Decorative Arts: Design Since 1860 | 6th April 2016

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LYON & TURNBULL AUCTIONEERS EDINBURGH DECORATIVE ARTS: DESIGN SINCE 1860

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

78 Pall Mall, London SW1Y 5ES Tel. +44 (0)20 7930 9115 Fax. +44 (0)141 7930 7274

6TH APRIL, 2016

33 Broughton Place, Edinburgh EH1 3RR Tel. +44 (0)131 557 8844 Fax. +44 (0)131 557 8668 Email. info@lyonandturnbull.com www.lyonandturnbull.com

Wednesday, 6th April, 2016 33 Broughton Place Edinburgh

Decorative Arts: Design since 1860

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Decorative Arts: Design since 1860

Wednesday, 6th April, 2016 at 11am Sale Number LT459

Viewing Times Sunday, 3rd April 12 noon - 4pm Monday, 4th April 10am - 5pm Tuesday, 5th April 10am - 5pm Morning of sale from 9am

Enquiries Lyon & Turnbull Ltd. 33 Broughton Place Edinburgh EH1 3RR Tel. 0131 557 8844 Fax. 0131 557 8668 Email. info@lyonandturnbull.com www.lyonandturnbull.com

Catalogue: ÂŁ10

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Buyer’s Guide This sale is subject to our standard Conditions of Sale (available at the back of every catalogue and on our website). If you have not bought at auction before we will be delighted to advise you.

Buyer’s Premium & Other Charges The buyer shall pay the hammer price together with a premium, at the following rate, thereon. 25% up to £50,000 / 20% thereafter. VAT will be charged on the premium at the rate imposed by law (see our Conditions of Sale). Additional VAT † VAT at the standard rate payable at the standard rate on the hammer price * 5% import VAT payable on the hammer price No VAT is payable on the hammer price or premium for books bought at auction. Droit de Suite § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, 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. More information on Droit de Suite is available at www.dacs.org.uk

Registration

Catalogue descriptions

All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, by fax or on our website. Please note that all first time bidders at Lyon & Turnbull will be asked to supply the following documents in order to facilitate registration:

All item descriptions, dimensions and estimates are provided for guidance only. It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction. If potential buyers are unable to inspect lots in person (public viewing times listed in every catalogue), our specialists will be happy to prepare detailed condition reports and additional images. These are for guidance only and all lots are sold ‘as found’, as per our Conditions of Sale.

1 – Government issued photo ID (Passport/ Driving licence) 2 – Proof of address (utility bill/ bank statement). We may, at our option, also ask you to provide a bank reference and/ or deposit. By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale (available at the back of every catalogue and on our website).

Bidding & Payment For information on bidding options see our Guide to Bidding & Payment at the back of the catalogue.

Removal of Purchases Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser.

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 familiarise 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. Endangered Species 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

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Meet the Specialists At Lyon & Turnbull we want to make buying at auction as easy and enjoyable as possible. Our specialist team are on hand to assist you; whether you are looking for something in particular for your home or collection; require more detailed information about the history or current condition of a lot or just want to ďŹ nd out more about the auction process.

John Mackie

Theodora Burrell

Carly Shearer

Charlotte Riordan

Decorative Arts & Design john.mackie@lyonandturnbull.com

Decorative Arts & Design theo.burrell@lyonandturnbull.com

Paintings carly.shearer@lyonandturnbull.com

Paintings charlotte.riordan@lyonandturnbull.com

How to Find Us in Edinburgh Lyon & Turnbull Saleroom

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

York Place Tram Stop

Waverley Station

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

Name(s) or Recognised Designation of an Artist without any Qualification In our opinion a work by the artist Attributed to... In our opinion probably a work by the artist in whole or in part. Studio of ... / Workshop of ... In our opinion a work executed in the studio or workshop of the artist, possible under their supervision Circle of ... In our opinion a work of the period of the artist and showing their 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.

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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Order of Sale Wednesday, 6th April, 2016 at 11am 1-25

Furniture: Part I

26-64

Glass

65-91

Shrigley & Hunt, Lancaster

92-112

Pictures: Part I

113-183

Ceramics

184-217

Furniture: Part II

218-236

Pictures: Part II

237-261

Jewellery

262-319

Metalwares

320-347

Furniture: Part III

348-378

Pictures: Part III

379-395

Lighting

396-429

Sculpture

430-451

Illustrations, Books & Works on Paper

452-467

Textiles

468-492

Furniture: Part IV

493-512

Pictures:â&#x20AC;&#x2C6;Part IV

Front Cover Lot 401 (detail) Inside Front Cover Lot 128 (detail)

Lot 402

Inside Back Cover Lots 124 & 125 (detail)

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Furniture: Part I

1 HD970/52 STEPHEN WEBB (1849-1933) FOR COLLINSON & LOCK AESTHETIC MOVEMENT INLAID MAHOGANY SIDE CABINET, CIRCA 1880 the stepped projecting cornice above three astragal glazed doors enclosing shelves, above a base with two cupboard doors, each profusely marquetry inlaid with arabesques and enclosing open shelves, raised on square supports 125cm wide, 176cm high, 39cm deep £700-1,000

2 HD970/54 GOTHIC REVIVAL

3 HD970/62 GOTHIC REVIVAL

4 HD886/7 ARTS & CRAFTS

PAIR OF PATINATED PINE CONSOLE TABLES, CIRCA 1875 each with a rectangular top above edge with applied cross shaped bosses on a cluster column and moulded plinth (2)

PAIR OF WALNUT SIDE CHAIRS, CIRCA 1870 each with reeded slat ﬁlled backs and close nailed upholstered seats on corresponding reeded legs with arched brackets linked by stretchers (2)

CARVED OAK FONT, DATED 1924 of octagonal section, the removable lid inset with a silvered bowl, above vine carved frieze and arcaded panels with commemorative plaque on column with spreading ogee base

45cm wide, 87cm high, 41cm deep £300-500

46cm wide, 94cm high

47cm wide, 32cm high £200-300

Provenance: Newington United Free Church, now the Queen’s Hall, Clerk Street, Edinburgh

68cm wide, 75cm high, 43cm deep £500-800

£200-300

5 HD970/60 MANNER OF CHRISTOPHER DRESSER AESTHETIC MOVEMENT EBONISED STOOL, CIRCA 1870 the upholstered seat above splayed tapered legs with incised gilt decoration

HD970/60

No lot

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Decorative Arts: Design since 1860 7

7 HD968/1 ATTRIBUTED TO CHRISTOPHER DRESSER FOR THE ART FURNISHER’S ALLIANCE PAIR OF SIDE CHAIRS, CIRCA 1880 probably made by William Booty, London, each ebonised and gilded mahogany, with incised decoration and upholstered back and seat (2) 46cm wide, 90cm high, 49cm deep Literature: Durant, Stuart ‘Christopher Dresser’ 1993. Fine Art Society, London ‘The John Scott Collection: The Designs of Dr Christopher Dresser’, 2014. Note: The Art Furnisher’s Alliance was the association of art manufacturers established by Christopher Dresser (1834-1904) in 1880. The key objective of the alliance was to buy and sell high-class goods of artistic design and to “complete artistic furnishing of a house”. George Hayter Chubb was appointed as Chairman, and Dresser was the ‘Art Manager’ heading designs for furniture, pottery, glass and metal, aided by Holme and Arthur Liberty.

To judge from photographs in Messrs Chubb’s archive, furniture sold by the Art Furnisher’s Alliance was rather more stylish than other pieces by Dresser shown in The Furniture Gazette. However, the common characteristics of his designs are evident in these pieces: ebonised wood, elements of Japanese design and influence, as well as a mixture of Egyptian, Greek and Gothic styles. The use of simplified and symmetrical plant forms, often employed by Dresser, can also be seen on these chairs. Other examples attributed to both the Alliance and Dresser, as depicted in Michael Whiteway’s Christopher Dresser, 1834-1904, include a table, chairs, a fire surround and coal box, all which reveal ebonised and gilded frames, with linear designs and repeated patterns. In Victorian & Edwardian Furniture & Interiors, Jeremy Cooper illustrates a dresser made by the Alliance and notes that: “…pieces are firmly attributed to Dresser on stylistic grounds; they have deeply incised gilt lines typical of furniture marketed by the Art Furnishers’ Alliance.” The Alliance operated from Queen Street in London until 1883, when the company went in to liquidation and items were sold off at auction, marking a close to Dresser’s desire to provide one store which could supply all items required to furnish the artistic home.

£10,000-15,000

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8 HD99/13 EDWARD WILLIAM GODWIN (1833-1886) EBONISED ‘JACOBEAN’ ARMCHAIR, CIRCA 1880 with curved lattice back above upholstered panel seat and open arms raised on turned and blocked legs linked by stretchers 52.5cm wide, 88cm high, 54cm deep £300-500

9 HD970/49 EDWARD WILLIAM GODWIN (1833-1886) ‘JACOBEAN’ ARMCHAIR, CIRCA 1880 with curved lattice back above upholstered panel seat and open arms raised on turned and blocked legs linked by stretchers 52cm wide, 82cm high, 46cm deep £400-600

10 HD970/53 ATRRIBUTED TO THE GUILD OR SCHOOL OF HANDICRAFTS ARTS & CRAFTS GREEN STAINED OAK SIDE CABINET, CIRCA 1900 the superstructure with three bevelled mirror plates above a shaped top and two panelled doors enclosed by open shelves supported by ring turned columns and backed by copper panels, each repousse decorated with peacocks 123cm wide, 140cm high, 30cm deep £500-800

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11Y HD98/2 A. GARDINER & SONS, GLASGOW AESTHETIC MOVEMENT SIDE CABINET, CIRCA 1890 decorated in penwork with Neo-Classical ﬁgures and motifs, the stepped superstructure with two glazed doors above base with four panel doors, on square legs linked by stretchers, bears maker’s label 122cm wide, 163cm high, 38cm deep £600-800

12 HD839/201 ATTRIBUTED EDWARD WILLIAM GODWIN AESTHETIC MOVEMENT EBONISED GAMES TABLE, CIRCA 1880 the square top with ebony and ivory inlaid chequer games board and counters above a lower tier supported on ring turned legs with spindle gallery 45cm square, 52cm high £1,000-1,500

13 HD970/66 AFTER EDWARD WILLIAM GODWIN

14 HD970/59 AESTHETIC MOVEMENT

15 HD970/57 MANNER OF WILLIAM BURGES

PAIR OF AESTHETIC MOVEMENT EBONISED SIDE CHAIRS, CIRCA 1880 each with gilt incised decoration, with upholstered panel back and seat on turned legs linked by stretchers (2)

EBONISED AND GILT SIDE CHAIR, CIRCA 1870 the arched back with upholstered panel above a drop-in upholstered seat, on tapered and turned legs linked by stretchers, the frame with gilt incised foliate and scroll decoration

41cm wide, 72cm high, 36cm deep

49cm wide, 101cm high, 48cm deep £200-300

ANGLO-MOORESQUE EBONISED WOOD LOW SOFA, CIRCA 1870 the turned top rail above a ring turned spindle gallery above an upholstered base, raised on square supports with a spindle gallery panelled apron

Note: Made after the original design for Dromore Castle, Limerick circa 1869

£400-600

258cm wide, 57cm high, 86cm deep £600-800

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16 HD970/61 ATTRIBUTED TO FORD MADDOX BROWN FOR MORRIS & CO. EBONISED BEECH SIDE CHAIR, CIRCA 1880 the back with crossed spindles above a circular later upholstered seat on turned legs linked by stretchers 44cm wide, 82cm high, 38cm deep £200-300

17 HD379/24 MORRIS & CO. EBONISED WOOD THREE SEAT ‘SUSSEX’ SETTEE, LATE 19TH CENTURY with spindle ﬁlled seat and open arms above a rushed seat on turned legs linked by stretchers 143cm wide, 86cm high, 45cm deep £300-500

18 HD379/24A MORRIS & CO.

19 SV533/27 MANNER OF PHILIP WEBB

20 HD970/44 ARTS & CRAFTS

THREE EBONISED WOOD ‘SUSSEX’ CHAIRS, LATE 19TH CENTURY comprising an ARMCHAIR, with spindle ﬁlled back, open arms and rush seat, 40cm wide, 87cm high, 45cm deep; and a PAIR OF CHAIRS, each with spindle ﬁlled backs and rush seats, 42cm wide, 80cm high, 37cm deep (3)

ARTS & CRAFTS MAHOGANY RECLINING ARMCHAIR, LATE 19TH CENTURY the adjustable back with loose cushion above curved spindle-ﬁlled arms enclosing loose seat cushion, the whole raised on square front supports, brass caps and castors

MAHOGANY, ROSEWOOD AND MARQUETRY INLAID OCCASIONAL TABLE, CIRCA 1900 the octagonal top with moulded edge and central marquetry and mother-of-pearl inlaid panel depicting ﬂowering and fruiting foliage above a pierced gallery and tapered legs with shaped undertier

Literature: Parry, Linda ‘William Morris’, V&A exhibition catalogue, 1996, page 176, no. J26 where a comparable pair of Sussex chairs is illustrated.

£300-400

61cm wide, 94cnm high, 40cm deep £400-600

51cm across, 71cm high £300-500

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21 HD970/39 ATTRIBUTED TO THOMAS JEKYLL FOR BARNARD, BISHOP AND BARNARD CAST IRON FIRE SURROUND, CIRCA 1870 with Japanese inspired cast decoration inset with tiles painted with ﬂowers 102cm wide, 97cm high £500-800

22 HD970/63 ATTRIBUTED TO DANTE GABRIEL ROSSETTI FOR MORRIS & CO. PAIR OF EBONISED SIDE CHAIRS, CIRCA 1890 each with waisted spindle backs above circular caned seats on turned legs linked by stretchers (2) 44cm wide, 86cm high, 40cm deep £150-250

23 HD996/5 MANNER OF EDWARD WILLIAM GODWIN

24 HD996/4 MANNER OF EDWARD WILLIAM GODWIN

AESTHETIC MOVEMENT LOW CHAIR, CIRCA 1880 with upholstered top rail and seat, the openwork back and arms raised on corresponding supports linked by stretchers

AESTHETIC MOVEMENT SIDE CHAIR, CIRCA 1880 with reeded fret back above rush seat on ring turned legs linked by stretchers

58cm wide, 59cm high, 48cm deep £300-500

49cm wide, 76cm high, 43cm deep £300-500

25 HD177/8 MANNER OF MORRIS & CO. MAHOGANY CENTRE TABLE, CIRCA 1900 the shaped circular top with serpentine outline, raised on six turned legs united by stretchers and an undertier 60cm diameter, 69cm high £200-300

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Glass 26 HD970/8 THOMAS GRAHAM JACKSON (1835-1924) FOR JAMES POWELL & SONS SUITE OF SEA GREEN GLASSES, CIRCA 1870 comprised of three sets of six glasses, each glass with shaped bowl on a knopped stem with spreading circular base (18) largest, 17cm high; smallest, 10cm high Literature: Rudoe, Judy ‘Decorative Arts 1850-1950’, p. 91, cat. no. 235, illustrated p. 203

£600-800

27 HD901/7 ITALIAN SCHOOL SET OF EIGHT TWIST STEM WINE GLASSES, CIRCA 1930 each with a bucket shaped bowl and everted rim, above a blue enamel twist stem, raised on a slightly conical foot with a blue enamel foot rim (8) 11cm high £250-350

28 HD160/9 MANNER OF JOSEPH MARIA OLBRICH SET OF SIX AUSTRIAN SECESSIONIST WINE GLASSES, CIRCA 1900 each with tulip-shaped bowl, painted with trailing green enamelled decoration and raised on faceted tapering stems (6) 20.5cm high £300-500

29 HD926/60 MARK OF GEBR. FRIEDLAENDER, BERLIN PAIR OF GERMAN SILVER MOUNTED ART NOUVEAU DECANTERS, CIRCA 1900 of ﬂattened mallet form with raised ball stoppers, the facetted necks with triple ringcut bands above bodies with stylised leaf motifs, mounted with ﬂared silver collars stamped 800 and ‘WB 48 FRIEDLAENDER’ (2) 37cm high £300-500

30 HD968/7 WIENER WERKSTATTE

30A HD968/7A WIENER WERKSTATTE

AMBER GLASS VASE, EARLY 20TH CENTURY of faceted form with ﬂared rim, etched maker’s marks WW

AMBER GLASS JAR AND COVER, EARLY 20TH CENTURY of faceted form, etched maker’s mark WW (2)

19.5cm high

10cm high £200-300

Literature: Brohan, Torsten and Eidelberg, Martin 'Glass of the Avant - Garde: From Vienna Secession to Bauhaus' 2001, p.160, pl. 160 for example of a footed bowl of similar design.

£400-600

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31 HC152/1 JUVENTA & LOETZ GLASS PEWTER MOUNTED LOETZ GLASS VASE, CIRCA 1905 of elongated bottle form with green lustre decoration on blue glass, mounted with twisting double handles below a ﬂower cast base 31cm high £200-300

32 HD912/12 DAUM, NANCY CAMEO GLASS VASE, CIRCA 1900 acid etched and enamelled with cornﬂowers and gilt, cameo mark, DAUM NANCY and cross of Lorraine 8.5cm high £1,200-1,800

33 HD912/10 DAUM, NANCY CAMEO GLASS VASE, CIRCA 1900 acid etched and enamelled with coral bluebells, cameo mark, DAUM NANCY and cross of Lorraine 8.7cm high £1,200-1,800

34 HD13/4 LEGRAS

35 HD13/8 ATTRIBUTED TO JOSEF INWALD

PAINTED GLASS VASE, EARLY 20TH CENTURY of bottle form, painted with red, yellow and puce ﬂowers, painted mark LEGRAS, the interior stained yellow and blue, chips to rim

CZECH OPALESCENT GLASS VASE, EARLY 20TH CENTURY moulded with fruiting cherries, 18cm high; and a FRENCH OPALESCENT GLASS BOWL, moulded with pine cones, 24cm diameter (2) £150-250

33cm high £250-350

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36 HD912/5 RENÉ LALIQUE (1860-1945) ‘GUI’ FROSTED AND OPALESCENT GLASS VASE, INTRODUCED 1920 original blue staining, script etched mark R. LALIQUE/ FRANCE 16.5cm high £1,000-1,500

37 HD912/6 RENÉ LALIQUE (1860-1945) ‘RONCES’ CLEAR, FROSTED AND OPALESCENT GLASS VASE, INTRODUCED 1921 traces of original blue staining, moulded mark R. LALIQUE, etched script mark LALIQUE 23.4cm high £1,500-2,500

38 HD13/2 RENÉ LALIQUE (1860-1945) ‘CEYLAN’ FROSTED AND OPALESCENT GLASS VASE, INTRODUCED 1924 of tapering form moulded with a frieze of budgerigars, wheel etched mark R. LALIQUE/ FRANCE, shallow chip to rim 24cm high £1,500-2,000

39 HD868/3 RENÉ LALIQUE (1860-1945) ‘FORMOSE’ FROSTED AND OPALESCENT GLASS VASE, INTRODUCED 1924 of ovoid form, moulded with swimming ﬁsh, script etched mark R. LALIQUE/ FRANCE/ NO. 934 17cm high £600-800

40 HD868/1 RENÉ LALIQUE (1860-1945)

41 HD13/3 RENÉ LALIQUE (1860-1945)

‘GUI’ FROSTED AND OPALESCENT GLASS VASE, INTRODUCED 1920 of shouldered ovoid form, moulded with mistletoe, cracked to rim, script etched mark R. LALIQUE/ FRANCE/ NO. 948

‘RAMPILLION’ FROSTED AND CLEAR GLASS VASE, INTRODUCED 1927 with moulded prunt decoration, moulded mark R. LALIQUE/ FRANCE, crack to rim

17cm high £150-250

12.5cm high £200-300

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42 HD912/1 RENÉ LALIQUE (1860-1945) ‘POISSONS’ OPALESCENT GLASS DISH, INTRODUCED 1931 moulded with radiating ﬁsh, moulded maker’s mark R. LALIQUE 29cm diameter £300-400

43 HC133/3 RENÉ LALIQUE (1860-1945) ‘ORMEAUX’ FROSTED AMBER GLASS VASE, INTRODUCED 1926 of globular form moulded with elm leaves, script etched mark R.LALIQUE/ FRANCE/ NO. 984 17cm high £600-800

44 HD160/1 RENÉ LALIQUE (1860-1945) ‘DOMREMY’ FROSTED AND OPALESCENT GLASS VASE, INTRODUCED 1926 of shouldered tapering form, script etched mark R. LALIQUE/ FRANCE/ NO. 979 21.5cm high £600-800

45 HC700/9 RENÉ LALIQUE (1860-1945) ‘MOSAIC’ PATTERN TOPAZ GLASS VASE, INTRODUCED 1927 of tapering cylindrical form, moulded with an allover leaf design, moulded mark R. LALIQUE 13cm high £600-800

46 HA182/4 RENÉ LALIQUE (1860-1945)

47 HD478/2 RENÉ LALIQUE (1860-1945)

‘ALGUES’ CLEAR AND OPALESCENT GLASS DISH, INTRODUCED 1933 moulded with radiating bands of algae, stencilled etched mark R. LALIQUE/ FRANCE (chip to rim)

‘POISSONS’ OPALESCENT GLASS DISH, INTRODUCED 1931 moulded with radiating ﬁsh, moulded maker’s mark R. LALIQUE

36.5cm diameter £200-300

29cm diameter £200-300

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48 HD912/9 RENÉ LALIQUE (1860-1945) ‘PLUMES DE PAON’ CLEAR AND OPALESCENT GLASS BOWL, INTRODUCED 1932 moulded with peacock feathers, script etched mark R. LALIQUE/ FRANCE 24cm diameter £1,000-1,500

49 HD912/4 RENÉ LALIQUE (1860-1945) ‘ONDES’ CLEAR AND OPALESCENT SHALLOW BOWL, INTRODUCED 1926 stencil etched mark R. LALIQUE/ FRANCE 25cm diameter £300-500

50 HD912/2 RENÉ LALIQUE (1860-1945) ‘TÊTE DE COQ’ CLEAR AND FROSTED GLASS MASCOT, INTRODUCED 1928 moulded maker’s mark LALIQUE/ FRANCE 17.5cm high £1,800-2,200

51 HD912/3 RENÉ LALIQUE (1860-1945) ‘PERCHE’ CLEAR, FROSTED AND OPALESCENT GLASS MASCOT, INTRODUCED 1929 wheel etched mark R. LALIQUE/ FRANCE 10cm high £1,500-2,500

52 HD868/2 RENÉ LALIQUE (1860-1945) ‘OLERON’ FROSTED AND OPALESCENT GLASS VASE, INTRODUCED 1927 of ovoid form moulded with swimming ﬁsh, original blue staining, script etched mark R. LALIQUE/ FRANCE/ NO. 1008 9cm high £600-800

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53 RENÉ LALIQUE (1860-1945) ‘DANAIDES’ CLEAR, FROSTED AND OPALESCENT GLASS VASE, INTRODUCED 1932 of tapering footed form, moulded with a frieze of naked maidens pouring water from urns, stencil etched mark R. LALIQUE/ FRANCE 18.3cm high £4,000-6,000

