Textiles as Art: from the collection of Paul Reeves | 23rd February 2017 | 11am

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TEXTILES AS ART: FROM THE COLLECTION OF PAUL REEVES 23RD FEBRUARY 2017

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

Thursday, 23rd February, 2017 33 Broughton Place Edinburgh

Textiles as Art: from the collection of Paul Reeves

Textiles as Art: from the collection of Paul Reeves Thursday, 23rd February, 2017 at 11am Sale Number LT497

Viewing Times Sunday, 19th February 12–4pm Monday, 20th February 10am–5pm Tuesday, 21st February 10am–5pm Wednesday, 22nd February 10am-5pm Morning of the 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: £10

Front Cover Lot 124 (detail) Inside Front Cover Lot 128 (detail) Inside Back Cover Lot 66 (detail)

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Foreword by Dr Lynn Hulse Paul Reeves and I share a passion for embroidered textiles and over the past decade I have acquired a number of beautiful pieces from him. Textiles as Art features around 200 machine- and handmade embroideries personally chosen by Paul as well as woven and printed textiles from Britain and overseas, many by well-known artists, designers and makers, dating from the nineteenth and twentieth centuries.

As an embroiderer and textile historian specialising in ornamental needlework created for the domestic interior c.

1860-1914, I am particularly drawn to the works of the Arts and Crafts Movement, and value immensely Paul’s knowledge and expertise in this field.

Since the Renaissance the decorative arts in general, and textiles in particular, have occupied an inferior position in Western art. William Morris and his circle sought to bridge the chasm that separated the “greater” and “lesser” arts, setting up in 1887 the Arts and Crafts Exhibition Society, which displayed not only paintings, sculpture and architectural drawings, but also the arts and handicrafts of design. According to its founding president, Walter Crane, the ACES desired ‘to give the opportunity to the designer and craftsman to exhibit their work to the public for its artistic

interest and thus to assert the claims of decorative art and handicraft to attention equally with the painter of easel pictures, hitherto almost exclusively associated with the term art in the public mind.’

It was designer/makers like Morris’s younger daughter May who rose to the challenge of elevating needlework from a domestic craft to a serious art form through the conjoining of technical skill with originality in the selection and arrangement of colours, the choice of suitable materials and good design: the definition of art embroidery.

Despite suffering a reversal of fortune between the First and Second World Wars, the status of embroidery has once again been raised from a genteel hobby to an art form through the pioneering work of Constance Howard, Beryl Dean and the founding members of the 62 Group, and needlework can take ‘its rightful place alongside the fine arts’. It is in this spirit that the objects for sale in this catalogue, drawn from the past 175 years of artistic endeavour, may be appreciated and enjoyed as works of art in the modern home.

Lynn Hulse Visiting Research Fellow, Victoria & Albert Museum and Co-founder of Ornamental Embroidery

A Textile Affair I love textiles, their feel and colour, their mood enhancing and aesthetic properties.

The importance of textiles to human beings is nearly as old as Homo Sapiens itself. Once the art of weaving had been discovered it was only a matter of time before the introduction of art into weaving.

Before long, embellishments such as embroidery, painting and printing became a natural extension to the basic technique of making cloth.

Like all art and craft, there are examples which are deemed high or low, exclusive or populist. I believe examples from all these mediums, with thoughtful selection, can be reappraised and have a place for us to enjoy as art in our homes today.

The auction ‘Textiles as Art’, hosted with Lyon & Turnbull, consists of examples all selected by myself and includes pieces from the 1840s to the beginning of this, the 21st century. I have chosen works of popular art such as Berlin work, Folk art, and machine woven, embroidered and printed textiles, but also handmade ones such as loomed and printed textiles by William Morris and embroideries designed by Robert Lorimer, May Morris and the artists of the Glasgow School.

Many of my choices are, inevitably, from the field with which I am usually associated, The Art & Design Movements of the 19th & 20th centuries. Perhaps more of a surprise will be the modernist embroideries, the naive and folk art pieces, ranging from a First World War handkerchief to a 1960s collage of an imagined Victorian interior and an African print of telephones from the 1980s.

I have also found the domestic embroideries of the 1930s, beach and village scenes and modernist floral designs irresistible and evocative of a lost and charming world. The machine stitched embroideries from the 1960s herald new designs and techniques for the modern era.

All of these types do and have, happily coexisted in my own home alongside furniture by Godwin, Burges, Mackintosh, Voysey et al collected primarily for my own enjoyment but (nearly!) always admired by friends and visitors.

I hope that you too, will appreciate and enjoy this selection.

Paul Reeves. February 2017.

With my special thanks to Dr. Lynn Hulse, Barley Roscoe and Hannah Whyman.

8 Lyon & Turnbull

B

ERLIN wool work patterns were first published in Berlin, Germany, early in the 19th century and were issued mostly as single sheets which made them affordable. Soon they were exported to Britain and the United States, where ‘Berlin work’ became popular. In Britain, it received a further boost through the Great Exhibition of 1851, and by the advent of ladies’ magazines such as ‘The Englishwoman’s Domestic Magazine’.

1 ENGLISH SCHOOL

BERLIN WOOLWORK PANEL, DATED 1840 depicting a young girl playing with her kitten, framed, inscribed verso WORKED BY/VIOLET WOOD/IN 1840 62.5 x 50cm £150-250

3 ENGLISH SCHOOL

EMBROIDERED WOOLWORK PANEL, CIRCA 1850 depicting a young lady with caged bird, original frame

Subjects to be embroidered were influenced by Victorian Romanticism and included floral designs, Victorian paintings, biblical or allegorical motifs. By the late 1870s demand for this sort of work waned, as the publishers failed to adapt and their offerings became less fashionable as more modern and artistic styles emerged, championed by William Morris and others.

2 ENGLISH SCHOOL

’ST CLARE OF ASSISI’ BERLIN WOOLWORK PANEL, DATED 1848 depicting the saint holding lilies, signed and DATED M A NICHOLSON 1848, original frame 48 x 40.5cm £150-250

4 ENGLISH SCHOOL

53 x 46cm

GOTHIC REVIVAL EMBROIDERED WOOLWORK PANEL, CIRCA 1850 depicting a Gothic architectural folly with landscape beyond, original frame

£250-350

35 x 28cm £250-350

Textiles as Art: from the collection of Paul Reeves 9

5 ENGLISH SCHOOL

GOTHIC REVIVAL EMBROIDERED BERLIN WOOLWORK PANEL, CIRCA 1850 depicting a lady at prayer, original frame 44 x 37cm Provenance: Pitchford Hall, Shropshire Note: Pitchford Hall was built CIRCA 1560‑70 for Adam Ottley and was restored, remodelled and extended in the 1870’s and 1880’s by the London architect George Devey (1820-86) for Charles Cotes, grandson of the Earl of Liverpool.

6 ENGLISH SCHOOL

NAIVE WOOLWORK PICTURE, CIRCA 1850 depicting the Tower of London with boats and ships in the foreground, marked with initials L.L., original Oxford frame 46 x 57cm £200-300

£250-350

7 ENGLISH SCHOOL

WOOLWORK PANEL, CIRCA 1860 depicting young lovers in medieval costume, within a landscape, woolwork embroidery, original frame 85 x 65cm £400-600

8 ENGLISH SCHOOL

GOTHIC REVIVAL MACHINE WOVEN PANEL, CIRCA 1860 repeating foliate pattern, silk and metal threads, original frame 56.5 x 53cm £250-350

10 Lyon & Turnbull 9 ATTRIBUTED TO GEORGE FREDERICK BODLEY

RENAISSANCE REVIVAL CUT SILK VELVET HANGING PANEL, CIRCA 1860 the design based on an Italian example from the mid-15th century and depicting repeating foliate motifs, silk velvet fabric with goldwork detail 89 x 220cm Note: George Frederick Bodley (1827- 1907) was one of the most prolific and influential architects and textile designers working in 19th century England. In 1875, he founded the furnishings company Watts & Co., which became the most prominent rival of Morris & Co. and his interest in Gothic and Renaissance design resulted in the revival of numerous textiles in this manner such as the one offered here.

10 PUGIN INTEREST

£400-600

FRENCH SCHOOL EMBROIDERED VELVET PANEL, CIRCA 1860 worked as a foliate lunette, cotton and metal threads reserved on a silk velvet ground with fringed border 65 x 187cm Provenance: Chirk Castle, Chirk, near Wrexham Note: In the 1840’s Col. R. Myddelton Biddulph commissioned A.W.N. Pugin, in partnership with the decorator J.G. Crace, to impose neo-gothic alterations to the State Rooms.

Further alterations and furnishings were supplied in the 1850’s by E.W.Pugin. £400-600

11 MANNER OF LEEK SCHOOL OF EMBROIDERY

PAIR OF GOTHIC REVIVAL ECCLESIASTICAL EMBROIDERED BANNERS, CIRCA 1880 each depicting a central panel within foliate bands, silk and goldwork embroidery and braiding reserved on a silk damask ground, original linen backing (2) 81 x 47cm £250-350

12 GOTHIC REVIVAL

PAIR OF EMBROIDERED SILK AND GOLDWORK PANELS, CIRCA 1870 each depicting a repeating motif of stylised flowers, both enclosed in a single giltwood frame 89.5 x 56.5cm £300-500

Textiles as Art: from the collection of Paul Reeves 11

13 FRENCH SCHOOL

PAIR OF DECORATIVE FAUX TAPESTRY WALL PANELS, CIRCA 1875 depicting 16th century hunting scenes, printed woven cotton (2) 302 x 133cm £800-1,200

12 Lyon & Turnbull

Textiles as Art: from the collection of Paul Reeves 13

14 LYONNAISE MASTER WEAVER

15 LYONNAISE MASTER WEAVER

260 x 65cm, including border 320 x 95cm

260 x 65cm, including border 320 x 95cm

£1,500-2,500

£1,500-2,500

FRENCH SCHOOL SILK CUT VELVET WALL PANEL, MID-19TH CENTURY in the mid-17th century style, depicting a potted fruiting tree with flowers and hanging tassels, with later silk border

FRENCH SCHOOL SILK CUT VELVET WALL PANEL, MID-19TH CENTURY in the mid-17th century style, depicting a potted fruiting tree with flowers and hanging tassels, with later silk border

Literature: Watt, Melinda, ‘Textile Production in Europe: Silk, 1600–1800’, in Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000 Note: Patterned silk velvet was the most expensive and prestigious of all woven textiles. Under Louis XIV the superintendent of finance Jean‑Baptiste Colbert launched an ambitious scheme to organize and promote the textile industries in France, both at home and abroad. Lyon, which had previously been an important trade centre for merchants importing Italian textiles, emerged as the centre of the reorganized industry, and subsequently overtook Tours as the largest French producer of luxurious silk textiles. It has been estimated that more than one-third of the population of Lyon, almost 15,000 workers, was involved in the silk industry either directly or indirectly by the late eighteenth century.

14 Lyon & Turnbull

16 ATTRIBUTED TO CHRISTOPHER DRESSER

EMBROIDERED APPLIQUÉ TABLE COVER OR RUNNER, CIRCA 1870 worked to each end with an anthemion band, velvet appliqué with wool and gold work embroidery mounted on to a later silk velvet with raw silk backing 229 x 128cm total size £600-800

17 ATTRIBUTED TO CHRISTOPHER DRESSER (1834-1904) FOR J.W. AND C. WARD, HALIFAX

TWO SILK AND WOOL BROCADE PANELS, CIRCA 1870 one depicting a repeat pattern of flowering foliage in the ‘Modern Gothic’ style, original frame, 42.5 x 17cm; the other in the Egyptian revival style, period frame, 29 x 19cm (2) £200-300

18 BRUCE TALBERT (1838-1881) FIGURED VELVET PANEL, CIRCA 1875

embossed with pomegranates and a butterfly amongst foliage, period frame, 24 x 19cm; and a WOOL BROCADE FABRIC PANEL, in the Aesthetic Movement style with repeat pattern of flowering foliage, period frame, 29 x 19cm (2) £250-350

Textiles as Art: from the collection of Paul Reeves 15 19 AFTER FERDINAND BARBEDIENNE

EMBROIDERED APPLIQUÉ HANGING PANEL, FRENCH CIRCA 1870 depicting the Classical figure of a water carrier, embroidered in chain stitch on a gold brocade ground and reserved on a later velvet ground with gilt braid trim 152 x 62cm Note: This panel is worked after the bronze plaques modelled by Ferdinand Barbedienne CIRCA 1870, see Lyon & Turnbull, ‘Decorative Arts: Design Since 1860’, lot 397, 6th April 2016 for an example of this work. £800-1,200

20 BRUCE JAMES TALBERT (1838-1881) FOR COLLISHAW & NICHOL SILK DAMASK HANGING PANEL, CIRCA 1875 depicting sunflowers and Japanese motifs, woven silk damask, within later linen border 38.5 x 128cm, including border 56 x 157cm Literature: Talbert, Bruce ‘Examples of Ancient and Modern Furniture’ pub. B.T. Batsford, 1876, pl.

