Decorative Arts: Design since 1860

Wednesday, 25th October 2017 33 Broughton Place Edinburgh

Decorative Arts: Design since 1860

Decorative Arts: Design since 1860

Decorative Arts: Design since 1860 Wednesday, 25th October, 2017 at 10am Sale Number LT504

Viewing Times Sunday, 22nd October 12 noon - 4pm Monday, 23rd October 10am - 5pm Tuesday 24th October 10am - 5pm Morning of sale from 9am

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

Catalogue: ÂŁ15

Front Cover Lot 540 (detail)

Inside Front Cover Lot 430 (detail)

Inside Back Cover Lot 30 (detail)

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Buyer’s Guide This sale is subject to our standard Conditions of Sale (available at the back of every catalogue and on our website).

If you have not bought at auction before we will be delighted to advise you.

Buyer’s Premium & Other Charges The buyer shall pay the hammer price together with a premium, at the following rate, thereon.

25% up to £100,000/20% thereafter.

VAT will be charged on the premium at the rate imposed by law (see our Conditions of Sale).

Additional VAT † VAT at the standard rate payable at the standard rate on the hammer price * 5% import VAT payable on the hammer price No VAT is payable on the hammer price or premium for books bought at auction.

Droit de Suite § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012, this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the buyer on the hammer price and in addition to the buyer’s premium. It will not apply to works where the hammer price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale.

More information on Droit de Suite is available at www.dacs.org.uk Registration

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 fist 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 (available at the back of every catalogue and on our website).

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

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

Catalogue descriptions All item descriptions, dimensions and estimates are provided for guidance only. It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction.

If potential buyers are unable to inspect lots in person (public viewing times listed in every catalogue), our specialists will be happy to prepare detailed condition reports and additional images.

These are for guidance only and all lots are sold ‘as found’, as per our Conditions of Sale.

Import/Export Prospective buyers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to; rhino horn, ivory, coral and tortoiseshell.

Accordingly, prospective buyers should familiarise themselves with all relevant customs regulations prior to bidding if they intend to import lots to another country. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale nor any delay in making full payment for the lot.

Endangered Species Please be aware that lots marked with the symbol Y contain material which may be subject to CITES regulations when exporting outside the EU. For more information visit http:// www. defra.gov.uk/ahvla-en/ importsexports/cites

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

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Meet the Specialists At Lyon & Turnbull we want to make buying at auction as easy and enjoyable as possible.

Our specialist team are on hand to assist you, whether you are looking for something in particular for your home or collection, require more detailed information about the history or current condition of a lot, or just want to find out more about the auction process.

John Mackie

Theodora Burrell

Carly Shearer

Olivia Ross

Decorative Arts & Design

Decorative Arts & Design

Paintings

Administrator

john.mackie@lyonandturnbull.com

theo.burrell@lyonandturnbull.com

carly.shearer@lyonandturnbull.com

olivia.ross@lyonandturnbull.com

How to Find Us in Edinburgh

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Waverley Station, Princes Street

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For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

1 MANNER OF SELWYN IMAGE PAIR OF AESTHETIC MOVEMENT EMBROIDERED PANELS, CIRCA 1890 one with inscription ECHO, the other VESTA, framed (2) 68cm x 24.5cm

£200-300

2 MARTIN BROTHERS, LONDON SALT-GLAZED STONEWARE VASE, DATED 1894 of shouldered form with applied foot, incised with a frieze of grotesque birds and a serpent, incised maker’s marks R. W. MARTIN & BROS./ LONDON/ & SOUTHALL/ 6.1894, chip to rim 23cm high

£600-800

4 GOTHIC REVIVAL WROUGHT IRON CEILING LIGHT, CIRCA 1880 decorated with elaborate tracery and set with a central shde and flanked by candle holders 147cm wide, 157cm high, 54cm deep

£700-1,000

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OWEN JONES (1809-1874)

MANNER OF WILLIAM BUTTERFIELD

THE GRAMMAR OF ORNAMENT London: Bernard Quaritch, 1868. Small folio, 112 chromolithographed plates, including title-page, original burgundy cloth gilt £250-350

GOTHIC REVIVAL COPPER FLAGON, CIRCA 1860 globular body with tapering neck and covered top with cruciform finial, raised on a turned foot, the scrolling handle with stylised trefoil terminal 47cm high

£200-300

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6 ENGLISH SCHOOL STAINED GLASS CARTOON, CIRCA 1860 depicting the Virgin with inscription AVE MARIA, ink and watercolour 109cm x 80cm

£300-500

7 GOTHIC REVIVAL OAK WALL CLOCK, LATE 19TH CENTURY the single train movement with circular painted dial enclosing a case carved and pierced with Gothic tracery 69cm x 48cm

£300-500

8 ENGLISH SCHOOL ARTS & CRAFTS STAINED, PAINTED AND LEADED GLASS ROUNDEL, CIRCA 1890 painted with the Pelican in Her Piety 49.5cm diameter

£300-400

9 AFTER AUGUSTUS WELBY NORTHMORE PUGIN SET OF SIX OAK GOTHIC REVIVAL DINING CHAIRS, LATE 19TH CENTURY each with later upholstered back and seat with chamfered supports (6) 48cm wide, 89cm high, 42cm deep

£400-600

10 MANNER OF BRUCE TALBERT GOTHIC REVIVAL OAK BUFFET, CIRCA 1880 the spindle-filled gallery above canted top and three corresponding open shelves, with rosette-carved galleries and supported by turned and blocked uprights 145cm wide, 126cm high, 45cm deep

£400-600

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

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11 MANNER OF CHARLES BEVAN PAIR OF GOTHIC REVIVAL ASH SIDE CHAIRS, CIRCA 1870 each with line and dot inlay, with chamfered decoration and lather upholstered panel seats (2) 44cm wide, 91cm high, 37cm deep

£200-300

12 AUGUSTUS WELBY NORTHMORE PUGIN (1812-1852) PAIR OF OAK GOTHIC REVIVAL SIDE CHAIRS, LATE 19TH CENTURY each with chamfered top rails, carved with rosettes and centred with carved monogram IH, above button-upholstered seats on curved and crossed legs (2) 47cm wide, 85cm high, 42cm deep

£800-1,200

13 AFTER R. W. WINFIELD & CO., BIRMINGHAM IRON ROCKING CHAIR, CIRCA 1850 with later buttoned ‘slung’ upholstery 62cm wide, 107cm high, 96cm deep Note: The original designer and manufacturer of this rocking chair has not been identified. The firm of R.W. Winfield specialised in metal furniture, particularly beds, and between 1827 and 1854 took out several patents relating to the construction of beds and sofas using iron tubing. Their stand at the Exhibition of 1851 included a rocking chair of tubular brass, similar to this one. They showed another example in strap brass at the London International Exhibition of 1862

£500-700

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14 ENGLISH SCHOOL AESTHETIC MOVEMENT EBONISED MANTEL CLOCK, CIRCA 1880 the twin train fusee movement with dial profusely painted in blue on white with floral and foliate designs, enclosed within case with painted gilt panels 51cm high

£800-1,200

15 MANNER OF W.S. COLEMAN AESTHETIC MOVEMENT CERAMIC WALL PLAQUE, CIRCA 1890 painted with a head and shoulders portrait of a young woman with a ground of fruiting oranges, apparently unmarked 30.5cm diameter

£200-300

16 HOWARD & SONS, LONDON ARTS & CRAFTS OAK PARQUETRY CENTRE TABLE, CIRCA 1880 the octagonal top, parquetry inlaid, above a plain frieze on square chamfered legs linked by shaped and moulded stretchers, bears stamped maker’s marks and retailer’s label HOWARD & SONS/ BERNERS ST/ LONDON 97cm diameter, 73cm high

£800-1,200

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

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17 WALTER CRANE (1845-1915) FOR THE ROYAL SCHOOL OF NEEDLEWORK TWO EMBROIDERED PANELS, CIRCA 1876 each embroidered with a central pillar enclosed by large floral and foliate arabesques and cornucopias and by an assortment of birds, animals and a winged figure, within original frames (2) 144cm x 71cm and 140cm x 72cm Note: For panels of a similar design see V&A Collection T.774 to D-1972, a five panel screen with embroidered panels designed by Crane, worked by the School of Art Needlework. This screen, with its complex composition inspired by historical design, was probably exhibited as part of the Royal School of Art Needlework’s section at the Philadelphia Exposition of 1876. The screen and these panels reflect Crane’s great interest in classical and Renaissance ornament which he often used as the basis of his designs.

£3,000-5,000

18 J. VIEILLARD & CIE., BORDEAUX PAIR OF ‘CLOISONNÉ’ VASES, CIRCA 1870 each with opposed panels of Arabic text within floral and foliate field, impressed maker’s marks, painted marks D 325/ 81 (2) 18cm high

£150-250

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19 CHRISTOPHER DRESSER (1834-1904) FOR JAMES DIXON & SON SILVER TEAPOT, 1882 of sphere form, with ebony handle, stamped maker’s marks and facsimile signature J.D.&S./ CHR. DRESSER, hallmarked Sheffield 1882, with Victorian lozenge marks for 25 April 1880, stamped serial numbers 2278/ N27/ 14-11, bears engraved inscription PRESENTED TO MR. FRANK AND MISS CATHERINE HODGKINSON, BY THE DUKE OF PORTLAND, FOR THE BEST YEARLING FILLY, SHEWN AT WELBECK./ AUGUST 2ND. 1887 14cm high Literature: James Dixon and Sons, Cornish Place, Sheffield, Catalogue, 1885, page 96 ’Christopher Dresser: A Pioneer of Modern Design’, Widar Halen, Phaidon Press Ltd, London, 1993, plate 205 ’Christopher Dresser 1834-1904’, Michael Whiteway, Skira Editore S.p.A., Milan, 2001, plate 95 ’Christopher Dresser and Japan’, ed. Koriyama City Museum of Art Brain Trust, ‘Christopher Dresser and Japan’ Catalogue Committee, Japan, 2002, plate 135 ’Christopher Dresser: A Design Revolution’, ed. Michael Whiteway, V & A Publications, London, 2004, plate 194, page 15 Note: This rare teapot is one of a group of remarkable designs that the pioneering Victorian designer Christopher Dresser produced for James Dixon & Sons of Sheffield from 1879 -1883.

Christopher Dresser was born in Glasgow in 1834, the son of a tax collector and in his career he became Britain’s first professional, independent, industrial designer. Unlike William Morris, his direct contemporary, Dresser fully embraced new production techniques in colour, pattern, material and ornamentation and worked with innumerable manufacturers to produce objects which were well designed and available to many. According to Dresser an object which perfectly fulfilled its function was beautiful in itself and needed no ornament and nowhere is this more apparent than in his metalwork.

His early designs were informed by his study of botany however his work was transformed by his trip to Japan in 1876 as the official representative of the Victoria and Albert Museum, giving it a remarkably contemporary appearance.

A series of costings books, held in the archives at Sheffield, reveal that Dresser produced approximately 80 designs for James Dixon & Sons, not all of which are thought to have gone into production. This was possibly due to comparative expense of manufacture, but also because of the radical nature of his designs. Dresser’s interest in and close understanding of the process of manufacture and the use of materials are reflected in these books. They show how much each item produced cost to make in detail, how they were made and, in most cases, which were designed by Dresser, as in this case. The illustration shows the entry in the costings book for this teapot and, as well as laying out costs, also shows who would carry out some of the work. The cost, at £1/3s/10d, makes it an expensive item, however unusually the current example is made in silver rather than plate making it a special request and even more expensive to produce. Hallmarked in Sheffield in 1882, this teapot design first appears in the 1879 costings book.

Several other versions of this teapot were made including a version especially created for Tiffany & Co. with hammered decoration. Looking through the books, the majority of the designs are not illustrated, with the exception of those by Dresser, which usually appear as a thumbnail sketch or photograph. This may be an indication that these more expensive and unusual vessels did not appear in their trade catalogues and were perhaps made to order.

This particular example bears an interesting engraving which describes the occasion of its presentation in 1887, five years after its manufacture.

The inscription reveals the teapot’s likely original owner was the 6th Duke of Portland, William Cavendish-Bentinck. Amongst his long list of prestigious accolades, the Duke held a passion for thoroughbred horse racing and many of the horses he owned won championship races, including the Ascot Gold Cup and his half-sister was the English aristocrat and society hostess Lady Ottoline Morrell. Frank and Kathryn Hodgkinson resided near the Duke of Portland’s estate in Nottinghamshire and were awarded the teapot by the Duke for best yearling filly. Kathryn was, in particular, known for her generosity to the staff she employed. Among them was George Maskery, a coachman to the Hodgkinsons who bred the horse mentioned in the engraving.

After marrying Kathryn’s maid, the Maskerys were gifted many items by Kathryn for their dedicated service, including this teapot by Christopher Dresser.

£10,000-15,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

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20 CHRISTOPHER DRESSER (1834-1904) FOR MINTON BONE CHINA ‘CLOISONNÉ’ VASE, CIRCA 1865 painted in gilt and coloured enamels on a turquoise ground with a honeysuckle design, impressed maker’s mark to base MINTONS 24cm high

£300-500

21 CHRISTOPHER DRESSER (1834-1904) FOR MINTON BONE CHINA ‘CLOISONNÉ’ VASE, CIRCA 1865 painted in gilt and coloured enamels on a pink and gold ground raised on a faux stand, impressed maker’s mark to base MINTON 21.5cm high

£300-500

22 CHRISTOPHER DRESSER (1834-1904) FOR HUKIN & HEATH ELECTROPLATED TOAST RACK, CIRCA 1880 with fixed dividers on a domed base with bun feet, stamped marks to base H&H/ 2556 and with registration mark 14cm across

£400-600

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CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE ART POTTERY

CHRISTOPHER DRESSER (1834-1904) FOR WATCOMBE POTTERY

CHRISTOPHER DRESSER (1834-1904) FOR MINTONS

EARTHENWARE PITCHER, CIRCA 1880 covered in a streaked amber glaze, impressed maker’s mark LINTHORPE/ CHR. DRESSER/ 568/ and with monogram for Henry Tooth HT, restored neck, 26cm high; and another LINTHORPE VASE, of tapering indented form, covered in a sang de boeuf and green glazes, impressed maker’s marks LINTHORPE/ 57, 14cm (2) £250-400

GROUP OF TERRACOTTA WARES, CIRCA 1880 comprising a BOTTLE VASE, with glazed turquoise band, 25.5cm high; a SMALLER BOTTLE VASE, 16.5cm high; a PITCHER, with ribbed decoration, 16.5cm high; and a BEAKER, with similar decoration, 12cm high, each with printed maker’s marks (4) £300-500

TWO ‘CRANE’ PATTERN JUGS, CIRCA 1890 each printed blue on white with a design of flying cranes, printed maker’s marks, 17.5cm and 14cm high; and ‘UNITY IN VARIETY’ by CHRISTOPHER DRESSER, published London 1860 (3) £200-300

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

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ATTRIBUTED TO CHRISTOPHER DRESSER FOR HUKIN & HEATH, LONDON

ATTRIBUTED TO CHRISTOPHER DRESSER FOR BENHAM & FROUD

CASED ELECTROPLATED PICNIC SET, CIRCA 1883 the fitted leather case enclosing a SPIRIT KETTLE, BURNER & STAND, 20.5cm high; TEA INFUSER, 3.2cm high; MILK JUG & WARMER, 7.5cm high; SUGAR CONTAINER, 7.5cm diameter; and a DRINKING CUP, 7cm diameter, stamped maker’s marks to kettle H&H/ W.T/ 2844

INLAID BRASS TRAY, CIRCA 1880 with scalloped gallery, inlaid with flowering foliage 29.5cm diameter

case, 14.5cm high

£150-250

£250-350

28 CHRISTOPHER DRESSER (1834-1904) FOR HUKIN & HEATH, LONDON SILVER-PLATED DOUBLE BON-BON DISH, CIRCA 1880 on four tapering splayed supports with twin circular dishes and central ring handle, stamped marks H&H/ 2523 27.8cm across

£400-600

29 ATTRIBUTED TO CHRISTOPHER DRESSER FOR R. HODD & SON SILVER PLATED HOT WATER JUG, CIRCA 1878 of tapering form with hinged lid and T shaped handle, stamped maker’s marks RH/ 1498 12cm high Literature; Lyons, Harry ‘Christopher Dresser; The People’s Designer’, pub. 2005, p. 207, plate 400

£500-800

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30 GEORGE JACK (1855-1931) FOR MORRIS & CO. ARTS & CRAFTS MAHOGANY OCCASIONAL TABLE, CIRCA 1895 the shaped and moulded circular top raised on slightly curved legs with leaf carving and linked by stretchers centred with a carved sunflower, stamped maker’s marks MORRIS & CO./ 449 OXFORD ST/ W/ 1000 76cm diameter, 69cm high Provenance: Morris & Co. Mrs Lucius Gubbins, Eastbourne, and thence by descent Literature: J. Andrews, John ‘Arts & Crafts Furniture’, Woodbridge, 2004 p. 54, fig. 52 (similar example illustrated).

Cooper, Jeremy ‘Victorian & Edwardian Furniture & Interiors’, London, 1987, p. 173, fig. 450 (similar example illustrated).

£2,000-3,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

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31 EDWARD PORTER FOR WILLIAM DE MORGAN TULIP VASE, CIRCA 1880 decorated with fruiting vines, painted monogram E.P., impressed maker’s mark WILLIAM DE MORGAN/ MERTON ABBEY 20.5cm high

£800-1,200

32 CHARLES PASSENGER FOR WILLIAM DE MORGAN LUSTRE GLAZED DISH, CIRCA 1880 painted with a galleon in full sail and verso with concentric bands, bears decorators initials C.P. 28cm diameter

£1,000-1,500

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AUGUSTE BLANCHARD (1819-1898), AFTER SIR LAWRENCE ALMA-TADEMA

SHERWIN & COTTON

AESTHETIC MOVEMENT

PAIR OF ARTS & CRAFTS PAINTED TILE PANELS, CIRCA 1880 each comprised of five tiles, painted with flowering peonies and cornflowers, within bands of pale blue and turquoise tiles, bears printed maker’s marks SHERWIN’S PATENT LOCK-BACK (2)

CAST IRON FIRE INSERT, CIRCA 1870 the arched aperture enclosing tiled panels depicting urns issuing flowers and enclosing a fire grate

THE VINTAGE FESTIVAL hand-coloured engraving, signed in pencil lower left L. ALMA TADEMA and lower right AUG. BLANCHARD, published London 1873, 36cm x 85cm; and another by the same hand, THE PARTING KISS, signed in pencil lower left L. ALMA TADEMA and lower right AUG. BLANCHARD, published London 1884, 53cm x 36cm, both bear Printsellers Association blindstamps (2) £400-600

each tile 15.2cm square

£300-500

112cm wide, 103cm high, 46cm deep

£200-300

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36 MAY MORRIS (1862-1938) AND GEORGE JACK (1855-1931) FOR MORRIS & CO. ’MAIDS OF HONOUR’ MAHOGANY FRAMED FIRESCREEN, CIRCA 1890 the serpentine top rail carved with a flowering lily to the centre and flanked by leafy buds, the reeded square section uprights enclosing an embroidered panel with four birds flying into the centre, with band of inscription bordering dog rose and wild flower ground, above a grille on turned legs with curved supports linked by a stretcher, stamped mark MORRIS & CO/ 449 OXFORD STREET 66cm wide, 95cm high

£800-1,200

37 HOWARD & SON, LONDON AND MORRIS & CO. MAHOGANY FRAMED SOFA, CIRCA 1900 covered in ‘Honeycomb’ silk and wool 3-ply fabric, designed by William Morris in 1876, with two loose cushions, the whole raised on square tapered legs with brass caps and castors, stamped maker’s marks 1689/ 2976 189cm wide, 81cm high, 72cm deep Provenance: Morris & Co. Mrs Lucius Gubbins, Eastbourne, and thence by descent

£1,000-1,500

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

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38 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. PAIR OF ‘BIRD’ PATTERN WOOL CURTAINS, CIRCA 1890 jacquard-woven woollen double cloth, lined with Morris & Co. ‘Cray’ pattern block-printed cotton fabric, designed by William Morris circa 1884 (2) 358cm long, 170cm wide Provenance: Morris & Co. Mrs Lucius Gubbins, Eastbourne, and thence by descent

£2,000-3,000

39 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. ’PEACOCK & DRAGON’ PANEL, DESIGNED 1879 hand-loom jacquard woven woollen fabric, framed and glazed 58cm x 88cm

£300-500

40 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. MAHOGANY FRAMED EMBROIDERED FIRESCREEN, CIRCA 1880 the frame enclosing a glazed silkwork panel depicting entwined flowering roses and fruiting olives, stamped under apron MORRIS & CO./ 149 OXFORD STREET W/ 1868 panel 58 x 57.5cm, screen 115 x 63cm

£600-800

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41 JOHN HENRY DEARLE (1859-1932) FOR MORRIS & CO. ’HORNED POPPY’ EMBROIDERED SILKWORK PANEL, CIRCA 1890 framed and glazed 86cm x 51cm Literature: Parry, Linda ‘William Morris Textiles’, V&A 2013, p.

34, pl. 20 where similar panel is illustrated

£800-1,200

42 [§] SIBYL DUNLOP (1889-1968) ARTS & CRAFTS SILVER AND GEM-SET BROOCH, CIRCA 1925 of tapered elliptical form, set with multi-coloured cabochon stones with wirework decoration, unmarked 13cm long

£800-1,200

43 ATTRIBUTED TO BERNARD INSTONE BIRMINGHAM SCHOOL ARTS & CRAFTS GEM-SET BROOCH, CIRCA 1900 of annular form with leaf, berry and rope twist decoration, set with fire opal, jadeite and agate cabochon stones, the sliding pin with emerald, agate and fire opal cabochons 10cm across

£600-800

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W.T. COPELAND & SONS

HUKIN & HEATH, LONDON

’MEDIEVAL OCCUPATIONS’ DUST-PRESSED TILE, CIRCA 1880 depicting a carpenter, framed

VICTORIAN SILVER NOVELTY TOAST RACK, 1898 of diamond shape, the divisions formed as the letters to form the word TOAST, raised on ball feet, stamped registration design no. 249288 and 10529, weight: 3.7oz

[§] HELEN ADELAIDE LAMB (1893-1981)

15cm square

£150-250

14cm long

£250-400

CELTIC REVIVAL ILLUMINATED PANEL, CIRCA 1934 a dedication to Sir Charles McIver, ink and gold leaf on vellum, signed lower right HELEN A. LAMB, 38cm x 24cm; and a WATERCOLOUR STUDY by H. Maughan, framed, 28cm diameter (2) £200-300

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

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47 SCOTTISH SCHOOL ARTS & CRAFTS OAK OVERMANTEL, DATED 1899 carved by George Scott Lamb, the six central panels crisply carved with trees and emblematic plants above the inscription OH THE OAK THE ASH AND THE BONNIE IVY TREE/THEY FLOURISH BEST AT HAME IN THE NORTH COUNTRIE, the cornice dated on a banner 1899, the ash tree panel with two ‘padlocks’ one inscribed GSL/AL the other with the date 1898 201cm wide, 132cm high Provenance: George Scott Lamb and by descent

48 FRIEDA MACGILLIVRAY BRONZE VASE, DATED 1888 cast with fruiting plums on a textured ground and signed, inscribed and dated in the bronze F. MACGILLIVRAY/ THE WHITE STUDIO/ 1888/ CIE DES BRONZES BRUXELLES (C.P.) 31cm high Note: Frieda Macgillivray was the wife of the Scottish sculptor James Pittendrigh Macgillivray (1856-1938). The White Studio was his studio at 207 West Campbell Street, Glasgow, where he worked from circa 1888-1893 and where this vase was modelled.

£400-600

49 MANNER OF SIR ROBERT LORIMER ARTS & CRAFTS OAK CREDENZA, CIRCA 1900 the breakfront top above arcaded open shelves with rosette carving, raised on block feet 170cm wide, 102cm high, 64cm deep

£800-1,200

Note: The shackled initials are those of George Scott Lamb (1843-1933) and his sister Annabella (1846-1932), the children of David Lamb, JP (1797-1874) and his wife Ann, nee Brydon (1803-1882). The Lambs were prosperous textile manufacturers who lived at The Latch, a large Jacobean style Victorian stone house in Brechin.

