Woolley & Wallis by Jamm Design Ltd

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

Clarice Cliff, Art Deco & Design Wednesday 20th March 2019

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

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CHINESE PAINTINGS & CALLIGRAPHY Freya Yuan-Richards Amber Lees

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ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham

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JAPANESE ART Alex Aguilar Sarah Lopez-Ferreiro

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MEDALS & COINS, ARMS & ARMOUR Ned Cowell Zoe Cordey

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MARKETING Sally Trench

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ACCOUNTS Janice Clift (Office Manager)

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GENERAL OFFICE Sharon Ringwood Pauline Jones Nicola Young Ruth Pike

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PAINTINGS Victor Fauvelle Madeleine White

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SILVER Rupert Slingsby Lucy Chalmers

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TRIBAL ART & ANTIQUITIES Will Hobbs Zoe Cordey

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CASTLE GATE MANAGER Matt Hill CASTLE GATE RECEPTION Megan Corbett BOARD OF DIRECTORS Paul Viney ASFAV Chairman John Axford MRICS ASFAV Deputy Chairman Clive Stewart-Lockhart Managing Director

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Natalie Milsted FCCA Finance Director

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ASSOCIATE DIRECTORS Janice Clift Clare Durham Will Hobbs Michael Jeffery Mark Yuan-Richards Rupert Slingsby Marielle Whiting FGA

Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Tel: 01722 424500 â&#x20AC;¢ www.woolleyandwallis.co.uk

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SALEROOM MANAGER David Jordan

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

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

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

SOCIETY OF FINE ART AUCTIONEERS AND VALUERS

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CLARICE CLIFF, ART DECO & DESIGN

Wednesday 20th March 2019 at 10.30am at our Castle Street Salerooms, SP1 3SU VIEWING TIMES Saturday 16th March Monday 18th March Tuesday 19th March Wednesday 20th March

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

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

Michael Jeffery 01722 424505 mj@woolleyandwallis.co.uk

LIVE bid.woolleyandwallis.co.uk Please register by 5pm on Tuesday 19th March.

Zoe Smith 01722 446955 zs@woolleyandwallis.co.uk

BUYER’S PREMIUM Each lot is subject to a Buyer’s Premium of 25% plus VAT TELEPHONE BIDDING Please note that requests for telephone bids cannot be accepted after 5pm on Tuesday 19th March. CONDITION OF LOTS Buyers are advised to obtain a full condition report prior to bidding, as descriptions do not necessarily list all faults. COLLECTION OF LOTS Please note that all lots will be cleared from the saleroom back to Castle Gate on Friday 22nd March. If you are collecting items on or after this date please contact the department to arrange in advance. Thereafter, collection will be from our new Castle Gate Office Unit 1B Castle Gate Business Park, Old Sarum, Salisbury SP4 6QX. Our Castle Gate address details and map are at the back of this catalogue. All accounts to be settled prior to collection. Payment is still made at Castle Street.

ILLUSTRATIONS Front cover: Lots 16,19,20, 22 ,31 & 32 Back cover: Lot 194 Inside front cover: Lots 221-241 Catalogue £12.00 (£15.00 by post)

ARTIST’S RESALE RIGHT / DROIT DE SUITE Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Lots marked with a ‡ symbol which sell for more than 1000 are subject to the levy, payable by the bidder. Please refer to page 121 for full details.

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Each lot is subject to a Buyer’s Premium of 25% plus VAT

1. ‘Crocus’ a Clarice Cliff Bizarre Conical sugar sifter, painted in colours between yellow and brown bands, two Clarice Cliff Crocus Athens jugs, two sandwich plates, a fruit bowl and two large sugar basins, printed factory marks, wear to paint work, 14cm. high, (8) £300-500 Provenance Private collection. 2. ‘Crocus’ a Clarice Cliff Bizarre Bon Jour sugar sifter, painted in colours, between yellow and brown bands, and a Clarice Cliff Crocus Bon Jour preserve pot and cover, printed factory marks, hairline to cover of preserve pot, 12.5cm. high (3) £150-200

Provenance Private collection. 3. ‘Crocus’ a Clarice Cliff jardinière, painted in colours between yellow and brown bands, and a Clarice Cliff Spring Crocus vase, printed factory marks, 20cm. high, (2) £150-250 4. ‘Crocus’ a Clarice Cliff Beehive honey pot and cover, painted in colours, a Crocus Lynton sugar sifter, two preserve pots, a jug with pewter cover and a salt and pepper cruet printed factory marks, 10cm. high (beehive), (9) £250-300

4 5. ‘Crocus’ a Clarice Cliff Bizarre Conical teapot and cover, painted in colours between yellow and brown marks, printed factory marks, 11.5cm. high (2) £200-300 Provenance Private collection.

5 both sides

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6. ‘Cabbage Flower’ a Clarice Cliff Bizarre part Conical coffee set, painted in colours, comprising milk-jug and sugar basin, four Conical cups and saucers, and a Daffodil cup and saucer in the same pattern printed factory marks, (12) £300-500

7. ‘Delecia Nasturtium’ a Clarice Cliff Bizarre part Conical tea set, painted in colours, comprising, milk-jug and sugar basin, one Conical cup, saucer and side plate, printed factory marks, (milk-jug), (5) £250-300

8. ‘Farmhouse’ a Clarice Cliff Fantasque Bizarre Tankard coffee pot and cover, painted in colours, the cover with black, red and orange bands, printed factory marks, cover restored, minor glaze nicks to top rim, 19cm. high £150-250 Provenance Private collection.

9. ‘Summerhouse’ a Clarice Cliff Fantasque Bizarre Tankard coffee can and saucer and en suite sugar basin, painted in colours printed marks, 5.5cm. high (3) £150-200

10. ‘Forest Glen’ a Clarice Cliff Cylindrical preserve pot and cover, painted in colours, a Forest Glen Lynton milk-jug and sugar basin and another milk-jug, printed factory marks, chip to extra milk-jug, 9cm. high (5) £150-200

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Each lot is subject to a Buyer’s Premium of 25% plus VAT

11 part

11. ‘Orange Secrets’ a Clarice Cliff Fantasque Bizarre Stamford tea for two, painted in colours, comprising teapot and cover, milk-jug and sugar basin, two cups, saucers and a side plate printed factory marks, small chip to top rim of one cup, 12cm. high (teapot), (9) £1,500-2,000 Catalogue notes The tea set carries an impressed 1933 date mark.

12. ‘Alton’ a Clarice Cliff Bizarre Stamford teapot and cover, painted in colours, printed £400-600 factory marks, 12cm. high

13. ‘Tennis’ a Clarice Cliff Bizarre Stamford milk-jug and sugar basin, painted in colours printed factory marks, 6.5cm. high, (2) £300-500

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14. ‘Sun-gay’ a Clarice Cliff Bizarre Conical sugar sifter, painted in colours and a Honeyglaze Conical sugar sifter printed factory marks, 14cm. high, (2) £120-180

15. ‘Brookfields’ a Clarice Cliff Conical sugar sifter, painted in colours printed Clarice Cliff mark, restored base, 14cm. high £120-180

16. ‘Green Erin’ a Clarice Cliff Conical sugar sifter, painted in colours, between green bands, printed factory marks, professionally restored tip, 14cm. high £150-200

15 both sides

17. ‘Secrets’ a Clarice Cliff Bizarre Conical sugar sifter, painted in colours printed factory marks, professional restoration to top rim, 14cm. high £120-180

18. ‘Brookfields’ a Clarice Cliff Lynton sugar sifter, painted in colours, and a Brookfields Cylindrical preserve pot and cover and Lynton mustard and cover, printed factory marks, 12.5cm. high (5) £200-250

16 both sides

17 both sides

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19. ‘Orange Roof Cottage’ a Clarice Cliff Fantasque Bizarre Conical sugar sifter, painted in colours between orange and black bands, printed factory marks, tip restored, 14cm. high £300-500

20. ‘Solitude’ a Clarice Cliff Fantasque Bizarre Conical sugar sifter, painted in colours between yellow bands, painted marks, restored, 14cm. high £300-400

19 both sides 21. ‘Coral Firs’ a Clarice Cliff Fantasque Bizarre Conical sugar sifter, painted in colours printed factory marks, small frit chip to tip, 14.5cm. high £300-400

22. ‘Blue Firs’ a Clarice Cliff Bizarre Conical sugar sifter, painted in colours printed factory marks, professionally restored, 14cm. high £400-500

20 both sides

21 both sides

22 both sides

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24 23. ‘Woodland’ a Clarice Cliff plate, printed and painted in colours, a Clarice Cliff Rhodanthe preserve pot and cover, and a cylindrical preserve pot, printed marks, 22.5cm. wide. (4) £150-200 Provenance Private collection.

24. ‘Gay Day’ a Clarice Cliff Bizarre Cauldron, painted in colours, a Gay Day Chester Fern pot, two Beehive preserve pots and covers, three Rhodanthe items and two Viscaria pieces, printed factory marks, restoration, 7cm. high (12) £250-300 25. ‘Autumn’ a Clarice Cliff Fantasque Bizarre Cauldron, painted in colours, a Clarice Cliff Pastel Autumn Cylindrical preserve pot and cover, and a Cafe au Lait Autumn preserve pot and cover, printed factory marks, 7.5cm. high, (5) £150-200 26. ‘Fruitburst’ a Clarice Cliff honeypot and cover, painted in colours printed Clarice Cliff mark, restored 10.5cm. high £150-200 Provenance Private collection.

27. ‘Windbells’ a Clarice Cliff Bizarre beehive honey pot and cover, painted in colours, and a Clarice Cliff Orange Trees and House preserve pot and cover, printed factory marks, minor professional restoration to inner rim of Trees and House preserve pot, 7.5cm. high (4) £150-200 28. ‘Honolulu’ a Clarice Cliff Fantasque Bizarre Bon Jour preserve pot and cover, painted in colours, the cover with green and black bands, printed factory marks, 10cm. high £200-300

28 both sides

29. ‘Pink Roof Cottage’ a Clarice Cliff Fantasque Bizarre 463 Cigarette and match holder, painted in colours, and a Blue Chintz 463 cigarette and match holder, printed factory marks, 7cm. high (2) £250-300

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30. ‘Orange Trees and House’ a Clarice Cliff Bizarre Conical sugar sifter, painted in colours, printed in colours, hairline crack to base rim, 14.5cm. high £180-220

30 both sides

31. ‘Farmhouse’ a Clarice Cliff Fantasque Bizarre Conical sugar sifter, painted in colours printed factory marks, minor frits to paintwork on the tip, 14.5cm. high £400-600

31 both sides

32. ‘Autumn’ a Clarice Cliff Fantasque Bizarre Conical sugar sifter, painted in colours between orange and yellow bands, printed factory marks, restored base rim and tip, 14cm. high. £250-300

32 both sides

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33. ‘Inspiration Bouquet’ a Clarice Cliff Bizarre wall plaque, painted in colours on a turquoise ground printed and painted marks, 33cm. diam. £700-900 Provenance Private collection.

35 both sides

34. ‘Inspiration Clouvre’ a Clarice Cliff Bizarre wall plaque, painted in colours on a turquoise ground, sold with a copy of the Clarice Cliff auction catalogue, Christie’s South Kensington, 1998, printed factory £700-900 mark, 33cm. diam. (2) Provenance Bizarre by Clarice Cliff, 8.11.84 Christie’s King Street, lot 193 Clarice Cliff, 22nd May 1998, Christie’s South Kensington lot 488 Private collection

35. ‘Applique Avignon’ a Clarice Cliff Bizarre fern pot, painted in colours printed and painted factory marks, 7.5cm. £500-800

36. ‘Applique Idyll’ a Clarice Cliff Bizarre 269 vase, painted in colours, between red and black bands printed factory marks, professionally restored, 15cm. high £150-200 Provenance Private collection.

36 both sides

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37 both sides

37. ‘Applique Etna’ a rare Clarice Cliff Bizarre 265 vase, painted in colours with two mountain scenes, front and back, between red and black bands, printed and painted marks, 15.5cm. high £2,000-3,000 Provenance Private collection.

38. ‘Applique Etna’ a Clarice Cliff Bizarre plate, painted in colours inside black, red and black bands printed and painted marks, 25cm. diam. £1,000-1,500 Literature Richard Green & Des Jones, The Rich Designs of Clarice Cliff, Rich Designs, page 73 this actual plate illustrated. Provenance Private collection. Catalogue notes This plate has the impressed date mark for 1931.

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39 both sides

39. ‘Autumn’ a Clarice Cliff Fantasque Bizarre single-handled Lotus jug, painted in colours between yellow, orange and brown bands, printed factory marks, professional restoration to handle, 29.5cm. high £400-600

40. ‘Branch and Squares’ a Clarice Cliff Bizarre single-handled Lotus jug, painted in colours between orange bands, printed factory marks, paint flake to blue square, £300-500 29.5cm. high

41 both sides

41. ‘Pastel Melon’ a Clarice Cliff Fantasque Bizarre single-handled Lotus jug, painted in colours between blue, pink and green bands, printed factory marks, 28.5cm. high £400-600 Provenance Private collection.

42 both sides

42. ‘Cafe au Lait Autumn’ a rare Clarice Cliff Bizarre twin-handled Lotus jug, painted in colours on a mottled green ground, between orange, green and black bands, printed factory marks, 29.5cm. high £400-600

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Each lot is subject to a Buyer’s Premium of 25% plus VAT

43. ‘Blue W’ a Clarice Cliff Bizarre singlehandled Isis vase, painted in colours between orange and black bands, printed factory marks, minor paint flakes, 25cm. high £2,000-3,000

43 both sides

44. ‘Apples’ a Clarice Cliff Fantasque Bizarre single-handled Lotus jug, painted in colours between yellow bands, printed factory marks, professional restoration, £400-600 28.5cm. high

44 both sides

45. ‘Rudyard’ a Clarice Cliff Bizarre Single-handled Lotus jug, painted in colours between blue and green bands, printed factory marks, professional restoration to neck and base, 29cm. high £700-900

45 both sides

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46. ‘Coral Firs’ a Clarice Cliff Bizarre single-handled Isis jug, painted in colours between grey, yellow and brown bands, printed factory marks, 17.5cm. high £200-300

46 both sides 47. ‘Coral Firs’ a Clarice Cliff Bizarre 120 vase, painted in colours between yellow and brown bands, printed factory marks, 26.5cm. high £300-400

48. ‘Coral Firs’ a Clarice Cliff Bizarre 566 vase, painted in colours between grey, yellow and brown bands, printed factory £150-200 marks, 16cm. high

49. ‘Coral Firs’ a Bizarre Bon Jour sugar sifter, painted in colours printed factory mark, 13cm. high £200-300

47 both sides

48 both sides

49 both sides

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50. ‘May Avenue’ a rare Clarice Cliff Bizarre Mei Ping vase, painted in colours between blue and black bands printed factory marks, 15.5cm. high £1,000-2,000 Provenance Private collection.

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51. ‘Bell Flower’ a Clarice Cliff wall pocket, shape no. 709, painted in colours on a turquoise ground, a Delecia Pansies bowl, a Delecia Citrus preserve pot and a collection of Clarice Cliff ceramics, printed factory marks, wear and damages, 26cm. high, (a lot) £150-200 52. ‘Acorn’ a Clarice Cliff Bon Jour sugar sifter, painted in colours, and a Taormina Bon Jour sugar sifter, printed factory marks, 12.5cm. high (2) £150-250 53. ‘Orange Autumn’ a Clarice Cliff Bizarre bowl, painted in colours, between yellow, orange and brown bands, printed factory marks, light scratches to interior, 24cm. diam. £120-180

Provenance Private collection. 54. ‘Forest Glen’ a Clarice Cliff Bizarre Dover jardinière, painted in colours printed factory marks, 20cm. high £300-400 55. ‘Red Trees and House’ a Clarice Cliff Fantasque Bizarre side plate, painted in colours inside red and black bands, a Clarice Cliff Orange Trees and House bowl and a Cafe au Lait Trees and House 331 candlestick, printed factory marks, 15cm. diam. (3) £150-200

56. ‘Peter Pan Crocus’ a Clarice Cliff Bizarre candlestick, shape no.331, painted in colours, a Limberlost pattern pepper pot and a collection of Clarice Cliff and modern ceramics, printed factory marks, 5cm. high (a lot) £200-400 57. ‘Flaming June’ a Clarice Cliff Athens jug for Brice Rogers Cottage Pottery, painted with flowers to the rim in orange, purple and green highlighted in black, a Tankard coffee pot and cover, a meat platter, tureen base, saucer and a Grapefruit bowl in the same pattern, printed Honeyglaze, Brice Rogers and Flaming June mark, chips to foot rim, 18cm. high (7) £200-400

Literature Greg Slater Comprehensively Clarice Cliff, Thames & Hudson, page 318 for two plates in this pattern illustrated. The meat platter has an impressed date of 1930.

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Each lot is subject to a Buyer’s Premium of 25% plus VAT

58. ‘United Service’ a Clarice Cliff salt, modelled as a soldier wearing a bearskin, painted in colours printed mark, 10cm. high £120-180

59. ‘Laughing Cat’ a Clarice Cliff Bizarre figure, modelled seated and wearing a bow tie, painted with green, orange and black spots printed factory mark, 19.5cm. high £800-1,200 Literature Leonard Griffin Clarice Cliff The Art of Bizarre, Pavilion page 29 for a comparable figure.

60. ‘Autumn’ a Clarice Cliff Fantasque Bizarre Octagonal sandwich set for six, comprising tray and six side plates, painted in colours inside orange and black bands, printed factory marks, to side plates, overpainting to orange band of tray, (tray), (7) £500-600

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62 61. ‘Original Bizarre’ a Clarice Cliff Mei Ping vase, painted with a geometric band between orange and yellow bands, another Clarice Cliff Original Bizarre vase, an octagonal side plate, a jug and two bowls in the same range, printed factory marks, damages and restoration, 16cm. high (Mei Ping), (6) £150-200

62. ‘Original Bizarre’ an early Clarice Cliff vase, shape no.119, ovoid with tall flaring cylindrical neck, painted with bands of red and blue triangles, outlined in green between red and blue bands, and another Clarice Cliff Original Bizarre vase printed factory marks, 24cm. high (2) £150-200

63. ‘Gay Day’ a Clarice Cliff Bizarre bowl, painted in colours, and an Orange Lily hexagonal bowl, printed factory marks, wear to interior of bowl, 23.5cm. diam. (2) £120-180 Provenance Private collection. 64. ‘Branch and Squares’ a Clarice Cliff Bizarre bowl, painted in colours between red and yellow bands, and an early Clarice Cliff Persian bowl, printed factory marks, 24cm. diam. (2) £150-200

65. ‘Summerhouse’ a Clarice Cliff Fantasque Bizarre butter dish and cover, painted in colours, a Clarice Cliff Coral Firs sandwich plate and a Cabbage Flower bowl, printed factory marks, restored, 17.5cm. wide £150-200 (butter dish), (3) 66. ‘Orange Roof Cottage’ a Clarice Cliff Fantasque Bizarre preserve pot and cover, painted in colours, a Clarice Cliff Solitude bowl and a Fruitburst candlestick, printed factory marks, restoration to preserve pot and hairline to the bowl, 10cm. diam. (preserve), (4) £150-200

67. ‘Nasturtium’ a Clarice Cliff Bizarre Le Bon Dieu teapot and cover, painted in colours, a Clarice Cliff Nasturtium biscuit barrel and cover and a Grapefruit bowl, printed £200-250 factory marks, 14cm. high, (5)

68. ‘Nasturtium’ a Clarice Cliff Bizarre 264 vase, painted in colours printed factory mark, 20cm. high £250-300

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69. ‘Cherry’ a Clarice Cliff Fantasque Bizarre miniature vase, swollen cylindrical form, painted in colours between orange and purple bands printed gilt mark, oxidisation, 8cm. high £150-200

70. ‘Double V’ a rare Clarice Cliff miniature vase, painted in colours between orange and green bands, printed Newport Pottery mark, 6.8cm. high £300-400 Catalogue notes These miniature vases were made as Tradesman’s sample vases taken to show prospective stockists of Clarice’s new and vibrant ware.

