Decorative Arts: Design from 1860 by Lyon & Turnbull

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LYON & TURNBULL AUCTIONEERS EDINBURGH

78 Pall Mall, London SW1Y 5ES Tel +44 (0)20 7930 9115 Fax +44 (0)20 7930 9629

25TH MARCH, 2015

email. info@lyonandturnbull.com www.lyonandturnbull.com

182 Bath Street, Glasgow G2 4HG Tel +44 (0)141 333 1992 Fax +44 (0)141 332 8240

DECORATIVE ARTS AND 19TH & 20TH CENTURY PICTURES

33 Broughton Place, Edinburgh EH1 3RR Tel +44 (0)131 557 8844 Fax +44 (0)131 557 8668

Decorative Arts: Design from 1860 including 19th & 20th Century Pictures Wednesday, 25th March, 2015 33 Broughton Place Edinburgh

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Waverley Station Parking Multi-storey car parking is available at Greenside Place and in the St. James Centre; five minutes walk from the saleroom.

St Andrew Square

York Place Tram Station

Lyon & Turnbull saleroom

Local Deliveries A&S Pert Removals. Tel. +44 (0)7876 343520. Thistle Removals Tel: +44 (0)7836 774712 Email: thistleremovals@hotmail.co.uk New Leaf Removals Tel: +44 (0)7999 926261 Email: info@newleafremovals.co.uk Packing and Shipping Please note that we do not pack or ship items. The following suggested carriers will be able to arrange packing and shipping; please contact them directly to receive a quote. You may wish to contact an alternative courier. Smaller items & Pictures Mailboxes Etc 44/46 Morningside Road Edinburgh EH10 4BF Tel: +44 (0)131 556 6226 Fax: +44 (0)131 652 3673 Email: edinburgh@mbescotland.com

Furniture and larger items Constantine Constantine House North Caldeen Road Coatbridge North Lanarkshire ML5 4EF Tel: +44(0)1236 750055 Fax: +44(0)1236 750077 E-mail: enquiries@constantinemoving.com A Van Man Transport Unit 5, Benridge Park Holyrood Close, Creekmoor Poole, Dorset BH17 7BD Tel: +44 (0)1202 600 012 Fax: +44 (0)1202 600 206 Email: office@avmt.co.uk Aardvark Art Services Ltd Birks Farm, Ballam Road Lytham, Lancashire FY8 4NL Tel: +44 (0)1253 794673 Fax: +44 (0)1253 730580 Email: info@aardvarkartservices.com

Arrangements for Sold Lots All bought items will be held free of charge at Broughton Place until the Friday following the sale. Thereafter lots will be removed to store in Edinburgh and a charge incurred. Administration fee: £20 + VAT Storage charges per lot per day are: Large Items £5 inc. insurance + VAT Small Items £2.50 inc. insurance + VAT Catering Refreshments will be available at the saleroom on view days and day of sale.

© Lyon and Turnbull Ltd. 2015. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted by any form or by any means without the prior written permission of Lyon and Turnbull Ltd.

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Decorative Arts Design from 1860 Wednesday, 25th March, 2015 11am Sale Number LT432 Specialists John Mackie john.mackie@lyonandturnbull.com +44 (0)131 557 8844 Theodora Burrell theo.burrell@lyonandturnbull.com +44 (0)131 557 8844

19th & 20th Century Pictures Wednesday, 25th March, 2015 3pm Sale Number LT432A Specialists Charlotte Riordan charlotte.riordan@lyonandturnbull.com +44 (0)131 557 8844 Carly Shearer carly.shearer@lyonandturnbull.com +44 (0)131 557 8844

Catalogue: £10 BUYERS’ PREMIUM 25% up to £50,000 20% thereafter. VAT will be charged on the premium at the rate imposed by law. †20% VAT chargeable on the lot itself *5% import VAT on the lot §Droit de Suite (artists’ resale rights) applies (see our Terms and Conditions of Sale and Information for Buyers).

Viewing Sunday, 22nd March, 2015 12 noon - 4pm Monday, 23rd March, 2015 10am - 5pm Tuesday, 24th March, 2015 10am - 5pm Morning of Sale from 9am

ENQUIRIES AND COMMISSION BIDS Lyon and Turnbull Ltd. 33 Broughton Place Edinburgh EH1 3RR Tel. 0131 557 8844 Fax. 0131 557 8668 email. info@lyonandturnbull.com www.lyonandturnbull.com

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LY O N & T U R N B U L L Important information for buyers

Buying at Auction This sale is subject to our standard Terms and Conditions of Sale. If you have not bought at auction before we will be delighted to advise you. Estimates Estimates are printed below each lot and do not include the buyer’s premium. The sale will be conducted in pounds sterling. Dimensions Dimensions are for guidance only; it is the buyer’s responsibility to ensure that they are correct. Buyer’s Premium The buyer shall pay the hammer price together with a premium thereon. 25% up to £50,000 / 20% thereafter. VAT will be charged on the premium at the rate imposed by law. (see our Terms and Conditions of Sale). VAT The symbol † by a lot number indicates that VAT is payable by the purchaser at the standard rate on the hammer price. The symbol * by a lot number indicates that the lot has been temporarily imported from outside the EU and that VAT is payable by the purchaser at the rate of 5% on the hammer price. No VAT is payable on the hammer price or premium for books bought at auction. Droit de Suite This symbol § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, which took effect in the United Kingdom on 14th February 2006. We are required to collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012, this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the buyer on the hammer price and in addition to the buyer’s premium. It will not apply to works where the hammer price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale.

All royalty charges are paid to the appropriate collecting organisation and no handling costs or additional fees are retained by the auctioneer. Resale royalties are not subject to VAT. Please note that the royalty payment is calculated on the rate of exchange at the European Central Bank on the date of the sale. More information on Droit de Suite is available at www.dacs.org.uk Damage and Restoration Occasionally, when a lot has suffered extensive damage and/or restoration it is indicated in the catalogue. This is mentioned entirely at our discretion for the benefit of buyers. Where there is no mention of damage and/or restoration this should not be taken to mean that there is none. It is the buyer’s responsibility to ensure that the condition of lots is to their satisfaction (see our Terms and Conditions of Sale). Condition Reports If potential buyers are unable to inspect lots in person our specialists will be happy to prepare detailed Condition Reports on individual lots as quickly as possible. These are for guidance only and all lots are sold ‘as found’ (see our standard Terms and Conditions of Sale). Electrical Goods Lots that were once operated by mains electricity are bought entirely at the buyer’s risk. They are offered for sale for display or historical purposes and may not comply with current regulations. Import/Export Prospective buyers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to rhino horn, ivory, coral and tortoiseshell. Accordingly, prospective buyers should familiarize themselves with all relevant customs regulations prior to bidding if they intend to import lots to another country. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale nor any delay in making full payment for the lot.

CITES Please be aware that lots marked with the symbol Y contain material which may be subject to CITES regulations when exporting outside the EU. For more information visit http://www.defra.gov.uk/ahvla-en/ imports-exports/cites/ Bidding Please note that all first time bidders at Lyon & Turnbull will be asked to supply the following documents in order to facilitate registration: 1 – Government issued photo ID (Passport/ Driving licence) 2 – Proof of address (utility bill/ bank statement) You may present these documents in person or, alternatively, fax or email copies to us. We may, at our option, also ask you to provide a bank reference and/ or deposit. At the Sale Potential buyers must register and collect a bidding number before the sale begins, and show that number if successful in purchasing a lot. Please ensure that the auctioneer repeats the number correctly when confirming the sale. If there is any doubt at this stage as to the hammer price or buyer it must be brought to the auctioneer’s attention immediately. All lots will be invoiced to the name and address given on your registration form, which is nontransferable. If you have purchased a lot you may take your bidding number to the accounts department and receive an invoice immediately. If you have not been successful please leave the number at the Registration or Reception desks. In writing Bid forms are available at the sale and/or the back of the catalogue. These should be submitted in person, by post, or by fax as soon as possible prior to the sale and we will bid on your behalf up to the limit indicated. In the event of receiving two identical bids the first one received will take precedence. All bids must be received an hour before the sale. This service entirely at the bidder’s risk. By telephone Bids submitted by telephone must be confirmed in writing.

Telephone bidding If you are unable to attend the sale we can normally arrange for you to bid on the telephone. This service is available entirely at our discretion and at the bidder’s risk. All telephone bids must be confirmed in writing, listing the relevant lots and appropriate number to be called. We recommend that a covering bid is also left in the event that we are unable to make the call. We cannot guarantee that lines will be available, or that we will be able to call you on the day, but will endeavour to undertake such bids to the best of our abilities. All bid requests must be received an hour before the sale. Methods of Payment Goods purchased will not be released until we have received full payment. Bank Transfer Please find details in any email invoice we issue or upon request from our accounts department. Cash Cash payments can be made at the accounts desk during or after a sale. Credit or Debit Cards Payment can be made by Visa Debit, Maestro, Mastercard or Visa Credit cards. Please note there is a 2% surcharge on credit card payments and we do not accept Amex.. Online Payments We no longer accept card payments by phone, please use our online payment service (powered by Credorax). You will find a link to this service in any email invoice issue or you can visit the payments section of our website. Cheque Cheques should be made payable to Lyon and Turnbull Ltd. We reserve the right to wait until cheques have been cleared by our bankers before releasing bought goods. Cheques can be cleared prior to sale on request. Cheques drawn by third parties cannot be accepted. If paying by post please include the slip from your invoice. Collection It is the buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main saleroom.

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LY O N & T U R N B U L L Order of Sale

Wednesday, 25th March, 2015 at 11am 1-54 55-110

Art Glass British Ceramics

111-119

Continental Ceramics

120-146

Silver, Jewellery & Plated Wares

147-181

Other Metalwares

182-192

Clocks & Miscellaneous

193-205

Lighting

206-232

Sculpture

233-242

Stained Glass

243-266

Works on Paper, Books & Folios

267-281

Textiles

282-349

Furniture

351-446

19th & 20th Century Pictures (sale commences at 3pm)

IMPORT/EXPORT Prospective buyers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to rhino horn, ivory, coral and tortoiseshell. Accordingly, prospective buyers should familiarize themselves with all relevant customs regulations prior to bidding if they intend to import lots to another country. It is the buyerâ&#x20AC;&#x2122;s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale nor any delay in making full payment for the lot. IMPORT OF IVORY INTO THE USA Please note that there are now revised rules with regards the import of ivory and items containing ivory into the USA â&#x20AC;&#x201C; as the situation currently stands it is not possible to import any items containing ivory into the USA.

CONDITION REPORTS Please note that damage and/or restoration is indicated in the catalogue at our discretion. We are pleased to provide condition reports on all lots for those who cannot view in person. ONLINE CATALOGUE For colour illustrations of all lots in this sale please consult our website at www.lyonandturnbull.com IMAGES Please note that images are not necessarily to scale. TELEPHONE BIDDING Please note that all absentee and telephone bid requests must be received an hour before the sale.

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Art Glass

1 CHRISTOPHER DRESSER (1834-1904) FOR JAMES COUPER & SON, GLASGOW ‘CLUTHA’ GLASS VASE, CIRCA 1880 of tapering twisted form with broad rim, the green glass body with milky inclusions 28.5cm high Literature: For a similar example see ‘Christopher Dresser: People’s Designer’ exhibition catalogue by New Century, 2nd 19th June 1993, fig 114

£800-1,200

2 HB640/36 HANNAH MOORE WALTON (1863-1940) GROUP OF SIX ENAMELLED GLASS FINGER BOWLS, CIRCA 1900 decorated with fish, frogs, kingfishers, shrimp, five bear enamelled initials HW (6) 12cm diameter

£500-800

3 HB541/1 JOHN MONCRIEFF LTD., PERTH MONART ‘PAISLEY PATTERN’ GLASS VASE, CIRCA 1930 of ovoid form overlaid with swirls in silver and blue on a red ground, bears paper label VII/ A/ 63 18cm high

£500-700

4 HB541/3 JOHN MONCRIEFF LTD., PERTH ‘MONART’ BALUSTER VASE, CIRCA 1930 with blue and green mottled inclusions 30cm high

£400-600

5 HB536/10 JAMES COUPER & SONS, GLASGOW ‘CLUTHA’ GLASS VASE, CIRCA 1900 of baluster form with a fluted neck, in dark yellow glass with orange swirls and bubble inclusions 16.5cm high

£300-400

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LY O N & T U R N B U L L Decorative Arts

6 HB680/7 RENÉ LALIQUE (1860-1945) RARE ‘RONCES’ FROSTED ELECTRIC BLUE GLASS VASE, DESIGNED 1921 of tall cylindrical form, moulded with brambles, etched script and moulded marks R. LALIQUE

7 HB680/6 RENÉ LALIQUE (1860-1945) ‘RONCES’ CLEAR, FROSTED AND ANTHRACITE GLASS VASE, DESIGNED 1921 of tall cylindrical form, moulded with brambles, moulded marks R. LALIQUE

8 HB680/5 RENÉ LALIQUE (1860-1945) ‘RONCES’ CLEAR, FROSTED AND BLUE STAINED GLASS VASE, DESIGNED 1921 of tall cylindrical form, moulded with brambles, etched script and moulded marks R. LALIQUE

23.2cm high

£5,000-7,000

£1,500-2,000

£1,000-1,500

17cm high

10 HB680/12 RENÉ LALIQUE (1860-1945) ‘DAHLIA’ CLEAR, FROSTED AND BLACK ENAMEL VASE, DESIGNED 1923 of flattened ovoid form, script etched mark R. LALIQUE/ FRANCE/ No. 938

£2,500-3,500

12cm high

9 HB680/9 RENÉ LALIQUE (1860-1945) ‘ORMEAUX’, JADE GREEN GLASS VASE, DESIGNED 1926 of ovoid form, moulded with elm leaves, script etched mark R. LALIQUE/ FRANCE/ No. 984

£2,000-3,000

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LY O N & T U R N B U L L Decorative Arts

11 HB680/4 RENÉ LALIQUE (1860-1945) ‘MALESHERBES’, CASED JADE GREEN OPALESCENT GLASS VASE, DESIGNED 1927 of tapered ovoid form, moulded with overlapping leaves, script etched marks R. LALIQUE/ FRANCE/ No 1074

12 HB680/3 RENÉ LALIQUE (1860-1945) ‘MALESHERBES’, TOPAZ FROSTED GLASS VASE, DESIGNED 1927 of tapered ovoid form, moulded with overlapping leaves, script etched marks R. LALIQUE/ FRANCE

23cm high

£2,000-3,000

£4,000-6,000

23.7cm diameter

15 HB680/18 RENÉ LALIQUE (1860-1945) ‘VOLUBILIS’ PALE OPALESCENT GLASS BOWL, DESIGNED 1921 moulded with convolvulus, wheel etched mark R. LALIQUE/ FRANCE, script etches mark No. 383

17 HB680/19 RENÉ LALIQUE (1860-1945) ‘ONDES’ OPALESCENT GLASS PLATE, DESIGNED 1922 with flared rim, moulded with a waved design, stencil etched mark R. LALIQUE/ FRANCE

£250-350

21.5cm diameter

25cm diameter

13 HB680/14 RENÉ LALIQUE (1860-1945) ‘POISSONS’ OPALESCENT GLASS BOWL, DESIGNED 1921 moulded with fish, stencil etched mark R. LALIQUE/ FRANCE

£300-500

14 HB680/16 RENE LALIQUE (1860-1945) ‘COQUILLES’ LARGE OPALESCENT GLASS BOWL, DESIGNED 1924 moulded with cockle shells, wheel etched mark R. LALIQUE/ FRANCE, script etched mark No. 3200

16 HB680/15 RENÉ LALIQUE (1860-1945) ‘ONDES’ OPALESCENT GLASS BOWL, DESIGNED 1922 moulded with a waved design, stencil etched mark R. LALIQUE/ FRANCE

24cm diameter

20.3cm diameter

18 HB680/21 RENÉ LALIQUE (1860-1945) ‘JAFFA’ CLEAR AND FROSTED GLASS PLATE, DESIGNED 1932 moulded with an overlapping leaf design, stencil etched mark R. LALIQUE/ FRANCE

£400-600

31cm diameter

£200-300

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LY O N & T U R N B U L L Decorative Arts

19 HB680/13 RENÉ LALIQUE (1860-1945) ‘LYS’ CLEAR, FROSTED AND OPALESCENT GLASS BOWL, DESIGNED 1924 with four feet moulded as lilies, wheel etched mark R. LALIQUE/ FRANCE, script etched mark No. 382

20 HB680/20 RENÉ LALIQUE (1860-1945) ‘VOLUTES’ OPALESCENT GLASS PLATE, DESIGNED 1934 moulded with a scrolled design, stencil etched mark R. LALIQUE/ FRANCE

23.7cm diameter

£400-600

27cm diameter

£800-1,200

21 HB680/17 RENÉ LALIQUE (1860-1945) ‘DAUPHINS’ OPALESCENT GLASS BOWL, DESIGNED 1932 moulded as swimming dolphins in the waves, stencil etched mark R. LALIQUE/ FRANCE 23.3cm diameter

£800-1,200

22 HB680/23 RENÉ LALIQUE (1860-1945) ‘PÉLICAN’ OPALESCENT GLASS ASHTRAY, DESIGNED 1931 moulded as a Pelican holding a fish, stencil etched mark R. LALIQUE/ FRANCE

23 HB680/24 RENÉ LALIQUE (1860-1945) ‘DINDON’ OPALESCENT GLASS ASHTRAY, DESIGNED 1925 moulded as a Turkey, script etched mark R. LALIQUE/ FRANCE/ No. 287

9cm diameter

£800-1,200

£300-500

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LY O N & T U R N B U L L Decorative Arts

24 HB680/1 RENÉ LALIQUE (1860-1945) ‘FORMOSE’, CASED OPALESCENT GLASS VASE, DESIGNED 1924 of ovoid form, moulded with fish, script etched marks R. LALIQUE/ FRANCE

25 HB680/2 RENÉ LALIQUE (1860-1945) ‘FORMOSE’, TOPAZ GLASS VASE, DESIGNED 1924 of ovoid form, moulded with fish, with traces of original white staining, script etched marks R. LALIQUE/ FRANCE/ No. 934 17cm high

£1,800-2,200

17cm high

£1,500-2,500 26 HB680/8 RENÉ LALIQUE (1860-1945) ‘SOUCIS’ COBALT BLUE GLASS VASE, DESIGNED 1930 the frosted body moulded with marigolds, with flaring rim, moulded mark R. LALIQUE, etched script mark FRANCE 18cm high

£5,000-7,000

27 HB680/11 RENÉ LALIQUE (1860-1945) ‘GRAINES’ OPALESCENT GLASS VASE, DESIGNED 1930 moulded with seeds and with a tall flaring rim, stencil etched mark R. LALIQUE/ FRANCE

28 HB680/22 RENÉ LALIQUE (1860-1945) ‘CHAMPIGNY’ A SET OF SIX GLASSES, DESIGNED 1932 each of tapered cylindrical form with applied foot, stencil etched mark R. LALIQUE (6)

19.5cm high

£250-350

£1,500-2,000

9cm high

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LY O N & T U R N B U L L Decorative Arts

29 HB680/10 RENÉ LALIQUE (1860-1945) ‘ARCHERS’ CASED OPALESCENT GLASS VASE, DESIGNED 1921 of shouldered ovoid form, moulded with archers and birds in flight, script etched mark R. LALIQUE/ FRANCE/ No. 893 26.5cm high

£8,000-12,000

30 HB5/1 CRISTAL LALIQUE PAIR OF CLEAR AND FROSTED GLASS WINE COASTERS, POST 1945 each of circular form, the broad rims moulded, etched script mark LALIQUE/ FRANCE (2) 14cm diameter

£200-300

31 HB434/1 CRISTAL LALIQUE COLLECTION OF CLEAR AND FROSTED GLASS VESSELS, MODERN comprising TWO VASES, 28cm and 24.5cm high; a SCENT BOTTLE AND STOPPER, 8cm high; and a FIGURE OF A BIRD, 7cm high, each with script etched maker’s marks (4)

32 HB139/4 CRISTAL LALIQUE ‘NEMOURS’ PATTERN FROSTED GLASS BOWL, POST 1945 with allover moulded floret pattern, script etched mark LALIQUE/ FRANCE 25.5cm diameter

£200-300

£500-700

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LY O N & T U R N B U L L Decorative Arts

33 HB312/8 RENÉ LALIQUE (1860-1945) ‘DEUX MOINEAUX DORMANT’ FROSTED GLASS VASE, DESIGNED of flattened circular form, traces of original blue staining, moulded mark to body R. LALIQUE 20.2cm high

£1,000-1,500

34 HB541/6 RENÉ LALIQUE (1860-1945) ‘RAMPILLON’ AMBER GLASS VASE, DESIGNED 1927 of tapered form with allover decorative prunts, wheel etched mark R. LALIQUE/ FRANCE 12.5cm high

£800-1,000 35 HB541/7 RENÉ LALIQUE (1860-1945) ‘COQUILLES’ PATTERN OPALESCENT GLASS LAMP, 1930S with patinated brass fittings and base, wheel etched to each ‘shade’ R. LALIQUE/ FRANCE 29cm high

£1,000-1,200

36 HB541/10 RENÉ LALIQUE (1860-1945) 'DEUX CHÈVRES', CLEAR AND FROSTED GLASS HAND MIRROR, DESIGNED 1919 of circular form, moulded with a pattern of goats and fruiting vines and with traces of original sepia staining, indistinct moulded marks 16.2cm diameter

£500-700

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LY O N & T U R N B U L L Decorative Arts

37 HA894/7 RENÉ LALIQUE (1860-1945) ‘DOMRÉMY’ FROSTED GLASS VASE, DESIGNED 1926 of baluster form, moulded with thistles with indistinct dark green staining, script etched mark R. LALIQUE/ FRANCE/ H0/5 979 22cm high

£700-900

39 HA894/10 RENÉ LALIQUE (1860-1945) ‘FOUGÈRES’ FROSTED TOPAZ GLASS VASE, DESIGNED 1912 of bulbous form, moulded with layered leaves, script etched mark LALIQUE

38 HA894/9 RENÉ LALIQUE (1860-1945) ‘ALBERT’ TOPAZ GLASS VASE, DESIGNED 1925 of cylindrical form with twin handles moulded as birds, wheel etched marks R. LALIQUE/ FRANCE 17.5cm high

£800-1,200

15cm high

£700-900

40 HA894/8 RENÉ LALIQUE (1860-1945) ‘PIRIAC’ FROSTED AND OPAL GLASS VASE, DESIGNED 1930 converted to a lamp, of fluted form, moulded with overlapping fish above waves, stencil etched mark R. LALIQUE/ FRANCE 18cm high