George Scott Lamb carved this overmantel as a tribute to his close bond with his sister and they continued to live together in the house until their deaths. George Lamb left an estate of £64,000, one of his executors was Harold Bowman Gilroy of Fingask Castle, and the other was David Lamb, a nephew who by then had moved into The Latch.

£300-500

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50 JOHN WILLIAMS FOR FIVEMILETOWN, CO. TYRONE ARTS & CRAFTS SILVER & ENAMEL POT POURRI CASKET & COVER, 1910 possibly worked by Patrick Roche, the cover centred by an enamelled rose enclosed by pierced, chased and repoussé entwined briars and the inscription GATHER YE ROSEBUDS WHILE YE MAY, the planished bowl raised on circular section stem with corresponding pierced decoration set with four further enamel roundels, on shaped spreading base, stamped marks to cover and base W.T., hallmarked Sheffield 1910 16cm diameter, 18.5cm high Literature: The Studio, February 1907, illustrated Larmour, Paul ‘The Arts and Crafts Movement in Ireland’ Friar’s Bush Press, 1992, p. 44, where this example is illustrated.

Note: John Williams was one of the founders and principal metalworkers at the Guild of Handicraft and later tutored and worked at Fivemiletown in Ireland.

£4,000-6,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

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51 CHARLES ROBERT ASHBEE (1863-1942) FOR GUILD OF HANDICRAFTS SILVER PLATED DISH & COVER, CIRCA 1901 with planished surface, the tapered cover with openwork finial, set with moonstone cabochon, the bowl with beaded band, stamped makers marks to cover and under base, GofHLtd 23.3cm across

£600-800

52 PEARCE & SONS, LONDON ART NOUVEAU HAMMERED SILVER CENTREPIECE BOWL, HALLMARKED 1911 on three open-work tendril supports, issuing from a domed circular base, with overall hammered surface, maker’s marks PE & SONS 18cm high, 23cm diameter

£400-600

53 OMAR RAMSDEN (1873-1939) GROUP OF SIX SILVER TEASPOONS, CIRCA 1932 four with thistle terminals and four with rose terminals, each with planished surface, stamped maker’s marks OR, hallmarks for 1931 and 1932, within original silk lined wooden box (6) each spoon 11cm long

£600-800

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54 Y BIRMINGHAM SCHOOL IMPRESSIVE ARTS & CRAFTS PICTORIAL WORKBOX, CIRCA 1890 the ogee lid above chequer inlaid sides, each set with penwork panels painted in the Pre-Raphaelite manner and illustrating the poems of William Morris, ‘Summer’; ‘Autumn’; ‘Winter’; and ‘Spring’ and ‘Night’ and ‘Day’, the whole raised on a stepped base with bun feet 50.5cm wide, 29cm high, 25cm deep

£3,000-5,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

55 ENGLISH SCHOOL ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1890 embellished with silver and gold threads, depicting an angel and bearing inscription GLORIA IN EXCELSIS 76cm x 34cm

£300-500

56 ATTRIBUTED TO WILLIAM SNELLING HADAWAY FOR LOUIS CHARLES DETTMER ARTS & CRAFTS SILVER AND ENAMEL BONBON DISH, HALLMARKED 1908 the hand-beaten bowl set with four red enamel stylised heart motifs, on four pointed oval supports, maker’s marks LD 13cm wide Note. Louis Charles Dettmer’s mark has been noted on fourteen silver and enamel bowls, thirteen of which were also struck with the mark of Willing Snelling Hadaway, London, 1910 (see Sotheby’s, 7th April 1977, lots 36 and 37)

£200-300

57 MARY SETON WATTS (1849-1938) FOR COMPTON POTTERS GUILD ARTS & CRAFTS TERRACOTTA CASKET, EARLY 20TH CENTURY with domed cover, cast with a polychrome frieze of scrolling vines and birds and with lion mask handles to each end 40cm wide, 18cm high, 18cm deep Note: Mary Watts took her inspiration for this casket from a drawing in Brindley & Weatherley’s ‘Ancient Sepulchral Monuments’ of 1887. The design is based on the Sarcophagus of Archbishop Theodorus in the Church of Saint Apollinare in Classe, Ravenna. A smaller version of this casket is held at the Watts Galley, Compton.

£800-1,200

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58 BRITISH SCHOOL ARTS & CRAFTS WHITE METAL & ENAMEL PENDANT, CIRCA 1910 of circular outline pierced and set with coloured enamels and facetted amethyst stones in a stylised tree design, original link chain with gem-set spacers, unmarked 4.8cm diameter

£400-600

59 [§] MARY THEW (1876-1953) ARTS & CRAFTS WHITE METAL BROOCH, CIRCA 1920 of oblong outline with rope-twist decoration, set with an Iona marble cabochon, indistinct artist’s mark verso T 3cm across Note: Mary Thew studied at Glasgow School of Art in the mid-1890s although her career as a jeweller came later, after marriage and a family, with a studio first in Glasgow then down in Kirkcudbright. She was a member of the Glasgow Society of Lady Artists’ Club and her jewellery won one of their prizes in 1925.

60

£200-300

FLEETWOOD CHARLES VARLEY (1863-1942) FOR WILLIAM HAIR HASELER ARTS & CRAFTS GOLD AND ENAMEL PENDANT, 1904 the enamel panel by Varley depicting a path through a landscape, set within 9ct gold frame, the reverse with glazed locket containing a peacock feather, stamped maker’s marks WHH/ 9/ .375, hallmarked Birmingham 1904 3.8cm diameter Note: The artist and enameller Fleetwood Varley was a friend and collaborator of C.R. Ashbee and worked at the Guild of Handicraft at Chipping Camden. His work for Haselers was generally sold through Liberty & Co. in London.

£800-1,200

61 C. J. PLUCKNETT & CO. LTD. ARTS & CRAFTS SILVER AND ENAMEL COMPACT MIRROR, 1923 of oblong form with rope-twist decoration, centred by an enamelled panel depicting a peacock and enclosing a mirror plate, bears stamped maker’s mark CJP&CO, hallmarked London 1923 7.2cm x 5cm

£500-700

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

62 CHARLES FRANCIS ANNESLEY VOYSEY (1857-1941) FOR PILKINGTON TILE & POTTERY CO. ’FISH & LEAF’ TILE PANEL, CIRCA 1902 covered in a red glaze, within an oak frame each tile, 15.6cm square

£400-600

63 AFTER CHARLES FRANCES ANNESLEY VOYSEY SET OF EIGHT ARTS & CRAFTS OAK CHAIRS, CIRCA 1910 each with tall backs with serpentine top rail and shaped splat pierced with opposed hearts, the caned panel seat raised above square tapering legs linked by stretchers (8) 43cm wide, 139cm high, 44cm deep Literature: Livingstone, Karen; Donnelly, Max and L. Parry ‘C.F.A. Voysey: Arts & Crafts Designer’ V&A 2016, pp. 177-186, pl. 228 ’The Furnisher’, Volume 1, 1899, p. 96 and supplement (illustrated) Lyon & Turnbull, ‘Decorative Arts: Design since 1860’, 8th May 2013, Lot 269

Note: The original design for these chairs formed part of a series of designs Voysey created for new clients William and Haydee Ward-Higgs, a London solicitor and his wife, around 1898 for their home at No. 23 Queensborough Terrace. Several versions of the chair were made after 1898, including examples with caned seats as in these examples (mentioned in the Voysey archive at RIBA, no. 211). The interiors of their home were photographed for The Furnisher magazine in 1899 and the promotion of Voysey’s designs in periodicals like The Furnisher allowed them to be copied by contemporary craftsmen. A mahogany corner cabinet sold in these rooms after the original designed for the pre-Raphaelite artist E.R. Hughes is an example of this practice.

The chairs forming the current lot, with their minor stylistic and size discrepancies from the original Ward-Higgs commission, may also have been made as a result of the publication of the original design.

£3,000-5,000

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64 ARTHUR W. SIMPSON OF KENDAL (1857-1922) ARTS & CRAFTS MAHOGANY CONSOLE TABLE, CIRCA 1910 the rectangular top with dentil frieze above two drawers, each with decorative brass handles, raised on square legs and linked by a pierced stretcher 92cm wide, 76cm high, 51cm deep

£500-800

65 ARTHUR W. SIMPSON OF KENDAL (1857-1922) PAIR OF ARTS & CRAFTS OAK CHAIRS, CIRCA 1910 each with woven leather seats raised on square tapering legs linked by stretchers (2) 46cm wide, 99cm high, 40cm deep

£400-600

66 ARTHUR W. SIMPSON OF KENDAL (1857-1922) ARTS & CRAFTS MAHOGANY OCCASIONAL TABLE, CIRCA 1910 the rectangular top above an apron profusely carved with fruiting foliage, above a lower tier raised on square tapering legs 61cm diameter, 65cm high

£400-600

67 ATTRIBUTED TO ARTHUR W. SIMPSON OF KENDAL ARTS & CRAFTS CARVED ELM LOW CHAIR, CIRCA 1910 with curved back and seat raised on shaped legs 91cm wide, 49cm high, 33cm deep Literature: ‘Sept ans de réflexion, dernières acquisitions du Musée d’Orsay 2008-2014’, exhibition catalogue, Musée d’Orsay, Paris, 18th November 2014-22nd February 2015, illustrated pp. 192 and 293.

£400-600

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

29

68 ROBERT ANNING BELL (1863-1933) ’OUR LADY’ AND ‘ST. GEORGE’, DESIGNS FOR STAINED GLASS, CIRCA 1920 ink, pencil and watercolour, signed to lower right ROBERT ANNING BELL each panel 131cm x 46cm Note: These designs were produced by Anning Bell circa 1920 as a memorial for an Edward Lacy Weigall, and commissioned by his daughter Hope Ffennell for All Saints Church, Wytham, Oxfordshire where they are still in situ.

£800-1,200

69 MANNER OF MACKAY HUGH BAILLIE SCOTT (1865-1945) PAIR OF CONTINENTAL CHENILLE HANGINGS, CIRCA 1900 each decorated with bands of stylised flowering trees (2) 278cm x 118cm

£400-600

70

71

ATTRIBUTED TO MACKAY HUGH BAILLIE SCOTT

MANNER OF W.A.S. BENSON

ARTS & CRAFTS OAK FRAMED ARMCHAIR, CIRCA 1900 with button upholstered back above open arms and solid seat with loose cushion raised on square legs linked by stretchers 56cm wide, 132cm high, 43cm deep Literature: Anscombe, Isabelle and Gere, Charlotte ‘Arts & Crafts in Britain and America’, London 1978, p. 137, pl. 178 where a chair of by J.P. White’s Pyghtle Works of 1901 shows similar characteristics.

£500-800

BRASS TABLE LAMP, EARLY 20TH CENTURY with a conical shade over a sectional column, raised on a tripod base with pointed feet, fitted for electricity 45.5cm high

£300-500

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72 WILLIAM ARTHUR SMITH BENSON (1854-1924) PAIR OF ARTS & CRAFTS BRASS WALL LIGHTS, CIRCA 1900 each with ribbed Vaseline glass shades, supported by curved adjustable arms and rectangular wall plates, stamped maker’s marks BENSON (2) 37cm long

£500-800

73 WILLIAM ARTHUR SMITH BENSON (1854-1924) ARTS & CRAFTS BRASS TABLE LAMP, CIRCA 1890 with adjustable ribbed Vaseline glass shade, the whole raised on a tripod base 36cm high

£500-800

74 JOHN PEARSON (FL. 1885-1910) ARTS & CRAFTS EARTHENWARE SERVING DISH, CIRCA 1900 of eight-sided form painted in blue, green, pink and silver lustres with a galleons in full sail, painted verso with a skate and monogram mark 28cm across

£300-500

75 ARTS & CRAFTS OAK EXTENDING DINING TABLE, CIRCA 1900 the rectangular top on square tapered legs with shaped feet, includes two additional leaves and an extender crank 196cm long (extended), 136cm long (closed), 75cm high, 106cm deep

£600-800 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

31

76 ATTRIBUTED TO EDGAR WOOD ARTS & CRAFTS OAK FIREPLACE SURROUND, CIRCA 1900 profusely carved with floral and foliate motifs, the projecting cornice with egg and dart mouldings above an oil panel depicting a Medieval hunting scene and bearing inscription WAKEN, LORDS AND LADIES GAY/ ON THE MOUNTAIN DAWNS THE DAY/ ALL THE JOLLY CHASE IS HERE/ WITH HAWK AND HORSE AND HUNTING SPEAR, over a central carved clock face flanked by open shelves and a repoussé copper fire insert, decorated with hearts and with matching curved fender (3) 208cm wide, 226cm high, 63cm deep

Note: Edgar Wood (1860-1935) was an architect, artist and draftsman who practised from Manchester at the turn of the 20th century.

His work was principally domestic, however he also designed several churches and small commercial buildings. He was a founder of the Northern Art Workers’ Guild in 1896, one of the major provincial societies within the Arts and Crafts Movement and was president of the Manchester Society of Architects from 1911–12.

£3,000-5,000

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Lyon & Turnbull

77 JOHN PEARSON (FL. 1885-1910) NEWLYN COPPER CHARGER, DATED 1895 repoussé-decorated with trees allegorical of the four seasons, chased maker’s marks verso J. PEARSON/ 1895/ 2277 39cm diameter

£800-1,200

78 NEWLYN SCHOOL ARTS & CRAFTS COPPER FRAMED WALL MIRROR, CIRCA 1910 of circular form, the frame repoussé-decorated with swimming fish, stamped maker’s mark NEWLYN 46cm diameter

£500-800

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

79 ENGLISH SCHOOL PAIR OF PATINATED COPPER WALL LIGHTS, CIRCA 1915 each with frosted Vaseline glass shades supported by scrolled arms on shield-shaped back plates (20 33cm x 37cm

£500-700

80 [§] GWENDOLINE BUCKLER (1871-1947) FOR DELLA ROBBIA POTTERY, BIRKENHEAD LARGE TERRACOTTA CHARGER, CIRCA 1900 decorated to the centre with a Lion rampant, and badges of Thistle, Rose and Shamrock, within a scrolling foliate band, incised and painted maker’s marks D/R/W/ GEMB. 48cm diameter

£1,200-1,800

81 ARTS & CRAFTS OAK DINING ROOM SUITE, CIRCA 1910 comprising a REFECTORY TABLE, the rectangular top above two pairs of square section legs, linked by a stretcher and standing on curved trestle feet, 299cm long, 76cm high, 85cm deep ; and EIGHT DINING CHAIRS, including one carver, each with tall back and seat with close nailed leather upholstery, raised on faceted turned and blocked legs linked by stretchers, 53cm wide, 117cm high, 42cm deep (9) £800-1,200

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83 ARTS & CRAFTS PAIR OF NOVELTY CARVED OAK BOOKENDS, CIRCA 1920 each carved as a seated ape, one holding a mirror, the other a book with inscription TALES OF DARWIN (2)

82

24cm high

ENGLISH SCHOOL ARTS & CRAFTS EMBROIDERED ROUNDEL, CIRCA 1900 worked in coloured threads with a peacock, framed and glazed

£250-350

40cm diameter

£250-350

85

84

ENGLISH SCHOOL

JOHN PEARSON (FL. 1885-1910) NEWLYN COPPER JARDINIÈRE, DATED 1901 repoussé-decorated with panels of serpents, chased maker’s marks to base J. P./ 1901/ 2677 11cm high

ARTS & CRAFTS ENAMEL ROUNDEL, CIRCA 1910 depicting St. George & the Dragon, framed 9.6cm diameter

£400-600

£800-1,200

86

87

88

89

C. H. BRANNAM, BARUM

ARTS & CRAFTS

GUILD OF HANDICRAFTS

SCOTTISH SCHOOL

ART POTTERY GROTESQUE BIRD JUG, DATED 1900 majolica glazed in green and blue, modelled as a puffin type bird, the wings forming a handle, incised maker’s marks, C. H. BRANNAM, BARUM/ 1900/ TT

WHITE METAL OVAL TRINKET BOX, CIRCA 1900 the hinged cover embossed with initials in the manner of Omar Ramsden

SILVER SAUCE LADLE, 1913 with planished surface, the terminal with rope-twist design, stamped maker’s mark, hallmarked London 1913

11cm wide

14.5cm long

£100-200

£150-250

ARTS & CRAFTS STAINED OAK SECRETAIRE, CIRCA 1900 with decorative copper hinges, the fall opening to reveal an arrangement of drawers and pigeonholes

25cm high

£80-120

74cm wide, 167cm high, 43cm deep

£400-600 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

90 FREDERIC JAMES SHIELDS (1833-1911) ARTS & CRAFTS COPPER AND ENAMEL CASKET, CIRCA 1890 of rectangular form, the hinged lid inset with enamelled panel depicting a faun playing pipes whilst sheep graze, the hinged clasp set with enamel cabochon and worked with interwoven leafy tendrils, the whole opening to reveal a wood lined interior, the angles with applied tapered brackets and riveted decoration, with an ashtray drawer to the front, stamped monogram to lid and clasp 16cm wide, 8.5cm high Note: Ferderic Shields, born in Hartlepool, was brought up in extreme poverty and as a young man managed to eke out a living as a commercial engraver. He studied at evening classes in London and then in Manchester, where he settled in 1848. He was greatly impressed by the works of the Pre-Raphaelite Brotherhood, which he saw at the Manchester Art Treasures Exhibition in 1857.

The quality of his illustrations for Defoe’s History of the Plague (1862) and Bunyan’s Pilgrim’s Progress (1864) brought him to the attention of Ruskin and Rossetti, who invited him to visit him in London. He became a close friend of Rossetti and Madox Brown and settled in London in 1876. Rossetti offered him space in his own studio and helped and encouraged him with his work. A close friend of the whole Rossetti family, he was commissioned by Rossetti’s mother to design two windows in memory of her son in All Saints’ Church, Birchington. He was also a fine illustrator, mural decorator and stained glass designer and enamellist.

£2,000-3,000

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91 NEWLYN SCHOOL ARTS & CRAFTS COPPER WALL MIRROR, CIRCA 1900 shaped frame, repoussé-decorated with organic forms and centred by a bevelled mirror plate, stamped maker’s mark NEWLYN 51cm x 59cm

£800-1,200

92 ENGLISH SCHOOL THREE ARTS & CRAFTS OAK FRAMED MIRRORS, CIRCA 1900 each with projecting cornice and carved frame, two with three mirror plates and one with four, 34cm x 88cm, 46cm x 89cm, and 48cm x 117cm; also an ARTS & CRAFTS CARVED OAK PICTURE FRAME, 35cm x 26cm (4) £500-700

93 ENGLISH SCHOOL ART NOUVEAU TABLE BOOKCASE, CIRCA 1900 the stained beech case with open shelves containing volumes of Shakespeare, enclosed by cast brass panels of Art Nouveau maidens with Shakespearian inscriptions 65cm wide, 41cm high, 16cm deep

£300-500

94

95

96

WORKSHOP OF ROBERT ‘MOUSEMAN’ THOMPSON

ENGLISH SCHOOL

ARTS & CRAFTS OAK TUB CHAIR, CIRCA 1900 the curved tub back carved with stylised plant motifs above a drop-in rush seat

25.5cm high

ARTS & CRAFTS OAK CASED MANTEL CLOCK, CIRCA 1900 the twin train movement with circular enamelled dial within tapered case inlaid with stylised flowering plants and raised on flattened brass bun feet

£150-250

27.5cm high

CARVED OAK CANDLESTICK, 20TH CENTURY of spreading facetted form, with carved ‘mouse’ signature

58cm wide, 76cm high, 44cm deep

£300-500

£300-500 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

37

97 HARRIS LEBUS, LONDON ARTS & CRAFTS OAK TWO-PIECE BEDROOM SUITE, CIRCA 1900 comprising a WARDROBE, with broad projecting cornice above three doors with two drawers below, 190cm wide, 203cm high, 61cm deep; and a MATCHING DRESSING TABLE, 114cm wide, 156cm high, 56cm deep (2) £600-800

98

99

100

MANNER OF JOHN EDNIE

JOHNSON & APPLEYARD, SHEFFIELD

WILLIAM BIRCH, HIGH WYCOMBE

ART NOUVEAU OAK OCCASIONAL TABLE, CIRCA 1910 the circular top on tapered legs linked by stretchers

ARTS & CRAFTS MAHOGANY TABLE, CIRCA 1900 the octagonal top above four plank supports linked by stretchers, bears maker’s label JOHNSON & APPLEYARD/ SHEFFIELD & ROTHERHAM

ARTS & CRAFTS OAK ARMCHAIR, CIRCA 1900 with ring-turned supports, 61cm wide, 105cm high, 46cm deep; and a LIBERTY & CO. OAK OPEN ARMCHAIR, with rush seat, 63cm wide, 110cm high, 48cm deep (2) £250-350

39cm wide, 60cm high

£200-300

61cm diameter, 67cm high

£150-250

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101 ARTS & CRAFTS OAK ARMCHAIR, CIRCA 1900 the slatted back with upholstered panel with close nailed decoration above open arms and corresponding upholstered seat, raised on tapering legs linked by stretchers 63cm wide, 145cm high, 46cm deep

£300-500

102 ARTS & CRAFTS PAIR OF TABLE CANDLESTICKS, EARLY 20TH CENTURY carved and ebonised wood with early plastic nozzles (2) 27.5cm high Note: One of the earliest used of ‘plastic’ in furniture was the Casein plastic used as a decorative material by the architect and designer Charles Rennie Mackintosh for the commissioned furniture designs he completed for the businessman W.J. Bassett-Lowke when remodelling his house ‘Derngate’ in Northampton.

Some of the manufacture of this furniture was carried out between 1916 and 1919 by German citizens/ POWs in the internment camp of Knockaloe on the Isle of Man.

£300-500

103 TASMANIAN SCHOOL ARTS & CRAFTS BLACKWOOD OCCASIONAL TABLE, CIRCA 1910 the rectangular top raised on square tapered legs linked by an undertier with spindle gallery, printed label COOGAN’S TASMANIA 76cm wide, 72cm high, 50cm deep

£300-500

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

39

104 GORDON FORSYTH (1879–1952) FOR PILKINGTON’S ROYAL LANCASTRIAN CIRCULAR LUSTRE-GLAZED WALL PLAQUE, DATED 1924 decorated with a lion rampant amongst foliage on a puce ground, and to the reverse with bands of foliage on a green ground, painted artist’s marks G.M.F./ 1924 with monogram, impressed factory marks 31cm diameter

£2,000-3,000

105 PILKINGTON’S ROYAL LANCASTRIAN LUSTRE-GLAZED MOON FLASK, CIRCA 1920 of flattened circular form with twin handles, painted to one side with flowering foliage, and to the other with opposed birds amongst foliage, impressed maker’s marks ROYAL LANCASTRIAN/ ENGLAND/ 2715 27.5cm high

£1,800-2,200

106 WILLIAM S. MYCOCK (1872-1950) FOR PILKINGTON’S LUSTRE-GLAZED BOTTLE VASE, DATED 1914 the moulded body decorated with panels of foliage on a green ground, painted artist’s monogram and date cypher, impressed factory marks 19.5cm high

£1,200-1,800

107 RICHARD JOYCE (1873-1931) FOR PILKINGTON’S ROYAL LANCASTRIAN LUSTRE-GLAZED ARBARELLO VASE, CIRCA 1920 decorated with three panels depicting a Lion rampant; a Unicorn; and a Griffin, within foliate bands, painted artist’s monogram, impressed factory marks 20cm high

£1,000-1,500

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108 ARTS AND CRAFTS COPPER FRAMED DRESSING MIRROR, CIRCA 1900 of splayed rectangular form, with stylised repoussé roses to each upright, with an easel back 31.5cm high, 25cm wide

£250-400

109 MURRLE BENNETT & CO. ARTS & CRAFTS SILVER AND GEM-SET PENDANT, CIRCA 1906 the pierced and articulated pendant with planished finish set with facetted amethyst stones and with original link chain, stamped maker’s marks MBCo./ 950 4.8cm long

110

£600-800

THEODOR FAHRNER (1859-1919) FOR MURRLE BENNETT & CO. ART NOUVEAU SILVER BROOCH, CIRCA 1900 openwork plant form set with oval amethyst cabochon, stamped maker’s marks TF/ M.B.&CO./ 950/ REGD

111

3cm across

MURRLE BENNETT & CO.