38, 39 £400-600

16 Lyon & Turnbull

21 ARTS & CRAFTS

PRINTED COTTON PANEL, CIRCA 1890 depicting a peacock in foliage, framed 46.5 x 24.5cm Provenance: Madresfield Court, Malvern, Worcestershire Note: Coming from Madresfield Court, the ancestral seat of the earldom of Beauchamp, this country house has strong links to the Arts and Crafts movement. The chapel, decorated by Birmingham Group artists in 1902, is one of the finest and most complete examples of the Arts and Crafts style in Britain and demonstrates the family’s strong link to the movement.

22 AESTHETIC MOVEMENT

EMBROIDERED AND APPLIQUÉ PANEL, CIRCA 1880 depicting an aesthetic lady contemplating a sunflower, with silkwork embroidery, on a brown velvet ground, original mount and frame 34 x 20cm £400-600

£150-250

23 CHRISTOPHER DRESSER (1834-1904)

24 CHRISTOPHER DRESSER (1834-1904)

58 x 57.5cm

57 x 20cm

Literature: ‘The Aesthetic Movement’ The Decorative Arts Society, 2010, p.124, fig. 11

£150-250

LIBERTY & CO. ‘HERA’ FABRIC PANEL, CIRCA 1890 depicting a repeat pattern of peacock feathers, printed cotton, framed

Note: Dresser first produced ‘Hera’ as a woven silk fabric for William Fry of Dublin circa 1876. It was later produced as a printed cotton sold through Liberty & Co., London £300-500

LIBERTY & CO. ‘HERA’ FABRIC PANEL, CIRCA 1890 printed cotton, framed

Textiles as Art: from the collection of Paul Reeves 17

25 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO.

PAIR OF SILK ‘DOVE AND ROSE’ PATTERN HANGING PANELS, CIRCA 1879 blue colourway, depicting opposed doves in a floral and foliate field, silk and wool double cloth, later silk border 175 x 84cm, including border 199 x 103cm Literature: Parry, Linda ‘William Morris Textiles’, 1983, p.153, pl. 34 Note: This cloth was woven by Morris & Co. at Merton Abbey. £2,000-3,000

26 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. ’HONEYSUCKLE’ PRINTED LINEN PANEL, CIRCA 1876 framed 30x 43cm £100-200

18 Lyon & Turnbull 27 PAIR OF STEVENGRAPHS

’THE FIRST TRAIN’ AND ‘THE PRESENT TIME’, CIRCA 1880 woven silk panels in original mounts and frames, bear maker’s marks WOVEN IN SILK BY THOMAS STEVENS, WEAVER IN SILK (2) each 4.5 x 14.5cm Note: In the 1860s a free trade agreement (the Cobden-Chevalier Treaty) lead to the decimation of the ribbon weaving industry around Coventry.

Thomas Stevens, a local weaver, responded by adapting the Jacquard looms to weave pictures from silk and by 1862 four different designs could be produced. By the late 1880s this had grown to over 900 versions. ’The First Train’ is a rare example with the inscription ‘built by George Stephenson in 1825’ under the title on the card mount. £150-250

28 ATTRIBUTED TO CHRISTOPHER DRESSER (1834-1904)

WOVEN CHENILLE PANEL, CIRCA 1880 woven with a repeating Egyptianesque pattern, framed 61.5 x 118cm £300-500

29 AESTHETIC MOVEMENT

EMBROIDERED SILKWORK PANEL, ENGLISH CIRCA 1880 depicting a Chinese landscape scene, framed 53 x 67cm £400-600

Textiles as Art: from the collection of Paul Reeves 19 30 LIBERTY & CO., LONDON

TWO‑FOLD MAHOGANY SCREEN, CIRCA 1880 each fold with Indian embroidered panels depicting a peacock, and backed with 19th century Japanese woven silk, above a folding shelf and Moorish-inspired arcaded base with turned and square supports linked by stretchers each fold 141cm high, 57.5cm wide £600-800

20 Lyon & Turnbull 31 WALTER CRANE (1845-1915) (DESIGNER) FOR THE ROYAL SCHOOL OF NEEDLEWORK

‘REGMARITA’ EMBROIDERED PANEL, CIRCA 1880 depicting a Classical figure, allegorical of Time, wool embroidery on a linen ground, framed 49 x 37cm Literature: Victoria & Albert Museum E.1843-1934 Note: This needlework panel is based Crane’s designs for ‘Alcestis’, his first block‑printed paper frieze produced by Jeffrey & Co. from 1876. Alcestis was the mythical queen of Thessaly, wife of King Admetus, who came to personify the devoted, selfless woman and wife in ancient Greece and the design shows her attended by Amor and the domestic virtues Alcestis, Diligentia, Regmarita, Providencia and Hospitalita.

Walter Crane was an artist and illustrator known for his embroidered illustrations of children’s stories. In 1875, the Royal School of Needlework commissioned Crane (along with other pioneers of the Arts and Crafts and Aesthetic Movements, including Morris and Burne Jones) to design works some of which were sent to Philadelphia to be shown at the International Centennial Exhibition in 1876 taking needlework to the United States for the first time. Similar figures appear in the demi lune cabinet exhibited by the Royal School of Needlework at the exhibition this cabinet was sold by Paul Reeves and is now in the collection of The Huntington Library, Art Collections and Botanical Gardens, California. £300-500

32 WALTER CRANE (1845-1915) (DESIGNER)

EMBROIDERED PANEL, CIRCA 1880 depicting a Grecian female figure holding aloft a mirror with inscription, silkwork reserved on a linen ground, original frame 43 x 26cm £300-500

33 ATTRIBUTED TO WALTER CRANE FOR THE ROYAL SCHOOL OF NEEDLEWORK

SILKWORK EMBROIDERED MOUNT, CIRCA 1880 depicting musical putti and birds in a foliate setting, enclosing print entitled THE AGE OF INNOCENCE, after Reynolds, original carved frame 60 x 53cm £400-600

Textiles as Art: from the collection of Paul Reeves 21

34 ATTRIBUTED TO WALTER CRANE (1845-1915)

’CARITAS’, EMBROIDERED APPLIQUÉ PANEL, CIRCA 1900 depicting a representation of the virtue and bearing the inscription CARITAS, velvet, silk and lace with silk and metal thread embroidery reserved on a silk ground, framed 76.5 x 58.5cm £400-600

36 MAY MORRIS (1862-1938) FOR MORRIS & CO. EMBROIDERED SILKWORK PANEL, CIRCA 1885 depicting flowering tulips, silkwork embroidery on a silk ground, within original carved mahogany frame (formerly a Morris & Co. firescreen) 41.5 x 37cm Literature: Beattie, Sarah. ‘Unsung Artists: May Morris’. 2015.

Note: May Morris, daughter of the celebrated William Morris, was a talented embroiderer and artist working in the Arts and Crafts Movement. She studied embroidery at The South Kensington School of Design, the precursor to The Royal College of Art, becoming the head of embroidery at her father’s company Morris & Co. in 1885. She later founded the Woman’s Guild of Arts in 1907. She was a passionate advocator for the Arts and Crafts movement and her signature designs depict floral scenes, taking inspiration from medieval art, such as in this example. £600-800

35 ENGLISH SCHOOL

AESTHETIC MOVEMENT SILKWORK PANEL, CIRCA 1880 depicting a Japanese musical scene, silkwork reserved on a silk satin ground, within plush slip, framed 61.5 x 84.5cm £300-500

22 Lyon & Turnbull

37 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO.

’APPLE TREE’ MAHOGANY FRAMED EMBROIDERED FIRESCREEN, CIRCA 1880 the frame enclosing a glazed silkwork panel depicting a fruiting tree, stamped under apron MORRIS & CO./149 OXFORD STREET W/1868 panel 58 x 57.5cm, screen 112 x 64cm Literature: Parry, Linda ‘William Morris Textiles’, 1983, p.

28 where a similar design for an embroidery is illustrated. £800-1,200

38 LEEK SCHOOL OF EMBROIDERY

ARTS & CRAFTS EMBROIDERED SILKWORK PANEL, CIRCA 1880 depicting a floral and foliate design, silk and metal embroidery on figured silk damask ground, framed 54 x 46cm £600-800

Textiles as Art: from the collection of Paul Reeves 23

39 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO.

’BRER RABBIT’ COTTON HANGING, CIRCA 1882 depicting a repeat pattern of opposed rabbits, birds and flowering foliage, printed cotton, within later linen slip, framed 41 x 44cm Note: The brer rabbit, or brother rabbit, pattern was first designed in 1882 by William Morris. Named after the popular children’s storybook character from the period, the style itself takes its inspiration from seventeenth century Italian cut velvet that Morris would have seen around the same period.

40 ENGLISH SCHOOL

ARTS & CRAFTS EMBROIDERED SILKWORK BANNER, CIRCA 1890 depicting an allover design of flowers and butterflies, silkwork on linen, mounted on silk, framed 46.5 x 38cm £200-300

£400-600

41 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. ’STRAWBERRY THIEF’ COTTON HANGING PANEL, CIRCA 1883 depicting opposed thrushes on a strawberry plant ground, indigo-discharged and block-printed cotton, within later green linen border 28.5 x 89.5cm, including border 55 x 113cm Literature: Victoria & Albert Museum T.586-1919 £350-450

Note: This printed cotton furnishing textile was intended to be used for curtains or draped around walls (a form of interior decoration advocated

by William Morris), or for loose covers on furniture. This is one of Morris best-known designs. He based the pattern and name on the thrushes which frequently stole the strawberries in the kitchen garden of his countryside home, Kelmscott Manor, in Oxfordshire. Despite the fact that this design was one of the most expensive printed furnishings available from Morris & Co., it became a firm favourite with clients.

The pattern was printed by the indigo discharge method, an ancient technique used for many centuries mostly in the East. Morris admired

the depth of colour and crispness of detail that it produced. He first attempted to print by this method in 1875 but it was until 1881, when he moved into his factory at Merton Abbey, near Wimbledon, that he succeeded.In May 1883 Morris wrote to his daughter, ‘I was a great deal at Merton last week ... anxiously superintending the first printing of the Strawberry thief, which I think we shall manage this time.’ Pleased with this success, he registered the design with the Patents Office. This pattern was the first design using the technique in which red (in this case alizarin dye) and yellow (weld) were added to the basic blue and white ground.

24 Lyon & Turnbull

42 SIR ROBERT LORIMER (1864-1929)

IMPORTANT CREWELWORK HANGING PANEL FOR EARLSHALL, FIFE, DATED 1893 depicting the Tree of Life, russet silk embroidery on a natural linen ground, with later linen backing, bears hand-written label WOVEN BY J.R.S. MACKENZIE/IN 1893 177 x 154cm £18,000-22,000

Provenance: Earlshall Castle, Fife, Scotland Note: In 1890 Sir Robert Lorimer was commissioned by R.W.R. Mackenzie to restore and enhance his sixteenth century tower house, Earlshall, near Leuchars in Fife, Scotland. Lorimer designed several pieces of furniture for the house, including the settle now in LACMA and the buffet which Walter Shaw Sparrow illustrated in his The British Home of To-Day (1904). The work included embroideries to complete the decorative scheme. Walter Shaw Sparrow illustrated the bedcover from this set (now with The National Museums of Scotland) in The Modern Home (published in 1908).

These embroideries were worked by Mackenzie’s wife Jessie and her friends in 1893 and remained at Earlshall until the contents were sold in 1983.

Sir William Bruce built the castle in 1546. He had fought at, and unusually, survived the Battle of Flodden in 1513. Mary, Queen of Scots, visited in 1561.

One of the family was killed at the Battle of Worcester in 1651, fighting for Charles II; and another Sir Andrew is known as “Bloody Bruce”. He and his men killed Richard Cameron, a noted Covenanter, at Airds Moss. Bruce then hacked off Cameron’s head and hands and took them back to Edinburgh.

The castle was abandoned and ruinous before being restored for R.W.R. Mackenzie by Sir Robert Lorimer in 1892. The gardens were re-laid and the formal garden replanted.

Textiles as Art: from the collection of Paul Reeves 25

43 SIR ROBERT LORIMER (1864-1929)

IMPORTANT PAIR OF CREWELWORK BED HANGINGS, DATED 1893 each worked with allover sprays of flowers with insects within a meandering border of flowers and birds, russet silk embroidery on a natural linen ground, with later linen backing, each bears hand-written label WORKED BY MISS C. CHAPLIN 1893 and WORKED BY MRS BURNS‑MACDONALD. 1893 (2) 233 x 97cm Provenance: Earlshall Castle, Fife, Scotland £10,000-15,000 Earlshall Castle, copyright Savills

26 Lyon & Turnbull

44 STUART PROVERBS FOR G. P. & J. BAKER

ARTS & CRAFTS PRINTED COTTON HANGING PANEL, CIRCA 1895 depicting a repeat pattern of Lyrebirds and Lily of the valley, within later linen border

45 ATTRIBUTED TO HARRY NAPPER FOR SILVER STUDIOS AND LIBERTY & CO., LONDON

WOVEN COTTON PANEL, CIRCA 1895 depicting a repeating pattern of poppies, lilies and daisies, machine woven, original frame

47 x 117cm, including border 84 x 144cm

51 x 31cm

Literature: ‘Stoffe um 1900’ published Das Textilmuseum, Krefeld, 1977, No. 36 where an example is illustrated.