£600-800

41 HB538/4 LALIQUE, FRANCE ‘BAGATELLE’ CLEAR AND FROSTED GLASS VASE, POST 1945 moulded with birds and foliage, stencil etched mark LALIQUE/ FRANCE, small chip to foot rim

42 HB139/5 CRISTAL LALIQUE ‘ELIZABETH’ FROSTED GLASS FOOTED BOWL, POST 1945 highlighted with gilt, in original box, script etched mark LALIQUE/ FRANCE

17cm high

£150-250

14cm high

£200-300

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LY O N & T U R N B U L L Decorative Arts

43 HA894/3 DAUM, NANCY ‘MONNAIE DU PAPE’ CAMEO GLASS VASE, CIRCA 1910 of square form, the mottled orange glass acid etched with honesty seed pods, signed DAUM/ NANCY with Cross of Lorraine, with indistinct marks to underside 12cm high

£700-900

44 HA894/1 DAUM, NANCY CAMEO GLASS VASE, CIRCA 1910 of square form, the mottled orange glass acid etched with sailing ships, water, and trees, signed DAUM/ NANCY with the Cross of Lorraine 12cm high

£600-800

45 HB312/15 DAUM, FRANCE PAIR OF CLEAR AND FROSTED GLASS DISHES, MODERN each moulded with poppies, etched maker’s marks (2)

47 HB102/6 ORREFORS, SWEDEN GREEN OVOID GLASS VASE, DATED 1930 inscribed to base ORREFORS/ 1930/ H.Z. L/8

21cm diameter

17cm high

£150-250

£100-200

46 HA894/12 QUERTZAL ART GLASS TWO GLASS LIGHT SHADES, CIRCA 1910 each with trailing gold iridescent glass on a white ground, etched marks QUETZAL (2)

48 HB570/2 KARL WIEDMAN FOR WMF (WUERTTEMBERGISCHEN METALLWARENFABRIK) ‘MYRA KRISTAL’ IRIDESCENT GLASS BOWL, CIRCA 1926 of deep ovoid form with applied foot

£350-450

13cm high

14cm high

15cm high

£100-200

£200-300

£300-500

49 HB624/3 MANNER OF SCHNEIDER ART NOUVEAU IRIDESCENT GLASS VASE, CIRCA 1920 of shouldered tapering form, the textured amber glass with bronze iridescence within leaf-cast adonised copper frame, stamped to base 2690 44.5cm high

50 HB623/1 ATTRIBUTED TO JAROSLAV BRYCHTA FOR BIMINI BLUE GLASS FIGURE OF DIANA AND HER HOUND, CIRCA 1930

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LY O N & T U R N B U L L Decorative Arts

51 HB541/8 CHARLES SCHNEIDER (1881-1952) LARGE METAL MOUNTED GLASS TAZZA, CIRCA 1925 the shallow mottled red and orange dish raised on a striped baluster stem and metal foliate base with glass ‘berries’, etched mark SCHNEIDER 38.5cm diameter, 36cm high

£1,000-1,500

52 HB108/2 GEOFFREY BAXTER (1922-1995) FOR WHITEFRIARS WAISTED TEXTURED GLASS VASE, CIRCA 1967 cinnamon colourway, 31.2cm high; and a ‘CUCUMBER’ GLASS VASE, cinnamon colourway, 28.5cm high (2) £300-500

53 HB495/1 VITTORIO ZECCHIN (1878-1947) FOR M.V.M. CAPPELLIN, MURANO BLUE GLASS TABLE CANDELABRA, CIRCA 1930 with twin branches above a column on spreading foot, etched marks M.V.M CAPPELLIN/ MURANO 31.5cm high

£300-500

54 HB562/2 ATTRIBUTED TO ALFRED BARBINI, FOR CENEDESE & CO., MURANO GLASS BLOCK AQUARIUM, MID 20TH CENTURY of curved rectangular outline, with two brightly coloured fish above plants and foliage 26cm wide, 18.5cm high, 5cm deep

£300-500

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British Ceramics

56 HB540/1 WEMYSS WARE ‘DRAGONFLIES’ PATTERN EWER, CIRCA 1900 painted and impressed marks WEMYSS 21.5cm high

£800-1,200

55 SV254/86 WEMYSS WARE TWO COMMEMORATIVE GOBLETS, DATED 1897 each bearing inscription THE SIXTIETH YEAR OF QUEEN VICTORIAS REIGN/ 1897, each with impressed maker’s marks WEMYSS WARE/ R.H.&S. and with retailer’s marks (2) 13.5cm high Provenance: The Collection of the Countess of Lanesborough, previously at Swithland Hall, Leicestershire.

£300-500 57 HB540/2 WEMYSS WARE ‘STRAWBERRIES’ PATTERN LOW QUAICH, CIRCA 1900 decorated by Edwin Sandlands, painted and impressed marks WEMYSS, one handle restored 26cm across

£300-500

58 HB540/3 WEMYSS WARE SMALL ‘PURPLE PLUMS’ PATTERN LOVING CUP, CIRCA 1900 impressed mark WEMYSS, hairline

59 HB540/4 WEMYSS WARE ‘DOG ROSES’ PATTERN PIN TRAY, CIRCA 1900 decorated by James Sharp, painted and impressed marks WEMYSS

60 HB540/9 WEMYSS WARE ‘CHERRIES’ PATTERN SIDE PLATE, CIRCA 1900 impressed mark WEMYSS WARE 18.5cm diameter

61 HB540/6 WEMYSS WARE ‘PHEASANTS’ PATTERN MILK JUG, CIRCA 1900 impressed mark WEMYSS WARE/ R.H.&S., printed retailer’s mark

10.5cm high

14.5cm long

£200-300

6.7cm high

£250-350

£200-300

£150-250

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62 HB540/5 WEMYSS WARE ‘PHEASANTS’ CHOCOLATE POT AND COVER, CIRCA 1900 painted marks WEMYSS WARE, impressed mark WEMYSS, bears retailer’s mark 13.5cm high

£300-500

63 HB540/7 WEMYSS WARE ‘DAISIES AND FORGET-ME-NOTS’ PATTERN GORDON PLATE, CIRCA 1900 impressed mark WEMYSS WARE/ R.H.&S. 21cm diameter

£200-300

64 HB540/8 WEMYSS WARE ‘PURPLE PLUMS’ PATTERN GORDON PLATE, CIRCA 1900 painted marks WEMYSS/ T. GOODE & CO./ LONDON, impressed mark WEMYSS 20.5cm diameter

£200-300

65 HB540/10 WEMYSS WARE ‘GREENGAGES’ PATTERN SIDE PLATE, CIRCA 1900 printed retailer’s mark 18.5cm diameter

£300-500

66 HB540/11 WEMYSS WARE (ATTRIB.) PAIR OF ‘PHEASANTS’ PATTERN COFFEE CANS AND SAUCERS, CIRCA 1900 painted on Copeland blanks (4) £200-300

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67 HB642/6 ELIZABETH MARY WATT (1886-1954) GLASGOW STYLE HAND PAINTED PORCELAIN BREAKFAST SET, CIRCA 1915 comprising a teapot, sugar basin, cream jug, cup, saucer, side plate and toast rack, painted with stylised fruit & foliage in shades of purple, green, sienna, orange, yellow and black against a cream ground, each piece with painted mark EMW (7) £200-300

68 HB213/1 BOUGH POTTERY, EDINBURGH TWO CIRCULAR WALL CHARGERS, 1930S one decorated by Elizabeth Amour, with Camellias, 31cm diameter; the other decorated by Richard Amour, with Sweetpeas, 31cm diameter, both with printed and painted maker’s marks (2) £300-500

69 HA992/15 JOHN MOYR SMITH (1839-1912) FOR MINTON’S CHINA WORKS PAIR OF DUST-PRESSED TILES, CIRCA 1875 each decorated in the ‘Classical Figures with Musical Instruments’ series, moulded maker’s marks (2) 20.3cm square

£100-200

70 HB388/7 ATTRIBUTED TO LINTHORPE POTTERY LARGE FOOTED VASE, CIRCA 1900 the ovoid body with ribbed decoration, covered in green, yellow and red glazes 66cm high

£300-500

71 HB349/1 GEORGE TINWORTH (1843-1913) FOR DOULTON LAMBETH STONEWARE VASE, CIRCA 1880 incised with scrolling foliage, impressed and incised factory marks, incised monogram to body GT 31cm high

£250-350

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73 HB640/34 ALFRED WATERHOUSE (1830-1905) TERRACOTTA WALL TILE FROM THE NATURAL HISTORY MUSEUM, LONDON, CIRCA 1875 modelled as a Pterodactyl, the tile indistinctly inscribed to the bottom edge EXTINCT SH***/ 37/ **** 30cm x 21.5cm

£300-500 72 HB640/7 W.T. COPELAND & SONS GROUP OF 24 ‘MEDIEVAL OCCUPATIONS’ DUST-PRESSED TILES, CIRCA 1880 mounted in a pair of brass frames (24) Panels: 92cm x 32cm, Tiles: 15cm square

£1,000-1,500

74 HB640/37 JOHN MOYR SMITH (1839-1912) FOR MINTONS A GROUP OF SIX ‘ANACREON’ PLATES, CIRCA 1877 of seven designs, each with impressed maker’s marks (6) 25cm diameter

£300-500

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75 HB580/4 MINTON’S SECESSIONIST LARGE STICK STAND, CIRCA 1900 of cylindrical form, decorated with poppies, printed and impressed maker’s marks 57cm high

£500-800

76 HB580/2 MINTON’S SECESSIONIST LARGE JARDINIERE, CIRCA 1900 decorated with stylised lilies, impressed factory marks 32cm high

£200-300

77 LT2015/7 MINTON’S CHINA WORKS PÂTE SÜR PÂTE REDWARE MOON FLASK, CIRCA 1880 decorated with flowering foliage on a mottled ground, impressed marks, 14cm high; and a MINTON PÂTE SÜR PÂTE CIRCULAR JUG, CIRCA 1880, the decoration reserved on a cobalt blue ground, impressed marks, 20.5cm high (2) £200-300

78 HB565/1 CHRISTOPHER DRESSER (1834-1904) FOR MINTON’S CHINA WORKS DUST-PRESSED TILE, CIRCA 1880 black line printed and enamel decorated with blue tits resting on grasses against a white ground, within dot and line borders, pattern book number 1143 21cm square

£150-200

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79 HA953/6 WILLIAM DE MORGAN (1839-1917) PERSIAN CERAMIC BOWL, CIRCA 1890 of deep circular form, decorated by Joe Juster to the exterior with curled fronds, flowers and leaves and to the interior with a circular panel of tulip flowers within a stellar band, painted mark W DE MORGAN, FULHAM, JJ 26cm diameter

£1,000-1,500

80 HB312/12 WILLIAM DE MORGAN (1839-1917) RUBY LUSTRE WALL CHARGER, CIRCA 1900 decorated with an exotic bird within a foliate band and decorated to the reverse with leafy border and concentric ring design, cracked and repaired 36cm diameter

£300-500

81 HB542/7 WILLIAM DE MORGAN (1839-1917) CIRCULAR RUBY LUSTRE WALL PLATE, CIRCA 1880 the broad rim painted with rampant beasts and foliage, decorated verso with foliate motifs

82 HA953/5 WILLIAM DE MORGAN (1839-1917) ‘BBB’ 8” CERAMIC TILE, CIRCA 1890 impressed Sands End mark 21cm square

£300-500

29.5cm diameter

£400-600

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83 HB205/2 LIZZIE WILKINS FOR DELLA ROBBIA POTTERY, BIRKENHEAD LARGE TERRACOTTA JARDINIERE, DATED 1900 decorated with bands of thistles, shamrocks and roses, painted marks under base with artist’s monogram LW 84 HB217/2 DELLA ROBBIA POTTERY, BIRKENHEAD SHOULDERED TAPERING VASE, DATED 1895 decorated with vertical leafy panels, painted maker’s marks, bears initials A.W.

25cm high, 36cm across

£1,500-2,000

29cm high

£400-600 85 HB217/1 RUTH BARE FOR DELLA ROBBIA POTTERY, BIRKENHEAD DOUBLE GOURD SHAPED BOTTLE VASE, CIRCA 1900 decorated with bands of flowerheads, incised maker’s marks 24.5cm high

£300-500

23.5cm high

87 HB542/2 CARTER & COMPANY LARGE CIRCULAR CHARGER, EARLY 20TH CENTURY with moulded rim, covered in a flambé and celadon glaze, impressed mark C to base

£200-300

43cm diameter

86 HB102/1 RUSKIN POTTERY CYLINDRICAL VASE, CIRCA 1905 covered with a purple soufflé glaze, apparently unmarked

£150-200

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88 HB312/11 MOORCROFT POTTERY FOR LIBERTY & CO., LONDON ‘TUDRIC’ PEWTER MOUNTED ‘POMEGRANATE’ PATTERN BOWL, CIRCA 1920 stamped marks TUDRIC/ MOORCROFT/ 01312 25.5cm across

£300-500

89 HB312/9 MOORCROFT POTTERY ‘MOONLIT BLUE’ PATTERN MINIATURE VASE, CIRCA 1920 of squat baluster form, impressed marks 8cm high

£300-500

90 HB312/10 MOORCROFT POTTERY ‘MOONLIT BLUE’ PATTERN VASE, CIRCA 1920 of flared cylindrical form, impressed marks, signed W. MOORCROFT, minor restoration 21cm high

£400-600

91 HA862/2 MOORCROFT POTTERY ‘CLAREMONT’ PATTERN BALUSTER VASE, CIRCA 1925 signed in green, with impressed factory marks

92 HA862/3 MOORCROFT POTTERY ‘CLAREMONT’ PATTERN BOTTLE VASE, CIRCA 1916 signed in green, with impressed factory marks

24cm high

32cm high

£800-1,200

£600-800

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93 HA390/1 WILLIAM MOORCROFT MACINTYRE ‘FLORIAN WARE’ TWIN HANDLED FOOTED BOWL, CIRCA 1900 decorated with flowers and with gilt embellishment, printed marks, signed W. MOORCROFT 23.5cm across

£400-600

94 FH326/65 MOORCROFT POTTERY SHOULDERED ‘POMEGRANATE’ PATTERN VASE, CIRCA 1935 signed in blue W. MOORCROFT, impressed factory marks with facsimile signature 33cm high

£600-800

96 HB312/13 GEORGE CARTLIDGE FOR SAMPSON HANCOCK & SONS LARGE ‘MORRIS WARE’ VASE, CIRCA 1920 decorated with flowering stems on a mottled blue ground, printed marks, signed GEO. CARTLIDGE

97 HB102/7 POOLE POTTERY OVOID TWIN HANDLED VASE, CIRCA 1925 decorated by Ruth Pavely with a frieze of flowering foliage, impressed marks, painted artist’s marks

37cm high

£200-300

18cm high

95 FH326/62 MOORCROFT POTTERY RARE ‘POMEGRANATE’ PATTERN TWIN HANDLED JARDINIÈRE, CIRCA 1920 signed in green W. MOORCROFT, impressed factory marks 38cm across

£1,000-1,500

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98 HB538/3 BESWICK POTTERY BLACK GALLOWAY BULL FIGURE, ISSUED 1962-1969 black gloss glaze with grey muzzle, printed maker’s marks under hoof (twice) BESWICK/ ENGLAND 19cm long

£700-900

99 HB495/2 CHARLES NOKE (1858-1941) FOR ROYAL DOULTON RARE ‘BUNNYKINS’ TEAPOT AND COVER, LATE 1930S the teapot formed as a rabbit, detailed with green floral sprigs, reserved against a shaded brown ground, printed maker’s marks 11cm high

£500-800

100 HB495/3 BESWICK POTTERY DUCHESS (WITH FLOWERS), RARE BEATRIX POTTER FIGURE, MID 20TH CENTURY printed gilt marks 9.7cm high

£400-600

101 HB562/1 CLARICE CLIFF (1899-1972) ‘SUMMERHOUSE’ PATTERN CONICAL SUGAR SIFTER, CIRCA 1931 painted in coloured enamels, bears printed factory marks to base 14cm high

£500-800

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102§ HB529/2 ELIZABETH FRITSCH (B. 1940) OPTICAL CUP & SAUCER, CIRCA 1998 stoneware, the flattened form with a geometric cube design in multi-coloured slip 15.5cm high Literature: London, The Fine Art Society 'Elizabeth Fritsch' 12-27 November 2008 , catalogue number 24 is a similar example.

£4,000-6,000

103 HB315/1 BURMANTOFTS POTTERY, LEEDS JARDINIÈRE & STAND, CIRCA 1890 the jardinière decorated with swimming swans, the stand with shell and foliate decoration, impressed marks BURMANTOFTS/ FAIENCE/ 2018/ ENGLAND, and with painted marks COL NO. 63/ 2 (2) 29cm diameter, 90.5cm high

£300-500 103A HB446/17 SUSIE COOPER (1902-1995) ‘BRACKEN’ PATTERN PART DINNER SERVICE, 1930S comprising 12 dinner plates; 11 dessert plates; 12 twin-handled soup dishes and stands; 13 side plates; 4 serving dishes; 2 vegetable dishes, one with cover; sauce boat and stand; hors d’oeuvres wooden tray with 6 oblong dishes, printed maker’s marks (57) £200-300

104 HB642/12 PHOEBE STABLER (1879-1955) FOR ASHTEAD POTTERS LTD. ‘BUSTER GIRL’ POTTERY FIGURE, DESIGNED 1922 depicting the figure of a young girl wearing a hat and holding a bunch of grapes with opaque white glaze highlighted with muted tones of green, purple and blue, impressed mark to the body PHEOBE STABLER, the base stamped M49 for 1927, ASHTEAD POTTERS, BCM/ASHTD 19cm high

£200-300 105§ HB102/5 DAVE COHEN RAKU VESSEL, DATED 1972 overlaid with silvered glaze, incised artists marks 13cm high Note: David Cohen is the former Head of Ceramics at the Glasgow School of Art (1986-1991). He specialises in Raku and designs large plate compositions for corporate and private commission.

£100-200

106 HB102/2 GOLDSCHEIDER WITH MYOTT, SON & CO., ENGLAND PAIR OF NOVELTY BOOKENDS, CIRCA 1930 each modelled as a dog with a ball, printed maker’s marks (2) approx. 17cm long

£200-300 107§ HA389/2 LYS HANSEN (B. 1936) CIRCULAR WALL CHARGER, DATED 1988 painted and incised with a mask, incised signature and date verso LYS HANSEN/ 88 43cm diameter

£200-300

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108§ HB529/1 EWAN HENDERSON (1934-2000) LARGE OPEN BOWL of tapered form with pale volcanic textured surface 49cm across Provenance: Bought from the artist

£400-600

109§ HA549/2 DAVID ROBERTS (B. 1947) RAKU VESSEL AND STAND, LATE 20TH CENTURY the circular vessel with inverted rim on freeform stand, both with impressed maker’s monogram (2) 36cm across

£300-500

110§ HA544/2 JULIA KIRILLOVA ‘THE THINKING MAN’, DATED 1987 earthenware figure in two parts, signed under base twice KIRILLOVA and dated 1987 46cm high

£300-500

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Continental Ceramics

111 HB349/2 FRIEDRICH GOLDSCHEIDER (1845-1897) TERRACOTTA FIGURE OF A BOY, CIRCA 1890 polychrome and gilt patination, impressed maker’s marks 1194/61/67 73cm high

£300-500

112 HD520/18 J. MERCADIER FOR GOLDSCHEIDER, AUSTRIA TERRACOTTA FIGURE OF A BOY, CIRCA 1900 modelled as a boy standing by a sign marked ‘5KM’, in gilt and brown enamels, raised on a square plinth, signed J. MERCADIER, with applied maker’s marks, incised REPRODUCTION RESERVEE and 1487/175/8 95cm high

£400-600

113 HB580/6 CONTINENTAL SCHOOL ART NOUVEAU CERAMIC TRAY, CIRCA 1910 moulded in relief and painted in colours with stylised flowers, within white metal border 56.5cm long

£250-350

114 FE28/3 KARL TUTTER (1883-1969) FOR HURTSCHENREUTHER ‘SONNENKIND’ PORCELAIN FIGURE, CIRCA 1920 modelled as a naked female dancer, bisque fired and raised on a gilt decorated base, printed factory marks, bears manufacturer’s paper label 22cm high

£150-250

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115 HB314/2 ÉDOUARD ALEXANDRE DAMMOUSE (1850-1903) FOR HAVILAND & CO. LARGE EARTHENWARE JUG, CIRCA 1879 painted with impressionistic flowers on a graduated ground, incised initials to body E.D., impressed marks to base H&CO/L/2/1 34cm high

£800-1,200

116 HB635/1 AFTER DESIGNS BY HENRI BREETVELT FOR GOUDA, ZUID HOLLAND LARGE EARTHENWARE WALL PLATE, CIRCA 1925 decorated with stylised flowers and leaves within a foliate border, in multi-coloured enamels, with painted marks 1165/35/ ZUIDHOLLAND/ GOUDA / BREETVELT 48cm diameter

£400-600

117 HB541/2 AXEL SALTO (1889-1961) FOR ROYAL COPENHAGEN, DENMARK CYLINDRICAL STONEWARE VASE, CIRCA 1960 modelled in the budded style, incised SALTO/ 6161, painted maker’s marks 20564 17cm high

£600-800

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118 HB634/1 KERAMOS, AUSTRIA LARGE ART DECO CERAMIC FIGURE, CIRCA 1930 moulded as a naked girl with floral robe, raised on a plinth, printed maker’s marks, moulded mark 1863 46cm high

£1,000-1,500

119 HB634/4 JOSEF LORENZL (1892-1950) FOR GOLDSCHEIDER, VIENNA FIGURE OF SPANISH LADY, 1930S incised signature, printed mark and numbered 5911 104 19 35.5cm high

£1,000-1,500

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Silver Jewellery & Plated Wares

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120 HB632/1 CHRISTOPHER DRESSER (1834-1904) FOR JAMES DIXON & SONS ELECTROPLATED THREE PIECE TEA SET, MODEL 2273, CIRCA 1879 comprising a TEA POT with an ebony handle, 11cm high; a MILK JUG, 6cm high; and a SUGAR BOWL, 8cm high, all with facsimile signature C.DRESSER, stamped maker’s marks and 2273, with a registration mark for 25 November 1880 (3) Literature: Rudoe, J. 2008 ‘Design and Manufacture: Evidence from the Dixon & Sons Calculation Books’, The Decorative Arts Society 1850 to the Present: Christopher Dresser in Context, Journal 29: 66-83. Sheffield Archives, Accession B12, Dixon costings book 1879, p. 111-113. Halen, W., ‘Christopher Dresser’, Oxford, 1990, p. 181, pl. 205

Note: This tea service is one of a group of remarkable designs that the pioneering Victorian designer Christopher Dresser produced for James Dixon & Sons of Sheffield from 1879-1883. A series of costings books, held in the archives at Sheffield, reveal that Dresser produced approximately 80 designs for Dixon's, not all of which are thought to have gone into production. This was possibly due to comparative expense of manufacture, but also because of the radical nature of his designs. Dresser's interest in and close understanding of the process of manufacture and the use of materials are reflected in these books. They show how much each item produced cost to make in detail, how they were made and, in most cases, which were designed by Dresser. The entries for this tea service in the costings book lay out the costs of manufacture and, in some cases, who was to carry out the work. The cost to manufacture this set was £2/17s/10d, one of the most expensive in the entire range.