£400-600

ARTS & CRAFTS SILVER AND GEM-SET BRACELET, CIRCA 1910 worked with alternate planished link panels of Celtic knotwork and faux rivets set with faceted amethysts, stamped maker’s marks MBCo/ 950 17cm long

£600-800

112

113

114

ARTS & CRAFTS

ARTS & CRAFTS

ARTS & CRAFTS

OAK SMOKER’S CABINET, DATED 1918 the domed top over hinged foldaway doors, revealing two compartments and drawers, above a single fall-down flap, fitted with a plaque inscribed PRESENTED TO R.S.M. P. GODLEY, R.E. BY THE O.B.O.S. STAFF ON LEAVING FOR FRANCE 1918

SILVER & TURQUOISE NECKLACE, CIRCA 1910 with three openwork pendant drops worked as entwined foliage set with turquoise and suspended from a bar and link chain

OAK HALL SETTLE, CIRCA 1890 the arched back with fielded panels, each carved with flowers and foliage above open arms and a solid seat, with later squab cushions, raised on turned and blocked legs

42.5cm long

171cm wide, 126cm high, 63cm deep

35cm wide, 37.5cm high, 20cm deep

£300-500

£300-500

£150-250 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

41

115 SHAPLAND & PETTER, BARNSTAPLE ARTS & CRAFTS OAK WALL CABINET, CIRCA 1900 the projecting moulded cornice above twin doors with inset patinated copper panels and decorative hinges, the lock stamped S&P/ B 50.5cm wide, 52cm high, 19cm deep

£800-1,200

116 SHAPLAND & PETTER, BARNSTAPLE ARTS & CRAFTS OAK SECRETAIRE BOOKCASE, CIRCA 1900 the arched ledge back with inset heart-shaped enamel above an arrangement of open shelves and panelled fall with stencilled polychrome scene, enclosing a fitted interior and with three further panelled doors, stamped maker’s mark No. 154 92cm wide, 158cm high, 36cm deep

£2,500-3,500

117 MANNER OF SHAPLAND & PETTER ARTS & CRAFTS MAHOGANY DOUBLE BED, CIRCA 1900 the head and foot boards with waved spindles, the headboard with carved inscription OH SLEEP! IT IS A GENTLE THING/ BELOVED FROM POLE TO POLE (from ‘The Rime Of The Ancient Mariner’), the footboard with carved inscription ‘TIS THE VOICE OF THE SLUGGARD I HEARD HIM COMPLAIN/ YU HAVE WAKED ME TOO EARLY I MUST SLUMBER AGAIN (from ‘The Life and Adventures of Martin Chuzzlewit’) 213cm long, 165cm high, 151cm wide

£600-800

118

119

120

ARTS & CRAFTS

ENGLISH SCHOOL

ARTS & CRAFTS

MAHOGANY REFECTORY TABLE, CIRCA 1920 the rectangular top with moulded edge above square tapering legs on trestle supports linked by stretchers, stamped maker’s marks

ARTS & CRAFTS OAK WARDROBE, CIRCA 1900 with twin doors each with tongue and groove panels, centred by stylised carved foliate motif and raised on square legs with pad feet

MAHOGANY INLAID WARDROBE, CIRCA 1900 the projecting cornice above a marquetry frieze depicting longboats at sea and single mirrored door with drawer below on bracket feet

275cm long, 76cm high, 122cm wide Provenance: This lot was formerly used to complement paintings displayed at the National Galleries of Scotland.

176cm wide, 206cm high, 60cm deep

126cm wide, 203cm high, 53cm deep

£400-600

£400-600

£400-600

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121

122

123

BERNARD MOORE (1850-1935)

MOORCROFT POTTERY

BALUSTER FLAMBÉ VASE WITH SILVER RIM, CIRCA 1913 with applied gilt and enamels, depicting a Japanese interior, maker’s mark to base BERNARD MOORE, hallmarked Chester 1913, 14cm high; together with EVELYN HOPE BEARDMORE FOR BERNARD MOORE, OVOID FLAMBÉ VASE, CIRCA 1910, decorated with foliate bands, painted maker’s mark under base BERNARD MOORE and with artist’s monogram, 11.5cm high (2) £400-600

’PANSIES’ PATTERN TOBACCO JAR & COVER, CIRCA 1918 with screw top, painted signature mark W. MOORCROFT

WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO.

10cm high

£300-500

LARGE FLORIANWARE JARDINIÈRE, CIRCA 1905 decorated with sprays of roses and forget-me-nots and with gilt embellishments, printed marks, signed in green W. MOORCROFT 21cm diameter, 21cm high

£400-600

124

125

MINTONS LTD.

MINTONS LTD.

SECESSIONIST JARDINIÈRE ON STAND, CIRCA 1910 decorated with stylised plant forms on a green and red ground, printed maker’s marks MINTONS LTD

SECESSIONIST JARDINIÈRE ON STAND, CIRCA 1910 decorated with scrolling hearts border to rim and foot rim, plum flowerheads and ochre leaves on a turquoise ground, printed maker’s marks MINTONS LTD, registered pattern number ‘RD.NO.616446’ to base

39cm diameter, 85cm high

£400-600

35cm diameter, 102cm high

£300-500

126

127

WALTER MOORCROFT (1917-2002) FOR MOORCROFT POTTERY

MOORCROFT POTTERY

LARGE ‘LILY’ PATTERN BALUSTER VASE, DATED 1953 impressed maker’s marks, initialled in blue and dated 1953 37.5cm high

£300-500

COLLECTION OF WARES, LATE 20TH CENTURY comprising a JUG, C.R. Mackintosh decoration, 24cm high; a JUG, Brambles decoration, 14.5cm high; a CLOCK, floral decoration, 16cm high; a GINGER JAR & COVER, ‘Cluny’ pattern, 10.5cm high; a PLATE, decorated with Tulips, 26cm diameter; and a POWDER BOWL & COVER, Black Tulips decoration, 12cm diameter (6) £300-500

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

128 ARTS & CRAFTS PEWTER WALL MIRROR, CIRCA 1910 of oval form, with a bevelled mirror plate, the repoussé frame decorative borders with butterflies and Ruskin roundels 45cm x 68cm

£500-800

129 SHAPLAND & PETTER, BARNSTAPLE OAK WALL CUPBOARD, CIRCA 1900 with marquetry inlaid door depicting a goose girl with goose 66cm wide, 58cm high, 17cm deep

£300-500

129A ARTS & CRAFTS COPPER WALL MIRROR, CIRCA 1900 the oval plate enclosed by shield-shaped frame repoussé-decorated with foliate forms and set with coloured Ruskin panels 40cm x 28cm

£200-300

130 SHAPLAND & PETTER, BARNSTAPLE ARTS & CRAFTS OAK BOOKCASE CABINET, CIRCA 1900 the projecting cornice above an embossed copper frieze bearing inscription READING MAKETH A FULL MAN, above three astragal glazed doors with bullseye glass panels enclosing adjustable shelves, the base with two linenfold panel doors enclosing a single drawer and void, square supports, bears retailer’s mark 138cm wide, 209cm high, 47cm deep

£2,500-3,500

131

HK172/1

SHAPLAND & PETTER, BARNSTAPLE ARTS & CRAFTS MAHOGANY INLAID SIDE TABLE, CIRCA 1900 the superstructure with open shelf above an marquetry inlaid frieze, the rectangular top above a single drawer, stamped maker’s marks R1072 93cm wide, 115cm high, 37cm deep

£800-1,200

43

44

Lyon & Turnbull

133 SHAPLAND & PETTER, BARNSTAPLE ARTS & CRAFTS MAHOGANY FRAMED FIRESCREEN, CIRCA 1900 with embossed copper panel depicting poppies, enclosed within a slatted frame, stamped marks R2045/84 61cm wide, 92.5cm high

£500-700

132 ATTRIBUTED TO THE BIRMINGHAM GUILD OF HANDICRAFTS BRASS CEILING LIGHT, CIRCA 1900 with three curved arms with scrolling brackets suspending brass shades 52cm diameter, 32cm high

£400-600

134 A. E. JONES ARTS & CRAFTS COPPER AND BRASS MOUNTED BOX, CIRCA 1900 set with Ruskin ceramic roundels and with exposed rivet decoration, the hinged lid enclosing a divided interior 20.5cm x 6cm x 10.5cm

£300-500

135 KESWICK SCHOOL OF INDUSTRIAL ART MAHOGANY TWO-FOLD SCREEN, CIRCA 1900 each fold inset with repoussé panel worked as St. George and the Dragon and Hercules & the Lion, bears inscription BY PATIENCE I PREVAIL, stamped maker’s marks to each panel KSIA 78cm wide, 92cm high

£300-500

136

137

138

139

ENGLISH SCHOOL

SCOTTISH SCHOOL

ENGLISH SCHOOL

ARTS & CRAFTS

ARTS & CRAFTS RECTANGULAR COPPER WALL MIRROR, CIRCA 1910 repoussé-decorated with a coaching scene

ARTS & CRAFTS PATINATED WALL MIRROR, CIRCA 1900 the oval frame embossed with chequers and applied roundels

52cm x 92cm

PAIR OF WROUGHT IRON FIRE DOGS, CIRCA 1930 each with beast head finials and ring handles on writhen columns with applied copper shield plaques (2)

68cm x 93cm

BRASS HANGING SANCTUARY LAMP, CIRCA 1920 set with coloured glass cabochons and centred with a glass shade

£200-300

each 24cm wide, 49cm deep

£300-500

65cm high, 24cm diameter

£300-500

H

£200-300

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

140

141

142

MURRLE BENNETT & CO.

MURRLE BENNETT & CO.

MURRLE BENNETT & CO.

SILVER AND ENAMEL PENDANT, CIRCA 1900 of shaped ovoid form with leaf and entwined flowering tendril decoration and corresponding chain spacers and associated drop, stamped maker’s mark MBCo/ 950

ART NOUVEAU SILVER AND ENAMEL PENDANT, CIRCA 1900 designed as a stylised tree of life, with oval drop pendant below and with fine link chain with corresponding enamel spacers, stamped maker’s marks MBCo/ 950

SILVER AND ENAMEL PENDANT, CIRCA 1900 of shaped ovoid form with leaf and entwined tendril decoration and corresponding chain spacers and drop, stamped maker’s mark MBCo/ 950

pendant 5.7cm long

4.5cm long

4.5cm long

£600-800

£800-1,200

45

£800-1,200

143 ARTS & CRAFTS STERLING SILVER AND GEM-SET CROSS PENDANT, EARLY 20TH CENTURY worked with entwined leaves and set with facetted amethyst stones, stamped mark verso STERLING

144 MURRLE BENNETT & CO. 15 CARAT GOLD BROOCH, CIRCA 1900 of circular outline with pierced waved design set with turquoise cabochon, stamped maker’s marks MBCo./ 15CT

11.5cm long

£300-500

2.9cm diameter

£200-300

145

146

147

ARTS & CRAFTS

ENGLISH SCHOOL

W.A.S. BENSON (1854-1924)

PAIR OF PATINATED WROUGHT METAL WALL SCONCES, CIRCA 1920 each with three scrolling branches and applied embossed leaf decoration (2)

PAIR OF PEWTER & ENAMEL PHOTOGRAPH FRAMES, EARLY 20TH CENTURY each of rectangular form, the beaten frames set with turquoise cloisonné enamel roundels, stamped marks MADE IN ENGLAND (2)

BRONZE FACE SCREEN HOLDER, CIRCA 1900 with lobed weighted terminal and scrolled support with arched arm terminating in fitting for a screen, stamped maker’s mark W.A.S./ BENSON

24cm x 19cm

£300-500

35cm tall, 28cm wide

£200-300

£200-300

43cm long

46

Lyon & Turnbull

148 PETER WAALS (1870-1937) OAK ‘MAN’S DRESSING TABLE’, CIRCA 1930 the shaped rectangular top above single drawer with cupboard below, flanked by eight further drawers, wrought double scroll handles with chased decoration 122cm wide, 97cm high, 56cm deep Literature: ‘The Furniture & Joinery of Peter Waals’ The Alcuin Press, 1930, plate 9., where a similar piece is illustrated and described as ‘Man’s Dressing Table in Oak’.

Note: Peter van der Waals was born in Holland in 1870 and worked as a foreman for Ernest Gimson at his workshop in Daneway House near Sapperton, Gloucestershire, England. The workshops had been started by Gimson and Sidney and Ernest Barnsley to produce furniture in the tradition of the Arts & Crafts Movement. This cabinet was inspired by British furniture of the 17th century and demonstrates the continuing strength of the Arts and Crafts tradition in Britain even after World War I. After Gimson’s death in 1919, van der Waals started his own workshop in Chalford, Gloucestershire, producing domestic furniture.

£4,000-6,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

47

149 PETER WAALS (1870-1937) AFTER DESIGNS BY ERNEST GIMSON PAIR OF OAK LATTICE-BACKED CHAIRS, CIRCA 1910 each with chamfered lattice back above drop-in rush seat on square legs linked by stretchers (2) 48cm wide, 103cm high, 40cm deep

£800-1,200

150 PETER WAALS (1870-1937) AFTER DESIGNS BY ERNEST GIMSON WALNUT CENTRE TABLE, CIRCA 1930 the circular moulded top with shaped bracket supports raised on eight-sided supports linked by chamfered cross stretchers with shaped feet 106cm diameter, 69cm high

£600-800

152 EDWARD GARDINER AFTER DESIGNS BY ERNEST GIMSON SET OF FOUR OAK ‘CLISSETT’ LOW BACK CHAIRS, CIRCA 1930 each with three rails to the back above rush seats on turned legs linked by stretchers (4) 46cm wide, 87cm high, 39cm deep Note: Ladderback chairs started to be made across Britain in the seventeenth century.

In the 1890s Ernest Gimson adapted and simplified the vernacular chairs he found still being made in the Cotswolds. This chair is his design, however after his death in 1919, production of his furniture was continued by one of the craftsmen at his workshop, Edward Gardiner.

£400-600

151 PETER WAALS (1870-1937) OAK CUPBOARD, CIRCA 1930 with twin fielded panel doors raised on square legs 121cm wide, 175cm high, 45cm deep

£1,000-1,500

48

Lyon & Turnbull

153 WILLIAM JAMES NEATBY (1860-1910) ART NOUVEAU MAHOGANY WRITING CABINET, CIRCA 1903 with inlaid chequer banded decoration, the superstructure with projecting cornice and totemic inlay above two panelled doors, each mounted with elaborate brass hinges and drop handles and enclosing an interior fitted with pigeonholes and a pull down leather writing surface, the base with single drawer raised on square tapered legs joined by stretchers 70cm wide, 130cm high, 38cm deep Literature: Cooper, Jeremy ‘Victorian & Edwardian Furniture & Interiors’, Thames & Hudson 1998, p. 222, pl. 597 where a version of this model is illustrated.

£4,000-6,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

49

155 WILLIAM HAIR HASELER, MAKER SILVER ART NOUVEAU PHOTOGRAPH FRAME, 1904 with original blue and green enamelling, hallmarked Birmingham 1904, with original oak back and with original bevelled glass 23.7cm x 15.6cm

£1,500-2,500

156 W. M. DOWLER & SONS, BIRMINGHAM

154 ART NOUVEAU COPPER FIRE INSERT, CIRCA 1900 with allover repoussé decoration of stylised plant forms and with riveted applied strapwork, the hinged adjustable sides with central fire surround 111cm wide, 97cm high

ART NOUVEAU SILVER PHOTOGRAPH FRAME, 1905 embossed with stylised trees and grazing sheep, stamped maker’s marks and design registration number 451677, hallmarked Sheffield 1905 23.5cm x 16.7cm

£1,000-1,500

£300-500

157

158

ENGLISH SCHOOL

JAMES FENTON & CO., BIRMINGHAM

ART NOUVEAU BRASS FENDER, CIRCA 1900 of moulded rectilinear form with pierced floral and foliate firedog uprights

BOXED SET OF ART NOUVEAU SILVER AND ENAMEL TEASPOONS, 1906 including a pair of sugar tongs, and each with rosette terminals, stamped maker’s marks, hallmarked Birmingham 1906 (7) £300-500

137cm wide, 38cm deep

£300-400

159 JAMES FENTON & CO., BIRMINGHAM ART NOUVEAU SILVER AND ENAMEL SUCRIER AND CREAMER, 1905 with applied plant form decoration on a planished ground, stamped maker’s marks, hallmarked Birmingham 1905 (2) jug 8cm high, sucrier 13.5cm across

£150-250

160

161

162

PETER WAALS (1870-1937) AFTER DESIGNS BY ERNEST GIMSON

EDWARD GARDINER AFTER DESIGNS

BY ERNEST GIMSON

ARTHUR ROMNEY GREEN (1872-1945)

OAK TOWEL RAIL, CIRCA 1930 with three rails joined by square tapered uprights on shaped feet

OAK ROCKING CHAIR, CIRCA 1930 the spindle-filled back above open arms and rush seat on rocker base

91cm wide, 97cm high

54cm wide, 106cm high, 44cm deep

ARTS & CRAFTS OAK DROP-LEAF TABLE, CIRCA 1910 with oval top with drop leaves, raised on carved supports with scalloped edges linked by diagonal stretcher

£200-300

£300-500

156cm across (open), 73cm high, 106cm deep

£600-800

50

Lyon & Turnbull

163 ATTRIBUTED TO HERBERT DAVIS RICHTER FOR BATH CABINET MAKERS ARTS & CRAFTS MAHOGANY SECRETAIRE CABINET, CIRCA 1902 the moulded top above an open shelf and inlaid fall, opening to reveal an interior, fitted with drawers and pigeonholes and incorporating twin inkwells and a writing surface, the whole supported on angled square uprights and linked by an undertier, bears retailer’s label 76cm wide, 148cm high, 38cm deep

£1,000-1,500

164 JAMES SHOOLBRED & CO. EDWARDIAN MAHOGANY INLAID DRAWING ROOM CABINET, CIRCA 1900 with single astragal glazed door above a drawer with marquetry inlaid doors below, stamped to door 107cm wide, 193cm high, 41cm deep

£400-600

165 SARA BEATRICE DIBDIN (1874-1963) PAX triptych, watercolour and bodycolour, highlighted with gilt, signed with monogram to each panel 113cm x 158cm Note: Sara Dibden (nee Guthrie) studied at Glasgow School of Art and then in Munich and exhibited at the Royal Academy and Royal Scottish Academy.

This triptych, allegorical of peace, shows the central figure allegorical of peace flanked by the arts; music, architecture, painting and sculpture.

£600-800

166

167

168

ENGLISH SCHOOL

ART NOUVEAU

ENGLISH SCHOOL

ART NOUVEAU MAHOGANY FRAMED TUB ARMCHAIR, CIRCA 1900 the curved rope rail and arms above an inlaid splat and drop-in seat, the whole raised on turned lags linked by stretchers, bears retailer’s label DENBY & SPINKS/ LEEDS

INLAID MAHOGANY BEDSIDE CABINET, CIRCA 1910 with panelled door, marquetry inlaid with a stylised flower motif, raised on turned legs 52cm wide, 93cm high, 44cm deep

ART NOUVEAU MAHOGANY FRAMED ARMCHAIR, CIRCA 1910 with boxwood stringing, the upholstered panel back with pierced panel to the centre above corresponding upholstered arms and seat on square legs

£250-400

66cm wide, 115cm high, 61cm deep

52cm wide, 84cm high, 41cm deep

£600-800

£300-500 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

169

170

171

LIBERTY & CO., LONDON

ATTRIBUTED TO ARCHIBALD KNOX FOR MURRLE BENNETT & CO.

LIBERTY & CO. LONDON

SILVER AND ENAMEL PENDANT, CIRCA 1900 formed as a flower head and set with a blister pearl and with wirework detail, with attendant rosette chain spacers, apparently unmarked

SILVER AND ENAMEL PENDANT, CIRCA 1900 formed as a flowerhead with entwined tendrils, stamped maker’s marks MBCo/ 950

51

SILVER AND ENAMEL PENDANT, CIRCA 1900 formed as a flower head and set with a blister pearl, with attendant rosette chain spacer, applied marks 925/ L&Co 3.2cm diameter

3.2cm diameter

5.5cm long

£600-800

£600-800

172

173

174

ARCHIBALD KNOX FOR (18641933) FOR WILLIAM H. HASELER, BIRMINGHAM

ARCHIBALD KNOX FOR LIBERTY & CO., LONDON

ARCHIBALD KNOX FOR (1864-1933) FOR MURRLE BENNETT & CO.

SILVER AND ENAMEL BROOCH, 1917 of circular form cast with stylised whiplash foliage on a sang de boeuf enamelled ground, stamped maker’s marks L&Co, hallmarked Birmingham 1917

15 CARAT GOLD BROOCH, CIRCA 1900 with entwined wirework, set with turquoise cabochon and corresponding drop

SILVER & ENAMEL BROOCH, CIRCA 1900 worked as stylised plant forms, stamped maker’s mark W.H.H./ STERLING 3cm across Literature; Martin, Stephen A. ‘Archibald Knox’, pub. London 2001, page 265 where two similar examples are illustrated.

£300-500

3.1cm diameter

£250-350

175

176

ATTRIBUTED TO BATH CABINETMAKERS

ART NOUVEAU

135cm wide, 195cm high, 40cm deep

COPPER AND BRASS JEWELLERY CASKET, CIRCA 1900 embossed with whiplash foliage and set with a Ruskin ceramic roundel, the interior with velvet lining, marked to base MCVITIE & PRICE/ LONDON & EDINBURGH

£400-600

18cm x 9.5cm x 13cm

MAHOGANY AND INLAID DISPLAY CABINET, CIRCA 1910 the projecting cornice above a single glazed door enclosing a shelved interior, flanked by canted glazed panels and square tapering columns, stamped maker’s marks 6341/ 3726/ 5

£300-500

£600-800

3.5cm wide

£300-500

52

Lyon & Turnbull

177 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON PAIR OF ‘TUDRIC’ PEWTER CANDLESTICKS, CIRCA 1905 with bullet shaped nozzles and broad drip trays, with three shaped supports, on wide circular bases cast with stylised plant forms, stamped marks MADE IN ENGLAND/ ENGLISH PEWTER/ 0223 (2) 23.5cm high

£500-800

178 ATTRIBUTED TO LIBERTY & CO., LONDON PAIR OF ARTS & CRAFTS PEWTER AND ENAMEL PHOTOGRAPH FRAMES, CIRCA 1900 each cast with stylised foliage and applied turquoise enamels on a planished ground, stamped maker’s marks 0392 (2) 25.2cm x 19cm

£2,500-3,500

179 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON ’TUDRIC’ PEWTER AND ENAMEL STRUT CLOCK, CIRCA 1900 the circular dial enclosed within square case cast with whiplash foliage and set with turquoise enamels, stamped marks “TUDRIC”/ MADE IN ENGLAND 10cm square

£300-500

180 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON

181 ARCHIBALD KNOX (1864-1933) FOR MURRLE BENNETT & CO. SILVER AND ENAMEL BROOCH, CIRCA 1900 set with a cut amethyst stone, stamped maker’s marks MBCo/ SILVER 2.5cm diameter Literature; Martin, Stephen A. ‘Archibald Knox’, pub. London 2001, page 265 where two similar examples are illustrated.