Literature: ‘A London Design Studio 1880 - 1963: The Silver Studios Collection’, pub Lund Humphries with The Middlesex Polytechnic, 1980, p.66, pl. 68

£250-350

£150-250

46 WARNERS & CO.

’ST. AUGUSTINE’, A WOVEN SILK DAMASK PANEL, CIRCA 1898 designed in late 14th century Venetian style, depicting repeating panels of opposed stags and eagles, framed 44.5 x 53cm Literature: Monnas, Linda ‘Merchants, Princes and Painters. Silk fabrics in Italian and Northern Paintings 1300- 1550’, pub. Yale University Press 2008, p. 49, illus. 39. where a late 14th century example is illustrated (currently in the collection of the Chicago Art Institute, 1940.926), and p. 286, where this fabric is illustrated (V&A inv. no. T. 615.1972, sample no 30524, DATED 18th January 1898) £250-350

47 ELLEN WELBY (BORN CIRCA 1852, ACTIVE 1879-1927)

EMBROIDERED PANEL, ‘SAINT BRIDGET’, CIRCA 1900 worked in cotton and silk on an unbleached linen ground, with inscription SAINT BRIDGET, original frame 69.5 x 20cm £150-250

Textiles as Art: from the collection of Paul Reeves 27

48 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO.

RARE ‘GRANADA’ WOVEN SILK BROCADE PANEL, DESIGNED 1884 depicting entwined flowering foliage, framed 55 x 65cm Literature: Naylor, Gillian ‘William Morris by himself’, 2000, p. 273 illus.

Note: This pattern was also woven as a silk velvet. £800-1,200

49 LEEK SCHOOL OF EMBROIDERY AND MORRIS & CO. ’INDIAN POPPY’, A MAHOGANY FRAMED EMBROIDERED FIRESCREEN, CIRCA 1890 the frame enclosing a panel embroidered with an allover floral design, coloured silk threads on a white wool ground panel 61 x 56cm, screen 102.5 x 62cm Note: Established by Elizabeth and Thomas Wardle in Leek, Staffordshire around 1879‑80, the Leek School of Embroidery became renowned for their innovation and fine needlework. £600-800

28 Lyon & Turnbull 50 MAY MORRIS (1862-1938) FOR MORRIS & CO. A RARE EMBROIDERED SILKWORK PANEL, CIRCA 1885 depicting two bands of flowering fritillaries, silk embroidery on a silk ground, original frame 55 x 45cm £800-1,200

51 JOHN HENRY DEARLE (1859-1932) FOR MORRIS & CO. ’PARROT TULIP’ SILKWORK PANEL, CIRCA 1890 depicting an allover design of flowering tulips, original frame 133 x 52cm Note: A three-fold screen by Morris & Co. incorporating the same design is in the collection of the Victoria & Albert Museum (CIRC.848-1956). £1,500-2,000

Textiles as Art: from the collection of Paul Reeves 29

52 ARTS & CRAFTS

EMBROIDERY FRAME WITH SILK AND GOLDWORK MOTIFS ON LINEN, CIRCA 1880 showing a work in progress with unfinished motifs on a linen ground, mounted on a turned wooden embroidery frame panel 25 x 39cm, including frame 56 x 40cm £250-350

53 LIBERTY & CO., LONDON

ARTS & CRAFTS CREWELWORK PANEL, CIRCA 1890 depicting an allover flowering foliate design, woollen threads on a cotton ground, original frame, bears label verso MILDRED BARWELL/BIRMINGHAM 120 x 89cm Note: Worked by a Mildred Barwell of Birmingham from a Liberty & Co. kit. £300-500

54 GERMAN SCHOOL

’RED RIDING HOOD & THE WOLF’ WOOLWORK PANEL, CIRCA 1890 depicting Red Riding Hood with the Wolf in a forest, within strawberry band with oak angles, woolwork embroidery on black wool ground, within original carved Black Forest frame 64 x 67cm £400-600

55 ENGLISH SCHOOL

WOOLWORK PANEL, CIRCA 1890 depicting a 15th century hunting scene, woolwork embroidery with raised stumpwork on a linen ground, original frame 26.5 x 40cm £400-600

30 Lyon & Turnbull

56 JAPANESE, MEIJI PERIOD

SILKWORK EMBROIDERED PANEL, CIRCA 1900 depicting birds of prey flying through prunus, silk and gold work on a purple silk ground, reserved on later cotton border 50 x 285cm, including border 64 x 300cm £400-600

57 JOHN HENRY DEARLE (1859-1932) FOR MORRIS & CO.

EMBROIDERED ‘ST. HILARY’ SILK DAMASK PORTIÈRE, CIRCA 1900 applied with earlier (18th century) foliate and peacock silkwork embroideries, lined 221 x 137cm £800-1,200

Textiles as Art: from the collection of Paul Reeves 31

58 ATTRIBUTED TO C.F.A. VOYSEY (1857-1941) FOR ALEXANDER MORTON & CO.

WOVEN WOOLLEN FABRIC PANEL, CIRCA 1900 depicting opposed birds amidst fruiting and flowering plants, period frame

59 ATTRIBUTED TO C. HARRISON TOWNSEND FOR ALEXANDER MORTON & CO.

ARTS & CRAFTS WOVEN WOOL PANEL, CIRCA 1893 depicting a repeating floral and foliate design, period frame

26.5 x 20cm

44 x 34cm

£150-250

Note: This panel displays comparisons with ‘Omar’, a woven wool fabric designed by C. Harrison Townsend for Alexander Morton & Co. in 1893. The woven woollen double cloth was called “Darvel Tapestry”. £150-250

60 ATTRIBUTED TO MACKAY HUGH BAILLIE SCOTT FOR ALEXANDER MORTON & CO. (1865-1945)

WOVEN WOOL PANEL, CIRCA 1900 repeating bird and tulip motifs woven on a russet ground, period frame 70 x 52.5cm Note: M.H. Baillie Scott was a prolific Scottish architect and artist involved in the Arts and Crafts movement throughout Britain.

This panel parallels other works by Scott such as stained glass windows at Blackwell Arts and Crafts House in the Lake District depicting simplified and sinuous birds and tulips. £300-500

61 AFTER WALTER CRANE (1845-1915)

EMBROIDERED PANEL, CIRCA 1900 worked in white silk on a linen ground with opposed swans and cygnets, framed 37.5 x 35.5cm Note: Walter Crane was one of the most prolific illustrators and designers associated with the Arts and Crafts Movement, with his works illustrating children’s stories largely contributing to the development of the children-in-garden motif visible in nursery rhymes and stories.

This panel alludes to Crane’s 1877 wallpaper design ‘Swan, Rush and Iris’ (now in the Victoria and Albert Museum), which takes its inspiration from Greek vase paintings. £400-600

32 Lyon & Turnbull 62 ATTRIBUTED TO C.F.A. VOYSEY FOR ALEXANDER MORTON & CO. RARE WOVEN COTTON HANGING PANEL, CIRCA 1900 depicting an allover design of flowering Hellebores 176 x 114cm Literature: ‘Stoffe um 1900’ published Das Textilmuseum, Krefeld, 1977, No. 23 where a similar fabric by Voysey is illustrated. £500-800

63 ATTRIBUTED TO MACKAY HUGH BAILLIE SCOTT FOR ALEXANDER MORTON & CO. WOVEN WOOL HANGING PANEL, CIRCA 1900 repeating bird and tulip motifs woven on a russet ground, within later wool binding 125 x 114cm £600-800

Textiles as Art: from the collection of Paul Reeves 33

66 MANNER OF EDOUARD COLONNA

ART NOUVEAU WOVEN SILK DAMASK HANGING PANEL, FRENCH CIRCA 1900 depicting a repeat pattern of opposed parakeets and barley heads, within later silk border 235 x 128cm, including border 282 x 167cm £600-800

64 ATTRIBUTED TO HARRY NAPPER FOR THE SILVER STUDIO

WOVEN COTTON AND WOOL FABRIC PANEL, CIRCA 1900 depicting flowering poppies, period frame 44.5 x 37cm Literature: ‘A London Design Studio 1880 - 1963: The Silver Studios Collection’, pub Lund Humphries with The Middlesex Polytechnic, 1980, p.100, pl. 195 £250-350

65 ATTRIBUTED TO LINDSAY PHILLIP BUTTERFIELD FOR THOMAS WARDLE WOVEN COTTON PANEL, CIRCA 1890 depicting repeating flowering plant forms, period frame 35 x 48.5cm Literature: ‘Stoffe um 1900’ published Das Textilmuseum, Krefeld, 1977, No. 10, where a similar fabric by Butterfield is illustrated. £150-250

34 Lyon & Turnbull 67 ARTS & CRAFTS

WOOLWORK HANGING PANEL, CIRCA 1900 depicting a peacock within fruiting and foliate border, woolwork embroidery within a later linen border 92 x 90cm, including border 119 x 130cm £250-350

68 ATTRIBUTED TO EDMUND HUNTER FOR ST EDMUNDSBURY WEAVERS

STAG AND DEER SILK FABRIC HANGING PANEL, CIRCA 1900 depicting opposed stags on a vine ground, within grey silk border 42 x 49.5cm, including border 70 x 76.5cm Note: Artist Edmund Hunter set up the important St Edmundsbury Weavers Works in 1901 from Surrey where he was living with his wife Harriette. The company sought to revive hand loom weaving in line with their involvement in the Celtic Revival, which was taking place across Britain at the beginning of the twentieth century. £200-300

69 ATTRIBUTED TO JOHN ILLINGWORTH KAY FOR THE SILVER STUDIO

’WATERLILIES’ ARTS & CRAFTS PRINTED COTTON VELVET PANEL, CIRCA 1900 depicting a Japanese moonlit landscape with Mount Fuji in the distance, framed 27 x 46cm Literature: Arts & Crafts Textiles in Britain. Exhibition Catalogue. The Fine Art Society in Association with Francesca Galloway, nd. No. 45. £200-300

Textiles as Art: from the collection of Paul Reeves 35 70 AFTER ALPHONSE MUCHA

PAIR OF EMBROIDERED HANGING PANELS, CIRCA 1900 each depicting an Art Nouveau maiden, one amongst waterlilies, the other poppies, each mounted within later linen borders, bears cloth label S9748/1/338/ MANCHESTER and further cloth exhibition label (2) complete panels, 169 x 78cm and 172 x 76cm £300-500 Note: These panels take their inspiration from the works of prolific Art Nouveau illustrator Alphonse Mucha. Mucha’s illustration ‘Poppies’ from 1902 demonstrates the similarities of a study of the female form in a decorative floral design. The strong black outline of the figures is typical of the Art Nouveau movement as artists were taking inspiration from Japanese woodblock prints and reducing images to their essential qualities.

71 FRENCH SCHOOL

72 SCANDINAVIAN SCHOOL

WOVEN LINEN AND EMBROIDERED HANGING PANEL, CIRCA 1900 depicting dogs chasing a rabbit in a landscape, wool embroidery on a rough woven linen ground 41 x 320cm £300-400

EMBOSSED AND PAINTED VELVET PANEL, CIRCA 1920 depicting songbirds perched upon blossoming branches, framed 14 x 112cm £200-300

36 Lyon & Turnbull

73 GLASGOW SCHOOL OF ART

PAIR OF EMBROIDERED AND APPLIQUÉ LINEN HANGING PANELS, CIRCA 1900 probably by Johnamm “Joey” McCrae, each depicting a frieze of stylised Glasgow roses, within later linen border (2) 99 x 101cm, including border 195 x 134cm Literature: MacFarlane, Fiona and Arthur, Elizabeth ‘Glasgow School of Art Embroidery: 1894- 1900’ Glasgow: Glasgow Museums and Art Galleries, 1980.

Note: Johnamm ‘Joey’ McCrae (1881- 1959) attended the Glasgow School of Art from 1898 until 1902, where she receive 1st class grades in Freehand Drawing and in Design. She received a bursary in 1902 to visit galleries, museums, and art collections and was awarded £5.50 which she spent on a trip to London. In 1906, she was appointed assistant instructress at the Saturday morning class but had to retire shortly after to care for her nieces after the death of her sister. McCrae’s work is in the typical Glasgow style with floral patterns and decorative simplified compositions. £800-1,200

74 GEORGE LOGAN (1866–1939) FOR WYLIE & LOCHHEAD, GLASGOW MAHOGANY FRAMED FOUR-FOLD DRAUGHT SCREEN, CIRCA 1900 of arched outline, each fold with painted canvas panel of nymphs, allegorical of the seasons, above corresponding apron with pierced decoration on square supports linked by stretchers 137.5cm high, 186.5cm wide £1,200-1,800 Note: Wylie and Lochhead began business as undertakers in early 19th century Glasgow. By 1860 they had diversified into all areas of domestic and commercial furnishing and by 1900 they were the leading cabinetmakers and upholsterers in the city. George Logan designed much of their ‘Glasgow Style’ output around 1900, along with his colleagues E.A. Taylor and John Ednie. The illustrative nature of the painted panels with their immediate and loose handling are characteristic of Logan’s style of painting. The curvaceous line of the screen has pierced ‘apple pip’ or split hearts, a typical Glasgow motif.