£3,000-5,000

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121 HB632/2 CHRISTOPHER DRESSER (1834-1904) FOR HUKIN & HEATH ELECTROPLATED TOAST RACK, CIRCA 1880 with fixed dividers on a domed base with bun feet stamped marks to base H&H/ 2556, 14cm across; also an ELKINGTON’S ELECTROPLATED CAULDRON SUGAR BOWL, with swing handle and three strut feet, stamped maker’s marks 5911, 10.5cm diameter (2) £300-500

122 SV254/305 CHRISTOPHER DRESSER (1834-1904) FOR HUKIN & HEATH ELECTROPLATED DOUBLE SWEETMEAT DISH, CIRCA 1880 the twin cylindrical dished linked by an arched handle and two pad feet, apparently unmarked 24cm across Provenance: The Collection of the Countess of Lanesborough, previously at Swithland Hall, Leicestershire.

£200-300

123 HB282/1 CHRISTOPHER DRESSER (1834-1904) FOR HUKIN & HEATH ELECTROPLATED CRUET, CIRCA 1880 the hexagonal frame with three glass lozenge-shaped dishes, angular handle, impressed marks H&H/ DESIGNED BY DR. C. DRESSER/ 1867 11cm across

£600-800

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124 HB507/2 CHRISTOPHER DRESSER (1834-1904) FOR JAMES DIXON & SONS ELECTROPLATED KETTLE, CIRCA 1880 of tapered from with hinged cover and applied handle, raised on characteristic strut feet, stamped marks EP/ JD&S/ 2272/ AM and with facsimile signature CHR. DRESSER 23cm high Literature: Rudoe, J. 2008 'Design and Manufacture: Evidence from the Dixon & Sons Calculation Books', The Decorative Arts Society 1850 to the Present: Christopher Dresser in Context, Journal 29: 66-83. Sheffield Archives, Accession B12, Dixon costings book 1879, p. 107 and Accession B496, Dixon costings book 1881, p. 98 Whiteway, Michael (edit.) 'Shock of the Old: Christopher Dresser's Design Revolution', London 2004, pp. 152-161 and p.155, pl. 194

Note: This rare and extraordinary electroplated kettle was designed by Christopher Dresser and produced by James Dixon & Sons of Sheffield from 1879 -1883. Stamped 2273, the pot relates to Dresser's design for a tea set with the same serial number which appears in the 1879 costings book, along with the majority of his radical designs for the firm. In common with other tea services, a larger version of the teapot appears in the 1881 costings book. The majority of the designs in these books are not illustrated, with the exception of those by Dresser, which usually appear as a thumbnail sketch or photograph however a sketch or photo for the current lot does not appear to have been made.

ÂŁ8,000-12,000

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125 HB507/1 CHRISTOPHER DRESSER (1834-1904) FOR HUKIN & HEATH CUT GLASS AND ETCHED SILVER CLARET JUG, DATED 1886 the silver fluted neck and flat lid etched with demi-lune borders and citrus fruits, with a scrolled handle above the mallet shaped cut glass body, hallmarked Hukin & Heath, Birmingham 1886 21cm high Literature: Durant, Stuart “Christopher Dresser,” Academy Editions 1993, p.85 “Christopher Dresser: People’s Designer 1834 - 1904”, exhibition catalogue by New Century 2nd - 19th June 1999, figures 82 and M-034

Note: Hukin and Heath first displayed Dresser’s designs in their showrooms in August 1879. The designs, along with those for James Dixon in Sheffield are a reflection of the influence of his recent trip to Japan and demonstrate the designers’ understanding of the process of manufacture, use of materials and sophistication of line and decoration. The Furniture Gazette of August 23rd 1878 commented “In order that the firm may be recognised by the trade as reliable in point of design in every article of manufacture…and to render themselves secure against the inroads of wedding-cake art, Hukin & Heath have wisely secured the services of one of the past masters of decoration, Dr Christopher Dresser…(who)…has constantly laboured for many years to teach…that in order to be inexpensive – not cheap, that is gimcrack – an article need not be ugly…The great charm about all Dr Dresser’s designs is, that they start from a new departure…nothing is taken for granted.” The claret jug offered here was amongst those designs, however it is the only known example produced by the firm in silver.

£8,000-12,000

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126 HB448/1 CHRISTOPHER DRESSER (1834-1904) FOR HEATH & MIDDLETON SILVER AND EBONY TEAPOT, DATED 1895 of squat tapered form with an ebony knop finial and double Tau handle, with a removable infuser, hallmarked Heath & Middleton, Birmingham 1895 14.5cm high, 26cm long Literature: Whiteway, Michael, "Christopher Dresser 1834-1904", Skira 2001, p 88 Dennis, Richard and Jesse, John, "Christopher Dresser 1834-1904: An exhibition arranged by Richard Dennis and John Jesse", The Fine Art Society Ltd 1978, p.134. Note: Shortly after returning from his trip to Japan, Dresser designed a series of metalware which were almost entirely without precedent and which ensured his reputation as a proto-modernist and one of the great talents of 19th century design. His designs for the London firm of Hukin & Heath were part

of this remarkable series and included designs for this teapot, with its characteristic ebony handle and simple triangular line. Originally this model was produced by the firm around 1878 as a plated spirit kettle with stand, examples of which are kept in the collections at the Victoria & Albert Museum, London; the National Museums, Liverpool and the British Museum, London. J.T. Hukin retired in 1881 and in 1886 J.T. Heath continued the partnership with John Hartsghorne Middleton, forming the company Heath & Middleton. It is held by repute that in 1895, to celebrate the success of this model, Heath & Middleton commissioned three solid silver versions of this teapot. Each of the silversmiths kept one teapot each, with the final piece, offered here, being presented to Christopher Dresser's wife. It is thought that this piece was then passed down by descent before being gifted by the family to a friend in the 1970s.

ÂŁ10,000-15,000

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127 HB508/1 AFTER CHARLES RENNIE MACKINTOSH, BY SABATINI, ITALY WHITE METAL FISH KNIFE AND FORK, 20TH CENTURY after the cutlery set designed for Charles Rennie Mackintosh and Margaret Macdonald Mackintosh in c.1903, with elongated handles and pierced detail, script etched mark CHARLES RENNIE MACKINTOSH/ SABATINI/ ITALY, 1/9/8/6 (2) fork 22.5cm long; knife 23cm long

£200-300

128 HB642/2 CHARLES RENNIE MACKINTOSH (1868-1928) FOR MISS CRANSTON’S TEA ROOMS, GLASGOW ELECTRO-PLATED PRESERVE SPOON, CIRCA 1900 with circular bowl and slender tapering stem with trefoil terminal, cast mark MISS CRANSTON’S

129 HB642/5 LIBERTY & CO., LONDON IN THE STYLE OF ARCHIBALD KNOX UNUSUAL ART NOUVEAU SILVER AND ENAMEL MATCHBOX HOLDER, CIRCA 1903 with stylised Iris flower highlighted in shades of green and mauve enamel issuing from entwined Celtic knotwork, hallmarked Birmingham 1903

15cm long

6cm long

£200-300

£400-600

130 LT2015/5 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON PAIR OF ‘CYMRIC’ SILVER AND ENAMEL CANDLESTICKS, 1906 each with tapering columns on broad circular bases inset with enamelled Celtic knots, drip trays lacking, each bearing maker’s marks CYMRIC/ L&CO, hallmarked Birmingham 1906 (2) 16cm high

£800-1,200

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131 HB200/1 ART NOUVEAU SILVER MOUNTED AND ENAMEL OAK JEWELLERY BOX, DATED 1904 of shaped rectangular form, with an embossed silver mounted lid depicting flowers and enamel panels, opening to reveal a fitted interior, hallmarked Deakin & Francis Ltd., Birmingham 1904 27cm wide, 4.5cm high, 13.5cm deep

£400-600

132 HB642/1 ALBERT EDWARD JONES (1878-1954) ARTS AND CRAFTS SILVER TRINKET BOX, DATED 1906 embossed with roses and inscribed GATHER YE ROSES/ WHILE YE MAY/ OLD TIME IS/ STILL A FLYING, hallmarked Birmingham 1906 11.7cm across

£200-300

133 HB642/9 OMAR RAMSDEN (1873–1939) & ALWYN CARR (1872-1940) ARTS & CRAFTS SILVER JEWEL BOX, DATED 1907 richly chased and embossed in low relief with flowerheads and entwined trailing foliage the sides with further bands of sinuous scrolling tendrils with silver-gilt interior, makers mark: RN&CR, hallmarked London 1907 11cm wide

£800-1,200

134 HB642/7 THE (NEWCASTLE) HANDICRAFTS COMPANY ARTS & CRAFTS SILVER SUGAR BASIN AND CREAM JUG, 1914/15 each with applied corded wirework borders and beaded spirals, bears makers mark: NHCo., hallmarked Birmingham 1914/15 (2) 11.5cm and 10cm diameter

Literature: Peart, Tony and Moat, Neil ‘The Lost Art-Workers of Tyneside - Richard George Hatton and The (Newcastle) Handicrafts Company’, Journal of the Decorative Arts Society, no 17 (1993) Note: See Lyon & Turnbull, Lot 120, Decorative Arts, 16th April 2014 for footnote on The (Newcastle) Handicrafts Company.

£300-500

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135 HA485/1 H. G. MURPHY (1884-1939) FOR THE FALCON WORKS SILVER CHALICE CUP, DATED 1937 the ovoid bowl with twin handles, engraved with the Royal Coat of Arms, on four ring-turned columns and domed spreading base, bears maker’s marks for Henry George Murphy, hallmarked London 1937, with Falcon Works mark, 683 grams 22cm wide (across the handles), 22.5cm high Literature: Atterbury, Paul and Benjamin, John 'The Jewellery & Silver of H. G. Murphy: Arts and Crafts to Art Deco', Woodbridge 2005, 143144 Note: H.G. Murphy initially produced a series of cup designs for the Kandahar ski club in the early 1930s. The present cup is hallmarked London 1937, and is engraved with the Royal Coat of Arms. A smaller version of this cup was also produced, which appears to have been a

consistent practice for Murphy's designs for the Kandahar ski club, which was founded by Sir Arnold Lunn and associate British skiers in 1924 in Switzerland. By the end of the 1930s the club had achieved international recognition for downhill and slalom racing, which were admitted to the Winter Olympic Games for the first time in 1936. Compared to Murphy's initial conventional designs for the club, the present cup has been described as "more unusual, and more distinct in its Art Deco form, is the Duke of Kent Cup for the Kandahar Club. The cluster column style of the stem seems to echo a kind of mechanistic modernism but the source is probably rather different, for among the Murphy papers is a postcard showing a medieval Nottinghamshire font with a cluster column support." The Duke of Kent cup can be placed within the context of H.G. Murphy's increasingly diverse work within a period of the 1930s in which there was more public attention and interest in sporting events, boosted by successes such as the 1936 Berlin Olympics, which Murphy himself attended.

£4,000-6,000

136 HB541/9 ROBERT EDGAR STONE (1903-1990) SILVER PRESENTATION CUP AND COVER, DATED 1949 of flared tapering form, the pierced cover with applied scrollwork decoration and green hardstone finial, the body with corresponding applied decoration bearing inscription TELEVISION/ RADIO/ LITERATURE/ STAGE/ SCREEN and with dedication PRESENTED BY/ THE SKETCH/ TO/ ANNETTE MILLS/ CHOSEN FOR/ HER OUTSTANDING ACHIEVEMENT/ IN TELEVISION/ IN 1949, the whole raised on a green hardstone plinth, hallmarked London 1949

Note: Annette Mills is best remembered for being the partner of the puppet “Muffin”, in the successful BBC Television children’s series Muffin the Mule between 1946 and 1955. She wrote the songs and the music, while puppeteer Ann Hogarth wrote the scripts. She made her TV debut in June 1946, when she first appeared with Muffin the Mule, who used to clip-clop around on top of a piano, whilst Mills played a tune. She wrote several Muffin the Mule songbooks and an adventure tale about him, as well as making records.

£800-1,000

24cm high

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137 HB642/10 EDWARD SPENCER (1872-1938) FOR ARTIFICERS’ GUILD ARTS & CRAFTS HAMMERED SILVER BON BON DISH, DATED 1929 on four supports cast with roses, the stem with incised wavy lines and applied corded wirework borders, bears makers mark AsGdLd, stamped EDWARD SPENCER DEL, hallmarked London, 1929 10cm diameter

£500-700

138 HB98/1 WMF (WÜRTTEMBERGISCHE METALLWARENFABRIK) ELECTROPLATED ‘ECHO’ STRUT MIRROR, CIRCA 1900 the rectangular shaped frame cast with sinuous flowering tendrils and an Art Nouveau maiden with hand cupped to her ear, enclosing a bevelled mirrored plate, stamped maker’s marks 37cm x 28cm

£400-600

139 HB512/1 ATTRIBUTED TO WMF (WÜRTTEMBERGISCHE METALLWARENFABRIK) ELECTROPLATED JARDINIERE, CIRCA 1906 cast as a shell and surmounted by an Art Nouveau mermaid and other sea creatures, apparently unmarked 33cm high

£300-500

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140 HB541/12 INDIAN ART DECO SILVER TEA SERVICE, CIRCA 1930 of architectonic form, comprising TEAPOT, CREAM JUG, AND SUGAR BOWL, each engraved with a vacant cartouche, the teapot with green Lucite handles and finials, inscribed under teapot WITH BEST WISHES FROM M. LANDER (3) teapot 12cm high

£1,000-1,200

141 HA893/3 JOHAN ERNST, DENMARK SET OF TWELVE STERLING SILVER FORKS, EARLY 20TH CENTURY allover planished decoration, scrolled and beaded terminals, stamped marks, 16.9oz (12) £400-600 142 HB566/1 ALEXANDER RITCHIE (1856-1941), IONA CIRCULAR SILVER BROOCH, DATED 1938 cast with Celtic motifs, stamped maker’s marks A.R/ IONA/ I.C.A., hallmarked Birmingham 1938 5cm diameter

£150-250 143 HB642/3 ARTS & CRAFTS SILVER & ENAMEL PENDANT NECKLACE, CIRCA 1900 the heart-shaped pendant decorated with a fish in polychrome enamel, the necklace clasp with further enamel panel, beaded silver chain chain 38cm long

£150-250

144 HB562/3 ALEXANDER RITCHIE (1856-1941), IONA CIRCULAR SILVER BROOCH, DATED 1910 cast with a masted ship, marked A.R./ IONA, and hallmarked Chester 1910, 2.1cm diameter; together with a SILVER SPOON, DATED 1934, with a round well and a cast handle with a Vikingstyle ship above the inscription IONA, marked IONA/A.R., hallmarked Glasgow 1934, 11cm long (2) £200-300

145 HB218/1 COLLECTION OF ART NOUVEAU HORN JEWELLERY, EARLY 20TH CENTURY to include A CARVED HORN DRAGONFLY PENDANT, CIRCA 1910, ATTRIBUTED TO ELIZABETH BONTÉ, the dragonfly carved in relief on a reticulated bed of reeds, with three ring loops, signed indistinctly to verso, 8.8cm long; CARVED HORN BROOCH BY GEORGES PIERRE, PARIS, CIRCA 1900, carved as a bird in flight, with incised signature GIP, 11.8cm wide; together with a LACQUERED HORN BROOCH, of similar design, unsigned, 6.3cm wide; AN ART NOUVEAU CARVED HORN BEE BROOCH, CIRCA 1900, with wings outstretched,

signed P. LUCAS, 7cm wide; together with an ART NOUVEAU CARVED HORN CICADA BROOCH, CIRCA 1900, with wings folded, unsigned, 4cm long; a CARVED HORN BUTTERFLY SCARF RING, 3.7cm wide; and a HORN BADGE CARVED WITH THE LETTER ‘V’ (7) £300-500 146 HB642/13 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON ‘CYMRIC’ SILVER BELT BUCKLE, CIRCA 1902 cast with sinuous budding foliate motifs on a hammered finish ground, makers mark L&Co/ CYMRIC/ hallmarked Birmingham 1902 8.5cm across

£200-300

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Other Metalwares

147 HB312/5 LIBERTY & CO., LONDON ‘TUDRIC’ PEWTER AND ENAMEL CARRIAGE TIMEPIECE/ CLOCK, CIRCA 1900 the single train movement with enamelled dial and copper chapter ring, enclosed within a rectangular case cast with stylised ivy, swing carrying handle, stamped mark ENGLISH PEWTER/ MADE BY/ LIBERTY & CO/ 0721 11.4cm high

£1,500-2,000

148 HA860/2 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON ‘TUDRIC’ PEWTER AND ENAMEL EASEL CLOCK, CIRCA 1903 the frame of rectangular outline, with scrolling entrelacs flanking a blue, green and red enamel dial with Arabic numerals, stamped marks 0608/ RD. 468015/ TUDRIC 14cm high

£3,000-4,000

149 HB541/11 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON ‘TUDRIC’ PEWTER BULLET VASE, CIRCA 1900 of tapering form with hammered finish, with three applied decorative bracket supports, stamped marks ‘TUDRIC’/ ENGLISH PEWTER/ LIBERTY & CO/ 0227 23.5cm high

£300-500

150 HB312/4 LIBERTY & CO., LONDON PAIR OF ‘TUDRIC’ PEWTER VASES, CIRCA 1900 each of waisted form inset with green stone cabochons and applied with three ‘s’ shaped handles, stamped marks TUDRIC/ 030 (2)

151 HB536/12 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO, LONDON PEWTER ‘TUDRIC’ INKWELL, CIRCA 1900 of domed form with applied foliate motifs, stamped marks TUDRIC/ 0140

152 HB312/6 LIBERTY & CO., LONDON ‘TUDRIC’ PEWTER MOUNTED GLASS VASE, CIRCA 1900 the clear class body of trumpet form, stamped marks TUDRIC/ D.G. WARE/ 2008

18.5cm high

13.5cm across

£150-250

£300-500

£200-300

25.5cm high

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153 HB538/5 ATTRIBUTED TO OLIVER BAKER FOR LIBERTY & CO., LONDON PEWTER AND ENAMEL BOWL, CIRCA 1900 with beaten finish, stamped marks ENGLISH PEWTER/ MADE FOR LIBERTY & CO/ 01129

154 HB312/7 ARTS & CRAFTS PEWTER MANTEL CLOCK, CIRCA 19120 repoussé decorated with flowering foliage and set with Ruskin panels 29cm wide

£150-250

25cm diameter

£300-400

155 HB504/3 SIR ROBERT LORIMER (1864-1929) STEEL FIREPLACE SET, CIRCA 1903 comprising a STAND, with triangular galleried base, 58cm high; a POKER; ASH SHOVEL; COAL NIPPERS and TONGS (4) Provenance: Briglands, Rumbling Bridge

£600-800 156 HB388/2 ARTS & CRAFTS PAIR OF PATINATED COPPER SCROLLWORK FIRE DOGS, CIRCA 1900 each embellished with beasts and incised decoration (2) 29.5cm wide, 82cm high, 34cm deep

£700-900

157 HB504/2 SIR ROBERT LORIMER (1864-1929) STEEL FENDER, CIRCA 1903 of serpentine form, with hinged ends and ball finials with wrythen supports 72cm wide, 22cm high, 43cm deep Provenance: Briglands, Kinross

£1,000-1,500

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158 HB640/3 THOMAS JECKYLL (1827–1881) FOR BARNARD, BISHOP AND BARNARD CAST IRON FIRE SURROUND, CIRCA 1880 cast with Japanese Mon patterning on a latticed ground

159 HD523/4 ARTS & CRAFTS COPPER CHIMNEY HOOD, CIRCA 1900 of tapering form, with overlapping riveted serpentine sections and sheet steel back

76cm wide, 90cm high

£400-600

85cm wide, 147cm high, 39cm deep, total height 197cm high

£300-500

160 HD523/5 ARTS & CRAFTS CAST IRON FIRE SURROUND, CIRCA 1900 the canopy cast with the inscription ‘EAST WEST, HOME’S BEST’, above an open grate with pierced trivets cast with dragons 91cm wide, 104cm high, 36cm deep

£400-600

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161 HB330/1 JOHN PEARSON (FL. 1885 - 1910) COPPER CANDLE SCONCE, DATED 1895 repoussé decorated with birds and foliage, the rectangular back plate above a galleried tray with single candle nozzle, chased makers marks J.P./ 1895 32cm high

£600-800

162 HB640/39 MANNER OF CHARLES ROBERT ASHBEE COPPER AND WROUGHT IRON COAL BIN & COVER, CIRCA 1900 the domed cover, embossed with foliate motifs and with spiral wirework finial, above a scrolling strapwork base 45cm diameter, 45cm high

£300-400

163 HB536/11 MANNER OF CHRISTOPHER DRESSER BRASS CHAMBER CANDLESTICK, CIRCA 1880 with circular drip tray and matchbox holder, raised on ball feet 15cm across

£200-300

164 HB217/4 ARTS & CRAFTS CIRCULAR BRASS WALL CHARGER, CIRCA 1900 the broad rim decorated with circular bosses, three inset with Ruskin roundels, the centre with large Ruskin roundel, overlaid with pierced brass panel depicting a flying duck

165 HB640/32 C.F.A. VOYSEY (1857–1941) WROUGHT IRON DOOR LATCH, CIRCA 1900 the curved handle with thumbpiece latch and heart shaped terminals 46cm long

166 HA992/11 ARTS & CRAFTS PAIR COPPER PANELS, CIRCA 1900 each repoussé decorated with owls perching on branches, enclosed within oak frames (2)

£150-250

panels 17.5cm x 93cm

£300-400

38.5cm diameter

£200-300

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167 HB640/43 W. A. S. BENSON, (1854-1924) AND G.M. HEYWOOD SUMNER (1853–1940) LOBED COPPER CHARGER, CIRCA 1900 the surface embossed with flowering foliage by Sumner, stamped maker’s marks W.A.S. BENSON, with registration number 48cm diameter

£300-500

168 HB640/46 COTSWOLD SCHOOL PAIR OF STEEL TABLE CANDELABRA, CIRCA 1900 each with twin curved arms with pierced galleried drip trays on a scrolling tripod base, the column supports with applied leaf decoration (2) 42cm high