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54 HD160/4 GABRIEL ARGY-ROUSSEAU (1885-1953) PÂTE DE VERRE GLASS VASE, CIRCA 1920 of tapering cylindrical form moulded with organic form in green, blue and pale grey glass, moulded mark to side G. ARGYROUSSEAU 19.5cm high £1,000-1,500

55 HB828/8 ATRRIBUTED TO MOSER, KARLSBAD PAIR OF TURQUOISE GLASS VASES, EARLY 20TH CENTURY each of faceted cylindrical form with everted rim, decorated with a band of acid-etched Classical female ﬁgures, highlighted in gilt (2) 14cm high £300-500

56 HD485/1 ATTRIBUTED TO MOSER, KARLSBAD/ KARLOVY VARY ENAMELLED GLASS VASE, EARLY 20TH CENTURY of ﬂattened ovoid form with twin handles, decorated with ﬁsh in relief amongst seaweed, painted with gilt to underside ‘8’ 16.5cm high £150-250

57 HD160/10 WMF (WÜRTTEMBERGISCHE METALLWARENFABRIK) ‘MYRA KRISTALL’ IRIDESCENT GLASS FRUIT SERVICE, CIRCA 1930 comprising a footed tazza and six plates, each covered with a peacock iridescence (7) tazza, 24.5cm diameter £300-500

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58 HD970/20 STEVENS & WILLIAMS, STOURBRIDGE GLASS CANDELABRA, CIRCA 1950 with ﬁve curved branches, each with pink ribbed glass nozzles and drip trays centred on a tapered and knopped support with spreading base, allover applied decorative banding 43cm high, 34cm diameter £500-700

59§ HD13/7 PETER LAYTON (b. 1937) FREEFORM FROSTED GLASS BOWL, CIRCA 1980 etched script signature to base PETER LAYTON 34cm wide, 24cm high £200-300

60 HD13/6 JOHN MONCRIEFF LTD., PERTH

62 HD339/1 PERTHSHIRE PAPERWEIGHTS LTD.

‘MONART’ SHOULDERED OVOID VASE, SHAPE HF VII, 1930s of red and blue mottled glass, 19.5cm high; together with a ‘MONART’ BOWL, SHAPE IG VI, of mottled green glass with aventurine inclusions, maker’s label, 25.5cm diameter (2) £150-250

SIX LIMITED EDITION GLASS PAPERWEIGHTS, 1970s comprising: a CHRISTMAS WEIGHT, 1974, 155/325; a ‘SWAN IN THE POND’ WEIGHT, 112/250; a DOUBLE OVERLAY WEIGHT, 1974, 9/300; a JACK ALLAN RIBBON WEIGHT, 1971, 145/150; an OVERLAY WEIGHT, 1970, etched marks; 108/150; a FACETED AND CUT WEIGHT, 1973, 31/350; each contained in original box with certiﬁcate documentation, some with maker’s label; together with a Hollister, Paul, Glass Paperweights: An Old Craft Revived, 1975, William Culross & Son Ltd, Coupar Angus (7) £250-350

61 HD420/1 JOHN MONCRIEFF LTD., PERTH ‘MONART’ GLASS BOWL, SHAPE GE V, 1930s with pink whorl design, with maker’s label 27.5cm diameter £200-300

63 HD455/1 FRANCO MORETTI (b. 1947) FOR MURANO GLASS TWO GLASS KIWI BIRDS, LATE 20TH CENTURY comprising a larger green and orange example, and a smaller blue and yellow kiwi, each with aventurine highlights and hand etched signature (2) 16cm high and 13.5cm high £200-300

64 HD988/3 STROMBERGSHYTTAN PALE BLUE GLASS BOWL, MID 20TH CENTURY of hexagonal faceted form, etched ‘Stromberg J348’ 18cm diameter, 11cm high £80-120

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Shrigley & Hunt, Lancaster Shrigley and Hunt were once ranked among the leading designers and manufacturers of stained glass and art tiles in the UK, rivalling names such as William Morris and Company, and James Powell of Whitefriars. Shrigley and Hunt worked for a period of over 100 years starting in the mid 1870’s and examples of their stained glass windows can be seen across Britain and in Europe. Their designs were regularly exhibited at the Royal Academy from 1881-1910, and notably in 1906, William Holman Hunt gave permission to use his ‘The light of the world’ painting in stained glass. By 1936, staff had increased to 22 artists and 5 apprentices, and the firm had restored numerous frescos in the Houses of Parliament and the twelve frescos in Manchester Town Hall by Victorian painter Ford Maddox Brown. After the Second World War, Joseph Fisher (1911-1982) joined the firm, becoming director in 1948. Fisher integrated new trends into production throughout the 1950’s and 60’s by scaling down the firm and employing rising freelance artists. John Blyth (1915-1999), pupil of Herby Hendrie and graduate of Edinburgh School of Art, was the first example of this, followed by Keith New (1926-2012) and Harry Harvey (19222011). Fisher and Edward Ellis (1908-c.1980) were the only resident designers and continued to develop their own approach; working within a more scaled back contemporary aesthetic than had been seen before at the firm. The 1970’s in particular were a period of more liberated design for Fisher, with progressive and almost abstract projects. Fisher was the final owner of the firm, which closed in 1982 following his death. This archive of designs (and the following group of tiles) has come directly from the Fisher family, with each numbered design dated and grouped according to the original Shrigley and Hunt work book, used throughout the firm’s existence. Shrigley & Hunt produced hand-painted tiles from its inception and it is thought that Arthur Hunt had trained as a tile decorator at Heaton, Butler & Bayne’s studio, giving him first-hand experience in commercial scale production methods. His interest, and perhaps association with Morris & Co. is suggested by his amassing a large collection of tiles by William de Morgan, many of which are offered here. In the main they are stencilled with the Shrigley & Hunt monogram and a painted serial number, referring to a catalogue of tiles the firm could offer. Their own output was similarly marked and referred to their catalogue, where customers could choose from Japanese, Renaissance and Classical and other styles, characteristic of the period. Literature: Waters, William ‘Stained Glass from Shrigley and Hunt of Lancaster and London’, University of Lancaster, 2003. Lot 88 (detail)

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65 HD9/26E SHRIGLEY & HUNT, LANCASTER (STUDIO 1874-1982) COLLECTION OF WATERCOLOUR STUDIES FOR STAINED GLASS, 1970s Watercolour on card, various designers including R. Hayes (1), Harry Harvey (2), Joseph Fisher (4), and others, various inscriptions. (48) Varying sizes, Largest: 46 x 38cm, Smallest: 10 x 8.5cm £400-600

66 HD9/26D SHRIGLEY & HUNT, LANCASTER (STUDIO 1874-1982) COLLECTION OF WATERCOLOUR STUDIES FOR STAINED GLASS, 1960s Watercolour mounted on board and card, various designers including Keith New (1), Joseph Fisher (9), John Ellis (1), and others, various inscriptions. (46)

67 HD9/26C SHRIGLEY & HUNT, LANCASTER (STUDIO 1874-1982) COLLECTION OF WATERCOLOUR STUDIES FOR STAINED GLASS, 1950s Watercolour mounted on board and card, various designers including John Blyth (1), John Ellis (11), Isobel Fagan (1), Joseph Fisher (4) and others, various inscriptions. (57) Varying sizes, Largest: 55 x 45cm, Smallest: 19 x 15cm £400-600

Varying sizes, Largest: 46 x 38cm, Smallest: 25 x 8cm £400-600

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68 HD9/26B SHRIGLEY & HUNT, LANCASTER (STUDIO 1874-1982) COLLECTION OF WATERCOLOUR STUDIES FOR STAINED GLASS, 1940s Watercolour mounted on card, various designers including John Ellis (1), John Blyth (2) and others, various inscriptions (Total: 16) Varying sizes, Largest: 51 x 41cm, Smallest: 23 x 14.5cm £250-400

69 HD9/26A SHRIGLEY & HUNT, LANCASTER (STUDIO 1874-1982) COLLECTION OF WATERCOLOUR STUDIES FOR STAINED GLASS, 1930s Watercolour mounted on card (18) Varying sizes, Largest: 40 x 32cm, Smallest: 21.5 x 14.5cm £300-500

70 HD9/26 SHRIGLEY & HUNT, LANCASTER (STUDIO 1874-1982) COLLECTION OF WATERCOLOUR STUDIES FOR STAINED GLASS, 1870s-1920s Watercolour mounted on card, and on paper backed with linen (19) Varying sizes, Largest: 51 x 41cm, Smallest: 23 x 14.5cm £300-500

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71 HD9/11 WILLIAM DE MORGAN (1839-1917)

72 HD9/10 WILLIAM DE MORGAN (1839-1917)

THREE FLOWER TILES, 1870s/1890s comprising: TWO ‘SINGLE FLOWER’ TILES, in blue and green glazes; and a ‘SINGLE ROSE’ PATTERN TILE, no. 784; two impressed W. DE MORGAN and one with impressed mark for Sands End Pottery (3)

THREE ‘FLOWERS & LEAVES’ PATTERN TILES, NO. 692, 1880s/1890s comprising: a PAIR OF PINK GLAZED TILES; and a SINGLE YELLOW GLAZED TILE; all with impressed maker’s marks, with printed and painted numbers (3)

15.3cm square £300-500

15.3cm square £400-600

73 HD9/8 WILLIAM DE MORGAN (1839-1917)

74 HD9/7 WILLIAM DE MORGAN (1839-1917)

FOUR FLORAL QUARTER TILES, 1870s/1880s comprising two ‘BEDFORD PARK ANEMONE’ TILES, No. 676, one in pink glaze, one in blue glaze; and two ‘BEDFORD PARK DAISY’ TILES, No. 677, one in pink glaze, one in blue glaze; three impressed W. DE MORGAN, one impressed MERTON ABBEY/ D.M. (4)

FOUR ‘ROSE TRELLIS’ PATTERN TILES, NO. 661, 1880s/1890s in pink, brown and blue glazes, three with impressed maker’s marks for Sands End Pottery, with stamped numbers (4)

15.3cm square £300-500

15.3cm square £400-600

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75 HD9/9 WILLIAM DE MORGAN (1839-1917) TWO RUBY LUSTRE TILES, 1880s/1890s comprising: a ‘ROSE & DAISY’ PATTERN TILE, no. 833, impressed maker’s marks and painted 214; and a LEAF TILE, variant of the ‘Oblique Leaf’ pattern, impressed maker’s marks and painted 194 (2) 15.3cm square £200-300

76 HD9/6 WILLIAM DE MORGAN (1839-1917) ‘ARGYLL’ PATTERN TILE, NO. 570, 1880s/1890s together with a WILLIAM DE MORGAN, IZNIK STYLE TILE; each decorated in turquoise and cobalt glazes, with impressed marks for Sands End Pottery, one with printed number 4 (2) 20.5cm square £250-350

77 HD9/18 WILLIAM DE MORGAN (1839-1917)

78 HD9/16 WILLIAM DE MORGAN (1839-1917)

‘BEDFORD PARK ANEMONE’ PATTERN TILE, 1880s/1890s with impressed mark for Sands End Pottery and printed number 9; together with TWO ‘BBB’ TILES, no.s 581 and 595 (damages), with impressed marks for Sands End Pottery, one with painted mark A.43 (3)

FOUR FLORAL TILES, 1870s/1880s comprising: a ‘VERTICAL LEAF A’ TILES, pattern no. 738; a ‘BLUE BOSTON’ TILES, with painted inscription to verso ‘BLUE BOSTON/ A.22/ 30/10/6; a ‘NINE SQUARE’ PATTERN TILE, no. 678 (damages); and a further LEAF PATTERN TILE; all with impressed maker’s marks (4)

15.3cm square £250-350

15.3cm square £300-500

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79 HD9/14 WILLIAM DE MORGAN (1839-1917)

80 HD9/13 WILLIAM DE MORGAN (1839-1917)

THREE PERSIAN AND IZNIK STYLE TILES, 1880s/1890s comprising a ‘FORMAL PERSIAN FLOWER’ PATTERN TILE, No. 735, stamped 163; a further tile with Persian ﬂowers and leaves in green glazes, stamped 112; and a SINGLE TILE with stylised ﬂowers and scrolled leaves in turquoise and cobalt glazes, marked A20 ‘INDIAN’; all with impressed maker’s marks for Sands End Pottery (3)

TWO PART TILE PANELS, 1870s/1880s comprising: two ‘VASE WITH SNAKE’ PATTERN TILES (two of three), No. 475; and two ‘FRUIT TREE’ PATTERN TILES (two of three), No. 474; all impressed W. DE MORGAN, with some painted marks (4) 15.3cm square £800-1,200

15.3cm square £300-500

81 HD9/5 WILLIAM DE MORGAN (1839-1917) TWO ‘VINE’ PATTERN TILES, NO. 747, 1880s/1890s each with impressed marks, and one stamped 2 (2) 20.5cm square £400-600

82 HD9/12 WILLIAM DE MORGAN (1839-1917) ‘CAVENDISH’ PATTERN TILE, NO. 679, 1880s/1890s with impressed mark for Sands End Pottery; together with TWO ‘CARNATIONS’ PATTERN TILES, impressed marks for Sands End Pottery, painted numbers 38 and 39A (3) 15.3cm square £300-500

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83 HD9/4 WILLIAM DE MORGAN (1839-1917)

84 HD9/22 WILLIAM DE MORGAN (1839-1917)

TWO ‘PERSIAN FLOWERING FOLIAGE’ PATTERN TILES, NO. 564, 1870s/1880s each with impressed marks (damages) (2)

‘ROSE TRELLIS’ PATTERN TILE, 1870s/1880s decorated on an Architectural Pottery, Poole blank, with moulded maker’s marks

20.5cm square £200-300

15.5cm square £150-250

85 HD9/17 WILLIAM DE MORGAN (1839-1917) ‘SUNFLOWER AND FOLIAGE’ PATTERN TILE, NO. 1570, 1870s/1880s with impressed maker’s marks and painted number A.25; together with TWO GREEN GLAZED SPACER TILES, with impressed maker’s marks for Sands End Pottery (3) 15.3cm square £200-300

86 HD9/2 SHRIGLEY & HUNT (STUDIO 1874-1982)

87 HD9/3 SHRIGLEY & HUNT (STUDIO 1874-1982)

FRAMED TILE PANEL, 1870s/1880s painted with a classical female holding a peacock feather fan

PAIR OF FRAMED TILE PANELS, 1870s/1880s each comprised of four tiles, painted with Neo Classical and architectural designs in brown and yellow glazes (2)

60cm x 25cm £300-500

81cm x 19.5cm £500-700

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88 HD9/20 SHRIGLEY & HUNT (STUDIO 1874-1982) PAIR OF TILE PANELS, 1870s/1880s on Copeland blanks, each depicting EUPHROSYNE/ THALIA, AGLAIA, CLOTIO, LACHESIS and ATROPOS in a Classical architectural setting, with impressed maker’s marks and stencil mark for Shrigley & Hunt (41 tiles) (one panel with a tile lacking) each tile 15cm square £1,000-1,500

89 HD9/1 SHRIGLEY & HUNT, LANCASTER (STUDIO 1874-1982) PAINTED OPAQUE GLASS MOSAIC PANEL, 1880s/1890s depicting St. Anne with Mary as a child, reading, within a landscape setting, contained within a wooden case 47cm x 22.5cm £250-400

90 HD9/21 SHRIGLEY & HUNT, LANCASTER (STUDIO 1874-1982)

91 HD9/23 MANNER OF LEWIS F. DAY, FOR CRAVEN DUNNILL

TWO TILE PART PANEL, 1870s/1880s on Copeland blanks, decorated with a dove amongst fruiting olive branches above the inscription PAX, moulded maker’s marks and stencil marks for Shrigley & Hunt (2)

SUNFLOWER TILE, CIRCA 1900 impressed marks, 14.5cm square; together with a MINTON, HOLLINS & CO. TILE, moulded marks and a Shrigley & Hunt stencil mark, 15cm square; TWO MINTON, HOLLINS & CO. TILES, moulded marks, 20cm x 15cm; a SALT GLAZED TILE, incised mark, 15.5cm square; and a NEOCLASSICAL TILE, impressed marks and stencil mark for Shrigley & Hunt, 15.3cm square (6) £250-350

each tile 20.5cm square £200-300

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Pictures: Part I

92 HD468/5 PATRICK DOWNIE R.S.W. (SCOTTISH 1854-1945)

93§ HD693/2 ARCHIBALD MCGLASHAN R.S.A. (SCOTTISH 1888-1980)

NOVEMBER ON THE BERWICK COAST Signed, inscribed with title and dated 1937 verso, oil on panel

SLEEPING CHILD Signed, oil on canvas

44.5cm x 59.5cm (17.5in x 23.5in) £500-700

46.5cm x 56.4cm (18.25in x 22.25in) £400-600

94 HD473/9 TOMSON LAING (SCOTTISH ﬂ. 1890-1904)

95 HB817/23 19TH CENTURY ENGLISH SCHOOL

WORKING AT THE WATER’S EDGE Signed, oil on canvas

BOAT OFF WHITE CLIFFS Oil on canvas

24.5cm x 34cm (9.75in x 13.5in) £250-350

24cm x 29cm (9.5in x 11.5in) £400-600

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96§ HD763/1 SIR DAVID MUIRHEAD BONE H.R.S.A., H.R.W.S., H.R.E., L.L.B., D.LITT. (SCOTTISH 1876-1953) THE FISHING SEASON, STORNOWAY Signed and inscribed ‘Stornoway,’ pencil, ink and charcoal on paper laid down on larger sheet of paper, larger sheet inscribed with title in pencil

97§ HD67/25 SIR MUIRHEAD BONE (SCOTTISH 1876-1953) THE DOGANA, VENICE Signed in pencil to margin, signed in plate, etching 22cm x 29.5cm (8.75in x 11.75in) £400-600

20.5cm x 38cm (8.25in x 15in) £400-600

98 HD67/29 HEDLEY FITTON (BRITISH 1859-1929)

99§ HD971/2 WILLIAM WILSON R.S.A., R.S.W. (SCOTTISH 1905-1972)

PULTENEY BRIDGE, BATH Signed and inscribed with title in pencil to margin, etching

FLEMISH GATE Signed and dated 1931, titled and inscribed ‘Trial Proof’ in pencil to margin, engraving

36cm x 45.5cm (14in x 8in) and a further etching by the same hand ‘London Bridge’ (2) £300-500

24.5cm x 31.5cm (9.75in x 12.5in) and a further two engravings by the same hand (3) Provenance: The Estate of Adam Bruce Thomson.

£500-800

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100 HD67/13 THEODORE ROUSSEL (FRENCH 1847-1926) ACROSS THE LAKE Signed in plate, etching 35.5cm x 22.5cm (14in x 9in) £300-500

101§ FF449/2 JAMES MCBEY (SCOTTISH 1883-1959)

102 HD308/2 CHARLES HAIGH-WOOD (BRITISH 1856-1927)

VENICE - 20TH OCTOBER 1925 Signed and inscribed with title in plate, signed in margin and numbered XVII, etching

STUDIO MODEL Signed, watercolour and bodycolour

41.5cm x 24.5cm (16.25in x 9.75in) and a postcard which accompanies the lot (2) £400-600

103 HD473/7 WILLIAM RENISON (SCOTTISH FL.1893-1938) STRATHEARN Signed and titled, oil on board 38.5cm x 58.5cm (15.25in x 23in) £200-300

36.75cm x 27cm (14.5in x 16.5in) Provenance: Estate of Sir James Cayzer, Kinpurnie Castle, Perthshire

£400-600

104§ SV0244/1 SIR DAVID MUIRHEAD BONE H.R.S.A., H.R.W.S., H.R.E., L.L.B., D.LITT. (SCOTTISH 1876-1953) THE DERENSCA FROM THE SAN MARCOS LEON Signed, watercolour and pencil 13cm x 23cm (5.125in x 9in) £400-600

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105 SV0244/33 WILLIAM PAGE ATKINSON WELLS (SCOTTISH 1872-1923)

106§ HD751/4 ERNEST BURNETT HOOD (SCOTTISH 1933-1988)

GATHERING THE HARVEST Signed, oil on canvas

COASTAL LANDSCAPE Signed, oil on board

30cm x 40cm (12in x 16in) £1,000-1,500

74.5cm x 99cm (29.25in x 39in) £500-700

107§ HD691/1 MAURICE CANNING WILKS (IRISH 1910-1984)

108 HD473/4 GEORGE SMITH R.S.A. (SCOTTISH 1870-1934)

A QUIET POOL Signed, oil on canvas-board

OCHIL HILLS Signed, inscribed with title and dated 1923 verso, oil on canvasboard

27.5cm x 36.5cm (10.75in x 14.25in) £600-800

29cm x 39.5cm (11.5in x 15.5in) £300-500

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109§ HD370/7 JAMES BEATTIE MICHIE (SCOTTISH 1891-1960)

110§ HD99/3 MARY ARMOUR (SCOTTISH 1902-2000)

51cm x 61cm (20in x 24in)

24cm x 39cm (9.5in x 15.25in) and another by the same hand ‘Rain shower over Poolewe’ (2) £300-500

WINDMILLS IN A RIVER LANDSCAPE Signed and dated 1926, watercolour Provenance: Collection of David Michie, O.B.E., R.S.A.