Textiles as Art: from the collection of Paul Reeves 37

75 MANNER OF TALWIN MORRIS

GLASGOW SCHOOL EMBROIDERED SILKWORK PANEL, CIRCA 1900 depicting a frieze of peacocks, silk embroidery on linen, framed 60 x 136cm £800-1,200

76 [§] ANN MACBETH (1875-1948) AND HELEN STEVEN MACAREE (1891-1941) GLASGOW SCHOOL EMBROIDERED APPLIQUÉ PANEL, CIRCA 1900 depicting the heraldic coat of arms of the McGregor family, inscribed with the motto ARD CHOILLE, original frame 55.5 x 102cm Note: One of two panels, acquired by family descent. The other, signed by both artists, was sold by Paul Reeves and is now in the permanent collection of LACMA (Los Angeles County Museum of Art M.2015.62.6). £1,200-1,800

Photograph of Helen Macaree

38 Lyon & Turnbull

77 GLASGOW SCHOOL

78 GLASGOW SCHOOL

61 x 46cm

67 x 51.5cm

£250-350

£300-500

79 GLASGOW SCHOOL

80 SCOTTISH ARTS & CRAFTS

EMBROIDERED APPLIQUÉ PANEL, CIRCA 1910 depicting a stylised bird amidst foliage, reserved on a linen ground, framed

ARTS & CRAFTS EMBROIDERED APPLIQUÉ PANEL, CIRCA 1900 depicting the queen of hearts, worked in polychrome silks on a linen ground, original frame 58.5 x 23.5cm £400-600

ARTS & CRAFTS SILKWORK PANEL, CIRCA 1900 depicting butterflies and roses, silkwork embroidery reserved on a silk ground, framed

SILK AND GOLDWORK OFFERTORY PURSE, CIRCA 1910 depicting St Christopher carrying the Christ child, within inscription GIVE AND IT SHALL BE GIVEN YOU, framed 23 x 16cm £250-350

Textiles as Art: from the collection of Paul Reeves 39

81 SCOTTISH SCHOOL

PAIR OF EMBROIDERED SILKWORK PANELS, EARLY 20TH CENTURY reserved on a linen ground, embroidered inscriptions EVIL THINK EVIL DO & SIN BRINGS ITS OWN PUNISHMENT, framed (2) 55.5 x 34cm £600-800

82 MANNER OF GEORGE WALTON STENCILLED FABRIC HANGING, CIRCA 1900 depicting Bacchanalian scene reserved on a satin ground, within later linen border panel, 71 x 90cm £250-350

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83 ARTS & CRAFTS

84 ARTS & CRAFTS

EMBROIDERED WOOLWORK PANEL, CIRCA 1900 depicting a swan, coloured wools, framed

EMBROIDERED CREWELWORK PANEL, CIRCA 1910 depicting a potted flowering tree, woolwork on a linen ground, framed

35 x 51.5cm

80 x 58.5cm

£150-250

85 LIBERTY & CO., LONDON

PAIR OF ARTS & CRAFTS PRINTED SILK PICTURES, CIRCA 1900 each depicting young ladies gathering fruit in an orchard, later framed (2) each 24 x 23cm £200-300

£250-350

86 MANNER OF HEYWOOD SUMNER

ARTS & CRAFTS EMBROIDERED WOOLWORK PANEL, CIRCA 1910 depicting storks within a bucolic scene, original frame 62.5 x 100cm £400-600

Textiles as Art: from the collection of Paul Reeves 41

87 LIBERTY & CO., LONDON

RARE GLAZED SHOP DISPLAY PANEL, CIRCA 1905 showing a representative group of Indonesian batiks, original glazed frame, bears maker’s marks verso LIBERTY/ LONDON & PARIS size including frame, 78 x 141cm £600-800

88 C.F.A. VOYSEY (1857-1941) FOR MORTON SUNDOUR, EDINBURGH

’COCKPEN’ PATTERN PRINTED COTTON PANEL, CIRCA 1918 depicting a repeating pattern of harebells, grapes and opposed birds, period frame 51 x 38.5cm Note: See V&A Museum Number T.174-1977 for similar example of this furnishing fabric. £400-600

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Textiles as Art: from the collection of Paul Reeves 43

89 ARTS & CRAFTS

’THE MAGNIFICAT’, SET OF FOUR EMBROIDERED PANELS, DATED 1909 each panel depicting various fowl including a cockerel and a guinea fowl, above fields of various plants and bearing inscriptions O ALL YE FOWLS OF THE AIR/BLESS YE THE LORD/PRAISE HIM AND/MAGNIFY HIM FOR EVER, silk embroidery on a textured linen ground, signed to the base of one panel A.M. ROBERTS/1909, framed (4) each 147 x 40.5cm £1,200-1,800

44 Lyon & Turnbull

90 MORANT & CO., LONDON

ARTS & CRAFTS EMBROIDERED PELMET, CIRCA 1910 depicting fruiting and flowering plants on a lattice ground, coloured wool threads on a linen ground, bears maker’s label MORANT & CO., /NEW BOND ST./LONDON 376 x 48cm £400-600 Note: Established as ‘Morant’ in 1790 and becoming ‘Morant & Co.’ in the 1850s, they were one of the most prominent upholsterers and decorators in Britain at the time. The company received a royal warrant in 1825 for gilding and picture-framing, which resulted in a large amount of prestigious commissions for decorating the mansions of English nobility such as the Dukes of Sutherland and the Marquis of Exeter. In 1912, the firm merged with Francis Lenygon to become Lenygon & Morant.

91 MANNER OF OMEGA WORKSHOP AND DUNCAN GRANT EMBROIDERED WOOLWORK PANEL, CIRCA 1910 depicting a bowl of fruit, period frame 38 x 51cm £400-600

92 MORRIS & CO.

EMBROIDERED SILKWORK PANEL, DATED 1916 worked as a design of pomegranates, original frame, inscribed with embroiderer’s name in pen verso GERALDINE/1916 29cm square Provenance: Mrs Fitzgerald Watt, Hemingford House, Huntington £400-600

Textiles as Art: from the collection of Paul Reeves 45

93 ROYAL SCHOOL OF NEEDLEWORK

RARE EMBROIDERED PANEL, CIRCA 1910 worked in coloured wools and metal threads with a bird and pomegranate design, reserved on a linen ground, framed

94 ARTS & CRAFTS

31 x 25.5cm

’ST. GEORGE & THE DRAGON’ WOOLWORK TAPESTRY PANEL, DATED 1915 worked in coloured wools with a knight in armour, embroidered monogram with date EWB/1915, original frame

Note: An accompanying panel to the same design, owned by Paul Reeves, bore the woven Royal School of Needlework label.

97cm x 64cm Provenance: Lord and Lady Rochdale, Lingholm, Cumbria

£400-600

£400-600

95 WORLD WAR I INTEREST

96 WORLD WAR I INTEREST

FRAMED COTTON HANDKERCHIEF, CIRCA 1914‑15 printed with a map of Great Britain and bearing the inscription IT’S A LONG, LONG WAY TO TIPPERARY,/MY HEART’S RIGHT THERE, framed, 29.8cm x 31cm; and a WORLD WAR II INTEREST SILK HANDKERCHIEF, CIRCA 1945, printed with the names of the Allies ROOSEVELT/STALIN/ CHURCHILL/CHIANG KAI‑SHEK, framed, 28.5 x 27cm (2) Note: Soldiers constantly on the move were limited to what they could carry.

A letter from home might never arrive, thus a sweetheart’s handkerchief was one keepsake a soldier treasured. In exchange, soldiers sent remembrance handkerchiefs home. £150-250

WOOLWORK PANEL, CIRCA 1915 depicting a girl and her dog, framed, Bears label verso COPIED FROM A POSTCARD/PICTURE./BY J. LOVEDAY/SOLDIER OF “B” BATTERY/KINGS TROOP ROYAL/HORSE ARTILLERY/1914-1918 50 x 73cm Note: Needlework was commonly used as a therapy for recovering soldiers during World War I. Projects large and small were tackled, from regimental badges, copying images on prints and postcards as in the current example, or much larger projects. During the war the Royal School of Needlework organised 133 convalescing soldiers from all over Britain to embroider the altar cloth for St Pauls Cathedral. £200-300

46 Lyon & Turnbull

97 JAPONAISME

APPLIQUÉ PANEL, EARLY 20TH CENTURY worked with coloured silks as two panels with rope tassels, one depicting a geisha, the whole embellished with gilt threads, framed 39.5 x 49.5cm £200-300

98 HENRY VAN DE VELDE (1863-1957)

RARE ART NOUVEAU PRINTED COTTON PANEL, CIRCA 1900 depicting a repeating organic pattern, within later cotton slip, framed 37.5 x 38cm Literature: ‘Stoffe um 1900’ published Das Textilmuseum, Krefeld, 1977, No. 52 where an example is illustrated.

Note: Although starting his career as a painter, Henry Van de Velde soon abandoned the practise to focus on architecture and interior design, becoming one of the founders of the Art Nouveau style in Belgium and Germany. Van de Velde was inspired by the Arts and Crafts movement in Britain and started designing buildings and textiles inspired by natural forms and sinuous lines. He was one of the first architects to work to the premise that ‘form follows function’, trying to ensure that all objects were beautiful and also functional. £400-600

99 MANNER OF DAGOBERT PECHE

RARE SECESSIONIST PRINTED SILK PANEL, CIRCA 1910 with a repeating pattern depicting stylised birds and plants, framed 39.5 x 52cm £400-600

100 SECESSIONIST STYLE

WOVEN SILK AND GILT BROCADE PANEL, CIRCA 1900 depicting three panels of stylised roses mounted on a raw silk ground, framed 28.5 x 47cm £150-250

Textiles as Art: from the collection of Paul Reeves 47

101 WYNDHAM LEWIS (1882-1957) FOR THE REBEL ART CENTRE OR THE OMEGA WORKSHOPS RARE HANDBLOCKED PRINT ON SILK CREPE, CIRCA 1914 printed in bands with stylised foxes and kneeling figures, framed 68 x 58cm £800-1,200

Literature: Rayner, Geoffrey, Chamberlain, Richard, Stapleton, Annamarie ‘Artist’s Textiles 1949-1976’ p. 14 and 15, pl. 4a and 4b illus.

Note: The Omega Workshops, established in 1913, was a design enterprise founded by members of the Bloomsbury Group.

In 1914, Lewis set up The Rebel Art Centre as a workshop for the applied arts, and this silk crepe was designed for one of these. The same design is visible on an embroidered and block-printed silk robe created by Lewis in 1914.

48 Lyon & Turnbull 102 ENGLISH FOLK ART

FELTWORK PANEL, EARLY 20TH CENTURY depicting a man carrying a sheep on his shoulders in the foreground, with sheep on the hillside, original frame 43 x 34cm £300-500

103 ENGLISH FOLK ART

FELTWORK PANEL, EARLY 20TH CENTURY depicting a young woman being attacked by dogs, by a large gated house, rosewood frame, felt mosaic with shaded detail, original frame 43.5 x 39cm £300-500

Textiles as Art: from the collection of Paul Reeves 49

104 ARTS & CRAFTS

CREWELWORK HANGING PANEL, CIRCA 1930 in characteristic style, depicting a flowering tree with owl, bats, lizards and other animals, coloured wool embroidery on a linen ground, embroidered signature and date G. ABDY/19**, later linen border 204.5 x 86.5cm, including border 257 x 114cm £400-600

50 Lyon & Turnbull 105 MANNER OF SELWYN IMAGE

ARTS & CRAFTS EMBROIDERED HANGING PANEL, CIRCA 1920 depicting the Nativity, woolwork on linen, partly unfinished, later linen border 140 x 116cm, including border 190 x 150cm £400-600

106 SIDNEY MAWSON (1876-1937) FOR MORTON SUNDOUR FABRIC LTD.

’THE PLEASAUNCE’, COTTON PANEL, CIRCA 1924 depicting peacocks in a garden amongst trees, arbours and a fountain, framed 53.5 x 36cm Note: Sydney Mawson was a landscape painter and lecturer in textile design at the Slade School of Art. As a textile designer he followed the taste makers of the day including William Morris and Lewis F. Day and sold his designs to major firms such as Alexander Morton and Warners. £200-300

Textiles as Art: from the collection of Paul Reeves 51

107 AFTER OTTO ECKMANN

ART NOUVEAU EMBROIDERED SILK HANGING PANEL, CIRCA 1920 silk cross stitch embroidery on a cotton ground, within later linen border 68 x 85.5cm, including border 100 x 107.5cm Note: Otto Eckmann was a prominent member of the Jugendstil group in Germany, noted for his floral style. This silk hanging alludes to Eckmann’s 1897 tapestry ‘Five Swans’ (Budapest Museum of Applied Arts) in the simplified forms and sinuous lines that demonstrates his inspiration which comes from Japanese woodblock prints, and is typical of the Art Nouveau style. £300-400