71. ‘Diamond Bands’ a Clarice Cliff Bizarre 186 vase, painted in colours between orange bands, printed factory marks, 14.5cm. high £200-300

72. ‘Melon’ a Clarice Cliff Fantasque Bizarre vase, painted in colours between orange and black bands, printed factory £150-200 marks, 18cm. high

73. ‘Farmhouse’ a Clarice Cliff Fantasque Bizarre 356 vase, painted in colours between yellow, orange, red and black bands, printed factory mark, professionally restored black band to top rim, 17.5cm. high £200-300 Provenance Private collection.

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74. ‘Delecia Pansies’ a Clarice Cliff Bizarre 634 single-handled vase, painted in colours printed factory mark, painted title Pansy to base, 16.5cm. high £150-200 75. ‘Double V’ a Clarice Cliff Bizarre Etruscan jug, painted in colours between yellow and orange bands, and a Double V sugar basin, printed factory marks, damages, 19.5cm. high (2) £150-200 76. ‘Double V’ a Clarice Cliff Fantasque Bizarre Octagonal candlestick, painted in colours between orange and blue bands, printed factory marks, 29cm. high £200-300

77. ‘Melon’ a Clarice Cliff Fantasque Bizarre Athens teapot and cover, painted in colours between orange, black and purple bands, and a Clarice Cliff Berries pattern jug printed factory marks, restored, 16.5cm. high (3) £150-200 78. ‘Broth’ a Clarice Cliff Fantasque Bizarre Cylindrical Biscuit barrel and cover and a Conical jug, painted in colours between orange, blue, green and purple bands, printed factory marks, cover restored, 16cm. high (biscuit barrel), 15cm. high (jug), (3) £150-250 Provenance Private collection.

79. A Clarice Cliff Bon Jour tea for two, painted with radiating bands in green and mushroom, highlighted with spot motif, comprising teapot and cover, milk-jug and sugar basin, two cups and saucers, printed factory marks, 14cm. high (teapot), (8) £300-400 Provenance Private collection.

Catalogue notes This set has the impressed 1937 date mark to one saucer.

80. ‘Sunburst’ a Clarice Cliff Bizarre 613 vase, painted in colours between yellow and orange bands, and another Sunburst 572 vase, printed factory marks, 21cm. high (2) £250-350

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Each lot is subject to a Buyer’s Premium of 25% plus VAT

82 81 81. A Clarice Cliff Bizarre side plate designed by Dame Laura Knight, from the Circus service, designed for the 1934 Art in Industry Exhibition, the well printed and painted with a crowd of stylised women, the rim a border of streamers, in colours printed factory marks, 20cm. diam. £150-200 Catalogue notes The plate has an impressed 1934 date mark. 82. ‘Umbrellas’ a Clarice Cliff Fantasque Bizarre Hiawatha bowl, painted in colours inside a yellow band, printed factory marks, 22.5cm. diam. £200-250 83. ‘Limberlost’ a Clarice Cliff Fantasque Bizarre plate, painted in colours, eleven Christie’s Clarice Cliff auction catalogues and one Design catalogue printed marks, 25.5cm. diam. (13) £150-250

Provenance Clarice Cliff 17th November 1994 Christie’s South Kensington, lot 82 Private collection. 84. ‘Comets’ a Fantasque Bizarre Clarice Cliff plate, painted in colours inside black, green and orange bands, printed factory marks, scratches to orange band, 22.5cm. diam. £150-250 85. ‘Melon’ a pair of Clarice Cliff Fantasque Bizarre plates, painted with a radial border in colours between thin black and brown bands, printed factory marks, 22.5cm. diam. £200-300 This plate has the impressed 1930 date mark. 86. ‘Melon’ a Clarice Cliff Fantasque Bizarre Octagonal side plate, painted in colours inside orange black bands, and a Clarice Cliff Melon Beaker and an Orange Gardenia beaker, printed factory marks, size (3) £150-250

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87. ‘Honolulu’ a Clarice Cliff Bizarre wall plaque, painted in colours inside black and green bands printed factory marks, repair to foot rim, 33.5cm. diam. £800-1,200

88. ‘Red Trees and House’ a Clarice Cliff Fantasque Bizarre wall charger, painted with six repeat radial pattern in red, black and green inside black and red bands, printed factory marks, 45cm. diam. £3,000-5,000 Provenance Clarice Cliff Christie’s South Kensington 21st April 1995, lot 288. Private collection.

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THE MICHAEL BURNINGHAM COLLECTION OF CARLTON WARE 89. ‘Sunflower Geometric’ a Carlton Ware ginger jar and cover, pattern no.3334, printed and painted in colours and gilt on an orange lustre ground, printed factory mark, applied Carlton Ware paper label, cover restored, 20cm. high, (2) £150-200 Literature Dr Czes & Yvonne Kosniowski, Carlton Ware The Complete Guide, CKYK publishing, page 123 for a comparable, larger, ginger jar and cover on a blue ground. Provenance The Michael Burningham Collection.

90. ‘Devil’s Copse’ a Carlton Ware ginger jar and cover, printed and painted in enamels, highlighted in gilt on a mottled blue ground, printed factory mark, remains of painted mark, original paper retailers label, 17cm. high (2) £150-200 Catalogue notes Retail paper label for Thomas Gibson Ltd, Glasgow. Provenance The Michael Burningham Collection. 91. ‘Rouge Royale’ a Carlton Ware tobacco jar and cover made for Dunhill, cylindrical form, printed and painted in colours and gilt on a red lustre ground, with a pagoda landscape, a Carlton Ware Rouge Royale Moderne jug, a Carlton Ware Rouge Royale vase with applied handles, a Rouge Royale pot and cover and a large collection of Rouge Royale ceramics printed factory marks, 15cm. high (a lot) £150-250 Provenance The Michael Burningham Collection.

91 part

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92. ‘Wagonwheels’ a Carlton Ware vase, pattern no.3814, shouldered, ovoid form, printed and enamelled in colours, highlighted in gilt on a red lustre ground, printed and painted marks, professional restoration to base, 19cm. high £150-200 Provenance The Michael Burningham Collection. 93. ‘Chinese Bird and Cloud’ a large Carlton Ware ginger jar and cover designed by Violet Elmer, pattern no.3327, printed and painted in colours highlighted in gilt on a matt peach ground, printed and painted marks, 26cm. high (2) £150-250 Provenance The Michael Burningham Collection.

94. ‘Tree and Swallow’ a Carlton Ware vase, model no.3281, ovoid with collar rim, printed and painted in colours and gilt on a mottled white £150-200 and orange ground printed and painted marks, 20.5cm. high Provenance The Michael Burningham Collection. 95. ‘Flowering Papyrus’ a Carlton Ware Handcraft vase, pattern no 3242, ovoid form, painted with stylised flowers and foliage in blue, purple and yellow on a white ground, printed and painted marks, 21cm. high £150-250 Provenance The Michael Burningham Collection.

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96. ‘Fighting Cocks’ a rare Carlton Ware charger, pattern no.4161, printed and painted in colours and gilt on an orange lustre ground printed 32.5cm. high £120-180 Literature Dr Czes & Yvonne Kosniowski Carlton Ware The Complete Guide, page 228 for the original design illustrated. Provenance The Michael Burningham Collection. 97. ‘Heron and Magical Tree’ a Carlton Ware dish, pattern no. 4160, circular with trilobed rim, printed and painted in colours and gilt on a green graduating to blue lustre ground, and another Carlton Ware dish similar, and a ‘Babylon’ pattern plate, pattern 4125, printed and painted marks, 25cm. diam. (3) £120-180 Provenance Christie’s South Kensington, 20th September 2001, lot 121. The Michael Burningham Collection. 98. ‘Bell’ a Carlton Ware Revo bowl, printed and painted in colours and gilt on a blue ground, another similar Revo bowl in the Garden pattern, two Handcraft Revo dishes and four others similar, printed and painted marks, small chip to rim of main dish, 25.5cm. wide. (8) £120-180 Provenance The Michael Burningham Collection.

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99. ‘Explosions’ a Carlton Ware vase designed by Violet Elmer, pattern no.3454, shouldered form, printed and painted in colours and gilt on a dark blue lustre ground, printed and painted marks, sprayed restoration to interior, 15cm. high £120-180

100

Provenance The Michael Burningham Collection.

100. ‘Jazz’ a Carlton Ware bowl designed by Enoch Boulton, pattern no. 3361, printed and painted in colours and gilt on a blue ground printed and painted marks, hairline to rim, 20cm. diam. £120-180 Provenance The Michael Burningham Collection. Literature Art Deco 1910-1939 V&A exhibition catalogue, page 241 cat. no. 21.3 for a ginger jar and cover in this pattern.

101

101. ‘Devil’s Copse’ a pair of Carlton Ware vases, pattern no.3787, printed and enamelled in colours and gilt on a blue lustre ground printed and painted marks, 15cm. high, (2) £120-180 Provenance The Michael Burningham Collection.

102. ‘Gypsy’ a Carlton Ware jug, pattern no.3506, printed and painted in colours and gilt on a blue lustre ground, printed and painted marks, restored lip and restored chip to base, 19cm. high £120-180 Provenance The Michael Burningham Collection.

102 both sides

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103. ‘Heron and Magical Tree’ a Carlton Ware vase, shouldered cylindrical form, printed and painted in colours and enamels on a Rouge Royale lustre ground, a Carlton Ware Mallards pattern ginger jar and cover, a Carlton Ware Mallards vase and cover, a Spider’s Web ginger jar and cover and a Chinese Bird and Tree vase and cover printed factory mark, 19.5cm. high (9) £150-200 Provenance The Michael Burningham Collection.

103

104. ‘Dragon and Traveller’ a Carlton Ware floating bowl, pattern no.3597, printed and painted in colours and gilt on a deep blue lustre ground, and another decorated with kingfisher birds, printed and painted marks, 31cm. diam. (2) £120-180 Provenance The Michael Burningham Collection. 105. ‘Honesty’ a Carlton Ware Handcraft vase, pattern no.3278, printed and painted in colours and gilt, on a matt blue ground, a Carlton Ware Handcraft ‘Floribunda’ vase pattern no. 3236, and another vase, pattern no. 3766 printed and painted marks, 24.5cm. high (3) £120-180 Provenance The Michael Burningham Collection.

104

106. ‘Pastoral’ a Carlton Ware Moderne jug, pattern no.4185, printed and painted in colours on a mottled green lustre ground, a Carlton Ware Spangle Tree Moderne jug, and a Hollyhocks Moderne jug printed and painted marks, small chip, 17cm. high, (3) £120-180 Provenance The Michael Burningham Collection. 107. ‘Swansea China’ a pair of Carlton Ware vases and covers, model no.624, printed and painted with panels of flowers on a foliate band, in colours and gilt on a blue ground, and four Crown Devon Blush Ware vases printed marks, repairs, 28cm. high (Swansea China vases), (8) £120-180 Provenance The Michael Burningham Collection.

105

106

107

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108

109

108. ‘Mandarin’s Chatting’ a Carlton Ware ovoid vase, pattern no.3653, ovoid with collar rim, printed and painted in colours and gilt on a black ground printed and painted marks, 18.5cm. high £120-180 Provenance The Michael Burningham Collection. 109. ‘Mandarin’s Chatting’ a Carlton Ware ginger jar and cover, pattern no 3675, printed and enamelled in colours and gilt on a pale yellow and red ground, printed and painted marks, original paper label, 26.5cm. high, (2) £150-250 Provenance The Michael Burningham Collection Literature Dr Czes & Yvonne Kosniowski Carlton Ware The Complete Guide, page 26 for a comparable pair of ginger jars.

110 110. ‘Chinaland’ a Carlton Ware vase and cover probably designed by Enoch Boulton, pattern no.2948, printed and painted in colours and gilt on an orange lustre vase, printed and painted factory marks, 19cm. high, (2) £150-250 Provenance The Michael Burningham Collection. 111. ‘Chinaland’ a Carlton Ware vase, pattern no.2948, printed and painted in colours and gilt on an orange lustre ground, and a Carlton Ware Chinaland ashtray printed and painted marks, repaired rim, 15.5cm. high, (2) £120-180 Provenance The Michael Burningham Collection.

111

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112. ‘Cubist Butterfly’ a tall Carlton Ware vase, pattern no. 3195, printed and painted in colours on an orange ground, and another Carlton Ware ‘Chinese Figures’ vase pattern no.3199, printed and painted marks, 24cm. high, (2) £120-180 Provenance The Michael Burningham Collection. 113. ‘New Mikado’ a large Carlton Ware ginger jar and cover, pattern no.2728, printed and enamelled in colours and gilt on a mottled blue ground, and another smaller Carlton Ware ‘Barge’ ginger jar and cover pattern no.2519, printed and painted marks, repaired cover, 31cm. high, (4) £120-180 Provenance The Michael Burningham Collection.

112 114. ‘Forest Tree’ a Carlton Ware vase, pattern no.3244, swollen cylindrical form, printed and painted in colours and gilt on a mottled matt blue ground printed and painted marks, 31cm. high £120-180 Provenance The Michael Burningham Collection. 115. ‘Persian’ a Carlton Ware baluster vase, pattern no.2884, printed and painted in colours and gilt on a blue lustre ground, the interior pearl lustre printed and painted marks, 33cm. high £120-180 Provenance The Michael Burningham Collection.

113

114

115

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116. ‘Sketching Bird’ a Carlton Ware vase, shouldered form, printed and painted in colours and gilt on a mottled blue lustre ground, and another Carlton Ware Nightingale vase, printed factory mark, 12.5cm. (2) £150-250 Provenance The Michael Burningham Collection.

117. ‘Swallow and Tree’ a Carlton Ware vase and cover, pattern no.3281, printed and painted in colours and gilt on a mottled ground, and a Carlton Ware Chinese Bird and Tree vase and cover, printed and painted factory marks, damages, 18.5cm. high, (4) £120-180 Provenance The Michael Burningham Collection.

116

118. ‘Sunflower Geometric’ a Carlton Ware vase and cover, pattern no. 3333, slender cylindrical form, printed and painted in colours and gilt on a mottled blue ground, and a Carlton Ware Fantasia vase printed and painted mark, repaired damages to main vase, 19cm. high (3) £120-180 Provenance The Michael Burningham Collection.

119. ‘Chinese Bird and Tree’ a Carlton Ware pedestal dish and cover, printed and painted in colours and gilt on a mottled ground, a Carlton Ware Handcraft Chevron pattern dish and cover and a Garden covered pedestal dish and cover, printed and painted marks, 13.5cm. diam. (6) £150-250

117

118

Provenance British Decorative Arts, Christie’s South Kensington, 20th September 2001 lot 115 (Chevron dish and cover). The Michael Burningham Collection.

120. ‘Tutankhamun’ a large Carlton Ware ginger jar designed by Enoch Boulton, pattern no.2711, shouldered form, printed and enamelled in colours on a mottled blue ground with hieroglyphs, printed factory marks and special Tut mark, 26cm. high £200-400 Provenance The Michael Burningham Collection.

119

Catalogue notes The ‘Tutankhamun’, or more correctly Tut pattern was introduced by Carlton Ware in 1923 the year after Howard Carter discovered the king’s tomb in November 1922. Egyptomania spread rapidly across Europe through architecture and the decorative arts.

120

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THE MICHAEL BURNINGHAM COLLECTION OF CROWN DEVON 121. A tall Fielding’s Crown Devon Lustrine vase, shouldered cylindrical form, printed and painted in colours and gilt with an exotic bird amongst stylised flowers and foliage, and another vase in the same pattern and two other Crown Devon vases, printed factory marks, hairline to main vase, 31cm. high (4) £150-200 Provenance The Michael Burningham Collection.

121

122. ‘Chinese Dragon’ a Fielding’s Crown Devon footed bowl, printed and enamelled in colours and gilt on a blue lustre ground, and a Crown Devon square section bowl in the same pattern on a matt jade green ground, printed and painted marks, 25cm. diam. (2) £120-180 Provenance British Decorative Arts, Christie’s South Kensington, 25th October 2001 lot 67. The Michael Burningham Collection. 123. A Fielding’s Crown Devon charger, pattern no.2130, printed and painted in colours and gilt, with two exotic birds perched on stylised flowers and foliage, on a matt green ground printed and painted marks, 39cm. diam. £120-180

122

Provenance The Michael Burningham Collection. 124. ‘Galleon’ a Fielding’s Crown Devon vase, ribbed, lobed cylindrical form, printed and painted in colours and gilt, on a red lustre ground with a galleon at full sail, a Crown Devon Mattajade bowl in the same pattern and a pair of twin-handled vases, printed and painted marks, (4) £120-180 Provenance The Michael Burningham Collection. 125. A Fielding’s Crown Devon Mattajade vase and cover, pattern no.2320, swollen cylindrical form with flat cover, printed and painted in colours and gilt on a turquoise ground with pendulous flowers and foliage and a Crown Devon twin-handled bowl tubeline decorated with an exotic bird flying, printed and painted marks, £120-180 17cm. high, (3) Provenance The Michael Burningham Collection.

123

124

125

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126. Fairy Castle a rare Fielding’s Crown Devon vase designed by Enoch Boulton, pattern no.2414, swollen cylindrical form, enamelled in colours on a coral red ground, highlighted in gilt, printed and painted marks, restored, 23cm. high £150-200 Literature Sue Lunt Age of Jazz British Art Deco Ceramics, National Museums Liverpool, page 64-65 for an example of this pattern in the Mattajade range illustrated. Provenance The Michael Burningham Collection. 127. A Fielding’s Crown Devon Mattajade vase and cover, pattern no.2320, slender, swollen cylindrical form, printed and painted with stylised flowers and foliage in colours and gilt on a turquoise ground, printed and painted marks, 17cm. high (2) £120-180 Provenance The Michael Burningham Collection.

126

128. A Fielding’s Crown Devon Mattajade single-handled vase, model no. 2342, shouldered, cylindrical form, printed and enamelled in colours and gilt with geometric flowers and foliage, on a textured turquoise ground, and two Crown Devon Mattajade jugs similar, printed and painted marks, 34cm. high, (3) £120-180 Provenance The Michael Burningham Collection.

127

129. ‘Fairy Castle’ a Fielding’s Crown Devon vase designed by Enoch Boulton, pattern no.2405, shouldered form, printed and painted in colours and gilt on a red lustre ground, a Crown Devon Fairy Castle vase and cover and a Crown Devon leaf shaped dish similar on a blue lustre ground, printed and painted marks, 15.5cm. high (4) £120-180 Provenance The Michael Burningham Collection. 130. A Fielding’s Crown Devon vase, pattern no.2208, shouldered cylinder form, printed and painted with a bird flying past large stylised flowers and foliage, and another Crown Devon vase pattern no.2674, printed and painted marks, stress lines, 23cm. high, (2) £120-180

128

Provenance The Michael Burningham Collection.