£300-500

169 HB536/14 MARGARET GILMOUR (SCOTTISH 1860-1942) BRASS INKWELL, CIRCA 1900 with Celtic knot repoussé decoration, the hinged lid enclosing an aperture for a liner, signed with stamped monogram 8.5cm high

£200-300

170 HD523/2 SCOTTISH SCHOOL BRASS CHARGER, CIRCA 1910 repoussé decorated with Celtic knotwork and bosses 51cm diameter

£200-300

171 HB436/15 SCOTTISH ARTS & CRAFTS BRASS WAG AT THE WA’ CLOCK, CIRCA 1920 the hexagonal dial with repoussé decorated with Celtic motifs, with brass covered weights and corresponding decoration to the pendulum bob dial 34cm diameter £200-300

172 HB536/9 GLASGOW STYLE COPPER MANTEL TIMEPIECE, EARLY 20TH CENTURY the case with hammered finish, and embossed stylised rose motif 33cm high

£300-500

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173 HB580/5 GLASGOW STYLE LARGE CIRCULAR BRASS CHARGER, CIRCA 1900 repousse decorated with stylised plant forms and set with turquoise enamels, stamped to edge GLASGOW 42.5cm diameter

£300-500

174 HB640/29 GEORGE LOGAN (1866-1939) JUGENDSTIL ‘OSIRIS’ PEWTER BASIN, CIRCA 1900 of octagonal form, the broad rim cast with stylised seed heads, the facetted body further cast with plant forms, cast maker’s marks 43cm diameter

£300-500

175 HB536/18 CONTINENTAL SCHOOL JUGENDSTIL BRASS MOUNTED LIQUEUR SET, CIRCA 1900 comprising a glass decanter and six glassed, each with brass mounts, on a hammered brass tray (8)

176 HB580/1 AUSTRIAN SECESSION TWO JUGENDSTIL COPPER AND BRASS MOUNTED BOXES AND COVERS each of cylindrical form with brass mounts (2)

decanter 16cm high

£300-400

33cm and 30cm high

£150-200

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177 HB680/25 ALEXANDER RITCHIE (1856-1941), IONA CELTIC CROSS PENDANT AND CHAIN, EARLY 20TH CENTURY stamped marks AR/ IONA 6.3cm long

£400-600

178 HB680/26 ALEXANDER RITCHIE (1856-1941), IONA CELTIC CROSS PENDANT AND CHAIN, EARLY 20TH CENTURY stamped marks AR/ IONA 6cm long

£400-600

179 HB642/4 ALEXANDER RITCHIE (1856-1941), IONA BRASS CIRCULAR DISH, CIRCA 1920 embossed with a view of Iona Cathedral and a Dove, inscribed PEACE TO THEE IONA within Celtic-style border of scrolling leaves 15cm diameter

£150-250

181 HB642/8 ATTRIBUTED TO MARGARET GILMOUR PAIR OF GLASGOW STYLE CANDLESTICKS, CIRCA 1900 worked in silvered brass with repoussé and chased Glasgow rose motifs on openwork twin-branched stems with detachable square-shaped sconces (2) 14cm high Literature: Larner, Gerald & Celia, ‘The Glasgow Style’, Edinburgh 1980, illus.no. 183, for one of a pair of matching candlesticks attributed to Margaret Gilmour

£200-300

180 HB542/1 JOSEF HOFFMANN (1870-1956) FOR WIENER WERKSTÄTTE PAIR OF BRASS SOLIFLEUR VASES, CIRCA 1906 each of tall slender form with slightly everted and scalloped rims, raised of spreading circular bases with corresponding scalloped rims, stamped maker’s marks WIENER WERKSTATTE/ MADE IN AUSTRIA with artist’s monogram (2) 22.2cm high Literature: Die Wiener Werkstätte, 1903-1928. Modernes Kunstgewerbe und sein Weg. Vienna, Krystall Verlag, 1929, facsimile edition published Munich 1994, where a single example is illustrated

£2,000-3,000

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Clocks & Miscellaneous

182 HB624/6 FRENCH ART DECO CLOCK GARNITURE, 1930S the lozenge shaped dial within rectangular case held aloft by two patinated spelter figures on a marble plinth, 41cm high; the clock with attendant garnitures, 26cm high (3) £250-350

183 HB624/5 MENNEVILLE, FRANCE LARGE ART DECO CLOCK, CIRCA 1930 the rectangular dial on a stepped marple and slate case surmounted by the patinated spelter figure 63.5cm long, 32cm high, 20.5cm deep

£400-600

184 HB312/14 AESTHETIC MOVEMENT EBONISED BRACKET CLOCK, CIRCA 1870 the twin train movement with circular ceramic dial painted with holly, within case with corresponding ceramic panels

185 HB388/4 AESTHETIC MOVEMENT OAK MANTEL CLOCK, CIRCA 1880 the painted ceramic dial enclosed within carved case 37cm high

£500-700

47cm high

£300-500

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186 HB542/6 ZENITH, LONDON STAINED OAK WALL CLOCK, CIRCA 1932 of convex circular form with gilt chapters and having 18 day Zenith Swiss movement, applied brass inscription ZENITH, maker’s marks verso 34cm diameter

£400-600

187 HD510/13 ZENITH, LONDON OAK WALL CLOCK, CIRCA 1932 of convex circular form with gilt chapters and having 18 day Zenith Swiss movement, maker’s marks verso 34cm diameter

£400-600

188 HB344/1 JAEGER LE COULTRE, GENEVA SWISS GILT-BRASS ‘ATMOS’ CLOCK the circular dial with applied gilt chapters and gilt hands, the movement of typical form signed ATMOS/ JAEGER LE COULTRE 22cm high

£300-500

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189 HB479/1 ARTS & CRAFTS EMBROIDERED DEVOTIONAL PANEL, CIRCA 1900 contained within gilded standing case with twin doors opening to reveal a painted and embroidered panel of the Virgin & Child with attendant angels with inscription below, signed with initials to the case E.K. H-T 44cm x 35cm

£400-600

190 HB640/31 MANNER OF JOHN EDNIE GLASGOW STYLE CARVED AND STAINED WALNUT BOX, CIRCA 1900 of rectangular form, carved in relief with an allover design of stylised flowering plant forms 32cm across

£400-600

191 HB542/5 ATTRIBUTED TO WIENER WERKSTÄTTE CARVED WOODEN BOX & COVER, CIRCA 1910 of circular form with facetted domed cover and finial

192 HB542/4 ARTS & CRAFTS PENWORK WORK BOX, CIRCA 1900 with domed lid, decorated with an allover design of flowering waterlilies

22cm diameter

35cm across

£200-300

£150-200

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Lighting

193 HB427/1 ART NOUVEAU PAIR OF SILVERED ELECTROLIERS, CIRCA 1900 with hammered finish, each with three scrolling arms suspending frosted glass shades with leafy bracket supports and spiral tendril decoration (2) 54cm high, 54cm diameter (including shades)

£300-500

194 HB640/28 AUSTRIAN SCHOOL JUGENDSTIL BRASS TABLE LAMP, CIRCA 1900 the domed shade with beaded fringe, embossed with hammered panels and set with cut coloured glass ‘jewels’, raised on a stand cast with stylised flowering stems and raised on a marble plinth 56cm high

£800-1,200

195 HB640/2 MANNER OF WIENER WERKSTÄTTE PAINTED STANDARD LAMP, EARLY 20TH CENTURY with swollen column on quadruped base, painted in yellow and black 145cm high

196 HB640/44 W.A.S. BENSON (1854-1924) COPPER AND BRASS STANDARD LAMP, CIRCA 1900 the ribbed adjustable column with three scrolling brackets on four cast feet, with pleated silk shade

£300-500

162cm high

£800-1,200

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197 HB640/6 ARTS & CRAFTS COPPER AND BRASS CENTRE HANGING LIGHT, CIRCA 1900 of circular hoop design, pierced with moth motifs and supporting a cream silk curtained shade, with three curved bracket supports, each with heart shaped terminals

198 HA992/5 ARTS & CRAFTS BRASS CEILING LIGHT, CIRCA 1900 with three scrolling arms with beaten leaf decoration, hanging chains and ceiling rose, frilled glass shades 49cm wide, 54cm high

£300-500

57cm diameter

£300-500

199 HA992/14 ARTS & CRAFTS BRASS AND CUT GLASS HALL LANTERN, CIRCA 1900 the ovoid cut glass shade with pierced brass mount and hanging chain 27cm high

200 HB485/1 W.A.S. BENSON (1854-1924) BRASS TABLE LAMP, CIRCA 1900 with heart shaped base and adjustable curved support with frilled opalescent shade, stamped maker’s marks

£200-300

26cm high

£300-500

201 HB640/27 ATTRIBUTED TO EILEEN GRAY FOR JUMO, FRANCE ART DECO DESK LAMP, CIRCA 1930 lacquered and chromed metal 41cm high

£300-500

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202 HB481/1 POUL HENNINGSEN (1894-1967) FOR LOUIS POULSEN, DENMARK LARGE PAIR OF ‘CHARLOTTENBORG’ PH-6 1/2 LIGHTS, 1960S each of concentric finned design, enamelled metal (2) 66cm diameter, 50.75cm high

£1,000-2,000

203 HB536/16 ARTS & CRAFTS STAINED AND LEADED GLASS PLAFFONIER, EARLY 20TH CENTURY of circular form, worked with coloured and opalescent textured glass 47cm diameter

£200-300

204 HB485/2 PAINTED OPAQUE GLASS LAMP SHADE, 1920S of octagonal outline, painted with a Dutch landscape scene

205 HB640/4 ‘LINOLITE’ DESK LAMP, 1950S patinated steel, bears maker’s label

21cm diameter

35cm high

£80-120

£300-500

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Sculpture

206 HB446/39 EVELYN BEALE (1870-1944) ‘CLEPHANE INNES CRAWFORD’, AN ARTS & CRAFTS PATINATED PLASTER PANEL, CIRCA 1890 within oak frame, bears label verso with inscription CLEPHANE INNES CRAWFORD/ 16TH MARCH 1862/ 20 APRIL 1952/ BY EVELYN BEALE 47.5cm x 44cm

£300-400

207 HB536/4 GILBERT BAYES (1872-1953) FIVE CAST METAL PLAQUES, DATED 1900 the larger cast as sea nymphs, another depicting a longboat, the other three depicting coiled fish, all mounted on a framed panel, signed on the main plaque, lower right GILBERT BAYES 1900

208 FF722/5 CONTINENTAL ARTS & CRAFTS TERRACOTTA WALL PANEL, LATE 19TH CENTURY the pointed arch panel with a castellated border enclosing a relief moulded image of a medieval queen, her hands joined in prayer 60cm wide, 102cm high

£400-600

size within frame 36cm x 56cm

£300-500

209 HA953/16 MANNER OF WILLIAM BURGES PAIR OF CAST IRON WINGED LIONS, LATE 19TH CENTURY each seated with one paw raised (2) 31cm high

£300-500

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210 HB642/11 SIEGFRIED SASSOON INTEREST PAINTED ENAMEL COPPER PLAQUE BY SIR STEPHEN GATTY, DATED 1908 depicting of his daughter HESTER GATTY as a child aged two walking on a woodland path within silver tied reeded border and wood frame. Plaque inscribed in gilt “ALL BY MINE SELF”/ HESTER AETAT 2, the reverse of the enamel signed with initials SG and inscribed HESTER, 1908, “ALL BY MINE SELF”

Provenance: Estate of the late George Sassoon, Lochbuie, Isle of Mull Note: Hester Gatty (b. 1901) married Siegried Sassoon in 1933. Although they separated after the birth of their son George they never divorced. Hester died in 1973, having previously returned to her family home at Lochbuie on the Isle of Mull.

£600-800

16cm x 6.5cm

211 HB102/8 ARTS & CRAFTS CARVED OAK ROUNDEL, CIRCA 1930 depicting St George and the Dragon

212 HB580/3 AUSTRIAN SCHOOL BRONZED AND GILDED PLAQUE, CIRCA 1900 bears inscription SANCTA VIRGO MARIA

39cm diameter

30.5cm x 23.5cm

£100-200

£500-800

213 HB388/5 CONTINENTAL SCHOOL TERRACOTTA FIGURE OF A WINGED IMP, EARLY 20TH CENTURY overpainted, impressed maker’s marks

214§ HA146/29 E. ROLAND BEVAN (1923–1957) BUST OF ELIZABETH WALL, CIRCA 1920 marble, raised on a slate plinth, signed BEVAN

36cm high

41cm total height

£500-700

£400-600

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215 HA341/2 A. PETRO ART NOUVEAU BRONZE BUST, CIRCA 1900 signed in the bronze A. PETRO, also with foundry marks USINE DE BRONZES/ R. DEBRAZ/ BRUXELLES 58cm high

£600-800

216 HB536/5 AFTER PETER WYLIE DAVIDSON WROUGHT IRON WALL PANEL, 20TH CENTURY embossed and wrought steel, depicting swallows flying through clouds 90cm across, 55cm high

£400-600

217 HB634/3 ART DECO PATINATED BRONZE ALLEGORICAL FIGURE, CIRCA 1920 cast as a maiden in a diaphanous robe 20cm high

£300-500

218 HB541/5 JOSEF LORENZL (1892-1950) BRONZE AND GREEN ONYX FIGURE AND DISH, 1920S the ovoid onyx dish surmounted by a cast figure of a dancer with silvered patination, cast marks LORENZL 43.5cm long, 41cm high

£2,000-3,000

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29cm high

220 HB624/4 PIERRE LE FAGUAYS (1892-1938) ‘LANCEUR AUX JAVELOT’, PATINATED BRONZE FIGURE, CIRCA 1925 raised on a stepped stone plinth, signed on the plinth P. LE FAGUAYS, stamped foundry marks to the base LEVERRIER/ PARIS

£200-300

60cm high

219 HB536/13 ITALIAN SCHOOL PAIR OF CARVED WOOD FIGURES, 1950S one depicting a pirate, the other a farmer, branded marks (2)

£1,000-1,500

221 HB634/2 LEON SALAT (FL. EARLY 20TH CENTURY) DANCING GIRL PATINATED BRONZE FIGURE, CIRCA 1925 cast artist’s mark to bronze SALAT, raised on a turned marble plinth 44cm high

£2,500-3,500

222 HB624/2 LIMOUSIN ‘CYMBAL DANCER’, PATINATED SPELTER FIGURE, 1920S with applied ivorine cymbals raised on a tapered stone plinth

223 HB541/4 JOSEF LORENZL (1892-1950) SILVERED BRONZE FIGURE, 1920S modelled as a naked dancer, raised on a stepped onyx base, cast inscription LORENZL

38cm high

29cm high

£300-500

£600-800

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224 HB580/8 A. NOTARI ART DECO PATINATED SPELTER FIGURE OF A PANTHER, CIRCA 1925 the panther cast with facets and raised on a black slate and green onyx base, signed A. NOTARI 33cm long

£500-700

225 HB580/7 R. ROCHARD ART DECO PATINATED FIGURE OF A PANTHER, CIRCA 1930 raised on a black slate plinth, signed to the plinth R. ROCHARD 64.5cm long

£400-600

226Y HB512/3 FERDINAND PREISS (1882-1943) ‘MADONNA’, CARVED IVORY AND PATINATED BRONZE BUST, CIRCA 1920 signed to the marble plinth F. PREISS 10.5cm high

£1,000-1,500 227Y HB624/1 MARCEL-ANDRÉ BOURAINE (1886-1948) ‘JONGLEUSE’, AN ART DECO BRONZE FIGURAL TABLE LAMP, CIRCA 1924 cast as a dancer with ivory balls raised on an alabaster orb shade on a black slate plinth, signed to the shade BOURAINE, signed to base A. BOURAINE 53.5cm high

£1,500-2,000

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228§ HA795/9 BENNO SCHOTZ (1891-1984) JAMES KEIR HARDIE plaster maquette with bronzed patination, unsigned 60cm high Note: James Keir Hardie (1856-1915) was one of the main founders of the Labour party. His socialist ideals and role as a trade unionist saw him stand for general election in 1892 for West Ham South which led to his involvement with the Independent Labour Party a year later. Throughout his life he championed causes such as Woman’s Suffrage, independence for the colonies, and pacifism.

Benno Schotz was commissioned to produce a bust of Keir Hardie, which was to stand in front of the council house in old Cumnock. Later casts were ordered for his constituency in Wales, one for the House of Commons and one for Glasgow. Schotz then decided to conceive a small maquette for a statue of Keir Hardie which was put forward as a memorial to him in 1957 and sent to the Labour conference for approval. However, the maquette was rejected, because according to Schotz ‘I gave Keir Hardie big hands, clumsy shoes, an old suit, all the things that made him look a worker.’

£1,000-1,500

229§ HB429/1 BENNO SCHOTZ (1891-1984) BUST OF A GIRL bronze, unsigned and raised on an ebonised wood plinth bronze 37cm high

£600-800

61cm high

231§ HD510/14 WILLIAM GEORGE MITCHELL (B. 1925) ARCHITECTURAL FIBREGLASS PANEL, CIRCA 1960 framed

232§ HB102/9 T. S. HALLIDAY (1902-1998) ABSTACT FORM patinated plaster maquette, incised signature T S HALLIDAY

£600-800

35cm x 76cm

15.5cm high

£200-300

£100-200

230 HB536/17 HAGENAUER, AUSTRIA HAMMERED BRASS FIGURE stamped maker’s marks

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Stained Glass WILLIAM WILSON William Wilson RSA is one of Scotland’s finest stained glass artists. He started his career as a map maker before serving an apprenticeship with James Ballantine & Son in Edinburgh in 1920, opening his own stained glass studio in 1937. During his career he produced over 300 windows, for churches, cathedrals and secular buildings all over Scotland including these examples, installed within the chapel of the Convent of St. Mary Reparatrice, Elie in 1954 (now demolished). 233§ HB505/2 WILLIAM WILSON (1905-1972) STAINED AND LEADED GLASS PANEL, CIRCA 1954 the panel depicting Saint Margaret and bearing the inscription SANCTA MARGARITA/ ORA PRO NOBIS, signed with initials in the glass WW 90cm x 48cm

£3,000-5,000

234§ HB505/1 WILLIAM WILSON (1905-1972) STAINED AND LEADED GLASS PANEL, CIRCA 1954 the panel depicting a chalice filled with fruiting vines and barley, and enclosed within an entwined border 96cm x 53cm

£2,000-3,000

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235

235§ HB393/1 WILLIAM WILSON (1905-1972) GROUP OF WATERCOLOUR DESIGNS FOR STAINED GLASS, 1960S designed for Craigiebuckler Church, Aberdeen and comprising JEREMIAH, 90.3cm x 59.6cm; MOSES, 201cm x 61cm; ISAIAH, 197.3cm x 60cm; and EZEKIEL, 336.8cm x 50.7cm (4) Note: Craigiebuckler Church had twelve stained glass windows by Wilson installed between 1961 and 1971

£400-600

236§ HB393/2 WILLIAM WILSON (1905-1972) TWO WATERCOLOUR DESIGNS FOR STAINED GLASS, 1960S inscribed verso MURRAYFIELD, one depicting the Virgin and Child, inscribed AND THE WORD WAS MADE FLESH, 207.4cm x 61.6cm; the other depicting Joseph, kneeling down, inscribed AND DWELT AMONG US, 209.8cm x 61.4cm (2) £200-300 236

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237§ HB393/3 WILLIAM WILSON (1905-1972) TWO WATERCOLOUR DESIGNS FOR STAINED GLASS, 1960S one, SAINT COLUMBA and inscribed SAINT COLUMBA, inscribed verso MORNINGSIDE,178.7cm x 50.4cm; the other, SAINT LUKE, inscribed SAINT LUKE THE BELOVED PHYSICIAN, inscribed verso STOW, 229.5cm x 50.2cm (2) £200-300

237

238§ HB393/4 WILLIAM WILSON (1905-1972) WATERCOLOUR DESIGNS FOR STAINED GLASS, 1960S for Kintore Parish Church, inscribed TO THE HILLS WILL I LIFT MINE EYES, and inscribed verso KINTORE PARISH CHURCH (2 LIGHT WINDOW) 334cm x 60cm

£200-300

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239 HB640/11 ERNEST ARCHIBALD TAYLOR (1874-1951) OAK FRAMED LEADED GLASS DOOR, CIRCA 1900 depicting a lady in a full length dress looking out to a landscape 205cm x 70cm

£500-800

240 HB640/5 GLASGOW STYLE STAINED AND LEADED GLASS WINDOW, CIRCA 1900 depicting stylised flowering roses, within a frame 66cm x 103cm

£200-300

241 HB640/18 ARTS & CRAFTS CHARCOAL DESIGNS FOR STAINED GLASS, LATE 19TH CENTURY one with inscription NATIONAL SILVER MEDAL 256/ FOR SET, 72cm x 51cm; the other inscribed PART OF A SET FOR WHICH A BRONZE MEDAL WAS AWARDED, 57cm x 43cm (2) £300-500

242 HA953/12 JAMES POWELL & SONS CARTOON FOR STAINED GLASS, LATE 19TH CENTURY depicting Christ and a kneeling figure, ink and pencil, framed 130cm x 57cm

£200-300

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Works on Paper, Books & Folios

243 HB504/9 SIR ROBERT LORIMER (1864-1929) & OTHERS TWELVE ARCHITECTURAL PLANS FOR ‘BRIGLANDS’, RUMBLING BRIDGE, 1898-1909 ink and watercolour, various sizes, sold with all faults, not subject to return (12) Note: Originally a small Georgian country house, Briglands was dramatically extended and enhanced in the late 19th and early 20th century for James Avon Clyde, the Edinburgh advocate and later judge, Lord Clyde.