£400-600

LOCH ETIVE Signed and dated 1965, pastel on blue-grey paper

111§ HD66/2 MARY HOLDEN BIRD (SCOTTISH d. 1978)

112§ HC176/3 IAN FLEMING R.S.A., R.S.W. (SCOTTISH 1906-1994)

23cm x 34cm (9in x 13.5in) £300-500

36.5cm x 48cm (14.5in x 19in) £300-500

PALE SUNLIGHT Signed with initials, watercolour

SCOTTISH COUNTRY ROAD Signed, pencil and watercolour

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Ceramics 113 HD968/6 CHRISTOPHER DRESSER (1835-1904) FOR MINTON

PAIR OF PORCELAIN VASES, CIRCA 1870 decorated in a pseudo-cloisonné style, with stylised plant and geometric forms in coloured enamels reserved on a bleucelesté ground, highlighted with gilding, unmarked (2) 15cm high Literature: Lyons, Harry ‘Christopher Dresser: Peoples Designer’, Exhibition catalogue 1999, cat. no. C-151 where a similar example is illustrated

£300-500

114 HD923/1 ATTRIBUTED TO CHRISTOPHER DRESSER FOR MINTON’S CHINA WORKS AESTHETIC MOVEMENT 8” CERAMIC TILE, CIRCA 1880 printed in colours with opposed ﬁsh and kingﬁshers, moulded marks, 20.5cm square; and another MINTON’S CHINA WORKS 6” CERAMIC TILE, printed with stylised plant forms, moulded marks £300-500

115 HD970/12 ATTRIBUTED TO CHRISTOPHER DRESSER FOR MINTON

PAIR OF GLAZED EARTHENWARE MOONFLASKS AND COVERS, CIRCA 1880 each printed and painted with stylised arabesques in black, ochre, turquoise and blue on a white ground, printed mark MINTONS ART POTTERY STUDIO/ KENSINGTON GORE, and with impressed maker’s marks (2) 31cm high £1,000-1,500

116 HD970/34 HOWELL & JAMES, LONDON

‘HERCULES DESTROYING THE FLESH EATING BIRDS’, DATED 1882 circular ceramic wall plaque, painted by Miss Rosa Jeaﬀerson with the ﬁgure of Hercules, defeating the Stymphalian birds, bears paper label verso HOWELL & JAMES’ ART-POTTERY EXHIBITION/ 1882/ and with painted artist’s monogram RJ 40cm diameter £300-400

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117 HD91/146 BURMANTOFTS POTTERY, LEEDS

PAIR OF FAIENCE ALLEGORICAL FIGURES, 1880s each modelled as a standing putto, one encircled with a garland of ﬂowers, the other with a garland of drapery, each covered in a blanc de chine glaze, impressed marks BURMANTOFTS/ FAIENCE/ ENGLAND (2) 43cm and 45cm high £200-300

118 SV117A/9 BURMANTOFTS POTTERY, LEEDS

PAIR OF FAIENCE TUBE-LINED VASES, 1880s each of ovoid form, decorated with stylised borders, ﬂowers and leaves, in a turquoise and cobalt glaze, impressed maker’s marks and number 568, one vase incised EB (2) 25cm high £300-500

119 HD865/3 LINNIE WATT (1875-1908) FOR PINDER, BOURNE & CO. PAINTED EARTHENWARE WALL PLATE, CIRCA 1880 decorated with two young girls by a woodland stream, signed L WATT, impressed maker’s marks and painted numbers 31.5cm diameter Note: Pinder, Bourne & Co. were established by Thomas Shadford Pinder and Joseph Harvey Bourne in Burslem in the 1850s. The company operated under this name until 1882, having been bought by Doulton in 1877, and later adopted the name of Doulton & Co.

£800-1,200

120 HD750/5B WILLIAM MORRIS (1834-1896) FOR WILLIAM DE MORGAN (1839-1917)

PAIR OF ‘ROSE’ 6” TILES, 1870s painted on Poole pottery blanks, moulded marks (2) each tile 15.2cm square Literature: Myers, Richard and Hilary ‘William Morris Tiles’, Somerset 1996, p. 109, ﬁgure 181

£400-600

121 HD750/5A WILLIAM MORRIS (1834-1896) FOR WILLIAM DE MORGAN (1839-1917)

122 HD750/5 WILLIAM MORRIS (1834-1896) FOR WILLIAM DE MORGAN (1839-1917)

each tile 15.2cm square £400-600

PAIR OF ‘ROSE’ 6” TILES, 1870s painted on Poole pottery blanks, moulded marks (2)

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123 HD750/3 WILLIAM DE MORGAN (1839-1917)

LUSTRE CHARGER, CIRCA 1880 painted to the rim with opposed chameleons and to the centre with radiating ﬁsh, impressed mark 30cm diameter £800-1,200

124 HB217/21 WILLIAM DE MORGAN (1839-1917)

125 HB217/20 WILLIAM DE MORGAN (1839-1917)

SET OF FOUR ‘ROSE AND TRELLIS’ PATTERN TILES, CIRCA 1872 each painted on red clay biscuit tiles from Patent Architectural Pottery Co., Poole, Dorset (4)

15cm square £400-600

126 HD203/5 WILLIAM DE MORGAN (1839-1917)

THREE 6” TILES, CIRCA 1880-90 comprising a MERTON ABBEY PERIOD TILE ‘K.L. ROSE’ DESIGN, impressed marks, 15.8cm square; a MERTON ABBEY PERIOD MOULDED TILE, QUARTERED BIRD AND FLOWER DESIGN, ruby lustre glaze, impressed marks, 15cm square; and an EARLY FULHAM PERIOD MOULDED TILE, depicting opposed lion and lioness, glazed in green, impressed marks, 15cm square (3) £400-600

127 HD750/2 WILLIAM DE MORGAN (1839-1917)

128 HD750/6 AFTER WILLIAM DE MORGAN

TWO IZNIK 8” TILES, CONTEMPORARY one framed, unmarked (2) 23cm square Provenance: Kenneth Clark (1922-2012) Note: These large reproduction William De Morgan tiles were produced for Debenham House (or Peacock House) at 8 Addison Road, London to replace the damaged tiles in the covered entrance.

£150-250

‘FISH STREAM’ 6” FOUR-TILE PANEL, CIRCA 1880-90 painted with ﬁsh swimming in a stream within a grassy bank, impressed Merton Abbey and Sands End marks (4) 15.5cm square £1,500-2,000

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129 HD750/1 WILLIAM DE MORGAN (1839-1917) ‘FAN’ PATTERN 8” NINE-TILE PANEL, EARLY FULHAM PERIOD, CIRCA 1890 painted in the Iznik palette, impressed Sands End marks (9) 20.2cm square Note: These tiles are painted in a rare colourway, speciﬁcally introduced for Debenham House, London

£5,000-7,000

130 HD750/8 WILLIAM DE MORGAN (1839-1917)

RUBY LUSTRE VASE, CIRCA 1880 of shouldered form with a funnel neck, decorated with scrolling and stylised ﬂowers, leaves and borders, indistinct impressed marks (cracked and repaired to neck) 35cm high £800-1,200

131 HD750/10 WILLIAM DE MORGAN (1839-1917) 6” TWO-TILE PANEL, MERTON ABBEY PERIOD, CIRCA 1880 painted with an Iznik design, framed each tile 15.2cm square £400-600

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132 HB824/9 WEMYSS WARE

SMALL ‘CABBAGE ROSES’ PIG FIGURE, CIRCA 1900 impressed mark WEMYSS 16cm long £500-700

133 HD334/1 WEYMSS WARE

SMALL BLACK AND WHITE PIG FIGURE, POST 1930 painted mark WEMYSS and printed mark MADE IN ENGLAND 16cm long £250-350

134 HD913/2 WEMYSS WARE

‘CHERRIES’ CHAMBERSTICK AND SNUFFER, CIRCA 1900 decorated by James Sharp, painted and impressed mark WEMYSS 16.5cm diameter Provenance: Collection of Iris Fox

£400-600

135 HD144/11 WEMYSS WARE

‘BLACK COCKEREL’ BON JOUR TEAPOT AND COVER, CIRCA 1900 with painted mark in green WEMYSS 12.5cm high £200-300

136 HB652/6 WEMYSS WARE

TWO LARGE MUGS, EARLY 20TH CENTURY one decorated with TULIPS, impressed marks WEMYSS WARE/ R.H.&S., 13.5cm high; the other decorated with CHERRIES, impressed mark WEMYSS, 14cm high (2) £150-250

137 HD478/3A WEMYSS WARE

‘CHERRIES’ TEAPOT AND COVER, CIRCA 1900 unmarked, 11cm high; together with a ‘SWEETPEAS’ BOWL, maker’s marks painted in green WEMYSS., 12cm wide; and a ‘CABBAGE ROSES’ SPARROW BEAK JUG, maker’s marks painted in green WEMYSS., 5cm high (3) £250-350

138 HD905/1 WEMYSS WARE

‘IRIS’ PATTERN LANGTOUN POT, EARLY 20TH CENTURY impressed mark WEMYSS, and printed mark ROBERT HERON & SON/ KIRKCALDY/ SCOTLAND, 13cm high; together with a WEMYSS WARE, ‘JAZZY’ LOVING CUP, decorated with iris ﬂowers, painted mark WEMYSS 221., 14cm high (2) £150-250

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139 WEMYSS WARE

RARE ‘LEMONS’ LEMON SQUEEZER AND BASE, CIRCA 1900 decorated by James Sharp with a frieze of fruiting lemons, painted and impressed marks WEMYSS 11.5cm across, 8.3cm high Literature: de Rin, Victoria; MacMillan, David; Davis, Peter and Rankine, Robert ‘Wemyss Ware; a decorative Scottish Pottery’ 1986, p. 114, pl. 235 Note: See National Museums Scotland H.1994.66 where a similar example is kept.

£8,000-12,000

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140 HD478/1 WEMYSS WARE

SMALL ‘EARLSHALL’ JUG, EARLY 20TH CENTURY impressed marks WEMYSS 11.5cm high £600-800

141 HD913/5 WEMYSS WARE

‘RASPBERRIES’ SQUARE BOWL, EARLY 20TH CENTURY decorated by Edwin Sandland on a black ground, painted mark WEMYSS 16.3cm across Exhibited: London, Thomas Goode & Co., ‘Wemyss Ware’ Exhibition, Nov/Dec 1987

£200-300

142 HD913/4 WEMYSS WARE

‘STRAWBERRIES’ SQUARE BOWL, EARLY 20TH CENTURY decorated by Edwin Sandland on a black ground, painted mark WEMYSS 16.3cm across £200-300

143 HD913/3 WEMYSS WARE

‘STRAWBERRIES’ GORDON DESSERT PLATE, CIRCA 1900 decorated by Edwin Sandland on a black ground, painted and impressed marks WEMYSS 20.5cm diameter £200-300

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144 HD873/1 JESSIE MARION KING (1875-1949)

TEAPOT & COVER, EARLY 20TH CENTURY with allover decoration of summer ﬂowers, painted monogram JMK with rabbit and Green Gate marks 14cm high Literature: White, Colin ‘The Enchanted World of Jessie M King’, Canongate 1989, p. 110, pl. 149 where a similar example is illustrated.

£800-1,200

145 SV730/157A JESSIE MARION KING (1875-1949)

146 HD848/1 GLASGOW STYLE

9cm diameter £200-300

23cm diameter £150-250

SMALL FOOTED BOWL, EARLY 20TH CENTURY decorated with a frieze of ﬂowering plants, painted monogram, rabbit and Green Gate marks

147 HB652/6A DOLLY WATSON, EDINBURGH

FOOTED PUNCH BOWL, DATED 1924 decorated with a band of pomegranate fruits, painted mark D.W./ LEAF/ XXIV, 22cm diameter; a BOUGH POTTERY JARDINIERE, decorated with ﬂowering and fruiting branches, painted marks E.J.G./ “BOUGH”/ 1914, 21.5cm diameter; a SCOTTISH POTTERY SHALLOW BOWL, decorated with Celtic motifs, painted mark AEB/ 63, 24cm diameter; and a SCOTTSIH POTTERY JUG, decorated with ﬂowers, painted mark WPH, 15cm high (4) £300-500

148 HD729/3 DOLLY WATSON, EDINBURGH

LARGE SCOTTISH POTTERY SERVING DISH, DATED 1918 painted with a band of daisies and cowslips, painted marks D.W./ LEAF/ 18 31.5cm diameter Note: Dolly Watson was sister in law to Elizabeth Amour of the Bough Pottery, Edinburgh

£300-500

149 HD155/2 MARTIN BROTHERS, LONDON

MINIATURE STONEWARE POT, DATED 1905 of ovoid form with incised ﬂowering foliate decoration, incised maker’s marks MARTIN BROS/ LONDON & SOUTHALL/ 11/ 1905 6.5cm high £550-650

150 No lot

PAIR OF EARTHENWARE PLATES, DATED 1916 painted in gilt and colours with abstracted plant forms, signed and dated verso A.B.P./ 1916 (2)

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151 HD970/2 W.T. COPELAND & SONS

GROUP OF 12 ‘MEDIEVAL OCCUPATIONS’ 6” TILES, CIRCA 1880 mounted in a polished brass frame (12) Panel: 92cm x 32cm, Tiles: 15cm square £500-700

152 HD970/26 ATTRIBUTED TO EDWARD WILLLIAM GODWIN FOR MINTON, HOLLINS & CO.

PAIR OF 6” THREE-TILE PANELS, CIRCA 1870 each painted with a Pre-Raphaelite maiden, one in a ﬂower garden, the other in an orchard, framed, impressed factory marks (2) each 46.5cm x 16cm £1,000-1,500

153 HD886/17 GEORGE MARSDEN TILE CO.

ART NOUVEAU 6” TILE, CIRCA 1906 tube line decoration of stylised ﬂowering foliage, within oak frame, tile, 15.2cm square; and TWO ART NOUVEAU FRAMED TILE PANELS, each with central tube-lined tile, 29cm square (3) £200-300

154 HD905/2 MINTON LTD.

SECESSIONIST TUBE-LINED EWER AND BASIN, CIRCA 1910 each decorated in brown and green glazes, with stylised circular motifs and borders, with printed marks MINTONS LTD/ NO 14 and some further painted marks (2) ewer 36.5cm high; basin 42cm diameter £200-300

155 HC437/21 LÉON SOLON (1872-1957) FOR MINTON

SECESSIONIST TWIN-HANDLED VASE, CIRCA 1903 decorated with peacocks, printed maker’s marks 29cm high Provenance: Private Collection, Surrey

£200-300

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156 HD886/3 W.T. COPELAND & SONS

SET OF TWELVE ‘MEDIEVAL MINSTREL’ 6” TILES, CIRCA 1880 printed blue on white highlighted with gilt and mounted within an oak frame each tile 15cm square £300-500

157 HD995/30 C. H. BRANNAM, BARNSTAPLE

MONUMENTAL POTTERY VASE, CIRCA 1900 of slender ovoid form with three applied lugs, the body incised and painted with swimming ﬁsh on a blue ground 84cm high Provenance: Ravensby Hall, Carnoustie

£300-500

158 HD731/1 CARLTON WARE

TWO ‘MANDARIN TREE’ PATTERN VASES, CIRCA 1930 printed and painted in gilt and coloured enamels, one of swollen cylindrical form, 26cm high; the other with twin handles and applied foot (cracked), 34cm across, each with printed and painted maker’s marks CARLTON WARE/ 3719 (2) £200-300

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159 HD203/4 WILLIAM S. MYCOCK (1872-1950) FOR PILKINGTON’S

SHALLOW LUSTRE BOWL, DATED 1909 decorated with a band of ﬂowering foliage on a yellow ground, impressed maker’s marks, painted artist’s monogram and date mark 31cm diameter £600-800

160 HD203/1 RICHARD JOYCE (1873-1931) FOR PILKINGTON’S

ROYAL LANCASTRIAN LUSTRE VASE, CIRCA 1915 decorated with panels of ﬂowering foliage, impressed maker’s marks, painted artist’s monogram 25.5cm high £400-600

161 HD203/3 GORDON FORSYTH (1879–1952) FOR PILKINGTON’S

BALUSTER LUSTRE VASE, DATED 1912 decorated with a frieze of greyhounds chasing hares in a landscape, reserved on a pale blue ground, impressed maker’s marks, painted artist’s monogram and date mark 28.5cm high £1,500-2,000

162 HD945/1 LESLIE HARRADINE (1887-1965) FOR ROYAL DOULTON

‘DULCINEA’ PORCELAIN FIGURE, ISSUED 1929-1936 bears printed and painted maker’s marks DULCINEA/ HN1343/ POTTED BY DOULTON & CO. 16.5cm x 14cm £500-700

163 HC437/97 ROYAL DOULTON

‘FLAMBE’ VASE, MID 20TH CENTURY of squat ovoid form, decorated with lustre red poppies on a dark ground, with printed maker’s marks and incised 1256E

164 SV665/18 HARRY FENTON FOR ROYAL DOULTON

13.5cm high

JESTER PORCELAIN WALL MASK, ISSUED 1936-40 in polychrome enamels, with maker’s stamp MADE IN ENGLAND/ ROYAL DOULTON/ ENGLAND

Provenance: Private Collection, Surrey

28cm high £200-400

£250-350

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165 HD724/1 CHARLOTTE RHEAD (1885-1947) FOR BURGESS & LEIGH

‘BURLEIGH WARE’ TUBE LINED CHARGER, CIRCA 1926 centrally decorated with a galleon with a red sun to one sail, within a stylised ﬁsh and cornucopia border, with painted and stamped makers marks 42.5cm diameter Note: Charlotte Rhead (1885-1947) began working for Burgess & Leigh in 1926, following her employment with Wood & Sons. The company announced her arrival in a full page advert in 1927 in The Pottery Gazette. Burgess & Leigh had not made tube-lined pieces before Rhead joined the ﬁrm, but by March 1927 she had produced around fourteen new designs. Rhead's patterns were all numbered and a list of these designs remains in print, although this galleon design does not appear. It is evident that she there was to some cross-over with the patterns produced for Woods, and this charger is similar to a Woods plaque of the Santa Maria, number 1876.

£800-1,200

166 HB828/9 DAISY MAKEIG-JONES (1881–1945) FOR WEDGWOOD ‘FAIRYLAND’ LUSTRE VASE, 1920s ‘Imps on a Bridge’, of baluster form, printed maker’s marks, incised shape number 2351, painted pattern mark Z5360 23cm high £1,000-1,500

167 HD13/5 MOORCROFT POTTERY

‘CLEMATIS’ PATTERN BALUSTER VASE, CIRCA 1940 impressed maker’s mark and facsimile signature mark 31cm high £150-250

168 HD160/6 KEITH MURRAY (1892-1981) FOR WEDGWOOD

EARTHENWARE VASE, LATE 1930s of shouldered tapering form, with ribbed decoration, printed factory marks 28cm high £150-200

169 HD747/1 RUSKIN POTTERY

STONEWARE VASE, DATED 1932 covered in a matt crystalline glaze, impressed maker’s marks RUSKIN/ ENGLAND/ 1932 16cm high £150-250

170§ HD104/19 JANET LEACH (1918-1997)

STONEWARE BOWL, MID 20TH CENTURY glazed to the interior and with applied lugs, impressed St Ives and artist’s seal marks 15cm across £140-180

171-172 No lots

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173 HD476/3 EDUARD STELLMACHER (1868-1929) FOR RIESSNER STELLMACHER & KESSEL

‘AMPHORA’ EARTHENWARE ‘OWL’ VASE, CIRCA 1900 Modelled as an owl perched on an oak branch on a squat globular vase with cylindrical neck, moulded artist’s monogram to body, impressed factory marks under base RSK/ 4109 33cm high £400-600

174 HD160/8 FRIEDRICH GOLDSCHEIDER (1845-1897)

TERRACOTTA FIGURE GROUP, CIRCA 1897 modelled by B. Haniroﬀ as three boys seated on a brick wall, incised signature to the side HANIROFF with impressed P, impressed signature to rear FRIEDRICH GOLDSCHEIDER/ 1190 58cm high, 40cm wide £3,000-5,000

175§ HD370/1 BERNARD LEACH (1887-1979)

STONEWARE BOWL & COVER, MID 20TH CENTURY of ovoid form, covered in a grey glaze, impressed St Ives mark and incised artist’s initials BL (2) 17cm diameter Provenance: Collection of David Michie, OBE, RSA

£200-300

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176 HD904/9 ROYAL DUX

ART NOUVEAU PORCELAIN TAZZA, CIRCA 1900 moulded as a maiden picking apples from a tree on a naturalistic base, applied pink triangle mark/ 1821 52cm high £300-500

177 HA184/2 AFTER DESIGNS BY HENRI BREETVELT FOR GOUDA, ZUID-HOLLAND

178 SV730/191 STUDIO POTTERY

COLLECTION OF WARES, 20TH CENTURY comprising a KATIE HORSEMAN (1911-1988) POTTERY CAT, with lustre stripes, 31.5cm high; a POT, with vertical stripe decoration, signed KATIE H, 15.5cm high; a DAVID HEMINSLEY (1927-2007) PIERCED POT, with tenmoku glaze, incised D.H., 11.5cm diameter; a POT, incised CECILE, 13cm high; a SALTGLAZE JUG, with three incised lines, 18cm high; a SALTGLAZE POT, with applied painted decoration, indistinct painted mark, 22cm high; a SALTGLAZE VASE, of shouldered form, indistinct painted mark, 27.5cm high; a SAUCER, with stylised birds, unmarked, 14.5cm diameter; and a VASE, with everted rim, unmarked, 20cm high (9) £300-500

LARGE EARTHENWARE WALL PLATE, CIRCA 1925 decorated with stylised ﬂowers and leaves within a foliate border, incised and painted marks 1165/4/ ZUID-HOLLAND/ GOUDA / BREETVELT 48cm diameter £400-600

179 HD420/2 GOUDA, ZUID-HOLLAND

ART NOUVEAU TWIN-HANDLED EARTHENWARE BOTTLE VASE, CIRCA 1900 decorated with irises and butterﬂies, painted marks ZUID-HOLLAND/ J.K. 34cm high £250-350

180 HD886/15 KERALOUVE, BELGIUM

OVOID VASE, CONTEMPORARY decorated in the Art Deco style with a frieze of storks, printed maker’s marks 29.5cm high £200-300

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181 HD160/2 HELEN KÖNIG SCAVINI (1886-1974) FOR LENCI

‘NELLA’ EARTHENWARE FIGURAL BOX AND COVER, CIRCA 1933 the ﬁgure seated on a bench with open book and frog companion, painted maker’s marks LENCI/ MADE IN ITALY/ TORINO/ 11-XII-* 23cm high £3,000-5,000

182§ HD962/3 PABLO PICASSO (1881-1973)

‘SERVICE VISAGE NOIR’ CERAMIC PLATE, CONCEIVED 1948 stamped marks MADOURA PLEIN FEU / EDITION PICASSO and with painted marks EDITION PICASSO/ G 23.7cm diameter Note: Conceived in 1948 and executed in an edition of 100

£600-800

183§ HD962/2 PABLO PICASSO (1881-1973)

‘CAVALIER ET CHEVAL’, CERAMIC PITCHER, CONCEIVED 1952 stamped marks EDITION PICASSO/ MADOURA PLEIN FEU and incised and numbered EDITION PICASSO/ MADOURA/ 201/300 21.8cm high £3,000-5,000

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Furniture: Part II

184 HD991/1 ATTRIBUTED TO HANS CHRISTIANSEN (1866-1945) MAHOGANY, BRASS MOUNTED AND INLAID DRAWING ROOM SUITE, CIRCA 1910 each inlaid in brass with concentric canted square motifs, and comprising a CENTRE TABLE, the shaped top above a plain frieze on four twin column supports linked by cross stretchers, 80cm diameter, 74cm high; a SETTEE, 128cm wide, 76cm high, 40cm deep; and TWO ARMCHAIRS, 63cm wide, 77cm high, 39cm deep, each with spindle ﬁlled arms and upholstered back and seat, raised on turned legs; and FOUR MATCHING SIDE CHAIRS, 41cm wide, 91cm high, 37cm deep (8) Literature: Zimmermann-Degen, Margret ‘Hans Christiansen’, Königstein, 1985, p.259-260

£7,000-9,000

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185 HC839/1 KOLOMAN MOSER (1868-1918) FOR PORTOIS & FIX, VIENNA

PALISANDER WOOD SIDEBOARD, CIRCA 1905 veneered and inlaid, the canted upper section with bevelled glazed doors above a panelled back, the lower section with a pull-out slide above a pair of cupboard doors enclosing three sliding trays, the legs with bronze sabots, bears ivorine maker’s label PORTOIS & FIX, WIEN III, UNGARGASSE 59-61 170cm wide, 179cm high, 65cm deep Literature: Fenz, Werner ‘Koloman Moser’, Vienna, 1984, p.159, ﬁg. 66 where a similar example is illustrated. Note: Portois & Fix were early manufacturers of designs by the secession artists including Otto Wagner, Josef Hoﬀmann and, as in this example, Koloman Moser.

