. high £150-200 291. A small patinated metal and glass lantern, the cylindrical glass shape probably Powell, and another hall lantern unsigned 24cm. high (2) £150-200

291

290

292. A Glasgow School brass and enamel tray designed by Margaret Gilmour, rectangular twin-handled form, stamped in low relief with a moth inside Glasgow rose motif set with two green and blue enamel roundels, on ball feet, and a patinated brass wall clock probably designed by Margaret Gilmour unmarked, tray 64cm. long (2) £400-600 293. A Glasgow School of Art brass charger, the rim hammered in low relief with Celtic serpant knot motif unsigned 46cm. diam. £250-350 294. A Scottish brass wall mirror probably Iona workshops, rectangular form, stamped in low relief with simple rope twist borders, the corners with simple geometric panels, with bevelled glass, unsigned, 84 x 56cm. £300-500

292

295. Parrot and Tulips a Rowley Gallery marquetry panel, oval panel inlaid and stained, inside carved border, applied paper label with title to reverse 54 x 41cm. £100-150 296. Chertsey Bridge a Rowley Gallery marquetry picture in the manner of Sir Frank Brangwyn, the rectangular panel with carved frame, Rowley Gallery label to reverse, titled Chertsey Bridge, impressed Rowley Gallery to front, 75 x 63.5cm. £200-300 Literature British Art and Design, Victoria & Albert Museum, page VI for a similar landscape panel by Brangwyn illustrated.

293

294

295

296

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297

296A

SCULPTURE 296A. An Art Nouveau alabaster and marble figure of a woman, modelled naked, a drape over her shoulder, on black veined marble base unsigned 36cm. high £150-250

298 297. ‘Dahlia’ a patinated bronze bust of a woman cast from a model by Emmanuel Villanis, cast signtaure to shoulder, foundry roundel and numbered 67 to back, 32cm. high £400-600

298. An erotic Bergman patinated and cold-painted bronze harem dancer, cast with hinged flowing robe on waisted circular base, signed in the cast Namgreb, 26.5cm high £2,000-3,000

299. Dora Gordine (1906-1991), manner of a patinated metal plaque of a buddhistic figure seated in Lalita Sana unsigned 65cm. high, 63cm wide £150-200

299

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300. An Irish carved mahogany wall mirror, rectangular, carved with a border of scrolling foliage and viking longboat panel, inscribed to the lower border is maith an scathan sull caraide (the best mirror is an old friend, a true friend will speak the truth), bevelled glass, 65cm x 50cm. £250-300 301. An Iona carved mahogany wall mirror designed by Alexander Ritchie, the rectangular frame carved in low relief with a stag being hunted by hounds, inside scrolling Celtic entrelac border unsigned 47 x 43cm. £400-600 Literature E Mairi MacArthur Iona Celtic Art The Work of Alexander and Euphemia Ritchie, page 51 for an archive photo showing a charger with this design. Page 60 plate 20a for a comparable wooden frame with entrelac design.

301 300

302. A patinated copper hall lantern probably Birmingham Guild of Handicrafts, tapering cylindrical form with overhanging mantle and pierced domed cover, with leaded glass shade unsigned 34cm. high £200-300 303. A silvered copper cigarette box and cover, rectangular form on strapwork feet, with hinged cover, cast in low relief with a frog watching a fly, cedar lined, stamped marks to lock 21cm. wide £300-500 304. A James Dixon electroplated metal table lamp, tapering square section with rivetted seam decoration, unmarked 41cm. £150-200 high

303

302

305. An A E Jones silver mounted copper tray, model no.2430, decorated with four applied Tudor rose motifs, a cedar lined box and cover, set with a ‘Ruskin Pottery’ roundel, stamped number to tray 38cm. wide (2) £300-500

305

304

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306

306. A C B & Sons silver mounted oak casket, rectangular section with two hinged covers, central loop handle, the box and cover set with Chinese silver panels of flowers handle stamped London 1904 26.5cm. £300-500

307

307. A William Hutton pewter ewer designed by Kate Harris, model no 0616, slender hammered body with hinged cover, the handle cast with an Art Nouveau maiden portrait with flowing long hair, above a turquoise ceramic stone, stamped marks, 30.5cm. high £800-1,200 Literature Paul Carter Robinson, 20th Century Pewter Art Nouveau to Modernism, Antique Collector’s Club, page 159 catalogue number 2.121 for this actual example illustrated.