£300-500

244 HD510/9 ARCHITECTURAL DRAWING ‘DESIGN FOR SIX COTTAGES’, 1930S pencil and watercolour

246§ HB429/2 ANNIE FRENCH (1872–1965) FLORAL GARLAND ink and watercolour

51cm x 71cm

£200-300

13cm x 4cm

£100-200 245 HD510/10 ARCHITECTURAL DRAWING ‘DESIGN FOR A JUBILEE PYLON’, DATED 1935-5 pencil drawing, signed S. CRUICKSHANK, 193*/ ARCHITECTURAL ASSOCIATION SCHOOL OF ARCHITECTS/ SESSION 1934-5 97cm x 64cm

247 HB536/8 JESSIE MARION KING (1875-1949) GIRL WITH A MANDOLIN ink on vellum, signed lower right JESSIE M. KING 14cm x 13cm

£200-300

248 HB623/2 CONSTANCE E. ROWLANDS (1891-) “AND THERE STOOD THE.....FIGURE OF A MAN” watercolour, signed lower left C E ROWLANDS

250§ HB339/9 SCOTTIE WILSON (1888-1972) ‘MOTHS’ watercolour and gouache, signed lower right SCOTTIE

30.5cm x 22cm

£300-500

33cm x 23.5cm

£400-600 249§ HB536/7 SIR FRANK BRANGWYN (1867-1956) FIGURE OF A MAN pastel, signed lower left with initials FB

251§ HB339/8 SCOTTIE WILSON (1888-1972) ‘GREEDIES, WITH BIRDS AND FISHES’ pencil and coloured crayon, signed twice SCOTTIE

33cm x 11cm

36cm diameter

£400-600

£300-500

£150-200

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252§ HB339/7 SCOTTIE WILSON (1888-1972) ‘SWANS’ pencil and coloured crayon, signed lower right SCOTTIE 51.5cm x 52cm

253 HB495/4 AFTER HENRI TOULOUSELAUTREC POSTER, ‘NICOLETTE AIME NICOLAS’ published by Grants of St James’s

£500-800

76cm x 49cm

£80-120 254§ HA953/9 BERNARD LEACH (1887-1979) PAIR OF LITHOGRAPHS one showing a vase, signed in pencil BERNARD LEACH/ 52/100; the other a charger, signed in pencil BERNARD LEACH/ 30/ 200 (2) each 45cm x 36cm

£200-300

255 HB542/3 CECIL BEATON (1904-1980) POSTER, ‘CENTENAIRE DE MONTE-CARLO’ coloured lithograph, 1966, printed by Monégasque, Monte-Carlo 61cm x 42cm

£80-120 256 HB484/1 FRENCH SCHOOL ALBUM OF WALLPAPER DESIGNS, 1940S/50S pencil, gouache and watercolour (approx. 90 examples) £300-500

257 HB541/14 FRENCH ART DECO THEATRICAL COSTUME DESIGN, DATED 1933 pencil gouache and silver paint, bears inscription SES AILES/ THÉÂTRE DES CAPUCINES/ REVIVE “A LA BONHOURE” DE ROGER FERRÉOL/ LE 23-12-33

259 HB640/35 WILLIAM MORRIS FOR MORRIS & CO. ‘FOUR ROLLS OF ORIGINAL ‘MARIGOLD’ PATTERN WALLPAPER, DESIGNED 1875 blue colourway, bears maker’s marks MORRIS & CO. (4)

41cm x 31cm

each approx. 600cm x

£100-150

51cm (pattern)

£200-300 258 HD510/7 SCOTTISH SCHOOL PAINTED LINEN PANEL, EARLY 20TH CENTURY with stencilled design depicting three masked figures including harlequin, signed with initials J.N

260 HA908/2 THE STUDIO MAGAZINE VOLUMES 20-51, 55-57 AND 87 bound in 12 volumes, 4to, plates, illustrations, green cloth (12)

64cm x 53cm

£200-300

£150-250

261 HB650/302A THE STUDIO AN ILLUSTRATED MAGAZINE OF FINE AND APPLIED ART BOUND MAGAZINES London: Offices of The Studio, 1893-1918. 4to, volumes 1-73 (in 70 books), including special summer numbers 1899 and 1901, plates, some coloured, some lithographed, mostly contemporary red and brown cloth (volume 5 in green cloth), occasional slight spotting and minor dust soiling, spines a little faded and bumped, some leaves and plates loose, volume 3 lacks ‘The Lay Figure’ section (70) £300-500

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262 HB650/302 263 HB541/13 THE STUDIO ANTON SEDER (1850-1916) AN ILLUSTRATED MAGAZINE OF FINE LITHOGRAPH PORTFOLIO, AND APPLIED ART BOUND ‘DAS THIER IN DER MAGAZINES AND YEARBOOKS DECORATIVEN KUNST’, 1896 London: Offices of The Studio, 1893published by Gerlach & 1908. 4to, volumes 1-44 (in 22 books); Wiedling and Printed by Ch. and The Studio special summer Reisser & M. Werthner, number 1899 and 1901; and The containing 29 colour plates Studio special winter number 1901; Note: Anton Seder was the Director of the and The Studio extra numbers 1897 Kunsthandwerkerschule (School of and 1898; all with plates, some Decorative Arts) in Strasburg. coloured, some lithographed, uniform £600-800 green cloth gilt with stylised gilt tooled foliate pattern on spines, bookplates of Bedford Arts Club, some occasional light spotting to text and plates, spines slightly faded, cover of volumes 39 and 40 soiled; and 263A HB330/2 264 HB248/4 The Studio Yearbook of Applied TALWIN MORRIS (1865-1911) COLLECTION OF Art, 1921. 4to., plates, red cloth COLLECTION OF BOOK PUBLICATIONS ON THE gilt, Bedford Arts Club BINDINGS DECORATIVE ARTS bookplate to title, occasional comprising 34 various INCLUDING ‘THE STUDIO’ spotting; and The Studio. An volumes: ‘BY-GONE MAGAZINE illustrated magazine of fine GLASGOW’, 1896; ‘THE BOOK Year-book of decorative art, and applied art, 1917-1918. OF GLASGOW CATHEDRAL’, 1907. 4to, 18 plates, original 4to, volumes 70-72, plates, 1898; ‘W.E. GLADSTONE AND green cloth gilt; [Idem] Yearcontemporary quarter calf gilt, HIS CONTEMPORARIES’, book of decorative art, 1909. slight rubbing to spines; and 1898; ‘THE MODERN 4to, 7 (of 8) plates, original The Studio Yearbook of CARPENTER AND JOINER purple cloth gilt; Holme, Decorative Art, 1922-1932. 4to, AND CABINET MAKER’, 1902; Charles, editor - E.A. Taylor 10 volumes, lacking volume for ‘THE WORKS OF Paris past and present. 1930, plates, blue cloth gilt, SHAKESPEARE’, 1906; London: The Studio, Ltd., some blind stamped with tiled ‘MODERN POWER 1915. 4to, grey cloth gilt; pattern, bookplates of Bedford GENERATORS’, 1908; ‘THE Sparrow, W.S., editor The Arts Club, slight spotting and POETICAL WORKS OF British home of to-day... some fading to covers and ROBERT BURNS’, 1909 (34) London: Hodder & Stoughton, spines; and Several Studio 1904. 4to, red quarter £400-600 publications in original morocco; Edis, Robert W. wrappers, including Modern Decoration & furniture of 263B§ HB536/2 Book Illustrators and their town houses. London: C. EDITH SIMON (1917-2003) Work (1914); The Studio Kegan Paul & Co., 1881. 8vo, TWO PAPER CUT-OUT Yearbook of Decorative Art... original blue cloth gilt; and 3 PICTURES, (1913); The Genius of J.M.W. others, sold not subject to LATE 20TH CENTURY Turner (1903); and 6 others, return (8) Both signed and dated; one some wear and soiling to 1983, 78cm x 60cm; and the £100-150 wrappers (49) other 1978, 69cm x 56cm (2) £300-500

265 HD510/12 JESSIE MARION KING (1875-1941) (ILLUS.) ‘ALBUM VON BERLIN’ illustrated cover, provenance Merle E. Taylor; THE CITY OF THE WEST, pub. T.N. Foulis, 1911; CATALOGUE OF HAMILTON AND DISTRICT ARTS AND CRAFTS EXHIBITION, 1905 and 13 COLOURED PRINTS, AFTER JESSIE M. KING (qty) £100-200 266§ HD510/11 DAMIEN HIRST (B. 1965) ‘BEAUTIFUL INSIDE MY HEAD’ signed printed poster, inscribed SOTHBY’S LONDON 15-16.09.2008, framed, 83cm 59cm; and a SIGNED BOOK BY DAMIEN HIRST (2) £200-300

£100-200 65

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Textiles

267 HB640/30 MORRIS & CO. LARGE SILKWORK EMBROIDERED PANEL, CIRCA 1890 worked in coloured threads with a fruiting tree 67cm x 48.5cm

£500-700

268 HB640/40 MORRIS & CO. SILKWORK EMBROIDERED PANEL, CIRCA 1890 worked in coloured threads with flowering foliage 53cm square

£300-500

269 HB580/9 DENTON HOLME GIRLS GUILD, AFTER ELLEN WELBY PAIR OF EMBROIDERED PANELS, CIRCA 1890 inscribed SONG and POETRY, each bears inscription verso MISS DAVIDSON/ DENTON HOLME GIRL’S GUILD (2) 82cm x 31cm

£200-300

270 HB580/10 ARTS & CRAFTS ‘VESTA’, FRAMED EMBROIDERY, DATED 1900 bears embroidered inscription VESTA/ MS/ 1900 and paper label verso M.E.F.S. 63cm x 21.5cm

£200-300

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271 SV254/75C ARTS & CRAFTS CREWELWORK PANEL, CIRCA 1930 worked in coloured wools on a linen ground with typical tree and bird pattern, signed in the wool G. LANESBOROUGH 243cm x 174cm Provenance: The Collection of the Countess of Lanesborough, previously at Swithland Hall, Leicestershire. Note: ‘G. Lanesborough’ is likely to have been Grace Lilian (née Abdy), Countess of Lanesborough (1887-1983), and the second wife of the 8th Earl.

£400-600

272 HB388/3 ARTS & CRAFTS WOOL MILLEFIORI TAPESTRY, EARLY 20TH CENTURY worked with a design of birds and flowering plants on a green ground 358cm x 151cm

£800-1,200

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273 HB468/3 WOOL TAPESTRY PANEL, CIRCA 1925 worked as a deer drinking from a stream in a stylised landscape, 70cm x 67cm; also a SARDINIAN WOOL EMBROIDERED PANEL, CIRCA 1925, lattice design in coloured threads, bears Morton Sundour Museum & Library printed label, Number 878/ Case 1/ Shelf 3, 86cm x 50cm (2) £300-500

275 HB640/21 MANNER OF ROBERT STEWART WOVEN WOOL HANGING, 1950S depicting abstracted figures and plants

276 HB534/3 JOHN PIPER (1903-1992) FOR SANDERSON PAIR OF ‘STONES OF BATH’ PATTERN PRINTED GLAZED CHINTZ CURTAINS

277 HB534/1 C.F.A. VOYSEY ‘THE ROSE PATTERN’ CARPET FRAGMENT, CIRCA 1900

500cm (gathered to

24cm x 39cm

77cm x 170m

250cm) x 190cm

£200-300

Note: Probably sold as a large carpet via Liberty & Co., London, circa 1900

274 HD523/3 GLASGOW SCHOOL EMBROIDERED PANEL, CIRCA 1900 worked as stylised roses on an unbleached linen ground, within an oak frame

80cm x 225cm

£100-200

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278 HB468/4 FRIEDLINDE DI COLBERTALDO FOR EDINBURGH WEAVERS TWO NEAR PAIRS OF 'ONDA NERO' PATTERN CURTAINS, DESIGNED 1956 Jaquard woven cotton, rayon and rayon tuffle, one pair 225cm x 214cm and 210cm x 230cm, the other 102cm x 138cm and 110cm x 143cm together with a SINGLE CURTAIN, 101cm x 130cm and three pelmets (8) £300-500

279 HB536/3 TEMPLETONS, GLASGOW ART DECO WOOL CARPET, CIRCA 1930 of allover geometric abstract design 320cm x 220cm

£500-700

280 HB468/5 HUMPHREY SPENDER (1910-2005) FOR EDINBURGH WEAVERS PAIR OF ‘MINSTER’ PATTERN CURTAINS, DESIGNED 1957 screen printed cotton satin (2)

281 HB316/1 IRISH ARTS & CRAFTS WOOL RUG, CIRCA 1920 with entwined Celtic border enclosing a central decorative panel

58cm x 159cm

£200-300

145cm x 89cm

£100-200

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Furniture

282Y HB633/23 H. OGDEN, MANCHESTER EBONISED WOOD AND AMBOYNA INLAID ETRUSCAN REVIVAL CABINET, CIRCA 1870 with ivory and parcel gilt embellishments, the back with central mirror and inlaid panels with column pacers, above a corresponding base with central mirror back door enclosed by two doors with carved hardwood panels, plinth base, stamped to the right hand door H. OGDEN/ MANCHESTER 179cm wide, 165cm high, 48cm deep

£4,000-6,000

283 HB640/25 ATTRIBUTED TO BRUCE TALBERT OAK FRAMED SETTEE, CIRCA 1880 the back and seat upholstered in Edinburgh Weavers fabric, with two matching loose cushions, the frame with spindle galley to the back and open arms with turned and gilded uprights £800-1,200

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284 HB640/8 GOTHIC REVIVAL PAIR OF STAINED OAK LIBRARY FOLIO STANDS, CIRCA 1900 each with slatted sides, supported by moulded uprights with anthemion finials 66cm long, 97cm high, 66cm wide

£800-1,200

285 HB640/14 MANNER OF GABRIEL VIARDOT FRENCH ‘JAPONISME’ INLAID WALNUT ETAGERE, LATE 19TH CENTURY each tier incised and inlaid with mother of pearl and depicting flowering butterflies on scrolled supports, each tier with a pierced geometric frieze on tapered legs with paw feet

286 HA593/1 GOTHIC STYLE STAINED WOOD DOUBLE BED, CONTEMPORARY with lancet arched head and foot board, 221.5cm long, 154cm high, 203.5cm wide; and a PAIR OF MATCHING BEDSIDE TABLES, 54cm wide, 71cm high, 36.5cm deep (3)

75cm wide, 91cm high, 50cm deep

£300-500

£600-800

91cm diameter, 71cm high

288 HB510/7 AESTHETIC MOVEMENT EBONISED LOW SIDE CHAIR, CIRCA 1870 with gilt incised decoration, the upholstered seat raised on arched supports

289 HD510/5 GOTHIC REVIVAL OAK OCCASIONAL TABLE, LATE 19TH CENTURY with an octagonal top above the pierced apron and lower tier, raised on tapered legs

£400-600

£200-300

41.5cm deep, 72.5cm high

287 HB640/15 MANNER OF E.W. GODWIN OAK CENTRE TABLE, CIRCA 1880 the octagonal top above four herm supports with tapering legs, enclosing a lower tier and terminating in paw feet

£150-250

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290 HB74/1 CHARLES RENNIE MACKINTOSH (1868-1928) FOR MISS CRANSTON’S WILLOW TEAROOMS EBONISED OAK ‘LADDER BACK’ CHAIR, CIRCA 1903 the high back with thirteen gently bowed rectangular horizontal splats above original rush covered drop-in seat, raised above square section legs, joined by five cylindrical stretchers 104.7cm high, 45.5cm wide, 38.5cm deep Provenance: Miss Cranston’s Willow Street Tea Rooms, Glasgow, Scotland Private Collection, Glasgow Literature: Billcliffe, Roger, ‘Charles Rennie Mackintosh: The Complete Furniture Drawings & Interior Designs’, Moffatt 2009, pp 150165, illus. 1908.8 and in situ at 1903 C;D; E; F; J; H & I Note: Mackintosh had produced versions of the traditional ladderback chair before, first for David Gauld in 1893 and then as a bedroom chair at Windyhill in 1901. This understated and deceptively simple design of 1903, for Miss Cranston’s new Willow Tearooms in Sauchiehall Street, is his most successful treatment of this vernacular form. The dark wood against the pale walls and tablecloths of the tearoom interiors accentuating the striking lines of this one of Mackintosh’s most recognisable chairs.

£10,000-15,000

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291 HB428/1 CHARLES RENNIE MACKINTOSH (1868-1928) PAIR OF STAINED OAK DINING CHAIRS, CIRCA 1911 each with tall rectangular slat-filled back above original drop-in seat with horsehair cover, and deep seat rails, raised on square legs linked by side stretchers (2) 47cm wide, 100.5cm high, approx. 46cm deep Provenance: William Douglas Esq., Glasgow Benno Schotz Esq., Glasgow Jack Coia Esq., Glasgow and by descent

Literature: Billcliffe, Roger ‘Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings and Interior Designs’, Moffatt 2009, p. 213, see footnote to no. 1910.12.25 Cotton, Bernard D. ‘Scottish Vernacular Furniture’, London 2008, pp. 172-177, plates 296-298 Note: In 1911, when these chairs were made, Charles Rennie Mackintosh was in the last phase of creativity as an architect and designer in Glasgow, before he and his wife Margaret Macdonald Mackintosh moved to Walberswick in Suffolk. During that year he was commissioned by Miss Cranston to provide designs for the temporary White Cockade tearoom at the Glasgow Exhibition. He also produced redesigns of furniture and interior decorations for The Chinese

Room and designed a new room, The Cloister Room, both for Miss Cranston’s Ingram Street Tearooms. At the same time he worked on a series of furniture designs for his friend, the decorator William Davidson, who worked from premises in West George Street and was employed on various projects by Mackintosh including Hous’hill, Miss Cranston’s home, in 1904. Amongst the furniture designed for Davidson was a set of six oak dining chairs, of which this pair forms part. The chairs are stained dark and designed in the brander back style, so called in Scotland because of their backs’ resemblance to the brander iron or gridiron used over the fire to cook meat or to toast oatcakes. The origins of the brander back date to the late 18th century or earlier. The simple concept of vertical back slats was used on

chairs in one interpretation or another for all levels of society throughout Scotland until the second half of the 19th century when it fell out of fashion. Mackintosh’s genius was that he had the ability to make something new out of tradition, as these deceptively simple chairs demonstrate. In common with, for example, his interpretations of ladder back chairs in various manifestations; Mackintosh has designed his own version of this vernacular chair. The back, typically squat, has been elongated, and the number of slats doubled from a characteristic four to eight. He has further accentuated the vertical character of the chair by omitting the cross-stretchers, normally found to the front and rear.

£10,000-15,000

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292 FD278/5 CHARLES RENNIE MACKINTOSH (1868-1928) PAINTED FIRE SURROUND, CIRCA 1903-4 the projecting top above tapering and moulded jambs, enclosing a frieze with chamfered bird motif and decorated with a simple concave oval device, overpainted 94cm x 126cm Literature: University of Glasgow ‘Mackintosh Architecture’ project at mackintosh-architecture.gla.ac.uk Provenance: 1, Dunira Street, Comrie. Note: In 1903 designs for a shop, flat and offices at 1, Dunira Street were commissioned from Honeyman, Keppie and Mackintosh by a Peter Macpherson, who had bought the site after a fire. By late July 1903 Macpherson’s solicitor, John Mitchell, was in touch with Mackintosh about rebuilding the premises and a surviving series of letters from Mitchell to Mackintosh document the project. The flat was purchased and renovated by the Landmark Trust in 1985 and the shop in 1986. The current lot, probably originally from a smaller bedroom, was removed at an earlier date. In common with the remaining fire surrounds in the flat the accompanying cast iron fire grate is an off the shelf commercial model, often used by Mackintosh in these instances.

£3,000-5,000

293 HB470/1 CHARLES RENNIE MACKINTOSH (1868-1928) BEECH HIGH STOOL, CIRCA 1894 the circular seat raised above three turned legs linked by stretchers 32.5cm diameter, 69cm high Literature: Billcliffe, Roger, ‘Charles Rennie Mackintosh: The Complete Furniture Drawings & Interior Designs’, Moffatt 2009, page 32, illus. D1894-96.1 Note: Made for Queen Margaret Medical College, Glasgow, the treatment of the stretchers appear to echo those of the domino table designed by Mackintosh in 1898 for the Argyle Street Tea Rooms.

£500-700

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294 HB640/45 MORRIS & CO. MAHOGANY FRAMED EMBROIDERED FIRE SCREEN, CIRCA 1900 the silkwork panel enclosed by frame with fretwork panel below on trestle ends linked by a turned stretcher 62cm wide, 85cm high, 29cm deep

£400-600

295 HB640/13 MORRIS & CO. MAHOGANY CENTRE TABLE, CIRCA 1900 the rectangular top with canted angles raised above a plain apron on facetted and tapered legs, stamped maker’s marks 75.5cm wide, 74.5cm high, 61cm deep

£300-500

296 HB536/1 JOSEPH MARIA OLBRICH (1867-1908) MAHOGANY SIDE CHAIR, CIRCA 1900 the tall slender back filled with vertical and horizontal uprights above a drop in seat on square tapered legs linked by stretchers

296A HA540/6 MANNER OF SIR FRANK BRANGWYN FOR MESSRS. NORMAN AND STACEY SET OF EIGHT WALNUT DINING CHAIRS, CIRCA 1903 including two carvers, each with slatted backs centred with a carved rose to the top rail, above drop in seats and square legs linked by stretchers, bear retailer's marks (8)

£600-800

Literature: Konody, P.G. ‘The Work of An Unprofessional Designer – Mr Frank Brangwyn’s Furniture’, 1903, for a set of dining chairs of the same design with inlaid rather than carved top rails.