£6,000-8,000

186 HD968/9 ATTRIBUTED TO JOSEPH MARIA OLBRICH

ART NOUVEAU 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 42cm wide, 101cm high, 40cm deep £300-500

187 HD970/45 GLASGOW SCHOOL

MAHOGANY AND INLAID CAQUETEUSE ARMCHAIR, CIRCA 1900 with marquetry inlaid tall back above curved open arms 63cm wide, 115cm high, 46cm deep £300-500

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188 HD381/1 ERNEST ARCHIBALD TAYLOR (1874-1951) FOR WYLIE & LOCHHEAD, GLASGOW

OAK HALL CUPBOARD, CIRCA 1900 with plank cornice above open shelf and single door inset with stained and leaded glass panel, above two further doors on stile supports, bears maker’s label, stamped serial no. 1/16663 129cm wide, 201cm high, 49cm deep £1,500-2,000

189 HD850/1 SCOTTISH SCHOOL

PAIR OF ARTS & CRAFTS EBONISED ARMCHAIRS, CIRCA 1900 each of caqueteuse form, with tall panelled backs decorated in penwork and depicting a lady in a forest and a lady at a window, above open arms and solid seat, raised on square cabriole legs (2) 64cm wide, 133cm high, 44cm deep £1,200-1,800

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190 HD633/1 ARTS & CRAFTS

LARGE OAK REFECTORY TABLE, CIRCA 1902 the rectangular planked top with moulded edge, supported by shaped brackets and square tapered legs carved with panels of stylised ﬂowering foliage, enclosing deep apron pierced with three heart motifs and linked by platform stretchers, 305cm long, 74.5cm high, 111cm deep; together with a SET OF TWELVE OAK DINING CHAIRS, CIRCA 1902, including two carvers, each with arched leather upholstered backs with close nailed decoration, raised above corresponding upholstered seats on turned and blocked legs united by stretchers, carvers 61cm wide, 118.5cm high, 56cm deep approx.; chairs 48cm wide, 115cm high, 46cm deep approx. (13) Provenance: Sir John Auld McTaggart, ‘Kelmscott’ Springkell Avenue, Glasgow Literature: The Studio Yearbook, 1906, page 7 where illustrated Haslam, Malcolm ‘Arts & Crafts Carpets’, p. 130, ﬁg. 81 The Art Journal 1901, commentary on the Glasgow International Exhibition, 1901 by Lewis F. Day

£12,000-18,000

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IR JOHN MACTAGGART (1867-1956), the Glaswegian property developer and builder, was instrumental in the residential development of Glasgow’s West End, and no less than 300 tenements were built by his company at the end of the 19th and the first half of the 20th century. In 1900 he commissioned the architect John Nisbet (1868-1951) to design a large new house for his own use, to overlook Springkell Avenue in Glasgow. Mactaggart was an admirer of William Morris, and named this new house ‘Kelmscott’ in homage to the Arts & Crafts leading advocate. Nisbet, a long-time collaborator with Mactaggart, had been a student and classmate of Charles Rennie Mackintosh at Glasgow School of Art. For this commission he incorporated Scots Baronial and English Queen Anne elements in his design, and the house was decorated and furnished with pieces from the leading Arts & Crafts designers and artists of the day, including Frank Brangwyn, from whom Mactaggart is said to have commissioned two paintings. The house is now a Grade B listed building and retains many of its original features, including an impressive installation of stained glass by Oscar Paterson. The present oak dining table was part of the original furnishings supplied for ‘Kelmscott’, and its undeniable Arts & Crafts origins can be seen in its visible construction, pronounced brackets, heart shaped pierced details and distinct stylised foliate carved panel legs. A photo of the table in situ, which appeared The Studio Yearbook of 1906, captioned Drawing Room designed by John Nisbet, shows it in an interior incorporating influences of the Arts & Crafts, Art Nouveau, and Historical Revival movements. The designer of the table has, by repute, been linked to Sir Frank Brangwyn. It is certainly likely to have been a special commission for the new house, perhaps supervised by Nisbet himself, with the chairs chosen to complement the scheme. The table stands on a Celtic Revival Donegal carpet by Alexander Morton & Co. for Liberty & Co.; on the dado rail rests a brass charger, probably by W.J. Neatby and on the table is placed a glass bowl by James Powell with metal elements by W.A.S. Benson, whose stand at the recent Glasgow International Exhibition of 1901 had been such a critical success. Elsewhere the house features furniture by Liberty & Co. and Wylie & Lochhead and a Glasgow Style embroidered panel by Ann McBeth is incorporated into the fire surround in the Drawing Room.

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191 HD904/12 CONTINENTAL CELTIC REVIVAL

CARVED OAK SIDE CABINET AND COMPANION CABINET, CIRCA 1900 the carved projecting cornice with Celtic knot and mask decoration above two doors with stained and leaded glass panels, decorative hinges and decorative carving above an open shelf with three column supports, the whole raised on a plinth, 139cm wide, 217cm high, 55cm deep; and a MATCHING COMPANION CELTIC REVIVAL CABINET, with open shelf and single cupboard below, raised on turned supports on a plinth, 69cm wide, 181cm high, 53cm deep (2) £800-1,200

192 SV705/128 LIBERTY & CO., LONDON

MAHOGANY ‘THEBES’ STOOL, CIRCA 1900 the dished upholstered seat raised on horizontally ﬂuted turned legs with baluster outline, linked by a spindle ﬁlled gallery 44cm square, 38cm high £600-800

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193 HD886/6 ARTS & CRAFTS

OAK FRAMED RECLINING ARMCHAIR, CIRCA 1910 the later upholstered back and seat enclosed within broad open arms with removable reading stand, on tapered plank supports with pad feet 87cm wide, 97cm high, 87cm deep approx. £600-800

194 HD886/9 ATTRIBUTED TO BATH CABINET MAKERS

INLAID OAK HALL CUPBOARD, CIRCA 1900 the projecting arched cornice inlaid with marquetry panel, depicting nesting owls in a mountain landscape and enclosing a repousse copper panel, above twin doors with beaten copper hinges and handle, enclosed by copper, brass and pewter inlaid panels on ogee squared legs 137cm wide, 221cm high, 50.5cm deep £1,500-2,000

195 HB217/7 E.G. PUNNETT FOR WILLIAM BIRCH LTD, HIGH WYCOMBE

ARTS & CRAFTS OAK HIGH BACKED ARMCHAIR, CIRCA 1901 the serpentine top rail with pewter inlay above tall slated back and curved open arms, the shaped seat on square tapering legs linked by stretchers 52cm wide, 117cm high, 42cm deep £600-800

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196 HD440/1 SHAPLAND & PETTER, BARNSTAPLE

OAK TALLBOY, CIRCA 1900 the projecting cornice above two panelled doors enclosing a shelved interior and two short over three long drawers on bracket feet, bears retailer’s label 130cm wide, 168cm high, 55cm deep £500-700

197 HD904/11 SHAPLAND & PETTER, BARNSTAPLE

OAK SMOKERS CABINET, CIRCA 1900 the pierced surmount above a projecting cornice with bracket supports and a single door with deeply carved decorative motif, enclosing a ﬁtted interior above single drawer and further door below 86cm wide, 188cm high, 46cm deep £400-600

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198 HD904/10 LIBERTY & CO., LONDON

OAK HALL CUPBOARD, CIRCA 1900 with two upper sliding doors, carved in relief with fruiting vines, above twin panelled doors with brass ﬁttings raised on stile supports, ivorine label to the reverse LIBERTY & CO, LONDON, W 150cm wide, 119cm high, 47cm deep £1,000-1,500

199 HD440/2 ARTS & CRAFTS

OAK OPEN ARMCHAIR, CIRCA 1900 with tall back and pierced top rail, above embroidered seat, open arms on square legs linked by stretchers 62cm wide, 123cm high, 46cm deep £300-500

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200Y HD886/11 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 32cm wide, 30cm high, 28cm deep £3,000-5,000

201 FE298/1 ATTRIBUTED TO SIR FRANK BRANGWYN FOR NORMAN & 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 labels JOHN WOOD & SONS LTD./ ALTRINCHAM (8) 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.

£1,800-2,200

202 HD970/32 MANNER OF ROBERT WEIR SCHULTZ MAHOGANY INLAID WALL MIRROR, CIRCA 1900 the rectangular frame inlaid with mother of pearl foliate motifs 62cm x 84cm £500-800

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203 HD970/31 WYLIE & LOCHHEAD, GLASGOW

SET OF EIGHT MAHOGANY LADDERBACK DINING CHAIRS, CIRCA 1900 including two carvers, each chair with serrated serpentine horizontal slats above drop-in upholstered seats with ﬂame pattern original fabric, raised on square tapering legs linked by stretchers, bear maker’s marks (8) chairs, 46cm wide, 97cm high, 40cm deep £3,000-5,000

204 HD970/47 ARTS & CRAFTS

CARVED OAK WALL CABINET, CIRCA 1890 the projecting cornice above two doors each with carved foliate panels, enclosed by angled panels also profusely carved and above an open shelf 88cm wide, 73cm high, 17cm deep £300-500

205 HD886/20 ARTS & CRAFTS

FOLDING AND EXTENDING OAK OCCASIONAL TABLE, CIRCA 1920 the rectangular hinged top raised on chamfered square supports linked by stretchers 92cm long (open), 60cm high, 55cm deep £250-350

206 HD886/5 W. R. LETHABY (1857-1931) FOR LIBERTY & CO., LONDON

ARTS & CRAFTS OAK CARVER CHAIR the serpentine top rail with ogee ﬁnials above a slatted back and curved open arms, the drop-in seat on squared chamfered legs linked by a serpentine stretcher 60cm wide, 109.5cm high, 52cm deep approx. £150-200

207 HD970/48 ARTS & CRAFTS

MAHOGANY TABLE CABINET, CIRCA 1900 the projecting cornice above a single inlaid door with drawer below, steel handles 31cm wide, 46cm high, 20cm deep £200-300

208 HD91/95 ARTS & CRAFTS

OAK SIDE CABINET, CIRCA 1910 with pierced upstand and stepped top above an open shelf and single glazed door, the pierced sides with glass backed cut-out plant motifs, enclosing bookshelves 85cm wide, 139cm high, 38cm deep £200-300

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209 HD970/43 AFTER C.F.A. VOYSEY

ARTS & CRAFTS OAK CENTRE TABLE, MODERN the circular top raised on square supports with cross stretchers 149cm diameter, 78cm high Literature: RIBA catalogue, ﬁgure 78.

£1,000-1,500

210 HD620/5 ART NOUVEAU

MAHOGANY FRAMED ARMCHAIR, CIRCA 1900 with later Liberty print fabric upholstery 56cm wide, 110cm high, 53cm deep £600-800

211 HD886/1 WYLIE & LOCHHEAD, GLASGOW

SET OF EIGHT ARTS & CRAFTS OAK DINING CHAIRS, CIRCA 1900 included two carvers, each chair with tall tapering back and upholstered close nailed leather panel above webbed seats with drop-in leather squab cushions, on square tapering legs united by stretchers, stamped B 62 (8) carvers, 62cm wide, 120cm high, 52cm deep; chairs, 48.5cm wide, 115.5cm high, 48cm deep £800-1,200

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212 HD924/4 ART NOUVEAU

WHITE PAINTED GAMES TABLE, CIRCA 1900 the octagonal top with eight guinea wells enclosing central baize panel, with hinged compartment, above shaped supports enclosing undertier supported by curved brackets and terminating in pad feet 112cm wide, 74cm high £700-900

213 HD924/1 SHAPLAND & PETTER, BARNSTAPLE

ART NOUVEAU MAHOGANY AND INLAND REVOLVING BOOKCASE, CIRCA 1900 profusely marquetry inlaid, the serpentine square top above shelved sides with marquetry panels raised on a revolving base 55cm wide, 82.5cm high £1,000-1,500

214 HD487/1 ART NOUVEAU

MAHOGANY AND INLAID SIDE CABINET, CIRCA 1900 the shaped ledge back above two doors with shelved interior raised on turned legs linked by a lower shelf, the whole with elaborate marquetry inlay, bears retailer’s label CHARLES JENNER & CO./ PRINCES STREET/ EDINBURGH 76cm wide, 150cm high, 41cm deep £400-600

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215 HD852/1 LIBERTY & CO., LONDON

SET OF SIX ARTS & CRAFTS OAK DINING CHAIRS, CIRCA 1900 including two carvers, each with slat ﬁlled backs carved with stylised plat forms above close nailed upholstered seats on square tapering legs linked by stretchers (6) Carvers 61cm wide, 111cm high, 52cm deep; chairs 46cm wide, 100cm high, 42cm deep £800-1,200

216 HD91/6 ARTS & CRAFTS

MAHOGANY WRITING DESK, CIRCA 1900 probably Maples, with folding writing surface, the superstructure with arrangement of cupboards and drawers above a single drawer and open shelf below 69cm wide, 136cm high, 41cm deep £200-300

217 HD970/50 ARTS & CRAFTS

MAHOGANY SIDE CABINET, CIRCA 1900 with an open shelf above two doors with panels carved with radiating leaf design above two drawers on splayed feet, with brass ring handles with heart-shaped backplates 44cm wide, 66cm high, 28cm deep £300-500

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Pictures: Part II 218§ HD58/15 BRAIDA STANLEY-CREEK (BRITISH 1909-1952) DIANA THE HUNTRESS Watercolour

35cm x 47cm (13.75in x 18.5in) £300-500

219 HD58/50 HENRY ALBERT PAYNE (BRITISH 1868-1940) STUDY FOR THE CANTERBURY TALES Watercolour 30cm x 38cm (11.75in x 15in) Provenance: The Fine Art Society, London

£200-300

220§ HD475/1 PERPETUA POPE (SCOTTISH 1916-2013) CORN Signed, oil on canvas

34cm x 39cm (13.5in x 15.25in) Exhibited: Aitken & Dott, 1978.

£500-700

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221 HD58/22 GEORGE PRICE BOYCE (BRITISH 1826-1897)

222§ HD58/32 REGINALD F. HALLWARD (BRITISH 1858-1948)

37cm x 33cm (14.5in x 13in) £600-800

15cm x 8cm (6in x 3in) £300-500

ANDUZE, FRANCE Watercolour

223 HD58/66 EDITH MARTINEAU (BRITISH 1842-1909)

A YOUNG GIRL WEARING A HEADSCARF Signed with monogram and dated 1869, watercolour 30cm x 27cm (11.75in x 10.5in) £700-900

NUDE STUDY Charcoal

224 HD58/77 GEORGE LAWRENCE BULLEID (BRITISH 1858-1933)

HEAD STUDY OF A GIRL IN A FLORAL HEADDRESS Watercolour 12.5cm x 12.5cm (5in x 5in) £400-600

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225 HD379/13A 19TH CENTURY BRITISH SCHOOL

PORTRAIT OF A GENTLEMAN Inscribed ‘Hugh Collins, 1st August 1889,’ oil on canvas 57cm x 47cm (22.5in x 18.5in), oval £250-350

226§ HD370/14 WILLIAM WILSON R.S.A., R.S.W. (SCOTTISH 1905-1972)

PORTRAIT OF A GENTLEMAN Signed, dated 1937 and inscribed ‘Trial Proof’ in pencil to margin, etching 31.5cm x 24cm (12.5in x 9.5in) Provenance:. Collection of David Michie, O.B.E, R.S.A.

£300-500

227 HD691/3 ANDERS ZORN (SWEDISH 1860-1920)

THE MASTER-SMITH Signed in pencil to margin, dated ‘1907’ in plate, etching 22cm x 15.5cm (8.75in x 6.25in) £700-900

228§ HD67/20 SIR WILLIAM ROTHENSTEIN (BRITISH 1872-1945)

PORTRAIT OF A MAN Signed and dated ‘97, inscribed with personal message, pencil 30.5cm x 24cm (12in x 9.5in) £250-350

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229 HD58/65 JEAN ACHILLE BÉNOUVILLE (FRENCH 1815-1891)

230§ HD58/83 RODRIGO MOYNIHAN (BRITISH 1910-1991)

30cm x 22cm (11.75in x 8.75in)

50cm x 39cm (19.75in x 15.5in) £500-700

CLASSICAL FIGURE IN DRAPERIES No. 117, studio stamped, pencil Provenance: Julian Hartnoll Gallery, London

PORTRAIT OF A GIRL WEARING A GARNET NECKLACE Signed and dated 1949, oil on canvas

£300-500

231 HD58/91 FREDERICK (FRED) MORGAN (BRITISH 1856-1927)

232§ HD379/13 MANNER OF HARRY BAINES (1910-1995)

34cm x 25cm (13.25in x 9.75in) £300-500

23cm x 19cm (9in x 7.5in) £250-350

HEAD OF A BOY Charcoal study

HEAD STUDY Signed ‘Baines,’ pencil and ink

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233 HD902/1 WALTER GRAHAM GRIEVE R.S.A., R.S.W. (SCOTTISH 1872-1937) VASE OF FLOWERS Oil on panel

44cm x 34cm (17.25in x 13.25in) £600-800

235§ HD475/2 ALICK RIDDELL STURROCK (SCOTTISH 1885-1953) PINKS Signed, oil on canvas laid on board

234§ HD473/2 LENA ROBB (BRITISH 1891-1980) PEONY ROSES Signed, oil on canvasboard

49cm x 39cm (19.25in x 15.5in) £300-500

236§ SV0244/5 WILLIAM JAMES LAIDLAW BAILLIE R.S.A., R.S.W., R.G.I., H.R.A. (SCOTTISH 1923-2011)

26cm x 34cm (10.25in x 13.5in)

IRISES Signed and dated 1982, inscribed verso, oil on canvas

Exhibited: A.R. Sturrock Memorial Exhibition, November 1953.

61cm x 51cm (24in x 20in) £600-800

£300-500

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Jewellery 237 HD967/5 JAMES CROMAR WATT (1862-1940)

ARTS & CRAFTS ENAMEL AND PEARL SET NECKLACE, CIRCA 1905 the teardrop shaped pearl pendant below curled scrolls and flanked by chains fitted with small pearls and glass beads, mounted with six green enamel panels 39cm long approx. Literature: The Art Journal, 1907, which shows an image of the necklace in a group of ‘selected pieces of jewellery by Cromar J. Watt’. Note: James Cromar Watt was born in Aberdeen. He worked in precious metals, developed particular skills in the ancient techniques of gold granulation and translucent foiled enamelling. His work was exhibited in Turin in 1902 and was illustrated in the Art Journal periodical of the time. Some of his pieces were strongly influenced by the enamel work of Phoebe Traquair and some was designed in association with the painter and stained glass artist, Douglas Strachan. His work is predominantly in the collection of the Aberdeen Art Gallery & Museum.

£3,000-5,000

238 HD915/13 ATTRIBUTED TO RHODA WAGER

DOUBLET CUT OPAL AND WHITE METAL BROOCH, CIRCA 1920 the collet set opal amongst leaves and berries, with an inscription to verso JEAN FROM DON/ 13.6.’39, with a single pendant loop 5cm across £250-350

239 HD915/10 ATTRIBUTED TO RHODA WAGER

DOUBLET CUT OPAL AND WHITE METAL PENDANT, CIRCA 1920 the collet set opal ﬂanked and surmounted by tapered leaves and berries, with a hanging loop 4.8cm long £250-350

240 HD915/8 ATTRIBUTED TO DORRIE NOSSITER

MOONSTONE, GEM SET AND WHITE METAL BROOCH, 1920s the cluster of gems set amongst wire scrolls on a pointed sword bar 6.7cm long/across £250-350

241 HD915/1 SCOTTISH ARTS & CRAFTS

ENAMEL AND WHITE METAL CHOKER, CIRCA 1900 comprising six circular panels in blue and green enamels with stylised ﬂoral motifs, linked by double chains 33.5cm long £300-500

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242 HD989/1 GEORG JENSEN (1866-1935)

WHITE METAL AND MOONSTONE SET PENDANT, EARLY 20TH CENTURY the bud motifs set with moonstone cabochons, suspended from paperclip chain, stamped makers marks GEORG JENSEN/ 830S/ 17 pendant 5cm long £400-600

243 242

243 HD915/4 ATTRIBUTED TO EDITH LINNELL

PAIR OF GEM SET AND WHITE METAL EARCLIPS, CIRCA 1920 each with four claw set stones with a curved oak leaf, with impressed ﬂower head motif to clip back (2) 2cm long £200-300

244 245

244 HD915/3 EDITH LINNELL

GEM SET, PEARL AND WHITE METAL BAR BROOCH, CIRCA 1920 the centrally set stones and seed pearl ﬂanked by leaves and berries, in original box with maker’s details to lid ART JEWELLER/ EDITH LINNELL/ MOSELEY, BIRMINGHAM 7.8cm across £300-500

245 HD915/11 ATTRIBUTED TO BERNARD INSTONE

AMETHYST AND WHITE METAL RING, EARLY 20TH CENTURY with three facet cut claw set stones in an oval setting decorated with leaves and berries ring size M £150-250

246 HD915/2 ARTS & CRAFTS

ENAMEL, GEM SET, SILVER AND GILT RING, CIRCA 1900 the circular enamel panel decorated with a ﬂowerhead on a coloured ground, with gem set heart shaped shoulders with gilt leaves, marked SILVER ring size O/P £150-250

247 HD915/7 ATTRIBUTED TO KATE EADIE

OPAL, GILT AND WHITE METAL RING, CIRCA 1910 the claw set opal cabochon above a twisted metal border, mounted with a three leaf clover to each shoulder ring size P £300-500

248 HD915/6 ATTRIBUTED TO AMY SANDHEIM

AMAZONITE AND MOONSTONE WHITE METAL NECKLACE, CIRCA 1910 the tapered polished stone below a ﬂowerheads and berries mount set with three backed moonstones, on an associated ﬂower head and loop chain pendant 6.8cm long, chain 44cm long approx. £250-350

249 HD915/5 ATTRIBUTED TO THE ARTIFICERS’ GUILD LTD.

AMETHYST AND YELLOW METAL RING, CIRCA 1920 the collet set circular stone in a pierced oblong setting decorated with stylised leaves and berries, ﬂanked by open shoulders ring size N/O £200-300

250 HD915/9 ATTRIBUTED TO BERNARD INSTONE

TURQUOISE BROOCH AND RING, EARLY 20TH CENTURY the brooch with a large cabochon and three smaller claw set cabochons, in a stylised leafy setting, 7.1cm long; the ring with a claw set cabochon above ﬂowerheads and leaves to each shoulder, marked SILVER, ring size H (2) £200-300