’TUDRIC’ PEWTER AND ENAMEL MANTEL CLOCK, CIRCA 1900 with a curved top depicting stylised plant forms, above an enamelled and copper dial with Roman numerals, and two enamel roundels, with an easel back, marked TUDRIC/ 0370 20.5cm high

£1,000-1,500

£200-300 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

53

182 MANNER OF LIBERTY & CO. ARTS & CRAFTS COPPER FRAMED OVERMANTEL MIRROR, CIRCA 1900 with arched top and open shelf above a bevelled mirror plate and hammered frame, repoussédecorated with stylised foliage 104cm wide, 92cm high, 16cm deep

£800-1,200

182A DAVID VEASEY FOR LIBERTY & CO., LONDON ’TUDRIC’ PEWTER LOVING CUP, CIRCA 1905 of cylindrical tapered form, with repoussé honesty seed pods and stems and the inscription FOR OLD TIMES SAKE, stamped maker’s marks 4/ TUDRIC/ 010 19.5cm high

£180-220

183

184

185

ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON

ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON

LIBERTY & CO., LONDON

’TUDRIC’ PEWTER AND GLASS BOWL, CIRCA 1905 the open frame stamped 0319, with registration mark, enclosing a green glass bowl, attributed to James Powell & Sons, Whitefriars, 13cm diam.; together with a ‘TUDRIC’ PEWTER BASKET, BY ARCHIBALD KNOX FOR LIBERTY & CO., LONDON, of oval form with a single strap handle, stamped maker’s marks, TUDRIC/ 0357, and registration mark, 31cm wide (2) £300-500

’TUDRIC’ PEWTER ROSE BOWL, CIRCA 1905 with supporting handles forming the feet, embossed with stylised honesty seed pods and stems, stamped maker’s marks, TUDRIC/ 0229

186

187

188

JESSIE MARION KING (1874-1949) FOR LIBERTY & CO., LONDON

ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON

DAVID VEASEY FOR LIBERTY & CO., LONDON

’TUDRIC’ PEWTER THREE-PIECE TEA SERVICE, CIRCA 1905 comprising a teapot and cover, with rush covered handle, 11.5cm high; a sugar bowl, 6cm high; and a milk jug, 5.5cm high, all with stamped maker’s marks, TUDRIC/ 0142; together with a ‘TUDRIC’ PEWTER TANKARD, OLIVER BAKER FOR LIBERTY & CO., LONDON, stamped maker’s marks 6/ TUDRIC/ ENGLISH PEWTER/ LIBERTY & CO/ 066, 12.5cm high (4) £150-200

’TUDRIC’ PEWTER TEA CADDY AND COVER, CIRCA 1905 of square form, embossed with stylised flower heads, stamped maker’s marks, MADE IN ENGLAND/ TUDRIC/ 0194

’TUDRIC’ PEWTER TOBACCO BOX AND COVER, CIRCA 1905 the slight pitched cover above the square box, with repoussé stylised flower stems, stamped maker’s marks, 2/ TUDRIC/ 049/ 1, 14cm wide, 18cm high, 14cm deep; and a JUGENDSTIL PEWTER CANDLESTICK, 20cm high (2) £180-220

BOXED SET OF SIX SILVER & ENAMEL TEASPOONS, 1902 each spoon with leaf cast terminals, stamped maker’s marks L&Co, hallmarked Birmingham 1902 (6) 11cm long

£400-600

30cm wide, 15cm high

£250-350

11.5cm wide, 12cm high, 11.5cm deep

£250-350

54

Lyon & Turnbull

189

190

ATTRIBUTED TO LIBERTY & CO., LONDON

LIBERTY & CO., LONDON OAK MANTEL CLOCK, CIRCA 1900 the single-train movement with circular enamel dial enclosed within shaped case carved with Celtic knotwork

ARTS & CRAFTS INLAID OAK MANTEL CLOCK, CIRCA 1900 the twin train movement with circular enamel dial enclosed within case inlaid with pewter, copper and with marquetry inlay, depicting an owl on a branch

34cm high Literature: Bennett, Daryl ‘Liberty’s Furniture’, Woodbridge 2012, p. 223 where a similar clock is illustrated.

33cm high

£400-600

£400-600

191 ATTRIBUTED TO W. J. NEATBY FOR LIBERTY & CO., LONDON ARTS & CRAFTS OAK WASHSTAND, CIRCA 1900 with tiled top and splashback above panelled doors, the backs with carved decorative roundels depicting stylised plant forms 102cm wide, 110cm high, 57cm deep

£400-600

192 ATTRIBUTED TO W. J. NEATBY FOR LIBERTY & CO., LONDON SET OF TEN ARTS & CRAFTS OAK DINING CHAIRS, CIRCA 1900 the backs with carved stylised plant forms above drop-in seats raised on square legs linked by stretchers (10) 102cm wide, 110cm high, 57cm deep

£1,000-1,500

193 ATTRIBUTED TO W. J. NEATBY FOR LIBERTY & CO., LONDON ARTS & CRAFTS OAK WALL MIRROR, CIRCA 1900 with carved decorative roundels depicting stylised plant forms 102cm wide, 110cm high, 57cm deep

£300-500

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

194 STYLE OF LIBERTY & CO. ARTS & CRAFTS BRASS STRUT MIRROR, CIRCA 1910 the rectangular planished frame with rivet decoration, set with an oval Ruskin cabochon 37cm x 27cm

£250-350

195 MISSION STYLE

196 LIBERTY & CO., LONDON MAHOGANY ‘THEBES’ STOOL, CIRCA 1910 the dished upholstered top with close nail decoration and with reeded edge, above square supports with spindle gallery on curved legs with pad feet

ARTS & CRAFTS OAK AND GLASS TABLE LAMP, CIRCA 1915 the green and opaque white glass shade, raised on a square set column with uprights, on a square base, wired for electricity 54.5cm high

£250-400

47cm across, 43cm high

£300-400

197 STICKLEY BROTHERS MISSION OAK ‘MORRIS’ ARMCHAIR, CIRCA 1910 with leather upholstered loose cushions, the frame with slatted arms and square supports 81cm wide, 94cm high, 59cm deep

£800-1,200

199

198

LIBERTY & CO., LONDON

LIBERTY & CO., LONDON

OAK WALL MIRROR, CIRCA 1900 of rectangular form, with embossed inscription in copper lettering IF THIS BE VANITIE WHO’D BE WISE

NEAR PAIR OF OAK ARTS & CRAFTS SIDE CHAIRS, CIRCA 1900 each with tapered slatted backs above upholstered panel seats raised on tapered legs, one with inlaid seat rail, bears retailer’s label GOODALLS/ MANCHESTER (2)

61cm x 40.5cm

41cm wide, 103cm high, 33cm deep

£150-250

£300-500

55

56

Lyon & Turnbull

200 LIBERTY & CO., LONDON ’RISBURY’ COPPER WALL MIRROR, CIRCA 1900 of oval outline, the frame with applied repoussé roundels with rivet decoration 52cm x 63cm

£400-600

201 LIBERTY & CO., LONDON ’FOUR O’ CLOCK TEA TABLE’, CIRCA 1895 the circular carved tray top raised on folding stand, bears ivorine maker’s label 44.5cm diameter, 60cm high Literature: Bennett, Daryl ‘Liberty’s Furniture’, Woodbridge 2012, p. 171, plate 5.29 where a similar example is illustrated.

£200-300

202 LIBERTY & CO., LONDON OAK CENTRE TABLE, CIRCA 1900 the oval top raised on square legs linked by crossed stretchers and terminating in spade feet 97cm long, 71cm high, 54cm deep Literature: Bennett, Daryl ‘Liberty’s Furniture’, Woodbridge 2012, p. 274 where a similar table is illustrated in a room setting from ‘Furniture by Liberty & Co’., p.25 (Original catalogue).

£400-600

203

204

TIFFANY STUDIOS, NEW YORK

AMERICAN ARTS & CRAFTS

PATINATED BRONZE ‘PINE NEEDLE’ BLOTTER, EARLY 20TH CENTURY the pierced handle and top surface above a layer of slag glass, marked TIFFANY STUDIOS/ NEW YORK/ 995 15cm wide

OAK FRAMED PRINT, EARLY 20TH CENTURY of rectangular form, depicting musicians playing instruments whilst a man sleeps, with the inscription GOD BLESS THE MAN WHO FIRST INVENTED SLEEP, marked COPYRIGHT 1907. TABER-PRANG ART CO. SPRINGFIELD, MASS.

£150-250

24cm x 41.5cm

£150-250

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

205 [§] CHARLES NEAL (BRITISH B. 1951) SEAFRONT AT ALDBURGH, SUFFOLK signed, oil on board 49cm x 59cm (19.25in x 23.25in)

£800-1,200

206 ROBERT PAYTON REID A.R.S.A. (SCOTTISH 1859-1945) MILL BY THE WATER oil on canvas 49.5cm x 60cm (19.5in x 23.5in) Provenance: Jean P. Reid, the artist’s daughter Mackay Gallery, London

£400-600

207 ROBERT WEIR ALLAN R.S.A., R.S.W., R.W.S. (SCOTTISH 1851-1942) OCTOBER SUNSHINE signed, pastel 51cm x 79cm (20in x 31in)

£400-600

57

58

Lyon & Turnbull

208

209

[§] GEORGE EDWARD LODGE (BRITISH 1860-1954)

JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942)

GOOSANDER signed, gouache

HARBOUR SCENE signed, oil on board

20.5cm x 30cm (8in x 11.75in)

18.5cm x 26cm (7.25in x 10.25in)

£400-600

£400-600

210

211

[§] PERPETUA POPE (SCOTTISH 1916-2013)

WILLIAM STEWART ORR R.S.W. (SCOTTISH 1872-1944)

AUTUMN - EAST LOTHIAN signed, pastel

SEASCAPE signed, oil on canvasboard

14.5cm x 21.5cm (5.75in x 8.25in)

24cm x 34cm (9.5in x 13.25in)

£250-400

£400-600

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

212

213

[§] WILLIAM ARTHUR CARRICK (SCOTTISH 1879-1964)

[§] ADAM BRUCE THOMPSON O.B.E., R.S.A., P.R.S.W. (SCOTTISH 1885-1976)

HOUSE IN MULL signed, oil on board 30cm x 44cm (11.75in x 17.25in)

£300-500

NEAR BLAIR ATHOLL, PERTHSHIRE signed, watercolour 35cm x 46.5cm (13.75in x 18.25in) Provenance: The Artist’s Studio Exhibited: A Centenary Exhibition, The Scottish Gallery, Jan-Feb 1985, cat. no. 31

£400-600

214

215

[§] VIOLET M. KAY R.S.W. (SCOTTISH 1914-1971)

JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942)

A FARMHOUSE IN AUTUMN signed, oil on canvasboard

CATTLE ON THE ROAD signed, pastel

49.5cm x 60cm (19.5in x 23.5in)

23cm x 33cm (9in x 13in)

£300-500

£300-500

59

60

Lyon & Turnbull

216 [§] PHILIP NAVIASKY (BRITISH 1894-1982) PORTRAIT OF A YOUNG GIRL signed and dated 1924, oil on canvas 59.5cm x 49cm (23.5in x 19.25in)

£1,000-1,500

217 BLANCHE JENKINS (BRITISH FL. 1872-1915) PORTRAIT OF A LADY signed, gouache and watercolour 35.5cm x 28.5cm (14in x 11.25in)

£300-500

218 19TH CENTURY SCHOOL PORTRAIT OF A MAN WITH PIPE oil on canvas 44.5cm x 34cm (17.5in x 13.5in)

£300-500

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

219 FRANCIS HENRY NEWBERY (BRITISH 1855-1946) TOIL signed, bears artist’s name and address verso, watercolour 73.5cm x 52cm (29in x 20.5in) Exhibited: The Art Institute of Chicago, 6th International Exhibition of Watercolour Paintings, 1926

£400-600

220 [§] ERNEST ARCHIBALD TAYLOR (SCOTTISH 1874-1951) BALLERINA GIRL signed, oil on canvas 22cm x 13cm (8.75in x 5.25in)

£500-700

221 [§] GEORGE DENHOLM ARMOUR O.B.E (SCOTTISH 1864-1949) SEATED LADY - 1900 signed and dated, pastel on grey paper 33cm x 25cm (13in x 9.75in) Exhibited: The Fine Art Society - August 1982.

£300-500

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222 [§] WILLIAM DOUGLAS MACLEOD (SCOTTISH 1892-1963) GLEN ORCHY signed, oil on canvas, unframed 46cm x 61cm (18in x 24in)

£300-500

223 [§] JACK HOGGAN (CONTEMPORARY SCOTTISH) THE FISHERGIRL - 1986 signed, oil on canvasboard 18.5cm x 24cm (7.25in x 9.5in)

£500-700

224 [§] ALEXANDER GOUDIE R.P. (SCOTTISH 1933-2004) TOLEDO, C.1957 signed, oil on panel 29cm x 40cm (11.5in x 15.75in) Provenance: Gifted directly by the artist and thence by descent to the present owner

£800-1,200

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

225 [§] ADRIAN HILL (BRITISH 1897-1977) ON THE ROTHER, SUSSEX signed, signed, inscribed and dated 1971 verso, oil on board 55cm x 75cm (21.5in x 29.5in)

£300-500

226 CARL WILLIAM PETERS (AMERICAN 1897-1980) WINTER THAW signed, oil on canvasboard 41cm x 51cm (16in x 20in) Provenance: RH Love Galleries, Chicago Exhibited: Washington County Museum of Fine Arts, 1996

£1,000-1,500

227 [§] SIR WILLIAM MACTAGGART P.P.R.S.A., R.A., R.S.W. (SCOTTISH 1903-1981) WIGTOWN COAST signed, oil on board 51cm x 61cm (20in x 24in)

£1,000-1,500

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228 [§] CHARLES NEAL (BRITISH B. 1951) POLPERO, CORNWALL signed, inscribed with title stretcher verso, oil on canvas 49.5cm x 39.5cm (19.5in x 15.5in) and accompanying pencil sketch of the same view (2)

£1,000-1,500

229 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) BROOMIELAW signed, oil on board 59.5cm x 50cm (23.5in x 19.5in)

£800-1,200

230 [§] HAMISH LAWRIE (SCOTTISH 1919-1987) ROWING BOAT ON THE SHORE signed, oil on board 12.5cm x 17.5cm (5in x 7in) and another by the same hand (2)

£300-500

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

231 CHARLES RENNIE MACKINTOSH (1868-1928) ART NOUVEAU PAINTED FIRE SURROUND, CIRCA 1903-4 the projecting top above tapering and moulded jambs, enclosing a frieze with chamfered bird motif and decorated with a simple concave oval device, overpainted 94cm x 126cm Literature: University of Glasgow ‘Mackintosh Architecture’ project at mackintosharchitecture.gla.ac.uk Provenance: 1, Dunira Street, Comrie.

Note: In 1903 designs for a shop, flat and offices at 1, Dunira Street were commissioned from Honeyman, Keppie and Mackintosh by a Peter Macpherson, who had bought the site after a fire. By late July 1903 Macpherson’s solicitor, John Mitchell, was in touch with Mackintosh about rebuilding the premises and a surviving series of letters from Mitchell to Mackintosh document the project.

The flat was purchased and renovated by the Landmark Trust in 1985 and the shop in 1986. The current lot, probably originally from a smaller bedroom, was removed at an earlier date.

£3,000-4,000

232 CHARLES RENNIE MACKINTOSH (1868-1928) FOR GLASGOW SCHOOL OF ART PINE EASEL, CIRCA 1910 the A-shaped frame, in unpolished pine, pierced with adjustment holes for a pair of metal securing pins, chained to a small undershelf, the tall central slide with picture rests, on an H-shaped trestle base with castors 78cm wide, 200cm high (closed), 70cm deep Literature: Billcliffe, Roger ‘Charles Rennie Mackintosh, The Complete Furniture, Furniture Drawings and Interior Designs’ pub. Guildford 1979, p. 210, ref. 1910.10.

£1,500-2,000

233 MARION HENDERSON WILSON (1869-1956) GLASGOW STYLE PEWTER PANEL, CIRCA 1900 repoussé-decorated with a galleon in full sail, signed with initials lower right MHW 31.5cm x 26cm

£400-600

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For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

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234 ATTRIBUTED TO CHARLES RENNIE MACKINTOSH FOR GLASGOW SCHOOL OF ART STAINED PINE CABINET, CIRCA 1900 of reverse breakfront, the projecting cornice above a central section of four panelled doors above four drawers and with two further cupboards below, flanked to each side with a bank of ten drawers 217cm wide, 175cm high, 65cm deep Provenance: Glasgow School of Art Estate of the late Robin Hume Esq. Literature: Billcliffe, Roger, ‘Charles Rennie Mackintosh: The Complete Furniture Drawings & Interior Designs’, Moffatt 2009, p.43, 1897.2; p.

104, 1900/06.61; 1903.63; p. 237, 1906.23 Lyon & Turnbull ‘Decorative Arts’, Lots 344-346, 29th October 2014 and Lot 472, 6th November 2002.

Note: This compelling cabinet, known to have been situated in the Cashiers Office of the art school from at least 1947, was then later moved to a General Office of the Art School in the 1970s. Red and blue ink stains on the interior shelving remain as signatures to the cabinet’s original function in the School of Art’s administration offices.

Mackintosh had used the reverse breakfront form of this cabinet before in the stained oak cabinet made for William Davidson at Gladsmuir circa 1898. It also shares characteristics with pieces of furniture by Mackintosh and his office that served a more practical purpose or were not necessarily intended for public display, not least in the cheaper materials used for its manufacture. Other examples of these more practical pieces of furniture which have sold through these rooms are the stained pine cabinets for Scotland Street School of 1905 and the kitchen fittings for The Moss, Drymen of 1907, or the simple stained pine easels also made for the School of Art (see lot 232 in this sale).

The same dark stained pine was used in a Display Cabinet designed

by Mackintosh for the Ingram Street tearooms of 1900. This cabinet shares the same drawer type as the current lot, with simple cut-out handles backed with patinated metal, a recurring feature of Mackintosh furniture. The modest simplicity present in the use of fielded cupboard door panels, is complemented by the monumental banks of drawers which lend this piece of furniture an imposing presence, appropriate perhaps to its intended use as a Cashier’s cabinet.

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235 MARION HENDERSON WILSON (1869-1956) GLASGOW STYLE BRASS WALL MIRROR, CIRCA 1900 the rectangular frame repoussé-decorated with stylised foliage and angels, bears chased artist’s mark MARION H. WILSON, artist’s label verso 52cm x 71cm

£2,000-3,000

236 CHARLES RENNIE MACKINTOSH (1868-1928) FOR MISS CRANSTON’S TEAROOMS, GLASGOW RARE SET OF SIX SILVER PLATED DESSERT SPOONS, CIRCA 1905 with trefoil ends, stamped marks to the reverse of stems (6) 18.5cm long Literature: Rudoe, Judy, ‘Decorative Arts 1850-1950: A Catalogue of the British Museum Collection’, p. 211, pl. 66, for an illustration of a matching dessert spoon; Howarth, Thomas, ‘Charles Rennie Mackintosh and the Modern Movement’, London, 1952, pl. 51.

Note: a matching set of eight spoons were sold by Lyon & Turnbull, 7 September 2012, lot 154.

£1,500-2,000

237 JAMES CROMAR WATT (1862-1940) RARE GOLD AND TURQUOISE BROOCH, CIRCA 1905 with finely enamelled bands of iridescent green, with silver foiled backing, enclosing gold wirework scroll borders, the centre with large turquoise matrix and further turquoise bead drop 3cm wide Note. James Cromar Watt was born in Aberdeen. He worked in precious metals, developed particular skills in the ancient techniques of gold granulation and translucent foiled enamelling.

His work was exhibited in Turin in 1902 and was illustrated in the Art Journal periodical of the time. Some of his pieces were strongly influenced by the enamel work of Phoebe Traquair and some of it was designed in association with the painter and stained glass artist, Douglas Strachan. His work was predominantly in the collection of the Aberdeen Art Gallery & Museum.

A gold and enamel necklace by Cromar Watt was sold by Lyon & Turnbull, 6 April 2016, lot 237.

£800-1,200

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

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238 MARION HENDERSON WILSON (1869-1956) GLASGOW STYLE BRASS PLANTER, CIRCA 1900 of oval outline raised on shaped legs and enclosing a zinc liner, the body repoussédecorated with opposed masks within stylised whiplash foliage, stamped artist’s initials MHW 42cm across

£800-1,200

239 AFTER PETER WYLIE DAVIDSON GLASGOW STYLE SILVER NECKLACE, 1974 cast with a design of flying swallows, stamped maker’s marks C.A./ SILVER/ SCOTLAND, hallmarked Edinburgh 1974

240

14cm across Literature: Larner, Gerald and Celia ‘The Glasgow Style’, pub. Edinburgh 1979, plate 188 where a similar design is illustrated.

MARION HENDERSON WILSON (1869-1956) GLASGOW STYLE BRASS WALL SCONCE, CIRCA 1900 embossed with hearts above a stylised female face and stars, with the inscription NIGHT, flanked by uprights terminating in a candle sconce, with maker’s initials MHW

£300-500

54.5cm high, 26.5cm wide

£800-1,200

241 GLASGOW STYLE BRASS JARDINIÈRE, CIRCA 1900 repoussé-decorated with opposed roundels of owls within foliate band, ring carrying handles 28cm across, 24.5cm high

£400-600

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242 [§] JESSIE M. KING (1875-1949) ’FOUR CORNERS TO MY BED...’ pen & ink, pencil and watercolour, highlighted with gilt, inscribed FOUR CORNERS TO MY BED FOUR ANGELS ROUND MY HEAD, signed lower right JESSIE M. KING 28cm x 22cm

£5,000-8,000

243 ATTRIBUTED TO ANNIE FRENCH ’WHEN I CAME BACK FROM LYONESSE WITH MAGIC IN MY EYES...’ pen and ink, unsigned 26.5cm x 17.5cm

£400-600

244 [§] ANNIE FRENCH (1872-1965) ...AND SHE CARRIED HER SKIRTS watercolour with bodycolour 13.8cm x 10cm

245

£400-600

GEORGE LOGAN (1866-1939) FOR KEELING & CO., BURSLEM LATE MAYERS ‘TULIP’ PATTERN PART DINNER SERVICE, CIRCA 1910 comprising four graduated platters, two stands, a soup tureen and cover, a vegetable tureen and associated cover, a sauce tureen and cover, a sauce boat (restored), five soup plates, and six side plates, with printed stylised plant forms, some with additional colour, variously marked with printed maker’s marks (21) £500-800

Decorative Arts: Design since 1860

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246 ARTS & CRAFTS BOOK BINDINGS BOUND BY MACLEHOSE OF GLASGOW The Golden Treasury London, 1891. 8vo, red morocco with delicate gilt boxed leaf, heart and flower tooling; Shelley, Percy Bysshe Poems... London, 1901. 12mo, a similar binding to the last, in half-morocco; White, Gilbert The Life and Letters... London, 1901.

2 volumes, 8vo, brown half morocco with floral gilt tooling; Henley, William Ernest Lyra Heroica. London, 1892. 8vo, green morocco with gilt ship motif to base of spine; Browning, Robert Pocket Volume of Selections from the Poetical Works... London, 1897.