308

308. An electroplated metal candlestick designed by Edward Spencer, the hammered domed base supporting central cluster column and flaring drip pan, unmarked, 26.5cm. high £300-500

309. An A E Jones electroplated metal mantle clock, model no.1752, eliptical body on four satyr mask stems, round dial with Arabic numerals, the base plate with cast foliate panels, hammered finish, stamped 1752, 20cm. high £400-500

309

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310A 310

311 310. A brass oil lamp designed by Jan Eisenloeffel, the tapering circular foot with geometric pierced roundel, central column and flaring oil reservoir, unsigned, converted for electricity 51cm. high £300-500 Literature Annelies Krekel Jan Eisenloeffel 1876-1957 page 36 plate 21b for a version of this lamp illustrated at the Van Der Winkel Van Amstelhoek, Paris, 1902 310A. A J & J Kohn bentwood table designed by Gustav Siegel, stained beech, the rounded square top with turned gallery and curved square section legs, applied paper label 50.5cm square top, 77.5cm high £500-800 Literature Design 10th June 2015, Christie’s New York lot 33 for a comparable table.

312

311. A Secessionist style brass ceiling light, in the manner of Adolf Loos, with faceted glass panels, on solid brass chain, 30cm. high £200-250 312. A Kayserzinn pewter pot designed by Hugo Leven, model no.4205, cast in low relief with fish, below bell flowers, the hinged cover with modelled snail finial, with overslung handle, the slender spout with foliate terminal and rose stamped marks, 21cm. high £150-200 313. A W.A.S Benson copper and brass hot-plate stand, rectangular section, with one burner, and a Geneve pewter table lamp cast in low relief with two peacocks, their tail plumage £150-200 fanning to form the base cast mark to lamp, 38cm wide, lamp 33cm. high (3) 314. A pair of Roycroft patinated metal book ends, hammered finish, and seven Aesthetic Movement finger plates, stamped Roycroft marks, 13.5cm. high (9) £150-200 315. A large Art Nouveau W.M.F pewter wall plaque, circular, cast in low relief with a maiden portrait, the rim cast with opium poppy flowers and seedheads, stamped marks to rim, 51cm. diam. £500-600

313 part

314

315

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316. A Tiffany Studios gilt bronze table lamp, model no.1203, the foliate base rising up to bud sconce, supporting Favrile style glass shade, cast marks to base 32.5cm. high ÂŁ800-1,200

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318 317 317. A Secessionist metal basket in the manner of Josef Hoffmann, diamond shaped base with pierced rail and over-slung handle, and another enamelled metal basket stamped mark, 25.5cm. wide (2) £300-500 318. A polished brass smoking set on tray designed by Jan Eisenloeffel, the triangular tray on ball feet, with match holder and two bowls, all on ball feet, stamped with simple geometric mon, and a Secessionist brass table lamp, unsigned tray 33cm £150-200 wide (5) 319. A pair of Secessionist patinated metal wall sconce, probably German, the pierced and shaped back applied with simple hammered brass flowerhead, with wrought iron sconce, stamped TH monogram in a roundel, 43cm. high (2) £300-500 320. An Art Nouveau Imperial Zinn gilt metal and glass table lamp, the base cast as a tree, with green glass shade, the cover set with Art Nouveau maiden with billowing £300-400 scarf finial, applied paper label A Guttenhofer Wurzburg 47cm. high Literature Paul Carter Robinson, 20th Century Pewter Art Nouveau to Modernism, Antique Collector’s Club, page 105 catalogue number 1.220 this actual example illustrated.

319

321. A gilt metal and ivory cup and cover in the manner of Friedrich Adler, the flaring body and cover both decorated with filigree work panels, the cover with ivory terminal stamped monogram 19.5cm. high £200-300 322. An Art Nouveau Orivit pewter mounted glass vase, model no.2563, the mount cast in relief and pierced with peacock tail feathers, pink and blue streaked glass £600-800 probably by Val St Lambert, stamped marks to base, 22cm. high Literature Paul Carter Robinson 20th Century Pewter Art Nouveau to Modernism, Antique Collector’s Club, page 65 catalogue number 1.122 this actual vase illustrated.

320

321

322

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KAYSERZINN PEWTER 323. A pair of Kayserzinn pewter candlesticks, model no.4279, circular foliate base with tapering cylindrical stem and sconce, cast mark 24.5cm. high (2) £150-200

324. An Art Nouveau Kayserzinn pewter vase, model no. 4312, slender, shouldered form, cast in low relief with lily of the valley sprays with cast stem handles, and a Kayserzinn pewter vase cast in low relief with berried foliage stamped marks, 31.5cm. high, (2) £200-300 Literature Paul Carter Robinson, 20th Century Pewter Art Nouveau to Modernism, Antique Collector’s Club, page 55 catalogue no.1.106 for this vase illustrated.