251 HD915/15 ATTRIBUTED TO BERNARD INSTONE

AMETHYST, ENAMEL, SILVER AND GILT RING, EARLY 20TH CENTURY the collet set canted stone within a leaf and ﬂower head border, indistinctly marked STERLING SILVER ring size O/P £250-350

252 HD915/14 BERNARD INSTONE (1891-1987)

GEM SET SILVER AND GILT RING, EARLY 20TH CENTURY the collet set cabochons and gems ﬂanked by stylised heart motifs to each shoulder, marked SILVER/ BI, with inscription M. L. B./ OCTOBER 1938, one stone replaced, ring size N; together with a BERNARD INSTONE (1891-1987), GEM SET AND SILVER RING, the central collet set stone in an oval setting decorated with wire scrolls, marked SILVER/ BI, ring size N (2) £200-300

253 HD713/5 ARTS & CRAFTS

HAMMERED SILVER AND ENAMEL BELT BUCKLE, DATED 1903 of panelled form, with a Celtic knot enamelled with reds, yellows, greens and blues, above three smaller panels, maker’s marks for Levi & Salaman, hallmarked Birmingham 1903 5.5cm wide £250-400

254 HD105/10 REGITZE OVERGAARD (b. 1946) FOR GEORG JENSEN

‘SPIRIT’ SILVER AND GLASS BEADED NECKLACE AND EARRING SET, LATE 20TH CENTURY comprised of glass orbs set in silver and linked by a ﬁne chain, with corresponding orb earrings, stamped marks GJ 925S (3) necklace, 92cm long £200-300

255 HD989/5 GEORG JENSEN (1866-1935)

STERLING BROOCH, 1933-1944 cast with a bird within foliate band, stamped marks GEORG JENSEN/ STERLING/ DENMARK/ 70 6cm diameter £150-250

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256 HC941/5 GEORG JENSEN (1866-1935) AND HARALD NIELSEN (1892-1977)

‘MOONLIGHT BLOSSOM’ STERLING AND MOONSTONE SET NECKLACE, MID 20TH CENTURY alternately mounted with foliate links and moonstone cabochons, stamped marks GEORG JENSEN/ 925S/ DENMARK/ 15 48cm long £600-800

257 HD208/1 GEORG JENSEN (1866-1935)

‘MOONLIGHT BLOSSOM’ SUITE OF SILVER JEWELLERY, LATE 20TH CENTURY comprising: a necklace; bracelet; pair of earrings; and a pair of studs; each set with a moonstone cabochon, with maker’s marks and hallmarks, in a presentation box (6) Necklace: 44cm long; bracelet: 19.5cm long £800-1,200

258 HC941/2 ARNO MALINOWSKI (1899-1976) FOR GEORG JENSEN

STERLING BIRD BROOCH, CIRCA 1940 stamped marks GEORG JENSEN/ STERLING/ DENMARK/ 309; 5cm across; and another; STERLING DOLPHIN BROOCH, CIRCA 1950 stamped marks GEORG JENSEN/ 925S/ DENMARK/ 257; 4cm tall (2) 5cm across £300-400

259 HD989/4 GEORG JENSEN (1866-1935)

STERLING AND BLUE MOONSTONE BROOCH cast with stylised fruiting foliage, stamped marks GEORG JENSEN/ 830/ 77 3.4cm across £150-250

260 HD989/3 HENNING KOPPEL (1918-1981) FOR GEORG JENSEN

AMORPHIC STERLING AND ENAMELLED BROOCH, CIRCA 1970 black enamel, stamped marks GEORG JENSEN/ 925S/ DENMARK/ HK/ 315 4.5cm across £300-500

261 HD989/2 HENNING KOPPEL (1918-1981) FOR GEORG JENSEN

AMORPHIC STERLING AND ENAMELLED BROOCH, CIRCA 1970 stamped marks GEORG JENSEN/ 925S/ DENMARK/ HK/ 306 5cm across £300-500

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Metalwares 262 HD967/1 ATTRIBUTED TO WILLIAM BURGES FOR HART, SON, PEARD & CO.

SILVER & ENAMEL WAFER BOX, DATED 1869 of circular form, the hinged cover decorated with The Lamb of God, the base with the monogram IHS, in red and blue enamels, with silver wirework borders, opening to a gilt interior, with maker’s marks and hallmarked London 1896 4.5cm diameter Note: In 1866/7 Hart & Son amalgamated with Peard & Jackson, manufacturers of medieval art metal works. Hart, Son, Peard & Co. was regularly represented at the international exhibitions including London, Dublin, Paris and Philadelphia where they exhibited artistic metalwork, chieﬂy for ecclesiastical purposes. They are thought to have been the manufacturers of a gilt dish with silver and niello decoration designed by Burges in 1875.

£600-800

263 HD155/3 CHRISTOPHER DRESSER (1834-1904) FOR HUKIN & HEATH, LONDON RARE ELECTROPLATED TOAST RACK, CIRCA 1880 with six dividers for toast, raised on a curved base, stamped marks H&H/ 2554 15cm wide, 12cm high Literature: ‘Christopher Dresser & Japan’, exhibition catalogue, Koriyama City Museum of Art, 2002, page 135, no. 107 illus. Note: For a similar example see Victoria & Albert Museum, London, Museum no. M.31-1971

£300-500

264 HD970/68 FREDERICK ELKINGTON, LONDON

AESTHETIC MOVEMENT FOUR PIECE SILVER TEA & COFFEE SERVICE, CIRCA 1880 each decorated in the Japanese manner with geometric bands and bamboo branches and comprising a COFFEE POT, 29cm high; a TEA POT, 20cm high; a TWIN-HANDLED SUGAR BOWL, 15cm across; and a MILK JUG, 13cm high, each with maker’s marks, hallmarked London 1879-80 (4) £600-800

265 HD923/4 HUKIN & HEATH, LONDON

266 HB825/18 A. E. JONES & SONS

267 HD57/81 LIBERTY & CO., LONDON

14cm across £200-300

7.5cm high £200-300

8.6cm diameter, 6cm high £200-300

PLATED SALT AND VESTA, CIRCA 1880 the star shaped base with curved handle and cylindrical salt and vesta, the salt with blue glass liner, stamped maker’s and registration marks

SILVER INKWELL, CIRCA 1905 the hinged cover fitted with a cabochon finial and engraved M.M.B., above a spreading base fitted with a blue liner, with maker’s stamp, hallmarked Birmingham 1905

‘CYMRIC’ SILVER INKWELL, CIRCA 1900 of cylindrical form set with turquoise cabochons, with domed cover and glass liner above dished base, hallmarked Birmingham, maker’s marks CYMRIC/ L&Co

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268 HD57/80 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON

‘CYMRIC’ SILVER AND ENAMEL BOTTLE HOLDER, CIRCA 1906 of cylindrical form with opposed enamelled Celtic knotwork bands, hallmarked Birmingham 1906, maker’s marks L&Co 5cm diameter, 8.5cm high £500-700

269 HD57/91 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON

‘CYMRIC’ SILVER AND ENAMEL BOX AND COVER, CIRCA 1904 inset to the cover with enamelled Celtic knot, maker’s mark L&C/ CYMRIC, hallmarked Birmingham 1904, 6cm diameter, 4cm high; together with an ARCHIBALD KNOX (1864-1933), FOR LIBERTY & CO., LONDON SILVER AND ENAMEL PILL BOX, CIRCA 1905, set with shagreen enamel Celtic boss, maker’s mark L&C/ CYMRIC, hallmarked Birmingham 1904, 5cm diameter (2) £300-500

270 HD900/3 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON

‘CYMRIC’ SILVER, ENAMEL AND INLAID PHOTOGRAPH FRAME, DATE 1905 of rectangular form with rounded corners, embossed with Celtic knots with enamel highlights, and inset with cabochon stones, on a leather back, with maker’s marks and hallmarked Birmingham 1905, number 5292 14.5cm high £2,000-3,000

271 HD900/4 WILLIAM HUTTON & SONS LTD.

ART NOUVEAU SILVER AND ENAMEL PHOTOGRAPH FRAME, DATED 1903 of square outline with shaped corners, decorated with stylised plant form motifs inset with blue and green enamel, on an oak back, with maker’s marks and hallmarked London 1903, registered number 404507 19cm high £3,000-4,000

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272 HD900/2 ART NOUVEAU

SILVER AND ENAMEL PHOTOGRAPH FRAME, DATED 1904 of waisted square outline, embossed with scrolling ﬂowers, some in blue and green enamels, on an oak back, maker’s marks and hallmarked Birmingham 1904 18cm high £1,000-1,500

273 HD900/1 HENRY CHARLES FREEMAN

PAIR OF SILVER ART NOUVEAU PHOTOGRAPH FRAMES, DATED 1904 each of oval outline, embossed with butterﬂies and ﬂowers, on an oak back, with maker’s marks and hallmarked London 1904, registered number 444518 (2) 17cm high £1,500-2,500

274 HD160/3 ATTRIBUTED TO JOHN PAUL COOPER WHITE METAL MOUNTED SHAGREEN BOX AND COVER, 1930s of cylindrical form, with metal bands, apparently unmarked 11cm diameter, 7.5cm high £300-500

275 HD940/1 ROBERT & WILLIAM SORLEY, GLASGOW

PAIR OF ARTS & CRAFTS SILVER CANDLESTICKS, CIRCA 1906 decorated with decorative faux riveted strapwork, stamped maker’s marks, hallmarked Sheﬃeld 1905-6 (2) 12cm high £300-500

276 HD57/84 W. H. HASELER, BIRMINGHAM

SILVER DRESSING TABLE SET, CIRCA 1906 comprising a HAIR BRUSH, 25cm long; and TWO CLOTHES BRUSHES, 17.8cm long, each with Celtic knot repoussé decoration and inset turquoise cabochons, hallmarked Birmingham 1906; together with a LIBERTY & CO. LONDON, SILVER CLOTHES BRUSH, inset with a turquoise cabochon, rubbed hallmarks, 18cm long (4) £300-500

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277 HD57/85 OMAR RAMSDEN AND ALWYN CARR

SILVER CIGARETTE BOX, CIRCA 1911 the planished surface repousse decorated to the cover with Art Nouveau entwined tendrils, bears inscription under base OMAR RAMSDEN ET ALWYN CARR ME FECERUNT, hallmarked London 1911 18cm wide, 5cm high, 9cm deep £800-1,200

278 HC411/2 STUART DEVLIN (b. 1931)

PAIR OF SILVER AND SILVER GILT SAUCE BOAT, CIRCA 1972 with applied ﬁligree decoration and with gilded interior, hallmarked London, 1971-72, 533.5g (2) 21.5cm across £1,500-2,000

279 HC411/1 STUART DEVLIN (B. 1931)

SILVER AND SILVER GILT SAUCE BOAT, CIRCA 1970 with applied ﬁligree decoration and with gilded interior, hallmarked London, 1969-70, 775.2g 27cm across £1,500-2,000

280 HC411/3 STUART DEVLIN (b. 1931)

SILVER AND SILVER GILT SAUCE LADLE, CIRCA 1976 with applied ﬁligree decoration and with gilded interior, hallmarked London, 1976, 73.9g 16cm across £200-300

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281 HD91/108A WMF (WURTTEMBERGISCHE METALLWAREN FABRIK)

PAIR OF ART NOUVEAU SILVER PLATE VASES, CIRCA 1900 each modelled as a boy fishing with a mermaid watching on one and a merman on the other holding a fish, further embellished with fish and aquatic foliage, each with stamped maker’s marks WMF (2) 28.5cm high £300-500

282 HD967/6 MANNER OF PUIFORCAT

FRENCH ART DECO SILVER PLATED TEA & COFFEE SERVICE, CIRCA 1930 comprising a coﬀee pot, 15.5cm high; a tea pot, 13.5cm high; a sugar bowl, 9cm high; and a milk jug, 8.5cm high; each of panelled octagonal form, with Macassar ebony handles and ﬁnials, with maker’s marks AI with an anchor (4) £400-600

283 HD765/1 GEORG JENSEN (1866-1935)

PAIR OF STERLING GRAPE SCISSORS, POST 1945 with planished ﬁnish, the handles cast with fruiting vines, stamped maker’s marks GEORG JENSEN/ 925S/ DENMARK/ 139 13cm long £200-300

284 HD499/4 ALEXANDER RITCHIE (1856-1941)

SILVER FORK, CIRCA 1940 with cast Celtic decoration, maker’s marks AR/ IONA/ ICA, hallmarked Birmingham 1939/40 14.5cm long £150-250

285 HD904/8 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON

‘TUDRIC’ PEWTER CAKE BASKET, CIRCA 1900 cast with stylised foliate design , stamped maker’s marks ENGLISH PEWTER/ 0357, 30cm across; a TUDRIC PEWTER HOT WATER JUG, stamped marks ENGLISH PEWTER/ 0280, 19.5cm high; and a PEWTER SUGAR SIFTER, 17cm high (3) £150-250

286 HD967/4 CHARLES RENNIE MACKINTOSH (1868-1928)

SILVER PLATED PRESERVE SPOON, DESIGNED 1905 the handle with terminating with a trefoil end, stamped maker’s marks, 15cm long; together with a TEASPOON of the same design, 13cm long (2) £100-200

287 HC154/2 ATTRIBUTED TO WILLIAM KELLOCK BROWN

ARTS & CRAFTS COPPER WALL SCONCE, CIRCA 1900 the backplate repousse decorated with opposed putti, chased initials KB (candle nozzle lacking), 46cm high; and a COPPER SERVING TRAY, chased with an Art Nouveau whiplash foliate design on a hammered ground, 57cm long (2) £200-300

288 HD904/4 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON

PAIR OF ‘TUDRIC’ PEWTER BASES, CIRCA 1900 each of bullet shape with cast stylised foliate decoration, one with stamped maker’s marks ENGLISH PEWTER/ 0226 (2) 19cm high £200-300

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289 HD904/7 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON

PAIR OF ‘TUDRIC’ PEWTER CANDLESTICKS, CIRCA 1900 each cast with stylised foliate design on a hammered ground, the nozzle and broad drip tray above a shaped support on a domed base, stamped maker’s marks TUDRIC PEWTER/ 0223 23cm high £400-600

290 HD904/6 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON

SCARCE ‘TUDRIC’ PEWTER COMPORT, CIRCA 1900 cast with stylised foliate design on a hammered ground, the six-sided bowl above three shaped supports on a domed base, stamped maker’s marks TUDRIC PEWTER/ 01161 26.5cm high £600-800

291 HD904/5 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON

SIX-PIECE ‘TUDRIC’ PEWTER TEA & COFFEE SERVICE, CIRCA 1900 with cast whiplash foliate decoration on a hammered ground, comprising a COFFEE POT, 21.5cm high; a HOT WATER JUG, 22cm high; a TEA POT, 11cm high; a SUGAR BOWL, 13.5cm across; a MILK JUG, 14.5cm across; and a TWIN-HANDLED TRAY, 51cm across, each with stamped maker’s marks TUDRIC/ 0321 (6) £600-800

292 HD904/3 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON

‘TUDRIC’ PEWTER BISCUIT BARREL & COVER, CIRCA 1900 with chequer pattern stylised ﬂoral relief decoration and circular handle, stamped marks TUDRIC/ 0194 11cm high £250-350

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293 HD160/15 LIBERTY & CO., LONDON

‘TUDRIC’ PEWTER BOX, CIRCA 1900 of rectangular outline, with applied medallions cast with pine trees, stamped maker’s marks TUDRIC/ 0127 28.5cm wide £300-500

294 HD970/1 ATTRIBUTED TO GORDON RUSSELL FOR LYGON

ARTS & CRAFTS STEEL COMPANION SET, CIRCA 1900 comprising a poker, ash shovel, coal pincers and brush, each with square tapered handles supported on a stand with quadruped base with scrolling feet 59cm high £600-800

295 HD970/29 CHRISTOPHER DRESSER (1834-1904) FOR BENHAM & FROUD

SET OF THREE BRASS FIRE IRONS, CIRCA 1880 each with turned ebonised wood handles and turned, knopped and twisted stems, comprising an ASH SHOVEL, the pan pierced and embossed with a ﬁsh; a POKER; and a PAIR OF COAL TONGS (3) 72cm long £2,000-3,000

296 HD858/6 CHRISTOPHER DRESSER (1834-1904) FOR BENHAM & FROUD COPPER AND BRASS KETTLE, CIRCA 1880 of ovoid form with strut feet and wooden carrying handle, stamped maker’s marks 25cm high £150-200

297 HD170/4 CHRISTOPHER DRESSER (1834-1904) FOR KENRICK & SONS

CAST IRON TRIVET, CIRCA 1890 of tapered outline with handle and three legs, the surface cast with a foliate design, cast marks KENRICK & SO*/ NO8/ Rd15032 23cm long £150-250

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298 HD886/18 ARTS & CRAFTS

COPPER WALL CLOCK, CIRCA 1900 of shaped square form, repousse decorated with opposed ﬁsh and bearing inscription THUS WE MAY SEE QUOTH HE/ HOW THE WORLD WAGS, with bob pendulum and weight 44cm x 40cm £300-500

299 HD873/2 LIBERTY & CO., LONDON

COPPER FRAMED WALL MIRROR, CIRCA 1900 of tapering rectangular form, the frame repousse decorated with stylised tulips and further embellished with decorative rivets, bears ivorine maker’s label LIBERTY/ LONDON 63cm x 39.5cm £1,000-1,500

300 HD886/12 ALEXANDER RITCHIE (1856-1941)

BRASS TWIN HANDLED TRAY, CIRCA 1900 of long rectangular outline, repousse decorated with scrolling foliage and a griﬃn 79cm long, 23.5cm wide £300-500

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301 HC154/1 MARION HENDERSON WILSON (1869-1956)

BRASS TABLE CLOCK, CIRCA 1900 the circular dial with Roman numerals within a pointed arched case repousse decorated with a maiden in a garden with ﬁve angels above and bearing the inscription TIME FLIES, bears repousse initials TIME FLIES, later movement 45.5cm high £1,500-2,000

302 SV117/67 ATTRIBUTED TO MARION HENDERSON WILSON BRASS EMBOSSED WALL MIRROR, CIRCA 1900 of rectangular form, the frame embossed with stylised roses and ivy, enclosing an oval mirror plate 52.5cm x 72cm £600-800

303 HD970/42 ATTRIBUTED TO NORMAN & ERNEST SPITTLE, BIRMINGHAM

ARTS & CRAFTS BRASS CHARGER, CIRCA 1900 repousse decorated with central with a grotesque beast’s head within a border of stylised bud and boss motifs 54cm diameter £300-500

304 HD923/3 ARTS & CRAFTS

305 HD873/3 ARTS & CRAFTS

306 HD160/13 ART NOUVEAU

19cm across £200-300

53cm x 73cm £200-300

17cm wide £250-300

HAMMERED STEEL INKWELL, CIRCA 1900 with scrolling back and pen holder above a cylindrical lidded well with glass liner on spreading base decorated with vines

PEWTER WALL MIRROR, CIRCA 1910 of oval form with bevelled plate, the frame repousse decorated with ﬂowering foliage and set with blue Ruskin panels

BRASS AND COPPER TRINKET BOX, CIRCA 1900 embossed with whiplash foliate design, the lid with enamelled panel

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307 HD970/19 AMSTERDAM SCHOOL

LARGE BRASS CANDLESTICK, CIRCA 1900 the turned nozzle with broad drip tray, above a ﬂattened ovoid section support of shaped outline, raised on a spreading base 60cm high £600-800

308 HD751/2 GLASGOW SCHOOL

ARTS & CRAFTS COPPER WALL MIRROR, CIRCA 1900 of rectangular outline, the frame repousse decorated with opposed peacocks and bearing inscription VANITY, set to the angles with heart shaped turquoise Ruskin panels 51cm x 72cm £1,000-1,500

309 HD970/4 ARTS & CRAFTS

PAIR OF COTSWOLD SCHOOL BRASS CANDLESTICKS, CIRCA 1920 the turned nozzles with broad drip trays raised above a spirally twisted column on spreading domed base with riveted strap decoration (2) 28cm high £300-500

310 HD886/4 ARTS & CRAFTS

PATINATED COPPER FENDER, CIRCA 1900 of curved form with hammered ﬁnish, the front with applied repousse panels depicting pears 126cm wide, 16.5cm high, 44cm deep £100-200

311 HD160/12 ARTS & CRAFTS

COPPER TRINKET BOX, CIRCA 1900 with riveted strapwork decoration and hammered surface 21cm wide £150-200

312 HD751/3 ARTS & CRAFTS

PATINATED AND CAST IRON DESK STAND, CIRCA 1900 comprising a moulded glass inkwell raised on a cast pen stand decorated with stylised ﬂowers and leaves, with a impressed registration mark RD. NO. 519422 inkwell 6cm high, stand 13cm wide £100-200

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313 HD490/1A ATTRIBUTED TO OTTO KAINZ

PATINATED BRONZE FIGURAL LAMP, EARLY 20TH CENTURY cast with an acorn leaf canopy shade above the tree form column and naturalistic style base, mounted with a standing bear clutching sticks, wired for electricity 48cm high £600-800

314 HD490/1 ATTRIBUTED TO OTTO KAINZ

THREE PIECE PATINATED BRONZE DESK SET, EARLY 20TH CENTURY comprising a pen tray and covered inkwell, 38.5cm wide; a letter rack, 16.5cm wide; and an ink blotter, 17cm wide; mounted with bears and bear cubs (3) £800-1,200

315 HD160/11 MANNER OF PAUL FOLLOT

PAIR OF ART NOUVEAU BRONZE CANDELABRA, CIRCA 1900 each with three branches on a tapered column with open triform base, the whole with cast pine cone decoration, apparently unmarked (2) 32cm high £400-600

316 HD970/69 MANNER OF RICHARD RIEMERSCHMID

317 HD858/7 ART NOUVEAU

19cm diameter, 10cm high £200-300

40cm high £200-300

PAIR OF MUNICH SCHOOL BRASS CANDLESTICKS, CIRCA 1900 each with broad circular drip pans and angular curved handles supporting a turned nozzle (2)

FRENCH GILT METAL MANTEL CLOCK, CIRCA 1900 the twin train movement with circular painted dial within a case cast with ﬂowering tendrils and a maiden

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318 HD968/2 MODERNIST STYLE

CHROMIUM PLATED WALL CLOCK, CIRCA 1930 of ovoid form, the dial will applied enamelled copper chapters in green and red, supported by a curved arm with rectangular backplate 21cm wide, 30.5cm high, 36cm deep £400-600

319 HD160/7 J. A. HENCKELS, GERMANY

CHROMIUM PLATED ‘AEROPLANE’ TRAVELLING COCKTAIL SHAKER AND BAR, CIRCA 1930 the fuselage containing a screw top ﬂask, cocktail shaker with strainer, four ‘tot’ cups, and funnel, the undercarriage containing four stirring spoons, the ‘wings’ formed as removable hip ﬂasks and the tail containing a corkscrew, stamped manufacturer’s marks DRGM 89438/J.A. HENCKELS, TWIN WORKS, SOLINSEN, GERMANY 32cm long £3,000-5,000

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Furniture: Part III 320 HC839/2 MANNER OF ÉMILE-JACQUES RUHLMANN

FRENCH ART DECO HARDWOOD AND INLAID BUREAU, EARLY 20TH CENTURY the sloping fall inlaid with a panel of stylised ﬂowers, enclosing a ﬁtted interior with a shelf above three short drawers, with three frieze drawers, on ebonised supports, bears maker’s marks 84cm wide, 109cm high, 47cm deep £2,000-3,000

321 HC839/3 JULES LELEU (1883 –1961)

ART DECO BURR WALNUT ARMOIRE, 1930s with three doors, enclosing a fully veneered and ﬁtted interior of drawers and shelves, the angles embellished with shaped ﬁns with brass cappings, the whole raised on brass capped outswept bracket feet 210cm wide, 170cm high, 53cm deep £1,000-1,500

322 HC839/21 PAIR OF ART DECO WALNUT OCCASIONAL SIDE CABINETS

CIRCA 1930 each with rectangular tops above single doors with shallow ﬂuting and inlaid panel and with open shelves adjacent, the whole supported by square uprights and raised on a plinth (2) 81cm wide, 60cm high, 36cm deep £1,500-2,000

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323 HD881/1 HEAL & SON, LONDON

LIMED OAK BEDROOM SUITE, 1930s comprising a WARDROBE, with ﬁtted interior, bears maker’s label, 106cm wide, 185.5cm high, 53cm deep; a DRESSING TABLE, with triptych mirror above an arrangement of ﬁve drawers, bears maker’s label, 107cm wide, 148cm high, 50cm deep; a BEDSIDE TABLE, with single drawer, 33cm wide, 87cm high, 29.5cm deep; a DRESSING CHAIR, 71cm high; and a SINGLE BED, 92cm wide (5) £1,000-1,500

324 HD750/4 HUGH BIRKETT (1919-2002)

COTSWOLD SCHOOL MAHOGANY WALL CLOCK, DATED 1979 of twelve sided outline, the dial with carved Roman numerals and carved hands with gilded tips, inscribed ‘HUGH BIRKETT/ MORETON IN THE MARSH 1979’ 85cm high, 76cm wide Note: Hugh Birkett learned much of his craft working with Oliver Morel, the furniture maker, teacher and farmer, at his farm in Herefordshire in 1948. Morel had been a pupil of Edward Barnsley, who in turn had trained with his father Sidney Barnsley and Ernest Gimson at Sapperton. He moved to Morton-in-Marsh in 1966, where this clock was made.