£600-800

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297 HB640/19 AFTER GEORGE WALTON FOR WILLIAM BIRCH, HIGH WYCOMBE OAK ‘ABINGWOOD’ ARMCHAIR, CIRCA 1910 with tapering back with heart shaped piercing enclosed by broad curved arms and upholstered seat raised on square tapering legs joined by stretchers £800-1,200

298 HB640/24 GEORGE WALTON (1867-1933) INLAID OAK DRESSING CHEST, CIRCA 1900 the oval swing mirror with turned tapering uprights above a rectangular top and chequer inlaid front panel with two drawers to the sides, above two long drawers below, raised on facetted and tapered legs 101cm wide, 169cm high, 53cm deep

£1,500-2,000

299 HB640/9 GLASGOW SCHOOL OAK DINING/ LIBRARY TABLE, CIRCA 1900 the rectangular top above an arched apron with pierced and scrollcarved cartouches, raised on tapered legs linked by stretchers 184cm long, 77.5cm high, 92cm deep

£1,200-1,800

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300 HB640/20 GLASGOW STYLE PATINATED BEECH DISPLAY CABINET ON STAND, CIRCA 1900 of rectangular section, the cornice with pointed mouldings above an astragal glazed sides and single door, enclosing later adjustable glass shelves on stand with square tapering legs 74cm wide, 169cm high, 57cm deep

£1,000-1,500

301 HB640/1 ERNEST ARCHIBALD TAYLOR (1874-1951) EBONISED SECRETAIRE, CIRCA 1900 the sloping fall with hinged compartment above two drawers with silvered ring handles and a slide, the base with three tiers linked by square supports 56cm wide, 46cm deep, 93.5cm deep

£800-1,200

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302 HB75/5 ART NOUVEAU MAHOGANY INLAID DISPLAY CABINET, CIRCA 1910 the pierced surmount above a single glazed door with peacock feather fret decoration enclosing a shelved interior and enclosed by open shelves with mirrored backs and with two cupboard doors below, the whole raised on square tapered legs 142cm wide, 213cm high, 41cm deep

£800-1,200

303 HB640/12 ATTRIBUTED TO J.S. HENRY, LONDON ART NOUVEAU MAHOGANY AND MARQUETRY INLAID CENTRE TABLE, CIRCA 1900 the circular top above tapered legs linked by horizontal stretchers with corresponding inlaid roundels 76cm diameter, 73cm high

£500-800

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304 HA978/1 ART NOUVEAU INLAID MAHOGANY THREE PIECE BEDROOM SUITE, CIRCA 1900 comprising a WARDROBE, with a central mirror door flanked by two doors and three drawers, the whole inlaid with stylised plant forms and raised on bracket feet, 173cm wide, 207cm high, 52cm deep; a DRESSING TABLE, with a circular swing mirror above two jewellery drawers, two short over two long drawers, and turned legs, 115cm wide, 168cm high, 52cm deep; and a matching MARBLE TOP WASHSTAND, 110cm wide, 88cm high, 51cm deep (3) ÂŁ800-1,200

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305 HA541/1 ATTRIBUTED TO A.H. MCINTOSH & CO. LTD., KIRKCALDY MAHOGANY ART NOUVEAU BEDROOM SUITE, CIRCA 1900 comprising a WARDROBE, the arched cornice above and carved frieze above two panelled doors with three drawers below, flanked by mirrored doors on a base with two drawers, elaborate steel hinges, 190cm wide, 232cm high, 61cm deep; a WASHSTAND, with corresponding decoration, 121cm wide, 77cm high, 55cm deep; and a MATCHING BEDSIDE TABLE, 52cm wide, 77cm high, 39cm deep, each with drop handles with cast maker’s marks L&C (3) £600-800

306 HB310/1 ART NOUVEAU SET OF SIX OAK DINING CHAIRS, DATED 1908 the back rails with entwined floral motifs above curved slats and close nailed leather seats, raised on square tapered legs, stamped registration marks for 1908 (6) £500-700

307 HB102/4 ARTS & CRAFTS CARVED OAK TABLE BOOKSHELF, CIRCA 1900 the ends carved with stylised pelicans 48cm wide, 26cm high, 16cm deep

£200-300

308 HB640/22 ARTS & CRAFTS OAK TUB CHAIR, CIRCA 1900 the curved top rail with five plank supports above a drop in seat on rectangular section legs linked by stretchers £100-200

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309 HA358/1 SHAPLAND & PETTER, BARNSTAPLE PAINTED BEDROOM SUITE, CIRCA 1900 comprising a WARDROBE, the moulded cornice above arched open shelf and two doors, each inset with embossed copper panels of Glasgow Style roses, the base with single drawer, stamped mark R214/118, 151cm wide, 213.5cm high, 60cm deep; a WASHSTAND, with tiled splashback above two drawers over two cupboards, stamped mark R214/82, 102cm wide, 138cm high, 47cm deep; and a MATCHING SIDE CABINET/ CHEST, with single frieze drawer above two short and one long recessed drawer, stamped marks R214/82, 102.5cm wide, 92cm high, 52cm deep (3) Literature: Bennett, Daryl ‘Shapland & Petter Ltd.of Barnstaple’, pub. Barnstaple 2005, p.52, illus. pl. 4.27

£1,000-1,500

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310 HB480/1 ART NOUVEAU INLAID MAPLE WASHSTAND, CIRCA 1900 with tiled top and upstand above two drawers raised on square tapered legs linked by stretchers 103cm wide, 128cm high, 54cm deep

£300-500

311 HA952/1 ATTRIBUTED TO ARTHUR SIMPSON OF KENDAL COPPER BOUND OAK PLANTER, CIRCA 1900 of square tapering form, the serpentine rim above pierced pine cone and foliate carved motifs to each side, raised on crossed strut supports 52cm wide, 56cm high

£400-600

312 HB580/11 LIBERTY & CO., LONDON MAHOGANY OVERMANTEL, CIRCA 1900 with two open shelves with bracket supports, and a framed print depicting a Dutch scene, bears ivorine maker’s label

313 HB622/1 ARTS & CRAFTS SMALL LEATHER COVERED & BRASS MOUNTED TABLE CABINET, CIRCA 1900 with twin doors tooled with stylised plant forms, the decorative brass hinges with flower and foliate designs

132cm wide, 79cm high

44cm wide, 46cm high, 28cm deep

£200-300

£400-600

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314 HB640/41 ATTRIBUTED TO SIR ROBERT LORIMER ARTS & CRAFTS OAK FRAMED EMBROIDERED FIRE SCREEN, CIRCA 1900 the frame surmounted by the carved figures of two falcons raised on tapered columns with scrolled feet and enclosing a framed wool tapestry panel depicting the Stuart coat of arms

Note: The tapestry shows the shield of King James I of England, Scotland, France and Ireland from 24 March, 1603. It continued to be used by his successors, Charles I, Charles II and James II until 11 December 1688 when the last named abdicated and 23 December 1688 was formally deposed by Parliament. The shield is surrounded by the garter and surmounted by a crown, although the crown on this example is not a typical representation of either the Scottish or St Edwards Crown, which are normally shown.

96cm wide, 105cm high, 24cm deep

£2,000-3,000

315 HA857/1 SCOTTISH ARTS & CRAFTS OAK-FRAMED EMBROIDERED FIRE SURROUND, CIRCA 1900 of rectangular outline with projecting dentil cornice and rectangular frame enclosing a crewelwork wool panel worked with flowering foliage on a cream ground and surrounding aperture for a fireplace 119cm wide

£600-800

316 HA992/2 LEEDS FIRCLAY COMPANY PAIR OF STONEWARE JARDINIÈRES AND STANDS, CIRCA 1900 the tapering square section stand supporting ovoid, shouldered bowl cast in low relief with stylised foliage panels, covered in an oatmeal glaze impressed marks, minor repair to foot rim (2) 93cm high

£1,000-1,500 85

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317 HB640/10 ARTHUR ROMNEY GREEN (1872-1945) SET OF SIX OAK TUB ARMCHAIRS, CIRCA 1920 each with curved top rails and turned spindle-filled backs on leather panelled seats and tapered legs linked by stretchers (6) £1,000-1,500

318 HB640/17 AMBROSE HEAL (1872-1959) FOR HEAL& SONS, LONDON OAK DINING TABLE, CIRCA 1930 the circular top on square legs with cross supports 122cm diameter, 69cm high

£700-900

319 HB640/23 HEAL & SON, LONDON OAK BEDROOM CHAIR, CIRCA 1920 with broad horizontal bar back above rush seat on square legs linked by stretchers

319A HA540/4 ATTRIBUTED TO DANIEL COTTIER EBONISED SIDE TABLE, CIRCA 1870 the rectangular top above a single frieze drawer on boldly turned legs linked by stretchers

320 HB640/38 MANNER OF EDGAR WOOD ART DECO WALL MIRROR, CIRCA 1930 of rectangular outline, the geometric moulded frame patinated in red and silver

£100-200

73cm wide, 72cm high, 47cm deep

62cm x 43cm

£200-300

£300-500

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321 HB371/1 EDWARD BARNSLEY (1900-1987) WALNUT DISPLAY CABINET, LATE 20TH CENTURY of serpentine form with boxwood stringing, the central glazed panel enclosed by two side doors and with shelved interior, the whole above two panelled doors on slender bracket feet

322 HB371/8 EDWARD BARNSLEY (1900-1987) WALNUT COFFEE TABLE, LATE 20TH CENTURY the rectangular top above square tapered legs and a slatted undertier 180cm long, 51cm high, 22cm deep

£300-500

83.5cm wide, 192.5cm high, 37cm deep

£1,500-2,000

323 HB371/11 EDWARD BARNSLEY (1900-1987) PAIR OF WALL MOUNTED WALNUT DEMI-LUNE CONSOLE TABLES, LATE 20TH CENTURY the semi-circular tops decorated to the rim with leather strips with gilt star tooling, above three curved bracket supports with corresponding decoration, each stamped BARNSLEY (2)

324 HB371/1A EDWARD BARNSLEY (1900-1987) WALNUT DISPLAY CABINET, LATE 20TH CENTURY of serpentine form with boxwood stringing, the central glazed panel enclosed by two side doors and with shelved interior, the whole above two panelled doors on slender bracket feet 83.5cm wide, 192.5cm high, 37cm deep

£1,500-2,000

76cm wide, 41cm high, 31cm deep

£200-300

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325 HB371/2 EDWARD BARNSLEY (1900-1987) WALNUT CHEST OF DRAWERS, LATE 20TH CENTURY with boxwood stringing, with two short over three long graduated drawers 85cm wide, 92cm high, 53cm deep

£2,000-3,000

326 HB371/4 EDWARD BARNSLEY (1900-1987) WALNUT SIDEBOARD, LATE 20TH CENTURY of bowed form with boxwood stringing and ledge back, with three drawers, two fitted for cutlery, above a bowed stretcher and square moulded legs, stamped to drawer BARNSLEY 168.5cm wide, 89cm high. 52cm deep

£2,000-3,000

327 HD522/1 FRENCH SCHOOL METAL LIBRARY TABLE, EARLY 20TH CENTURY with circular inset leather top, above a scrollwork foliate frieze raised on square tapered legs with fluted decoration and with corresponding brackets 139cm diameter, 65cm high

£800-1,200

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328Y SV509/6 ATTRIBUTED TO LIBERTY & CO., LONDON ARTS & CRAFTS ROSEWOOD, EBONY AND IVORY INLAID ‘THEBES’ STOOL, CIRCA 1900 the slatted dished seat inlaid with ebony and ivory above square supports lined by stretchers with spindle supports 31.5cm wide, 30cm high, 28.5cm deep

£2,000-3,000

329 HB371/5 HANS WEGNER (1914-2007) FOR JOHANNES HANSEN, DENMARK PAIR OF ‘THE CHAIR’ TEAK ARMCHAIRS, DESIGNED 1949 each with rattan seats, branded mark JOHANNES HANSEN, COPENHAGEN, DENMARK (2) £600-800

330A HA588/1 AFTER LE CORBUSIER 'GRAND CONFORT' THREE-SEAT SOFA, MODERN, DESIGNED 1929 with tan leather cushions and chromium plated frame 330 HB435/1 EERO SAARINEN (1910-1961) FOR KNOLL INTERNATIONAL CIRCULAR MARBLE TOP ‘TULIP’ TABLE, DESIGNED 1956 raised on a tapered and enamelled aluminium base

225cm wide

£800-1,200

120cm diameter, 72cm high

330B HA588/2 AFTER LE CORBUSIER 'GRAND CONFORT' THREE-SEAT SOFA, MODERN, DESIGNED 1929 with tan leather cushions and chromium plated frame

£600-800

225cm wide

£600-800

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331Y HD516/1 JOHANNES ANDERSEN (1890–1980) FOR ULDUM MØBELFABRIK SET OF SIX ‘JULIANE’ MODEL ROSEWOOD CHAIRS, DESIGNED 1965 each with curved open backs with single splats raised above wool upholstered seats on tapered legs (6) Note: Sold in compliance with CITES regulations, with (nontransferable) Transaction Specific Certificate no. 532817/01

£600-800

332Y HD510/3 FRANCE & SON, DENMARK ROSEWOOD TWO TIER DRINKS TROLLEY, 1960S with turned supports and handles 66cm wide, 68cm high, 42cm deep Note: Sold in compliance with CITES regulations, with (non-transferable) Transaction Specific Certificate no. 532818/03

£200-300

334Y HD510/1 DANISH SCHOOL FOUR ROSEWOOD FRAMED DINING CHAIRS, CIRCA 1960 each with hinged leather backs and leather slung seats with brass decorative fixings, raised on turned legs (4) Note: Sold in compliance with CITES regulations, with (non-transferable) Transaction Specific Certificate no. 532818/02

£200-300 333Y FG893/5 DANISH SCHOOL PAIR OF SMALL ROSEWOOD BOW FRONT CHESTS, CIRCA 1960 each with five graduated drawers on turned legs (2) 60cm wide, 78cm high, 32cm deep Note: Sold in compliance with CITES regulations, with (non-transferable) Transaction Specific Certificate no. 529930/01

£300-500

335 HD510/6 ALDO TURA ITALIAN LACQUERED WOOD AND BRASS WALL MOUNTED COAT HOOKS, 1960S the rectangular back board with transfer prints of the seasons 80cm wide, 25cm high

£200-300

336Y HD510/2 ROBERT HERITAGE (B. 1927) FOR ARCHIE SHINE LTD. ROSEWOOD AND WALNUT EXTENDING DINING TABLE, 1960S of tapering rectangular outline, with turned and tapered legs, with a single leaf 212cm long, 73cm high, 89cm deep Note: Sold in compliance with CITES regulations, with (non-transferable) Transaction Specific Certificate no. 532818/01

£400-600 337 HD510/15 NILS JORGEN HAUGESEN (1936-2013) FOR BENT KROGH FOUR X-LINE CHAIRS, DESIGNED 1977 steel rod and perforated steel plate (4) £150-250

338 HD513/1 MANNER OF HANS WEGNER MAHOGANY WINDSOR TYPE CHAIR, 20TH CENTURY with a slatted back and arms above a close nailed upholstered panel raised on turned tapering legs linked by stretchers £200-300 339Y HA827/2 ROBERT HERITAGE (B. 1927) FOR ARCHIE SHINE LTD. ROSEWOOD SIDE CABINET, 1960S the rectangular top with twin doors enclosing adjustable shelves, raised on square legs 102cm wide, 76cm high, 45cm deep

£200-300

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340Y HA827/3 ROBERT HERITAGE (B. 1927) FOR ARCHIE SHINE LTD. ROSEWOOD DINING SUITE, 1960S comprising a DINING TABLE, with single leaf and pedestal supports, 237cm long, 73cm high, 91.5cm deep; and a SET OF EIGHT DINING CHAIRS, including two carvers, each with slatted backs and turned tapered legs united by stretchers (9) £500-800

341 HD510/4 ATTRIBUTED TO FONTANA ARTE WALL MIRROR, 1980S the rectangular blue mirrored glass panel mounted with six lights and overlaid with a circular mirrored panel

342 HD523/1 MANNER OF ROBIN NANCE OAK COFFEE TABLE, 1970S the rectangular top inset with stoneware tiles, some with stylised silhouettes of leaves, and raised on tapering splayed legs

343 HA588/23 ROBERT MATTHEWS HARDWOOD PLAN CHEST, CIRCA 1960 with rectangular top, above metal frame enclosing five long drawers

68cm x 90cm

109cm long, 39cm high, 39cm deep

£200-300

£300-500

£200-300

122cm wide 82cm high 91cm deep

343A HA588/16 WILLY RIZZO FOR SABOT, ITALY BROWN LAMINATED COFFEE TABLE, 1970S the galleried rectangular top with chrome bound rounded angles raised on a plinth 130cm long, 80cm deep, 28cm high

£200-300 91

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344 HB640/16 ALVAR AALTO (1898-1976) FOR ARTEK BIRCH 907 COFFEE TABLE, CIRCA 1930 the circular two tier top on curved rectangular section ply supports

345 HB640/42 ALVAR AALTO (1898-1976) FOR ARTEK BIRCH CENTRE TABLE, 1930S the circular top raised on curved rectangular section legs

63cm diameter, 57cm high

125cm diameter, 61cm high

£300-500

346 LT2015/19 JORGE FERRARI-HARDOY (1914-1977) PAIR OF ‘BUTTERFLY’ CHAIRS, DESIGNED 1938 probably manufactured by Knoll International, steel rod with leather slings (2)

347 HA549/1 TIM STEAD (1952-2000) ELM SIDE CABINET, LATE 20TH CENTURY enhanced with gold wood filler, the freeform top above two drawers with two cupboards below enclosing a fixed shelf

£800-1200

105cm wide, 91.5cm high, 58cm deep

£800-1,200

348 HB388/1 POST MODERNIST EBONISED AND CHERRYWOOD LIBRARY TABLE, CIRCA 1985 with sloped book rest, above open shelves supported by turned columns and bracket feet

349 LT2015/19 CHROMIUM PLATED STEEL FRAMED LEATHER SOFA, 1960S comprising four conjoined sections 216cm long

£200-300

100.5cm wide, 90cm high, 44cm deep

£200-300

350 No lot

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Fine Furniture & Works of Art Wednesday, 22nd April, 2015 33 Broughton Place, Edinburgh EH1 3RR

MASSIMILLIANO SOLDANI-BENZI (1656-1740) GANYMEDE AND THE EAGLE Bronze 38.5cm wide

Estimate upon request

Enquiries Douglas Girton Tel: +44 (0)131 557 8844 douglas.girton@lyonandturnbull.com Theodora Burrell Tel: +44 (0)131 557 8844 theo.burrell@lyonandturnbull.com

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Scottish Paintings & Sculpture Thursday, 4th June, 2015 33 Broughton Place, Edinburgh EH1 3RR

Enquiries Nick Curnow Tel: +44 (0)131 557 8844 nick.curnow@lyonandturnbull.com

GEORGE HENRY R.A., R.S.A., R.S.W. (SCOTTISH 1858-1943) ROUND THE MULBERRY BUSH Signed and dated 1890, oil on canvas

Charlotte Riordan Tel: +44 (0)131 557 8844 charlotte.riordan@lyonandturnbull.com

w w w. lyo n a n d t u r n b u l l . co m

ÂŁ15,000-20,000

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19th & 20th Century Pictures Sale 432A Wednesday, 25th March at 3pm

351 HA800/134 NICHOLAS POCOCK (BRITISH 1740-1821) FRIGATE ENTERING PORTSMOUTH HARBOUR Watercolour 25.5cm x 38cm (10in x 15in) Provenance: Denston Hall, Suffolk

£400-600

352 HA800/135 FOLLOWER OF ANTOINE SCHRANZ (MALTESE 1769-1839) MAN O’ WAR OFF THE COAST Watercolour 38cm x 55cm (15in x 21.5in) Provenance: Denston Hall, Suffolk

£500-800

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353 HB126/1 19TH CENTURY BRITISH SCHOOL CASTLE BY THE LOCH Oil on canvas 62cm x 75.5cm (24.5in x 29.75in)

£600-800

354 HA899/1 JAMES HERON (SCOTTISH 1873-1919) ON THE SHORES OF LOCH FYNE Signed and dated 1897, oil on canvas 49.5cm x 100.5cm (19.5in x 39.5in)

£600-800

355§ HB288/1 JOHN PATRICK DOWNIE (SCOTTISH 1871-1945) ON THE LUGGIE Signed and dated 1906, oil on canvas 39cm x 49cm (15.25in x 19.25in)

£300-500

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356 HB323/1 THOMAS AUSTEN BROWN (BRITISH 1859-1924) THE MILKMAID Oil on panel 19cm x 24.5cm (7.5in x 9.75in)

£600-800

357 HB297/3 BIRGER SANDZEN (AMERICAN 1871-1954) THE FRIENDLY LAKE Signed in plate and to margin, lithograph 20.5cm x 26cm (8in x 10.25in)

£300-500

358 HB333/2 JAMES COUTTS MICHIE A.R.S.A. (SCOTTISH 1859-1919) LOCH TAY SUNSET Signed, oil on canvas 24cm x 39cm (9.5in x 15.25in)

£600-800

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359 HB386/6 19TH CENTURY CONTINENTAL SCHOOL THE SUFFERING CHRIST Initialled ‘AR’ and dated 1890, gouache on paper laid on board 89cm x 71cm (35in x 28in)

£600-800

360 HB478/1 ATTRIBUTED TO GEORGE PAUL CHALMERS (BRITISH 1833-1878) FIRE-SIDE Oil on canvas 39cm x 28cm (15.25in x 11in)

£400-600

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361 HB498/1 GEORGE BLACKIE STICKS (BRITISH 1843-1938) LANDSCAPE Signed and dated 1891, oil on canvas 44.5cm x 36.5cm (17.5in x 14.5in)

£600-800

362 HB51/1 JAMES HOLLAND (BRITISH 1799-1870) RECOLLECTIONS OF VENICE Signed with monogram and dated 1850, signed and inscribed with title verso, oil on board 45cm x 34cm (17.75in x 13.5in)

£1,000-1,500

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363 HA204/1 JOHN BLAIR (SCOTTISH 1850-1934) LARGO, 1909 Signed, titled and dated, watercolour 53cm x 73.5cm (21in x 29in)

£500-700

364 HB99/3 DAVID WEST (BRITISH 1868-1936) SINGLE SHIP AT SEA Signed, watercolour 25.5cm x 37cm (10in x 14.5in)

£500-700

365 HB478/2 JOHN TERRIS (BRITISH 1865-1914) HARBOUR Signed, oil on canvas 22cm x 27.5cm (8.5in x 10.75in)

£400-600

100

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366 SV484/51 SAM BOUGH (SCOTTISH 1822-1878) A BORDER STRONGHOLD Signed and dated 1873, watercolour 33.5cm x 51cm (13.25in x 20in) Provenance: Ian MacNicol Fine Art

£400-600

367 SV408/71 HENRY JOHN YEEND-KING (BRITISH 1855–1924) A PASTORAL Signed, signed and inscribed with title verso, oil on board 26cm x 36cm (10.25in x 14.25in)

£400-600

368 HA661/1 JOHN COPLAND (SCOTTISH 1854-1929) THE MONKS MILL Signed and dated 1914, inscribed with title, old exhibition label verso, oil on canvas 49cm x 59cm (19.25in x 23.25in) Exhibited: The Society of Scottish Artists, 1919

£500-700

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369§ FH172/1 WILLIAM MILLER FRAZER R.S.A. (SCOTTISH 1864-1961) IN THE MEADOW, PRESTON MILL Signed and dated 1896, oil on canvas 61cm x 91cm (24in x 36in)

£1,000-1,500

370 FE191/556 JOHN CRAWFORD WINTOUR A.R.S.A. (SCOTTISH 1825-1882) THE GOSSIPS Signed and dated 1846, oil on canvas 46cm x 61cm (18in x 24in)

£600-800

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371§ FG412/5 GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980) WARNING CAMP Signed, etching 13cm x 15cm (5in x 6in) Provenance: William J Macaulay Collection, 1979, no.49

£500-700

372§ HA543/3 JAMES MCINTOSH PATRICK R.S.A. (SCOTTISH 1907-1998) EDZELL CASTLE, 1930 Signed and dated ‘30, pen and ink 20cm x 28cm (8in x 11in)

and another, a pair (2) £600-800

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373§ HB297/2 JEHAN DALY (BRITISH 1918-2001) PORTRAIT OF JOAN NICHOLSON Inscriped verso ‘Title: Mrs Roger Nicholson, by J. Daly,’ oil on canvas 49.5cm x 39.5cm (19.5in x 15.5in)

£400-600

374§ HB15/1 JAMES COWIE (SCOTTISH 1856-1966) STUDY OF A WOMAN BY A LAKE Oil on canvas 13cm x 10cm (5in x 4in) Provenance: The artist's studio Exhibited: The Scottish Gallery, Edinburgh Note: This work is likely to be a study of the artist's wife