129

130

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131. ‘Spring’ a collection of Carlton Ware Handcraft pottery, painted in colours on a mottled matt grey ground with a stylised tree motif, comprising covered vase, table centrepiece vase and flower brick, another smaller, shouldered jug, milk-jug and sugar basin, two cups, saucers and a side plate, an extra sugar basin, three small vases, and a jug and small dish in the same pattern decorated on a different ground, printed and painted marks, restored finial, £200-400 18cm. high (covered vase) (19)

131

Catalogue notes This design is also known as the Coffee Bean pattern. 132. A pair of Carlton Ware Armand Lustre vase and covers, baluster form, printed and enamelled in colours and gilt with butterflies, on a mottled green lustre ground, printed and painted marks, 23cm. high, (4) £120-180

133

132

133. ‘Dreamer’ a Carlton Ware novelty mug, swollen cylindrical form, printed with a smartly dressed man sitting at the graveside of Joe & Eliza and Sam, the reverse with a printed poem, a Carlton Ware musical jug printed with a man riding a horse and cart full of fruit, a Carlton Ware embossed Cabaret tea set for one on a fitted tray, a Bass mug and a collection of moulded ware including a Pear teapot and cover, a Pear sugar sifter, a cottage preserve pot and cover, a Cottage butter-dish and cover, Anemone ware and an owl money box, and two David Sharp dishes, printed factory marks, 15cm. high (46) £200-400 134. ‘Crinoline Lady’ a Carlton Ware cruet set, comprising tray with figural handle, salt, pepper pot, mustard pot and cover, painted in colours, and a collection of Carlton Ware moulded ware including a Pink Buttercup trefoil dish, preserve pot an cover, butter knife and dish Gift set in original box, a Buttercup butter-dish and cover, a Tulip flower sugar sifter, a Primula footed bowl and a collection of items, printed factory marks, 12.5cm. high, (40) £200-400 135. A collection of twelve Carlton Ware novelty napkin rings, printed and painted in colours, including Punch, Judy and Toby the dog, Guardsman, Sailor, and two additional Crinoline lady napkin rings, two Carlton Ware Dandy and Maid table bells, a kewpie napkin ring and bride ashtray, a cartoon bird cruet set, a Spitting Image Margaret Thatcher egg cup, two novelty teapot and covers, two covered pots and an eight piece Robertson band, printed marks, 10cm high (napkin rings) (36) £200-400

134

136. ‘Yellow Buttercup’ a collection of Carlton Ware china, including, butter dish and knife, teapot and cover, four side plates and two plates, two various toast racks, three servers a footed bowl, and a covered mug printed factory marks, (22) £150-250 137. ‘Girl in a Blue Beret’ a Beswick Pottery wall mask, model no.197, painted in colours, and a Beswick Terrier wall mask, model no. 301, impressed marks, 16.5cm. high (Girl in beret), (2) £120-180

135

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138. An entertaining collection Wishbone figures by Robert Whiting, each figure made of a wishbone and clay, comprising Clement Attle, Ernie Bevan, Sir Anthony Eden, Sir Malcolm Sargent, Mr Terry Thomas, Charles Henry Bennett (Punch artist), Cedric The Caveman, a footballer and two Sam the Yokel figures, most with original paper labels, 7cm. high (10) £120-180 Catalogue notes Robert Whiting was based in Newquay, Cornwall, his handmade figures gained national exposure from exhibition at the Ideal Home Show, an article in The Daily Mail 1939, and several Pathe films. 139. Six Sadler novelty Bunny teapot and covers, glazed in shades of mint green, yellow, blue, sky-blue, red and turquoise, and two novelty Doggy teapot and covers, each modelled as a seated Scottish terrier dog, impressed marks, £150-250 14cm. high (Bunny teapot), (16) 140. ‘Champion Wolstanton Bridgeen (203) Champion Crackley Supreme Again (203) Exquisite Model of Ware (204) and Champion Heather Realisation (205)’ four Crown Devon wall masks designed by Kathleen Parsons, introduced in 1938, modelled as an Airedale terrier, Fox terrier, Cocker spaniel and a Scottie dog, printed factory marks, 17.5cm. high, (4) £120-180

136

137

138

Literature Susan Hill Crown Devon, The History of S. Fielding & Co, Jazz Productions, page 155 for this range illustrated. 141. ‘Carter’s Tiles a Carter’s Poole Pottery advertising paperweight, modelled as a lion lying, holding a shield inscribed Carter’s Tiles, the base inscribed, Poole Terracotta Faience Lustres Mosaics Carter’s Tiles, covered in a red glaze, and another identical, incised 1791 to base, professional restoration £150-250 to base rim and high points, 11.5cm. wide, (2)

139

Literature Leslie Hayward & Paul Atterbury Poole Pottery, Richard Dennis Publications, page 28 for a comparable example glazed transparent green. 142. ‘Carter’s Tiles a Carter’s Poole Pottery advertising paperweight, modelled as a lion lying, holding a shield inscribed Carter’s Tiles, the base inscribed, Poole Terracotta Faience Lustres Mosaics Carter’s Tiles, covered in a translucent green glaze, and another Carter’s tile advertising paperweight modelled as a brick glazed translucent green, incised G to base, professional restoration to base rim and high points, 11.5cm. wide, (2) £150-200

140

Literature Leslie Hayward & Paul Atterbury Poole Pottery, Richard Dennis Publications, page 28 for a comparable example. 143. A Carter Stabler & Adams Poole Pottery model of a squirrel probably designed by Harold Stabler, modelled standing on hind legs and eating a nut, covered in an orange (uranium) glaze, a Poole Pottery Picotee glazed Retriever bust probably designed by Harry Brown, a Poole Pottery German Shepherd (alsation), Terrier and Retriever wall masks impressed marks, 16.5cm. high (squirrel) (5) £120-180 Literature Design in Modern Industry, 1922, The Yearbook of the Design and Industries Association, page 80 for a comparable hare modelled as a mascot for London Country Buses designed by Harold Stabler. Leslie Hayward & Paul Atterbury Poole Pottery, Richard Dennis Publications, page 76 for the wall masks illustrated.

141

142

143

144. ‘Snow White and the Seven Dwarfs’ seven Walt Disney pottery tooth brush holder figures, comprising Snow White and six of the dwarfs, painted in colours, and two additional Walt Disney tooth brush holders modelled as Donald Duck and Toby Tortoise wearing boxing gloves, printed Walt Disney Foreign to bases, £150-200 14.5cm. high (Snow White), (8) 145. ‘Snow White and the Seven Dwarfs’ four Walt Disney Foreign tooth brush holder figures, comprising Snow White, Dopey and two Bashful figures, a Walt Disney Happy dwarf sand-timer, a Walt Disney’s Three Little Pigs tooth brush holders, printed marks, 15cm. high (Snow White), (8) £150-250

144

145

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146. A Poole Pottery Leaping Deer vase designed by Truda Carter, painted by Doris Marshall, pattern TZ, ovoid with twin loop handles, painted in colours on a white ground, impressed mark, painted pattern and artist cipher, 12.5cm. high £150-200 Literature Leslie Hayward and Paul Atterbury Poole Pottery Richard Dennis Publications, page 56 for three vases in this pattern illustrated.

146

147. A Poole Pottery Leaping Gazelle vase designed by Truda Carter, painted by Gwendoline Selby, pattern TZ, shouldered form, painted in colours on a white ground, impressed marks, painted artist cipher and mark, 21.5cm. high £200-300

147

Literature Leslie Hayward and Paul Atterbury Poole Pottery Richard Dennis Publications, page 56 for three vases in this pattern illustrated. 148. A Poole Pottery Plane Ware vase, shape no.170, flaring cylindrical form applied with twin flange handles, covered in a matt sky blue glaze, the handles and foot glazed darker Hyacinth blue, and ‘Poole Pottery’ a silk screenprint by Val Meyer Hall semiabstract depicting the outside of the factory, dated 1994, impressed and incised marks, printed Plane Ware mark, 14cm. high (vase), 48 x 39cm. (print), (2) £120-180 Literature Leslie Hayward & Paul Atterbury Poole Pottery, Richard Dennis Publications, page 71 for examples of Plane Ware illustrated.

148

149. A Carters Poole Pottery Farmyard Series four tile panel designed by E Stickland, FY4, made for Dewhurst butchers, screen printed in colours with three chickens in a landscape, impressed marks, painted FY4 mark, 30.5cm. square (4) £150-200 Literature Leslie Hayward & Paul Atterbury Poole Pottery Richard Dennis Publications, page 169 for the Farmyard Series illustrated as individual tiles. Provenance Private collection.

149

150

151

152

153

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150. A Minton’s Pottery screen printed tile, dated 1924 for Wembley, printed in colours with a stylised Tamarin monkey, framed, impressed Minton’s mark, painted Ymagyhatyf Wembley 1924, 15cm. square £80-120 Provenance Private collection.

151. A Wedgwood Pottery vase designed by Keith Murray, footed, flaring cylindrical form, glazed green to interior, the exterior cream, a Wedgwood spherical lamp-base, covered in a matt cream glaze with graduated silver bands, and two Poole Pottery Bluebird vases, impressed and printed marks, printed facsimile signature, hairline crack to top rim of Keith Murray vase, 24cm. high (4) £150-200

152. A Wedgwood Pottery vase designed by Keith Murray, compressed form, with stepped shoulder, covered in a matt white glaze printed factory mark and facsimile signature, stained crazing, £150-250 17cm. high

153. A Wedgwood Pottery vase designed by Keith Murray, ribbed spherical form, covered in a Matt Green glaze, printed factory mark and facsimile signature, 16cm. high £120-180

154

154. Charles Vyse (1882-1971) The Piccadilly Rose Woman, 1923 a Chelsea figure modelled seated beside a basket of flowers, glazed in naturalistic colours painted mark and date to base, minor losses to £200-300 petals 21cm. high Literature Charles Vyse, Richard Dennis/FAS London, page 13 catalogue number 7 for a comparable example. Provenance Private collection.

155. Charles Vyse (1882-1971) Seated Tabby Cat, stoneware, modelled alert and looking backwards, naturalistically painted in shades of tenmoku and ochre, incised C Vyse Chelsea, 22cm. high £400-600 Literature Charles Vyse Richard Dennis/FAS catalogue 1974, page 48 catalogue number 86, for a comparable example illustrated. Terence Cartlidge, Charles & Nell Vyse, Dennis & Pascoe, page 52 for a comparable example illustrated.

155

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156. ‘Lady Jester’ HN.1221 a Royal Doulton figure designed by Leslie Harradine, painted in colours, ‘Harlequinade’ HN.585 designed by Leslie Harradine, Maureen HN.1770 and Janet Hn.1537, two Royal Doulton figures printed and painted marks, repaired damages, 18.5cm. high, (4) £150-180 157. A Royal Doulton Series Ware three vase garniture designed by Charles Noke, the central vase swollen, twinhandled form with silver gilt rim by George Betjemann & Sons, flanked by two slender twin-handled vases with silver rims, each decorated in low relief with witches in a wooden landscape, in colours printed factory marks, facsimile signature, London George Betjemann & Sons 1908, 10.5cm. high and 13.5cm. high (3) £150-200

156

158. An unusual Doulton Burslem wall light, modelled as a winged cherub riding a dragon, covered in a vellum glaze, printed £120-180 factory mark, chips, 24cm. high 159. A Royal Doulton flambe dish designed by Charles Noke, circular section with two lug handles, covered in a smoked red flambe glaze with yellow highlights, printed factory mark, painted Noke signature, 16cm. wide £150-200 160. A pair of Royal Doulton Flambe vases by Harry Nixon, tapering square section with everted rim and swollen base, covered in a mottled red flambe glaze over orange and ochre printed factory marks, painted HN monogram, 26.5cm. high, (2) £120-180

157

158

161. A Bernard Moore flambe gourd vase by Cicery Jackson, painted with a design of berries and spider’s webs in shades of red flambe on a smoked ground, signed Bernard Moore and CJ monogram, 22cm. high £150-250 162. A Bernard Moore bowl, painted to the well with a heron on a riverbank, inside oriental geometric border with chrysanthemum and prunus roundels, in black on a red flambe ground, signed Bernard Moore and artist monogram, hairline to rim, 26cm. diam. £120-180 163. A large Bernard Moore flambe bowl by R Tomlinson, internally painted with a ferocious dragon looking directly out, in red flambe on a smoked ground, the exterior glazed flambe red, painted Bernard Moore and artist monogram, impressed £800-1,200 marks, 36cm. diam.

159

160

161

162

163

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164

165

166

164. A large Mintons Pottery sugar jar and cover and en suite flour sifter designed by John Wadsworth, ribbed cylindrical form, glazed cream with coral red bands and stencilled black words, printed factory marks, 19.5cm. high (sugar), (3) £150-250 165. A Susie Cooper Carved Ware jug, ovoid, incised with a leaping ram to either side, covered in a cream glaze, a pair of Crown Devon Embossed Stag wall plaques modelled in low relief with a deer amongst stylised foliage, a wall pocket similar, a Burleigh Ware vase by Charlotte Rhead, model no.4497,. Carlton Ware banded jug and a collection of ceramics, incised mark, 21.cm. high, (17) £200-300

167

Literature Susan Hill Crown Devon The History of Fielding & Co, Jazz Publications, page 101 the range of embossed stag illustrated and dated 1950. 166. ‘Manchu’ a Crown Ducal vase designed by Charlotte Rhead, swollen cylindrical form, tubeline decorated with a ferocious dragon, in colour, highlighted in gilt on a pale green ground, a Maling lustre vase model no.6157, and a collection of ceramics including Royal Winton, Maling, Poole Pottery and Kevin Francis, printed factory marks, 22cm. high (a lot) £120-180 Provenance The Michael Burningham Collection. 167. A Crown Devon Art Deco jug and two beakers, pattern 1808, ribbed cylindrical form, painted with bands in shades of orange, yellow, green, red, blue and black, a Clarice Cliff Bizarre preserve pot, a ‘Yellow Rose’ Clarice Cliff Odilon sauce boat, A Shelley Harmony jug and Art Deco jug, a Poole Pottery Bluebird vase and bowl and 7 other Poole items, printed factory marks, 9.5cm. high (preserve pot), (15) £120-180

168

Provenance Private collection. 168. A collection of Shelley Pottery Harmony Ware designed by Eric Slater, including a small blue banded ginger jar and cover, three conical footed vase, two other blue banded vases, and a collection of banded bowls and plates, and eight Melba Ware fish plates, printed factory marks, 12.5cm. high (ginger jar), (a lot) £150-250 169. ‘Yellow Block’ a Shelley porcelain Regent tea set designed by Eric Slater, pattern W12128, painted with a geometric motif in yellow, grey and black, comprising, milk-jug and sugar basin, six cups, saucers and side plates and a sandwich plate, printed and painted marks, damages to one cup, 25cm. wide (sandwich plate), (21) £150-200

169

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CONTINENTAL CERAMICS

170 171

170. A Modernist La Casa dell’ Arte stoneware tea set for six, decorated with a geometric design in turquoise-green and rust, comprising teapot and cover, milk-jug and cover, sugar basin and cover, six, cups, saucers and side plates, painted marks, glaze chip to spout rim of teapot, teapot 22cm.wide (24) £250-350 Literature Fulvio Rosso Uomini e Ceramiche del Novecento Italiano, page 38-39 for details of the factory and its marks.

171. A Rosenthal porcelain dish, printed and painted with an Art Deco lady holding an exotic bird in colour highlighted in gilt, printed factory marks, 10cm. diam.£150-200

172

172. A Boch Freres pottery vase designed by Charles Catteau, model D.1174, shouldered form, decorated with geometric flowers in blue, yellow and turquoise on a crazed white ground, and another Boch Freres vase designed by Charles Catteau decorated with a band of overlapping shell motif in orange, yellow and black printed factory marks, small bruise to top rim, 34cm. high (2) £150-250

173

173. A Saint Radegonde pottery vase, ovoid form with curled neck and handle decoration, covered in a graduated bottle green glaze impressed factory mark to base, 24cm. high £120-180

174 174. A pair of Limoges pottery gazelle book ends designed by Camille Tharaud, glazed in blue and brown printed factory marks, 22.5cm. wide, (2) £200-300

175. A Royal Copenhagen model of a parrot the design attributed to Armand Petersen, model no. 2235, the Hyacinth Macaw modelled perched on a pedestal, glazed in colours impressed, printed and painted marks, 41cm. high £150-200

176. Le Pigeon S’Envole a ceramic bird sculpture by Jacques Adnet, on stepped base, covered in a cream white glaze, impressed Adnet to base, 49.5cm. high £200-300 Provenance Clarice Cliff, Art Deco & Design, Woolley and Wallis Auctioneers 21st March 2018 lot 84.

175

176

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177. ‘Maternita’ a Lenci Pottery figure designed by Helen Konig Scavini, modelled as a mother and child seated, watching a bird perched on her dress, glazed in colours, painted factory marks, paper retailers label, professional restoration, 32cm. high £500-600 Literature Alfonso Panzetta La Ceramiche Lenci, Umberto Allemandi, page 1184 catalogue number 468 for this model illustrated. 178. A large Katshutte Pottery model of a woman by Stephan Dakon, modelled standing with long flowing dress and broadrimmed hat, glazed purple to blue on a white ground, on domed, elliptical base, printed factory mark, impressed Dakon to base, 43cm. high £350-450 179. A porcelain model of a woman, model no. 8925, modelled wearing long, flowing purple dress, impressed number to £150-200 base rim, 27cm. high 180. A Goebels model of a woman, model no 101, modelled striding forward, her right hand holding the hem of her skirt, wearing floral dress, on domed black base, impressed marks, minor nicks to base, 31cm. high £200-300

177

181. A continental pottery model of a woman with a terrier, model no.183, glazed in colours, impressed and printed marks to base, hairline to base, 29.5cm. high £150-200

179

178

180

181

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182

183

184

185

182. A porcelain decanter and stopper probably by Robj, modelled as a Russian peasant, glazed in colours, and a Robj Brule Parfums base, impressed marks, 22.5cm. high £120-180 183. A Robj porcelain brulee parfums, model no.221, modelled as kneeling semi-naked Egyptian maiden holding a pot and cover, glazed in colours, highlighted in gilt, printed factory mark, 20.5cm. high £200-300 Literature Vanna Brega Le Ceramiche Robj, 1921-1931, page 205 for a comparable example illustrated.

186

184. A Haas & Czjzek Schlaggenwald porcelain figure of a woman, model no.k.499, modelled wearing streamlined green dress with white, grey and black bands, highlighted in silver lustre, in highlighted printed and painted marks, repaired, 16.5cm. high £120-180

187

185. A Katshutte porcelain model of a dancer, modelled in exotic dress, glazed in colours printed factory marks, repair hair tip, 23cm. high £120-180 186. A Goldscheider Pottery novelty model of a terrier holding an umbrella, model no.6449, painted in colours impressed marks, professional restoration, 10.5cm. high £50-100 187. A small Goldscheider Pottery wall mask of a woman holding a mask, model no.8935, glazed in colours a Goldscheider wall mask of a woman with white hair blowing in the wing and another of a woman with black hair, printed West German marks, impressed numbers, original paper label to main, 21.8cm. high (smallest), (3) £120-180

188

Literature Ora Pinhas Goldscheider Pottery, Richard Dennis Publications, page 1175 for a comparable woman with a mask. 188. A Sitzendorf model of an exotic dancer, modelled holding a tambourine, the costume highlighted in gilt, and an Art Deco porcelain half-body figure printed factory marks, damages, 19cm. high £120-180

189

189. A Katshutte model of a woman, modelled dancing in flowing pink dress and cape, printed factory mark, 24.5cm. high £120-180 190. Emmanuel Cavacos (1885-1976), a pottery sculpture of a naked woman, modelled standing on one leg her arms outstretched for balance, on oval base signed in the base E Cavacos 42.5cm. high £120-180 191. A Meissen porcelain model of a young lady bowling designed by Walter Schott, modelled in green dress, bending to bowl a golden ball, on circular base, in colours, highlighted in gilt, blue cross swords marks and impressed marks, professionally restored bowling hand, 29.5cm. high £300-400

190

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192 192. A rare Goldscheider Pottery freestanding model of a woman, model no.7543, half length, modelled holding a blue tulip flower to her chest, glazed in colours printed factory mark, impressed model numbers, restored fingers and hair curls, 36.5cm. high £500-800

193

Literature Ora Pinhas Goldscheider Pottery, Richard Dennis Publications, page 164 for a comparable figure (numbered 7534).