108 ROYAL SCHOOL OF NEEDLEWORK

RARE SILKWORK EMBROIDERY, DATED 1925 worked as a representation of ‘Souls Awakening’ by James Sant (painted 1894), original frame, bears inscriptions verso V. H. WISE/7 BOW LANE, N.12/1925/MISS WISE/ROYAL SCHOOL OF NEEDLEWORK/25 PRINCES GATE/KENSINGTON S.W.7/SHOWN AT THE LOAN EXHIBITION ST JAMES PALACE 1951/‘SOULS AWAKENING’ AFTER SANT, with original exhibition catalogue (2) 31 x 23.5cm Note: Miss Violet Wise was one of the small team chosen by the Royal School of Needlework to embroider the Coronation train of Queen Elizabeth II. £600-800

109 LADIES WORK SOCIETY

SAMPLE EMBROIDERED PANELS, CIRCA 1920 displaying a range of designs and techniques and mounted on a linen backing, framed 47.5 x 45cm £200-300

110 FAUVIST STYLE

WOOLWORK TRIPTYCH PANEL, CIRCA 1930 depicting three Fauvist style landscapes, framed 44 x 111cm £200-300

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111 MANNER OF C.F.A. VOYSEY

EMBROIDERED LANDSCAPE, CIRCA 1930 depicting a meandering river scene, worked in coloured wool and silk on a linen ground, original frame 62.5 x 55cm Note: This panel bears similarities to the River Rug designed by Voysey and woven in 1903. Previously the rug was in the collection of John Brandon Jones, now with the Victoria & Albert Museum (T.71-2014)

112 ENGLISH SCHOOL

EMBROIDERED SILKWORK PANEL, CIRCA 1920 depicting an unusual allegorical neoclassical landscape scene incorporating motor cars, figures and a central monogram surrounded by a stream, silkwork on a silk ground, framed 46.5 x 37cm

£300-500

£300-500

113 ENGLISH SCHOOL

114 ENGLISH SCHOOL

’THROUGH AN ARCHWAY’, AN ARCHITECTURAL EMBROIDERED PANEL, CIRCA 1930 depicting a townscape through an archway, silk and gold threads on a silk damask ground, bears inscription verso WORKED BY MARGUERITE ATTRILL, original frame 43 x 37.5cm £250-350

WOOLWORK PANEL, CIRCA 1930 depicting a naive study of figures reflected on the shore, original frame 16 x 24cm £100-200

Textiles as Art: from the collection of Paul Reeves 53

115 ART DECO

WOOLWORK HANGING PANEL, CIRCA 1930 depicting abstracted townscape, signed JEAN FEARON 75 x 42cm £250-350

116 CUBIST STYLE

SILKWORK PANEL, CIRCA 1920 depicting a seated figure at her embroidery, framed 64 x 44.5cm £300-500

54 Lyon & Turnbull

P

HYLLIS Barron and Dorothy Larcher produced their own hand-blocked textiles in London and, from 1930 in Painswick, Gloucestershire. Barron, who had trained at the Slade, first became interested in printing fabrics on discovery of some printing blocks whilst on holiday in France. She researched dying at the British Museum and the V&A libraries. As a member of the London Group from 1916 until 1921 she would have been in contact with the leading artists of the day, and very quickly she came to the attention of Roger Fry who asked her to exhibit at the Omega Workshop. Dorothy Larcher meanwhile had been working in India and on her return met Barron through the embroideress Eve Simmonds. She joined Barron in 1923 and together they moved to a workshop in Hampstead. Through Detmar Blow they secured a commission to furnish the coming-out dance of the Duke of Westminster, and another commission through the Duke led to a commission for cushions for Coco Chanel’s garden in Paris. They moved to the Cotswolds in 1930 where the local water was particularly suitable for madder dying and from where they secured commissions from Girton College, Cambridge, the furniture maker Eric Sharpe amongst many others. The impossibility of obtaining good quality fabrics during the Second World War forced them to give up their business.

117 PHYLLIS BARRON (1890-1964) AND DOROTHY LARCHER (1884-1952)

’VERNEDE’ PATTERN BLOCK-PRINTED COTTON DRESS, CIRCA 1930 the fabric depicting an abstract design, the buttoned cotton dress with lace trim, block printed using red alizarin dye Literature: Carruthers, Annette and Greensted, Mary ‘Simplicity or Splendour’, Cheltenham 1999, p.124 £400-600

118 ATTRIBUTED TO PHYLLIS BARRON (1890-1964) AND DOROTHY LARCHER (1884-1952) BLOCK-PRINTED COTTON HANGING PANEL, CIRCA 1930 abstract design, later cotton backing 135 x 56.5cm, including border 146 x 69cm Note: A previously unrecorded design, this fabric was acquired privately from a Gloucestershire family who had purchased it directly from Barron & Larcher. £400-600

Textiles as Art: from the collection of Paul Reeves 55

119 ENGLISH SCHOOL

’RELIGIOUS PANEL’, CIRCA 1930 worked in a stylised Slavic style, depicting Christ holding the dove with St Andrew and St Peter, silk and metal threads on a linen ground, original frame, bears artist’s inscription verso NANCY SCOTT WALKER 48 x 34cm

120 ENGLISH SCHOOL

WOOLWORK PANEL, CIRCA 1935 depicting a surrealist figural scene within leafy borders with masks to the angles, wool embroidery on cotton sateen ground, framed 47 x 43cm £200-300

£100-200

121 FOOTPRINTS OR RED ROSE GUILD

RARE HAND‑BLOCKED CANVAS SAMPLE PANEL, CIRCA 1930s repeating abstracted musical instrument pattern, framed 70 x 66.5cm Note: In 1929, Joyce Clissold took over the small fabric company ‘Footprints’ and turned it into a successful business during the 1930s. Originally selling dresses and furnishing fabrics, the firm was made up of a primarily female workforce. ‘Footprints’ also exhibited with the ‘Red Rose Guild’, which opened in 1920 in Manchester. During the 1930s, the ‘Red Rose Guild held numerous exhibitions with up to 80 stalls. £200-300

122 ENGLISH SCHOOL

EMBROIDERED WOOLWORK SAMPLER, DATED 1941 depicting figures in European National Dress, with alphabet and DATED 1941, original frame 88.5 x 66cm £250-350

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123 ENGLISH SCHOOL

EMBROIDERED HANGING PANEL, DATED 1938 depicting a landscape with seaside town, beach with bathing huts and figures on the front, coloured threads and braids on an unbleached linen ground, signed and DATED in stich MGB/1938, within later linen border 122 x 196.5cm, including border 150.5 x 214cm £1,200-1,800

124 ENGLISH SCHOOL

EMBROIDERED PANEL, CIRCA 1930 depicting an aerial perspective of an English village, cotton threads on linen, original frame 28 x 29.5cm £100-200

Textiles as Art: from the collection of Paul Reeves 57

125 BERNARD SLEIGH (1872-1954) FOR ROSEBANK FABRICS ’A MAP OF FAIRYLAND’, A RARE LINEN PANEL, CIRCA 1937 printed linen, bears maker’s inscription to selvedge A MAP OF FAIRYLAND BY BERNARD SLEIGH/A ROSEBANK FABRIC, framed 65.5 x 127cm

Note: This fabric is based on Sleighs ‘An Anciente Mappe of Fairyland Newly Discovered and Set Forth’ printed for nurseries from 1917. After Sleigh retired in 1937 it was produced as a fabric by Rosebank, who commissioned Sleigh to produce further works. £400-600

126 ART DECO

127 ENGLISH SCHOOL

61 x 51cm, including border 96 x 80cm

34cm diameter

£150-250

£150-250

EMBROIDERED APPLIQUÉ HANGING PANEL, 1920s depicting a girl at a window, silk and velvet appliqué with coloured embroidery, within later linen border

EMBROIDERED ROUNDEL, CIRCA 1930 depicting a figural scene allegorical of spring, and contained within stitched inscription WHEN SPRING UNLOCKS THE FLOWERS TO PAINT THE LAUGHING SOIL, framed

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128 INDIAN MOGHUL SCHOOL

ZARDOZI EMBROIDERED PANEL, 20TH CENTURY in the Persian style, depicting a peacock, silk and metal threads embellished with semi-precious stones on a silk velvet ground, framed 92 x 98cm Note: Zardozi, from the Persian word to mean sewing with gold string, reached its apogee in the 17th century with royal patronage to embellish the attire of nobility and to decorate wall hangings. The technique remains popular in India today, with this panel representing the country’s national bird as a symbol of peace and prosperity. £800-1,200

Textiles as Art: from the collection of Paul Reeves 59

129 ARTS & CRAFTS STYLE

TWO APPLIQUÉ PANELS, 18TH CENTURY, ASSEMBLED CIRCA 1920 one depicting Georgian aristocrats, later mounted on gilt card, original frame, 22 x 19.5cm; the other depicting two angels, also mounted on gilt card, original frame, 16 x 21.5cm (2) £200-300

131 ENGLISH SCHOOL

EMBROIDERED APPLIQUÉ PANEL, 1930s depicting stylised birds and reserved on a linen ground, framed 49 x 37cm £200-300

130 ENGLISH SCHOOL

EMBROIDERED CHURCH SAMPLER, DATED 1937 depicting an angel enclosed by fruit and flowers, appliqué silk, silk thread and gilt thread, bears inscription verso WORKED AS A CHURCH-WORK SAMPLER/BY MARGARET PIPPON/1937, original frame 25x 25cm £100-200

132 ENGLISH SCHOOL

CHINOISERIE SILKWORK OVAL, CIRCA 1920 depicting a Chinese figural scene of a couple lighting lanterns, silkwork embroidery reserved on a silk satin ground, framed 53 x 35cm £200-300

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133 RAOUL DUFY (1877-1953) FOR BIANCHINI-FÉRIER

’LA CHASSE’ COLOUR SAMPLE LINEN PANEL, CIRCA 1920 depicting a hunter in the forest, hand blocked print on heavy linen, bears factory inscription COL. 12/P. 8011, framed 33 x 120cm Provenance: ‘Two Centuries of Design: The Bianchini-Férier Collection’ Christies, London, 25-27th July 2001 Literature: Victoria & Albert Museum, London MISC.2:31-1934 £500-700

134 RAOUL DUFY (1877-1953) FOR BIANCHINI-FÉRIER

’LA CHASSE’ COTTON TWILL PANEL, CIRCA 1920 depicting a hunter in the forest, hand blocked print on heavy cotton, framed 92.5 x 127cm Provenance: ‘Two Centuries of Design: The Bianchini-Férier Collection’ Christies, London, 25-27th July 2001 £800-1,200

Raoul Dufy (1877-1953) designed this furnishing fabric called ‘La Chasse’ for Bianchini-Férier about 1920. It is made of woodblock printed linen and cotton. Dufy was a painter who had exhibited with the Fauves and first began to design textiles for Paul Poiret in 1911. From 1912 until 1930 he designed woven and printed textiles for the silk manufacturers Bianchini-Férier. He created a range of lively fabrics in bright colours, many of which were bought by leading couturiers such as Lanvin, Patou and Poiret.

‘La Chasse’ is part of the ‘Toiles de Tournon’ series, which was made at the Bianchini-Férier factory at Tournon, near Lyon, in the early 1920s.

The title of the series reflects Dufy’s aspiration to produce a modern day furnishing fabric in the same vein as Oberkampf’s 18th century toiles de Jouy. These often depicted groups of people interspersed with vegetation. Dufy’s design is also reminiscent of popular prints. Areas of colour are skilfully balanced against a plain background to achieve dynamic repeats in an ostensibly rough-hewn manner. Shortly before Poiret employed him, Dufy had produced woodcuts to illustrate the poet Apollinaire’s volume ‘Le Bestiaire ou Cortège d’Orphée’. All the Bianchini-Férier examples in this sale originally came from the company archives and are in remarkable condition.