12mo, green morocco gilt with stylised foliate spray motifs (6) £500-700

247 GLASGOW STYLE EMBROIDERED PANEL, CIRCA 1900 worked in coloured threads and depicting a peacock within foliate band 56cm x 46cm

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£300-500

[§] ANN MACBETH (1875-1948) ’ST. MARGARET’ GLASGOW STYLE EMBROIDERED PANEL, CIRCA 1930 worked in coloured silks on a blue silk ground with gilt thread embellishment, bears inscription ST. MARGARET 44cm x 30cm

£1,200-1,800

249

250

252

[§] JESSIE M. KING (1875-1949)

SCOTTISH SCHOOL

ARTS & CRAFTS

WEEPING BRANCH

GLASGOW STYLE MIRROR, CIRCA 1900 of rectangular outline decorated in penwork with stylised flowering plants and enclosing a bevelled mirror plate 52cm x 35cm

GLASGOW STYLE BRASS WALL MIRROR, CIRCA 1900 the oval bevelled plate enclosed by shaped frame repoussé-decorated with Celtic beasts

£200-300

61cm x 100cm

pen and ink, unsigned, 19.5cm x 28.5cm; and SKETCH OF AN ANGEL, pen and ink, unsigned by the same hand, 17cm x 11cm; also a signed print by the same hand, 14cm x 8.5cm (3) Provenance: Sothebys, ‘Jessie M. King and E.A. Taylor’, Queen’s Cross Church, Glasgow, 21st June 1977

251

£400-600

No lot

£300-500

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253

254

SCOTTISH SCHOOL

GLASGOW STYLE

ARTS & CRAFTS CELTIC REVIVAL PEWTER MIRROR, CIRCA 1910 the bevelled plate enclosed within rectangular frame repoussé-decorated with Celtic motifs and set with a Ruskin cabochon

FINE STAINED AND LEADED GLASS PANEL, CIRCA 1910 worked as entwined and flowering rose tendrils

91cm x 58cm

£800-1,200

116cm x 82cm

£400-600

255A

255

GLASGOW STYLE

GLASGOW STYLE

ART NOUVEAU PAINTED WARDROBE, CIRCA 1900 the projecting cornice above two doors panelled with stained and leaded glass on a pewter ground and depicting roses, above two further panelled doors on a plinth, adapted

BRASS WALL MIRROR, CIRCA 1900 the oval frame repoussédecorated with entwined flowering roses 60cm x 90cm

£400-600

98cm wide, 199cm high, 57cm deep

£400-600

256 JOHN EDNIE (1876-1934) FOR WYLIE & LOCHHEAD, GLASGOW GLASGOW STYLE OVERPAINTED BOOKCASE, CIRCA 1900 AND LATER the upper section with four panelled doors, each inlaid with specimen woods and mother of pearl, and having silvered and enamel handles, above later base of open shelves 198cm wide, 116cm high, 29cm deep

£800-1,200 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

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257 GEORGE LOGAN (1866–1939) FOR WYLIE & LOCHHEAD, GLASGOW MAHOGANY INLAID CHAIR, CIRCA 1901 the tapering back with marquetry stylised foliate motif, and mother of pearl heart shaped inlay, the upholstered panel seat with corresponding inlay to the angles, raised on square tapered legs linked by stretchers 43cm wide, 106cm high, 35cm deep Literature: Studio Yearbook, illus., 1906

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Note: This chair was originally designed for the Royal Reception Room at the Wylie & Lochhead Pavilion at the Glasgow International Exhibition, 1901.

MARGARET GILMOUR (1860-1942) FINE GLASGOW STYLE PEWTER WALL MIRROR, CIRCA 1900 of kidney outline, repoussé-decorated with opposed peacocks and centred with an inset enamelled plaque, the whole enclosing a mirror plate, bears repoussé monogram MG

£800-1,200

32cm x 62.5cm

£1,000-1,500

259 MANNER OF GEORGE WALTON ARTS & CRAFTS OAK LIBRARY TABLE, CIRCA 1915 the rectangular top raised above open shelves supported by plank uprights on trestle feet 158cm wide, 85cm high, 84cm deep

£600-800

260 MANNER OF CHARLES RENNIE MACKINTOSH ART NOUVEAU MAHOGANY DRAWING ROOM CABINET, CIRCA 1920 the galleried top raised above three drawers with cut-out brassbacked handled and three glazed doors, the sides embellished with tapered brackets pierced with squares 143cm wide, 141cm high, 44cm deep Literature: Billcliffe, Roger, ‘Charles Rennie Mackintosh: The Complete Furniture Drawings & Interior Designs’, Moffatt 2009, pp. 286-7 Note: This cabinet demonstrates some stylistic similarities to a series of furniture designed by Mackintosh for W.J. Bassett-Lowke and made by the interns at Knockaloe camp, Isle of Man circa 1916. The cut-out handles with and pierced squares are familiar Mackintosh devices which he used in many of his furniture designs.

£300-500

261

262

MANNER OF JOHN EDNIE

SCOTTISH SCHOOL

SCOTTISH OAK HALLSTAND, CIRCA 1920 with tapering cruciform frame, with coat hooks above a ring support for sticks and with circular base enclosing drip trays

PAIR OF ART NOUVEAU CANDLESTICKS, CIRCA 1910 each with broad drip trays on pierced column and stepped base, later overpainted

44cm wide, 194cm high

49cm high

£300-500

£150-250

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263 STEPHEN ADAM (1848–1910) STAINED, PAINTED AND LEADED GLASS PANEL, DATED 1911 depicting a 17th century scene of gentlemen playing billiards, within multiple borders, the central panel inscribed AD 1618 and further inscribed to the lower edge TO ALEXR. TURNBULL/ FROM STEPHEN ADAM 40.5cm x 54cm

£800-1,200

264 WYLIE & LOCHHEAD, GLASGOW OAK HALL BENCH, CIRCA 1900 the pierced back enclosed by open arms with carved lion surmounts, raised above a solid planked seat with outswept plank supports 134cm wide, 92cm high, 45cm deep

£600-800

265

266

267

GEORGE LOGAN (1866-1939) FOR WILEMAN AND CO.

MANNER OF MARGARET GILMOUR

[§] JESSIE M. KING (1875-1949)

SCOTTISH ARTS & CRAFTS TABLE, CIRCA 1920 the pierced gallery enclosing a broad band repoussé-decorated with Celtic knotwork and centred with a roundel bearing the inscription IONA, the whole raised on a mahogany barley twist column on circular base inset with brass panel

EARTHENWARE BOWL, EARLY 20TH CENTURY painted with a frieze of flowers on a trellis, painted Green Gate and Rabbit monogram marks, restored hairline, 16.8cm diameter; and TWO DISHES BY ELIZABETH MARY WATT (3) £200-300

COLLECTION OF FOLEY ‘PEACOCK POTTERY’ TEA WARES, CIRCA 1900 comprising three part sets, the first printed in green with stylised roses and comprising SIX SIDE PLATES; a MUFFIN PLATE & COVER; and a KETTLE STAND, the second printed in pink and green with stylised roses and comprising SEVEN COFFEE CANS; SIX SAUCERS; ONE SIDE PLATE; and ONE CAKE PLATE; the third printed in pink and green with stylised floral motifs and comprising FOUR TEA CUPS & SAUCERS; THREE COFFEE CANS & FOUR SAUCERS; EIGHT SIDE PLATES; a MILK JUG; and a SUGAR BOWL, each with printed and painted marks (49) £200-300

40cm diameter, 96cm high

£300-500

Decorative Arts: Design since 1860

268 MANNER OF STEPHEN ADAM TWO PAIRS OF ARTS & CRAFTS STAINED, PAINTED AND LEADED GLASS PANELS, CIRCA 1910 the whole forming a blacksmithing scene in a landscape (4) each panel approx. 36cm x 44cm Note: These glass panels, showing tradesmen, agricultural scenes and commerce are reminiscent of Stephen Adam’s (1848-1910) work for

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the Maryhill Burgh Hall in 1878, where he created twenty stained glass panels depicting Glasgow workers. By supplanting holy saints for local people, Adam’s elevated these subjects to allow the Victorian public to see everyday tasks of local industries in a whole new light. As well has having studied at the Glasgow School of Art (then the Haldene Academy), Adam established his own firm in 1870, and continued to produce the most prized works of stained glass in Glasgow until his death in 1910.

£400-600

269 MANNER OF STEPHEN ADAM TWO PAIRS OF ARTS & CRAFTS STAINED, PAINTED AND LEADED GLASS PANELS, CIRCA 1910 two panels depicting potters decorating in an interior, the others as a sunrise in a landscape (4) each panel approx. 36cm x 44cm

£400-600

270 MANNER OF STEPHEN ADAM TWO PAIRS OF ARTS & CRAFTS STAINED, PAINTED AND LEADED GLASS PANELS, CIRCA 1910 two depicting a Chinoiserie scene, the other two depicting ships by the shore (4) each panel approx. 36cm x 44cm

£400-600

271

272

273

GLASGOW STYLE

ATTRIBUTED TO MARGARET GILMOUR

GLASGOW SCHOOL

EBONISED REVOLVING BOOKCASE CABINET, CIRCA 1900 the slatted and revolving shelved bookcase raised on a cabinet with twin doors opening to reveal a fitted interior 137cm wide, 84cm high, 62cm deep + 53cm x 142cm

£300-500

ARTS & CRAFTS BRASS JARDINIÈRE, CIRCA 1900 of square splayed form, with repoussé roses to each side, unmarked

PAIR OF ARTS & CRAFTS BRASS CANDLESTICKS, CIRCA 1900 with square sconces above repoussé columns depicting Celtic knots, raised on square bases (2)

24.5cm wide, 15.5cm high

31cm high

£300-500

£300-500

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For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

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274 MARKUS MUNK, VIENNA SECESSIONIST COROMANDEL STATIONERY BOX, CIRCA 1906 with ivory strung decoration, the rectangular glazed lid inset with a hand-coloured print by ROBERT PHILIPPI (1877-1959), the interior velvet lined and bearing stamped maker’s mark M. MUNK/ K.uK.HOFL/ WIEN.I.GRABEN12.

30.8cm wide, 8cm high, 26cm deep Note: Philippi was a widely exhibited painter and printmaker who studied art in Graz. He opened his studio in Vienna where he showed with the Secession. He produced a great deal of graphic art including illustrated postcards and holiday cards. Though is early work displays the influence of Art Nouveau, he had come under the influence of Expressionism by 1915.

Philippi also worked closely with the publishers and stationers M. Munk in Vienna producing graphic art for their products, including this stationery box.

£600-800

275

276

277

LOETZ, AUSTRIA

ATTRIBUTED TO LOETZ

MANNER OF JOSEF HOFFMANN

TWIN-HANDLED GLASS VASE, CIRCA 1900 of ovoid form with crimped rim, the body covered with a papillon iridescence

SECESSIONIST GREEN GLASS VASE WITH COPPER OVERLAY, CIRCA 1900 set with opposed green cabochons

15cm high Note: See detail illustrated opposite.

18cm high

GROUP OF AUSTRIAN BENTWOOD FURNITURE, CIRCA 1900 comprising THREE TUB ARMCHAIRS, each with slatted curved back with oval supports above drop-in seats on turned legs linked by stretchers, 57cm wide, 72cm high, 46cm deep; and an OCCASIONAL TABLE, the circular top above turned and splayed legs with applied spheres, with the remnants of a label, 48cm diameter, 56cm high (4)

£200-300

£300-500

£300-500

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279

280

KOLOMAN MOSER (1868-1918) FOR E. BAKALOWITS AND SÖHNE

PETER BEHRENS (1868-1940) FOR KRISTALL GLASFABRIK BENEDIKT VON POSCHINGER

JOHANNA MEIER-MICHEL FOR WIENER KUNSTKERAMISCHE WERKSTÄTTE

PEWTER MOUNTED LIQUEUR GLASS, CIRCA 1902 the slightly splayed glass bowl, with a pewter stem and foot with four pierced reserves 15.5cm high

£150-200

FOUR CHAMPAGNE GLASSES, DESIGNED 1898 clear glass with gilt rims (4) 20cm high Literature: G. Hirschmann et al., ‘Peter Behrens und Nurnberg’, Prestel Munich, 1980

£200-300

’SUMMER’ CERAMIC LAMP BASE, CIRCA 1910 painted in colours, the figure raised on an oval plinth, fitted for electricity, impressed maker’s marks 1145A/ 41/ 8 figure 36cm high

£300-500

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281 LOETZ, AUSTRIA IRIDESCENT GREEN GLASS AND SILVER OVERLAID VASE, CIRCA 1900 with elongated neck and pinched body, mounted with silver scrolling flowers and foliage, 25cm high; together with a CONTINENTAL GLASS AND SILVER PLATE OVERLAID BOWL, the pinched rim with glass cabochons, with a pearlised and orange glass body, 9.5cm high (2) £500-700

282 JOSEPH MARIA OLBRICH (1867-1908) FOR VILLEROY & BOCH

283

SECESSIONIST EWER & BASIN, CIRCA 1900 printed maker’s marks OLBRICH, GLATT (2)

MAX LAEUGER (1864-1952) FOR TONWERKE KANDERN

ewer 29cm high, basin 39cm diameter

TWO JUGENDSTIL CERAMIC VASES, CIRCA 1900 each of shouldered tapering form, one depicting grasses on a rust coloured ground, impressed makers mark, 22cm high; the other depicting green stems with cream flowers, stamped with makers mark and indistinct incised markings, 19.5cm high (2)

£300-500

Note: Max Laeuger became the director of art pottery of Tonwerke Kanderne near his home town of Lorrach in 1895.

£300-500

284 EMIL RUTTE (1900-?) FOR KÖNIGLICHE PORZELLAN-MANUFAKTUR (KPM), BERLIN JUGENDSTIL PORCELAIN VASE, CIRCA 1910 of tapering form, moulded with a massed band of abstracted chrysanthemum flowerheads, scroll border to rim, printed maker’s mark, painted mark 300/ 1755 and impressed mark 958* 32cm high

£500-800

285

286

CONTINENTAL SCHOOL

AUSTRIAN SCHOOL

OAK SECESSIONIST ARMCHAIR, CIRCA 1900 the tall back carved with a Jugendstil maiden above curved open arms on a solid seat and square section legs linked by stretchers 62cm wide, 119cm high, 38cm deep

SECESSIONIST STYLE OAK MANTEL CLOCK, EARLY 20TH CENTURY the shaped rectangular front mounted with brass, enclosing a chapter ring with Roman numerals with an enamelled centre, the movement with marks for Hamburg Amerikanische Uhrenfabrik

£300-500

20cm high

£200-300 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

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287 GEBRUDER HEUBACH JUGENDSTIL PORCELAIN VASE, CIRCA 1900 printed and painted in gilt and colours with a profile portrait, printed maker’s mark, 18cm high; another GEBRUDER HEUBACH JUGENDSTIL VASE, decorated with gilt enamelled trees, printed maker’s mark, 14.5cm high; a ROSENTHAL DOMED PLAQUE, printed and painted decoration, 13cm diameter; TWO ROSENTHAL PLATES, each with painted decoration, 21.5cm diameter; and a ROZENBURG VASE, of footed baluster form painted with flowers, painted maker’s marks, 13cm high; together with GERMAN SCHOOL, JUGENDSTIL PORCELAIN TWIN HANDLED VASE, CIRCA 1900, with vine moulded twin handles, painted with orchids and grasses, impressed factory mark and model number 5507 P, 27cm high (7) £500-800

288 MICHAEL POWOLNY EARTHENWARE TAZZA, CIRCA 1900 the wide circular bowl stencil-decorated with bands of stylised buds and held up by three kneeling putti with floral garlands, incised mark ‘7377’, impressed mark ‘43/11’ 32cm diameter, 22cm high

£500-700

289 BERTHOLD LOFFLER (1874-1950) FOR WIENER KUNSTKERAMISCHE WERKSTÄTTE FIGURAL CERAMIC CENTREPIECE, CIRCA 1907 modelled as two putti, holding garlands of flowers and bearing bunches of fruit, supporting the undulating dish, in white glaze embellished with gilt, bears maker’s marks and numbered 1120 26cm across Note: See Christie’s New York ‘Important 20th Century Decorative Arts’, 13 June 1987, Lot 6 for a similar example.

£600-800

290 LOETZ, AUSTRIA TABLE LAMP, CIRCA 1900 the iridescent glass shade of mushroom form in gold and pink iridescence with pulled feathered decoration raised on associated brass base with scrolling bracket supports and pointed pad feet 44.5cm high, shade approx. 17cm diameter, 13cm high

£800-1,200

291 CONTINENTAL SCHOOL OAK HANGING WALL CABINET, CIRCA 1900 with inlaid back above open cupboard and associated embroidered curtain, and panelled door 67cm wide, 44cm high, 21cm deep

£200-300

80

Lyon & Turnbull

292 ORVIT, KOLN-EHRENFELD JUGENDSTIL PEWTER STRUT MIRROR, CIRCA 1900 the shaped and bevelled mirror plate enclosed within cast frame centred by an Art Nouveau maiden, her flowing hair extending around the frame, stamped maker’s marks ORIVIT/ 2280 37cm x 31cm

£1,500-2,500

293 WMF (WÜRTTEMBERGISCHE METALLWARENFABRIK) PAIR OF JUGENDSTIL PLATED PHOTOGRAPH FRAMES, CIRCA 1900 cast with stylised flowering foliage, stamped maker’s marks (2) 16.8cm x 10.8cm

£1,200-1,800

294 WMF (WÜRTTEMBERGISCHE METALLWARENFABRIK) PAIR OF JUGENDSTIL PLATED PHOTOGRAPH FRAMES, CIRCA 1900 cast with stylised flowering foliage, stamped maker’s marks (2) 23.5cm x 15cm

£2,000-2,500

296 GERMAN ART NOUVEAU PORCELAIN MANTEL CLOCK, CIRCA 1900 the circular dial enclosed by shaped case surmounted by an Art Nouveau maiden and moulded and painted with dandelions, printed maker’s marks 33cm high Provenance: The Iris Fox Collection

295

£250-350

ATTRIBUTED TO LOETZ

297 WMF (WURTTEMBERGISCHE METALLWARENFABRIK) JUGENDSTIL TWIN-HANDLED PLATED VASE, CIRCA 1900 cast and applied with poppies and whiplash foliage, stamped maker’s marks 41cm high

CARVED CAMEO GLASS TABLE LAMP, CIRCA 1920 clear glass overlaid in blue and acid etched with an allover design of Nasturtiums on a textured ground, the mushroom shade raised on baluster base with silvered fittings 52cm high

£2,000-3,000

£300-500 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

81

82

Lyon & Turnbull

298 Y ÉMILE GALLÉ (1846-1904) ART NOUVEAU MARQUETRY-INLAID BUREAU PLAT, CIRCA 1900 rosewood, tulipwood and satinwood, the rectangular top with moulded edge enclosing a marquetry-inlaid panel depicting flowering exotic plants and butterflies and bearing elaborate marquetry signature GALLE A NANCY, above a single drawer with original lock and key and raised on naturalistically moulded legs 112cm wide, 78cm high, 72cm deep Note: Best known for his skill as a glass-maker, from 1889 Galle was also a successful furniture designer. He founded the School of Nancy, a group of designers who produced most of the best Art Nouveau glass and furniture in France from the 1880s until his death in 1904. This fine bureau plat with exuberant marquetry inlay demonstrates a playful juxtaposition between the traditional form of a mid-18th century bureau plat and the Art Nouveau, with its focus on nature and naturalistic forms.

£4,000-6,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

299 DAUM, NANCY

300

WHEEL-CARVED CAMEO GLASS VASE, CIRCA 1910 of elongated baluster form, overlaid in pale ruby red on a yellow ground and acid-etched and carved with flowering campanula, etched maker’s mark to body, DAUM/ NANCY with Cross of Lorraine

DAUM FRÈRES, NANCY

18.5cm high

PAINTED CAMEO GLASS VASE, CIRCA 1900 decorated with aquilegia flowers on a mottled yellow ground, signed to the body DAUM/ NANCY

£300-500

12cm high

£800-1,200

301 DAUM, NANCY CAMEO GLASS BOWL, CIRCA 1900 acid etched and enamelled with a frieze of Angel’s Trumpet flowers, highlighted with gilt, etched maker’s marks to base DAUM/ NANCY 21cm diameter

£600-800

302 GALLÉ, NANCY CAMEO GLASS VASE, CIRCA 1910 the swollen cylindrical body with tall neck, overlaid in pale green and white on a paler ground and acid etched with a design of flowering hydrangea, relief carved cameo signature GALLÉ 32cm high

£300-500

303 ELIZABETH BONTÉ CARVED HORN AND TURQUOISE SET PENDANT BROOCH, CIRCA 1900 carved as a winged insect with turquoise thorax, suspended from an engraved sterling silver bar, the bar marked verso ST. SILVER, the brooch signed E. BONTÉ 8.5cm long

£500-800

83

84

Lyon & Turnbull

304 VERONA BUST OF AN ART NOUVEAU MAIDEN, CIRCA 1900 patinated bronze and marble, raised on a plinth, signed in the bronze VERONA 42.5cm high

£500-800

305 GUSTAVE VAN VAERENBERGH (1873-1927) ’MIGNON’, ART NOUVEAU TERRACOTTA BUST, CIRCA 1900 incised signature to the plinth G. VAN VAERENBERGH., moulded inscription MIGNON 53cm high

£400-600

306A ’TOUJOURS MOI’ BY CORDAY

306 MANNER OF LOUIS MAJORELLE FRENCH ART NOUVEAU MARQUETRY INLAID ÉTAGÈRE, CIRCA 1900 with two graduated tiers, each marquetryinlaid with flowering plants and raised on moulded cabriole legs, brass carrying handles 95cm wide, 82cm high, 57cm deep

£1,200-1,800

GLASS PERFUME BOTTLE, CIRCA 1925 clear and frosted glass with original sepia staining, within original box, 7.5cm high; a LEGRAS CAMEO GLASS BOWL, depicting a landscape scene, cameo mark LEGRAS, 19cm across; and an ANDRÉ DELATTE GLASS AND WROUGHT IRON VASE, with mica inclusions, 14cm high; (3) £300-500

Decorative Arts: Design since 1860

85

307 CARLO PELLEGRINI (1866-1937) THREE CHROMOLITHOGRAPHS, ‘WINTER SPORTS’ published by Vouga & Co., Geneva, série 180, no. 2, no.

4 and no. 13, unframed (3) 43cm x 29cm

£400-600

308 No lot

309

310

311

GEORGES DE FEURE (1868-1943) FOR HAVILAND & CO., LIMOGES

JOSEPH FRANZ PALLENBERG (1882-1946)

SPANISH SCHOOL

ART NOUVEAU PORCELAIN VASE, CIRCA 1910 printed with panels depicting ladies of fashion, printed signature to body DE FEURE, printed maker’s marks to base, 13cm high; a ROSENTHAL ART DECO PORCELAIN VASE, CIRCA 1910, decorated with a panel printed with a lady of fashion, printed maker’s marks, 22cm high; and an ART NOUVEAU PORCELAIN VASE, with gilded decoration, 20cm high (3)

BRONZE FIGURE OF A STANDING HERON signed in the bronze DES. PALLENBERG, 12cm high; M. SCHNEIDER BRONZE STUDY OF FLAMINGOS, signed and inscribed in the bronze M. SCHNEIDER/ CHRISTOPHER. KUNSTG., marble plinth, 20cm high; a GERMAN SCHOOL BRONZE FIGURE OF A PERCHED EAGLE, inscribed in the bronze GURUDZE, 16cm high (3) £400-600

£200-300

PAIR OF BRONZE FIGURES OF MALE DANCERS one with outstretched arms, stamped artist’s monogram CJR and foundry mark, stamped to base M 343 12 NUM. BRONCE EXPL., 23cm high; the other with body twisted, stamped artist’s monogram CJR and foundry mark, stamped to base M 341 12 NUM. BRONCE EXPL., 22.5cm high; together with FREDERICK ZIEGLER (B. 1886), ‘DOORS’, A PAIR OF BRONZE BOOKENDS, each with cast signature in the bronze F.F. ZEIGLER, stamped foundry mark GORHAM CO./ 0526, 17cm high (4) £250-350

312

313

314

315

RENÉ PRÉJELAN (1877-1968)

ALBERT MARIONNET (1852-1910)

SARREGUEMINES

CONTINENTAL SCHOOL

’LES CYCLES COTTEREAU SONT LES MEILLEURS’, EDWARDIAN CYCLING POSTER Cycles Cottereau, Dijon, design by René Préjelan, framed and glazed, laiddown onto mount

ART NOUVEAU GILT BRONZE FIGURE OF A LADY signed in the bronze A. MARIONNET, 9.2cm high; a BRONZE FIGURE OF A DANCER, unsigned, 13cm high; and ‘ROSE’, A BRONZE ART NOUVEAU FIGURAL BUST, with cast inscription ROSE, signed to the base DU VERNOIS, 12cm high (3)

140cm x 98cm

£200-300

£300-500

LARGE FAÏENCE JARDINIÈRE, LATE 19TH CENTURY the moulded border above twin mask handles united by a band of putti and floral swags in relief, on an orange ground, with a C-scroll formed border to the base, with impressed maker’s marks and numbers 46cm wide approx.