193. A large Goldscheider Pottery of a designed by Josef Lorenzl, model no.5927, modelled standing in exotic costume, headdress and purple cape, on domed octagonal base, Impressed factory marks, printed marks and impressed facsimile signature, small glaze chip to cloak rim, 44.5cm. high £2,000-3,000 Literature Ora Pinhas Goldscheider Pottery, Richard Dennis Publications, page 129 for a comparable example illustrated.

194. A Goldscheider Pottery model The Egyptian Dancer designed by Josef Lorenzl, model no.5281, modelled standing in pantaloons and a purple cloak, on stepped oval base, and eight photographic postcards depicting the dancer Miss Maud Adams in exotic Egyptianesque costume, impressed marks and printed Goldscheider mark and impressed Lorenzl facsimile signature, 28.5cm. high £1,000-2,000 Literature Ora Pinhas Goldscheider Pottery, Richard Dennis Publications, page 108109 for six examples of this figure illustrated in different colours.

194

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196 195

GLASS 195. A Delatte Nancy glass vase designed by Andre Delatte, swollen cylindrical form, mottled yellow glaze, enamelled with a band of flowers and foliage in blue and white on a black ground, and another De Latte glass vase enamelled with stylised rose motif, etched Delatte Nancy 25cm. high (2) £200-250

197

196. An enamelled glass shade, faceted tapering form, decorated with geometric panels in red, ochre, black and white, with black enamelled metal frame, a frosted glass shade decorated with rose flowers and a bell shaped glass shade decorated with floral panels, unsigned, 18.5cm. high, (3) £120-180

197. A faceted clear glass vase probably Val St Lambert, tetradecagonal clear glass body and foot overlaid with aubergine glass, unsigned, 18cm. diam. £150-200

198

198. A frosted glass rabbit paperweight/mascot, on circular base, acid-etched mark to base, 12.5cm. high £150-200

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199 two views

199. A Decorchemont pate de cristal glass coupe by Francois Emile Decorchemont, mottled and streaked amber glass, he ribbed footed bowl with twin handles, the handles cast with pairs of budgerigars, impressed seal mark, etched 0808 to base, 20.5cm. wide £1,500-2,000

200. Cendrier Etoile, a Decorchemont pate de crystal bowl by Francois Emile Decorchemont, green glass, on three applied ball feet, cast in low relief with radiating lines, impressed cast mark, etched B81, 14cm. diam. £1,000-1,500 Literature Veronique Ayroles Francois Decorchemont Norma Editions, page 272 for comparable example illustrated models 316 and 317.

200 two views

201. Medallion (Cleopatra) a Gabriel Argy-Rousseau pate de verre dish, opaque, pink and purple glass, signed G Argy-Rousseau, 16cm. wide £1,000-1,500 Literature Janine Bloch-Dermant G. Argy-Rousseau, Thames & Hudson, page 195 catalogue number 23.29 for a comparable example illustrated.

201

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202

203

203A

LALIQUE GLASS 202. A modern Lalique clear and frosted glass vase, footed, flaring conical form, moulded with birds perched in scrolling boughs incised Lalique France to foot rim, 19cm. high £80-120 203. A modern Lalique clear and frosted glass bowl, elliptical section, moulded in relief with stylised fish, a modern Lalique fan shaped vase, a modern Lalique ‘Dampierre’ urn shaped vase and a small Lalique scent bottle, etched Lalique France 29cm. wide, (4) £150-200 203A. ‘Colereux’ ‘Moqueuer’ and ‘Hardi’ 3 Lalique frosted glass bird table centrepieces originally designed by Rene Lalique, and another glass bird table centrepiece, etched Lalique France, 13cm. long (4) £100-200 204. ‘Renoncules’ no. 1044 a Lalique opalescent and frosted glass vase designed by Rene Lalique, etched R Lalique France, 14.5cm. high £700-900 This vase was introduced in 1930.

204

205. ‘Nefliers’ no. 940 a Lalique frosted glass vase designed by Rene Lalique, blue staining, etched R Lalique, 14cm. high £600-800 This vase was introduced in 1923. 206. ‘Ormeaux’ no. 3048 a Lalique clear glass plate designed by Rene Lalique, with sepia staining and ‘Jaffa’ no. 3052 a Lalique clear glass plate with green staining, etched R Lalique France, 26cm. diam. (2) £120-180

205

206

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207

208

209

207. ‘Laurier’ no. 947 a Lalique opalescent glass vase designed by Rene Lalique, blue staining, stencilled R Lalique France, 18cm. high £700-900 This vase was introduced in 1922.

208. ‘Ete Surtout Quatre Saisons’ no. 840bis one of the four seasons (Summer) a Lalique frosted glass statuette designed by Rene Lalique, grey staining, etched R Lalique France, 19.5cm. high £450-550 This statue was introduced in 1939.

209. ‘St Marc’ no. 10-934 a Lalique blue stained glass vase designed by Rene Lalique, etched R. Lalique, 17cm. high £600-800 This vase was introduced in 1939.

210. ‘Myosotis’ no.611 a Lalique large frosted glass scent bottle and stopper designed by Rene Lalique, with sepia staining, etched R Lalique France 611, stopper repaired, 30cm. high (2) £500-800

210

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211 211. An unusual Gray-Stan glass dish designed by Elizabeth Graydon-Stannus, circular, welled form, combed black and opaque glass cased in clear, incised Gray-Stan signature, 36cm. diam. £200-300 Literature Charles Hajdamach 20th Century British Glass, Antique Collector’s Club, page 93 plate 180 for a selection of similar Gray-Stan glass described as ‘Black glass and white china enamel’. 212. A Webb Cameo Fleur glass vase, waisted cylindrical clear glass with textured finish, overlaid in pink with flower stems, Webb cameo signature, 22cm. high £150-250 213. A Webb Cameo Fleur glass vase, waisted cylindrical clear glass with textured finish, overlaid in amber with flower stems, Webb cameo signature, 22cm. high £150-250 214. An English Art Deco lemonade jug and six glasses in the manner of Stuart Glass, flaring cylindrical form on applied amber glass feet, etched with diagonal bands of geometric patterns, two Medieval style glass ewers, a Turn Royal Vienna Secessionist pottery vase decorated with panels of Glasgow rose and flowers, and a pot cover, jug set unmarked, jug 22.5cm. high, (11) £50-100

212

213

214

215. A Hartley Wood Sunderland glass vase, shouldered amorphic form, pink and amber streaked glass with air bubble inclusions, another Hartley Wood streaked vase and an Orrefors etched and cut glass vase by Sven Palmqvist, flaring, faceted form engraved with a naked female figure, unsigned, Orrefors etched £150-200 signature, 28.5cm. high (3)

215

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216

217

218

216. A Stevens and Williams Royal Brierley footed glass vase designed by Keith Murray, tall flaring conical amethyst glass body with large air bubbles, on clear glass foot, unsigned, 37.5cm. high £200-300

217. A Stevens and Williams Royal Brierley footed glass vase designed by Keith Murray, tall flaring conical amethyst glass body with large air bubbles, on clear glass foot, unsigned, small chip to foot rim, 30cm. high £150-200

218. A Stevens and Williams Royal Brierley footed glass vase designed by Keith Murray, the flaring bucket form glass body with small air bubble inclusions, acid etched mark to the base, 31cm. high £200-300 Literature Charles R Hajdamach 20th Century British Glass, Antique Collector’s Club, page 148 this shape illustrated in a green colourway,

219 219. A Stevens and Williams Royal Brierley footed glass vase designed by Keith Murray, the flaring bucket form blue glass body with small air bubble inclusions, unsigned, 32cm. high £150-200 Literature Charles R Hajdamach 20th Century British Glass, Antique Collector’s Club, page 148 this shape illustrated in a green colourway,

220. A Stevens and Williams Royal Brierley Cactus vase designed by Keith Murray, flaring cylindrical form on applied foot, engraved with a simple cactus flower design unmarked, 34.5cm. high £300-500 Literature Charles R Hajdamach 20th Century British Glass, Antique Collector’s Club, page 149 for an identical shape vase decorated with Cactus. Andrew Casey 20th Century Ceramic Designers in Britain, Antique Collector’s Club, page 205 plate 226 for a comparable shape decorated with an angel fish (original Steven’s & Williams advertisement circa 1939) and page 189 plate 203 for a similar shaped vase, with different foot, decorated with a cactus design.

220

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THE MORGAN COLLECTION OF MONART GLASS 221. A Moncrieff’s Monart Ware glass perfume bottle and stopper, shape VB, opaque glass decorated with purple graduating to pink, cased in clear unsigned, 21.5cm. high, (2) £300-600 Provenance The Morgan collection of Monart glass. Literature Ian Turner, Ysart Glass, Volo Editions, page 173 this shape reproduced from the original catalogue.

222. A Moncrieff’s Monart Ware scent bottle and stopper, shape VB, mottled pink cased in clear with mottled green inclusions to neck and shoulder, green whorls to the shoulder unsigned, 17.5cm. high £300-500

221

Provenance The Morgan collection of Monart glass.

223. A Moncrieff’s Monart Ware vase, shape F, shouldered form, orange glass with green and ochre pulled stripes, cased in clear, unsigned, 21.5cm. high £400-600 Provenance The Morgan collection of Monart glass.

224. A Moncrieff’s Monart Ware glass bowl, clear glass with blue graduating to purple stripes, with controlled air bubble columns and band to the top, cased in clear unsigned, 11cm. diam. £120-180 Provenance The Morgan collection of Monart glass. Literature Ian Turner Ysart Glass, Volo Editions, page 74 plate 61 for a footed vase decorated with similar colours and air bubble design.

222

223

224

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225. A Moncrieff’s Monart Ware glass mushroom lamp and shade, mottled blue glass with green, yellow and deep blue pulled decoration, cased in clear, the shade mottled blue with yellow and purple mottled rim, with bronze tripod mount, applied retail paper label for Watson’s China Hall, Perth 35cm. high (2) £1,200-1,800 Provenance The Morgan collection of Monart glass. Literature Ian Turner, Ysart Glass, Volo Editions, page 88-89 plate 83a for a comparable lamp.

225

226. A Moncrieff’s Monart Ware glass lamp base and shade, model VII, opaque white graduating to pink and then pale yellow with yellow and pink whorl inclusions, with brass tripod mount, unmarked, 32cm. high £1,000-1,500 Provenance The Morgan collection of Monart glass. Literature Ian Turner, Ysart Glass, Volo Editions, page 86-89 for two comparable mushroom shaped lamps.

226

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227 label

227. A Moncrieff’s Monart Ware glass bowl on applied foot, mottled green glass with a cloud of orange and aventurine applied paper label, 26cm. diam. £150-200

227

Provenance The Morgan collection of Monart glass, this was the first piece purchased by Robert Morgan in 1998. 228. A Moncrieff’s Monart Ware glass vase, shouldered form, mottled green shoulder graduating to purple and blue with aubergine veins, cased in clear, unsigned 20cm. high £250-300 Provenance The Morgan collection of Monart glass.

228

229

Literature Ian Turner Ysart Glass, Volo Editions, page 61 plate 27 for a vase with this type of decoration reversed. 229. A Moncrieff’s Monart Ware glass vase, shape VA, shouldered form, clear glass with red and orange mottled inclusions, with aventurine inclusions, original paper label, 23cm. high £350-450 Provenance Originally retailed by Watson China Hall, Perth. The Morgan collection of Monart glass. 230. A Moncrieff’s Monart Ware glass, shouldered form with collar rim, clear glass, mottled red graduating to aubergine to shoulder and neck, with splashed of aventurine, unsigned, 20cm. high £150-200 Provenance The Morgan collection of Monart glass. 231. A Moncrieff’s Monart Ware glass vase, shouldered ovoid form, clear glass with pale blue graduating to pink, the body with panels of green and yellow whorls, with aventurine inclusions, unsigned, 28.5cm. high £200-400 Provenance The Morgan collection of Monart glass.

230

231

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232

233

232. An unusual Moncrieff’s Monart Ware surface-decorated glass coupe vase, clear glass surface decorated with yellow, blue and metallic crackled patches, unsigned, 17.5cm. high £350-450 Provenance Lyon & Turnbull The Morgan collection of Monart glass. Literature Ian Turner, Ysart Glass, Volo Editions, page 101 plate 98 for a comparable vase illustrated. 233. A Moncrieff’s Monart Ware Cloisonne glass vase, swollen, footed form, opaque white glass surface decorated with crackled blue, with patches of green unsigned, 22cm. high £500-800 Provenance The Morgan collection of Monart glass. Literature Ian Turner Ysart Glass, Volo Editions, page 103 plate 102 for a comparable vase. 234. A Moncrieff’s Monart Ware Cloisonne vase, shape L, scarlet red liner, surface decorated with lustre, white crackled design, collection label to base, 24.5cm. high £450-550 Provenance Cyril Manley collection. The Ian Turner Collection of Monart Glass, Christie’s South Kensington, 24th September 2003, lot 127 The Morgan Collection of Monart Glass. Exhibited British Glass Between The Wars, Broadfield House Glass Museum, 13th June - 31st August 1987 catalogue number 68. Literature Ian Turner Ysart Glass, Volo Editions, page 102-103 plates 100-101 for comparable examples. Roger Dodsworth British Glass Between The Wars page 43 catalogue number 68 this example illustrated. Another example of this technique illustrated on the front cover of the Exhibition catalogue.

234

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235

236 235. A Moncrieff’s Monart Ware miniature Cloisonne glass vase, footed, flaring cylindrical form, clear glass surface decorated with crackled pale blue with white highlights, unsigned, 9.5cm. high £100-200 Provenance The Morgan collection of Monart glass.

237

236. Ysart Glass by Ian Turner, a book published by Volo editions. £50-100 Provenance The Morgan collection of Monart glass. 237. A Moncrieff’s Monart Ware glass vase, opaque glass, surface decorated with yellow and lustred white stripes, applied collection label, 13cm. high £500-800 Provenance Ian Turner collection. The Morgan collection of Monart glass. Literature Ian Turner Ysart Glass, Volo Editions, page 109 plate 113 for a comparable example illustrated. Charles Hajdamach 20th Century British Glass, Antique Collector’s Club, page 103 plate 202 for two comparable examples. This technique was achieved by blowing the glass into a dip mould with vertical grooves and then rolled in coloured glass powder. 238. A Moncrieff’s Monart Ware glass vase, shape VI, waisted form, clear glass with vivid green spot decoration, with white whorls towards the base of the body, paper collection label, 20cm. high £300-500 Provenance Ian Turner The Ian Turner Collection of Monart Glass, Christie’s South Kensington, 24th September 2003 lot 6. The Morgan collection of Monart glass.

238

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239

240

239. A rare Moncrieff’s Monart Ware vase, milky-off white liner cased in red with millefiori cane inclusions, unsigned, 18cm. high £800-1,200 Provenance The Morgan collection of Monart glass. Literature Ian Turner Ysart Glass, Volo Editions, page 98 catalogue number 91 and 92 for two comparable vase.

240. A Moncrieff’s Monart Ware Stoneware vase, shape, clear liner, mottled green glass with blue pulls and surface iridescence, unsigned 17cm. high £400-600 Provenance The Morgan collection of Monart glass. Literature Ian Turner Ysart Glass, Volo Editions, page 107, plate 107 for a comparable technique.

241. A rare large Moncrieff’s Monart Ware surface decorated vase, model AVD31, tapering conical form with everted rim, clear glass body decorated with white splashes, highlighted with pink, blue, orange and yellow whorls towards the base, applied collection paper label, 25cm. high £1,000-1,500 Provenance The Ian Turner Collection of Monart Glass, Christie’s South Kensington, 24th September 2003, lot 136. The Morgan Collection of Monart Glass.

241

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DODO BURGNER ‡ 242. Dorte Clara Dodo Burgner (1907-1998) The Conversation pen and ink on paper, mounted unsigned 25.5. x 19.5cm. £120-180

‡ 243. Dorte Clara Dodo Burgner (1907-1998) Friesuren (hairstyles) pen and pink ink on paper, mounted titled, unsigned, 31 x 21.5cm. £120-180

242

243

‡ 244. Dorte Clara Dodo Burgner (1907-1998) The Mountaineers watercolour on paper, with pencil drawing to reverse, annotated to right corner, unsigned 35.5 x 27.5cm (sheet) £120-180

‡ 245. Dorte Clara Dodo Burgner (1907-1998) Woman Smoking in her Boudoir, pen and ink on paper, mounted unsigned 33 x 25cm. £120-180

‡ 246. Dorte Clara Dodo Burgner (1907-1998) Design for a poster watercolour on paper, framed unsigned 48 x 33cm. (image) £120-180

244

245

246

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247 ‡ 247. Dorte Clara Dodo Burgner (1907-1998) Woman in a Green Dress pencil and watercolour on paper, and another similar unsigned 54 x 44cm. (sheet), (2)

£120-180

‡ 248. Dorte Clara Dodo Burgner (1907-1998) Seated Lady Reading pencil and ink wash on paper unsigned 45 x 35.5cm (sheet)

£120-180

‡ 249. Dorte Clara Dodo Burgner (1907-1998) Reigen (roundelay) watercolour and pencil on paper, mounted signed and titled in ink 29 x 24cm.

£120-180

‡ 250. Dorte Clara Dodo Burgner (1907-1998) Couple on a Couch, pencil and ink on paper, mounted signed Dodo 33 x 24cm.

£120-180

249

248

250

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252 251. The Studio Yearbooks five volumes published by The Studio Publications, 1925, 1932, 1933, 1943-1948 and 1949, Everyday Things Exhibition, 1936 catalogue an exhibition organised by The Royal Institute of British Architects, and The Future of Wood Engravings, Etchings of Today, fine Prints of the Year (1924, 1929, 1933) and Drawing and Design, (12) £150-250

251

252. ‘The Studio Yearbook’ nine volumes from 1920 to 1940 published by The Studio Publications, comprising; 1920, 1925, 1926, 1927, 1931, 1932, 1933, 1934, 1935, 1937, 1939, and 1940, £400-600 and The Studio Year Book 1907, (10)

253

254

253. Edith C Hibbs Winged figure in a fantastic landscape, pen and ink on paper, framed signed top right Edith C Hibbs 36 x 29cm. (image)

£150-200

254. Julius Klinger (1876-1942) Mem Klingen (razor blades), 1922 lithograph on paper advertising poster for M E Mayer, Vienna, framed 51 x 45cm. £120-180 Catalogue notes M.E.Mayer was a Vienna based manufacturer of soaps, perfumes and razors. 255. Walter Schnackenberg (1880-1961) Ballet und Pantomine, 1920 pencil and wash on paper design for the front cover of twentytwo costume designs, framed signed in pencil 29.5 x 21cm. £500-800 256. Fred Taylor (1875-1963) Market Scene photographic reproduction on paper, framed signed in the print and pencil signature 72 x 59cm.