Textiles as Art: from the collection of Paul Reeves 61

135 RAOUL DUFY (1877-1953) FOR BIANCHINI-FÉRIER

’LE MANOIR’ OR ‘CAVELIERS ET AMAZONES’ COTTON TWILL PANEL, CIRCA 1920 depicting a horseman in the forest with chateau and goblet repeat pattern, three-colour block-printed cotton, framed 42 x 103cm Provenance: ‘Two Centuries of Design: The Bianchini-Férier Collection’ Christies, London, 25-27th July 2001 £600-800

136 RAOUL DUFY (1877-1953) FOR BIANCHINI-FÉRIER

’LA PÊCHE’ COTTON TWILL PANEL, CIRCA 1920 depicting fishermen, hand‑blocked print on heavy cotton, framed 73.5 x 125.5cm Provenance: ‘Two Centuries of Design: The Bianchini-Férier Collection’ Christies, London, 25-27th July 2001 £700-900

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137 RAOUL DUFY (1877-1953) FOR BIANCHINI-FÉRIER

’L’EUROPE’ COTTON TWILL PANEL, DESIGNED CIRCA 1920 depicting birds in an exotic forest, hand blocked print on heavy cotton, framed, printed mark to selvedge ‘L’EUROPE’ DE RAOUL DUFY (ESQUISSE EXCLUSIVE) 60 x 127cm Provenance: ‘Two Centuries of Design: The Bianchini-Férier Collection’ Christies, London, 25-27th July 2001 £600-800

138 RAOUL DUFY (1877-1953) FOR BIANCHINI-FÉRIER

’LE TENNIS’ COTTON TWILL PANEL, CIRCA 1920 depicting a repeating pattern of tennis players, hand blocked print on heavy cotton, framed 53.5 x 119.5cm Provenance: ‘Two Centuries of Design: The Bianchini-Férier Collection’ Christies, London, 25-27th July 2001 £600-800

Textiles as Art: from the collection of Paul Reeves 63

139 ART DECO

EMBROIDERED LINEN PANEL, CIRCA 1920 depicting a pattern of flying bluebirds, framed 71 x 78cm £150-250

141 SALVADOR DALI (1904-1989) FOR THE INTERNATIONAL SILK CONGRESS

’THE WORLD OF SILK’ SCARF AND PROGRAMME, DATED OCTOBER 1950 printed with an allegorical design of silk, and bearing inscription THE WORLD OF SILK/INTERNATIONAL SILK CONGRESS/OCTOBER 1950 with signature mark, 91 x 88cm, framed; includes a PROGRAMME of the opening dinner including menu; woven silk bookmark; fashion show programme and related ephemera Note: Dali produced designs for the International Silk Congress in 1950 and 1957, both of which appeared on the cover of ‘American Fabrics’. £600-800

140 ART DECO

FELT APPLIQUÉ HANGING PANEL, CIRCA 1930 the buff ground with applied stylised flowers and leaves with stepped design to the angles 83 x 86.5cm, including border 97 x 100cm £150-250

142 GOLFING INTEREST

WOVEN SILK BOOKMARK BY CASH’S OF COVENTRY, CIRCA 1960 framed and mounted 24 x 4.8cm £100-200

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143 ROBERT MAHIAS (1890-1962)

’MON CHAPEAU A SOUFFLÉ’ PRINTED COTTON HANGING PANEL, CIRCA 1933 depicting ladies at leisure on a windy day, within later linen border 160x 107cm, including border 193 x 125cm £300-500

145 MANNER OF ERIC RAVILIOUS

PRINTED COTTON PANEL, 1930s depicting horse riders in a park, framed 105 x 76cm £300-500

144 ANONYMOUS DESIGNER

’LONDON LIFE’ PRINTED COTTON HANGING PANEL, CIRCA 1930 depicting everyday London scenes, framed 175 x 75cm £400-600

146 MANNER OF ERIC RAVILIOUS

PRINTED COTTON PANEL, 1930s depicting horse riders in a park, period frame 52 x 34cm £150-250

Textiles as Art: from the collection of Paul Reeves 65

147 JACQUES CERIA DESPIERRE (1912-1995) FOR DUCHARNE

’AMAZONE’ WOVEN SILK-RAYON HANGING, CIRCA 1940 depicting an Amazonian battle scene, later silk border 105.5 x 88cm, including border 157 x 114cm Exhibited: Soieries Lyonnaise, Pavilion de Marsan, 1943 Collection: Musee de la Mode et du Textile, Paris. £600-800

148 ETON RURAL CRETONNES

RARE PRINTED COTTON PANEL, CIRCA 1920 depicting a Japanese courtly scene, framed 191 x 73cm Note: Originally known as Eton Rural Cretonnes, in 1922 the company became Eton Rural Fabrics, and in 1936 Sanderson Fabrics.

Arthur Sanderson & Sons, already a leading wallpaper manufacturer, began producing fabrics in 1921. £600-800

66 Lyon & Turnbull 149 ATTRIBUTED TO ETON RURAL CRETONNES ’TULIP STRIPE’ PRINTED COTTON PANEL, CIRCA 1930 depicting yellow and purple tulips on a striped ground, printed cotton, framed 144 x 173cm £300-500

150 ETON RURAL FABRICS

’TULIPS’ RARE PRINTED COTTON PANEL, CIRCA 1925 depicting a repeat pattern of tulips, framed 80 x 74cm Literature: Schoeser, Mary ‘Sanderson: The Essence of English Decoration’, 2010, p.90 £300-500

Textiles as Art: from the collection of Paul Reeves 67

151 ATTRIBUTED TO ASCHER LTD., LONDON

RARE MODERNIST SCREEN PRINTED RAYON SATIN PANEL, CIRCA 1940 with repeat still-life pattern, reserved on a black ground, framed 176.5 x 122cm £1,000-1,500

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152 [§] LUC VAN HOEK (1910-1991) FOR ARNOLD DIEPEN, TILBURG

WOOLWORK TAPESTRY, CIRCA 1960 depicting a saint playing a lute, signed LUC VAN FLOSS, and with maker’s symbol and bearing label verso ATELIER VOOR KUNSTWEEFWERK/ ARNOLD DIEPEN TILBERG 159 x 119cm Note: Luc van Hoek was best known as a prolific and versatile artist in the Tilburg area of Holland. He produced mainly monumental work for churches, schools, healthcare institutions, businesses and government buildings. £400-600

Textiles as Art: from the collection of Paul Reeves 69

153 ARNOLD LEVER FOR JACQMAR OF LONDON

’THE AMERICAN FORCES IN LONDON’ SILK-RAYON BLEND HEADSCARF, 1943 the design includes London landmarks populated by American servicemen, printed makers marks JACQMAR/T. BAUER, framed 88 x 89cm Note: Jacqmar of London made propaganda scarves from 1940-1945 and were based in Mayfair. Many scarves were produced for the export market as well as for wartime sweethearts, particularly in London. The chief designer was Arnold Lever who continued working for the company even after he had joined the RAF. The scarves fall into three main thematic groups of the armed forces, allies and home front. The Jacqmar name is usually printed on the scarf. £400-600

154 [§] MERULA SALAMAN (1915-2000) ST. MICHAEL AND LUCIFER, CIRCA 1960

woolwork embroidery, signed in pan verso, original frame, 26.5 x 19cm; and ‘ELIJAH FED BY A CROW IN THE DESERT’, A SMALL MERULA SALAMAN WOOLWORK PANEL, woolwork embroidery, original ebonised frame, 23 x 16cm (2) Note: Merula Salaman (1915-2000) trained as an actress and dancer, but took up painting and needlework after the war. She wrote and illustrated several children’s books, but her finest work was her needlework pictures, often biblical, in which vision and charm are combined in equal measure.

Salaman became Lady Guinness upon her marriage to fellow actor Sir Alec Guinness in 1938 and spent most of her life with him happily away from the public eye. Salaman trained at Slade School of Fine Art in London and exhibited at the Crane Kalman Gallery, and later with her siblings, who were also artists, at a show at Gallery 27 in London. £400-600

155 ANONYMOUS MAKER

MID CENTURY WOOLWORK TAPESTRY HANGING PANEL, CIRCA 1950 depicting three panels allegorical of the arts; country life and flight 46 x 166cm £250-350

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156 ENGLISH SCHOOL

EMBROIDERED APPLIQUÉ PANEL, CIRCA 1930 depicting two stylised figure skaters, framed, 53.5 x 39cm; and A MODERNIST SCHOOL EMBROIDERED COLLAGE PANEL, CIRCA 1930, worked as a stylised depiction of a girl in a garden, embroidery on gauze with mixed materials, original frame, 23.5 x 19cm (2)

157 ANONYMOUS MAKER

MID CENTURY EMBROIDERED APPLIQUÉ PANEL, CIRCA 1960 worked as a 13th century style depiction of the Last Supper, embroidery with mixed materials, framed 45.5 x 57cm £300-500

£200-300

158 ENGLISH SCHOOL

UNUSUAL APPLIQUÉ COLLAGE PANEL, CIRCA 1960 depicting a period interior scene, mixed fabrics, original frame, signed on reverse NORA GAYWOOD 33 x 42.5cm £300-500

159 MODERNIST SCHOOL

PAIR OF APPLIQUÉ COLLAGE PANELS, CIRCA 1960 depicting a stylised Knight and Damsel, each worked with mixed fabrics and voile and reserved on a textured ground, original frames (2) 71 x 45cm £300-500

Textiles as Art: from the collection of Paul Reeves 71

160 [§] MICHAEL O’CONNELL (1898-1976) FOR MAEL FABRICS

BLOCK‑PRINTED WALL HANGING PANEL, CIRCA 1950 depicting a cockerel in a farmyard, wax resist printing on rayon, signed MAEL 170 x 139cm Note: Michael O’Connell used specially formulated resists and dyes which were painted and piped onto mordanted fabric, then the whole work, once dry was dyed. After the Second World War, such newly developed techniques were used by O’Connell to create the Festival of Britain wall hangings. £800-1,200

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161 ANONYMOUS MAKER

MID CENTURY APPLIQUÉ ZODIAC HANGING PANEL, CIRCA 1955 mixed materials, embroidered and appliquéd panels on a later linen ground 154 x 28m each, including border 185 x 113cm £400-600

162 ENGLISH SCHOOL

EMBROIDERED APPLIQUÉ PANEL, 1950s depicting a Victorian couple, worked with mixed fabrics and voile and reserved on a textured ground, framed 45 x 34cm £100-200

163 MOLLY HARRIS

164 MOLLY HARRIS

depicting an abstract floral design, mixed fabrics, stitched signature, 26 x 16cm; a MOLLY HARRIS APPLIQUÉ PANEL, depicting a stylised design of Fuchsias, 17 x 12cm; and a MOLLY HARRIS APPLIQUÉ SILK PANEL, depicting stylised flowers laid on net, on a lilac ground, 26 x 3.5cm, original frames (3)

depicting plush Japanese anemones on a net ground and silk backing, 17 x 12cm; and a MOLLY HARRIS EMBROIDERED APPLIQUÉ PANEL, depicting stylised Irises, 33.5 x 26cm, original frames (2)

EMBROIDERED APPLIQUÉ PANEL, MID 20TH CENTURY

£200-300

EMBROIDERED APPLIQUÉ PANEL, MID 20TH CENTURY

£150-250

Textiles as Art: from the collection of Paul Reeves 73

165 [§] ARCHIE BRENNAN (B. 1931) FOR EDINBURGH WEAVERS

’BOBOLI I’, WOOLWORK TAPESTRY PANEL, DATED 1963 depicting an abstracted plan of the Boboli Gardens, Florence, wool and lurex thread, original frame, bears label verso 66 x 150cm Exhibited: Edinburgh, Scottish Arts Council £300-500

166 MARY WARREN FOR HEAL & SON, LONDON

’NAUTILUS’ SCREENPRINTED COTTON PANEL, CIRCA 1956 abstract forms, bears inscription to selvedge “NAUTILUS” BY MARY WARREN, framed 65.5 x 62cm Note: During the 1950s, Mary Warren designed furnishing fabrics for Heal’s Wholesale and Export Ltd. in London. Her work typically comprises of abstract and geometric forms on screen-printed cotton. The title ‘Nautilus’ comes from the name of a marine mollusc and is also the name of numerous historic ships, which alludes to the pattern suggestive of ship rigging and navigational equipment in this panel. £300-500

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167 FRANK LLOYD WRIGHT (1867-1959) FOR F. SCHUMACHER & CO.

RARE ‘TALIESIN LINE’ PRINTED LINEN PANEL, DESIGN 105, CIRCA 1955 printed inscription to selvedge THE TALIESIN LINE OF FRANK LLOYD WRIGHT with signature mark, framed 123.5 x 136.5cm Note: In 1955, Wright designed a line of furnishings known as the ‘Taliesin Ensemble’ to decorate the houses of people who did not live in one of the houses he completed. F. Schumacher & Co. were one of five companies he collaborated with, who created a range of textiles and wallpapers. Although designed for ‘average consumers’ most average consumers were not familiar with or interested in Wrights design vocabulary and the range was not a commercial success, and is therefore now rare to find. The name Taliesin is a reference to Taliesin West, Frank Lloyd Wright’s winter home and school from 1937 until his death in 1959. £800-1,200

Textiles as Art: from the collection of Paul Reeves 75

168 SUSAN BOSENCE (1913-1996)

RARE PAIR OF HAND-BLOCKED LINEN PANELS, CIRCA 1950 each depicting a serrated striped design, framed (2) 146.5 x 20cm Note: Susan Bosence was a talented blockprinter, dyer and teacher from Bedfordshire. She exhibited extensively from the 1960s until her death in 1996, and also opened a dyehouse and printing classroom for adults in Dartington around the same period.