323

324

325. A Kayserzinn Secessionist pewter flower vase designed by Hugo Leven, model no.53, eliptical form on four spike feet, the rim cast with wheat sheaf and pierced with flower holes, each end with similar tube aperture cast roundel mark 20cm. wide. £300-400 Literature Paul Carter Robinson, 20th Century Pewter Art Nouveau to Modernism, Antique Collector’s Club, page 46 catalogue number 1.84 this actual piece illustrated.

326. A Kayserzinn pewter jardiniere designed by Hugo Leven, model no.4461, twin-handled eliptical form, cast in low relief with berries cast mark 33cm. wide £150-200 Literature Paul Carter Robinson, 20th Century Pewter Art Nouveau to Modernism, Antique Collector’s Club, page 51 catalogue number 1.95 this actual example illustrated.

325

327. A Kayserzinn pewter decanter designed by Hugo Leven, model no.4433, modelled as a standing auk, stamped marks, 29cm. high £500-700 Literature Paul Carter Robinson, 20th Century Pewter Art Nouveau to Modernism, Antique Collector’s Club, page 49 catalogue number 1.89. This actual jug illustrated on the front cover.

326

327

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328. An Art Nouveau gilt bronze mounted vase, the base cast on scroll foot, with rising foliate sprays supporting a pottery vase, flaring form, decorated in colours with flower stems, unsigned 32cm. high £200-300 329. A Jean Garnier pewter jug, modelled as a chick hatching from an egg, its head fully emerged and forming the spout, with applied handle, and a Jean Garnier jug modelled in low relief with figures, stamped mark, signed in the cast J Garnier, 16cm. high (2) £150-250 Literature Paul Carter Robinson, 20th Century Pewter Art Nouveau to Modernism, Antique Collector’s Club, page 177 catalogue number 3.20 for this actual bird jug and 3.19 for the figural ewer illustrated.

328

330. A pair of Continental pewter Secessionist twin-branch candlesticks, eliptical bases rising up to twin branches, cast with an Art Nouveau maiden portrait with pendulous earrings, the stem and base cast with roses with loose sconces, unsigned, 31cm. high (2) £500-800

329

331. A Kayserzinn pewter three piece tea set on a tray designed by Hugo Leven, model no.4402, comprising teapot and cover, milkjug, sugar basin and cover on elliptical twin-handled tray, all cast with stylised foliage designs cast marks, 41cm. wide (4) £300-500 Literature Paul Carter Robinson, 20th Century Pewter Art Nouveau to Modernism, Antique Collector’s Club, page 54 catalogue number 1.103 for this actual set illustrated. 332. An Osiris pewter and glass coupe designed by Friedrich Adler, model no. 587, cast and pierced with a band of stylised entwined foliage, with green glass liner, stamped marks, 15.5cm. high £300-500 Literature Paul Carter Robinson, 20th Century Pewter Art Nouveau to Modernism, Antique Collector’s Club, page 80 catalogue number 1.156 for this actual piece illustrated. This design was retailed in London by Liberty & Co. 333. An Orivit pewter tray, model no.2025, the hexagonal bowl with cast holly decoration, the stem rising to form the handle, stamped marks, 24.5cm. diam. £150-200

330

Literature Paul Carter Robinson 20th Century Pewter Art Nouveau to Modernism, Antique Collector's Club, page 69 catalogue number 1.130 for this actual piece illustrated. 334. A Urania pewter tray designed by Friedrich Adler, cast in low relief and pierced to the rim with berried foliage, with over-slung handle, stamped mark, to end 36cm. wide £150-200 Literature Paul Carter Robinson, 20th Century Pewter Art Nouveau to Modernism, Antique Collector’s Club, page 186 catalogue number 4.8 for a comparable wood mounted tray.

331

332

333

334

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335. An Osiris Secessionist pewter jug with hinged cover the design attributed to Walter Scherf. model no.947, faceted body with cast decoration to the top rim, hinged cover with strapwork thumb push, set with emerald green stone, the handle also emerald green phenolic plastic, stamped Osiris 947 16cm. high £300-500

336. An Orion Secessionist pewter chalice designed by Friedrich Adler, the domed base with tree form stem and cylindrical cup, cast in low relief with entrelac motif mounted with green glass cabouchon, unsigned 23.5cm. high £200-300

337. A German gilded pewter ewer modelled as a caricature of Kaiser Wilhelm II, with hinged cover, a WMF dish modelled in low relief with a sailing yacht, a WMF inkwell and a WMF napkin ring modelled as a boy rolling a barrel stamped WMF marks, ewer 21.5cm. high (4) £150-200

335

336

Literature Paul Carter Robinson, 20th Century Pewter Art Nouveau to Modernism, Antique Collector’s Club, page 100 catalogue number 1.208 for this actual example illustrated.