£400-600

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375§ HA666/3 TERENCE LOUDON (BRITISH c. 1900-1949) CHRISTMAS ROSES, FEBRUARY 1945 Signed, oil on canvas 40cm x 30cm (15.75in x 11.75in)

£500-700

376 HA710/27 KATE WYLIE (BRITISH 1877-1941) VASE WITH RED FLOWERS Signed, oil on canvas 49cm x 34cm (19.25in x 13.25in)

£400-600

105

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377§ HB337/2 JOAN RENTON R.S.W. (BRITISH b. 1935) SUMMER FLOWERS Signed, watercolour 50cm x 37cm (19.75in x 14.5in)

£400-600

378§ HB337/1 BRENDA LENAGHAN R.S.A. (SCOTTISH b. 1941) COUPLE RECLINING Signed, gouache 19.5cm x 19.5cm (7.75in x 7.75in)

379§ HB337/3 CHRISTIAN WHARTON (BRITISH b. 1937) REFLECTIONS Signed, watercolour on textured paper 72cm x 53.5cm (28.25in x 21in)

£250-350

106

£300-500

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380§ SV369/9 ROBERTA A. DEIGHTON (SCOTTISH CONTEMPORARY) AYRSHIRE FARMHOUSE Signed, oil on board 29cm x 36.5cm (11.5in x 14.5in)

£200-400

381§ HA784/1 DAVID DONALDSON (SCOTTISH 1916-1996) MOUNTAIN TENT Signed, pastel 23.5cm x 23.5cm (9.25in x 9.25in)

£500-700

382§ HA710/32 JAMES MACKINTOSH PATRICK R.S.A. (SCOTTISH 1907-1998) NEAR SIDI BU SAID, TUNISIA Signed and dated 1943, watercolour 24cm x 30cm (9.5in x 11.75in)

£500-700

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383§ HA146/75 JAMES MCBEY (SCOTTISH 1883-1959) GLENGOULANDIE Signed and dated ‘12 July 1929,’ watercolour 31cm x 49cm (12in x 19.25in) Exhibited: Alex Reid of Lefevre

£400-600

384§ HA543/2 JAMES MCBEY (SCOTTISH 1883-1959) ALBERT Signed and numbered ‘XXXI’ to margin, etching 16.5cm x 25.5cm (6.5in x 10in)

£600-800

108

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385§ HA543/6 TIM ARMSTRONG (CONTEMPORARY BRITISH) PENTAGRAM WITH SYMBOLS Signed, titled, dated (1975) and numbered to margin (3/8), screenprint 78.5cm x 65cm (31in x 25.5in)

£250-350

386§ HA543/5 TIM ARMSTRONG (CONTEMPORARY BRITISH) IMAGES OF LUXURY AND PRUDENCE FROM THE ROSE WINDOW OF NOTRE-DAME, PARIS Signed, titled, dated (1974-5) and numbered (18/26) on mount, screenprint, irregular geometric shape. 76cm x 59.5cm (30in x 23.25in)

£250-350

109

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387§ HB510/20 PETER HOWSON O.B.E. (SCOTTISH b. 1958) MARTYR Signed and dated 2003, pastel on brown paper 39.5cm x 29cm (15.5in x 11.5in)

£600-800

388§ HB510/19 PETER HOWSON O.B.E. (SCOTTISH b. 1958) DUCKS Signed and dated 2002, pastel on blue-grey paper 22cm x 29cm (8.74in x 11.5in)

£600-800

110

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389§ SV509/9 THOMAS ELDER DICKSON P.P.S.S.A., F.R.S.E. (BRITISH 1899-1975) HARBOUR HOUSES Signed, oil on canvasboard 47cm x 60cm (18.5in x 23.75in)

£400-600

390§ HB483/1 JAMES HAWKINS (BRITISH b. 1954) BEINN EIGHE FROM COLIN, 1996 Signed, inscribed verso with title and artists’ studio address, acrylic 28.5cm x 41cm (11.25in x 16in)

£600-800

391§ HB51/2 STEPHANIE DEES (BRITISH b. 1974) MONTGOMERY STREET Mixed media on paper 74cm x 97.5cm (29.5in x 38.5in)

£500-700

111

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392§ SV509/14 HERBERT DAVIS RICHTER (BRITISH 1874-1955) FLOWERS IN A BLUE VASE Signed, oil on canvas 75cm x 61cm (29.5in x 24.25in)

£1,000-1,500

393§ SV509/31 HERBERT DAVIS RICHTER (BRITISH 1874-1955) INTERIOR Signed, oil on canvas 62cm x 74.5cm (24.5in x 9.25in)

£800-1,200

112

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3954 HA818/1 AFTER MATTHEW WILLIAM PETERS (BRITISH 1742-1814) PORTRAIT OF A LADY IN A LACE BONNET WITH WHITE MUFFLER Oval, oil on canvas, unframed 75cm x 63.5cm (29.5in x 25in)

£500-700

395 HA918/2 JULIUS JACOB THE ELDER, AFTER RAPHAEL ST. JOHN FROM RAPHAEL’S ‘THE MADONNA OF THE MEADOW’ Signed J. Jacob, indistinctly inscribed, pastel, oval 28cm x 23cm (11in x 9in)

£150-200 396 No lot

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397 SV484/39 JUN RUYTEN (BELGIAN 1813-1881) ANTWERP Signed, oil on board 17.5cm x 22cm (6.75in x 8.75in) Provenance: Ian MacNicol Fine Art, Glasgow

£400-600

398 HA710/26 JAMES CAMPBELL NOBLE (SCOTTISH 1845-1913) QUIET HARBOUR Signed, oil on canvas 38.5cm x 54cm (15.25in x 21.25in)

£600-800

399 HB333/1 LUDWIG SCHELL (GERMAN 1833-1912) HONIGSEE Signed, titled label verso, oil on panel 20cm x 25.5cm (8in x 10in)

£800-1,200

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400 HB46/2 GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) PORTRAIT, THOUGHT TO BE OF DR T.J. HONEYMAN Pen, ink and coloured crayons 15cm x 9cm (6in x 3.5in) Provenance: Dr T.J. Honeyman Exhibited: William Hardie Gallery, Glasgow

£600-800

401§ HB195/1 SIR WILLIAM RUSSELL FLINT (SCOTTISH 1880-1969) GALATAE: AN ESSAY ON SURREALISM Signed and titled, inscribed with personal message verso, watercolour 17cm x 12cm (6.75in x 4.75in)

£800-1,200

115

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402 15421/1 DUNCAN CAMERON (BRITISH 1837-1916) HARVEST AT SCOONIEBURN Signed, oil on canvas 29cm x 43cm (11.5in x 17in)

£600-800

403§ HB123/8 WILLIAM MILLER FRAZER R.S.A. (SCOTTISH 1864-1961) DUCKS ON A RIVER BANK Signed, oil on board 36cm x 46cm (14in x 18in)

£600-800

404 HB99/4 JAMES WATTERSTON HERALD (BRITISH 1859-1914) COTTAGE AMONGST THE TREES Signed, pastel on grey paper 18.5cm x 23cm (7.25in x 9in)

£400-600

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405 HA543/4 ANDERS ZORN (SWEDISH 1860-1920) EN DALKARL (LAVARD ANDERS), 1916 Signed to margin, etching 17.5cm x 12.5cm (7in x 5in)

£800-1,200

406 FA223/2 GEORGE MANSON (SCOTTISH 1850-1876) THE MORNING MEAL Inscribed with artist, title and date ‘1850’ verso, pencil and watercolour 25cm x 17cm (10in x 7in)

£400-600

407 HA4/7 SIR JAMES LAWTON WINGATE P.R.S.A. (SCOTTISH 1846-1924) BOATS BY THE SEA Signed and dated ‘17/7/81,’ oil on canvas 29cm x 19cm (11.5in x 7.5in)

£500-700

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408§ HB99/2 ROBERT MACAULAY STEVENSON (SCOTTISH 1854-1952) BIRCH TREES Signed, various old exhibition labels verso, watercolour 60cm x 29.5cm (23.5in x 11.5in)

£500-700

409 HA146/61 ATTRIBUTED TO JOSEPH CRAWHALL (BRITISH 1861-1913) HUNTSMAN Signed, watercolour on canvas 20cm x 15cm (8in x 6in)

£1,000-1,500

118

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410

411

413

412

412§ HA146/4A SIR MUIRHEAD BONE (SCOTTISH 1876-1953) SELF PORTRAIT OF THE ARTIST, IN A HAT Signed and dated ‘08 in plate, signed to margin, drypoint

413§ HA146/20A SIR MUIRHEAD BONE (SCOTTISH 1876-1953) AYR PRISON Signed and inscribed ‘My Proof’ to margin, drypoint

13cm x 26.5cm (5.25in x 10.5in)

411§ HA146/58 SIR MUIRHEAD BONE (SCOTTISH 1876-1953) SCHOOL HOUSE DOOR, RUGBY Signed and indistinctly labelled, pencil on paper

£100-200

25.5cm x 18.5cm (10in x 7.25in)

16.5cm x 14cm (6.5in x 5.5in)

£100-200

£300-500

£200-300

410§ HA146/21A SIR MUIRHEAD BONE (SCOTTISH 1876-1953) OLD JAIL, GLASGOW Signed and numbered ‘No. 23’ to margin, drypoint

14.5cm x 19.5cm (5.75in x 7.75in)

119

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414 HD513/3 19TH CENTURY BRITISH SCHOOL CHEPSTOWE CASTLE Oil on canvas 75cm x 116cm (29.5in x 45.75in)

£500-700

415§ HD513/4 JOHN BARNS-GRAHAM (20TH CENTURY SCOTTISH) WINTER LANDSCAPE Oil on card 44cm x 57.5cm (17.25in x 22.5in)

£400-600

416 HA710/31 SCHOOL OF ALEXANDER NAYSMYTH RIVER LANDSCAPE Oil on canvas 24.5cm x 34.5cm (9.75in x 13.5in)

£400-600

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417 HA640/14 WILLIAM SAMUEL HOWITT (BRITISH c. 1765-1822) THE GANGES BREAKING ITS BANKS WITH FIGURES SPEARING FISH Signed, pen and ink and watercolour 29cm x 43cm (11.5in x 17in) Provenance: The Late Lyndsay Bradfer-Lawrence

£600-800

418 HA800/141 FOLLOWER OF FRANCIS NICHOLSON RIVER LANDSCAPE WITH WATERFALL AND CASTLE Watercolour 66cm x 99cm (26in x 39in) Provenance: Denston Hall, Suffolk

£300-500

419 HA998/4 20TH CENTURY SCOTTISH SCHOOL CASTLE ON A CLIFF Initialled ‘R.H.T.’, oil on board 29.5cm x 35cm (11.5in x 13.75in)

£400-600

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420§ SV484/48 JEAN COMMERE (FRENCH 1920-1986) VIBRATIONS Oil on canvas 36cm x 59cm (14.25in x 23.25in) Provenance: Ian MacNicol Fine Art Exhibited: Alexander Reid & Lefevre, 1961

£400-600

421§ SV408/56 ALEXANDER ALLAN (BRITISH 1914-1972) RUGGED LANDSCAPE Signed and dated 1958, mixed media on paper 29cm x 49cm (11.4in x 19.75in)

£400-600

422 HB478/3 JOHN MUNNOCH (BRITISH 1879-1915) WEST COAST SHORE Signed and indistinctly dated, oil on canvas laid on board 24cm x 34cm (9.5in x 13.25in)

£800-1,200

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423§ HB143/1 FELICE GIORDANO (ITALIAN 1880-1964) NAPLES FROM MERGELLINA Signed, inscribed on a label verso, oil on canvas 51cm x 122cm (24in x 48in)

£1,200-1,400

424§ HB205/1 SAMUEL JOHN LAMORNA BIRCH (BRITISH 1869-1955) BY THE RIVER Signed, watercolour with bodycolour 53.5cm x 73.5cm (21in x 29in) Note: The figure in the background is thought to be Lamorna Birch's daughter

£1,500-2,500

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425 HB297/1 JOHANNES FLINTOE (DANISH 1787-1870) VORINGFOSSEN WATERFALL, NORWAY Signed and dated 1822, inscribed ‘Voring-Fos i Bergns Stift’, pen and ink and watercolour, 15.5cm x 11cm (6in x 4.5in)

£500-700

426 FA223/11 MANNER OF ARTHUR MELVILLE GITANA DANCING GIRL, GRANADA ‘90 Inscribed with artist and title verso, oil on canvas 32.5cm x 21cm (12.75in x 8.25in)

427 SV509/7 JAMES STARK (BRITISH 1794-1859) A WOODY LANDSCAPE Watercolour 24cm x 17cm (9.5in x 6.75in)

£500-700

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£700-900

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428 FE191/557 SAM BOUGH R.S.A. (SCOTTISH 1822-1878) NEAR LOCH LOMOND Signed and dated 1874, watercolour 34cm x 49cm (13.5in x 19.25in)

£400-600

429§ HA92/1 JOHN MURRAY THOMSON R.S.A., R.S.W., P.S.S.A. (SCOTTISH 1885-1974) THE WHITE DRAKE Signed, oil on canvas 51cm x 76cm (20in x 30in)

£400-600

430 HA710/7 ROBERT HOPE R.S.A. (SCOTTISH 1869-1936) SUMMER PASTURES Signed, oil on canvas 41cm x 51cm (16in x 20in)

£500-700

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431 HA668/27 JOSEPH D. HENDERSON (20TH CENTURY BRITISH) THE CLOUDS, MALTA Signed, oil on board 28.5cm x 33.5cm (11.25in x 13.25in)

£300-500

432§ HB430/5 SIR WILLIAM RUSSELL FLINT (SCOTTISH 1880-1969) LANDSCAPE Signed, watercolour 11cm x 24.5cm (4.25in x 9.25in)

£400-600

433 HB436/12 ARTHUR MACDONALD (SCOTTISH 20TH CENTURY) HARBOUR SCENE, FIFE Signed, oil on board 44.5cm x 49.5cm (17.5in x 19.5in)

£700-900

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434 FA223/12 STUART PARK (BRITISH 1862-1933) ROSES Signed, oil on board 58.5cm x 64cm (23in x 25.25in)

£1,000-1,500

435§ HB99/7 CHARLES JACQUE (FRENCH 1879-1959) SHEEP HERDERS Signed, oil on canvas 61cm x 76cm (24in x 30in)

£500-700

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436 HB140/1 ATTRIBUTED TO CORNELIUS KRIEGHOFF (CANADIAN 1815-1872) STUDY OF A NATIVE AMERICAN IN A BLANKET Oil on card 13cm x 11cm (5.125in x 4.25in)

£300-500

437§ HB49/1 PHILIP NAVIASKY (BRITISH 1894-1982) PORTRAIT OF A YOUNG GIRL Oil on board 54cm x 43cm (21.25in x 17in)

£500-700

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438§ HB487/1 SIR MUIRHEAD BONE (SCOTTISH 1876-1953) THE PROMENADE Signed, indistinctly inscribed, pastel 28cm x 37.5cm (11in x 14.75in)

£600-800

439 HB386/5 FOLLOWER OF FRANSCISCO GUARDI (18TH CENTURY ITALIAN SCHOOL) AN ITALIAN CAPRICCIO Oil on canvas laid on panel, oval 29cm x 23cm (11.5in x 9in)

and another by the same hand, a pair (2) £300-500

440 No lot

129

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441 HB206/1 CORNELIUS WESTERBEEK JUNIOR (DUTCH 1873-1917) A PASTORAL SCENE Signed, oil on canvas 20.5cm x 32cm (8in x 12.5in)

£400-600

442§ HA959/1 FRANK H. MASON (BRITISH 1875-1965) OFF ARDROSSAN Signed, watercolour 19.5cm x 45.4cm (7.25in x 18in)

£400-600

443§ HA598/19 HENRY JOHN LINTOTT R.S.A. (SCOTTISH 1877-1965) A WOODLAND SCENE Signed and dated 1919, oil on canvas 66cm x 86cm (26in x 34in)

£500-700

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444 HA710/28 ROBERT WEIR ALLAN (BRITISH 1851-1942) RETURNING FROM THE SEA-SIDE Signed, watercolour 27cm x 44cm (10.5in x 17.25in)

£600-800

445 HA710/29 SAM BOUGH (BRITISH 1822-1878) LOCH-SIDE Signed and dated 1878, watercolour 29cm x 44cm (11.5in x 17.25in)

£500-700

446 HA710/30 SAM BOUGH (BRITISH 1822-1878) HUNTER IN THE LANDSCAPE Signed and indistinctly dated, watercolour on buff paper 18.5cm x 23.5cm (7.75in x 9.25in)

£200-300

END OF SALE

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LY O N & T U R N B U L L Index Cataloguing Terms

Allan, A., 421 Allan, R.W., 444 Armstrong, T., 385, 386

Flint, Sir W.R., 401, 432 Flintoe, J., 425 Frazer, W.M., 369, 393

Barns-Graham, J., 415 Birch, S.J., 424 Blair, J., 363 Bone, Sir M., 410-413, 438 Bough, S., 366, 428, 445, 446 British School, 353, 396, 414 Brown, T.A., 356

Giordang, F., 423 Guardi, F., follower of, 439

Cameron, D., 402 Chalmers, G.P., attributed to, 360 Commere, J., 420 Continental School, 359 Copland, J., 368 Cowie, J., 374 Crawhall, J., attributed to, 409

Hawkins, J., 390 Henderson, J.D., 431 Herald, J.W., 404 Heron, J., 354 Holland, J., 362 Hope, R., 430 Howitt, W.S., 417 Howson, P., 387, 388 Hunter, G.L., 400

Macdonald, A., 433 Manson, G., 406 Mason, F.H., 442 McBey, J., 383, 384 Melville, A., manner of, 426 Michie, J.C., 358 Munnoch, J., 422 Naviasky, P., 437 Naysmyth, A., school of, 416 Nicholson, F., follower of, 418 Noble, J.C., 398 Park, S., 434 Patrick, J.M., 372, 392 Pocock, N., 351

Terris, J., 365 Thomson, J.M., 429 West, D., 364 Westerbeek, C. Jnr., 441 Wharton, C., 379 William, M., after, 394 Wingate, Sir J.L., 407 Wintour, J.C., 370 Wylie, K., 376 Yeend-King, H.J., 367 Zorn, A., 405

Jacob, J., The Elder, after Raphael, 395 Jacque, C., 435

Renton, J., 377 Richter, H.D., 392, 393 Ruyten, J., 397

Daly, J., 373 Dees, S., 391 Deighton, R.A., 380 Dickson, T.E., 389 Dondaldson, D., 381 Downie, J.P., 355

Krieghoff, C., attributed to, 436

Sandzen, B., 357 Schell, L., 399 Schranz, A., follower of, 352 Scottish School, 419 Stark, J., 427 Stevenson, R.M., 408

The following expressions with their accompanying explanations are used by Lyon & Turnbull as standard cataloguing practice. Our use of these expressions does not take account of the condition of the lot or the extent of any restoration.

Name(s) or Recognised Designation of an Artist without any Qualification In our opinion a work by the artist

Buyers are recommended to inspect the property themselves. Written condition reports are usually available on request.

Studio of ... / Workshop of ... In our opinion a work executed in the studio or workshop of the artist, possible under his supervision

Lenaghan, B., 378 Lintott, H.J., 443 Loudon, T., 375

Attributed to... In our opinion probably a work by the artist in whole or in part.

Circle of ... In our opinion a work of the period of the artist and showing his influence. Follower of ... In our opinion a work executed in the artistâ&#x20AC;&#x2122;s style but not necessarily by a pupil. Manner of ... In our opinion a work executed in the artistâ&#x20AC;&#x2122;s style but of a later date After ... In our opinion a copy (of any date) of a work of the artist.

132

Sticks, G.B., 361 Sutherland, G., 371

Signed ... / Dated ... / Inscribed ... / In our opinion the work has been signed/dated/inscribed by the artist. Bears Signature ... / Date ... / Inscription ... / In our opinion the signature/date/inscription appears to be by a hand other than that of the artist. Dimensions are given height before width.