255

256

£120-180

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257

258

257. Design for a Dining Room by Harvey Nichols ltd Knightsbridge, watercolour on paper, framed, and another design for a lounge, original title labels to reverse of Dining Room, 51 x 37cm. (image), (2) £300-500 Catalogue notes The Design for a Dining Room is labelled Mrs M Blackwell, Ealing.

258. Louis Icart (1888-1950) Nijinsky, Russian Ballet Dancer aquatint on paper, framed signed lower right Louis Icart 46 x 31cm. (image)

£150-200

259. Franz Laskoff (1869-1921) Mele & Ci, Napoli, 1914 a Ricordi portfolio poster, framed, printed by Mele & C, Napoli, and Mele & Ci (Massimo Buon Mercato), 1914, by Aleardo Villa, another Ricordi portfolio poster, signed in the print, 25.5 x 18cm. (image), (2) £150-200

260. Francesco Fabregas Smoking El Papel de Fumar, lithographic poster on paper, framed signed in the print Fabregas 64 x 44.5cm.

259

£120-180

261. Jean Jacquelin (1905-1989) SS France, French Line Le Harve-New York lithographic poster on paper, printed by Hubert Bailie Paris, mounted on card, framed signed in the print, 99.5 x 61.8cm. £150-250

260

261

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FURNITURE & METALWARE 262. A Modernist bakelite and chromed metal table, the circular brown bakelite top on chromed tube base, stamped Plastic Metal Products 91cm. diam. £120-180 Provenance The collection of Rodney Bewes. 263. A Bauhaus modernist nickel plated tubular steel RP7 chair designed by Bruno Pollack, with later Checker pattern slung cotton seat and back by Isobel Watson, applied Made in Austria label, 81cm. high £150-200

262

264. A Gallia electroplated ice bucket, flaring cylindrical form with ribbed band decoration and two loop handles, a Gallia twin-handled electroplated footed bowl and a Mappin & Webb electroplated footed bowl the design attributed to Keith Murray stamped marks, 20.5cm. high (3) £150-200

263

Literature Everyday Things Exhibition, 1936, Royal Institute of British Architects, page 37 catalogue number D108 for a similar bowl illustrated as part of a cocktail set. 265. An Art Deco chrome travelling timepiece in original fitted case retailed by Harrods, rectangular form with Swiss 8 day movement, Arabic numerals, with silk-lined case stamped Harrods London, clock unmarked, 9cm. high, 7.5cm wide.£150-200

264

266. An English Art Deco peach-tinted mirrored glass standard uplighter lamp, three peach glass tubes supporting textured paper shade, unsigned, 157cm. high £120-180 267. An Art Deco Epstein walnut veneer dining room suite for four, comprising dining table, four chairs and a sideboard, the table with shaped rectangular top on two pedestals, with glass protective top, the curved, solid back chairs with black leather cushioned pads, unsigned, 184 x 91cm (table top), 162cm. wide (sideboard). (9) £700-1,000

265

266

267

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268. An English veneered occasional table, square section quartered veneer with central drawer, flanked with shelves, unsigned, 53 x 55cm, 57cm. high £150-250

269. A small bedside cabinet possibly Bowman Brothers, rectangular section, the two drawer cupboard on arched foot, below mirrored glass top shelf, stamped marks to £120-180 back, 52cm. wide, 57cm. high

270. A satin wood dressing table in the manner of Betty Joel, rounded rectangular form with hinged curved cupboard enclosing drawers, the top with hinged mirror, on plinth base, chrome fittings, unsigned, 93 x 46cm, 76cm. high £400-500

268

269

Literature Classic Art Deco Christie’s South Kensington, 20th September 2000 lot 223 for a comparable dressing table designed by Betty Joel and made in 1936.

271. A Betty Joel Token Works walnut dining table, made by W R Hamilton, 1929, the canted rectangular top with stepped edge, on heavy square section legs with reeded decoration, applied paper label, 180 x 75.5cm (top), 72cm. high £700-1,000 Provenance Interiors Dreweatts & Bloomsbury, 9th December 2015 lot 445 Private collection.

270 open

271

270

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272

274

273

272. A pale lemon glass and chrome uplighter, on square chrome base unsigned, 36cm. high £120-180 Provenance The collection of Rodney Bewes 273. A pair of Art Deco calamander and burr wood bedside cupboards, each with a raised back above a black marble top, a drawer and a cupboard, revealing a bird’s eye maple veneered interior with a shelf, 105.8cm high, 45cm wide, 39.5cm deep. (2) £500-800 Provenance The collection of the late Geoffrey Harley, Furniture, Works of Art & Clocks, 11th April 2018, lot 215. Private collection.

276

274. An Austrian patinated bronze twobranch candlestick, modelled as a stylised exotic priestess, holding up two floral sconce, on stylised coronet base, signed EH 22 to top of base, 35cm. high £300-350 275. A polished chrome Yacht table lamp, stamped regd mark, 37.5cm. high £120-180 276. A French electric mantel clock, rectangular pillar box red body with stepped top, on stepped polished metal foot, the rectangular dial with Roman numerals, dial stamped Cartier Electric, cast Made in France 420 to base, replacement modern battery movement, 22cm. high £120-180

275

277. A patinated bronze candelabra, the low pierced body with Chinese panel work, below six round sconce, unsigned 54cm. £150-200 wide, 12.5cm. high

277

Provenance Ernst Michel (architect) thence by descent.

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278. A Leleu Decorateurs woven wool carpet the design attributed to Paule Leleu, rectangular, decorated with a cream diamond trellis panel with yellow and blue infill, on a white ground, signed Leleu to in the design to one corner, applied label to reverse, no,747, 294 x 202cm. ÂŁ2,000-4,000

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279

280

279. A patinated metal figural table lamp after a model by Josef Lorenzl, modelled as a dancer holding a scarf, on veined marble base, with frosted glass flame shade unsigned, 27.5cm. high, (2) £120-180 280. A patinated bronze model of a young boy skier, modelled standing resting, on a textured, naturalistic stone base unsigned, 17.5cm. high £300-400

281 281. A patinated metal figural lamp, modelled as a woman holding up a frosted glass ball shade, on onyx base, unsigned, 61cm. high, (2) £150-200 282. Emile Carlier (1849-1927) a patinated spelter model of a dancer, modelled standing on one leg, arms outstretched forward, on veined marble stepped base, etched Carlier to base, 52.5cm. high £120-180 283. A patinated metal figural table lamp in the manner of Josef Lorenzl, the figure modelled lying and resting, on alabaster base, with frosted glass circular shade, £120-180 unsigned, 20cm. wide, (2)

282

283

284. A patinated metal model of a dancer, modelled standing, her arms raised upwards, in short silver one-piece dress and exotic hair ornament, on later stepped oak base unsigned, 43cm. high £120-180 Provenance The Michael Burningham Collection. 285. A gilt metal figural table lamp, the fashionably dressed figure modelled standing with arms out-stretched, on rectangular brass base with fittings and amethyst glass shade unsigned, 27.5cm. high £120-180

284

285

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286

287

288

286. Ferdinand Preiss Girl with a Frog ivory on a veined green onyx base, unsigned, missing frog, 8cm. wide. £500-800

287. A patinated bronze and ivory car mascot, modelled as a crouching woman in flowing long dress, with ivory face and hands, circular veined marble base, unsigned, 15.5cm. high £300-500

288. Young Girl herding two Geese carved ivory on a green onyx base unsigned, 9cm. high £120-180

289. A large patinated bronze figure of a young boy hunting by Maurice Bouval, modelled holding a slingshot, with two dead birds on his belt, signed in the cast, 69cm. high £200-400

289

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290

292

291

293

290. A pair of patinated metal performing elephant book ends the design attributed to Hippolyte Moreau, each modelled as an elephant balancing on a barrel, the barrel marked Franjou, with applied glass eyes, on veined marble bases, and a pair of patinated metal lioness book ends, signed in the barrel Franjou 13cm. high, (4) £150-200 291. A pair of silvered metal book ends by Hippolyte Moreau, each modelled as a resting bird, with applied glass eyes, on flecked, polished marble bases, signed in the cast H Moreau, 13cm. high, (2) £300-400 292. A patinated bronze model of a big cat, cast resting one front paw extended, head turned, stamped marks to base, 20cm. wide £120-180 293. An Art Deco patinated metal model of two exotic pheasants, on rectangular polished black slate £120-180 base unsigned, 64cm. wide ‡ 294. Cyriel de Brauwer (1914-1989) Grazing Horse and Foal patinated bronze signed in the cast de Brouwer e/a 48cm. wide £1,800-2,200

294

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295 295. A Valery a patintated metal and onyx mantel clock garniture, the central shaped rectangular section clock set with green and brown veined onyx panels, flanked with two chromed metal columns and surmounted with patinated bronze lion, the rectangular dial with chrome frame and Arabic numerals, with two en suite vases, dial signed Valery, Limoges, 48.5cm. wide, (3) £200-400 296. Henri Fugere (1872-1944) Woman with a Deer patinated bronze, on veined marble base signed in the base, 41.5cm. wide.

£3,500-4,500

297. Bruno Zach (1891-1935) Slave Market patinated bronze sculpture, cast as a naked young woman beside a seated Arab merchant figure, on red marble base, signed Zach in the cast, 68cm. high £1,200-1,500

296

297

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Îť 298. Desire Grisado (born 1872) Medieval Maiden a gilt bronze and ivory figure of a medieval maiden in long ermine lined cloak, descending two steps, clasping a book to her breast, her right hand holding a laurel stem, signed D Grisard in the cast to the base, 45.5cm. high ÂŁ2,500-3,500 Provenance Private collection.

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λ 299. Dominique Alonzo The Lecture a gilt bronze and ivory figure of a medieval maiden gazing at an open book, on veined onyx step base signed in the cast D Alonzo 33cm. high £4,000-6,000 Literature Bryan Catley Art Deco and Other Figures, Antique Collector’s Club, page 28 for a comparable example illustrated. Provenance Private collection.

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Îť 300. Affortunato Gori Vanity gilt bronze and ivory model of a young lady seated on a stool putting on a stocking, on green veined marble base signed Gori in the cast 29.5cm. high ÂŁ4,000-6,000 Provenance Private collection.

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λ 301. Paul Phillipe (1870-1930) Girl and Mirror, Vanity a tall alabaster and ivory figure, modelled with arms out-stretched, admiring her reflection in her hand-mirror, on veined onyx base etched P Phillipe to side of base 45cm. high £6,000-9,000 Literature Bryan Catley Art Deco & Other Figures, Antique Collector’s Club, page 250 for an example of this figure illustrated. It was also produced in bronze and ivory by the Etling foundry. Provenance Private collection.

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DESIGN

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CERAMICS 302. Three Minton’s porcelain plates by William Wise, printed and painted to the well with Victorian children playing, picking flowers and harvesting corn, in colours, inside turquoise blue border and gilt bands to rim, impressed marks, one plate signed W Wise, 24cm. diam, (3) £100-200 303. A pair of Minton’s porcelain Cloisonne vases in the manner of Dr Christopher Dresser, the swollen cylindrical body on moulded faux wood stand, printed and enamelled in colours and gilt with panels of flowers and foliage on a turquoise ground impressed marks to base, chips to foot of one vase, 20cm. high, (2) £150-200

302

303

304

305

304. A tall Art Nouveau Royal Doulton vase by Frank Butler and Bessie Newberry, swollen, slender baluster form, modelled in low relief with stylised floral cartouche, in shades of blue and green on a golden-brown ground, impressed factory mark, incised monograms, 36cm. high £200-300 305. A pair of Art Nouveau Royal Doulton stoneware vases by Joan Honey, shouldered baluster form with everted top rim, tubeline decorated with a band of berried foliage, in shades of blue, purple, pink and green on a mottled and graduated green to blue ground, impressed factory mark, incised artist marks, £200-300 36cm, high (2) 306. A large Aesthetic Movement tile probably designed by William Stephen Coleman, painted with a young girl seated in a blossoming tree bough, in colours on a matt brown ground unsigned, minor chips to corners, 23cm. square £150-200 Catalogue notes This young girl is similar to the model used by W.S Coleman for his series of eighteen Christmas cards published by Thomas de la Rue circa 1880. 307. An Arts and Crafts plate dated 1887, painted with stylised flowers and foliage in blue on a green ground, inside scroll border, painted marks, TC monogram June 1887, 23.5cm. diam. £120-180 308. Sola Nobilitas Virtus a Pilkington’s Royal Lancastrian wall plate by William S Mycock, dated 1928, shape no,3218, painted to the well with a heraldic knights helmet and scrolling foliage and Latin inscription (virtue alone is true nobility) to the rim in gilt lustre on a red ground, the reverse with scroll border on lime-green ground impressed and painted marks, painted artist cipher and date £200-300 mark, 29cm. diam.

306 307

Provenance The Bill Coles Collection British Art Pottery, Woolley and Wallis Auctioneer’s, 30th November 2011 lot 169 Private collection. 309. A Hindley & Sons Salopian Ware pottery jardinière, ovoid with vertical ribs and collar neck, covered in a deep red glaze, impressed marks, 22cm. high £120-180

308

309

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310. A large Linthorpe Pottery vase with loop handles designed by Dr Christopher Dresser, shape no.881, the shouldered, dimpled body with applied conjoined loop handles, glazed with a streaked aubergine, green and ochre glaze impressed marks, professional restoration, 26cm. high £200-300

311

310

313

312

311. A Wedgwood Pottery jar and cover by Alfred Powell, cylindrical form, painted with oriental fishermen in an arched building, in the distance a mountainous lake landscape, painted in colours, the cover with similar frieze of arches and impressed mark, painted artist cipher, two small chips to inside rim of cover, 14.5cm. high £300-400 312. The Stags a pair of Sherwin & Cotton picture tiles designed by George Cartlidge, each modelled with the Monarch of the Glen, glazed sepia, in original oak frames, marks concealed, 29.5 x 14.5cm (tiles), (2) £150-250 Literature Tony Johnson, The Morris Ware, Tiles and Art of George Cartlidge, private press, page 50 plates 100 and 103 for these tiles illustrated in a green glaze. 313. A Hancock & Sons Morrisware bowl designed by George Cartlidge, model no.C71-1, painted with geometric flower and foliage panels in blue, green and yellow on a purple ground, and another similar model no. C69-1, printed factory marks, painted facsimile £150-200 signature, 26.5cm. diam. (3) Literature Tony Johnson The Morris Ware, Tiles and Art of George Cartlidge, Private Press, page 110 catalogue number 291 these actual bowls illustrated Provenance The Morrisware collection of Tony Johnson This lot is sold with a copy of The Morris Ware, Tiles & Art of George Cartlidge by Tony Johnson.

314

316

315

317

318

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314. A Hancock & Sons Morrisware vase designed by George Cartlidge, model no. C99-1, cylindrical foot with swollen neck, painted in shades of purple, pink, red, green and sand printed factory mark, painted C99-1 mark, 28cm. high, (2) £200-400 Provenance The Morrisware collection of Tony Johnson This lot is sold with a copy of The Morris Ware, Tiles & Art of George Cartlidge by Tony Johnson. 315. A Hancock & Sons Morrisware vase designed by George Cartlidge, model no.C17-2, cylindrical form with knopped neck, tubeline decorated with spiky flowers in purple, dark blue and green printed factory mark, painted facsimile signature and C17-2 mark, restored 30cm. high, (2) £150-200 Provenance The Morrisware collection of Tony Johnson This lot is sold with a copy of The Morris Ware, Tiles & Art of George Cartlidge by Tony Johnson.

319

316. A pair of Foley Intarsio vases designed by Frederick Rhead, pattern no.3159, tapering cylindrical form, printed and painted in colours with a flock of swans swimming along a river between rushes, printed factory marks to base, 31cm. high, (2) £300-500 Provenance Private collection. 317. A Minton’s Pottery Secessionist ewer designed by Leon Solon and John Wadsworth, waisted cylindrical form, printed with flowers and foliage in orange and green on a white ground, printed factory mark, 37cm. high £150-200 318. A Minton Pottery Secessionist ewer designed by John Wadsworth and Leon Solon, tapering cylindrical form tubeline decorated with Art Nouveau flowers and foliage, in colours, and another Minton Secessionist ewer printed factory marks, 36cm. high (2) £200-250 319. A large Shelley lustre ginger jar designed by Walter Slater, shouldered form, printed with three eagles attacking a sleeping lamb on a hilltop landscape, in gilt on a green and blue lustre ground, unmarked, wear and scratches, 33cm. high £120-180 Provenance The Michael Burningham Collection. 320. ‘Tree Bark Thief’ a Moorcroft Pottery limited edition jardiniere and stand designed by Rachel Bishop, dated 1998, painted in colours on a yellow ground, and wooden stand, impressed marks, painted signature and number, original paper certificate, 85cm. high (3) £2,000-3,000 Catalogue notes This jardiniere was produced in a limited edition of 50 pieces. 321. ‘After The Storm’ a Moorcroft Pottery limited edition vase designed by Walter Moorcroft, dated 2000, painted in colours impressed and painted marks, original paper certificate, 51.5cm. high £1,000-2,000 Catalogue notes This vase was produced in a limited edition of 200 pieces.