338. A WMF Secessionist polished pewter jewellery box, rectangular with flaring pierced feet, cast in low relief with flower on sinuous conjoined stems, lined with blue velvet another WMF box with cedar lining, pitched hinged lid and cast with geometric panels, and another WMF box stamped £250-350 marks, 17cm. wide, (3)

337

339. A pair of WMF Secessionist pewter candlesticks designed by Albin Muller, tapering diamond section with knopped sconce, cast in relief with stylised foliate roundels, with brass sconce rims, stamped marks to rim, 22.5cm. high (2) £300-500 Literature Paul Carter Robinson 20th Century Pewter Art Nouveau to Modernism, Antique Collector’s Club, page 32 catalogue number 153 this actual pair illustrated.

338

340. A pair of Art Nouveau WMF pewter wine coasters designed by Albert Mayer, pierced and cast with Art Nouveau maiden portraits with flowing sinuous long hair, stamped marks to base 11cm. high (2) £400-600 Literature Paul Carter Robinson 20th Century Pewter Art Nouveau to Modernism, Antique Collector’s Club, page 18 catalogue number 1.4 for one of this actual pair illustrated.

339

340

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341. An enamelled copper coat of arms by Ernestine Mills, dated 1935, in shades of blue and gold, in oak frame signed EM 1935, 11cm. high £150-200

342. An enamelled copper panel, square section, enamelled with a maiden resting on a bench, an empty vase beside her, in colours highlighted in gilt, unsigned 11cm wide £200-300

343. Eros a silvered metal buckle the design attributed to R J Emerson for Collins & Co, modelled in low relief, and a Hodel belt buckle side stamped title 7.5cm. high (2) £150-250

342

341

Literature The Studio, Volume 27 for a comparable piece of R.J.Emerson jewellery illustrated.

344. A George Hunt silver and enamel reliquary holder, hexagonal section, set with cast saints in pierced alcoves, below a domed cupola enamelled in green and blue set with pink and blue stones and pearl finial, the domed compartment with glass liner and note ‘One of a pair. Exhibited in 1908 by George Hunt at the Silversmiths Exhibition, London’ stamped GH shield to base 8.5cm. high £700-1000

343

344

Provenance Private collection The paper note continues ‘ I am told that Queen Mary purchased the other one’ Literature George Edward Hunt The Silent Work of an Arts and Crafts Jeweller Bonhams November-December 2006, page 42-34 catalogue number 83 for a comparable phial.

345. An enamelled silver gilt choker necklace, comprising three square panels each enamelled with Celtic knot motif in green, orange and blue, on simple link chain, in a matched Guild of Handicrafts Ltd button case, apparently unmarked, each panel 2cm. square. £200-300

346. A Murrle Bennett silver gilt brooch, shaped rectangular form, cast in low relief and set with central amethyst stone, 950 stamped MB to reverse, 2cm. wide £200-300

345

347. An H G Murphy Falcon Works Cancer silver brooch, circular, cast and pierced with crab motif, stamped marks, London 1935, 3cm. diam. £150-200 Literature Paul Atterbury & John Benjamin The Jewellery and Silver of H.G. Murphy, Antique Collector's Club, page 67 for a complete set of star sign brooches illustrated.

346

347

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348. A silver and turquoise necklace by Arthur and Georgie Gaskin, with articulated scrolling foliate frame, set with turquoise cabochons and punctuated with mother of pearl panels, and a turquoise drop, unsigned length of pendant 6.5cm. £600-800

349. A silver pendant necklace the design attributed to the Artificers Guild, pierced foliate frame set with tormaline and mother of pearl stones, unmarked, 5.5cm. long £300-400

350. A Queensway silver and enamel Secessionist pendant, triangular form, cast in low relief with whiplash foliage stems and small heart-shaped foliate bud, enamelled blue, and a small drop with graduated blue enamel, stamped Queensway Sterling Silver, 4cm. long £150-200

348

351. A Gourdel Vales & Co Secessionist silver and enamel pendant, shield shape, pierced and cast in low relief with applied scroll motif, central blue and green enamel panel stamped marks, G V & Co Birmingham 1907 4.5cm. long £150-200

352. A James Fenton silver and enamel pendant necklace, pierced and cast foliate form with foliate drop, enamelled green and blue, on link chain stamped marks to reverse, 4.5cm. long £200-300

349

350

351

352

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354

353

353. A Bernard Cuzner silver bar brooch, rectangular, cast in low relief with stylised foliage panel, stamped marks, Birmingham 1935, 6.5cm. wide £200-300

354. A Murrle Bennett silver and enamel link bracelet, each shaped rectangular panel enamelled green and blue unsigned 18.5cm. long £200-300