£4,000-6,000

325 HD970/67 COTSWOLD SCHOOL

OAK LONG STOOL, CIRCA 1920 the rectangular upholstered seat raised on square canted supports linked by stretchers 123cm long, 44cm high, 40cm deep £500-800

326 HD970/58 COTSWOLD SCHOOL

OAK SPINNING CHAIR, 1920s the tall back with a pierced heart motif above chamfered plank seat on faceted tapered legs 30cm wide, 91cm high, 32cm deep £200-300

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327 HC839/12 ART DECO

MAHOGANY DINING ROOM SUITE, CIRCA 1930 comprising a SET OF SIX CHAIRS, each with horizontally ﬂuted backs above drop-in seats and square tapered legs, 45cm wide, 86cm high, 43cm deep; a DINING TABLE, with rectangular section supports, 164cm long, 76cm high, 106cm deep; a SIDEBOARD, with rectangular marble top above four central drawers ﬂanked by cupboards on a plinth; a SMALL SIDE TABLE, with single drawer, 51cm wide, 81cm high, 34cm deep; and a DISPLAY CABINET, with marble top over a single door enclosing shelves with a mirrored back, above two drawers on a platform base, 93cm wide, 136cm high, 48cm deep (10) £1,500-2,500

328 HD100/7 FRITS HENNINGSEN (1889-1965) FOR LYSBERG & HANSEN

OAK FRAMED WING ARMCHAIR, CIRCA 1920 with close nailed dark brown leather upholstery and open arms, the whole raised on carved cabriole legs, bears maker’s label 75cm wide, 112cm high, 57cm deep approx. Provenance: Select items from a Scottish Highlands estate

£400-600

329 HD995/59 ARTS & CRAFTS

CARVED OAK PEDESTAL, CIRCA 1900 the moulded square top above four panel sides, each carved in high relief with female ﬁgures representing the seasons, on a raised and moulded plinth base 34m wide, 93cm high, 34cm deep Provenance: Ravensby Hall, Carnoustie

£400-600

330 HD886/13 ZENITH FOR WHYTOCK & SONS, DUNDEE

OAK WALL CLOCK, CIRCA 1932 of convex circular form with gilt chapters and having 18 day Zenith Swiss movement, Rd no. 687088, maker’s marks and retailer’s marks verso 34cm diameter £300-500

331 HB818/1 HEAL & SON, LONDON

SINGLE MAHOGANY FOUR POSTER BED, CIRCA 1910 with arched canopy above tapering columns and broad head and foot boards, bears maker’s label 105cm wide, 194cm high, 204cm long £200-300

332 SV705/116 ARTS & CRAFTS

MAHOGANY OCCASIONAL TABLE, CIRCA 1930 the dished rectangular top with rounded ends above shaped trestle ends linked by a v shaped stretcher 131cm long, 44cm high, 33cm wide £200-400

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333 HD91/74 ARTS & CRAFTS

OAK AND INLAID BEDROOM SUITE, CIRCA 1900 comprising a WARDROBE, with projecting cornice above a central section of two doors and ﬁve drawers, ﬂanked by four further doors, chequer inlaid and with stylised marquetry decoration, 223cm wide, 195cm high, 54cm deep; a DRESSING CHEST, with central arched mirror enclosed by an arrangement of eleven drawers, 137cm wide, 202cm high, 56cm deep; and a TALLBOY, with two panelled doors with corresponding inlay, above four drawers on a plinth, 65cm wide, 109cm high, 52cm deep (3) £1,000-2,000

334 HD924/3 ARTHUR W. SIMPSON (1857-1952), KENDAL

ARTS & CRAFTS OAK GENTLEMAN’S WARDROBE, CIRCA 1900 the moulded cornice above a hinged mirror and three drawers ﬂanked by a single panelled door with pull down cupboard below enclosing a sliding shelf, characteristic brass handles and heart shaped escutcheons, bears maker’s label ARTHUR W. SIMPSON/ THE HANDICRAFTS/ KENDAL 120cm wide, 165cm high, 52cm deep £3,000-4,000

335 HD970/55 MANNER OF LIBERTY & CO., LONDON PAIR OF ARTS & CRAFT OAK ARMCHAIRS each with a leather upholstered back and seat, open arms and square legs linked by a pierced fretwork stretcher (2)

58cm wide, 96cm high, 49cm deep £300-500

336 HD701/1 MANNER OF LIBERTY & CO

PAIR OF ARTS & CRAFTS OAK TUB CHAIRS each with curved top rails with slat supports above a drop-in seat and corresponding base (2) 50cm wide, 75cm high, 46cm deep £200-300

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337 HD970/46 E.A. BROWN FOR CROSSLEY & BROWN

ARTS AND CRAFTS OAK DRESSER, 1920s the superstructure with plate stand and panel back over a base with two short drawers above a pair of cupboard doors each with ebony handles, raised on square legs 91cm wide, 158cm high, 51cm deep Literature: The Studio Yearbook of Decorative Art, 1925, illustrated

£600-800

338 HD970/27 ARTHUR SIMPSON (1857-1922), KENDAL

OAK CORNER CABINET, CIRCA 1900 the moulded and projecting cornice above twin leaded and glazed doors with characteristic brass handles, the whole raised on square legs joined by an undershelf 84cm wide, 188cm high, 52cm deep £800-1,200

339 HD924/2 ARTHUR W. SIMPSON (1857-1952), KENDAL

ARTS & CRAFTS OAK CHEST OF DRAWERS, CIRCA 1900 the rectangular top with beaded edge, above two short and two long drawers, with characteristic brass handles and heart escutcheons, raised on square legs, bears maker’s label ARTHUR W. SIMPSON/ THE HANDICRAFTS/ KENDAL 106cm wide, 92cm high, 57.5cm deep £1,500-2,000

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340 HD916/1 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) OAK REFECTORY TABLE, MID 20TH CENTURY the rectangular top with adzed surface above facetted baluster supports on sledge form feet linked by a stretcher, carved mouse signature 184cm long, 73cm high, 76cm deep £800-1,200

341 SV705/95 WHYTOCK & REID, EDINBURGH

ARTS & CRAFTS OAK AND BURR WALNUT INLAID BOOKCASE, CIRCA 1930 the moulded cornice above twin doors enclosing adjustable shelves raised above a moulded apron on moulded bracket feet 115cm wide, 188cm high, 39cm deep £1,000-1,500

342 SV705/140 WHYTOCK & REID, EDINBURGH

ARTS & CRAFTS OAK WATERFALL BOOKCASE, CIRCA 1930 with four graduated shelves raised on moulded bracket feet 108cm wide, 119cm high, 34cm deep £300-500

343 SV705/87 WHYTOCK & REID, EDINBURGH

344 SV705/81 WHYTOCK AND REID, EDINBURGH

92cm wide, 92cm high, 23cm deep £180-250

36cm high, 29cm wide £250-400

ARTS & CRAFTS WALNUT FIRESCREEN, CIRCA 1930 the arched top rail with cut-out handle raised above a framed and glazed textile panel on pad feet

ARTS & CRAFTS WALNUT AND PARCEL GILT WALL BAROMETER, EARLY 20TH CENTURY carved with cherries and leaves, bears initials JDM

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345 SV705/134 WHYTOCK & REID, EDINBURGH

ARTS & CRAFTS WALNUT AND BIRD’S EYE MAPLE TRIPTYCH MIRROR, CIRCA 1930 with bevelled mirror plate, the supporting uprights with seed pod ﬁnials, the whole raised on pad feet 99cm wide (approx.), 80cm high, 29cm deep £250-400

346 SV705/137 WHYTOCK & REID, EDINBURGH

ARTS & CRAFTS MAHOGANY DOUBLE BED, CIRCA 1930 the arched head board with shallow carved frieze of acorns, fruiting vines and hops, the carved side boards supporting a corresponding foot board carved with pomegranate, the whole raised on cabriole legs with ball and claw feet 145cm wide, 151.5cm high, 213cm long (exterior) £250-400

347 SV705/146 WHYTOCK & REID, EDINBURGH

SMALL ARTS & CRAFTS WALNUT DROP-LEAF OCCASIONAL TABLE, CIRCA 1930 the canted rectangular top with moulded rim, above tapering legs terminating in pad feet 80cm open, 68cm high, 74cm wide £200-300

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Pictures: Part III

348§ HD295/1 ADAM BRUCE THOMSON O.B.E., R.S.A., P.R.S.W., H.R.S.W. (SCOTTISH 1885-1976)

FLOWERS IN A CHINESE BOWL Signed, inscribed with the studio stamp twice and numbered 10 verso, oil on canvas 91cm x 71cm (36in x 28in)

349§ HC883/1 SIR TERRY FROST R.A. (BRITISH 1915-2003) ST. IVES Oil on canvas

49.5cm x 39.5cm (19.5in x 15.5in) and accompanying book ‘Terry Frost’ by David Lewis (2) £1,000-1,500

Exhibited: Scottish Gallery, Edinburgh, Centenary Exhibition 1985, no.10

£1,500-2,000

350 HC176/1 20TH CENTURY SCOTTISH SCHOOL

351§ HD729/9 JOSEPH M. GLASCO (AMERICAN 1925-1996)

28cm x 44.5cm (11in x 17.5in) £300-500

55.5cm x 43cm (22in x 17in) £300-500

MEARNS CROSS Oil on board

PORTRAIT Signed, ink

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352§ HD213/11 JOHN PIPER C.H. (BRITISH 1903-1992)

RUINED CHAPEL, ISLE OF MULL, 1975 Signed and numbered 65/70 in pencil to margin, screenprint

353§ SV0244/7 IVOR DAVIS (WELSH b. 1935) ABSTRACT LANDSCAPE Pencil and watercolour

67cm x 86cm (26.25in x 33.75in) £500-700

47cm x 80cm (18.5in x 31.5in) £300-500

354§ HD971/1 ADAM BRUCE THOMSON O.B.E., R.S.A., P.R.S.W., H.R.S.W. (SCOTTISH 1885-1976)

355§ HD858/1 JAMES MCINTOSH PATRICK (SCOTTISH 1907-1998)

BORDER LANDSCAPE WITH MAN AND HORSE Signed, studio stamp verso, oil on canvas 63cm x 75cm (24.75in x 29.5in) £1,000-1,500

ERROL ROAD, LONGFORGAN (CARSE OF GOWRIE) Signed, watercolour 35.5cm x 55cm (14in x 21.75in)

Exhibited: Duncan of Jordanstone College of Art, Centenary Fund 5/1993.

£800-1,200

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356§ HD99/2 LEONARD SQUIRRELL (BRITISH 1893-1973) RICHMOND CASTLE FROM THE GREEN Signed and dated 1935, pencil and watercolour 37cm x 54cm (14.5in x 21.25in) £400-600

357§ HD911/4 ADAM BRUCE THOMSON O.B.E., R.S.A., P.R.S.W., H.R.S.W. (SCOTTISH 1885-1976) CALVA ISLAND, IONA Signed, watercolour

29.5cm x 40.5cm (11.75in x 16in) £400-600

358§ HD93/3 HENRY MOORE O.M., C.H., F.B.A. (BRITISH 1898-1986)

359 HD473/8 R. KILPATRICK (20TH CENTURY SCOTTISH)

25cm x 27cm (10in x 10.75in) £400-600

55cm x 66.5cm (21.5in x 26.25in) £250-350

NATIVITY SCENE Signed and numbered 10/50 in pencil to margin, lithograph

EAST COAST HARBOUR Signed, oil on canvas

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360§ HD213/5 SIR ROBIN PHILIPSON R.A., P.R.S.A., R.S.W., R.G.I. (SCOTTISH 1916-1992) A COLLECTION OF ORIGINAL CHRISTMAS CARDS BY THE ARTIST Colour lithographs, unframed

Varying sizes, largest of which 27cm x 22cm (10.5in x 8.75in) £250-350

362§ HD213/5A SIR ROBIN PHILIPSON R.A., P.R.S.A., R.S.W., R.G.I. (SCOTTISH 1916-1992) A COLLECTION OF ORIGINAL CHRISTMAS CARDS BY THE ARTIST Colour lithographs, unframed

Varying sizes, largest of which 27cm x 22cm (10.5in x 8.75in) £250-350

361§ HD213/5B SIR ROBIN PHILIPSON R.A., P.R.S.A., R.S.W., R.G.I. (SCOTTISH 1916-1992)

A COLLECTION OF ORIGINAL CHRISTMAS CARDS BY THE ARTIST Colour lithographs, unframed except one Varying sizes, largest of which 27cm x 22cm (10.5in x 8.75in) £250-350

363§ HD729/6 KATE CAMERON (SCOTTISH 1874-1965)

ROSES Signed with initials, pencil, ink and watercolour 9.5cm x 8.5cm (3.75in x 3.25in) £150-250

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364§ HD473/5 ERNEST ARCHIBALD TAYLOR (SCOTTISH 1874-1951)

365§ HD841/2 ERNEST ARCHIBALD TAYLOR (SCOTTISH 1874-1951)

59cm x 79cm (23.25in x 31in) £800-1,200

15.5cm x 20cm (6in x 7.75in) £300-400

366§ HD751/1 ERNEST ARCHIBALD TAYLOR (SCOTTISH 1874-1951)

367§ HD691/2 EUGENE DEKKERT (SCOTTISH 1865-1956)

28cm x 22cm (11in x 8.75in)

38.5cm x 49cm (15.25in x 19.25in) £500-700

A GALLOWAY ROAD Signed, oil on canvas

LANDSCAPE Charcoal and watercolour, unsigned Provenance: Collection of William Miles Johnston

£300-500

HILLSIDE COTTAGES coloured chalks, signed lower left with initials E.A.T.

ST. MONANS FROM THE WEST Signed, oil on canvas

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368 HD693/3 20TH CENTURY SCOTTISH SCHOOL

369§ HD809/1 CHARLES MCCALL (BRITISH 1907-1989)

50cm x 74cm (19.75in x 29.25in) £300-500

25cm x 30cm (9.75in x 11.75in)

BY THE SEA Oil on board

THE MUSIC LESSON Signed and dated 1970, oil on board Provenance: Baroness Hayter via Richard Cory-Smith

£600-800

370§ HD67/26 EDMUND BLAMPIED (BRITISH 1886-1966)

371 HD319/1 WILLIAM CROZIER (SCOTTISH 1893-1930)

21.5cm x 29cm (8.5in x 11.5in) and a further etching by Rowland R. Gill (British 20th Century) ‘Girl Bathing’ (2) £300-500

17cm x 22cm (6.75in x 8.75in) £250-350

STREET BY NIGHT Signed and numbered 23/150 in pencil to margin, etching

THE GARDENS IN SNOW Signed and titled in pencil to margin, woodcut

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372§ HD125/1 JAMES WRIGHT (SCOTTISH 1885-1947)

373§ HD703/1 JOHN MACKIE (SCOTTISH b. 1953)

26cm x 35.5cm (10.25in x 14in) £400-600

58cm x 78cm (22.75in x 30.5in) £500-700

374§ HD473/1 ALEXANDER S. BURNS R.S.W. (SCOTTISH 1911-1987)

375§ HD721/1 JACK FIRTH R.S.W. (SCOTTISH 1917-2010)

59.5cm x 75cm (23.5in x 29.5in) £300-500

38cm x 54.5cm (15in x 21.5in) £400-600

AUTUMN COLOUR Signed, pastel on buﬀ paper

WOODLANDS Signed, oil on board

A STREET IN PROVENCE Signed and dated ‘94, pastel on dark paper

GARDENSTOWN. OCHRE AND BLUE Signed, watercolour

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376§ HC893/2 AUGUSTUS JOHN O.M., R.A. (WELSH 1878-1961)

THE BATHERS Signed in pencil to margin, lithograph 32cm x 40cm (12.5in x 15.75in) (including margins) £400-600

377§ HD67/11 AUGUSTUS JOHN O.M., R.A. (WELSH 1878-1961)

NUDE Signed in pencil to margin, etching 18cm x 16cm (7in x 6.25in) and a further etching by the same hand (2) £300-500

378§ HD67/28 DAME LAURA KNIGHT R.A., R.W.S. (BRITISH 1877-1970)

A FAIR Signed and inscribed ‘artist’s proof’ in pencil to margin, etching 29cm x 21cm (11.5in x 8.25in) and a further etching by the same hand ‘Putting on Tights’ (2) £500-700

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Lighting

379 HD970/15 ARTS & CRAFTS

SET OF FOUR COPPER & STEEL LIGHT FITTINGS, CIRCA 1890 each with leafy light ﬁttings supported by scrolling brackets and comprising a PAIR OF CEILING LIGHTS, 34cm across; and a PAIR OF TWIN-BRANCH WALL SCONCES, 28cm x 24cm (4) £500-700

380 HD970/18 ARTS & CRAFTS

BRASS HALL LANTERN, CIRCA 1900 the ﬂaring Vaseline opalescent glass shade, supported by a tapered and pierced brass canopy, the ﬂex with decorative brass sphere spacer lantern, 30cm high, 17cm diameter £400-600

381 HD970/11 MANNER OF GEORGE WALTON

ARTS & CRAFTS BRASS HANGING LANTERN, CIRCA 1900 with pointed arched canopy above a square section lantern, with frosted glass inserts 48cm high, 24cm across £300-500

382 HD970/70 ARTS & CRAFTS

SILVERED WALL LIGHT, CIRCA 1900 with twin tulip shades supported by scrolled arms and shaped back plate cast with opposed ﬁsh, oak mount 37cm wide, 33cm high £200-300

383 HD970/7 ARTS & CRAFTS

BRASS WALL LIGHT, CIRCA 1900 with scrolled back plate and two scrolling branches, each suspending a glazed lantern 36cm wide, 47cm high £300-400

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384 HD886/21 W.A.S. BENSON (1854-1924) AND JAMES POWELL & SONS PATINATED BRASS AND GLASS PENDANT LIGHT, CIRCA 1890 the moulded and frosted pointed lobe shade set in a circular brass openwork frame suspended by three two-section brass supports joined by a ball terminal 26cm diameter, 69cm drop Note: For similar light ﬁtting see Studio Yearbook, 1906, p. 168

£800-1,200

385 HD735/1 ARTS & CRAFTS

386 HD420/3 JAMES HINKS & SON LTD

ART NOUVEAU BRASS FIGURAL LAMP BASE, CIRCA 1907 cast as a maiden holding a ﬂaming torch and raised on a naturalistic base, cast marks under base HINKS/ 1170

BRASS & COPPER ELECTROLIER, CIRCA 1910 with four curved branches with tulip shaped frosted glass shades, the turned and knopped support cast with a bound laurel decoration in relief, includes hanging chain with ceiling rose ﬁtting 57cm diameter, 64cm high £600-800

39cm high (excluding ﬁtting) £250-350

387 HD886/16 JAMES POWELL & SONS

388 HD638/2 ARTS & CRAFTS

24cm diameter, 17cm £200-300

27cm wide, approx., 75cm high, 46cm deep £300-400

FROSTED GLASS PENDANT LIGHT SHADE, CIRCA 1900 the spiral moulded pointed lobe shade in a gold painted leaf and berry cast metal frame suspended by chains

COPPER WALL LANTERN, EARLY 20TH CENTURY the lantern of hexagonal section with glazed panels, supported by a painted metal bracket with wooden backplate

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389 HC839/4 JEAN PERZEL (1892-1986)

PAIR OF ART DECO PATINATED BRASS WALL APPLIQUES, CIRCA 1930 each with a frosted glass outer shade and dished uplighter above a graduated segmented glass support, each signed J. PERZEL (2) each 23cm high, 55cm wide £2,500-3,500

390 HD904/1 MANNER OF CHARLOTTE PERRIAND

CHROMIUM PLATED DESK LAMP, CIRCA 1950 the domed shade on slender supports with reciprocal domed base 51cm high £300-500

391 HD940/2 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

OAK TABLE LAMP BASE, MID 20TH CENTURY the faceted column with spreading base, carved with leaves, carved mouse signature 25.5cm high £200-300

392 HD211/5 GAE AULENTI (1927-2012) FOR ARTIMEDE

PILEINO LAMP, DESIGNED 1972 white plastic and metal, moulded maker’s marks 25cm high £150-250

393 HD988/2 MODERNIST STYLE

GLASS AND CHROME TABLE LAMP, 1970s with four hanging shades 21cm high £150-250

394 HC173/1 ITALIAN SCHOOL

ADJUSTABLE ARC FLOOR LAMP, CIRCA 1970 marble base with extending arm and ovoid shade approx 198cm high £300-500