320

321

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322. ‘Blue Poppy’ a James Macintyre & Co Florian Ware twin-handled vase designed by William Moorcroft, painted in shades of blue and green on a white ground, printed factory mark, painted green signature, small chip to outside of top rim, 25cm. high £250-300 323. ‘Floral Spray’ a James Macintyre & Co jardiniere designed by William Moorcroft, footed form with applied twinhandles, tubelined and painted in colours, highlighted in gilt on a white ground, printed factory mark, painted green facsimile signature, hairline from top rim, crazed, 20.5cm. high £300-500

323

324. ‘Poppies’ a James Macintyre & Co Gesso Faience jug designed by William Moorcroft, waisted, cylindrical form, painted with a band of flowers and foliage between scrolling bands, in shades of sand yellow, blue and green on a cream ground, with electroplated lid, a James Macintyre Gesso Faience teapot and cover decorated with pink and green foliage, a Gesso Faience jug with metal cover, a Washington Faience jug with metal cover, an Aesthetic Movement Bourgoit French pottery vase and a book on James Macintyre Pottery by Julie Cufflin, printed factory marks, chip to top rim of teapot, 17cm. high (10) £80-120

322

324

325

326

327

325. ‘Leaf and Blackberry’ a Moorcroft Pottery vase designed by William Moorcroft, ovoid with waisted cylindrical neck, painted in colours on a tan ground, impressed factory mark, painted signature. £200-300 26.5cm. high 326. ‘Pomegranate’ a near pair of Moorcroft Pottery vases designed by William Moorcroft, painted in shades of purple, pink and blue on a mottled green and blue ground, and another Moorcroft ‘Pomegranate’ pattern vase impressed factory marks, chip to top rim of one vase, solifleur vase restored, 9cm. £150-200 high, (3) 327. ‘Carousel’ a Modern Moorcroft Pottery limited edition ginger jar and cover designed by Rachel Bishop, painted in colours on a deep blue ground, with original certificate and presentation box, impressed and painted marks, original paper certificate 15.5cm. high £150-200

328

328. ‘Wisteria’ a Moorcroft Pottery vase designed by William Moorcroft, shouldered form, painted in shades of purple, pink, yellow and green on a blue ground, ‘Frilled and Slipper Orchids’ a Moorcroft Pottery plate and ‘Leaf and Blackberry’ a Moorcroft Pottery pattern bowl, impressed factory marks, painted blue signature, 19cm. high (3) £150-250

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329

330 both sides

329. ‘Green and Gold Florian’ a James Macintyre & Co coupe vase designed by William Moorcroft, decorated with Art Nouveau flowers stems, in blue and gold on a celadon green ground, a Moorcroft Pottery Anemone pot and cover, vase and a Clematis pin dish, printed factory marks, painted green signature, cover missing), 15.5cm. high (5) £200-300 330. ‘Revived Cornflower’ a Moorcroft Pottery miniature jug designed by William Moorcroft, painted in shades of red, blue, green and sand impressed marks, 5,5cm. high £300-500 331. ‘Dawn’ a Moorcroft Pottery vase designed by William Moorcroft, shouldered ovoid form painted with a band of trees in blue on a pale blue ground under light flambe glaze, below a band of overlapping chevron, impressed factory marks, 7cm. high £400-600

331

332

332. ‘Claremont’ a Moorcroft Pottery vase designed by William Moorcroft, ovoid form, tubeline decorated with a band of mushroom in rich shades of red and yellow on a greenblue ground, impressed factory marks, 7.5cm. high £500-800 333. ‘Eventide’ a Moorcroft Pottery jar with pewter mount and cover designed by William Moorcroft, painted in shades of ochre, red, blue and green impressed marks, painted blue signature, hairline crack from top rim, 19.5cm. high £250-350 334. ‘Christmas Greetings’ a rare James Macintyre & Co miniature twin-handled cup designed by William Moorcroft, footed flaring, conical form, tubeline decorated with a frieze of violet stems in shades of blue and green on a white ground, with band of inscription Christmas Greetings to the top rim, printed factory mark, painted green signature, fine stained crazing, 4.3cm. high £350-450

333

334

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DENNIS CHINA WORKS 335. ‘Butterfly and Wisteria’ a Dennis China Works carafe vase and cover designed by Sally Tuffin, dated 2006, painted in shades of blue, purple and green, and another similar the cover surmounted with a bee, painted and impressed marks, 22cm. high, (4) £150-200

335

336

336. ‘Penguin’ a Dennis China Works jar and cover designed by Sally Tuffin, dated 2000, painted in colours on a pink and blue ground, the cover surmounted with a penguin finial, impressed and painted marks, 16cm. high (2) £120-180

337. ‘Butterfly’ a Dennis China Works vase designed by Sally Tuffin, dated 2000, painted in colours on a cream ground, and a ‘Dragonfly’ cylindrical box and cover, painted and impressed marks, firing crack to rim of vase 16.5cm. high (3) £120-180

337

338 338. ‘Primula’ a Dennis China Works box and cover designed by Sally Tuffin, dated 2001, cylindrical, painted in colours and a ‘Strawberry’ Dennis China Works bowl, impressed marks, 12.5cm. diam. (3) £120-180

339. ‘Magnolia’ a Dennis China Works vase designed by Sally Tuffin, dated 2005, limited edition, shouldered form, painted in colours on a graduated ground, painted and impressed marks, 35cm. high £150-250

339

340

340. ‘Magnolia’ a Dennis China Works miniature vase designed by Sally Tuffin, dated 2005, glazed in shades of black, green and brown, and another Dennis China Works Magnolia pattern vase, impressed and painted marks, 8cm. high (2) £120-180

341. ‘Beetle Scarab’ a Dennis China Works limited edition Etruscan vase designed by Sally Tuffin, dated 2004, painted in black on a graduated brown to yellow ground, impressed and painted marks, 30cm. high £150-200

342. ‘Datura’ a large Dennis China Works vase designed by Sally Tuffin, dated 2004, potted by Rory Mcleod, tubeline decorated on a black ground, impressed and painted marks, no.16, 46cm. high £150-200

341

342

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343. ‘Wisteria’ a pair of Dennis China Works candlesticks designed by Sally Tuffin, dated 2006, painted in colours on a graduated purple to blue ground, impressed and painted marks, 16cm. high, (2) £150-200

343 344. ‘Koala’ a Dennis China Works vase designed by Sally Tuffin, dated 2001, painted in colours on a sage ground, impressed and painted marks, 26.5cm. high £120-180

344

345. ‘Pineapple’ a Dennis China Works vase designed by Sally Tuffin, dated 2001, cylindrical form with tapering neck and everted rim, painted in colours on a pale green ground, impressed and painted marks, 38.5cm. high £150-200

346. ‘Slipper Orchid’ a Dennis China Works vase designed by Sally Tuffin, dated 2004, flaring cylindrical form with everted rim, painted in colours on a celadon ground painted and impressed marks, 27.5cm. high £120-180

345

346

347. ‘Eagle’ a Dennis China Works vase designed by Sally Tuffin, dated 2001, shouldered cylindrical form, painted in colours impressed and painted marks, 39.5cm. high £200-300

348. ‘Hare’ a Dennis China Works vase designed by Sally Tuffin, dated 2005, painted in colours on a pink and green ground impressed and painted marks, 35cm. high £150-250

347

348

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349. A modern Wedgwood Limited edition Kensington shape tea set designed by William Edwards, 1988, commemorating the 150th anniversary of the Royal College of Art, printed in black with text panels and graphic designs, comprising teapot and cover, milk-jug, sugar basin and cover, four cups and saucers, in fitted presentation case, printed factory marks, (13) £150-200 350. A Crown Staffordshire Queensberry tea set for six designed by David Queensberry, printed in black and green with corn sheaf, comprising teapot and cover, milk-jug and sugar basin, six cups, saucers and side plates and a sandwich plate, printed factory marks, 14cm. high (23) £120-180 351. Sister’s a pottery figure group by Mary Mitchell-Smith, dated 1951, modelled seated, one holding a rose and whispering to her sister, who is holding a resting dogs lead, in shades of pale blue and green, another figure of a young girl in medieval dress probably a princess, and a young medieval boy holding his hat both by Mary Mitchell-Smith, and a model of a calf in the corn, incised signatures and title, 20.5cm. high (4) £400-600

349

The main figure group is incised To Joan Ralle my friend and patron, from Mary Mitchell-Smith 1951. The artist is listed as showing at the Arts and Crafts Exhibition Society held at the Royal Academy in 1946. 352. A Flesh Pots jug designed by Morris Rushton, geometric form with angular handle, painted in vivid colours printed factory mark, 23.5cm. high £120-180 Catalogue notes Flesh Pots was a small, humourous pottery launched in Stoke on Trent in 1978 by founder Morris Rushton. although small and short lived it influenced amongst others Next the high street retailers with its avant garde designs (such as this cubist jug) whilst also producing a more traditional range retailed by the National Trust.

350

353. A Troika Pottery wall plaque by Simone Killburn, rectangular, modelled in relief with geometric key-pad design, glazed bronze and green on a blue £200-400 ground painted marks and artist monogram, 30.5 x 19.5cm. Literature Ben Harris & Lawrence Illsley Troika 63-83, plate 13 for a comparable Calculator plaque illustrated. 354. A rare Troika Pottery Thames wall plaque designed by Benny Sirota, rectangular moulded in low relief with the meandering river and buildings, glazed blue and black with white border, painted Troika marks and artist cipher, 25.5 x 22cm. £300-500

351

Provenance Private collection. 355. A rare Troika Pottery Love plaque designed by Benny Sirota, modelled in low relief with stylised couples, glazed in bronze and matt ochre painted Troika marks, trident mark and artist cipher to back 36.5cm. wide £300-500 Provenance David Lay Auctioneer’s 10th November 2003 lot 1288. Private collection.

352

353

Literature Carol Cashmore Troika Pottery St Ives, Private Press, plate 7 for a Troika Love plaque illustrated in Ideal Home magazine, 1967, reproduced. The plaque shows the three stages from love to marriage (meeting, falling in love and proposing).

354

355

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STUDIO POTTERY

356. Jim Malone (born 1946) an Ainstable Pottery stoneware teapot and cover, with bamboo handle, cut-sided form covered in tenmoku glaze impressed seal marks, 14.5cm. high (2) £150-200 Provenance Mallams Auctioneer’s, Oxford, 11th November 2013. Private collection.

356 both sides

357. Seth Cardew (1934-2016) a Winchcombe Pottery teapot and cover, with cane handle, painted with a wading bird and foliage sprays in cobalt and iron on a steel blue ground impressed seal marks, 14cm high (pot), (2) £150-200 Provenance Harlequin Gallery, April 1995. Private collection.

357 both sides

‡ 358. William Bill Marshall (1923-2007) a tall stoneware bottle vase made in his last firing, white slip with iron and manganese painted decoration, ying/ching glaze overall, impressed seal mark to base, applied paper exhibition number 4, 38.5cm. high £1,500-2,000 Provenance William Marshall (1923-2007) Bettles Gallery, Ringwood, 2007, catalogue number 4. Private collection.

358

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359. Katharine Pleydell-Bouverie (1895-1985) a swollen cylindrical stoneware vase, with incised vertical petal motif, glazed to the foot in an ash glaze, impressed seal mark, painted glaze mark to base, 17cm. high £200-300 Provenance British Art Pottery, 1st December 2010, Woolley and Wallis auctioneers, lot 404. 360. Lisa Hammond (born 1956) a stoneware jar with woven akebe rush handle, ovoid with incised combed decoration glazed rust over ash and a jar and cover by David Frith, impressed seal marks, 17cm. high (Lisa Hammond), (3) £150-250

359

Provenance Contemporary Ceramics (in support of the Leach Pottery Restoration Project), Bonhams 2008 lot 41 (Lisa Hammond) Private collection.

360

361. John Leach (born 1939) a Muchelney Pottery raku vase dated 1995, compressed ovoid form with incised vertical line, covered in a burnished black to rust with white central line impressed seal marks, 20cm. high £150-200 Provenance Muchelney Pottery, purchased directly by the vendor September 1995. Private collection. 362. John Leach (born 1939) a Muchelney Pottery wood fired, burnished stoneware vase, swollen cylindrical form, decorated with a smoked, wave design, stamped marks, to base, 23cm. high £120-180 363. Geoffrey Eastop (1921-2014) an oval stoneware vase, matt rust glaze with painted bronze lines, painted monogram to base, £150-200 20cm. high

361

Provenance Beaux Arts, Bath, November 1989. Private collection.

362

364. Takahashi Rakusai III a stoneware shigerchi jar, shouldered form with collar rim, incised to the shoulder with a band of cross motif, the textured surface glazed matt black and iron red, in original wooden carrying box, and two charwan tea bowls by Sugaki Goro, each in original wooden box, wooden boxes signed, 26.5cm. high (3) £120-180 Provenance Private collection.

363

364

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365. Jim Malone (born 1946) a tall Ainstable Pottery stoneware bottle vase, incised with Willow tree motif, glazed to the foot in hakeme under a celadon glaze impressed seal marks, 40.5cm. high £300-500 Provenance Jim Malone, purchased directly by the vendor January 2002.

366. Jim Malone (born 1946) an Ainstable Pottery stoneware Korean fish vase, bottle shaped, incised and painted with a fish swimming amidst waterweed, in brown on a hakeme glaze impressed seal marks, 28cm. high £200-300 Provenance Bettles Gallery Private collection.

367. Jim Malone (born 1946) an Ainstable Pottery porcelain bottle vase, incised with simple grass motif with hakeme glaze under cobalt wash, impressed seal marks, 26.5cm. high £200-300

366

365

Provenance Jim Malone, purchased directly by the vendor July 1998.

368. Jim Malone (born 1946) an Ainstable Pottery stoneware vase, shouldered square section, covered in a nuka glaze over ash to the foot, impressed seal marks, 34cm. high £250-350 Provenance Bettles Gallery July 1994. Private collection.

369. Mike Dodd (born 1943) a cut-sided stoneware bottle vase, covered to the foot in a hardwood ash glaze, impressed seal marks, 32cm. high £200-300

367

368

369

370

Provenance Bettles Gallery April 1998. Private collection.

370. Mike Dodd (born 1943) a stoneware vase, incised with simple grass motif under hakeme glaze and pea ash, impressed seal mark, 21.5cm. high £150-250 Provenance Bettles Gallery, April 2005 Private collection.

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‡ 371. Dame Lucie Rie (1902-1995) a fine, flaring conical bowl on slender foot, stoneware inlaid with green lines, with controlled golden manganese rim and band to foot, impressed seal mark, 11.5cm. high, 19.5cm. diam. £6,000-10,000

Literature John Houston Lucie Rie, Crafts Council, page 63 plate 39 for a comparable bowl circa 1980-81. Cyril Frankel Modern Pots, Hans Coper, Lucie Rie and the Contemporaries, UEA, page 131 catalogue number 106 and 107 for two comparable bowls. Provenance British & Continental Decorative Arts from 1860 to the Present Day Christie’s King Street, 16th November 1994 lot 16. Private collection.

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‡ 372. Dame Lucie Rie DBE (1902-1995) a stoneware coffee set for six, comprising coffee pot and cover, milk-jug and sugar basin, six cans and saucers, the exterior glazed matt black manganese, the interior pale grey impressed seal mark to base, one cup repaired, minor damages, 19cm. high (coffee pot) £2,000-3,000

Provenance This set was purchased from Heal’s, London and given to the present vendor as a wedding present in 1965. Literature Tony Birks Lucie Rie, Alphabooks, page 141 for a teapot similar illustrated dated circa 1965. ‡ 373. Maureen Minchin (born 1954) Red Squirrel, Badger and Green Woodpecker, a wall charger with fluted rim, painted in colours to the well, the rim with barn owl and pine cone frieze, impressed seal mark, 44.5cm. diam. £500-1,000

372

‡ 374. Maureen Minchin (born 1954) Oystercatcher and Crab, a small wall charger with fluted rim, painted in colours to the well, the rim with otter and puffin frieze, impressed seal mark, 33.5cm. diam. £500-1,000

375. David Cleverly Standing Camel, 2000, a painted earthenware figure, painted signature, 29cm. high, 29cm wide. £120-180 376. Paul Young (born 1961) Howlin Wolf an earthenware figure, glazed in colours titled to base, unsigned, 25.5cm. high £400-500 ‡ 377. Rosemary Wren (1922-2013) Owl, a stoneware figure, stylised form with incised features, glazed iron and matt black, signed R Wren and paper label to base, 26.5cm. high £250-350

373

Provenance Japanese and British 20th Century Ceramics, Christie’s Online, 14-28th October 2014 lot 57. Private collection.

374

375

376

377

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378

‡ 378. Emmanuel Cooper OBE (1938-2012) a stoneware vase, elliptical cylindrical form, covered in a running volcanic white glaze, impressed seal mark, painted VII to base, 22.5cm. high £800-1,200

Provenance Beaux Arts Bath.

379

‡ 379. Richard Slee (born 1946) Tall Lidded Jar, 1995, earthenware, glazed in shades of blue, pink and yellow painted Richard Slee signature, 48cm. high £600-1,000 Literature Amanda Game Contemporary British Crafts, The Goodison Gift to the Fitzwilliam Museum, PWP, page 134-135 catalogue number 51 for a comparable jar with lid, dated to 1993.

‡ 380. Kate Malone (born 1959) Dotty Pumpkin, (KM1923), 2017, crystalline-glazed stoneware with applied porcelain buttons, signed and dated to base,17cm. wide, 13cm high £800-1,200

Provenance Adrian Sassoon Gallery Private collection.

380

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381. Thomas & Sara Post (American) a Redware Pottery three branch candlestick, dated 1991, painted in colours painted T S Post 91 to base, 28.5cm. high £120-180 382. Mary Rich (born 1940) an ovoid porcelain vase with flaring neck, decorated with applied gilt geometric bands over matt glazed blue bands, impressed seal mark, 16cm. high £150-200 Provenance Sheila Harrison Gallery, 1989 Private collection.

381

382

383. Tim Andrews (born 1960) a large burnished raku pot with crackle glaze, swollen form with everted rim, the matt burnished body with splashes of crackled white and iron glaze impressed seal mark to base, 33.5cm. high £150-200 Provenance Bettles Gallery, Ringwood, 1990 Private collection. 384. Peter Hayes (born 1946) a raku bottle vase with narrow neck, white textured surface, impressed artist seal mark, 19.5cm. high £120-180 385. Tessa Fuchs (born 1936) a large flaring wall charger painted with a naked woman sunbathing on the beach, below a flock of flying seagulls, in colours impressed seal mark, applied paper label, 37cm. diam. £120-180 Provenance British Art Pottery Woolley and Wallis Auctioneers, 1st December 2010 lot 507. Private collection. 386. Nicholas Vergette, manner of a rounded rectangular dish, resist decorated with abstract design in grey, blue and turquoise on a black ground, indistinct marks to back, 35.5 x 27cm. £120-180

383

384

386A. Gareth Mason (born 1965) a porcelain bottle vase, ovoid with narrow cylindrical solifleur neck, pale celadon crackled glaze splashed with sang de boeuf red, and another smaller porcelain bottle vase by Gareth Mason, impressed seal marks, 21cm high (tallest), £200-300 12.5cm. high (smallest), (2) Provenance Patrick Bourne & Co (tallest vase).

385

386

386A

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387. Irene Bell (born 1960) a pottery vase dated 1989, cylindrical form with everted rim, painted in black on a cream ground with stylised Leda and the swan frieze, incised I Bell 89, 49cm. high £150-200

388. Robin Welch (born 1936) a cylindrical vase with everted top rim, painted and resist decorated in emerald green with cross motif, impressed monogram to base, paper exhibition label £150-200 number to base, 30cm. high Provenance Rufford Gallery, July 1993. Private collection.

389. Peter Beard (born 1951) a stoneware vase, shouldered ovoid form, matt pale blue glaze with vertical columns and yellow splashed highlight impressed seal marks, 13.5cm. high £120-180

387

388

389

390

Provenance A private collection of studio pottery.

390. John Maltby (born 1936) a stoneware bowl form, with applied fluted handle, painted to the interior with a cross motif and abstract landscape, painted Maltby signature, applied paper exhibition number, 17cm. wide £300-400 Provenance Candover Gallery, 1989 Private collection.

391. John Maltby (born 1936) a large stoneware bowl, with slightly inverted rim, painted to the well with a ship sailing past a buoy and headland, the foreground a large fish, all below rain clouds, in colours impressed seal mark, small glaze frit to rim and hairline, 28cm. diam. £250-350 Provenance Beaux Arts, 2005 Private collection.

391

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CONTINENTAL CERAMICS 392. A pair of Art Nouveau Brantjes & Co Purmerende twin-handled vases, model no.1026, shouldered form, each painted with a sunflower on each side, in yellow, green and brown, painted factory marks, number and initials, 20cm. high (2) £300-500 393. An Art Nouveau Ernst Wahliss Turn Pergamon vase, compressed ovoid body with tapering hexagonal neck, printed and painted with flower stems in brown, ochre and green on an olive ground printed, painted and impressed marks, 15cm. high £200-300

392

394. A Massier Pottery Vallauris vase, slender baluster form, decorated in resist with pine boughs, covered in a lustrous glaze, Austrian iridescent glass inkwell, a modern Lalique vase, a glass figural wall plaque, two candlesticks and five modern glass vases painted marks, glaze chip to foot £200-300 rim, 22cm. high (11) 395. An Art Nouveau Amphora Pottery vase, model no.4115, compressed form with flaring neck, modelled with a setter dog looking at a frog, glazed in colours, highlighted in gilt, impressed marks, professional restoration, 26cm. high £300-500

393

394

395

396. A German stoneware punch bowl and cover probably R Merkelbach, the design attributed to Carl Klimt, model no.1871, the ovoid body on three feet cast with roses and foliage, the body applied with foliate sprays and rose flowerheads, the cover with a cherub finial holding two floral cornucopia, spilling rose flower buds and leaves, glazed purple on a matt sky blue ground impressed 1871 to base, £150-200 34cm. high, (2)

396

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397

398

399

397. A pair of Royal Copenhagen Egret figures designed by Theodor Madsen, model no.532 modelled standing amongst rushes on a bankside, one preening the other alert, glazed in colours printed factory mark, painted CM probably for Carl Mortensen, and number 27.5cm. high (2) £150-200 Literature Nick and Caroline Pope, Royal Copenhagen Porcelain, Schiffer Books, page 78 for model 532.