355

356

355. A silver pin brooch probably by Dorrie Nossiter, with simple wirework decoration, set with amber stone, and a silver pin brooch in the manner of George Hunt, both unsigned Nossiter piece 7cm wide (2) £150-200

356. A Bernard Instone silver ring, cast with foliate border and set with amber cabouchon, a Bernard Instone silver floral brooch, and another ring and brooch one ring and brooch stamped silver, brooch 4.5cm. diam. (4) £150-200

357. A silver bar brooch, rectangular, cast and pierced with foliate frame set with three fire opal stones, a silver bar brooch and pendant set with lapis stones, bar brooch stamped 925, 5cm. wide (3) £150-200

357 358. A Continental silver and plique a jour enamel brooch, pierced and cast form modelled as two entwined leaves flanking central mother of pearl flower bud, with pearl bead drop, the leaves enamelled blue and set with small ruby stones, stamped 900 depose, 3.5cm. wide £200-300

359. A Continental Secessionist silver brooch, cast as a woman in exotic headdress, set with chrysoprase, and an enamelled metal chain, each link with geometric panel enamelled green, purple and blue unsigned 3.5cm. wide (2) £150-200

358

359

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360

361

362

363

359A 359A. A Liberty & Co silver and enamel necklace designed by Jessie M King, comprising three pierced panels, each cast as stylised peacock with enamelled blue and green feathers, set with simple mother of pearl drops, and two smaller enamel panels, on link chain, in later Van Den Bosch presentation case, apparently unsigned, largest panel and drop 4.5cm. long £1,000-2,000 Provenance Van Den Bosch Private collection. 360. A Smith & Ewan silver and enamel pendant, cast in low relief with flowering foliage, with simple drop, enamelled in green, blue and pink, and a Charles Horner enamel pendant stamped marks, Smith & Ewan Birmingham 1909, 3cm. wide (2) £150-200 361. An Art Nouveau Queensway silver and enamel brooch, cast in low relief with a central Art Nouveau maiden in shield shaped panel, flanked by foliate border, enamelled green, pink and blue, stamped Sterling Silver to reverse, 3.5cm. wide £150-250 362. A Charles Horner silver and enamel Secessionist brooch, cast in low relief and enamelled in shades of blue and green, and a Gourdel Vales & Co silver and enamel brooch stamped marks, Horner Chester 1909, Gourdel Birmingham 1907, 2cm. wide (2) £150-200 363. A James Fenton silver and enamel brooch, cast in low relief with a Tudor rose motif, enamelled green and blue, and another James Fenton silver and enamel brooch stamped marks, London 1906, 2.5cm. diam. (2) £200-300

364

364. A Theodore Fahrner silver brooch, stamped in relief with flowers and foliage, set with chrysoprase stone and mother of pearl roundel, a Continental Secessionist brooch probably Theodore Fahrner, a silver and moonstone brooch in the manner of Sybil Dunlop, and a Georg Jensen silver brooch and six other items of jewellery and a small silver toastrack stamped marks, (11) £150-250 Literature Vivienne Becker Art Nouveau Jewellery, Thames & Hudson, page 142 catalogue number 211 for an identical brooch by Theodore Fahrner. 365. A Liberty & Co silver and enamel brooch designed by Archibald Knox, cast in low relief with whiplash Art Nouveau foliate design enamelled in shades of red, orange, green and blue, stamped L&Co shield and Silver, 3.5cm. wide £200-300

365

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366

367

368

369

366. An Indian brass tray topped occasional table, possibly retailed by Liberty & Co, the circular brass tray top with stamped decoration, on folding, turned leg base 60cm. diam. £150-200

367. An oak plant stand the design attributed to William James Neatby, square section, with disc feet and terminals, the square body with cut out tulip flower roundel, unsigned 92cm. high £250-300

370

371

368. A large hammered brass wall mirror possibly designed by Harry Silver for Liberty & Co, rectangular, hammered with a panel of two conjoined birds issuing from Celtic knot motif, with stud work decoration, unsigned, 92 x 61cm. £500-800

369. A C H Brannam Pottery vase designed by Archibald Knox for retail by Liberty & Co, cylindrical form with everted rim, applied with three scroll handles, slip decorated with a formal Celtic knot motif in green on a blue ground, and another C H Brannam vase retailed by Liberty & Co, impressed Liberty roundel, minor professional restoration to base rim, 22.5cm. high (2) £300-500

370. An Anglo-Moorish mother of pearl and ivory inlaid side table, possibly retailed by Liberty & Co, octagonal section with arched legs 58cm. high £200-300

371. An Anglo-Moorish painted wood side table, trilobed section on turned and pierced twist tripod legs, painted in colours and gilt with floral panels, 65cm. high £200-300