395 HD379/51 JOHN SKEAPING (1901-1980) FOR WEDGWOOD

MATCHED PAIR OF TABLE LAMPS, CIRCA 1930 each formed of a glazed earthenware figure of a kangaroo, mounted on a hardwood stand with light fitting and shade, maker’s marks to figures J. SKEAPING/ WEDGWOOD (2) 26cm high (excluding shade) £400-600

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Sculpture 396Y HC437/61 ALBERT-ERNEST CARRIER-BELLEUSE (1824-1887)

‘LISEUSE’, GILT BRONZE AND IVORY FIGURE, CIRCA 1880 cast as a female in ornate robes and a headdress reading a book, signed A. CARRIER. BELLEUSE., raised on a gilt bronze and white marble base and ﬁtted with a plaque LISEUSE/ PAR CARRIER BELLUSE (G’ PRIX DU SALON) 27cm high Provenance: Private Collection, Surrey

£1,000-1,500

397 HD904/2 FERDINAND BARBEDIENNE (1810-1892) PAIR BRONZE WALL PLAQUES, CIRCA 1870 each cast in relief with water-carriers, signed on the base F. BARBEDIENNE (2) 29cm x 8cm £300-500

398 HD851/2 HUBERT PATON (1863-1940)

FIGURE OF AN ANGEL, EARLY 20TH CENTURY bronze relief plaque, signed in the bronze HUBERT PATON/ 190* 30.5cm x 52.5cm £300-500

399 HD58/92 GEORGE WEAKE

PLANT STUDY, CIRCA 1900 bronze plaque, cast in low relief, signed in the bronze GEO. WEAKE, within an oak frame 17.5cm x 16.5cm £200-300

400 HD155/4 IRENE BROWNE (ACTIVE 1906-1943)

PATINATED BRONZE FIGURE GROUP, LATE 19TH/ EARLY 20TH CENTURY cast as a ﬁgure clutching a dagger above a seated bear with a recumbent ﬁgure at its feet, signed 30cm high £400-600

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401§ HD396/1 CARL (WILHELM EMILE) MILLES (1875-1955)

‘SOLGLITTER’ (NAIAD RIDING A DOLPHIN), CIRCA 1917 Patinated bronze, raised on a black marble plinth with associated WALNUT STAND, by Whytock & Reid, Edinburgh (2) bronze with plinth, 86cm high, height with stand, 175cm Provenance: Purchased Edinburgh, Society of Artists, 1927 and by family descent Exhibited: Edinburgh, Society of Scottish Artists, 1927, catalogue no. 381 Literature: Liden, Elizabeth ‘Between Water and Heaven: Carl Milles, Search for American Commissions’ Abner Schram, 1986 Rogers, Meyric Reynold ‘Carl Milles: an interpretation of his work’ Kennikat Press, 1973 Note: Considered Sweden’s foremost sculptor of the 20th century, Carl Wilhelm Emile Milles produced some of the most popular and enduring bronze works of his era. Born in 1875, he trained in woodworking, cabinetmaking, carving and modelling as a young man. In 1897 he made what he thought would be a temporary stop in Paris on his way to South America, however he decided to stay and study art, developing his reputation as a sculptor. His early pieces display the influence of Auguste Rodin, for whom he worked occasionally until 1904 when he left Paris for Munich. After travelling through Europe he settled near Stockholm where, in 1917, seeking a more individual style, he destroyed all the works in his studio and began a period of rapid stylistic development and a formation of his mature style, where elegance, motion, and gesture predominated. Solglitter, literally Sun Glitter or Sunlight on Water, was sculpted in 1917 when Milles was 42. It is said to have been one of the artists enduring favourites and is one of several works he made around this time that herald the beginning of this mature style. Ancient Greek, Roman and Christian mythology as well as Swedish history were often his sources of inspiration and in this depiction of a Naiad or water spirit riding a dolphin. In Greek mythology Naiads presided over fountains, wells, springs and other bodies of fresh water. Here we see the spirit emerging from the deep for a brief moment, before she disappears again into the mythological underworld, her beautifully detailed wild locks flowing behind her. The figure seems to defy gravity and Milles has perfectly captured the power and movement of the figure, confidently riding the waves and reflecting the rhythmic and expressive aesthetic for which he would become famous. He enjoyed sculpting in heavy materials such as granite and bronze and pairing them with lighter materials such as water and air, by placing them in fountains or raising them up in the air so that they interacted with the sky. Milles went on to have a spectacular career in the United States where he moved in 1931 after accepting a position as sculptor in residence at the Cranbrook Academy of Art Museum in Detroit, Michigan. Many of his often immense statues and fountains were commissioned at a time when many cities were expanding and modernising, and can be found in institutions and public spaces across the United States and Europe. Other examples of ‘Solglitter’ can be found at Milles home, the Millesgården near Stockholm, the courtyard of the Swedish Institute in Rome and at the Philadelphia Museum of Art.

£40,000-60,000

Carl Milles in his studio at Cranbrook Academy of Art Photographer Richard G. Askew Copyright Cranbrook Archives.

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402 HA182/2 JOSEF LORENZL (1892-1950)

‘FAN DANCER’ PATINATED BRONZE FIGURE, CIRCA 1925 the ﬁgure holding a fan, veneered in mother of pearl, the whole raised on a turned and tapering green onyx base, signed in the bronze LORENZL 34.5cm high £1,000-1,500

403Y HD978/2 GEORGES OMERTH (1895-1925)

GILT BRONZE AND IVORY FIGURE, EARLY 20TH CENTURY cast as a boy dressed as a clown, standing with his hands in his pockets, impressed 1745 and signed OMERTH, raised on an onyx base 19.5cm high £300-500

404 HD905/3 D. H. CHIPARUS (1886-1947)

PATINATED SPELTER FIGURE GROUP, CIRCA 1925 cast as a seated female clutching fruit to her chest, gazing at a standing fawn, signed D. H. CHIPARUS to the onyx and marble base base 62.5cm wide, overall height 25.5cm £300-500

405Y HD160/5 LOUIS SOSSON (ACTIVE 1905-1930)

ART DECO IVORY FIGURE, EARLY 20TH CENTURY carved as a nude female with arm bands and symbols, raised on a tapered onyx plinth 19.5cm high £1,000-1,500

406Y HA184/1 FERDINAND PREISS (1882-1943)

‘VICTORIAN LADY’, PATINATED BRONZE & IVORY FIGURE, CIRCA 1925 raised on a faceted green onyx plinth 15cm high £1,000-1,500

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407 HC437/103 JOSEF LORENZL (1892-1950)

PATINATED BRONZE FIGURE GROUP, CIRCA 1925 raised on an oval marble plinth, signed on the base LORENZL 22cm high Provenance: Private Collection, Surrey

£800-1,200

408§ FD693/139 VINCENT BUTLER (b. 1933)

ACROBATS Bronze, signed and dated in the bronze VINCENT BUTLER/ 1983 40cm high £800-1,200

409§ HD78/10 ARCHIE FORREST (b. 1950) BUST OF JOHN CUNNINGHAM Bronze, green patination

41cm high x 22cm wide (16in x 8.75in) including base £500-700

410 HD644/309 ANN FROMAN (b. 1942)

OVERLOOKING THE HERD Bronze, with coloured embellishments, signed in the bronze A FROMAN, Numbered 1/10 40cm high £300-500

411 HD160/14 ITALIAN SCHOOL

SET OF FOUR HARDWOOD FIGURES, CIRCA 1950 depicting three stylised musicians (3) tallest 23cm high £200-250

412§ HD468/6 NEIL CLARK (1928-2014) SIX CELL stainless steel sculpture 63.5cm high £200-300

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413 HD749/1 GEORGE JAMES FRAMPTON (1860-1928)

PETER PAN, DATED 1920 Patinated bronze, signed in the bronze with monogram GF and dated 1920, inscribed with an encircled PP bronze, raised on a veined green marble base Total height: 52.5cm Provenance: Private Scottish Collection Literature: Skipwith, Peyton ‘Sir George Frampton & Sir Alfred Gilbert, Peter Pan & Eros: Public & Private Sculpture in Britain 1880-1940’, The Fine Art Society, London 2002 Note: Sir George Frampton’s ‘Peter Pan’ is one of the best-known monuments in London, based on the character from J.M. Barrie’s novel of the same name, with the author commissioning the statue in Kensington Gardens himself. This bronze study is one of a small number of casts from the original life size bronze, which was erected overnight in secret in 1912, having only been shown previously in 1911 at the Royal Academy, London. With no pre-publicity, simply a brief announcement was made in The Times that day: ‘There is a surprise in store for the children who go to Kensington gardens to feed the ducks in the serpentine this morning…a May-day gift by Mr J.M. Barrie, a figure of Peter Pan blowing his pipe on the stump of a tree, with fairies and mice and squirrels all around. It is the work of Sir George Frampton, and the bronze figure of the boy who would never grow up is delightfully conceived.’ Sir George James Frampton (1860-1928) studied at the Royal Academy, becoming president of the Royal Society of Sculptors in 1911, and is known as one of the leading figures in the New Sculpture movement. Peter Pan marks a technical milestone in the evolution of public sculpture in Britain, reflecting advances in casting by two of Britain’s leading foundries at the time, Singer’s and Burton’s. Following its appearance, a further six life-sized casts were erected, in Liverpool, Australia, Belgium, Canada, and the US, demonstrating the wide-spread appeal of Frampton’s interpretation of the character.

£20,000-30,000

Peter Pan in Kensington Gardens, London.

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414 SV813/13 BRIAN LE MAR

415 SV813/15 BRIAN LE MAR

97cm high

101cm high £150-250

KNIGHT ARMED FOR BATTLE carved sandstone ﬁgure Note: Brian Le Mar was a stonemason and clerk of works at Canterbury Cathedral.

£500-700

STANDING MAN carved oak ﬁgure

416 SV813/39 BRIAN LE MAR

ST MARGARET carved stone head, 49cm high; and another carved stone ﬁgure of a LION RAMPANT, 43cm high (2) £250-350

417 HD843/1 EUGEN HOFFMAN (1941-2008)

IBIS STRETCHING patinated copper, 84cm high; and two companion sculptures by the same hand IBIS STANDING, 62cm high; and IBIS FEEDING, 42cm high all signed to base EUGEN HOFFMAN (3) £1,000-1,500

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418 HD226/1 GLENEAGLES HOTEL, GENERAL ELECTRIC COMPANY LTD.

419 HD226/2 GLENEAGLES HOTEL, GENERAL ELECTRIC COMPANY LTD.

420 HD226/3 GLENEAGLES HOTEL, GENERAL ELECTRIC COMPANY LTD.

Provenance: This phone was purchased from Gleneagles Hotel in 1986. It is thought that this phone was used in the greenhouse, due to the label listed as GARDENS and the fact it is a tropical issue phone

Provenance: This phone was purchased from the Gleneagles Hotel in 1986.

£200-300

JADE GREEN BAKELITE TROPICAL ISSUE PHONE, DATED 1958 dated to internal capacitor, with maker’s label and indistinctly stamped

SILVER SPRAYED RED/BROWN BAKELITE PHONE, DATED 1933 dated to the internal capacitator, with maker’s marks to inside handset and back of phone

£300-500

421 HD426/1 GPO

JADE GREEN BAKELITE PHONE, MODEL 332, 1950s stamped to underside JADE GREEN/ 332L/ PX/ 54/ 2A/ GPO BATCH SMAPLED 5086, with moulded mark to interior of handset 164/ 54 £200-300

422 HD226/4 GPO

JADE GREEN BAKELITE PHONE, MODEL 332, 1950s stamped to underside 332L./ PX56/2A/ GPO BATCH SAMPLED 5325, marked 164/ 56 to the interior of handset, contained within original box Note: This phone was used as a prop by the BBC during the 1950s.

£500-700

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ALEX FLETT These works are being auctioned to raise funds for the Demarco Foundation. From the artist: ‘I ﬁrst met Richard Demarco in 1975 at a Roger Hilton Opening in the Serpentine Gallery in London, but it wasn’t until the early nineties when I was working at the Peacock Printmakers in Aberdeen, and he was setting up the Demarco Foundation that I got to know him better. Many Scottish artists have relied on the goodwill of Richard to help them maintain a presence at home and abroad. And contra wise Richard has persuaded artists from outside of Scotland to engage in a dialogue with the arts in Scotland; amongst the most famous, Joseph Beuys and Paul Neagu.

with him when he had the old St Mary’s Primary School as a Foundation headquarters. Also in that year, I found myself helping him with the Edinburgh Festival, and in 2004 and 2007 he acted as Honorary Chair of the International Arts Festivals which I ran for the artists’ town of Kirkcudbright. This is not the ﬁrst time my work has been auctioned to help Richard, but those times were when he himself held those auctions. This auction is one which I am more than happy to see happen, and hope that the money it raises will help keep the Demarco Foundation projects alive by aiding Richard in his work of introducing International artists to Scotland and Scottish artists to Europe and the world.’

In 1993, he asked me to contribute to the ‘Witnesses of Existence: A British Response,’ and later in 1994, I exhibited

423§ HD694/3 ALEX FLETT (SCOTTISH CONTEMPORARY)

THREE DANCERS, 2002 Signed, titled, dated and numbered 2/10 in pencil to margin, woodblock relief 99cm x 69cm (39in x 27in) £400-600

424§ HD694/4 ALEX FLETT (SCOTTISH CONTEMPORARY)

STUDY FOR THE THREE GRACES Signed, titled and dated ‘92, pencil and charcoal 80cm x 47cm (31.5in x 18.5in), irregular edges £400-600

425§ HD694/1 ALEX FLETT (SCOTTISH CONTEMPORARY)

EUNICE, 2013 Signed, titled, dated and numbered 5/7 in pencil to margin, etching 53.5cm x 46cm (21in x 18in) £300-500

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426§ HD694/2 ALEX FLETT (SCOTTISH CONTEMPORARY)

STUDIES OF EUNICE Signed, titled and dated 2013 and numbered 9/10 in pencil to margin, etching 52cm x 47cm (20.5in x 18.5in) £300-500

427§ HD694/6 ALEX FLETT (SCOTTISH CONTEMPORARY) NEEDLE AND THREAD Wood and assemblage

103.5cm x 7cm x .5cm (40.75in x 2.75in x 1.75in) £600-800

428§ HD694/5 ALEX FLETT (SCOTTISH CONTEMPORARY) GEOLOGY II Wood carving

18cm x 37cm x 20cm (7in x 14.5in x 8in) £700-900

429§ HD694/7 ALEX FLETT (SCOTTISH CONTEMPORARY) THE HARPIST Wood and assemblage

70.5cm x 20cm x 5cm (27.75in x 7.75in x 2in) £800-1,200

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Illustrations, Books & Works on Paper

430 SV730/45 JESSIE MARION KING (SCOTTISH 1875-1949)

O MY LOVE IS LIKE A RED RED ROSE Pen and ink and watercolour, signed lower right JESSIE M. KING 28cm x 22cm

431 HC424/1 JESSIE MARION KING (1875-1949)

‘WHY THIS POPPY GREW SO FAIR’ Pen and ink on vellum, signed lower right JESSIE M. KING 27.5cm x 24cm £400-600

Provenance: A gift from the artist to the current vendor’s aunt Miss Anne Stewart Singer Marshall on the occasion of her marriage to Rev. J W Hamilton Smith.

Note: An original note from J.M.King inscribed ‘To Nan and her man when they are wed’ was lost during framing

£3,000-5,000

433 HD923/2 JESSIE MARION KING (1875-1949) 432 HD970/5 JESSIE MARION KING (1875-1949) ‘WERKE ALTER MEISTER’ print, framed and glazed 47cm x 40cm £300-400

“MUMMY’S BEDTIME STORY BOOK” BY “MARION”, PUBLISHED 1929 printed book, with autograph inscription, TO A LITTLE MAID “VALERIE” WHOM THE ARTIST WHO STILL BELIEVES IN FAERIES HOPES ONE DAY TO MEET/ THE GREEN GATE/ JULY 1 1939, signed on the title page JESSIE M KING £400-600

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434§ HD211/2 ROBERT STEWART (1924-1995)

‘PYLON’ Gouache, signed upper right R. STEWART 1957 34cm x 22cm Note: For footnote on Robert Stewart see lot 452

£800-1,200

435 HD785/4A GRAHAM SUTHERLAND (1903–1980) ‘LA FORESTA’, 1971-2 Lithograph on paper, 63cm x 47.4cm; and another lithograph by Graham Sutherland, signed and inscribed with initials G.S./ 1ER ETAT, 63.5cm x 47.5cm (2) £300-500

436 HD785/4 GRAHAM SUTHERLAND (1903–1980)

PORTRAIT OF ALOYS SENEFELDER, 1971-2 Lithograph on paper, Curwen Studio, signed in pencil lower right SUTHERLAND, XV/XXXV, 76.5cm x 54.5; HOMAGE TO SENEFELDER, lithographic 1971 exhibition poster, by Curwen Studio, 78cm x 51cm; and PORTRAIT OF ALOYS SENEFELDER, Lithograph on paper, 78.5cm x 57cm (3) £250-350

437 HD57/13 ARTS & CRAFTS

ILLUMINATED PAGE, CIRCA 1900 within mother-of-pearl inlaid frame, illustrating a religious tract, 24cm x 20cm; and ‘LOVE IN A MIST’, A PAGE FROM ‘THE FLOWER BOOK’ AFTER BURNE JONES, 23cm x 19cm (2)

438 HC938/55B CHARLES ALTAMONT DOYLE (1832-1893)

TRAIN OF DREAMS pen, ink and watercolour, inscribed verso BY CHARLES ALTAMONT DOYLE 15cm x 32cm £400-600

439 HD211/1 GEORGE HARLOCK

STEAM ENGINE TECHNICAL DRAWINGS, DATED 1875 one signed lower right GEORGE HARLOCK/ FEB 1ST 1875, 36cm x 90cm; and a companion by the same hand, inscribed GEORGE HARLOCK/ ENGINEER, 30cm x 53cm (2) £150-250

440 HD155/1 OWEN JONES (1809-1874)

‘THE GRAMMAR OF ORNAMENT’ folio edition, published Bernard Quaritch, London 1910 £200-250

441§ HD931/1 ELYSE ASHE LORD (1900-1971)

‘THE IMMORTALS NO. 1’ drypoint and coloured woodcut, signed in pencil lower right ELYSE ASHE LORD/ 75/75, 41cm x 55cm; a companion ‘THE IMMORTALS NO. 2’ signed in pencil lower right ELYSE ASHE LORD/ 52/75, 41cm x 55cm; and CHINESE signed in pencil lower right ELYSE ASHE LORD/ 28cm x 27cm (3) £300-500

442§ HD104/5 ELYSE ASHE LORD (1900-1971)

‘THE IMMORTALS NO. 1’ drypoint and coloured woodcut, signed in pencil lower right ELYSE ASHE LORD/ 51/75 and a companion ‘THE IMMORTALS NO. 2’ signed in pencil lower right ELYSE ASHE LORD/ 60/75 (2) each 41cm x 55cm £250-400

443 HD750/9 AFTER PABLO PICASSO

‘GUERNICA’ lithograph print, framed and glazed, bears Stedelijk Museum label verso 56cm x 123cm £150-250

444 HD785/5 AFTER JOAN MIRÓ

THREE EXHIBITION POSTERS, 1960s AND ‘70s to include an ATELIER MOURLOT EXHIBITION POSTER, lithographic poster for the opening of Atelier Mourlot, 115 Bank Street, New York, 71 x 53cm; together with a JOAN MIRÓ GRAND PALAIS EXHIBITION POSTER, 1974, lithographic poster, 60 x 43cm; and a FUNDACIÓ JOAN MIRÓ POSTER, 1976, lithographic poster, 70 x 50cm (3) £200-300

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445 HD629/1 DANIEL DE LOSQUES (1888-1915)

FOUR POSTERS, ‘LA REVUE DES FOLIES BERGÈRE’, CIRCA 1900 MARNAC, MISS CAMPTON, JAXONS TROUPE & DYANTHIS, printed in colours, framed and glazed (4) 119cm x 38cm £800-1,000

446 HC136/1 PIÈRRE FIX-MASSEAU (1905-1994)

SIX POSTERS PROMOTING THE VENICE SIMPLON ORIENT-EXPRESS, CIRCA 1980 each a ﬁrst edition, printed by Imprimerie Baugé, Descartes (6) 101cm x 62.5cm £400-600

447 HD785/4B AFTER MARC CHAGALL

THREE EXHIBITION POSTERS, 1970s including Galerie Maeght, Paris, 1972, Atelier Mourlot, 77cm x 51cm; Musée des Arts Décoratifs, Palais du Louvres, Paris, 1959, Atelier Mourlot, 75cm x 50.5cm; Musee National Message Biblique in Japan, 1975, Atelier Mourlot, 76cm x 51.5cm (3) £300-500

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448 HD785/3 DELVAL

‘FAP’ ANIS’ POSTER, CIRCA 1930 coloured lithograph, printed by Publicité Wall, Paris; backed on linen, unframed 158.5cm x 108.5cm £700-900

449 HB650/312 THE YELLOW BOOK: AN ILLUSTRATED QUARTERLY 13 vols, 4to, original printed boards, illus. by Aubrey Beardsley and other artists, published by Elkin Mathews & John Lane, 1894-1897 (13) £300-500

450 HB650/313 ART & ANTIQUE REFERENCE BOOKS

SCOTTISH ART AND DESIGN including Smith, Bill ‘The Life and Work of Edward Atkinson Hornel’; Billcliﬀe, Roger ‘The Glasgow Boys’ (2 copies); Burkhauser, Jude ‘The Glasgow Girls: Women in Art and Design 1880-1920’ (3 copies including one hard back); Morris, Margaret ‘The Art of J.D. Fergusson’ and several other books and pamphlets on the Scottish Colourists, Glasgow School etc (approx 50) £200-300

451 HB650/314 ART & ANTIQUE REFERENCE BOOKS

ARTS & CRAFTS, ART NOUVEAU, ART DECO ETC. including Borsi, Franco and Portghesi ‘Victor Horta’; Durant, Stuart ‘Christopher Dresser’; Aslin, Elizabeth ‘E.W. Godwin: Furniture and Decoration’; Vergo, Peter ‘Art in Vienna 18981918’; Harris, David A. ‘The Decorative Designs of Frank Lloyd Wright’, and several other books and pamphlets (approx 115) £300-500

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Textiles 452§ HD967/2 ROBERT STEWART (1924-1995)

SCREEN PRINTED LINEN WALL HANGING, DATED 1953 depicting an abstract figure in shades of green and orange, signed and dated lower right, STEWART/ 1953 114cm x 79cm Literature: Arthur, Liz ‘Robert Stewart: Design 1946-95’, London 2003, p. 37, where a signed panel from the same period is illustrated. Note: Robert Stewart was one of the most influential Post War British designers. He attended Glasgow School of Art during the 1940s and went on to become the Head of Printed Textiles in 1949. He taught at the Glasgow School of Art for thirty five years and over that time inspired many young designers. Although Stewart was prolific in many fields of design, he is perhaps best known for his textiles which were produced by Liberty, Pringle and Donald Brothers throughout the 1950s. His work is held in Museum collections including the V & A in London where his contribution to textile design is described as “particularly significant - his trademark designs for Liberty often featured figurative, folkloric motifs, deftly executed in an ebullient style.” Stewart’s work has recently been investigated in a major research project at Glasgow School of Art, funded by the Arts and Humanities Research Board, and is the subject of a new book, ‘Robert Stewart, Design 1946-95’ by Liz Arthur

£300-500

453§ HD969/1 MICHAEL O’CONNELL (1898-1976)

TWO BATIK PANELS, 1950s resist dyed abstract designs on linen, each signed MICHAEL O’CONNELL (2) 123cm x 160cm and 123cm x 153cm £400-600

454 HD970/9 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO.

455 HD970/22 GLASGOW SCHOOL

‘BIRD’ PANEL, CIRCA 1880 jacquard-woven woollen double cloth fragment, framed and glazed

PAIR OF EMBROIDERED PANELS, CIRCA 1900 each worked in gilt and coloured threads with roundels of ﬂowers on a blue linen ground, framed and glazed (2)

456 HD970/10 GLASGOW SCHOOL

47cm x 28cm £200-300

57cm x 93cm £400-600

83cm x 56cm £400-600

EMBROIDERED SILKWORK PANEL, CIRCA 1900 worked in coloured threads with a design of stylised Fuchsias on an unbleached linen ground, framed and glazed

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457§ HD211/3 LUCIENNE DAY (1917-2010)

SILK MOSAIC PANEL, LATE 20TH CENTURY signed lower right with embroidered ‘L’ 31.5cm x 33cm £400-600

458§ HD379/55 MAURICE DE LA PINTIÈRE (1920-2006)

AUBUSSON TAPESTRY, DATED DECEMBER 1962 the design of two rearing horses in white, reserved on a black ground, woven signature lower left with maker’s monogram, bears cloth maker’s label verso 175cm x 130cm £500-600

459 HD967/3 ART NOUVEAU

PAIR OF SCOTTISH SEWN-WORK PICTURES, DATED 1902 AND 1903 depicting classical maidens FLORA and SYRINX in golden brown silk threads on linen, signed MAR (possibly for Mary Rennie), unframed (2) 73.5cm x 30.5cm £100-200

460 HD886/10 GEORGE BAIN (1881-1968), FOR QUAYLE & TRANTOR, KIDDERMINSTER ‘HUNTING’ RUG, CIRCA 1950 machine woven wool, with Celtic knot centre and borders, enclosing a wild boar, hunting scene with ﬁgures 191 x 122cm £300-500

460A HB536/3 TEMPLETONS, GLASGOW

ART DECO WOOL CARPET, CIRCA 1930 allover geometric abstract design 320cm x 220cm £300-500

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461 HD970/36 MANNER OF MACKAY HUGH BAILLIE SCOTT

THREE STAINED AND LEADED GLASS PANELS, CIRCA 1900 each depicting a frieze of red tulips (3) total 44cm x 125cm £400-600

462§ HD370/24 WILLIAM WILSON (1905-1972)

STAINED AND LEADED GLASS PANEL, CIRCA 1950 depicting a kingly ﬁgure and companion, signed top left corner WW 48cm x 33cm Provenance: Collection of David Michie, O.B.E., R.S.A.