£250-350

LARGE ART NOUVEAU EARTHENWARE VASE, CIRCA 1900 of moulded tapering form, with twin handles and scrolled decoration, glazed in green 67cm high

£120-180

86

Lyon & Turnbull

316 [§] JUAN CLARA (1875-1958) THREE ART NOUVEAU BRONZE FIGURES, CIRCA 1910 depicting a young girl standing on a stool, signed in the bronze JUAN CLARA, 21.5cm high; a young girl putting on her shoe, signed in the bronze JUAN CLARA/ GOLDSCHEIDER/ PARIS/ EL 108 1611, 15cm high; and a young girl climbing onto a chair, JUAN CLARA/ GOLDSCHEIDER/ PARIS/ EL 98 1610, 16cm high (3) £800-1,200

317 AIMÉ-JULES DALOU (1838-1902) BRONZE FIGURE OF A STANDING WORKER signed in the bronze DALOU, and inscribed in the bronze CIRE PERDUE, inscribed under base E. HOUDELINE/ 58514/ 2/ 2 14.5cm high

£400-600

318 AUGUSTE DELAHERCHE (1857-1940) ART NOUVEAU STONEWARE VASE, CIRCA 1900 covered in a mottled buff glaze on a white ground, painted mark AUG. DELAHERCHE, with monogram, 10cm high; FOUR AUGUSTE DELAHERCHE MINIATURE VASES, each with impressed or painted maker’s marks, largest 3cm high; and a GOURD VASE BY JEAN LANGLADE (1879-1928), with pitted volcanic glaze, incised maker’s mark, 8.5cm high; together with ALEXIS BOISSONNET (1879-1956), ART NOUVEAU FREEFORM WATER JUG, CIRCA 1900, covered in mottled acid yellow and jade green glazes, incised monogram to base AB, 22cm high (7) £400-600

319

320

321

321A

FRENCH SCHOOL

IN THE MANNER OF HENRY VAN DE VELDE

AFTER ALPHONSE MUCHA

[§] A. WEINMANN BEN-ZION (1897-1987)

BRONZE AND IVORY FIGURE, CIRCA 1920 depicting a dancing girl, raised on a green onyx plinth, damages and repairs

JUGENDSTIL SILVER BUTTER KNIFE, CIRCA 1900 with entwined organic foliate motifs, German silver marks

48cm high

19.5cm long

£200-300

£100-200

ART NOUVEAU MAHOGANY FRAMED THREE-FOLD DRAUGHT SCREEN, CIRCA 1900 with central embroidered panel franked by two further folds, each with slatted panel 176cm wide, 139cm high (at highest point)

£400-600

BRONZE FIGURE OF A STANDING LION signed in the bronze A.W. BEN ZION, and raised on a stepped marble plinth, figure 14cm high, total height 23cm; together with LEON BUREAU (1866-1906), BRONZE FIGURE OF A CROUCHING TIGER, signed in the bronze L. BUREAU, with foundry mark UNIS/ FRANCE/ 35, 43cm across (2) £400-600

Decorative Arts: Design since 1860

322 ATTRIBUTED TO HEINRICH LEVINGER ART NOUVEAU PLIQUE A JOUR ENAMEL PENDANT, CIRCA 1910 worked as three hinged sections of stylised foliage, set with facetted paste stone and suspending pearl drops, original link chain, unmarked pendant 5cm long

£600-800

323 HEINRICH LEVINGER PLIQUE A JOUR ENAMEL BROOCH, CIRCA 1910 worked as an Egyptian winged scarab and set with facetted paste stones, stamped marks 900 10.5cm wide

£600-800

325 LENOIR, PARIS SET OF TWELVE GLASS AND CHROMED METAL SOLIFLEUR VASES, EARLY 20TH CENTURY each removable glass vial with a band of green squares, on a chromed base (two glass vials lacking), contained in original box (12) 15cm high

£300-500

326 JULES SARLANDIE (1874-1936) LIMOGES ENAMEL VASE, EARLY 20TH CENTURY enamel on copper, depicting animals in a forest landscape, painted maker’s mark to body J. SARLANDIE/ LIMOGES, 19.5cm high; and a LIMOGES ART NOUVEAU JEWELLED VASE, marked to the base EMAUX D’ART DE LIMOGES, 13cm high (2) Note: Sarlandie was a celebrated ceramicist known for his technical skills in Limoges enamel - creating works both in the Art Nouveau and then later in the Art Deco style. He settled in Limoges at the end of the nineteenth century and was constantly pioneering new and innovative techniques, staying away from classical means of production.

£200-300

324 HENRI FUGÈRE (1872-1944) ’DANSEUSE’, A GILT AND COLDPAINTED BRONZE AND IVORY FIGURE, CIRCA 1925 raised on a facetted onyx plinth, signed and numbered in the bronze FUGÈRE/ 5329 37cm high

£1,000-1,500

87

88

Lyon & Turnbull

327 WEMYSS WARE LARGE BLACK & WHITE PIG, POST 1930 decorated by Joe Nekola, painted maker’s mark WEMYSS 46cm long

£1,000-1,500

328 WEMYSS WARE SMALL RARE PIG FIGURE, CIRCA 1900 covered in a lavender blue glaze 15cm long

£600-800

329 WEMYSS WARE TWO SMALL BLACK & WHITE PIGS, POST 1930 each decorated by Joe Nekola, painted maker’s marks WEMYSS, restored ears (2) 16cm long

£600-800

330

331

332

333

WEMYSS WARE

WEMYSS WARE

WEMYSS WARE

WEMYSS WARE

SMALL PIG FIGURE, CIRCA 1900 glazed in white, impressed maker’s mark WEMYSS, repairs to ear, tail lacking

COLLECTION OF WARES, EARLY 20TH CENTURY comprising a ‘CABBAGE ROSES’ LARGE MUG, 14cm high; a ‘CHERRIES’ LARGE MUG, 14.5cm high; TWO ‘SWEET PEAS’ FRILLED BOWLS, 12.5cm diameter; and a ‘SWEET PEAS’ PLATE, 14cm diameter, painted and impressed maker’s marks (5)

GROUP OF WARES, CIRCA 1920 comprising a JAZZY ‘CABBAGE ROSES’ TEAPOT & COVER, 11cm high; a JAZZY ‘CABBAGE ROSES’ HATPIN HOLDER, 19cm high; TWO LANGTOUN ‘IRISES’ GROSVENOR VASES, 14cm high; and a LANGTOUN ‘IRISES’ JAPAN VASE, 20cm high, painted and printed maker’s marks (5)

GROUP OF INKSTANDS, CIRCA 1900 comprising a ‘CABBAGE ROSES’ and a ‘TURKEY’ PATTERN HEART-SHAPED INKSTAND, each 17cm across; also a ‘CABBAGE ROSES’ PRINCESS INKSTAND, 26cm across, painted and impressed maker’s marks (3)

16cm long

£150-250

£250-350

£150-250

£150-250

Decorative Arts: Design since 1860

89

334 WEMYSS WARE ’RASPBERRIES’ PATTERN LOW QUAICH DESSERT DISH, EARLY 20TH CENTURY decorated by Edwin Sandland on a black ground, impressed and painted marks WEMYSS 19cm diameter All over fine crazing. Some small missed glaze spots to the black ground here and there.

£300-500

335 WEMYSS WARE RARE RABBIT FIGURE, CIRCA 1900 with sponged black on white decoration and pink eyes, printed retailer’s mark T. GOODE & CO., hairlines 19cm long Literature: Davis, Peter; De Rin, Victoria; Macmillan, David & Rankine, Robert, ‘Wemyss Ware: A Decorative Scottish Pottery’, Edinburgh: Scottish Academic Press, 1986, p.70, fig. 64, where a similar example is illustrated.

Note: This very rare rabbit figure is one of only two known examples.

£1,500-2,000

336 WEMYSS WARE LARGE MUG, EARLY 20TH CENTURY painted with sailing ships, painted mark W62 13.5cm high

£200-300

337 WEMYSS WARE TWO LARGE MUGS, CIRCA 1900 comprising a ‘TULIPS’ MUG, with impressed marks WEMYSS WARE/ R.H.&S., 14cm high; and a ‘IRISES’ MUG, with impressed mark WEMYSS, 14cm high (2) £300-500

338

339

ROYAL DOULTON - WEMYSS

WEMYSS WARE

CENTENARY GOBLET AND PRESENTATION BOX, DATED 1980 number 450 of a limited edition of 500, inscribed ‘TO HONOUR QUEEN ELIZABETH THE QUEEN MOTHER AND MARK THE WEMYSS CENTENARY’, to the reverse inscribed ‘WEMYSS 1880-1980’ 19cm high

GROUP OF PRESERVE JARS & COVERS, EARLY 20TH CENTURY comprising a LARGE ‘ORANGES’ JAR & COVER, 16cm high; and FOUR MEDIUM JARS & COVERS, ‘ORANGES’, 11cm high; ‘STRAWBERRIES’, 11cm high; ‘PURPLE PLUMS’, 12cm high; and ‘BRAMBLES’, 12.5cm high, painted and impressed maker’s marks (5)

£100-200

£200-300

90

Lyon & Turnbull

340 WEMYSS WARE RARE BUTTON, CIRCA 1900 painted with a foxes head, horseshoe and riding crop within a scalloped pale green band, impressed maker’s marks WEMYSS 4.4cm diameter

£700-900

341

342

WEMYSS WARE

WEMYSS WARE

RARE BUTTON, EARLY 20TH CENTURY decorated with a flying bee within a black band, impressed maker’s mark WEMYSS

RARE ‘ANEMONES’ MATCHBOX COVER, EARLY 20TH CENTURY decorated by Edwin Sandland, painted maker’s mark WEMYSS, painted retailer’s mark T. GOODE & CO.

3.3cm diameter

£600-800

8cm long

£1,000-1,500

343

344

WEMYSS WARE

WEMYSS WARE

’DOG ROSES’ PATTERN MATCHBOX HOLDER, EARLY 20TH CENTURY painted retailer’s mark T. GOODE & CO.

GROUP OF THREE BUTTONS, EARLY 20TH CENTURY comprising a RARE CIRCULAR BUTTON, painted with a swallow within a black band, 3.2cm diameter; and TWO CELADON-GLAZED BUTTONS, of oval form, 3.6cm long, each button with impressed maker’s mark WEMYSS (3)

8cm long

£250-350

£600-800

345 WEMYSS WARE COLLECTION OF WARES, EARLY 20TH CENTURY comprising a ‘THISTLES BEAKER VASE, 11cm high; a ‘DOG ROSES’ BEAKER VASE, 16cm high; a ‘TULIPS’ and a ‘CHERRIES’ CHESHAM FERN POT, 8cm high; TWO EARLY WEMYSS SELF-COLOURED POSY VASES, 11.5cm and 12cm high; and an ‘APPLES’ CUP and a ‘CHERRIES’ SAUCER, painted and impressed marks (8) £250-350

346 WEMYSS WARE LARGE ‘APPLES’ PATTERN LOVING CUP, CIRCA 1900 impressed maker’s mark WEMYSS WARE/ R.H.&S., restored 24cm high

£300-500

347 WEMYSS WARE ’CABBAGE ROSES’ PATTERN MATCHBOX HOLDER, EARLY 20TH CENTURY unmarked, hairlines 7.5cm long

£150-250 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

350

349

WEMYSS WARE

WEMYSS WARE

348 WEMYSS WARE ’BRAMBLES’ BISCUIT BARREL & COVER, EARLY 20TH CENTURY decorated by Edwin Sandland, painted maker’s marks WEMYSS/ T. GOODE & CO, impressed mark WEMYSS

91

’SWEET PEAS’ MILK JUG, EARLY 20TH CENTURY decorated by Edwin Sandland, painted maker’s mark WEMYSS 5.5cm high

’DRAGONFLIES’ BISCUIT BARREL & COVER, EARLY 20TH CENTURY decorated by Edwin Sandland, bears inscription to cover BISCUITS, painted maker’s mark WEMYSS 12.8cm diameter

£500-700

£200-300

12.5cm diameter Exhibited: London, Sotheby’s Belgravia ‘Wemyss Exhibition’, 1976

£300-500

351 WEMYSS WARE ’BUTTERCUPS’ MILK JUG, EARLY 20TH CENTURY impressed maker’s mark WEMYSS, printed retailer’s mark

352 WEMYSS WARE ’VIOLETS’ BISCUIT BARREL & COVER, EARLY 20TH CENTURY decorated by David Grinton, bears inscription to cover BISCUITS, painted and impressed maker’s marks WEMYSS

6.8cm high

£200-300

12.5cm diameter

£500-700

353 WEMYSS WARE ’CABBAGE ROSE’ PATTERN PORCELAIN BUTTON, CIRCA 1900 decorated by James Sharp, apparently unmarked 2.5cm diameter Provenance: William Hardie at The Royal Scottish Automobile Club, Glasgow, 30th August 1995, lots 105-112 Note: This button forms one of a series of buttons which were thought to have been given by the decorator James Sharp to his daughter.

£200-300

354

355

WEMYSS WARE

WEMYSS WARE

GROUP OF ‘CABBAGE ROSES’ WARES, EARLY 20TH CENTURY comprising TEAPOT & COVER, 20cm across; a MAY VASE, 17cm high; a HAT PIN HOLDER, 15cm high; and a LUGGIE, 14cm high, painted and impressed maker’s marks (4)

’CHERRIES’ LOW POMADE, EARLY 20TH CENTURY decorated by David Grinton, painted and impressed marks WEMYSS, printed retailer’s mark T, GOODE & CO.

£300-400

9cm diameter

£200-300

92

Lyon & Turnbull

356 [§] JESSIE I. DUNLOP (1902-1970) A CELTIC FANTASY, CIRCA 1920 oil on canvas, and THREE COMPANION CELTIC REVIVAL PAINTINGS BY THE SAME HAND, each signed to the lower edge JESSIE I. DUNLOP, the bespoke frames in the Glasgow Style, painted wood and gesso (4) 75.5cm x 50cm Note: Born in Paisley in 1902, Jessie Dunlop studied at Glasgow School of Art and became a painter in oil of portraits and figure groups, which she exhibited mainly at Paisley Art Institute, but also at the Aberdeen Artists Society and the Royal Scottish Academy (RSA).

Whilst her portrait studies tend to be naturalistic, her figure compositions are Symbolist in approach and may be compared to the work of John Duncan and the artists of the Celtic Revival. The distinctive frames were made especially for this set of paintings.

£4,000-6,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

93

357 ALEXANDER RITCHIE (1856-1941) SILVER CELTIC REVIVAL CROSS PENDANT, CIRCA 1920 stamped maker’s marks AR/ IONA 7.3cm long

£200-300

358 ALEXANDER RITCHIE (1856-1941) IONA CELTIC REVIVAL SILVER NUNNERY CROSS, 1928 with entwined Celtic knotwork, stamped maker’s mark A.R./ IONA/ AR, hallmarked Glasgow 1928 7cm long

£300-500

360 ALEXANDER RITCHIE (1856-1941) PAIR OF IONA CELTIC REVIVAL SILVER SHOE BUCKLES, CIRCA 1920 each cast with Celtic beasts, stamped maker’s marks AR/ IONA, one indistinctly hallmarked (2) 6cm across

£200-300

361

362

ALEXANDER RITCHIE (1856-1941)

ALEXANDER RITCHIE (1856-1941)

THREE SILVER CELTIC REVIVAL ANNULAR BROOCHES, CIRCA 1920 to include a MARRIAGE BROOCH, hallmarked Birmingham 1935, 4.8cm diameter; a ZOOMORPHIC BROOCH, 5cm diameter; and another MARRIAGE BROOCH, inscribed A H-UILE LATHA SONA DHUIT (May all your days be happy), hallmarked Glasgow 1931, 4.4cm diameter, each with stamped maker’s marks AR/ IONA (3)

TWO SILVER CELTIC REVIVAL ZOOMORPHIC BROOCHES, 1933 stamped maker’s marks AR/ ICA/ IONA, each hallmarked Birmingham 1933, 4cm across; and a W.H. DERBY CELTIC REVIVAL SILVER BROOCH, hallmarked Birmingham 1956, 5.2cm across (3) £200-300

£200-300

363 ALEXANDER RITCHIE (1856-1941) IONA CELTIC REVIVAL SILVER PAPER KNIFE, 1908 in the form of a broadsword, cast and chased with Celtic motifs, with applied Cross of St John verso and inscriptions KNIGHT HOSPITALLER OF ST JOHN OF JERUSALEM ETC.., stamped maker’s marks AR/ IONA, hallmarked Chester 1908

364

22cm long

124cm long

£300-500

£200-300

ALEXANDER RITCHIE (1856-1941) CELTIC REVIVAL SILVER CHAIN, CIRCA 1920 the chain with elliptical spacers, each cast to one side with a cross and to the other with a longboat

94

Lyon & Turnbull

365 GLASGOW SCHOOL OF ART PASTORAL IDYLL, CIRCA 1920 oil on board lunette, bears Glasgow School of Art label verso, indistinctly inscribed GORDON MAULE 74cm x 100cm

£500-800

366 JOHN DUNCAN (1866-1945) PORTRAIT OF A YOUNG WOMAN drawing, signed J.D. lower right 26.5cm x 20cm Provenance: Ancell Stronach, by family descent to his great niece Eve Stothert.

£400-600

367

368

369

370

ALEXANDER RITCHIE (1856-1941)

ALEXANDER RITCHIE (1856-1941)

PAIR OF CELTIC REVIVAL SILVER CUFFLINKS, CIRCA 1925 each link cast with a longboat, indistinctly hallmarked, 1.5cm across; and a SCARF RING, hallmarked Glasgow 1928, 3.3cm across, all with stamped maker’s marks AR/ IONA (3) £200-300

SILVER CELTIC REVIVAL KILT PIN, CIRCA 1930 with knotwork decoration, stamped maker’s marks AR/ IONA, 7.5cm long; and another CELTIC REVIVAL SILVER KILT PIN, stamped maker’s marks H&HB, hallmarked Glasgow 1936, 12cm long (2) £150-250

CHRISTINA CATHERINE AMOUR FOR BOUGH POTTERY, EDINBURGH

RICHARD AMOUR FOR BOUGH POTTERY, EDINBURGH

THREE-HANDLED LOVING CUP, CIRCA 1925 decorated with stylised tulips, painted maker’s marks C.C.A./ BOUGH/ 56B

SHOULDERED VASE, CIRCA 1930 decorated with stylised Irises, painted and printed maker’s marks E.A./ BOUGH/ LX/ 18/54/ MADE IN SCOTLAND

19cm high

£200-300

27cm high

£200-300

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

95

371 CATHERINE BLAIR (1872-1946) FOR MAK’ MERRY POTTERY, EAST LOTHIAN RARE PAIR OF BOTTLE VASES WITH STOPPERS, DATED 1923 decorated with bands of foliage and boteh motifs, signed with monogram to the stopper and base CB and with maker’s mark and date to the base MAK’ MERRY/ 1923 (2) 32cm high

£400-600

372 RICHARD AMOUR FOR BOUGH POTTERY, EDINBURGH LARGE SHOULDERED VASE, CIRCA 1930 decorated with stylised poppies on a geometric ground, painted maker’s marks R.A./ BOUGH/ 27/O13

373 [§] ELIZABETH MARY WATT (1886-1954)

27cm high

PAINTED GINGER JAR AND COVER, DATED 1930 the domed cover and shouldered vase decorated with a green dragon, on a purple ground, painted marks EMW./ 1930.

£300-500

22cm high

£400-600

374

375

376

377

GEORGE BAIN (1881-1968) FOR QUAYLE & TRANTER LTD., KIDDERMINSTER

ALEXANDER RITCHIE (1856-1941)

ELIZABETH AMOUR AND ARTHUR H. AMOUR FOR BOUGH POTTERY, EDINBURGH

[§] ELIZABETH MARY WATT (1886-1954)

SMALL CELTIC ‘HUNTING’ WOOL RUG, CIRCA 1948 the machine woven ivory field with central red octagonal Celtic knotwork medallion surrounded by huntsmen with dogs, deer, boar and horses within red and polychrome strapwork border 194cm x 120cm

£300-500

THREE CELTIC REVIVAL SILVER BROOCHES, CIRCA 1930 to include a MACKINNON’S GRIFFIN BROOCH, pierced and inscribed MACKINNON’S GRIFFIN IONA, hallmarked Birmingham 1935, 2.8cm across; an ENAMELLED BROOCH, cast as a longboat, hallmarked Birmingham 1930, 2.1cm across; and a ZOOMORPHIC PIERCED BROOCH, 6.5cm across, each with stamped maker’s marks AR/ IONA (3) £300-500

COLLECTION OF WARES, EARLY 20TH CENTURY comprising a BOWL, decorated by Elizabeth Amour with roundels of flowers on a blue ground, painted marks and dated 1914, 24cm diam.; a JUG, decorated by Elizabeth Amour with cherries, painted and printed marks, 14cm high; and a PRESERVE JAR AND COVER, decorated

by Arthur H. Amour with a band of fruit, painted marks and dated 1923, 10.5cm high (3) £250-400

PAINTED BOTTLE VASE AND COVER, CIRCA 1930S the domed cover, with painted marks EMWATT to the socle, above the elongated neck and ovoid body, painted with circles and stripes, painted marks EMW. (restorations), 30.5cm high; also TWO ELIZABETH MARY WATT PAINTED JUGS, 1930S, comprising a jug painted with berries and branches, on a purple ground, painted marks EMW./ 1936., 15cm; and an example with fruit and branches, on a blue ground, painted marks EMW., 12.5cm high (hairline to rim) (3) £300-500

96

Lyon & Turnbull

378 JOHN MONCRIEFF LTD., PERTH ’MONART’ GLASS VASE, 1930S of shouldered form with cylindrical neck, in red and blue mottled glass with bubble inclusions, with maker’s label and label for the Parkington Collection/ 427/ Christie’s 26cm high

£400-600

379 JOHN MONCRIEFF LTD., PERTH ’MONART’ ‘STONEWARE’ PATTERN GLASS VASE, 1930S with cylindrical neck above the shouldered body, in green glass with swirled decoration and burst bubble surface, with a lustre sheen, with a label for the Parkington Collection/ 429/ Christie’s 24.5cm high

£500-700

381 JOHN MONCRIEFF LTD., PERTH MONART ‘CLOISONNÉ’ PATTERN GLASS VASE, CIRCA 1930 of baluster form, bears paper maker’s label 14cm high

380

£250-350

JOHN MONCRIEFF LTD., PERTH MATCHED PAIR OF ‘MONART’ AMETHYST GLASS VASES, CIRCA 1930 each with bubble inclusions, one with original maker’s label (2) 23.5cm and 24cm high

£200-300

382

383

384

385

JOHN MONCRIEFF LTD., PERTH

JOHN MONCRIEFF LTD., PERTH

JOHN MONCRIEFF LTD., PERTH

TANTALLON CERAMICS, NORTH BERWICK

GROUP OF THREE ‘MONART’ GLASS WARES, 1930 comprising a large circular shallow bowl, in orange glass with bubble inclusions, 36cm diam.; a shouldered vase with everted rim, in orange and black mottled glass, 25cm high; and a small shouldered vase, in grey mottled glass with bubble inclusions, 16.5cm; all with labels for the Parkington Collection/ 399/6/ Christie’s (3)

GROUP OF THREE ‘MONART’ GLASS VASES, 1930S comprising a bottle vase, in pink mottled glass with aventurine inclusions, 20.5cm high; a squat vase, in yellow and opaque white glass, with purple swirls, 14cm high; and a tapered vase, in yellow mottled glass, 21.5cm high; all with labels for the Parkington Collection/ 399/6/ Christie’s (3)

GROUP OF ‘MONART’ GLASS WARES, CIRCA 1930 to include THREE VASES, 22cm, 17cm and 12cm high; TWO PIN TRAYS, 10.5cm and 10cm diameter; and TWO POSY VASES, 10.5cm and 13cm diameter, each of green mottled glass with amethyst and aventurine inclusions (6)

CAT FIGURAL VASE, CIRCA 1965 glazed earthenware, bears maker’s marks TANTALLON CERAMICS/ NORTH BERWICK/ SCOTLAND

£300-500

£300-500

£300-500

34cm high Note: Tantallon Ceramics was started in North Berwick in 1962 by Harry and Dennis McNay, making moulded wares which were under-glaze hand decorated. The firm closed in 1987.