372. A Liberty & Co oak dressing table designed by Leonard Wyburd, the shelved slat-back with rectangular mirror, above central drawer and slat-back open shelf to base, patinated metal furniture, label missing, 127cm. wide, 154cm. high £400-600

372

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373. A Liberty & Co English Pewter and enamel champagne bucket designed by Archibald Knox, model no. 0706 , flaring cylindrical form, cast in low relief with whiplash foliage sprays, with blue enamelled heart-shaped leaves, stamped marks, 19cm. high £1,000-1,500 Literature Paul Carter Robinson, 20th Century Pewter Art Nouveau to Modernism, Antique Collector’s Club, page 122 catalogue number 2.17 for a comparable example. Stephen A. Martin, Archibald Knox ARTMEDIA PRESS, page 136 for a comparable example.

374. A Liberty & Co English Pewter and enamel rose bowl designed by Archibald Knox, model no.0229, twin-handled form, cast in low relief with stylised honesty stems, enamelled in blue and green impressed marks, 27cm. wide. £250-350 Literature Stephen Martin Archibald Knox ARTMEDIA page 209 for a comparable vase illustrated.

373

375. A Liberty & Co Tudric Pewter slop basin designed by Archibald Knox, model no.0231, cast in low relief with stylised Art Nouveau honesty panels, stamped marks, 16cm. wide £300-500 Literature Paul Carter Robinson, 20th Century Pewter Art Nouveau to Modernism, Antique Collector’s Club, page 148 catalogue number 2.97 for this actual piece illustrated.

376. A Liberty & Co Tudric Pewter four piece tea set on tray designed by Archibald Knox, model no.231, cast in low relief with stylised honesty on sinuous stems, comprising twin-handled tray, teapot with hinged cover, hot-water pot and hinged cover, milk-jug and sugar basin, stamped marks, tray 49cm. wide, teapot 23.5cm. wide. (5) £600-800 Literature Paul Carter Robinson, 20th Century Pewter Art Nouveau to Modernism, Antique Collector’s Club, page 147 catalogue no.2.94 for a comparable set.

374

375

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377. A Liberty Tudric Pewter vase designed by Archibald Knox, model no.0228, bombe form, cast in low relief with seedheads enamelled in shades of blue and red impressed marks, 15cm. high £200-300

378. A Liberty & Co English Pewter twin-handled vase, model no.029, solifleur form with applied foliate handles, stamped marks, 24.5cm. high £100-200

378

377

379. A Liberty & Co English Pewter tray designed by Archibald Knox, model no.0357, cast in low relief with panels of stylised ivy, with over-slung handle, stamped marks, 30.5cm. wide £150-250

380. A Liberty & Co pewter tray designed by Archibald Knox, model no.42, twin-handled form, cast with simple rivet and heart shaped panel decoration stamped marks, 47cm. wide £400-500

379

Literature Adrian Tilbrook The Designs of Archibald Knox for Liberty & Co, Ornament Press, page 104 figure no.82 for this tray design illustrated and attributed to Knox.

381. A pair of Liberty & Co Tudric Pewter candlesticks designed by Archibald Knox, model no.08, cast in low relief with Celtic Knot frieze, the loose sconces with a Celtic knot border stamped marks, 16.5cm. high (2) £400-600 Literature Paul Carter Robinson, 20th Century Pewter Art Nouveau to Modernism, Antique Collector’s Club, page 129 catalogue no.2.36.

380

382. A Liberty & Co Tudric Pewter muffin dish and cover designed by Archibald Knox, model no.0292, the rim cast with whiplash foliage, the domed cover cast in low relief with stylised foliage spray stamped marks, 29.5cm. wide £300-500

381

382

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383

383. A Liberty & Co English Pewter and enamel jewellery box, rectangular form with cast petal motif, the hinged cover set with rectangular lakeside enamel by Charles Fleetwood Varley, the interior and fitted tray lined with green silk stamped marks, enamel signed Varley 21 x 13.5cm. £500-700

384 384. A Liberty & Co Tudric Pewter and enamel rose bowl, glass liner and original wire rose designed by Archibald Knox, model no. 0320, with twin-fin handles, cast in low relief with whiplash foliage panels, enamelled blue, with green glass liner, stamped marks, 23cm. wide £600-900 Literature Paul Carter Robinson 20th Century Pewter Art Nouveau to Modernism, Antique Collector’s Club, page 133 catalogue number 2.48 for a comparable example.

385. A small Liberty & Co pewter and glass decanter in the manner of Archibald Knox, the pear shaped, green glass body with pewter mount cast with simple Celtic knot motif, angled spout with hinged cover, unmarked, 22cm. high £300-500 Literature Lesley Jackson Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications, page 31 figure 81 for Liberty Silver Sketches a comparable form illustrated numbered 2083.