£800-1,200

463 HD886/19 AESTHETIC MOVEMENT

PAIR OF STAINED AND PAINTED GLASS PANELS, CIRCA 1880 each painted with the ﬁgure of a fairy within ﬂoral and foliate panels (2) each approx. 51cm x 29cm £200-300

464 HC154/4 GLASGOW STYLE

TWO STAINED AND LEADED GLASS PANELS, CIRCA 1900 each depicting a stylised ﬂowering plant (2) 50cm x 29cm and 64cm x 31cm £200-300

465§ HD370/19 JAMES BEATTIE MICHIE (1891-1960)

AFTER HENRI MATISSE, STAINED AND LEADED GLASS PANEL, DATED 1936 painted with a female amongst shrubs, painted mark HENRI MATISSE/ 1936 and initials J.M. 40.5cm x 34cm Provenance: Collection of David Michie, O.B.E., R.S.A.

£300-500

466§ HD370/25 WILLIAM WILSON (1905-1972)

STAINED, LEADED AND PAINTED GLASS PANEL, CIRCA 1950 depicting Christ, some damaged panes 55cm x 38cm Provenance: Collection of David Michie, O.B.E., R.S.A.

£300-500

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467 HD748/1 GEORGE WALTON (1867-1933)

RARE GLASS, PEWTER AND COPPER WALL PANEL, CIRCA 1890 the panel depicting a galleon in full sail, repousse decorated and reserved on a coloured glass and pewter mosaic seascape, bears painted makers mark lower right GEORGE WALTON & CO., LTD/ DECORATORS, GLASS STAINERS/ AND CABINETMAKERS/ GLASGOW, later framed 53cm x 45.4cm Literature: Moon, Karen ‘George Walton: Designer and Architect’ White Cockade Publishing; 1st Edition, 1993 “Glasgow Museums - Collections Navigator’, Collections.glasgowmuseums.com, 2016 “Miss Cranston”, Glasgowlife.org.uk, 2016

Note: This rare wall panel by George Walton (1867-1933) is characteristic of his work as a designer and decorator in the context of Glasgow’s artistic avantgarde during the late 19th century. Walton was a pioneering influence of the distinctive Glasgow style, experimenting with mixed medium wall panels and stained glass, such as this example of glass mosaic overlaid with copper. Similar examples can be seen in his work for Miss Cranston’s tearooms on Argyle street, for which he was commissioned, together with Charles Rennie Mackintosh (1868-1928), to redesign the interior in 1888. Walton’s panels combined coloured glass with bright beaten copper, creating light and reflective three-dimensional surfaces. Walton chose coloured glass for its distinct material characteristics which did not need to be overpainted. Following this, George Walton & Co, Ecclesiastical and House Decorators expanded to include the design and production of woodwork, furniture and stained glass. Walton, influenced by William Morris (1934-1896) and James Whistler (1834-1903), went on to work in almost every area of the decorative arts including; stencilling, fabrics, fireplaces, carpets, glassware and graphics to name a few, before finishing his diverse and innovative career as an architect.

£5,000-8,000

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Furniture: Part IV

468§ HD370/23 DAVID MICHIE (SCOTTISH 1928-2015)

PINE FRAMED MIRROR, LATE 20TH CENTURY with a triangular pediment above a diamond shaped mirror plate, decorated with geometric pine blocks 58.5cm wide, 101.5cm high Provenance: Collection of David Michie, OBE, RSA

£200-300

469§ HD370/22 DAVID MICHIE (SCOTTISH 1928-2015)

470§ HD370/21 DAVID MICHIE (SCOTTISH 1928-2015)

each 58.5cm wide, 101.5cm high

Provenance: Collection of David Michie, OBE, RSA

£200-300

TWO DECORATED PINE WALL MIRRORS, LATE 20TH CENTURY one decorated with a geometric design of applied buttons on a black ground; the other with polychrome freeform designs on a black ground (2)

TWO DECORATED PINE WALL MIRRORS, LATE 20TH CENTURY one decorated with a female ﬁgure and swimming ﬁsh in shades of blue on a black ground; the other decorated with an abstracted design in blue and yellow (2)

471 HD869/2 FINN JUHL (1912-1989), FOR FRANCE & SON TEAK OCCASIONAL TABLE, 1950s the dished rectangular top raised on tapering legs enclosing in a removable lower tier 71cm long, 54cm high, 50cm deep £300-500

472 HD970/56 MID-CENTURY FRENCH SCHOOL

OAK FRAMED ARMCHAIR, CIRCA 1950 with loose back and seat cushions, open arms and tapered legs, in black and white leaf pattern upholstery 70cm wide, 86cm high, 64cm deep £300-500

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473 HD638/4 ITALIAN SCHOOL

TEAK FRAMED LEATHER ARMCHAIR, CIRCA 1970 with loose back and seat cushions, leather upholstered panelled arms and back 77cm wide, 67cm high, 77cm deep £400-600

474 HD638/3 GREAVES & THOMAS, LONDON

PAIR OF MID-CENTURY TEAK ARMCHAIRS, 1960s each with spindle ﬁlled backs above open arms on turned legs, loose later upholstered back and seat cushions (2) 69cm wide, 71cm high, 76cm deep and 73cm wide, 80cm high, 76cm deep £300-500

475Y 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

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476 HB820/1 AFTER LE CORBUSIER, PIERRE JEANNERET, CHARLOTTE PERRIAND

LC6 DINING TABLE, DESIGNED 1928 the rectangular glass top above black enamelled steel frame, with adjustable height 85cm wide, 77cm high (adjustable), 225cm long £200-300

477 HD481/5 BRUNO MATHSSON (1907-1988) AND PIET HEIN (1905-1996) FOR FRITZ HANSEN

‘SUPER-ELLIPTICAL’ COFFEE TABLE, DESIGNED CIRCA 1968 stained wood with steel cluster column legs 135cm long, 52cm high, 90cm wide £300-500

478 HD547/4C VERNER PANTON (1926-1998) FOR VITRA

TWO ‘CONE’ CHAIRS, DESIGNED 1958 grey wool upholstered covers, on a steel frame (2) each 59cm wide, 81cm high, 47cm deep Provenance: Paramount Bar, Centre Point, London, 2008

£200-300

479 HD638/1 ATTRIBUTED TO GORDON RUSSELL

HARDWOOD WRITING DESK, CIRCA 1960 the curved rectangular top above two pedestals of three drawers, linked by a stretcher and raised on turned tapering legs 163cm wide, 78cm high, 62cm deep £400-600

480 HD638/6 MODERNIST STYLE

FRENCH CHROME & GLASS TABLE, 1970s the circular glass top above ribbed steel cylindrical base 80cm diameter, 38cm high £200-300

481 HD638/5 UNIFLEX

WALNUT & TEAK CHEST OF DRAWERS, CIRCA 1960 the rectangular top above two short and two long drawers on square tapering legs 91.5cm wide, 74cm high, 46cm deep £200-300

482 HD869/1 PIERRE VANDEL

BRASS LUCITE AND GLASS COFFEE TABLE, CIRCA 1980 the square bevelled glass top with a glass undertier, supported on square legs 93cm square, 40.5cm high £300-500

483 HD841/1 TIM BATES FOR PIEFF FURNITURE ‘BETA’ ARMCHAIR, CIRCA 1970 chromium plated frame with leather upholstery 89cm wide, 74cm high, 96cm deep £200-300

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484 HD880/1 ARPER, ITALY

SET OF SIX RED LEATHER DINING CHAIRS each with tall key hole shaped backs, bear maker’s labels (6) 44cm wide, 109cm high, 41cm deep £200-300

485 HC956/1 CHARLES EAMES (1907-1978) AND RAY EAMES (1912-1988)

670 LOUNGE CHAIR, DESIGNED 1956 aluminium and rosewood with white leather upholstery, bears maker’s label 79cm x 85cm x 53cm £300-400

486 HD884/3 FRED SCOTT (1942-2001) FOR HILLE

SET OF FOUR ‘SUPPORTO’ DRAUGHTSMAN’S CHAIRS, MID 1970s black leather and chromed steel (4) 57.5cm wide, 104cm high, 48cm deep £700-1,000

487 HD468/7 PAOLO DEGANELLO AND GILBERTO CORRETTI FOR ARCHIZOOM ASSOCIATI FOUR ‘UNO’ CHAIRS, 1970s black leather and chrome (4)

57cm wide, 89cm high, 49cm deep Note: Archizoom, which formed in Florence in 1966, was known for its antidesign stance and the exhibitions of radical architecture its members took part in, in Italy in the late ‘60s and at MoMA in 1972. The group’s most famous piece was the uncomfortable-looking 1968 Mies armchair and footrest, which had a chrome frame and a latex sling, and poked fun at functionalism. The Archizoom Uno is chrome with hand-stitched leather in black was made by Marcatre circa 1973.

£300-500

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488 HD594/1 TIM STEAD (1952-2000)

ELMWOOD SETTEE, LATE 20TH CENTURY the broad planked back and arms above a woven seat base raised on planked supports 176cm wide, 112cm high, 53cm deep £600-800

489 HD211/6 TIM STEAD (1952-2000)

PINE DINING TABLE, LATE 20TH CENTURY with shaped rectangular top on twin column supports linked by a stretcher 182cm long, 76m high, 73m deep £400-600

490 HB820/2 GAE AULENTI (1927-2012) FOR FONTANA ARTE

‘TAVOLO CON RUOTE’ COFFEE TABLE, DESIGNED 1980 glass and steel with rubber wheels 130cm square, 24.5cm high £300-500

491 HB820/3 MARIO BELLINI (b. 1935) FOR CASSINA SIX BLACK LEATHER ‘CAB’ CHAIRS, DESIGNED 1977 moulded mark under sear CASSINA (6) 59cm wide, 80cm high, 50cm deep £200-300

492 FF171/1 MICHAEL OSBORNE

CANADIAN OAK AND BIRCH VENEERED DRESSER, CIRCA 1988 with central open shelves above a moveable cabinet ﬂanked by columns of graduated drawers, surmounted by open shelves 184cm wide, 189cm high, 42cm deep Note: This dresser was the winner of the Cassina Prize in 1988

£400-600

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Pictures: Part IV 493§ HD946/2 GEORGE WYLLIE M.B.E. (SCOTTISH 1921-2012)

LOBSTER MENU Sculptural assemblage with bronze lobster 121.5cm x 45.4cm (47.75in x 17.75in) £400-600

494§ PETER HOWSON (SCOTTISH b. 1958) NIGHTCLUB SINGER, 1987 Conte

29.5cm x 19.5cm (11.5in x 7.75in) Provenance: The Compass Gallery, Glasgow The Terry Brodie Smith Collection

£300-500

495 HD993/1 YURI MASNYJ (AMERICAN b. 1976)

UNHINGED Signed with monogram and dated 2005, graphite on paper, diptych Each work: 71cm x 122 cm (28in x 48in), two parts to the work (2) Provenance: Sutton Lane/ Campoli Presti

£600-800

496§ HD993/2 STEPHEN WALTER (BRITISH b. 1975)

THE ISLAND, 2008 Signed, dated and numbered 10/50, screenprint on hand-torn paper 140cm x 200cm (55in x 78.75in) Provenance: TAG Fine Art

£2,000-3,000

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497§ HD370/11 DAVID HOSIE (SCOTTISH b. 1962) YOUNG MAN’S FOLLY Oil on canvas

36cm x 30.5cm (14in x 12in) Provenance: Collection of David Michie, O.B.E., R.S.A.

£300-500

498 HD91/187 20TH CENTURY BRITISH SCHOOL

A CLASSIC OF THE FOREIGN FILM 1 Inscribed ‘Student Non-Violent Co-ordinating Committee’ and dated 1969 verso, emulsion on canvas 119.5cm x 119.5cm (47in x 47in) Note: Bears inscription verso ‘Student Nonviolent Co-ordinating Committee/ 1969”

£100-200

499§ FD693/253 MICHAEL MCVEIGH (SCOTTISH CONTEMPORARY)

500§ HC760/2 CLAUDE ROGERS (BRITISH 1907-1979)

38cm x 50cm (15in x 19.75in) £150-250

25.5cm x 31cm (10in x 12in) £500-700

MILNE’S BAR Signed, mixed media on paper

STILL LIFE AND SHEET MUSIC Signed, oil on board

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501§ SV0244/16 FIONA CARLISLE (SCOTTISH b. 1954)

502§ HD125/2 TOM FAIRS (BRITISH 1925-2007)

TULIPS Signed and dated ‘89, oil on canvas

INTERIOR Mixed media

58cm x 52cm (23in x 20.5in) £500-700

74cm x 54.5cm (29.25in x 21.5in) £500-700

503§ SV0244/28 ROBERT SIVELL R.S.A. (SCOTTISH 1858-1958)

504§ HC859/1 JAMES HAWKINS (BRITISH b. 1954)

MAIRI PIRIE AS A DANCER IN A TUTU Oil on canvas

BURNSIDE Signed, inscribed with title, date 1994 and artists’ name and address verso, acrylic on canvas

105cm x 70cm (41.5in x 27.5in) £1,000-1,500

45.5cm x 37cm (18in x 14.5in) £500-700

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505§ HD986/2 DAVID TONER (SCOTTISH b. 1944)

506§ HD693/1 JOHN DODGSON (BRITISH 1890-1969)

FRENCH STREET SCENE Signed, oil on canvasboard

ROMANTIC LANDSCAPE Oil on canvas laid down on board

19cm x 26cm (7.5in x 10.25in) £300-500

49cm x 68.5cm (19.25in x 27in) £300-500

507§ HC176/2 PENELOPE BEATON A.R.S.A., R.S.W. (SCOTTISH 1886-1963)

508§ HD473/3 DONALD MOODIE R.S.A., P.S.S.A. (SCOTTISH 1892-1963)

BOATS Signed, gouache and watercolour

SYMPHONY IN BLUES Signed, oil on canvas

30cm x 36cm (11.75in x 14in) £400-600

31cm x 39cm (12.25in x 15.25in) £300-500

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509§ HD866/1 VALERIE FRASER (SCOTTISH b. 1933)

510§ FD693/176 DAVID TINDLE R.A. (BRITISH b. 1932)

FISHING BOATS Signed, oil on board

DOG AND CHAIR Dated 1978 old Piccadilly Gallery label verso, acrylic on board

54cm x 74cm (21.25in x 29.25in) £400-600

15cm x 20cm (6in x 8in) £200-300

511§ FD693/245 ALAN PARKER (BRITISH b. 1965)

512§ HD778/10 KATE LEIPER (SCOTTISH CONTEMPORARY)

GYPSY HORSE AND SNOW Oil on panel

A PARTING GHAZAL Signed, titled and dated 2007, mixed media on handmade paper

27cm x 35.5cm (10.5in x 14in) £300-500

28cm x 26cm (11in x 10.25in) and an accompanying book (2) £300-500 END OF SALE

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Scottish Paintings & Sculpture Thursday, 9th June, 2016

JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) AT A CAFÉ TABLE Oil on board 24cm x 19cm (9.5in x 7.5in) £50,000-70,000

FURTHER ENTRIES ARE INVITED Enquiries Nick Curnow +44 (0131) 557 8844 nick.curnow@lyonandturnbull.com Charlotte Riordan charlotte.riordan@lyonandturnbull.com

33 Broughton Place, Edinburgh EH1 3RR l +44 (0)131 557 8844 l www.lyonandturnbull.com

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Conditions of Sale SELLERS 1. DEFINITIONS

3. PREPARATION FOR SALE

In these Conditions of Sale (Sellers):

(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.

“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 post-auction 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

(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 at any time. (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 4. TERMS OF SALE

“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;

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.

“Proposed Sale” means the intended sale through which the items will be sold on

5. STANDARD SELLER FEES AND CHARGES (Subject to VAT)

“Purchase Price” is the Hammer Price and applicable Buyer‘s Premium;

(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.

“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. The Seller means you are the owner of the lot or, if you are not the owner of the lot (whether or not you have notified us that you are acting as an agent for a principal), you are duly authorised by the owner of the lot to sell it. “Without reserve” where there is no minimum price at which a lot may be sold (whether at auction or by private treaty). “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.

(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 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. The lot will be sold without reserve unless a reserve has been agreed. (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 hammer price been the reserve. 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; (ii) for unsold lots, when the lot is released to the Seller, or, within 3 months of the sale;or (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. (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). 8. UNSOLD ITEMS (1) If an item is unsold it may, with your consent, be reoffered 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 afterauction 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 against the Buyer.

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(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).

14. THIRD PARTY LIABILITY

16. AGENCY

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.

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.

15. GENERAL

17. DATA PROTECTION

(a) We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person.

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.

(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.

(a) The same Conditions of Sale (Sellers) shall apply to sales by private treaty.

(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.

(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.

(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.

(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.

(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.

13. SALE BY PRIVATE TREATY

(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.

(f) The contract between the parties may be varied by the parties by agreement and in writing.

The Auctioneer normally acts as agent only and disclaims any responsibility for default by Sellers or Buyers.

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 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. 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. The Auctioneer normally acts as agent 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. (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. (h) Online Bidding: We will use reasonable 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 accept cash payments over €15,000 (euros). (2) Any payments by you to us may be applied by us

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towards any sums owing by you to us howsoever incurred and without agreement by you or your agent, whether express or implied.. 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 purpose until the debt due is satisfied.satisfied. 11. DESCRIPTIONS AND CONDITION (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.

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.

(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.

(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.

(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.

(f) The contract between the parties may be varied by the parties by agreement and in writing.

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/ importsexports/cites/ Lyon & Turnbull accepts no liability for any lots which may be subject to CITES but have not be identified as such.

(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.

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 MA JEURE 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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Guide to Bidding & Payment Payment

Registration All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, by fax or on our website. 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). We may, at our option, also ask you to provide a bank reference and/ or deposit. By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale.

Bidding At the Sale Registered bidders will be assigned a bidder number and given a paddle for use at the sale. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. To place your bid, simply raise your paddle until the auctioneer acknowledges you. Please ensure that the auctioneer repeats your bidder 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 non-transferable.

By phone A limited number of telephone lines are available for bidding by phone through a Lyon & Turnbull representative. Phone lines must be reserved in advance. All bid requests must be received an hour before the sale. 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 endeavor to undertake such bids to the best of our abilities. This service is available entirely at our discretion and at the bidder’s risk. 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 is entirely at the bidder’s risk. On the internet A fully-illustrated catalogue is available on our website. Registered bidders may leave absentee bids through the website and will receive email confirmation of their bid. Live online bidding (powered by Invaluable) is also available, accessible either through our website or at www.invaluable.com. Please note that an additional 3% premium is charged by Invaluable for this live online service.

Payment is due within seven (7) days of the sale. Lots purchased will not be released until full payment has been received. Payment may be made by the following methods: Bank Transfer Account details are included on any invoices we issue or upon request from our accounts department. 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 Card Payments We no longer accept card payments by phone. Please use our online payment service (provided by Cardstream/Credorax. You will find a link to this service in any email invoice issued 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. Cash Cash payments can be made at the accounts desk during or after a sale. Cash payments limited to €15,000 (euros).

© Lyon & Turnbull Ltd. 2016. 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 & Turnbull Ltd.

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LYON & TURNBULL AUCTIONEERS EDINBURGH DECORATIVE ARTS: DESIGN SINCE 1860

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

78 Pall Mall, London SW1Y 5ES Tel. +44 (0)20 7930 9115 Fax. +44 (0)141 7930 7274

6TH APRIL, 2016

33 Broughton Place, Edinburgh EH1 3RR Tel. +44 (0)131 557 8844 Fax. +44 (0)131 557 8668 Email. info@lyonandturnbull.com www.lyonandturnbull.com

Wednesday, 6th April, 2016 33 Broughton Place Edinburgh

Decorative Arts: Design since 1860

Decorative Arts: Design Since 1860 | 6th April 2016 | 11am