£150-250

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

386 [§] ALEXANDER GOUDIE (SCOTTISH 1993-2004) STILL-LIFE WITH BLUE CHECKED TABLECLOTH signed, inscribed with title frame verso, oil on canvas 44.5cm x 44.5cm (17.5in x 17.5in)

£2,000-3,000

387 [§] WILLIAM WILSON R.S.A.,R.S.W. (SCOTTISH 1905-1972) COLLIOURE signed, watercolour and pencil 36cm x 49cm (14in x 19.25in) Exhibited: Aitken Dott, Edinburgh, Festival Exhibition 1952

£300-500

388 [§] MARC CHAGALL (RUSSIAN/ FRENCH 1887-1985) PARADISE Paradise (M. 232) and Paradise (M. 233), from the edition of 6500 unsigned works produced for Verve from ‘Drawings for the Bible’, original colour lithographs 30cm x 25.5cm (12in x 10in) (2)

£600-800

97

98

Lyon & Turnbull

389

390

[§] ALBERTO MORROCCO R.S.A., R.S.W., R.P., R.O.I., L.L.D. (SCOTTISH 1917-1998)

[§] MARY HOLDEN BIRD (SCOTTISH D.1978)

IN AN ITALIAN PIAZZA signed, mixed media on board 15cm x 20cm (6in x 8in)

BEACH SCENE signed with monogram, watercolour 33cm x 49.5cm (13in x 19.5in)

£700-900

£600-800

391

392

[§] VIOLET M. KAY R.S.W. (SCOTTISH 1914-1971)

[§] ADAM BRUCE THOMPSON O.B.E., R.S.A., P.R.S.W. (SCOTTISH 1885-1976)

BRIDGE OVER THE RIVER signed, watercolour 28cm x 37.5cm (11in x 14.75in) and two further watercolours by the same hand (3)

£300-500

TO THE SEA signed, watercolour 37cm x 49cm (14.5in x 19.25in)

£400-600

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

393

394

[§] JOHN HOUSTON O.B.E., R.S.A., R.S.W., R.G.I., S.S.A. (SCOTTISH 1930-2008)

IRENE HALLIDAY (SCOTTISH B.1931)

OCTOBER LANDSCAPE signed and dated 1960, watercolour 63cm x 93cm (24.5in x 36.5in) Exhibited: Royal Scottish Society of Painters in Watercolours

BURNING GORSE signed, mixed media 101cm x 128.5cm (39.75in x 50.5in)

£300-500

£1,000-1,500

395

396

[§] WILLIAM LITTLEJOHN R.S.A., R.S.W. (SCOTTISH 1929-2006)

[§] HANS HANSEN (BRITISH 1853-1947)

FISH AND FLOWER signed and dated 1993, mixed media 43cm x 69cm (17in x 27in)

£300-500

FRUIT MARKET, OMAN signed, watercolour 23cm x 37cm (9in x 14.5in)

£300-500

99

100

Lyon & Turnbull

397 KATE WYLIE (SCOTTISH 1877-1941) SUMMER CHRYSANTHEMUMS signed, oil on canvas 49.5cm x 43.5cm (19.5in x 17.25in)

£300-500

398 [§] JACK HOGGAN (CONTEMPORARY SCOTTISH) BOYS IN A MEADOW oil on canvasboard 24cm x 29cm (9.5in x 11.5in)

£400-600

399 [§] DOROTHY JOHNSTONE A.R.S.A. (SCOTTISH 1892-1980) STILL LIFE WITH FOXGLOVES signed and dated 1936, oil on board 41cm x 33cm (16in x 13in)

£400-600

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

400 [§] JENNY MATTHEWS (SCOTTISH B.1964) FLOWER MEADOW signed and dated 2005, pencil and watercolour 47.5cm x 43cm (18.75in x 17in)

£400-600

401 [§] JACK HOGGAN (CONTEMPORARY SCOTTISH) BEACH SCENE - 1986 signed, oil on board 20.5cm x 26cm (8in x 10.25in)

£500-700

402 [§] MARY HOLDEN BIRD (SCOTTISH 1920-1978) ST HELIER, ISLE OF JERSEY signed with monogram, watercolour 24cm x 36cm (9.5in x 14.25in)

£300-500

101

102

Lyon & Turnbull

403

404

[§] PAUL MAZE (FRENCH/BRITISH 1887-1979)

[§] PAUL MAZE (FRENCH/BRITISH 1887-1979)

SOUTH DOWNS, PROBABLY TREYFORD HILL signed, pastel

DOWNLAND SCENE signed, pastel

30cm x 40cm (12in x 15.75in)

26.5cm x 37cm (10.5in x 14.5in)

£300-500

£300-500

405

406

[§] WILLIAM BIRNIE R.S.W., R.G.I. (SCOTTISH 1929-2006)

[§] PERPETUA POPE (SCOTTISH 1916-2013)

CITY VIEW indistinctly inscribed, coloured chalk

STILL-LIFE WITH SCABIOUS signed, oil on canvasboard

55cm x 50cm (21.75in x 19.75in)

24.5cm x 19.5cm (9.75in x 7.5in)

£300-500

£300-500

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

407

408

JAMES HAMILTON MACKENZIE R.S.W. (BRITISH 1875-1926)

[§] DAVID MACKIE COOK (SCOTTISH B.1957)

BY THE CROFT signed, mixed media 36cm x 44cm (14in x 17.25in)

TIPPERMALLO HOUSE signed, inscribed and dated 2006 verso, oil on canvas 75cm x 95cm (29.5in x 37.25in)

£500-700

£300-500

409

410

[§] BRENDA LENAGHAN R.S.W. (SCOTTISH B.1941)

[§] BRENDA LENAGHAN R.S.W. (SCOTTISH B.1941)

GIRL WITH IRIS signed and dated 1984, mixed media

PIERRO LUMARE IN HIS GARDEN signed and dated 85, mixed media

53cm x 61cm (20.75in x 24in)

51cm x 46cm (20in x 18in)

£400-600

£300-500

103

104

Lyon & Turnbull

411

412

[§] HAMISH REID (SCOTTISH 1929-2005)

[§] GEORGE OSWALD CRIBBES (SCOTTISH 1903-1967)

STILL-LIFE signed, oil on canvas

ROSES signed verso, oil on canvas

75cm x 50cm (29.5in x 19.75in)

44.5cm x 34.5cm (17.5in x 13.5in)

£400-600

£300-500

413

414

[§] IAIN MACNAB (SCOTTISH 1890-1967)

[§] NEIL DALLAS BROWN (SCOTTISH 1938-2003)

FLOWER PIECE signed, oil on canvasboard

STILL-LIFE WITH EXHIBITION POSTER AND LAMP signed and indistinctly dated, oil on canvas

75cm x 49.5cm (29.5in x 19.5in)

£300-500

80.5cm x 50cm (31.75in x 19.75in)

£300-500 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

105

415 [§] SIR FRANK BRANGWYN (1867-1956) CANAL, HESDIN 1904 etching and drypoint with plate-tone printed in brown ink, signed to the margin 41cm x 39.5cm

£200-300

416 [§] SIR FRANK BRANGWYN (1867-1956) BARNARD CASTLE, 1905 etching and drypoint with plate-tone printed in brown ink, signed in pencil lower right 40cm x 38cm

£200-300

417 [§] SIR FRANK BRANGWYN (1867-1956) SHEEP AT THE ROCKS pencil and watercolour, indistinctly signed 36cm x 45cm

£1,000-1,500

418 SIR FRANK BRANGWYN (1867-1956) OAK ARMCHAIR, CIRCA 1930 with scroll-carved top rail above single splat and drop-in seat enclosed by chamfered open arms raised on square legs linked by corresponding chamfered stretchers 59cm wide, 78cm high, 46cm deep Literature: Leeds Museums and Galleries ‘Frank Brangwyn 1867-1956’, 2006 exhibition catalogue, 2006, p.149 showing a similar chair in situ.

Andrews, John ‘Arts & Crafts Furniture’, Antique Collectors Club, 2005, p.

201, plate 216 Note: This armchair was designed by Brangwyn for the Salle Jacques Cartier of the Canadian Pacific liner SS Empress of Britain, and made

by H.H. Martyn & Co., Cheltenham in 1930. The ship was launched by Edward, Prince of Wales, later Edward VIII) in 1931.

£600-800

419

420

SIR FRANK BRANGWYN (1867-1956) FOR ROYAL DOULTON

AFTER HEAL & SON, LONDON

GROUP OF ‘BRANGWYN WARE’, CIRCA 1930 comprising TWO WALL PLAQUES, each incised with wheatsheaf and vine pattern, 32cm diameter; and TWO VASES, each decorated with a frieze of flowering plants, 30cm high, printed maker’s marks (4)

SET OF FOUR ARTS & CRAFTS OAK DINING CHAIRS, CIRCA 1920 each with lattice back above dished drop-in seats on square legs (4)

£300-500

45cm wide, 84cm high, 39cm deep

£300-400

106

Lyon & Turnbull

421 ROWLEY GALLERY, LONDON MARQUETRY PANEL, CIRCA 1930 depicting a village scene in specimen woods 142cm x 208cm

£400-600

422 HEAL & SON, LONDON WALNUT SIDEBOARD, CIRCA 1925 the rectangular top with ledge back above single drawer flanked by fitted cupboards and raised on turned legs linked by stretchers, bears maker’s label 183cm wide, 101cm high, 54cm deep

£300-500

423 HEAL & SON, LONDON OAK CENTRE TABLE, CIRCA 1920 circular top above turned and tapering legs l inked by a cross stretcher and terminating in pad feet 129cm diameter, 68cm high

£400-600

423A VAN JONES (ACTIVE 1927–1941) ’FRIARY ALES’ oil on canvas 86cm x 68.5cm

£200-300

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

424

425

HEAL & SON, LONDON

HEAL & SON, LONDON

LIMED OAK TALLBOY, CIRCA 1930 with mahogany trim, comprising two doors over four graduated drawers on block feet, bears maker’s label

LIMED OAK WARDROBE, CIRCA 1930 with mahogany trim, comprising three panelled doors above two drawers on block feet, bears maker’s label

91cm wide, 153cm high, 52cm deep

150cm wide, 206cm high, 51cm deep

£500-800

£600-800

107

426

427

428

429

HEAL & SON, LONDON

HEAL & SON, LONDON

HEAL & SON, LONDON

HEAL & SON, LONDON

LIMED OAK DRESSING TABLE & STOOL, CIRCA 1930 the table with mahogany trim and four drawers on square legs, 107cm wide, 139cm high, 51cm deep; the stool with drop-in rush seat, 50cm wide, 44cm high, 38cm deep (2)

PAIR OF LIMED OAK SINGLE BEDS, CIRCA 1930 each with mahogany trim, bears maker’s labels (2)

PAIR OF LIMED OAK SIDE CHAIRS, CIRCA 1930 each with slatted backs above drop-in rush seats on square chamfered legs linked by stretchers (2) 46cm wide, 101cm high, 36cm deep

TEAK GARDEN SET, CIRCA 1930 comprising four corner chairs, 65cm wide, 68cm high, 49cm deep; and a matching table, with slatted top, 95cm across, 73cm high (5)

£300-500

£400-600

£300-500

211cm long, 125 cm high, 93cm wide

£300-500

108

Lyon & Turnbull

430 CARLTON WARE RARE ‘RED DEVIL’ COFFEE SERVICE, NO. 3765, CIRCA 1933 comprising a COFFEE POT & COVER, 20.5cm high; SIX CUPS & SAUCERS; SUGAR BOWL; and MILK JUG, each printed and painted in gilt and coloured enamels with a red devil in a landscape, printed and painted maker’s marks (15) See inside front cover for detail

£1,000-1,500

431 Y ART DECO STYLE COROMANDEL WOOD DRESSING CHEST AND MATCHING CHAIR, LATE 20TH CENTURY inlaid with ivory, the chest with oval top and central hinged cover, enclosing a fitted interior with mirror, flanked by drawers with cupboards below, 119cm wide, 76cm high, 60cm deep; and a MATCHING CHAIR, with oval back and drop-in seat raised on square tapering legs, 42cm wide, 87cm high, 40cm deep (2) Provenance:

A Private Scottish Collection

£2,000-3,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

109

433 DAISY MAKEIG-JONES (1881-1945) FOR WEDGWOOD PAIR OF ‘CANDLEMAS’ PATTERN FAIRYLAND LUSTRE VASES, CIRCA 1925 shape 3148, printed and painted in gilt and coloured enamels, printed factory marks, painted mark Z4968, one with damages to rim (2) 26.3cm high

£1,500-2,000

432 HARRY TITTENSOR (1887-1942) FOR ROYAL DOULTON

434

LARGE ‘TITANIUM’ VASE, CIRCA 1925 painted with a Highland deerstalking scene, gilded decoration to the rim, signed to the body TITTENSOR, printed maker’s marks to base

DAISY MAKEIG-JONES (1881-1945) FOR WEDGWOOD FAIRYLAND LUSTRE BOWL, CIRCA 1925 the inside decorated with ‘Ship and Mermaid’ pattern, the outside with ‘Leapfrogging Elves’, printed factory marks, painted mark Z4968, fine hairline

29cm high

£400-600

20.5cm diameter

£500-800

435 No lot

436

437

438

[§] ALBERT EDWARD JONES (1878-1954)

ROYAL CROWN DERBY

WALKER & HALL, SHEFFIELD

ART DECO PORCELAIN FIGURE, CIRCA 1930 modelled as a showgirl, printed and painted marks to base SPECIALLY PRODUCED

BY ROYAL CROWN DERBY, 26cm high; and an ART DECO GOLDSCHEIDER STYLE CERAMIC FIGURE, moulded mark to base 765, 31.5cm high (2)

ART DECO THREE PIECE TEA SERVICE, CIRCA 1930 comprising a TEAPOT, with stepped demilune body, 25cm across; and a matching SUGAR BOWL and CREAMER, stamped maker’s marks (3)

SILVER BASKET, 1925 the planished body with cast leaf decoration and swing handle, stamped maker’s mark, hallmarked Birmingham 1925 28cm across

£200-300

£200-300

439

440

[§] CLARICE CLIFF (1899-1972)

ROYAL DOULTON

’CHINTZ’ PATTERN ATHENS JUG, CIRCA 1932 printed maker’s marks

ART DECO ‘GLAMIS’ PATTERN PART TEA SET, 1930S comprising a sugar bowl, a milk jug, a sandwich plate, six cups, six saucers, and six side plates, each with green and gilt floral decoration, in the Art Deco style, with printed, painted and impressed marks (21)

16.5cm high

£150-250

£150-250

£300-500

110

Lyon & Turnbull

441

442

ENGLISH SCHOOL

FRENCH SCHOOL

PAIR OF ART DECO BURR WALNUT BEDSIDE CABINETS, CIRCA 1930 each with open shelf and single door raised on a plinth (2) 36cm wide, 69cm high, 36cm deep

PAIR OF ART DECO WALNUT OCCASIONAL SIDE CABINETS, CIRCA 1930 each with rectangular tops above single doors with shallow fluting and inlaid panel and with open shelves adjacent, the whole supported by square uprights and raised on a plinth (2)

£600-800

81cm wide, 60cm high, 36cm deep

£1,000-1,500

443

444

HARRY & LOU EPSTEIN, LONDON

HARRY & LOU EPSTEIN, LONDON

ART DECO WALNUT WARDROBE, CIRCA 1930 with two stepped doors enclosing an interior fitted with drawers, cupboards, sliding shelves and a hanging space, the whole raised on a plinth

ART DECO WALNUT WARDROBE, CIRCA 1930 with two stepped doors enclosing an interior fitted with drawers, cupboards, sliding shelves and a hanging space, the whole raised on a plinth

112cm wide, 186cm high, 64cm deep

137cm wide, 186cm high, 64cm deep

£800-1,200

£800-1,200

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

445

446

ENGLISH SCHOOL

ENGLISH SCHOOL

ART DECO BURR WALNUT OCCASIONAL TABLE, CIRCA 1930 the circular top above four curved and ebonised legs linked by a square vase stand and raised on circular plinth base

SET OF FOUR ART DECO GILTMETAL AND GLASS WALL LIGHTS, CIRCA 1930 the cast frames with two frosted glass shades moulded by swimming fish (one with cracked shades) (4)

50cm diameter, 81cm high

£300-500

111

22cm wide, 27cm long

£300-500

447

448

GOODYERS, LONDON

FRENCH SCHOOL

OAK DESK CHAIR, CIRCA 1930 the broad back with curved arms above leather upholstered seat with close-nailed decoration 56cm wide, 82cm high, 42cm deep

PAIR OF ART DECO COROMANDEL BEDSIDE CABINETS, 1930S each with inset marble top above a single drawer and open shelf with cupboard below (2)

£200-300

44cm wide, 60cm high, 35cm deep

£400-600

449 JOHN VERNAL (20TH CENTURY) GUARDIAN ANGEL watercolour, signed and dated lower right JOHN VERNAL/ MAR. 1939, inscribed with title on label verso 60cm x 40cm

£800-1,200

450 ENGLISH SCHOOL ART DECO WALNUT DISPLAY CABINET, CIRCA 1930 with twin doors enclosing a shelved interior, flanked by moulded uprights enclosing open bookshelves 110cm wide, 126cm high, 33cm deep

£500-800

451 FRENCH SCHOOL ART DECO MAHOGANY DINING ROOM SUITE, CIRCA 1930 comprising a SET OF SIX CHAIRS, each with horizontally fluted backs above drop-in seats and square tapered legs, 45cm wide, 86cm high, 43cm deep; a DINING TABLE, with rectangular section supports, 164cm long, 76cm high, 106cm deep; a SIDEBOARD, with rectangular marble top above four central drawers flanked by cupboards on a plinth; a SMALL SIDE TABLE, with single drawer, 51cm wide, 81cm high, 34cm deep; and a DISPLAY CABINET, with marble top over a single door enclosing shelves with a mirrored back, above two drawers on a platform base, 93cm wide, 136cm high, 48cm deep (10) £1,000-1,500

112

Lyon & Turnbull

452 PRIMAVERA, FRANCE LARGE ART DECO GLAZED STONEWARE VASE, CIRCA 1930S with a short everted neck and globular body, decorated with to one side with leaping deer, and to the other with a fallen deer, amongst stylised plant forms, inscribed mark PRIMAVERA 22.5cm high

£400-600

453 AFTER GUSTAVE MIKLOS ’SINGING BIRD’ CERAMIC FIGURE, CIRCA 1930 covered with a craquelure white glaze 38cm high Literature: Lesieutre, Alain ‘The Spirit and Splendour of Art Deco’, Paddington Press 1974, pl. 85.

£600-800

454 Y [§] PROFESSOR OTTO POERTZEL (1876-1963) ’BUTTERFLY DANCER’, BRONZE AND IVORY FIGURE, CIRCA 1925 raised on a faceted green onyx plinth base, signed in the bronze PROF POERTZEL 40.5cm high

£600-800

455 STEFAN DAKON (1904–1992) FOR GOLDSCHEIDER, AUSTRIA ART DECO CERAMIC FIGURE, CIRCA 1930 modelled as a lady in a flowing gown, impressed and printed marks DAKON/ GOLDSCHEIDER/ WIEN/ 8083 33.5cm high

£300-500 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

456 JEAN PERZEL (1892-1986) PAIR OF ART DECO PATINATED BRASS WALL APPLIQUES, CIRCA 1930 each with a frosted glass outer shade and dished uplighter above a graduated segmented glass support, each signed J. PERZEL (2) each 23cm high, 55cm wide

£1,500-2,000

457 KURT VERSEN (1901-1997) PAIR OF ART DECO WALL LIGHTS, CIRCA 1930 chromium plated steel, cast maker’s marks (2) 25cm diameter

£500-800

458

459

AMERICAN SCHOOL

No lot

PAIR OF ART DECO OCCASIONAL TABLES, LATE 20TH CENTURY chromed bronze and glass (2) 69cm diameter, 69cm high Provenance: Waldorf Astoria Hotel, New York City.

£1,500-2,000

113

114

Lyon & Turnbull

460 Y FERDINAND PREISS (1882-1943) ’VICTORIAN LADY’, PATINATED BRONZE & IVORY FIGURE, CIRCA 1925 raised on a faceted green onyx plinth 15cm high

£500-700

461 FRANCOIS VICTOR BAZIN (1897-1956) FOR HISPANO-SUIZA ’CIGOGNE’ CAR MASCOT, CIRCA 1930 bronze, signed in the bronze F. BAZIN and numbered 1597 11.5cm high, 22.5cm long

£800-1,200

462 Y THOMAS FRANÇOIS CARTIER (1879-1943) COLD PAINTED BRONZE AND IVORY FIGURE OF PIERROT with ivory head and hands, with head tilted back and one arm raised, inscribed marks T. CARTIER., raised on a composite base 45.5cm high

£400-600

463 LOUIS MARIE LATOUR FOR GOLDSCHEIDER, VIENNA LARGE EARTHENWARE FIGURE GROUP, CIRCA 1925 modelled as Diana the Huntress, with attendant hound, the figure holding a bronzed metal bow, the whole raised on a plinth, impressed maker’s mark under base and to plinth 72cm high

£800-1,200 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

115

464 Y [ยง] DOROTHEA CHAROL (1889-1963) FINE ART DECO COLD PAINTED BRONZE AND IVORY CLOCK, CIRCA 1925 the marble base with reclining Pierrot figure, the corresponding arched back dial with applied chapters clock 25cm high, figure, 24cm long

ยฃ6,000-8,000

116

Lyon & Turnbull

465 JULES LELEU (1883 –1961) ART DECO BURR WALNUT ARMOIRE, 1930S with three doors, enclosing a fully veneered and fitted interior of drawers and shelves, the angles embellished with shaped fins with brass cappings, the whole raised on brass capped outswept bracket feet 210cm wide, 170cm high, 53cm deep

£800-1,200

466

467

468

469

ART DECO

FRENCH SCHOOL

AMERICAN SCHOOL

SILVER PLATE TEA SERVICE, CIRCA 1930 comprising a TEAPOT, 18cm high; a SUGAR BOWL, 12cm high; and a MILK JUG, 11cm high, each with ribbed decoration and exotic hardwood handles, stamped maker’s marks AM (3)

ART DECO BRASS FRAMED ELECTROLIER, CIRCA 1940 with six waved branches, each with facetted cylindrical glass shade

PAIR OF ART DECO WALL LIGHTS, CIRCA 1930 brass, with frosted glass shades (2)

MANNER OF ARTHUR RACKHAM

25.5cm diameter

GOBLIN GAME watercolour and gouache, signed with monogram lower right

64cm across, 64cm high

£400-600

36.5cm x 25cm

£300-500

£300-500

£200-300 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

117

470 OFFICE OF LE CORBUSIER ’MODULOR MAN’ STAMP, CIRCA 1960 carved rubber eraser 3.5cm long Provenance: Alexander Robert Ferguson Note: This miniature figurine is one of a number of handcrafted stamps used by the practice of one of the leading innovators of modern architecture, Le Corbusier. Le Corbusier’s architectural plans were always rigorously drawn and characterised by what he termed ‘modulor’ men: stylised figurines designed to calculate the exact space needed for individuals in any of his buildings.

This particular stamp was given to the British architect Robin Ferguson on finishing a year’s training in the Paris studio of Le Corbusier during the early 1970s.