398. A Meissen porcelain model of an otter designed by Max Esser, model no. 1221, standing on hind feet on a rocky outcrop, looking backwards, glazed white, blue crossed sword mark, impressed artist name and numbers, 25cm. high £120-180 Catalogue notes This figure won the Grand Prix at the Paris World Fair in 1937.

399. A Royal Copenhagen porcelain model of two bear cubs playing designed by Knud Kyhn, model no.20270, covered in a matt brown glaze, and five other Royal Copenhagen models of bear cubs glazed matt ochre, printed and painted marks, impressed artist cipher to main figure, 13cm. high (6) £120-180

400. A tall Art Nouveau Goldscheider Pottery model of a standing woman, designed by F Gross, model no.3031, modelled standing in long dress and cape, holding aloft twin-handled urn, glazed in colours impressed marks to base edge, cast signature, chips to underside of £200-400 base and professional over-painting, 88cm. high

400

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401. A Kahlsruhe Majolika Schale Kinderreigen centrepiece designed by Wilhelm Sus, cast as eight naked putto forming a ring around a flower encrusted bowl, glazed in shades of brown, blue, green and yellow, impressed marks, professional restoration, 33cm. diam. £250-350 402. A Kahlsruhe Majolika centrepiece designed by Wilhelm Sus, model no.1156, four putto modelled supporting a central bowl over four simple pillars, the bowl with foliate swags, glazed in colours on a cream ground, impressed marks, professional restoration, 26cm. high £200-250

401

403. A Simeone Lai Dorgali pottery Taurus wall charger the design attributed to Salvatore Fancello, modelled in low relief with a herd of bulls separated by a river, glazed in black on a buff brown ground, impressed mark, Edizione Fancello, made in £150-200 Italy 37.5cm. diam.

402

404. A Gustavsberg pottery leaf dish designed by Stig Lindberg, shaped rectangular form painted with geometric veined design in lime green, highlighted in black on a white ground, and a Gustavsberg shallow conical bowl by Stig Lindberg painted factory mark and Stig Lindberg hand mark, 30cm. wide. (2) £120-180 405. A Swid Powell Modernist The Big Dripper coffee set designed by Michael Graves, comprising spherical coffee pot on four triangular feet, cover and percolator, milk-jug and sugar basin, the feet enamelled in red, thin wavy green bands to body and gilt finials, printed factory marks, facsimile signature, copyright 1987 mark, coffee pot 19cm. high (6) £300-500

403

Literature The Architect Table: Swid Powell & Postmodern Design, 11th September 2007, this design illustrated from the collection of Yale University Art Gallery.

404

406. A set of six Fornasetti pottery tea bowls, each printed in sepia with food ingredients, highlighted in gilt, printed factory marks, hairline crack to one, 5cm. high (6) £120-180

405

405 detail

406

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GLASS 407. A stained glass heraldic window, square, the heraldic shield with lion passant, inside red circular glass border, and another stained glass panel depicting the coat of arms of the Bishop of Winchester, 36 x 37cm. (main), 41 x 26cm.(2nd panel) (2) £150-200 408. An Art Nouveau Thomas Webb iridescent green glass vase, the dimpled square body with everted fluted rim, green glass with surface iridescence, a smaller Webb Iris vase with golden orange iridescence and a green glass vase with vertical ribs the design attributed to James Powell, Whitefriars unmarked, 14cm. high (3) £150-250 Provenance The Antique Trader at The Millinery Works, October 2002, main vase and ribbed vase. Jeanette Hayhurst, 2003, Webb Iris vase.

407

409. A Loetz glass vase, waisted opaque glass on applied blue glass foot, decorated with fine trailed bands, blue rim and applied blue prunts unsigned, 15.5cm. high £300-400 410. An Art Nouveau Galle cameo glass shade on patinated iron base, the base in the manner of Edgar Brandt, square section, with textured form and applied rope borders, the glass shade decorated with violet flowers cameo Galle signature to shade 26cm. high £1,200-1,800

408

409

410

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411. A Murano glass vase, the thick green tube glass with strap handle, on fluted foot, unsigned, 29cm. high £50-100 412. Steven Newell (born 1948) a bulbous stripy vase, green and blue stripes cased in clear etched signature, 22.5cm. high £120-180 Provenance The Antique Trader at The Millinery Works Gallery, January 2011, exhibit no.88.

411

412

413. A glass and silver sculpture by Laura diaz de Santillana, dated 1998 conceived in an edition of five, cylindrical drum form internally decorated with frosted waved vertical planes, the exterior frosted, the central aperture with silver bowl, etched signature, date and number 2/5, silver stamped 925, 12cm. high, (2) £200-300 Catalogue notes Born in Italy in 1955 she is the granddaughter of Paolo Venini. 414. A glass vase by Jan Exnar, blue glass drop cased in thick clear glass with suspended thin orange bands, etched Jan Exmar, Calif USA, 14cm. high £200-250 415. A glass vase by Simon Moore dated 1986, flaring black glass body on ribbed clear glass with spherical yellow, pink and green feet, and a Memphis style glass platter on three feet by Simon Moore etched Simon Moore 1986, 26cm. high £150-250

413

Provenance Purchased directly from the artist by the vendor. 416. A glass vase by Simon Moore dated 1985, ovoid blue glass body with orange and purple circles, highlighted with green, with flaring purple neck and orange rim, and a glass charger by Simon Moore made at The Glasshouse in 1984, etched marks, 24.5cm. high £150-200 Provenance The vase was purchased directly from the artist by the vendor.

414

415

416

416 detail

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417

418

419

417. A Whitefriar’s Willow glass Drunken Bricklayer vase designed by Geoffrey Baxter, unsigned, 33cm. high £300-500 Literature Leslie Jackson Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications, page 140 plate 160 for comparable vases. 418. A Whitefriars Willow glass Banjo vase designed by Geoffrey Baxter, moulded form, unsigned, 31.5cm. high £300-500 Literature Lesley Jackson Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications, page 139 plate 158 for a comparable Banjo vase. 419. A Whitefriars Kingfisher Blue glass Banjo vase designed by Geoffrey Baxter, moulded textured form, unsigned, 32cm. high £400-600 Literature Lesley Jackson Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications, page 139 plate 158 for a comparable Banjo vase.

420

420. A rare Whitefriars Aubergine glass Banjo vase designed by Geoffrey Baxter, moulded form, unsigned, 32.5cm. high £1,500-2,000 Literature Lesley Jackson Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications, page 139 plate 158 for a comparable Banjo vase. 421. A Whitefriars Tangerine glass Banjo vase designed by Geoffrey Baxter, moulded form, unsigned, paper label to base, 32cm. high £300-500 Literature Lesley Jackson Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications, page 139 plate 158 for a comparable Banjo vase.

421

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423

424

422 422. ‘Decorative Art in Modern Interiors’ Volumes 1943/48 to 1978/79, twenty six volumes of the Studio Yearbook published by Studio Vista, (26) £400-600

423. ‘The Studio - General Index’ a modern volume, three volumes of The Studio (1920, 1904, 1899), Modern Design in Jewellery & Fans, a Studio Winter Number 1901-1902, two loose issues of The Studio and two issues of The Artist (9) £120-180

424. Leonard Manasseh OBE (1916-2017) Landscape with Figure, 1995 watercolour and gold highlighter on paper, framed, signed lower left with monogram and date 15.08.95, titled to reverse 31 x 23.5cm. (image) £200-300 425. Claude Hamilton Rowbotham (1864-1949) The Thames at Bray and Temple Island near Henley two watercolours, framed, and A Thames Lock and River bank with Reeds two additional watercolours, Bray signed and dated 1907 lower left £120-180 41 x 19.5cm. (image), (4)

425

Provenance The collection of Rodney Bewes. 426. Thomas Whalen R.S.A (1903-1975) Woodcock and Grouse two carved spruce and teak wood panels with stained colouring, framed, carved signature, paper label to reverse, 47 x 38cm (largest), (2) £200-300

426

427

Provenance Furniture & Works of Art, Woolley and Wallis 10th January 2012, lot 491. Private collection. 427. Laurence Broderick (born 1935) The Otter lithograph on paper, framed and two other prints by the same artist, signed, titled and numbered in pencil 57cm x 43cm (image) (3) £120-180 428. A watercolour design of a Man O’ War, circular, possibly designed for a mosaic, framed, unsigned, 44.5cm. diam. (image) £80-120

428

429

429. Louis John Rhead (1857-1926) Read The Sun, plate 200 a lithographic print published by les Maitres de L’affiche, illustrating a lady skating on a frozen lake in a winter sunset landscape, lightly mounted on paper, printed factory marks, printed artists monogram, impressed paper mark, 37.2 x 25.5cm. £200-300

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430

430. John Piper CH (1903-1992) The University Museum, (The Oxford Almanack 1956) lithographic print on paper, framed, ‘View from the Upper Common Room - The Oxford Almanack’, 1972 by John Piper, and ‘Trinity College Chapel - The Oxford Almanack’, 1957’ by Edward Bawden printed title and attribution, 80 x 59.5cm (frame), (3) £150-200

431. Harry Clarke (1889-1931) Rime of the Ancient Mariner, 1913 print on paper, framed signed in the print and dated 1913, 17.5 x 11.5cm. £120-180

431

‡ 432. Gertrude Hermes (1901-1983) Thames at the Source, 1933 wood engraving on paper, framed signed, titled, dated and number 21/30 in pencil to lower margin 34 x 24cm. £500-1,000

432

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434

434 open

433

FURNITURE 433. An Anglo-Japanese mahogany music cupboard in the manner of E.W. Godwin, flaring square legs, hinged panel door, unsigned, 85cm. high. 53cm square top £120-180

434. A Liberty & Co Anglo-Persian mahogany bureau, on four tapering legs, with arched under carriage shelf, applied paper label to drawer, 80.5cm. high, 63cm wide. £150-200

435. A set of eight Art Nouveau mahogany dining chairs, comprising two carvers and six chairs, each carved with foliate panel to the back, with studded leather seats, stamped regd mark, 109cm. high, (8) £200-400

436. An Anglo Persian marquetry octagonal table, inlaid with wood and mother of pearl panels, another smaller and another patinated copper table, unsigned, 50cm. high, 49cm. wide (3) £150-250

100

435

436

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437

437. A large Austrian marquetry cabinet, two central doors inlaid with marquetry panels of a stylised woodpecker perched in a tree bough, flanked by two glazed cabinets, all over three long thin drawers, with rope twist borders, surmounted with en suite triangular clock, 162cm. high, 276cm. wide. £400-600 Provenance Given as a wedding present to the vendor’s family, thence by descent.

438. An Aesthetic Movement mahogany library table, in the manner of Charles Bevan, the shaped rectangular top on turned legs, with under-slung shelf and turned X stretcher, 106 x 55cm (top), 64cm. high £120-180

438

101

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439. ‘The Age of Kings’ a screen print textile designed by Tibor Reich, printed in oranges, mounted on a stretcher, signed and titled to selvedge, 117 x 59cm. £120-180

440. A Heal’s Kevasinga (African) rosewood veneer D5519 dining table and six chairs designed by Christopher Heal, designed in 1952, rectangular top on mahogany base of four Y shaped streamlined legs, 198 x 92cm. top, 84cm (chairs) (7) £1,200-1,800

439

Literature Decorative Art The Studio Yearbook 1953-54, Studio Publications, page 43 for a comparable example illustrated.

441. A G-Plan teak sideboard, on tapering legs, double cupboard below three drawers, drop-down drinks cabinet and two removable shelves, applied label to drawer, 123 x 47cm, 122cm. high £120-180

442. A pair of Fornasetti hanging corner cupboards, each with printed face in profile, in black and white, applied label 50.5cm. high, (2) £300-500

440

440 detail 440 detail

102

441

442

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443 443. Rooms by The Hour Each Complete Night with Attendant Female Staff 7’6 a painted wood sign, and three painted wood figures by Vivien Mewerdine entitled Hong Kong, East of Suez and Tiger Cats, 57 x 34cm. (sign), 17.5cm. high (tallest figure), (4) £120-180

‡ 444. A Dyrlund Danish rosewood Captain’s Bar cocktail cabinet the design attributed to Erik Buck, rosewood veneer, with polished metal handle, fitted interior, on casters, applied label, 77cm. high, 60cm wide £150-250 Provenance The collection of Rodney Bewes

444 open

444

Catalogue notes This lot is sold with Article 10 License for Cities.

445. A Danish teak wall mirror, circular frame stamped Made in Denmark 49.5cm. diam. £120-180 Provenance The collection of Rodney Bewes.

446. A pair of 1-2-3- System chairs designed by Verner Panton, probably made by Vitra, chrome, swivel butterfly foot supporting padded black cushioned seats unsigned, 78cm. high, (2) £150-250

445

446

Provenance The collection of Rodney Bewes Literature Charlotte & Peter Fiell 1000 Chairs, Taschen, page 472-473 for this range illustrated.

447. A Giorgio Armani coated steel desk, with hanging two drawer unit, the top with inset black veneered wood surface unsigned, £150-250 173 x 88cm, 72cm. high Provenance The collection of Rodney Bewes.

447

103

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448 detail ‡ 448. An Alan Peters Furniture wych elm chest of drawers designed by Alan Peters OBE, rectangular section with raised side rail, five rows of piston fit drawers with hand cut dovetail joints and rounded draw pulls, sold with a copy of the auction catalogue stamped Alan Peters to drawer, 87 x 45cm, 117cm. high £800-1,200

Provenance Commissioned from the artist by Lord Parmoor The Property of the late Lord Parmoor, Woolley and Wallis, 24th February 2009 lot 104. Private collection.

448

‡ 449. An Alan Peters Furniture mahogany sideboard designed by Alan Peters OBE, made in 1977, two piston fit drawers with hand-cut dovetail joints and rounded draw pulls, above hinged cupboard on square legs, stamped Alan Peters to drawer top, 122 x 47.5cm, 90.5cm. high £700-900

Provenance Made for the vendor’s family in 1977.

104

449

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450 two views

451

‡ 450. An Alan Peters Furniture mahogany bowl designed by Alan Peters OBE, circular section on shallow foot, stamped A Peters, 30cm. diam. £250-300

‡ 451. An Alan Peters Furniture elm milking stool designed by Alan Peters OBE, D shaped flat seat on three flaring, turned legs, stamped Alan Peters and paper label to base, 32.5cm. high, 39cm. wide. £250-300

452 two views

‡ 452. An end grain walnut box and hinged cover by Matthew Burt, rectangular section, with flush set hinged cover, cedar wood lined, stamped Matthew to inside rim, 22 x 12.5cm. £150-250

‡ 453. Robert Kilvington a scorched oak chair, carved plank construction with polished steel bolt, unsigned, 86cm. high £120-180

453

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METALWARE

454. A Gothic Revival enamelled brass ceiling light in the manner of A.W.N Pugin, circular frame supporting six light fittings with crenulated sconce, set with enamelled shields and stamped flowerhead motif, with hanging chains and ceiling rose, unsigned, 65cm. diam. £300-400

455. An electroplated egg cup and stand in the manner of Dr Christopher Dresser, model W5582, pierced, circular base on bun feet, and central T bar handle, with four footed egg cups, stamped mark to base, 14cm. high £50-100

454

456. A Urania electroplated mantel clock, model no.1147, tapering rectangular form, cast with an Aztec mask with long straight hair to the top, the base with two claw feet, circular dial with Roman numerals, stamped marks to base, 31cm. high £150-250 Catalogue notes An example of this clock was imported and retailed with the William Hutton factory marks.

455

456

457. A pair of W.A.S. Benson patinated copper and brass candlesticks, model no.2A tapering square bases, on knopped square column with circular drip pan and sconce, unsigned, 29cm. high, (2) £120-180 Literature Ian Hamerton WAS Benson Arts and Crafts Luminary & Pioneer of Modern Design, ACC Books, page 253 plate 23 for this design illustrated.

458. A John Williams repousse patinated copper vase, with applied twin-handles, hammered in low relief with scaly fish swimming amongst waterweed, unmarked, 21cm. high £120-180

457

459. A set of Arts and Crafts patinated metal fire-tools on stand, each with pierced bud form handles, comprising shovel, tongs and poker on stand with tripod foot, unsigned, 70cm. high (4) £120-180

106

458

459

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460

461

460. A Liberty & Co English Pewter twin-handled tray designed by Archibald Knox, model no.0231, rounded rectangular form, cast in low relief with Art Nouveau whiplash foliage, stamped marks, 49cm. wide £200-300 Literature Stephen A Martin Archibald Knox, Artmedia, page 198, this design illustrated as part of a set. 461. An Art Nouveau Le Lumiere de Nancy silvered metal figural table lamp, modelled a young maiden with long flowing dress, her arms raised up to her head, with Le Verre Francais orange glass floriform shade signed Le Lumiere de Nancy, 41cm. high £150-200 462. A patinated metal table lamp, probably American, shouldered base on flaring foot, cast in low relief with foliate panels, the shade with streaked opalescent panels, £150-250 unmarked, 53cm. high, (2) 463. A Secessionist enamel wall clock, the oval face printed with cornucopia of fruit, in colours on a white ground, circular dial with Arabic figures, unsigned, 31cm. wide £300-500 464. A continental electroplate and glass wine cooler, possibly Austrian, clear glass drum set with metal rim with moulded grape vine motif, the separate bottle holder of openwork form in the manner of Josef Hoffman, unmarked, 25.5cm. high £120-180

462

463

464

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465. Emmanuel Villanis (1854-1914) Saida a patinated metal bust on flaring square section base, signed in the cast E Villani, titled Saida, impressed 250 and foundry roundel, 30cm. high £150-200

466. Claire Jeanne Colinet (1880-1950) The Juggler a polished bronze sculpture on domed brown striated onyx base, etched Colinet to base, 37cm. high £300-500

465

467. A verdi gris patinated bronze bust of a unicorn, on white veined polished marble base, numbered 1/36 indistinct monogram 23cm. high £100-150

468. A pair of patinated iron fire dogs probably designed by Edouard Schenck, each modelled as a stylised dachsund, unsigned, 43cm. wide (2) £200-400

466

108

467

468

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470

471

472

469 469. Wild Woodbine Cigarettes a printed metal cigarette dispenser, 61cm. high £120-180 470. A Christofle et Cie Gallia electroplated milk-jug designed by Lino Sabattini, slender form with pulled spout and angular handle, stamped Gallia 25cm. high £200-300 Literature Victoria & Albert Museum collection number M.8-1979. for the four piece set. 471. A Dansk teak ice bucket and cover designed by Jens Quistgaard, tall, slender, flaring form with over-slung handle, internally coral red, printed mark, 49cm. high £120-180 Literature Charlotte & Peter Fiell, Scandinavian Design, Taschen, page 29 for an example illustrated. 472. A Lumitron table lamp designed by Robert Welch, smoked blue and £120-180 opaque perspex on polished aluminium stem, 53cm. high 473. A Gilded metal adjustable desk lamp, rectangular base supporting rectangular swivel shade, with matt black enamel finish, unsigned, 39cm. high, 44cm wide. £120-180

473

474. A pair of carved wood candelabra, the three sconces supported on two carved lions, unsigned, 39.5cm. wide £120-180

474

474 detail

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475. An Olympia novelty football bar-top cigarette holder, modelled as an association leather football, with pull opening mechanism and brass internal fittings, printed marks to ball, Olympia Chrome, 12.5cm. high (closed) £120-180

475

open

476. A Clark and Sewell silver novelty ring box, modelled as a coal box, the hinged cover cast with five cherubs, with silk lining to interior, stamped mark, C & S Birmingham 1907, 4cm. high £120-180 477. A Henry Howell & Co YZ rabbit vesta, exotic wood with ‘white phenolic resin’ ears and feet and glass eyes, on macassar ebony tray impressed marks, 10cm. high £120-180 478. A Cohen & Charles silver cigarette case, hinged, rounded rectangular form, the clasp set with blue glass stone, a shagreen and ivory cigarette box and cover, rectangular form with hinged cover, a Dunlop yellow and black bakelite ash ball, a bakelite cigarette case and a chrome and enamelled metal cigarette box stamped marks, Chester 1907 9cm. high (5) £150-250

476

477

479. A pair of William Aitken silver photograph frames, shaped rectangular form on wooden mount and easel back support, stamped in low relief with Art Nouveau foliate panels, stamped marks, WA Birmingham 1907, 18cm. high, (2) £1,200-1,800 480. A pair of James Deakin silver photograph frames, on wooden back with easel support, stamped in low relief with a maiden and young girl walking amongst flower boughs, stamped marks, Birmingham 1905 and 1906, 25cm. high (2) £1,200-1,800

478 part

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479

480

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Each lot is subject to a Buyerâ&#x20AC;&#x2122;s Premium of 25% plus VAT

481. A large and impressive Stuart Devlin silver gilt rose bowl and cover, the low flaring bowl with hammered exterior, the pierced cover with radiating petal motif, set with textured roundels, set with tall tourmaline finial stamped marks, SD London 1968, 36.5cm. diam. ÂŁ8,000-12,000 Literature Stuart Devlin Designer, Goldsmith, Silversmith ACC Books, page 199 for an identical rose bowl with tourmaline finial, commissioned by Guinness Mahon & Co Ltd, Merchant Bank, in 1968.