385

386. A Liberty & Co pewter and enamel candlestick designed by Archibald Knox, model no 0219, compressed cylindrical form with circular drip pan and foot, the foot cast in low relief with ivy leaf and panels of green and blue enamel, stamped 0219, 10cm. high £450-550

386

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387. A Liberty & Co Tudric Pewter rose bowl, model no.011, twin-handled footed form, cast in low relief with rose trees, the rim inscribed And The Musk of the Rose is Blown and the Woodbine Spices are Wafted Abroad’ stamped marks to base 30cm. wide £120-180

388. A Liberty & Co Tudric Pewter ewer designed by Archibald Knox, model no.0307, tapering form with hinged cover, cast to the base rim with scrolling honesty, and two other Liberty & Co pewter covered jugs stamped marks, 21cm. high (3) £400-500

387

389. A pair of Liberty & Co Tudric Pewter tankards designed by Oliver Baker, model no.066, stamped marks, 12.5cm. high £200-300

388

389

390. A pair of Liberty & Co Tudric Pewter and enamel candlesticks designed by Archibald Knox, model no.0223, shallow domed base cast in low relief with stylised honesty, enamelled in shades of blue, with tripod fin stem and flaring sconce, stamped marks, 23cm. high (2) £800-1,200 Literature Paul Carter Robinson, 20th Century Pewter Art Nouveau to Modernism, Antique Collector’s Club, page 130 catalogue number 2.38 for a comparable pair.

391. A Liberty & Co English Pewter footed bowl with glass liner designed by Archibald Knox, the bowl on four foliate feet, pierced and cast with foliate panel to the rim, with green glass liner stamped £300-500 marks, 17cm. diam. Literature Paul Carter Robinson, 20th Century Pewter Art Nouveau to Modernism, Antique Collector’s Club, page 133 catalogue number 2.49 for a comparable example.

390

392. A Liberty & Co English Pewter muffin dish and cover designed by Archibald Knox, model no.0293, cast in low relief with Art Nouveau tendrils, stamped marks, 24cm. diam. £300-500 Literature Paul Carter Robinson, 20th Century Pewter Art Nouveau to Modernism, Antique Collector’s Club, page 145 catalogue number 2.92 for this actual example illustrated.

391

392

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393. A polished pewter box with enamel roundel in the manner of Jessie M King, the cedar lined rectangular box with hinged cover, the cover with cast roundel of floral swags enamelled blue and yellow, another cedar lined pewter box with enamelled St Christopher panel and a copper and metal box with green enamel panel, unmarked 18.5cm. wide, (3) £300-500

393

394. A Liberty & Co Cymric silver Edward VII coronation spoon designed by Archibald Knox, the tapering stem with ball knop, the bowl cast AD 1902 EVII, Stamped Cymric marks, Birmingham 1901, 10.5cm. long £300-500 Literature Stephen A Martin Archibald Knox, Artmedia, page 212 for a comparable spoon with enamelled bowl.

394

395. A Liberty & Co silver belt buckle, model no.0198, in the manner of Mary Seton Watts, the pierced and cast design decorated with creatures entwined in Celtic knot motif, stamped marks, Birmingham 1896 11cm. wide £300-400 Provenance Private collection

395

396 label 396. A set of six Liberty & Co silver and enamel teaspoons designed by Archibald Knox, in original fitted silk case, cast in low relief with stylised flower terminals in shades of blue and green, stamped marks, Birmingham 1902 (6) £600-800

396

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397. A Liberty & Co Tudric Pewter and enamel mantle clock, model no.0367, the shaped front cast in low relief with foliate panels, set with green and blue enamel panel, the rectangular copper dial stamped in low relief with Arabic numerals, stamped marks, 16.5cm. high ÂŁ2,000-4,000

397

398. A Liberty & Co English Pewter clock designed by Archibald Knox, model no.0721, rectangular form cast in low relief with stylised ivy panels, the rectangular face enamelled green and blue, with circular dial with Roman numerals, stamped marks, 12cm. high ÂŁ1,000-1,500

398

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399. A Liberty & Co Cymric silver, enamel and turquoise clock, rectangular form on ball feet, with hinged back and handle, set with two turquoise stones, the circular diam enamelled blue and green, Roman numerals, Birmingham 1901, 8cm. high ÂŁ1,200-1,800

400. A Liberty & Co Cymric silver and enamel candlestick designed by Archibald Knox, model no.25, the circular base cast in low relief with four entwined entrelac enamelled blue and green in heart-shaped green enamel panel, flaring column and detachable sconce, stamped marks, Birmingham 1901, 16cm. high. ÂŁ800-1,200 Literature Stephen A Martin Archibald Knox, Artmedia, page 221 for a comparable pair of candlesticks with a similar enamel roundel.