Bosence was extremely interested in ethnic textile techniques, and her works often display simplistic yet contrasting geometric techniques printed with lino-blocks, as is seen here. £300-400

169 FRANK LLOYD WRIGHT (1867-1959) FOR F. SCHUMACHER & CO. RARE ‘TALIESIN LINE’ PRINTED LINEN PANEL, DESIGN 106, CIRCA 1955 printed inscription to selvedge DESIGNED

BY FRANK LLOYD WRIGHT, framed 50 x 29cm £400-600

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170 ALAN MUNRO REYNOLDS (1926-2014) FOR EDINBURGH WEAVERS LTD. ’CRYSTALLINE IMAGE’ HANGING PANEL, CIRCA 1960 woven cotton and rayon 134 x 118cm Literature: Fine Art Society ‘Austerity to Affluence: British art and design 1945-1962’, 1977p. 47, pl. T37 Jackson, Leslie ‘Alastair Morton and Edinburgh Weavers: Visionary Textiles and Modern Art’ pub V&A 2012, pl. 404 £600-800

171 MITZI CUNLIFFE (1918-2006) FOR DAVID WHITEHEAD LTD., RAWTENSTALL CP487A, SUN AND MOON PANEL, CIRCA 1955 screenprint on cotton, framed 113.5 x 87cm Literature: Fine Art Society ‘Austerity to Affluence: British art and design 1945-1962’, 1977p. 44, pl. T23 £400-600

Textiles as Art: from the collection of Paul Reeves 77

173 BERNARD MOSS (1923-2012) FOR MEVAGISSEY POTTERY

TWO HEAL’S FABRICS ADVERTISING FIGURES, DATED 1958 AND 1960 one modelled as a man riding a chicken, with nodding head, bearing inscription YES, MR BULPITT/HEAL’S FOR FABRICS and with maker’s marks to the interior MEVAGISSY POTTERY HF‑60, 14.2cm high; the other modelled as a girl with outstretched arms, and bearing inscription around the base YES, MR BULPITT/ HEAL’S FABRICS ALSO CIRCULATE, and with maker’s marks to the interior MOSS/ HF-58, 14cm high (2) £200-300

172 EUROPEAN SCHOOL

PRINTED CANVAS PANEL, CIRCA 1950 depicting Parisian street scenes, framed 105.5 x 44cm £200-300

174 SANDERSON

’CATWALK’ COTTON PANEL, CIRCA 1960 depicting a repeat cat pattern, printed maker’s mark to selvedge “CATWALK” AN ORIGINAL SCREEN PRINT BY SANDERSON/A SCREEN PRINT BY MARSHALL FAST COLOURS, framed 70 x 120.5cm £200-300

Note: Born in London in 1923 Bernard Moss was descended from Russian émigrés and it was while working as a fabric designer that an acquaintance taught him how to make moulds. He moved with his family to Mevagissey in Cornwall in 1949, due to the high cost of living in London. He was approached by a local artist to produce a moulded sculpture and from this commission set up a pottery of his own. Moss made the moulds and his wife Moreen decorated them. His fascination with automata led him to experiment with moving figures ‑ he had heard that Heals in London was a good outlet for ceramics and took an example of one of his nodding figures to sell. After some negotiation the orders grew and Heal’s bought eighty or so each year as gifts for their best clients.

175 FINNISH SCHOOL

PRINTED LINEN PANEL, CIRCA 1960 depicting finches amongst berries, hand blocked linen, printed initials JR, framed 42 x 29cm £100-200

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177 STIG LINDBERG (1916-1982) FOR LJUNGBERG TEXTILE AB 176 ANONYMOUS MAKER

ZOO ANIMALS PRINTED LINEN PANEL, CIRCA 1950 depicting, Giraffes, Lion, Bear, Dear, Monkey, Elephant, Camel, Cheetah, Walrus and Bird Scenes behind bars, framed

’LUSTGARTEN’ PRINTED COTTON PANEL, CIRCA 1951 depicting a repeat pattern of picnicking lovers, framed 129 x 120cm £300-500

89 x 129cm £200-300

178 ANONYMOUS MAKER

MID CENTURY PRINTED COTTON PANEL, CIRCA 1955 depicting two rows of humorous men’s faces, framed 28 x 67cm £150-250

179 EAST AFRICAN

PRINTED COTTON KANGA, CIRCA 1980 depicting repeat telephone pattern and inscription HELLO, framed 66cm x 108cm Note: Kangas are rectangular printed cloths, and are principally a woman’s garment, worn as a shawl or headdress, and have developed as a way of communicating ideas and aspirations among women of eastern Africa. £150-250

Textiles as Art: from the collection of Paul Reeves 79

180 [§] CONSTANCE HOWARD (1910-2000)

’HARVEST MOON’, LARGE AND RARE EMBROIDERED APPLIQUÉ PANEL, CIRCA 1960 worked in wool, silk and other textiles and with applied beads, in original giltwood frame with plaque inscribed HARVEST MOON/CONSTANCE HOWARD 90 x 85cm Literature: Goldsmiths, University of London, Professor Ben Pimlott, ‘Constance Howard, MBE’, 2017 Pimlott, Ben, The Guardian, ‘Constance Howard, As artist and teacher, she transformed the status of embroidery and textile design’, 2000 Note: Arguably the most influential British pioneer in textile design of her generation Constance Howard (1910-2000) transformed the status of embroidery and textile design. When Howard began, embroidery and textile design were seen by many people as a comparatively minor craft, and the rise of its artistic standing owes a great deal to her work and example.

Born in Northampton, from the age of 10 she began to study art at

evening classes. After leaving school at 14, she was denied a grant to the Royal College of Art. In 1945, after marrying sculptor Harold Wilson Parker, she became a part-time tutor at Goldsmiths College, London. She later became principal lecturer of textiles and fashion and established an embroidery department in the art school. The course at Goldsmiths came to influence textile design everywhere. Howard viewed embroidery as an art form and a vehicle for artistic self-expression.

Her most celebrated commissions at the time included ‘The Country Wife’, a large hanging for the country pavilion of the Festival of Britain in 1951; two hangings for the Northampton Museum and Art Gallery; and embroideries for Eton College, Lincoln Cathedral and Makerere University, Kampala.

In 1975 she was awarded an MBE for services to embroidery.

Throughout her career Howard authored; ‘Design for Embroidery from Traditional English Sources’ (1956), ‘Inspiration for Embroidery’ (1966), ‘Embroidery and Colour’ (1976) and ‘Textile Crafts’ (1979) which a year later came to be known as ‘The Constance Howard Book of Stitches’.

Later she wrote the four- volume study, ‘Twentieth Century Embroidery in Great Britain’ (1981-86). At Goldsmiths the ‘Constance Howard Textiles Study Collection’ was established, which now contains more than 2000 textile pieces and related items. £800-1,200

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181 [§] BERYL DEAN (1911-2001)

PAIR OF RARE EMBROIDERED APPLIQUÉ PANELS, CIRCA 1960 depicting a Thai musical dancing troupe and an Indian marriage ceremony, mixed materials and embroidery, one signed lower left B DEAN, original frames (2) 57.5 x 82.5cm Literature: Embroiders Guild, ‘Icons: Beryl Dean’, 2017 £800-1,200

A

leading exponent of modernist design in ecclesiastical embroidery Beryl Dean (1911-2000) introduced an entirely new approach to a field hitherto originally limited to a traditional Victorian style.

Studying embroidery at the Royal School of Needlework, Dean became especially interested in ecclesiastical embroidery in the 1950’s.

Undertaking several church commissions, Dean helped to reintroduce embroidery into the church, making it possible for the embroiderer to once again be respected as both a designer and maker of church textiles.

Driven to inspire a younger generation, she was involved in the Needlework Development Scheme. Throughout her career she taught at different art institute’s in London and in 1935 was awarded a Royal Exhibition to the Royal College of Art. Afterwards she continued teaching various aspects of textile crafts, including millinery and dressmaking and designing costumes for the ballet.

Promoting her particular niche in the late 1950’s, Dean taught students ecclesiastical embroidery throughout Britain and North America. At the same time she produced publications such as ‘Ecclesiastical Embroidery’ (1958); ‘Church Needlework’ (1961); ‘Ideas for Church Embroidery’ (1968); ‘Creative Applique’ (1970); and ‘Embroidery for Religion and Ceremonial’ (1981).

In 1968, she was involved in organising an exhibition of contemporary ecclesiastical embroidery in the crypt of St Paul’s Cathedral in London. The interest generated by the show led to the formation of ecclesiastical embroidery groups all over Britain and a revival of metal thread techniques. In 1975 Dean was appointed an MBE for services to embroidery for the church. The pair of appliqué panels offered here are a rare example of Dean’s secular work.

Textiles as Art: from the collection of Paul Reeves 81

A

pioneer of machine embroidery, Joy Clucas, born 1931, was a teacher of the National Diploma in Design. She became well known following the publication of her books ‘Your Machine for Embroidery’ and ‘The New machine Embroidery’. Later founding the ‘62 Group of Textile Artists’, in 1962, to promote embroidery and support practitioners.

After studying arts and crafts at Southampton, Bromley and Brighton Colleges of Art she taught at a secondary modern school in London.

Clucas took up a temporary post at the Crafts Centre of Great Britain

and free-lanced until 1956. She won 1st prize in the Embroiderers’ Guild open competition, 1961 and has had work shown at the Stuttgart International Handicraft Exhibition of 1963 and a later British Crafts Export Group Exhibition in Switzerland. Examples of Clucas’s work are held in the V&A collections.

182 [§] JOY CLUCAS (1931-2006) AND THE 1962 GROUP

183 [§] JOY CLUCAS (1931-2006) AND THE 1962 GROUP

58 x 38.5cm

63 x 73cm

£600-800

£400-600

184 [§] JOY CLUCAS (1931-2006) AND THE 1962 GROUP

185 [§] JOY CLUCAS (1931-2006) AND THE 1962 GROUP

’SUFFOLK BEACH’, MACHINE EMBROIDERED APPLIQUÉ PANEL, CIRCA 1970 depicting a beach scene, applied felt, buttons, beads and embroidery on a silk ground, embroidered signature JOY CLUCAS, original frame

’SUNBURST’ EMBROIDERED APPLIQUÉ PANEL, CIRCA 1970 mixed fabrics and coloured threads, with applied stars, signed JOY CLUCAS lower right, original frame 59 x 78.5cm Exhibited: London, ‘Summer Exhibition’ 2006 £300-500

Literature: Victoria and Albert Museum archives, ‘V&A collections: Joy Clucas, spheres panel’, 2016 University of Leeds, ‘An Archive of International Textiles: Joy Clucas’, 2015

’EYE OF THE STORM’ MACHINE EMBROIDERED APPLIQUÉ PANEL, CIRCA 1970 depicting an abstract spiral design, original frame

’PERENNIAL’ MACHINE EMBROIDERED AND PAINTED PANEL, CIRCA 1970 depicting stylised flowers in polychrome cottons, signed JOY CLUCAS, 84 x 84cm; a JOY CLUCAS MACHINE EMBROIDERED PANEL, CIRCA 1970, depicting stylised flowers in polychrome cottons, signed lower centre DOBBS, 57 x 37cm; and ‘AUTUMN’, A JOY CLUCAS MACHINE EMBROIDERED AND APPLIQUÉ PANEL, CIRCA 1970, depicting stylised leaves, signed lower centre JOY CLUCAS, 22.5 x 22cm, original frames (3) £300-400

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186 [§] JOY CLUCAS (1931-2006) AND THE 1962 GROUP ’SHAMAN’, MACHINE EMBROIDERED PANEL, CIRCA 1970

depicting an abstract form in white, grey, orange and pink cottons, signed lower centre JOY CLUCAS, 27 x 20cm; a SMALL JOY CLUCAS MACHINE EMBROIDERED PANEL, MID 20TH CENTURY, depicting a stylised motif in polychrome and gilt threads, signed lower centre JOY CLUCAS, 11.5 x 11.5cm and another SMALL JOY CLUCAS MACHINE EMBROIDERED PANEL, ‘NUCLEUS’, MID 20TH CENTURY, worked in polychrome threads, signed lower centre JOY CLUCAS, 18 x 18cm, original frames (3) £200-300

187 [§] JOY CLUCAS (1931-2006) AND THE 1962 GROUP

’IN THE ROUND’, MACHINE EMBROIDERED AND APPLIQUÉ PANEL, CIRCA 1970 depicting a dream catcher in white, on a green ground with black cotton embroidery, signed lower right JOY CLUCAS, 34.5 x 34cm; and ‘DIAMOND POINT’, A JOY CLUCAS MACHINE EMBROIDERED PANEL, CIRCA 1970, depicting eight abstract star motifs surrounding a central star, signed JOY CLUCAS lower right, 42 x42cm, original frames (2) £200-300

188 [§] JOY CLUCAS (1931-2006) AND THE 1962 GROUP

189 [§] JOY CLUCAS (1931-2006) AND THE 1962 GROUP

43.5 x 36cm

42 x 54cm

£200-300

£250-350

’TIME TUNNEL’, MACHINE EMBROIDERED PANEL, CIRCA 1970 worked in coloured and gilt threads, signed JOY CLUCAS lower right, original frame

’PATCHWORK’, MACHINE EMBROIDERED APPLIQUÉ PANEL, CIRCA 1970 worked as a patchwork design with embroidered motifs, signed lower right JOY CLUCAS, original frame

Textiles as Art: from the collection of Paul Reeves 83 190 [§] KATHLEEN WHYTE (1909–1996)

’CROCUS PANEL’ EMBROIDERED PANEL, CIRCA 1960 depicting various budding plant forms, on a red linen ground, bears artist’s inscription verso, original frame 33 x 32cm Literature: Aberdeen City Council, “Contemporary textiles on show to mark centenary of Embroiderers’ Guild”.