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CONDITIONS OF SALE SELLERS 1. DEFINITIONS In these Conditions of Sale (Sellers): “Auctioneer” means Lyon & Turnbull Ltd or its authorised auctioneer, as appropriate; “Buyer“ is the person who makes the highest possible bid or offer accepted by the auctioneer, and/or such person’s principal where bidding as agent; “Buyer‘s Premium” is the commission payable by the Buyer on the Hammer Price at the rates set out in the Sale Catalogue Guide to Prospective Buyers and an amount in respect of applicable VAT; “Hammer Price” is the highest bid accepted by the auctioneer by the fall of the hammer or in the case of a postauction sale, the agreed sale price; “Item” means each and every item consigned for sale following express written agreement between Lyon & Turnbull and the Seller; “Lot“ means each Item offered for sale by Lyon & Turnbull; “Lower Estimate” means the low estimate provided by Lyon & Turnbull to the Seller in relation to each Item, or in relation to any Item which Lyon & Turnbull holds on behalf of the Seller; “Lyon & Turnbull” means the company which has its registered office at 33 Broughton Place, Edinburgh, EHI 3RR registered in Scotland No. 191166 “Net Sale Proceeds” are the Hammer Price, less commissions and other charges, of the Lot sold, to the extent received by Lyon & Turnbull in cleared funds; “Proposed Sale” means the intended sale through which the items will be sold on “Purchase Price” is the Hammer Price and applicable Buyer‘s Premium; “Reserve” means the lowest price below which an item cannot be sold; “Upper Estimate” means the high estimate provided by Lyon & Turnbull to the Seller in relation to each Item, or in relation to any Item which Lyon & Turnbull holds on behalf of the Seller; “Terms of consignment” means the stipulated terms and rates of commission on which the Auctioneer accepts instructions from Sellers or their agents; “You”, “Your” means the seller “Us”, “Our”, “We” etc refers to Lyon & Turnbull Ltd The singular includes the plural and vice versa as appropriate. 2. WARRANTY OF TITLE AND AVAILABILITY The Seller warrants:(a) that you are the true owner of the property consigned or are properly authorised by the true owner to consign it for sale and are able to transfer good and marketable title to the property free from any third party claims. (b) that all requirements have been complied with, legal or otherwise, relating to any export or import of the property consigned, all duties and taxes in respect of the export or import of the lot have (unless agreed in writing with us) been paid and, so far as you and any

principal for whom they are acting in relation to the lot are aware, all third parties have complied with such requirements in the past. (c) that you have provided Lyon & Turnbull with any and all information concerning the item’s provenance or any concerns expressed by third parties concerning its ownership, condition, authenticity, attribution, and export or import history; and (d) Unless the Seller advises Lyon & Turnbull in writing to the contrary on delivery of the item to Lyon & Turnbull, there are no restrictions on Lyon & Turnbull rights to reproduce photographs or other images of the item in connection with the sale or any other marketing which will be done in accordance with good taste and decency. 3. PREPARATION FOR SALE (a) Lyon & Turnbull shall decide the way in which a lot may be included in the sale, how any lot is described and illustrated in the catalogue or any report, and the marketing, promotion, date, place and conduct of the sale. (b) Lyon & Turnbull will instruct, consult with, and rely on, any outside experts or restorers, agents or other third parties, and carry out such other due diligence, inquiries, research or tests in relation to the property or its provenance, either before the Proposed Sale as it may deem appropriate in its reasonable discretion. (c) Any oral or written estimate or evaluation or report provided by Lyon & Turnbull is a genuinely held opinion only. It may not be relied on as a prediction of the selling price or value of the Item, and may in Lyon & Turnbull’s absolute discretion be revised from time to time.

illustrations will be borne by the Seller , unless agreed otherwise prior. The copyright in respect of such illustrations shall be the property of us, the auctioneers, as is the text of the catalogue. 6. 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. (b) Firm reserves may be no greater than lower pre-sale estimate level. (c) A reserve once set cannot be changed except with our agreement. (d) You may not bid or instruct or permit any other person to bid on your behalf on your own property. If the Seller breaches this prohibition, Lyon & Turnbull may treat the Seller as bound as Seller and as Buyer but without the benefit of Lyon & Turnbull Authenticity Guarantee or the reserve, and/or pursue other remedies. (e) 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. 7. LOSS & DAMAGE WARRANTY (a) Subject to condition 7(c) below Lyon & Turnbull will assume liability for loss or damage to an item, commencing at the time that item is taken into physical control and possession by Lyon & Turnbull and ceasing on the earliest date of; (i) when risk passes to the Buyer of the lot following its sale;

(d) The Seller acknowledges that attribution of Items is a matter of opinion and not of fact, and is dependent upon (amongst other things) information provided by the Seller, the condition of the property, the degree of research, examination or testing that is possible or practical in the circumstances, and the status of generally accepted expert opinion at the time of cataloguing

(ii) for unsold lots, when the lot is released to the Seller, or, within 3 months of the sale;or

4. TERMS OF SALE

(c) If any loss or damage should occur to the lot during the period identified in paragraphs (a) above, Lyon & Turnbull’s liability to compensate the Seller in respect of that loss shall be restricted to a maximum of the upper estimate, or actual loss incurred, whichever is lower. This compensation will be subject to a deduction of a 1.5% loss & warranty fee (subject to VAT).

The Seller acknowledges that lots are sold subject to these Conditions and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot. 5. STANDARD SELLER FEES AND CHARGES (Subject to VAT) (1) Commission: 15% is charged on the selling price of each lot, (subject to a minimum charge of £30). Loss and damage warranty: 1.5% on value of lots sold. Photography: min charge £30. Online Listing: £10 per lot. (2) Transport: 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. When organised on the Seller’s behalf the provision of transport will be contracted to third parties. Fees for transport will be deducted at the initial settlement. (3) Illustrations: The cost of any

(iii) 6 months from the date of delivery to Lyon & Turnbull for items still in the possession of Lyon & Turnbull but not consigned for sale (unless part of a long-term storage agreement). (b) Lyon & Turnbull shall charge a loss and damage warranty fee of 1.5% of the hammer price, plus VAT.

8. UNSOLD ITEMS (1) If an item is unsold it may, with your consent, be re-offered at a future sale. Where in our opinion an item is not suitable for a future sale we may either request (a) you collect such items from the saleroom promptly on being so informed. We shall be entitled to charge you for storage costs, charges shall be made at a reasonable daily rate; or (b) suggest that the item be transferred to a secondary saleroom for sale without reserve. All transferred lots will be sold for the best price on the day, this may not bear any reflection on the item’s

original estimate. Lyon & Turnbull are not liable for any items (whether it be selling price or loss & damage) when transferred. (2) Aftersales: We reserve the right to accept an after-auction offer on a lot on behalf of the seller, at the agreed reserve price or above, for up to 48 hours after the original 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 Conditions apply. 9. LOT WITHDRAWAL If a Seller wishes to withdraw a lot organised for sale, a withdrawal fee will apply; (a) if withdrawn over 28 working days prior to the sale, this will be charged at 10% of the mid estimate along with any ancillary charges incurred (such as photography), all subject to VAT at the current rate. (b) if withdrawn within 28 working days of the sale, this will be charged at 20% of the mid estimate along with any ancillary charges incurred (such as photography), all subject to VAT at the current rate. (c) Lyon & Turnbull may withdraw a lot from the proposed sale without any liability if: (i) Lyon & Turnbull reasonably believes that there is any doubt as to the lot‘s authenticity or attribution; or (ii) it reasonably doubts the accuracy of any of the Seller’s warranties; or (iii) the Seller breaches any provisions of the Conditions of Sale in any material respect; or (iv) the lot suffers from loss or damage so that it is not in the state in which it was when Lyon & Turnbull took delivery of it. (d) if an item is withdrawn from sale under Condition 9(c) (i), or (iv), the Seller shall not be charged a withdrawal fee and the item shall be returned to the Seller or dealt with pursuant to Clause 8, as the Seller decides. 10. AUTHORITY TO DEDUCT COMMISSION AND EXPENSES AND RETAIN PREMIUM AND INTEREST. The Seller authorises us to deduct commission at the stated rate, and all expenses incurred for your account from the hammer price, and consents to our right to retain beneficially the premium paid by the Buyer in accordance with these Conditions of Sale and any interest earned on the sale proceeds until the date of settlement. 11. NON-PAYMENT BY THE BUYER (a) Lyon & Turnbull will, where it considers appropriate, take reasonable steps to investigate the ability of bidders to pay for lots and will use reasonable endeavours, in consultation with the Seller, to enforce payment of the Hammer Price by any Buyer. (b) Lyon & Turnbull, in consultation with the Seller, will decide whether to pursue any of the remedies available to it, including those set out in Condition 10 of the Condition of Sale (Buyers) including the right to cancel the sale and return the property to the Seller. Lyon & Turnbull will inform the Seller of any action which it contemplates taking 14/5

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against the Buyer. (c) lf the Seller elects to take action against any Buyer on its own behalf Lyon & Turnbull will provide the Seller with such assistance as may be reasonably necessary to pursue that action. (d) The Seller hereby agrees to inform Lyon & Turnbull of any action which it chooses to take against the Buyer to enforce payment of the amount due to the Seller. (e) In the event that a Buyer fails to pay for a lot in accordance with the Conditions of Sale for Buyers, that lot will be treated in the same way as an unsold or collected lot. 12. SETTLEMENT PAYMENTS Subject to full payment by the Buyer, payment of the net proceeds of sale due to you will be made over to you 28 working days following a sale. Provided we have received cleared funds. Payment will be made by cheque or BACS (if requested). 13. SALE BY PRIVATE TREATY (a) The same Conditions of Sale (Sellers) shall apply to sales by private treaty. (b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers.

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(c) Lyon & Turnbull undertakes to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids. (d) For the purposes of a private treaty sale, if a lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale. 14. 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. 15. GENERAL (a) We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. (b) Any notice to any Buyer, Seller, bidder or viewer may be given by email, or if not available then first class mail, in which case it shall be deemed to have been received by the addressee 48 hours after posting.

(c) Notices to Lyon & Turnbull should be in writing and addressed to Nick Curnow at 33 Broughton Place, Edinburgh EH1 3RR, quoting the reference number specified at the beginning of the sale catalogue. (d) Should any provision of these Conditions of Sale be held unenforceable for any reason, the remaining provisions shall remain in full force and effect. (e) These Conditions of Sale are not assignable by either party without the other’s prior written consent, but are binding on the seller’s successor and representatives. No act, omission or delay by Lyon & Turnbull shall be deemed a waiver or release of any of its rights. (f) The contract between the parties may be varied by the parties by agreement and in writing. 16. AGENCY Lyon & Turnbull acts as agent solely for and in the interests of the Seller. We do not act for Buyers in this role and does not give advice to Buyers. When Lyon & Turnbull make a statement about a lot it is doing so on behalf of the Seller of the lot. The Auctioneer normally acts as agent only and disclaims any responsibility for default by Sellers or Buyers.

17. DATA PROTECTION In connection with the management and operation of our business and the marketing and supply of Lyon & Turnbull’s services, or as required by law, we may ask the Seller to provide personal information about themselves or obtain information about the Seller from third parties (e.g. credit information). Lyon & Turnbull will not give out personal information except as may be required by law. If you would like further information on Lyon & Turnbull policies on personal data, or to make corrections to your information, please contact us on +44 (0)131 557 8844. 18. LAW AND JURISDICTION (a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law (b) Jurisdiction: The Seller agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply.

BUYERS CONDITIONS OF SALE (Buyers) The Auctioneer 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 of Sale (Buyers): "Auctioneer" means Lyon & Turnbull Ltd or its authorised auctioneer, as appropriate; "Hammer price" means the level of bidding reached (at or above any reserve) when the Auctioneer brings down the hammer; "Lot" means each Item offered for sale by Lyon & Turnbull; "Purchase Price" is the Hammer Price and applicable Buyer's Premium; "Reserve" means the lowest price below which an item cannot be sold; "Total amount due" means the hammer price in respect of the lot sold together with any premium, Value Added Tax or other taxes chargeable and any additional charges payable by a defaulting Buyer under these Conditions; “You”, “Your” means the Buyer “Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd The singular includes the plural and vice versa as appropriate.

only and disclaims any responsibility for default by Sellers or Buyers. 3. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security and credit references or 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 and any dispute shall be settled at the Auctioneer's absolute discretion. (c) Once made, no bid may be withdrawn. (d) Our right to bid on behalf of Sellers is expressly reserved up to the amount of any reserve. (e) The right to refuse any bid is also reserved. (f) Commission Bids: While 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 shall, if so instructed, clearly and in writing execute bids on their behalf. Neither the Auctioneer nor our employees nor agents shall be responsible for any failure to do so. 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.

2. AGENCY Lyon & Turnbull acts as agent solely for and in the interests of the Seller. We do not act for Buyers in this role and does not give advice to Buyers. When Lyon & Turnbull make a statement about a lot it is doing so on behalf of the Seller of the lot.

(g) Telephone Bids: If a prospective Buyer makes arrangements with us prior to the commencement of the sale we will use reasonable efforts to contact them to enable them to participate in bidding by telephone. We do not accept liability for failure to do so or for errors and omissions in connections.

The Auctioneer normally acts as agent

(h) Online Bidding: We will use reasonable

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efforts to carry out online bids and do not accept liability for equipment failure, inability to access the internet or software malfunctions related to execution of online bids/ live bidding. 4. INCREMENTS Bidding increments shall be at the Auctioneer's sole discretion. 5. THE PURCHASE PRICE For each lot purchased a Buyer's Premium of 25% is payable on the first £50,000 of the hammer price, 20% thereafter. VAT at the appropriate rate is charged on the Buyer's Premium. No VAT is payable on the hammer price or premium for printed books or unframed maps bought at auction. Live online bidding is subject to an additional 3% premium (charged by the live bidding service provider Invaluable). This additional premium is subject to VAT at the appropriate rate as above. 6. VALUE ADDED TAX 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. (1) Lots affixed with (†): Value Added Tax on the hammer price is imposed by law on all items affixed with a dagger (†). This imposition of VAT maybe because the Seller is registered for VAT within the European Union and is not operating under a Margin Scheme. (2) Lots affixed with (*): A reduced rate of Value Added Tax on the hammer price of 5% is payable. This indicates that a lot has been imported from outwith the European Union. This reduced rate is applicable to Antique items. (3) Lots affixed with [Ω]: Standard rate of Value Added Tax on the hammer price and premium is payable. This applies to items that have been imported from outwith the

European Union and do not fall within the reduced rate category outlined above. 7. DROIT de SUITE This symbol § indicates works which may be subject to the Droit de Suite or Artist's Resale Right, which took effect in the United Kingdom on 14th February 2006. We are required to collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012 this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the Buyer on the hammer price and in addition to the Buyer’s premium. It will not apply to works where the hammer price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale. All royalty charges are paid to the Design and Artists Copyright Society (‘DACS’) and no handling costs or additional fees are retained by the auctioneer. Resale royalties are not subject to VAT. Please note that the royalty payment is calculated on the rate of exchange at the European Central Bank on the date of the sale. More information on Droit de Suite is available at www.dacs.org.uk. 8. PAYMENT (1) Within 7 days of a lot being sold you will: (a) Pay to us the total amount due in cash or by such other method as is agreed by us. We accept cash, bank transfer (details on request), debit cards and Visa or MasterCard credit cards. We do not accept American Express. (b) Please note there is a surcharge of 2% when using credit cards. (c) Please note that under The Money Laundering Regulations 2007 we cannot

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accept cash payments over ¤15,000 (euros).

purpose until the debt due is satisfied.satisfied.

(2) Any payments by you to us may be applied by us towards any sums owing by you to us howsoever incurred and without agreement by you or your agent, whether express or implied..

11. DESCRIPTIONS AND CONDITION

9. TITLE AND COLLECTION OF PURCHASES (1) 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. (2) You shall at your own risk and expense take away any lots that you have purchased and paid for not later than 7 working days following the day of the auction or upon the clearance of any cheque used for payment whichever is later. We can provide you with a list of shippers. However, we will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us. (3) No purchase can be claimed or removed until it has been paid for. (4) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for lots not collected by the appropriate time. (5) Export of goods: Buyers intending to export goods should ascertain (a) whether an export licence is required and (b) whether there is any specific prohibition on importing goods of that character, e.g. items that may contain prohibited materials such as ivory or rhino horn. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale not any delay in making full payment for the lot. 10. REMEDIES FOR NON·PAYMENT OR FAILURE TO COLLECT PURCHASES (1) 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 Sellers and on their 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: (a) to proceed against you for damages for breach of contract; (b) to rescind the contract for sale of that lot and/or any other lots sold by us to you; (c) 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). (d) to remove, store and insure the lot in the case of storage, either at our premises or elsewhere and to recover from you all costs incurred in respect thereof; (e) to charge interest at a rate not exceeding 1.5% per month above the current base rate on all sums outstanding for more than 7 working days after the sale; (f) to retain that or any other lot sold to you until you pay the total amount due; (g) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (h) to apply any proceeds of sale of other lots due or which become due to you towards the settlement of the total amount due by you and to exercise a lien over any of your property in our possession for any

(1) 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 only accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer or our employees or agents accept liability for the correctness of such opinions and no warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are given. Please note that photographs/images provided may not be fully representative of the condition of the lot and should not be relied upon as indicative of the overall condition of the lot. (2) Condition reports: Condition reports are provided on our website or upon request. The absence of a report does not imply that a lot is without imperfections. Large numbers of such requests are received shortly before each sale and department specialists and administration will endeavor to respond to all requests although we offer no guarantee. Any statement in relation to the lot is merely an expression of opinion of the Seller or Lyon & Turnbull and should not be relied upon as an inducement to bid on the lot. Lots are available for inspection prior to the sale and you are strongly advised to examine any lot in which you are interested prior to the sale. Our condition reports are not prepared by professional conservators, restorers or engineers. Our condition report does not form any contract between Lyon & Turnbull and the Buyer. The Condition Reports do not affect the Seller’s obligations in any way. (3) Estimates: Estimates are placed on each lot to help Buyers gauge the sums involved for the purchase of a particular lot. Estimates do not include the Buyer’s Premium or VAT. Estimates are a matter of opinion and prepared in advance. Estimates may be subject to change and are for guidance only and should not be relied upon. (4) Catalogue Alterations: Lot descriptions and estimates are prepared in advance of the sale and may be subject to change. Any alterations will be announced on the catalogue alteration sheet, made available prior to the sale. It is the responsibility of the Buyer to make themselves aware to any alterations which may have occurred. (5) Electrical Goods: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. (6) Upholstered items: are sold as “works of art” only and if bought for use must be checked over for compliance with current safety regulation. Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. Lyon & Turnbull provide no guarantee as to the originality of any wood/material contained within the item. (7) Special terms may be used in

catalogue descriptions of particular classes of items (Books, Jewellery, Paintings, Guns, Firearms etc.) in which case the descriptions must be interpreted in accordance with any glossary appearing in the catalogue. These notices and terms will also form part of our terms and conditions of sales. 12. BOOKS, CLOCKS & WATCHES (1) Books-Collation: If on collation any NAMED item in the sale catalogue proves defective, in text or illustration the Buyer may reject the lot provided he returns it within 21 days of the sale stating the defect in writing. This, however, shall not apply in the case of unnamed items, periodicals, autographed letters, music M.M.S., maps, drawings NOR in respect of damage to bindings, stains, foxing, marginal worm holes or other defects not affecting the completeness of the text NOR in respect of Defects mentioned in the catalogue, or at the time of sale, NOR in respect of lots sold for less than £300. (2) Clocks & Watches: All lots are sold “as seen”, and the absence of any reference to the condition of a clock or watch does not imply the lot is in good condition and without defects, repairs or restorations. Most clocks and watches will have been repaired during their normal lifetime and may now incorporate additional/newer parts. Furthermore, Lyon & Turnbull makes no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, Buyers should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. Buyers should also be aware that Lyon & Turnbull cannot guarantee a watch will remain waterproof if the back is removed. Buyers should be aware that the importing watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches cannot be shipped to the USA and only imported personally. 13. CITES Please be aware that all lots marked with the symbol Y are subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http://www.defra.gov.uk/ahvla-en/ imports-exports/cites/ Lyon & Turnbull accepts no liability for any lots which may be subject to CITES but have not be identified as such. 14. SALE BY PRIVATE TREATY (a) The same Conditions of Sale (Buyers) shall apply to sales by private treaty. (b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers. (c) Lyon & Turnbull undertakes to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids. (d) For the purposes of a private treaty sale, if a lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale. 15. 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, safety and security arrangements. Accordingly, neither the Auctioneer nor our employees or agents shall incur liability for death or personal injury or similarly for the safety of the property of persons visiting prior to, during or after a sale.

16. GENERAL (a) We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. (b) Any notice to any Buyer, Seller, bidder or viewer may be given by email if not available then first class mail in which case it shall be deemed to have been received by the addressee 48 hours after posting. (c) Notices to Lyon & Turnbull should be in writing and addressed to Nick Curnow at 33 Broughton Place, Edinburgh EH1 3RR, quoting the reference number specified at the beginning of the sale catalogue. (d) Should any provision of these Conditions of Sale be held unenforceable for any reason, the remaining provisions shall remain in full force and effect. (e) These Conditions of Sale are not assignable by either party without the other's prior written consent. No act, omission or delay by Lyon & Turnbull shall be deemed a waiver or release of any of its rights. (f) The contract between the parties may be varied by the parties by agreement and in writing. 17. DATA PROTECTION In connection with the management and operation of our business and the marketing and supply of Lyon & Turnbull's services, or as required by law, we may ask the Buyer to provide personal information about themselves or obtain information about the Buyer from third parties (e.g. credit information). Lyon & Turnbull will not give out personal information except as may be required by law. If you would like further information on Lyon & Turnbull policies on personal data, or to make corrections to your information, please contact us on +44 (0)131 557 8844.. The Buyer hereby agrees to the release by Lyon & Turnbull of the Buyer’s name and contact details to the seller or the seller’s solicitor in the event of any dispute between Lyon & Turnbull and the Buyer and/or Lyon & Turnbull and the Seller. Lyon & Turnbull will give prior written notice of the release of any such details to the Seller of the Seller’s solicitor. 18. FORCE MAJEURE Lyon & Turnbull shall be under no liability if they shall be unable to carry out any provision of the Contract of Sale for any reason beyond their control including (without limiting the foregoing) an act of God, legislation, war, fire, flood, drought, failure of power supply, lock-out, strike or other action taken by employees in contemplation or furtherance of a dispute or owing to any inability to procure materials required for the performance of the contract. 19. LAW AND JURISDICTION (a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law (b) Jurisdiction: The Buyer agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply.

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Board of Directors

Specialist Departments

Chairman Sir Angus Grossart

Pictures, Watercolours and Prints Nick Curnow Charlotte Riordan Emily Johnston (London) Carly Shearer

Vice Chairmen Paul Roberts Nick Curnow Managing Director Gavin Strang International Director Lee Young Directors Campbell Armour Trevor Kyle John Mackie Mhairi McFadden Associate Director Alex Dove

33 Broughton Place, Edinburgh EH1 3RR Tel +44 (0)131 557 8844 Fax +44 (0)131 557 8668

Furniture, Clocks and Works of Art Douglas Girton John Mackie Theo Burrell Asian Works of Art Lee Young Anna Westin (consultant) Sara Pierdominici Rugs and Carpets Gavin Strang Jewellery, Silver, Coins and Medals Trevor Kyle Ruth Davis

182 Bath Street, Glasgow G2 4HG Tel +44 (0)141 333 1992 Fax +44 (0)141 332 8240

email: info@lyonandturnbull.com www.lyonandturnbull.com

w w w. lyo n a n d t u r n b u l l . co m

Decorative Arts and Design John Mackie Theo Burrell European Ceramics and Glass Douglas Girton John Mackie Rare Books, Maps, Manuscripts and Photographs Simon Vickers Cathy Marsden Arms and Armour Colin Fraser John Batty (consultant)

Business Development Paul Roberts Ian Peter MacDonald Lindsey Michie James McNaught Steven Moore John Sibbald John Thomson Tessa Thomson

78 Pall Mall, London SW1Y 5ES Tel +44 (0)20 7930 9115 Fax +44 (0)20 7930 7274

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Waverley Station Parking Multi-storey car parking is available at Greenside Place and in the St. James Centre; five minutes walk from the saleroom.

St Andrew Square

York Place Tram Station

Lyon & Turnbull saleroom

Dec Arts Cover.qxd:fine cover 2

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LYON & TURNBULL AUCTIONEERS EDINBURGH

78 Pall Mall, London SW1Y 5ES Tel +44 (0)20 7930 9115 Fax +44 (0)20 7930 9629

25TH MARCH, 2015

email. info@lyonandturnbull.com www.lyonandturnbull.com

182 Bath Street, Glasgow G2 4HG Tel +44 (0)141 333 1992 Fax +44 (0)141 332 8240

DECORATIVE ARTS AND 19TH & 20TH CENTURY PICTURES

33 Broughton Place, Edinburgh EH1 3RR Tel +44 (0)131 557 8844 Fax +44 (0)131 557 8668

Decorative Arts: Design from 1860 including 19th & 20th Century Pictures Wednesday, 25th March, 2015 33 Broughton Place Edinburgh