399

400 detail

400

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20TH CENTURY DESIGN Tuesday 18th October 2016 Closing date for entries 24th August

‘Enfants’ no.1070 a rare Lalique glass vase designed by Rene Lalique, 1931. Estimate: £1,000 - £2,000

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

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BRITISH ART POTTERY

Wednesday 30th November 2016 Closing date for entries 5th October

Dame Lucie Rie A sgraffito pot and cover. Estimate: £3,000 - £5,000 Dame Lucie Rie & Hans Coper Four sgraffito cups and saucers. Estimate: £2,000 - £4,000

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

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JEWELLERY & WATCHES Thursday 21st July 2016

An opal and paste set silver gilt necklace by Arthur & Georgie Gaskin. Estimate: £3,000 - £4,000

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

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TRIBAL ART & ANTIQUITIES Tuesday 20th September 2016 Entries are now being accepted for this sale

A Shona headrest, Zimbabwe, 14.5cm high. Estimate: £1,500 - £2,000

ENQUIRIES Will Hobbs | Tel: +44 (0)1722 339752 | willhobbs@woolleyandwallis.co.uk

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

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

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

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

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

APS

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

Mailboxes

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

Pack & Send

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

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

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

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

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

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

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

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

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

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

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

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

ARTIST’S RESALE RIGHT / DROIT DE SUITE

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

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

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

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

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

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

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

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

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

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WOOLLEY & WALLIS

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

LONDON, ANDOVER & WINCHESTER

CASTLE RD A345

DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO OLD SARUM

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

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

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WOOLLEY & WALLIS Salt Lane

Woolley & Wallis Carter House 6 – 10 Salt Lane SP1 1EE

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Registered in England No. 2998482

Salisbury Salerooms

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WOOLLEY & WALLIS

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

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

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Qudos CASTLE STREET

VAT No: 631 9832 29 TESCO

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

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

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

Arts & Crafts

Brief Decription

Price Excluding buyer’s premium & VAT

22nd June 2016 Please bid, on my behalf, for the undermentioned lots up to the prices shown which do not include the buyer’s premium or any V.A.T. payable on lots. These bids are to be executed as cheaply as is permitted by other bids, and/or reserves if any, and subject to the Conditions of Sale printed in the Catalogue. Please note we cannot guarantee that bids received after 4pm on the day prior to the auction will be executed. Billing Name (please print)

Address

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

Signature

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

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www.woolleyandwallis.co.uk

Auction Calendar PAINTINGS 8th June – 20th Century & Contemporary Paintings 7th September – Old Masters & 19th Century Paintings 13th December – 20th Century & Contemporary Art Victor Fauvelle +44 (0) 1722 424503 • victorfauvelle@woolleyandwallis.co.uk Jo Butler +44 (0) 1722 424592 • jobutler@woolleyandwallis.co.uk FURNITURE, WORKS OF ART & CLOCKS 6th July 5th October Mark Richards +44 (0) 1722 411854 • markrichards@woolleyandwallis.co.uk SILVER 19th & 20th July – Silver, Vertu, Coins & Medals 25th October – The Arthur Holder Collection (Part I) 26th October – Fine Silver & Objects of Vertu Rupert Slingsby +44 (0) 1722 424501 • rupertslingsby@woolleyandwallis.co.uk Lucy Chalmers +44 (0) 1722 424594 • lucychalmers@woolleyandwallis.co.uk JEWELLERY 21st July – Jewellery & Watches 27th October – Fine Jewellery Jonathan Edwards +44 (0) 1722 424504 • jonathanedwards@woolleyandwallis.co.uk Marielle Whiting +44 (0) 1722 424595 • mariellewhiting@woolleyandwallis.co.uk ENGLISH & EUROPEAN CERAMICS & GLASS 13th September Clare Durham +44 (0) 1722 424507 • claredurham@woolleyandwallis.co.uk TRIBAL ART & ANTIQUITIES 20th September Will Hobbs +44 (0) 1722 339752 • willhobbs@woolleyandwallis.co.uk 20TH CENTURY DESIGN 18th October – 20th Century Design 30th November – British Art Pottery Michael Jeffery +44 (0) 1722 424505 • michaeljeffery@woolleyandwallis.co.uk ARMS & ARMOUR, MEDALS & COINS AND MILITARIA 19th October Ned Cowell +44 (0) 1722 341469 • nc@woolleyandwallis.co.uk ASIAN ART 15th & 16th November John Axford +44 (0) 1722 424506 • johnaxford@woolleyandwallis.co.uk Sophie Lister +44 (0) 1722 424591 • sophielister@woolleyandwallis.co.uk