Whyte, Kathleen, ‘Design in Embroidery’, B. T. Batsford Ltd. London, 1982.

Arthur, Liz, ‘Kathleen Whyte Embroiderer’, B. T. Batsford Ltd. London, 1989. £300-500

H

ONOURED with an MBE for service to Scottish Art Education in 1969, Kathleen Whyte is known for her contributions to the revival of embroidery throughout Scotland. Notable commissions include several ecclesiastical works undertaken for the Church of Scotland. She also produced other secular work. One of the most distinct, a commission by the Tay Road Bridge Joint Board in 1966, was an embroidered stole, incorporating pearls from the river, and which was worn by the Queen Mother and featured in various exhibitions.

Originally from Arbroath, Whyte and her family joined her father in Jamshedpur, India for short spells throughout her childhood. Introduced to embroidery at a young age, Whyte was taught the curriculum derived from Anne Macbeth and Margaret Swanson’s book ‘Educational Needlecraft’ (1911). Later she went on to study craft and design at Gray’s School of Art, Aberdeen then taught art at local schools for several years.

At a time when embroidery was being revived in Glasgow, Whyte became embroidery and weaving lecturer at Glasgow School of Art, in 1948, embracing the fashionable influence of contemporary Scandinavian embroidery and weaving. Whyte went on to become responsible for updating and improving the design course at the School of Art and visited other art schools throughout UK to assess and evaluate the new Diploma in Art and Design courses. Later, she developed higher education courses as an Art Adviser to the Scottish Education Department.Her work was featured in “A Scottish Celebration”, a touring exhibition of contemporary textiles to mark the centenary of the foundation of the Embroiderers’ Guild, which opened at Aberdeen Art Gallery in October 2006. Examples of her work can be found in the Royal Scottish Museum, the Victoria and Albert Museum, many churches, and in other public and private collections.

191 [§] ELLEN CUNNINGHAM (FL 1960-)

192 [§] ANNA ADAM (WELSH, 1943-2008)

36 x 28cm

30 x 30cm

Exhibited: Glasgow, Kelvingrove Museum & Art Gallery, ‘Embroidery ‘84’, 1984

Literature: Textile Link, ‘Tapestry: Anna Adam’

Note: Ellen Cunningham (née Timney) studied Embroidery and Weaving at The Glasgow School of Art between 1960-1964.

Note: Weaving for over thirty years Anna Adam has become well known for her interpretation of the Welsh landscape.

’MIDAS DAUGHTER’ EMBROIDERED PANEL, 1980s depicting the king and his daughter in a garden, goldwork and polychrome threads reserved on a raw silk ground, original frame

£400-600

’IN PRAISE OF TEXTURE’, TAPESTRY WEAVE, DATED 2002 depicting a landscape, woven material strips and embroidery, signed, inscribed and DATED verso ANNA ADAM/‘IN PRAISE OF TEXTURE’/2002, original frame

£250-350

END OF SALE

Decorative Arts: Design since 1860 Wednesday, 26th April, 2016

SIR GEORGE JAMES FRAMPTON (1860-1928) PETER PAN Patinated bronze, signed in the bronze with monogram Geo. Frampton and dated 1915, inscribed with an encircled PP Total height 52.5cm £25,000-35,000

Enquiries John Mackie +44 (0131) 557 8844 john.mackie@lyonandturnbull.com

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

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; “Net Sale Proceeds” are the Hammer Price, less commissions and other charges, of the Lot sold, to the extent received by Lyon & Turnbull in cleared funds; “Proposed Sale” means the intended sale through which the items will be sold on; “Purchase Price” is the Hammer Price and applicable Buyer‘s Premium; “Reserve” means the lowest price below which an item cannot be sold; “Upper Estimate” means the high estimate provided by Lyon & Turnbull to the Seller in relation to each Item, or in relation to any Item which Lyon & Turnbull holds on behalf of the Seller; “Terms of consignment” means the stipulated terms and rates of commission on which the Auctioneer accepts instructions from Sellers or their agents; “You”, “Your” means the seller. 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.

(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

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 re‑offered at a future sale. Where in our opinion an item is not suitable for a future sale we may either request (a) you collect such items from the saleroom promptly on being so informed. We shall be entitled to charge you for storage costs, charges shall be made at a reasonable daily rate;or (b) suggest that the item be transferred to a secondary saleroom for sale without reserve. All transferred lots will be sold for the best price on the day, this may not bear any reflection on the item’s original estimate. Lyon & Turnbull are not liable for any items (whether it be selling price or loss & damage) when transferred.

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.

(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.

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

9. LOT WITHDRAWAL

(1) Commission: 15% is charged on the selling price of each lot, (subject to a minimum charge of £45).

Loss and damage warranty: 1.5% on value of lots sold.

Photography: min charge £30. Online Listing: £10 per lot.

(2) Transport: Items for sale must be consigned to the sale room by any stated deadline and at your expense.

We may be able to assist you with this process. When organised on the Seller’s behalf the provision of transport will be contracted to third parties. Fees for transport will be deducted at the initial settlement.

(3) Illustrations: The cost of any 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;

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.

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

(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.

(iii) 6 months from the date of delivery to Lyon & Turnbull for items still in the possession of Lyon &

(c) lf the Seller elects to take action against any Buyer on its own behalf Lyon & Turnbull will provide the Seller

(i) when risk passes to the Buyer of the lot following its sale;

with such assistance as may be reasonably necessary to pursue that action.

14. THIRD PARTY LIABILITY

16. AGENCY

(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.

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.

12. SETTLEMENT PAYMENTS

15. GENERAL

(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.

Subject to full payment by the Buyer, payment of the net proceeds of sale due to you will be made over to you 28 working days following a sale. Provided we have received cleared funds. Payment will be made by cheque or BACS (if requested).

13. SALE BY PRIVATE TREATY (a) The same Conditions of Sale (Sellers) shall apply to sales by private treaty. (b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers. (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.

(a) We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. (b) Any notice to any Buyer, Seller, bidder or viewer may be given by email, or if not available then first class mail, in which case it shall be deemed to have been received by the addressee 48 hours after posting. (c) Notices to Lyon & Turnbull should be in writing and addressed to Nick Curnow at 33 Broughton Place, Edinburgh EH1 3RR, quoting the reference number specified at the beginning of the sale catalogue. (d) Should any provision of these Conditions of Sale be held unenforceable for any reason, the remaining provisions shall remain in full force and effect. (e) These Conditions of Sale are not assignable by either party without the other’s prior written consent, but are binding on the seller’s successor and representatives.

No act, omission or delay by Lyon & Turnbull shall be deemed a waiver or release of any of its rights. (f) The contract between the parties may be varied by the parties by agreement and in writing.

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

17. DATA PROTECTION In connection with the management and operation of our business and the marketing and supply of Lyon & Turnbull’s services, or as required by law, we may ask the Seller to provide personal information about themselves or obtain information about the Seller from third parties (e.g. credit information). Lyon & Turnbull will not give out personal information except as may be required by law.

If you would like further information on Lyon & Turnbull policies on personal data, or to make corrections to your information, please contact us on +44 (0)131 557 8844.

18. LAW AND JURISDICTION (a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law. (b) Jurisdiction: The Seller agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply.

BUYERS 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):

(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.

(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

Bidding increments shall be at the Auctioneer’s sole discretion.

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.

5. THE PURCHASE PRICE

8. PAYMENT

For each lot purchased a Buyer’s Premium of 25% is payable on the first £100,000 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.

(1) Within 7 days of a lot being sold you will:

(b) Please note there is a surcharge of 2% when using credit cards.

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

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.

3. BIDDING PROCEDURES AND THE BUYER

6. VALUE ADDED TAX

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

“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.

(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.

(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

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.

(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.

(c) Please note that we cannot accept cash payments over £5,000.

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.

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.

http://www.defra.gov.uk/ahvla-en/imports-exports/cites/

(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.

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

(4) Catalogue Alterations: Lot descriptions and estimates are prepared in advance of the sale and may be subject to change. Any alterations will be announced on the catalogue alteration sheet, made available prior to the sale. It is the responsibility of the Buyer to make themselves aware to any alterations which may have occurred.

(5) Electrical Goods: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given.

(6) Upholstered items: are sold as “works of art” only and if bought for use must be checked over for compliance with current safety regulation. Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. Lyon & Turnbull provide no guarantee as to the originality of any wood/material contained within the item.

(7) Special terms may be used in catalogue descriptions of particular classes of items (Books, Jewellery, Paintings, Guns, Firearms etc.) in which case the descriptions must be interpreted in accordance with any glossary appearing in the catalogue. These notices and terms will also form part of our terms and conditions of sales.

12. BOOKS, CLOCKS & WATCHES, DIAMONDS & GEMSTONES (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.

(3) Diamonds & Gemstones: Please note that diamonds and gemstones cannot be accurately graded and measured when mounted in jewellery. Unless it is stated in the catalogue and condition report that the item is accompanied by an independent report by a named gemmological laboratory, the information provided about the colour, clarity and size of a gemstone is the opinion of our department jewellery specialists. Please note in the event that Lyon and Turnbull has been given or has obtained certificates for any lot in the sale, Lyon and Turnbull nor the Seller accepts any liability for contradictions or differing certificates obtained by Buyers on any lots post sale. Diamonds and gemstones are not unmounted by the department, therefore any information provided in this instance is an approximate understanding of the quality of the gemstone under these limitations. Without an independent report the department are generally unable to give an opinion on any potential treatments a gem material has been subjected to. Many gemstones and diamonds have been subjected to a variety of treatments to enhance their appearance and unless stated buyers should presume gemstones/diamonds have been exposed to some sort of treatment.

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

14. SALE BY PRIVATE TREATY (a) The same Conditions of Sale (Buyers) shall apply to sales by private treaty. (b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers. (c) Lyon & Turnbull undertakes to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids. (d) For the purposes of a private treaty sale, if a lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale.

15. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation, safety and security arrangements.

Accordingly, neither the Auctioneer nor our employees or agents shall incur liability for death or personal injury or similarly for the safety of the property of persons visiting prior to, during or after a sale.

16. GENERAL (a) We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. (b) Any notice to any Buyer, Seller, bidder or viewer may be given by email if not available then first class mail in which case it shall be deemed to have been received by the addressee 48 hours after posting. (c) Notices to Lyon & Turnbull should be in writing and addressed to Nick Curnow at 33 Broughton Place, Edinburgh EH1 3RR, quoting the reference number specified at the beginning of the sale catalogue. (d) Should any provision of these Conditions of Sale be held unenforceable for any reason, the remaining provisions shall remain in full force and effect. (e) These Conditions of Sale are not assignable by either party without the other’s prior written consent. No act, omission or delay by Lyon & Turnbull shall be deemed a waiver or release of any of its rights. (f) The contract between the parties may be varied by the parties by agreement and in writing.

17. DATA PROTECTION In connection with the management and operation of our business and the marketing and supply of Lyon & Turnbull’s services, or as required by law, we may ask the Buyer to provide personal information about themselves or obtain information about the Buyer from third parties (e.g. credit information). Lyon & Turnbull will not give out personal information except as may be required by law.

If you would like further information on Lyon & Turnbull policies on personal data, or to make corrections to your information, please contact us on +44 (0)131 557 8844.

The Buyer hereby agrees to the release by Lyon & Turnbull of the Buyer’s name and contact details to the seller or the seller’s solicitor in the event of any dispute between Lyon & Turnbull and the Buyer and/or Lyon & Turnbull and the Seller. Lyon & Turnbull will give prior written notice of the release of any such details to the Seller of the Seller’s solicitor.

18. FORCE MAJEURE Lyon & Turnbull shall be under no liability if they shall be unable to carry out any provision of the Contract of Sale for any reason beyond their control including (without limiting the foregoing) an act of God, legislation, war, fire, flood, drought, failure of power supply, lock‑out, strike or other action taken by employees in contemplation or furtherance of a dispute or owing to any inability to procure materials required for the performance of the contract.

19. LAW AND JURISDICTION (a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law. (b) Jurisdiction: The Buyer agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply.

Guide to Bidding & 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.

Payment 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 £5,000.

© Lyon & Turnbull Ltd. 2017. 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.

LYON & TURNBULL AUCTIONEERS EDINBURGH

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

TEXTILES AS ART: FROM THE COLLECTION OF PAUL REEVES 23RD FEBRUARY 2017

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

Thursday, 23rd February, 2017 33 Broughton Place Edinburgh

Textiles as Art: from the collection of Paul Reeves