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482

483 484

482. A William H Haseler silver and enamel button pendant necklace designed by Archibald Knox, retailed by Liberty & Co, circular with radiating peacock feather design, enamelled in blue and green, set with central blister pearl panel, with applied hanging loop and brooch pin to back, stamped WHH mark, Birmingham 1909, 3.2cm. diam. £200-300

485

483. An Art Nouveau Charles Horner silver and enamel pendant necklace, pierced and cast in low relief with foliate stems, enamelled blue and green, with enamelled shield shape drop, stamped marks, Chester and indistinct date code, 2.7cm. wide £200-300 484. A silver link necklace the designed attributed to Omar Ramsden, panels of Celtic Knot links with simple link chain spacers, rectangular clasp with wirework Celtic Knot design, unsigned, 51cm. long £200-300

487

486

Literature Jewellery by Design The Collection of Dr Anne Shannon, An Academic Eye, Woolley and Wallis Auctioneers, 31st October 2018, lot 134 and lot 149 for a comparable decorative link chain by Omar Ramsden. 485. A John Atkins & Sons silver and enamel butterfly brooch, model no.1085, cast and enamelled in pink enamel with pale green detailing, cast marks JA & S and sterling silver to reverse, 3.5cm. wide £120-180 486. A German silver and enamel pendant locket, elliptical section, enamelled with three flowers in pink and green unsigned, 7cm. long. £120-180 487. An Art Nouveau Barnet Henry Joseph 9ct gold and opal brooch, open wirework form cast as simple flower stems, with hanging opal stone to centre stamped BHJ 9ct to back, 3.5cm. wide. £200-300

488

488. An Art Nouveau Pendleton & Sons silver and enamel pendant necklace, cast in low relief with foliate panels, enamelled blue and green, with a mother of pearl drop, the chain with blue enamel round panel, stamped marks, Birmingham 1909, 3.2cm. wide £150-200 489. An Art Nouveau James Fenton silver and enamel brooch, pierced and cast with a stylised flower, enamelled in colours stamped marks, Birmingham 1907, 2.7cm. long. £120-180 490. A David Anderson silver and enamel link bracelet, rectangular links enamelled with stylised flower head roundel in green and black alternating with green guilloche enamel panels, stamped marks David Anderson £120-180 Norway Sterling, 20cm. wide.

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489

490

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491

493

492

491. A Georg Jensen silver brooch designed by Arno Malinowski, model no. 256, pierced and cast with a deer resting before three stylised flowers, stamped marks, 4.3cm. wide. £150-200 Provenance A private collection of Georg Jensen Jewellery. 492. A Georg Jensen silver Dove brooch, model no.70, circular, pierced and cast with a dove before foliate wreath, stamped marks, 6cm. diam. £200-300 Provenance A private collection of Georg Jensen Jewellery. Literature Janet Drucker, Georg Jensen A Tradition of Splendid Silver, Schiffer, page 139 for a comparable brooch illustrated. 493. A Georg Jensen silver brooch designed by Arno Malinowski, model no.256, pierced and cast in low relief with a resting deer before three stylised flowers stamped marks, 4.3cm. wide £200-300 494. A Georg Jensen silver brooch designed by Arno Malinowski, model no.251, rounded rectangular form, pierced and cast with two leaping dolphins above stylised waves, before a foliate frond stamped marks, London 1959, 3.2cm. wide £200-300 495. A Georg Jensen silver brooch designed by Arno Malinowski, model no.257, triangular, pierced and cast with a dolphin diving beside bull rush, stamped marks, 4cm. wide. £150-200 Provenance A private collection of Georg Jensen Jewellery.

496. A Georg Jensen silver Moonlight Grape brooch designed by Harald Nielsen, model no.217, cast with two vine leaves above articulated bunch of grapes, stamped marks, 6cm. high £150-200 Provenance A private collection of Georg Jensen Jewellery.

494

Literature Janet Drucker, Georg Jensen A Tradition of Splendid Silver, Schiffer, page 99 for a comparable example illustrated. 497. A pair of Georg Jensen silver earrings designed by Arno Malinowski, model no.101, heart shaped pierced and cast with two leaping dolphins, with screw back fittings, stamped marks, 1.5cm. wide £120-180 Provenance A private collection of Georg Jensen Jewellery.

495

498. A Georg Jensen silver and enamel brooch designed by Arno Malinowski, model no.284, pierced and cast in low relief with a lamb before two enamelled green leaves stamped marks, 3cm. wide £250-350 Provenance A private collection of Georg Jensen Jewellery. Literature Janet Drucker, Georg Jensen A Tradition of Splendid Silver, Schiffer, page 102 for a comparable example illustrated. 499. A silver and amethyst brooch, probably Norwegian, pierced and cast with foliate panels, set with central stone, stamped 800 RU 3cm. wide £120-180

496

497

498

499

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500. A Georg Jensen silver pendant necklace designed by Arno Malinowski, model no.99, rounded rectangular section, pierced and cast with a resting deer, before three stylised flowers, on link chain, stamped marks, 4cm. wide £150-200 Provenance A private collection of Georg Jensen Jewellery.

500

501

501. A Georg Jensen silver pendant necklace designed by Arno Malinowski, model no.94, rectangular, pierced and cast with two dolphins leaping above stylised waves, behind a leaf frond, on link chain, stamped marks, 3.5cm. wide £150-200 Provenance A private collection of Georg Jensen Jewellery.

502. A Georg Jensen silver pendant necklace designed by Arno Malinowski, model no.96, square, pierced and cast with a cockerel, behind a foliate spray, on link chain, stamped marks, 3.7cm. wide £150-200 Provenance A private collection of Georg Jensen Jewellery. Literature Janet Drucker, Georg Jensen A Tradition of Splendid Silver, Schiffer, page 62 for a comparable example illustrated.

502

503. A Georg Jensen silver pendant necklace designed by Arno Malinowski, model no. 97, heart-shaped, pierced and cast with a bird flying between branches, on link chain, stamped marks, 3.5cm. high £150-200

503

Provenance A private collection of Georg Jensen Jewellery.

504. A George Jensen silver brooch designed by Arno Malinowski, model no. 251, rectangular, pierced and cast with two dolphins leaping above stylised waves, with foliate frond stamped marks, 3.5cm. wide £150-200 Provenance A private collection of Georg Jensen Jewellery.

504

505. A Georg Jensen silver brooch designed by Arno Malinowski, model no. 250, square, pierced and cast with two birds perched on an ear of corn, stamped marks, 3.7cm. wide. £150-200

505

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Provenance A private collection of Georg Jensen Jewellery.

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507

506 506. A Georg Jensen silver and chrysoprase Seed and Pod necklace designed by Georg Jensen, model no.15, alternate silver foliate panels and chrysoprase roundels, with box clasp and safety catch stamped marks, 38cm. long £600-900

508

Provenance A private collection of Georg Jensen Jewellery. Literature Janet Drucker, Georg Jensen A Tradition of Splendid Silver, Schiffer, page 116 for a comparable example illustrated. 507. A Georg Jensen silver link bracelet, model no.102, stamped in low relief with a bird pecking at a bunch of grapes and foliage design, stamped marks, 19cm. long £350-450 Provenance A private collection of Georg Jensen Jewellery. 508. A Georg Jensen silver and chrysoprase link bracelet designed by Georg Jensen, model no.14, cast with alternate bird and foliage panels, the foliage panel with three chrysoprase, with box clasp set with chrysoprase and safety catch, stamped marks, 19.5cm. long £350-450 Provenance A private collection of Georg Jensen Jewellery.

509

Literature Janet Drucker, Georg Jensen A Tradition of Splendid Silver, Schiffer, page 117 for a comparable example illustrated. 509. A Georg Jensen silver bracelet, model no.88, each link modelled as back to back hearts, with box clasp, stamped marks, 19.5cm. long £250-350 Provenance A private collection of Georg Jensen Jewellery.

510

510. A Scandinavian silver link bracelet, probably by Carl Brumberg Hansen, Denmark, six pierced rectangular panels cast with a bird flying past scrolling foliage stamped CBH 830 S, 18.5cm. wide £120-180

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511

512

511. A modern Lalique gilt metal bracelet, five domed green glass panels, stamped Lalique mark, 16.5cm. long ÂŁ120-180 512. A Gucci silver hinged bracelet, stamped mark, 7cm. wide

END OF SALE

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ÂŁ120-180

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ART & CRAFTS

Wednesday 19th June 2019 Entries are now being accepted for this sale

A William De Morgan pottery Late Fulham Period lustre tile. Estimate: £1,500 - £2,000

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

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FINE SILVER & VERTU

Tuesday 16th & Wednesday 17th April 2019 Entries are now being accepted for this sale

By Omar Ramsden, a pair of Arts and Crafts silver wine coasters, London 1938. Estimate: £4,000 - £6,000

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

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MEDALS & COINS, ARMS & ARMOUR Wednesday 1st May 2019

Entries are now being accepted for this sale

A scarce 16th Century gun shield. 51cm diameter.

ENQUIRIES Ned Cowell | Tel: +44 (0)1722 341469 | nc@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:

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

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

Kimdan Ltd.

07973 389436 andy@kimdan.co.uk

Mailboxes

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

Pack & Send

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

1. a passport or photographic driving licence 2. a utility bill or document showing your name and address You can register in person or by contacting the office on 01722 424500 or emailing enquiries@woolleyandwallis.co.uk You will be asked to show your documents, or fax or email copies. PLEASE NOTE: Registering with our website, or any third party website, does not automatically register you to bid with us. COMMISSION BIDDING If you are unable to attend the sale you can leave a commission bid. This will be executed on your behalf by the auctioneer who will purchase the lot as cheaply as possible bearing in mind any reserve price and other bids. TELEPHONE BIDDING It is usually possible to bid on the telephone by prior arrangement with the office. BUYER’S PREMIUM The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter.

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

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

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SOCIETY OF FINE ART AUCTIONEERS AND VALUERS and the ROYAL INSTITUTION OF CHARTERED SURVEYORS CONDITIONS OF BUSINESS INFORMATION FOR BUYERS 1. Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand. 2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed. Accordingly if you buy your primary contract is with the seller. 3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive. 4. The purchase price. The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter. 5. VAT. (†) indicates that VAT at the current standard rate is payable by the purchaser on the hammer price as well as being an element in the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. The omega symbol ( ) indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5%) on the gross lot price (i.e. both the hammer price and the buyer’s premium). Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the Premium is not recoverable as input tax. 6. We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. However, in so far as we have examined the goods and make a representation about their condition, we shall be liable for any defect which that examination ought to have revealed to the auctioneer but which would not have been revealed to the buyer had the buyer examined the goods. Additionally, in specified circumstances lots misdescribed because they are ‘deliberate forgeries’ may be returned and repayment made. There is a 3 week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale). 7. Electrical goods. These are sold as ‘antiques’ only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. 8. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required for the goods to leave the U.K. and (b) whether there is any specific prohibition on importing the goods in question into the destination country because, e.g. they may contain prohibited materials such as ivory. Charges may be applicable for export licences. Ask us if you need help. The denial of any permit or licence shall not justify cancellation or rescission of the sale contract or any delay in payment. 9. Bidding. Bidders will be required to register before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification will be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding. 10. Commission bidding. Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding buyers’ premium. They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received. Please enquire in advance about our arrangements for the leaving of commission bids by telephone or fax. 11. Methods of Payment. As a general rule any cheques tendered will need to be cleared before removal of the goods is permitted. Please discuss with our Office in advance of the sale if other methods of payment are envisaged (except cash).

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

TERMS OF CONSIGNMENT FOR SELLERS 1. Interpretation. In these Terms the words ‘you’, ‘yours’, etc. refer to the Seller and if the consignment of goods to us is made by an agent we assume that the Seller has authorised the consignment and that the consignor has the Seller’s authority to contract. Similarly the words ‘we’, ‘us’, etc. refer to the Auctioneers. 2. Commission is charged to sellers at the following rates: 15% + VAT on each lot sold for up to £999, 10% + VAT on each lot realising £1,000 and above. 3. Removal costs. Items for sale must be consigned to the sale room by any stated deadline and at your expense. We may be able to assist you with this process but any liability incurred to a carrier for haulage charges is solely your responsibility. 4. Loss and damage waiver. We are not regulated by the FSA for the provision of insurance to clients. However, we for our own protection assume liability for property consigned to us at lower pre-sale estimate. To justify accepting liability, we make a charge of 1.5% of the hammer price plus VAT or, if unsold, our mid estimate of the hammer price. If the owner of goods consigned instructs us in writing not to take such action, they then remain at owner’s risk unless and until the property in them passes to the Buyer or they are collected by or on behalf of the owner, and clause 4 is inapplicable. 5. Illustrations. The cost of any illustrations is borne by you. If we consider that the lot should be illustrated your permission will usually be asked first. The copyright in respect of such illustrations shall be the property of us, the auctioneers, as is the text of the catalogue. 6. Minimum bids and our discretion. Goods may be offered subject to a reserve agreed between us before the sale in accordance with clause 7. 7. We may sell lots below the reserve provided we account to you for the same sale proceeds as you would have received had the reserve been the hammer price. If you specifically give us ‘discretion’ we may accept a bid of up to 10% below the formal reserve. . Reserves. (a) You are entitled to place prior to the auction a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve (in which case goods carry the storage and insurance charges stipulated in these Terms of Consignment). (b) A reserve once set cannot be changed except with our consent. (c) Where a reserve has been placed only we may bid on your behalf and only up to the reserve (if any) and you may in no circumstances bid personally. 8. Electrical items. These are subject to detailed statutory safety controls. Where such items are accepted for sale you accept responsibility for the cost of testing by external contractors. Goods not certified as safe by an electrician (unless antiques) will not be accepted for sale. They must be removed at your expense on your being notified. We reserve the right to dispose of unsafe goods as refuse, at your expense. 9. Soft furnishings. The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense. The rights of disposal referred to in clause 8 and 9 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection on request. 10. Descriptions. Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary. Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds. The liability to reimburse the sale proceeds shall not arise where you are acting reasonably and honestly and are unaware of the forgery but we are or ought to have been aware of it. 11. Unsold and withdrawn items. If an item is unsold it may with your consent be re-offered at a future sale. Where in our opinion an item is

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

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

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

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

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

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

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

ARTIST’S RESALE RIGHT / DROIT DE SUITE

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

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

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

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Each lot is subject to a Buyer’s Premium of 25% plus VAT

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

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

We may collect the following personal data about you:

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

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

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

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

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

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CONSENT

HOW LONG YOUR INFORMATION IS KEPT

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

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

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

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

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INSURANCE VALUATIONS Written valuations for insurance can vary from a single item to a large estate. Before starting we discuss the various options available so that the valuation is specifically tailored to individual client’s needs.

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

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

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WOO L LE Y & WA L LI S

Absentee Bid Form Clarice Cliff, Art Deco & Design

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

Brief Decription

Price Excluding buyer’s premium & VAT

Wednesday 20th March 2019 Please bid, on my behalf, for the undermentioned lots up to the prices shown which do not include the buyer’s premium or any V.A.T. payable on lots. These bids are to be executed as cheaply as is permitted by other bids, and/or reserves if any, and subject to the Conditions of Sale printed in the Catalogue. Please note we cannot guarantee that bids received after 4pm on the day prior to the auction will be executed. Billing Name (please print)

Address

Postcode Daytime telephone Email All accounts must be settled within 21 days. ID is required for all first time bidders.

Signature

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

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www.woolleyandwallis.co.uk

Auction Calendar 20TH CENTURY DESIGN 19th June 2019 – Arts & Crafts Michael Jeffery +44 (0) 1722 424505 • mj@woolleyandwallis.co.uk FURNITURE, WORKS OF ART & CLOCKS 3rd April 2019 3rd July 2019 Mark Yuan-Richards +44 (0) 1722 411854 • myr@woolleyandwallis.co.uk Jim Gale +44 (0) 1722 339161 • jg@woolleyandwallis.co.uk SILVER 16th & 17th April 2019 – Fine Silver & Objects of Vertu 16th & 17th July 2019 – Silver & Objects of Vertu Rupert Slingsby +44 (0) 1722 424501 • rs@woolleyandwallis.co.uk Lucy Chalmers +44 (0) 1722 424594 • lc@woolleyandwallis.co.uk JEWELLERY 18th April 2019 – Fine Jewellery 18th July 2019 – Jewellery Marielle Whiting +44 (0) 1722 424595 • mw@woolleyandwallis.co.uk Jonathan Edwards (Consultant) +44 (0) 1722 424504 • je@woolleyandwallis.co.uk Charlotte Glyde +44 (0) 1722 424586 • cg@woolleyandwallis.co.uk ENGLISH & EUROPEAN CERAMICS & GLASS 30th April 2019 – English & European Ceramics & Glass Clare Durham +44 (0) 1722 424507 • cd@woolleyandwallis.co.uk MEDALS & COINS, ARMS & ARMOUR 1st May 2019 Ned Cowell +44 (0) 1722 341469 • nc@woolleyandwallis.co.uk ASIAN ART, CHINESE PAINTINGS & JAPANESE WORKS OF ART 21st & 22nd May 2019 John Axford +44 (0) 1722 424506 • jea@woolleyandwallis.co.uk Freya Yuan-Richards +44 (0) 1722 424589 fyr@woolleyandwallis.co.uk Alex Aguilar +44 (0) 1722 424583 • aa@woolleyandwallis.co.uk PAINTINGS 5th June 2019 – Modern British & 20th Century Art Victor Fauvelle +44 (0) 1722 446961 • vf@woolleyandwallis.co.uk TRIBAL ART & ANTIQUITIES 18th September 2019 Will Hobbs +44 (0) 1722 339752 • wh@woolleyandwallis.co.uk