£150-250

471 LE CORBUSIER, PIERRE JEANNERET, CHARLOTTE PERRIAND LC1 PONY SKIN LOUNGE CHAIR, DESIGNED 1925 chromed steel, leather and pony skin 59cm wide, 62cm high, 38cm deep Note: This example manufactured circa 1970

£600-800

472

473

474

SWEDISH SCHOOL

ART DECO

[§] JOSEF LORENZL (1892-1950)

ART DECO SATIN BIRCH OCCASIONAL TABLE, CIRCA 1930 the circular top raised on scrolled and fluted supports on a triform platform base with curved and reeded feet 78cm diameter, 63cm high

PATINATED METAL AND ONYX TABLE LAMP, 1920S depicting a seated nude holding a patinated plaster globe shade, raised on a tapered onyx column and stepped base, wired for electricity

£250-350

49cm high

PATINATED BRONZE FIGURE, CIRCA 1925 cast as a dancing girl and raised on a turned onyx base, signed in the bronze LORENZL, 22.5cm high; and another ART DECO FIGURE, patinated spelter, cast as a standing figure, raised on a turned alabaster base, 26cm high (2) £250-450

£300-500

475

476

477

WMF (WÜRTTEMBERGISCHE METALLWARENFABRIK)

AFTER DEMÉTRE CHIPARUS

[§] MAX LE VERRIER (1891-1973)

ART DECO PATINATED SPELTER FIGURE, CIRCA 1930 depicting a seated female figure, raised on a stepped marble base, inscribed to the base D.H. CHIPARUS

PAIR OF PATINATED SPELTER BOOKENDS, CIRCA 1930 each depicting a girl reading and raised on a marble plinth, signed M. LE VERRIER (2)

30cm long

20cm high

£250-350

£150-250

’MYRA KRISTALL’ IRIDESCENT GLASS FRUIT SERVICE, CIRCA 1930 comprising a footed tazza and six plates, each covered with a peacock iridescence (7) tazza, 24.5cm diameter

£150-250

118

Lyon & Turnbull

478 [§] BERNARD LEACH (1887-1979) STONEWARE BOWL, MID-20TH CENTURY tenmoku glaze with incised diagonal banded decoration, impressed St Ives and artist’s seal marks 16.5cm diameter Provenance: The Collection of the Late Mr Michael Moulder

£300-400

479 [§] MICHAEL CARDEW (1901-1983) FOR ABUJA POTTERY STONEWARE SOY SAUCE POT & COVER, CIRCA 1943 of globular form with incised banding, tenmoku glaze, 9.5cm high; and a MICHAEL CARDEW CUP, with ribbed band decoration, tenmoku glaze, indistinct seal marks, 7.5cm high (2) Provenance: The Collection of the Late Mr Michael Moulder

£250-350

480

SV1296/46

[§] SHOJI HAMADA (1894-1978) STONEWARE TEA BOWL, MID-20TH CENTURY with incised decoration, tenmoku glaze and white slip interior 8cm high Provenance: The Collection of the Late Mr Michael Moulder

£250-350

481

482

483

484

[§] GEOFFREY WHITING (1919-1988) FOR AVONCROFT POTTERY

[§] ALEX LECKIE (1932-2010)

[§] JOHN MALTBY (B. 1936)

[§] SIMON LEACH (B. 1956)

STONEWARE DOVE, CIRCA 1980S with purple glaze, signed LECKIE

PORCELAIN POT & COVER, CIRCA 1970 with iron and cobalt brushwork under a clear glaze, impressed maker’s mark STONESHILL, 6cm diameter; a JOHN MALTBY STONEWARE TEABOWL, impressed artist’s seal mark, 8.5cm high; a JOHN MALTBY STONEWARE BOWL, impressed artist’s seal mark, 13.5cm diameter; and an ANONYMOUS STONEWARE COVERED BOX, impressed artist’s seal mark SP, 6cm high (4)

TWO ST IVES STONEWARE BOWLS, LATE 20TH CENTURY each with impressed artist’s seal marks, 14cm and 12cm diameter; another ST. IVES STONEWARE BOWL, impressed seal mark, 15cm diameter; a ST. IVES STONEWARE COVERED JUG, 21cm high; and a ST. IVES STONEWARE JUG, 20cm high, both with impressed seal marks (5)

GROUP OF WARES, CIRCA 1950 to include a WAISTED VASE, with wax resist brushwork decoration, 13.5cm high; a TAPERED VASE, thrown and beaten on four sides, 10cm high; a TEA BOWL, 8cm high; a BEAKER, with banded brushed iron decoration, 7cm high; a BOWL, 12cm diameter, each with impressed seal marks; an unmarked TEA BOWL, 8cm high; a JOANNA CONNELL CUP, 8.5cm high; and an ADAM DWORSKI FIGURE, 16cm high (8) Provenance: The Collection of the Late Mr Michael Moulder

14cm high, 23.5cm long Provenance: Ex. the collection of Naomi Mitchison, Lyon & Turnbull, November 2000, lot 69

£150-250

Provenance: The Collection of the Late Mr Michael Moulder

£100-200

Provenance: The Collection of the Late Mr Michael Moulder

£150-250

£250-350 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

119

485 [§] BERNARD LEACH (1887-1979) ST IVES STONEWARE VASE with vertical fluted decoration, 12.5cm high and a BERNARD LEACH ST IVES FACETTED VASE, 11cm high, both covered with tenmoku glazes and with impressed St. Ives and artist’s seal mark (2)

£500-800

486 [§] WILLIAM PLUMPTRE (B. 1959) STONEWARE VASE, CIRCA 1990 of ovoid form with facetted sides each with blue cross-hatched panels on a celadon ground, painted artist’s mark WP 21cm high

£150-250

487

488

489

490

[§] BERNARD LEACH (1887-1979)

[§] KATHERINE PLEYDELL BOUVERIE (1895-1985)

[§] JANET LEACH (1918-1997)

[§] DAVID LEACH (1911-2005)

PORCELAIN POT WITH COVER, MID-20TH CENTURY decorated with an oak leaf pattern, impressed St Ives seal mark, painted artist’s initials BL

SMALL STONEWARE BOWL, CIRCA 1960 with wavy ribbed decoration covered in a white glaze, impressed artist’s seal mark, 9.5cm diameter; also a HELEN PINCOMBE MOULDED STONEWARE DISH, damaged, 11.5cm diameter; and a HELEN PINCOMBE BOWL, impressed artist’s seal mark, 15.5cm diameter (3)

12cm high Provenance: The Collection of the Late Mr Michael Moulder

£150-200

Provenance: The Collection of the Late Mr Michael Moulder

£150-250

STONEWARE JAR & COVER, MID-20TH CENTURY with impressed diagonal cord decoration, tenmoku glaze, 10.5cm high; and a JANET LEACH VASE, waisted form with tenmoku glaze, 10cm high, both with impressed St Ives and artist’s seal marks (2) Provenance: The Collection of the Late Mr Michael Moulder

£200-300

STONEWARE VASE, CIRCA 1980 wax resist decoration under iron slip, incised artist’s mark, 6.5cm high; a DAVID LEACH PORCELAIN BOWL, iron and cobalt brush decoration under a clear matt glaze, 11cm diameter; and a WILLIAM MARSHALL ST. IVES STONEWARE BOTTLE VASE, impressed seal mark, incised artist’s mark, 8cm high (3) Provenance: The Collection of the Late Mr Michael Moulder

£250-350

120

Lyon & Turnbull

491 SIR BASIL SPENCE (1907-1976) FOR H. MORRIS & CO., GLASGOW ’ALLEGRO’ ARMCHAIR, DESIGNED 1947-1948 laminated wood, bears maker’s label MORRIS MADE/ GUARANTEED TRADE MARK/ GLASGOW 52cm wide, 85cm high, 50cm deep Provenance: Collection of Andrew McIntosh Patrick Exhibited: London, The Fine Art Society ‘Austerity to Affluence’, 20th October -14th November 1997 Literature: Studio Yearbook of Decorative Art, 1949, p. VIII (advertised) ’Austerity to Affluence: British Art & Design 1945-1962’, The Fine Art Society, London, 1997, p. 14 and p. 22, cat. no. F27 Long, Philip and Thomas, Jane (Edit.) ‘Basil Spence’, Architect National Galleries of Scotland in Association with RCAHMS, Edinburgh 2008, p. 52 and p. 54, fig 55 illus.

Note: In 1947 Neil Morris of manufacturers Morris of Glasgow asked Spence to collaborate on a range of plywood furniture he was working on, which was to include his Bambi chair and celebrated Cloud table. The result was the ‘Allegro’ dining suite, which was awarded a diploma by the Council of Industrial Design in January 1949. In March of the same year it was exhibited at the Glasgow Today and Tomorrow, where it was commended, and an example of the armchair was commissioned by the Museum of Modern Art, New York for their collection. In September 1949 it was displayed at the Morris stand, also designed by Spence, at the Scottish Industries Exhibition. In 1951 another single armchair was commissioned for the collection of the Victoria & Albert Museum in London (V&A CIRC.183-1951).

The manufacture of the Allegro suite found its origins in wartime innovation.

The Southampton-based manufacturer of helicopters, Cierva Autogiro, had developed techniques of laminating and shaping wood to make strong and light helicopter blades - these blades were supplied by Morris of Glasgow by 1946, and the same technology was applied to this remarkable suite of furniture soon afterwards. Over one hundred layers of wood were bonded together under high frequency electrical pressure with phenoformaldehyde, a synthetic resin.

The wood is then shaped and carved to produce the chairs (and the matching table and sideboard). Whilst it is now acknowledged as a landmark in immediate Post-War British furniture design, the immense expense of this manufacturing process meant that this furniture went into extremely limited production, and as a result examples are extremely rare. In 1950 a single chair was advertised at £31 18s 3d, at a time when the average British annual income was just £101.

£2,500-3,500

492 NEIL MORRIS FOR H. MORRIS & CO. LTD., GLASGOW ’BAMBI’ STACKING SIDE CHAIR, CIRCA 1950 Honduras mahogany and Canadian betula laminate, bears maker’s marks to underside 41.5cm wide, 77.5cm high, 43cm deep Provenance: Collection of Andrew McIntosh Patrick Exhibited: London, The Fine Art Society ‘Austerity to Affluence’, 20th October -14th November 1997 Literature: ‘Austerity to Affluence: British Art & Design 1945-1962’, The Fine Art Society, London, 1997, p. 14 and p. 22, cat. no. F29

£400-600

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

121

493 NIGEL HENDERSON (1917–1985) AND SIR EDUARDO PAOLOZZI (1924-2005) FOR HAMMER PRINTS LTD. RARE ‘BARKCLOTH’ TEXTILE PANEL, CIRCA 1954 hand screenprinted on cotton twill, stretched on a frame 190cm x 59cm Provenance: Collection of Andrew McIntosh Patrick Note: After his return to London from Paris in 1949 Paolozzi started teaching in the textile design department of the Central School of Art and Design. He produced screenprints that were often inspired by organic forms, and paper collages that reveal his interest in the unconscious imagery of abstract expressionism and the torn papers of Kurt Schwitters and Jean Arp. Paolozzi developed textile designs from his collages, which were translated into fabrics by companies such as Horrockses and David Whitehead Ltd. In 1954 he and the artist Nigel Henderson set up Hammer Prints Ltd. to publish screenprinted textiles, ceramics and wallpapers.

The monochromatic textile ‘Barkcloth’ depicts various images of manmade objects including bicycles, glasses and keys. These are shown in combination with geometric designs of spirals, rough lines and dots. Through this crowded composition Paolozzi sought to convey what he considered to be the frantic and all-consuming nature of modern life.

£1,000-1,500

494 [§] WILLIAM WILSON (1905-1972) STAINED AND LEADED GLASS PANEL, CIRCA 1954 the panel depicting a chalice filled with fruiting vines and barley, and enclosed within an entwined border, damages 96cm x 53cm Note: Wilson started his career as a map maker before serving an apprenticeship with James Ballantine & Son in Edinburgh in 1920 and opened his own stained glass studio in 1937. During his career he produced over 300 windows, for churches, cathedrals and secular buildings all over Scotland including these examples, installed at the chapel of Convent of St. Mary Reparatrice, Elie in 1954 (now demolished).

£1,000-1,500

122

Lyon & Turnbull

495 [§] BENNO SCHOTZ (1891-1984) STANDING FIGURE OF A WOMAN bronze, raised on a wooden plinth, signed in the bronze BENNO SCHOTZ 41cm high

£400-600

497 JAMES LAIRD ’SEASPRAY’, MID-20TH CENTURY patinated plaster, raised on a wooden plinth 30cm high, 54cm long

496

£250-350

[§] BENNO SCHOTZ (1891-1984) THE LOVERS bronze, signed in the cast, on marble plinth 28cm (11in) high (less base)

£400-600

498 AUDREY DIXON FOR EDINBURGH WEAVERS TWO ‘LILLIESLEAF’ PATTERN SAMPLE PANELS, CIRCA 1963 jacquard-woven cotton and spun rayon, each with four smaller panels attached in various colourways, each sample bears maker’s paper label (2) large panels 112cm x 125cm, small panels 23cm x 19cm Literature: Jackson, Lesley ‘Edinburgh Weavers’, V&A 2012, p.258, pl. 456 illustrated.

499 ATTRIBUTED TO THOMAS WHALEN CARVED HARDWOOD PANEL, CIRCA 1930 carved in bas relief with maidens in a forest glade 75cm x 100cm

£500-800

£300-500 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

123

501 JOHN PIPER (1903-1992) FOR DAVID WHITEHEAD & SONS LTD.

500

TWO PAIRS OF ‘FOLIATE HEADS’ PATTERN CURTAINS, CIRCA 1954 screen printed rayon, bear maker’s marks to the selvedge DAVID WHITEHEAD FABRICS/ DESIGNED BY JOHN PIPER (4)

GERALD SUMMERS (1899-1967) STOOL, DESIGNED 1954 with original painted finish, cast maker’s mark to underside GERALD SUMMERS/ REGISTERED DESIGN NO. 871987 45.5cm high x 36cm diameter

each 300cm x 111cm Note: Piper’s original painting for this textile was exhibited in ‘Painting into Textiles’ in 1953. Foliate Heads were a favoured theme for Piper, who used them in scarf, rug and tapestry design throughout his career.

£400-600

£800-1,200

502 Y JUDITH LEDEBOER (1901-1990) AND DAVID BOOTH (19081962) FOR GORDON RUSSELL LTD. MAHOGANY AND BOMBAY ROSEWOOD ‘DOUBLE HELIX’ CABINET, CIRCA 1951 with twin doors, each with incised decoration, enclosing a fitted interior, bears maker’s label 122cm wide, 84cm high, 46cm deep

£500-800

503

504

505

ARNOLD MACHIN (1911-1999) FOR WEDGWOOD

JOHN PIPER (1903-1992) FOR ARTHUR SANDERSON & SONS LTD.

JAMES LAIRD

’ZODIAC BULL’ FIGURE, CIRCA 1945 printed maker’s marks WEDGWOOD/ BARLASTON/ ENGLAND

THREE ‘STONES OF BATH’ PATTERN CURTAINS, CIRCA 1960 screen printed cotton (3)

41cm long

two at 111cm wide x 172cm high, one at 111cm wide, 356cm high

£100-200

£300-400

ABSTRACT FORM, MID-20TH CENTURY carved hardwood, incised monogram to base JL 52cm high

£200-300

124

Lyon & Turnbull

506

507

[§] ALEXANDER GRAHAM MUNRO R.S.W. (SCOTTISH 1903-1985)

[§] ROBERT LEISHMAN R.S.W. (SCOTTISH 1916-1989)

NICE - 1926 signed, inscribed and dated, pastel 23cm x 31cm (9in x 12.25in)

BLACK BIRD signed and dated 1960, watercolour 27cm x 24cm (10.5in x 9.5in)

£300-500

£300-500

508

509

[§] GEORGE DEVLIN (SCOTTISH 1937-2014)

[§] JOE MCINTYRE (SCOTTISH B.1940)

BLUE ABSTRACT signed, watercolour

SUMMER IN THE CITY signed, oil on canvasboard

75cm x 101cm (29.5in x 39.75in)

31cm x 39cm (12.25in x 15.25in)

£500-700

£300-500

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

510

511

[§] WILLIAM BIRNIE R.S.W., R.G.I. (SCOTTISH 1929-2006)

[§] SANDY MURPHY R.S.W., R.G.I. (SCOTTISH B.1956)

GARDENS, KILBARCHAN signed, oil on board

EVENING - MOONLIGHT signed, mixed media

18cm x 22cm (7in x 8.75in)

52cm x 62cm (24.5in x 20.5in)

£300-500

£300-500

512

513

[§] TOM HUTCHESON R.G.I. (SCOTTISH 1922-1999)

[§] ADAM BRUCE THOMSON O.B.E., R.S.A., P.P.R.S.W. (BRITISH 1885-1976)

PINES AND BINGS signed and dated ‘65, acrylic on board 60.5cm x 91.5cm (23.75in x 36in)

BRIDGE THROUGH THE TREES, CRAMOND signed and dated ‘70, pencil and watercolour

£1,200-1,800

49.5cm x 63cm (19.5in x 24.75in)

£400-600

125

126

Lyon & Turnbull

514

515

[§] SIR EDUARDO PAOLOZZI K.B.E., R.A., R.S.A. (SCOTTISH 1924-2005)

[§] SIR EDUARDO PAOLOZZI K.B.E., R.A., R.S.A. (SCOTTISH 1924-2005)

DUCK FARM - 1999 signed, titled, dated and inscribed ‘hand-coloured’ and ‘A/C,’ handcoloured lithograph, unframed

NEWTON AFTER BLAKE - 1999 signed, titled, dated and inscribed ‘A/C,’ lithograph, unframed

35cm x 49.5cm (13.75in x 19.5in) and two further signed lithographs by the same hand (3)

24.5cm x 29cm (9.75in x 11.25in) and two further signed lithographs by the same hand (3)

£300-500

£300-500

516

517

[§] JOHN BYRNE (SCOTTISH B.1940)

[§] ADAM BRUCE THOMSON O.B.E., R.S.A., R.S.W. (SCOTTISH 1885-1976)

DESIGNS FOR A VENETIAN OPERA signed, ink and pencil 28cm x 47cm (11in x 18.5in)

BROAD CAMPDEN signed, inscribed and dated 1960, ink and wash

£300-500

25.5cm x 35cm (10in x 13.75in)

£300-500

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

127

518

519

520

[§] EMILIO COIA (SCOTTISH 1911-1997)

[§] HARRY MORE GORDON (SCOTTISH 1928-2015)

[§] JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013)

STILL LIFE WITH WHITE ROSES signed in pencil, watercolour 29cm x 24cm (11.5in x 9.5in) unframed

UNTITLED signed and numbered 28/50 in pencil to margin, unframed, lithograph

£200-300

46cm x 34cm (18in x 13.5in)

J. D. FERGUSSON IN HIS STUDIO signed and inscribed with title, ink 29cm x 21cm (15.25in x 8.25in) Exhibited: ‘150th Anniversary of Glasgow School of Art’, June 1995, Compass Gallery, Glasgow

£200-300

£400-600

521

522

[§] MARY ARMOUR R.S.A., R.S.W., R.G.I., L.L.D. (SCOTTISH 1902-2000)

[§] PAUL MAZE (FRENCH/BRITISH 1887-1979)

EARLY SPRING FLOWERS, 1982 signed and dated, pastel 16.5cm x 31.5cm (6.5in x 12.25in) Exhibited: Mary Armour: An Eightieth Birthday Celebration, Fine Art Society Glasgow, 27th March - 26th April 1982

£300-500

JESSIE IN HAT AND CAPE signed, ink and watercolour 17cm x 27.5cm (6.75in x 11in)

£400-600

128

Lyon & Turnbull

523 [§] SOPHIE RYDER (BRITISH B.1963) THE MINOTAUR AND THE HARE, SITTING signed and dated ‘92, acrylic and collage 115cm x 84cm (41.25in x 33in)

£800-1,200

524 [§] OTTO B. DE KAT (BELGIAN 1907-1995) PATH THROUGH THE TREES oil on canvas 53cm x 63.5cm (21in x 25in)

£700-900

525 [§] HAMISH REID (SCOTTISH 1929-2005) DISH OF APPLES AND SPANISH JUG oil on canvas 35cm x 59.5cm (13.75in x 23.5in)

£400-600

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

526

527

[§] JACK FIRTH R.S.W. (SCOTTISH 1917-2010)

[§] MARTIN KANE (SCOTTISH CONTEMPORARY)

ETTRICK WINDOW WITH A LAMP signed, oil on canvas

BIRMINGHAM CANAL signed, 1990, oil on canvas

60cm x 48cm (23.5in x 19in)

102cm x 76cm (40in x 30in)

£400-600

£300-500

528

529

[§] JANET PATTERSON (SCOTTISH B.1941)

[§] GEORGE MARTIN (20TH CENTURY SCOTTISH)

THE LOUVERED DOOR signed and dated ‘77, oil on canvas

SELF-PORTRAIT signed and dated ‘53, oil on canvas

29.5cm x 39cm (11.5in x 15.25in)

43cm x 50cm (17in x 19.25in)

£300-500

£300-500

129

130

Lyon & Turnbull

530 SIR ALEC ISSIGONIS (1906-1988) FOR MORRIS MOTORS LIMITED MORRIS TRAVELLER VYJ 872, 1959 `VYJ 872’ is a desirable Traveller, finished in Blue complemented by a green interior and has clearly benefited from remedial work over the years. With an odometer reading of 10556 miles and said to be in ‘running’ order this smart looking example is offered from a deceased estate and comes complete with V5C document and is both MOT and Tax exempt. First registered 07-07-1959, current owner acquired the vehicle in November 2007 Chassis number MAW 737702 Engine number 10MA-U-H145637 Note: Morris’s Minor is almost as universal a symbol of England as the London bus. Furthermore, with over 1.6 million being manufactured in its 23-year reign, it is unquestionably one of the most successful cars of all time. We shouldn’t be too surprised, however, as the man leading the design team, Alec Issigonis, went on to pen a succession of ground-breaking cars, including the ubiquitous Mini. Unveiled at the 1948 Earl’s Court Motor Show, the Minor set out to provide the luxuries and practicality of existing quality motorcars at a price suitable for the ordinary person.

£4,000-6,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

131

531 SIR ALEC ISSIGONIS (1906-1988) FOR MORRIS MOTORS LIMITED MORRIS MINOR SALOON - TSR 303, 1958 in dark green, complemented by a beige interior,`TSR 303’ was first registered in August 1958 remaining with the original owner until 2004.

Benefiting from a past restoration the car is known to enthusiasts having been entered into classic car events in Scotland.

Said to be in ‘running’ order and with an odometer reading of 70452, this smart looking example is offered from a deceased estate and comes complete with V5C document and is both MOT and Tax exempt.

Chassis number FAU/634788 Engine number 10V/189E/H1043

£3,000-4,000

132

Lyon & Turnbull

532 ENGLISH SCHOOL YEWWOOD COFFEE TABLE, 1960S the freeform top on two naturalistic base supports 146cm wide, 37cm high, 74cm deep

£1,000-1,500

533 MAISON JANSEN, PARIS TABLE LAMP, CIRCA 1970 brass and chrome plated steel, with original silk shade, bears maker’s label MAISON JANSEN/ PARIS 48cm base height, 85cm total height

£500-800

535 BRITISH SCHOOL

534 CONTEMPORARY SCHOOL OAK TALL CHEST OF DRAWERS, CIRCA 1990 with ebony dot inlaid decoration, the projecting cornice above an arrangement of twelve short drawers over six graduated long drawers, raised on square supports linked by stretchers 57cm wide, 142cm high, 57cm deep

£300-500

COLLECTION OF CONTEMPORARY JEWELLERY, CIRCA 1970-1996 comprising TWO NORMAN GRANT SILVER & ENAMEL BROOCHES, one worked as a daisy, the other with abstract design, both with maker’s marks NG/ SILVER, 3.8cm and 5.2cm across; an OLA GONIE SILVER BROOCH, bears maker’s marks, 4.2cm across; a VAN PETERSON BROOCH AND MATCHING EARRINGS, set with moonstone and garnet cabochons, hallmarked to brooch London 1995, brooch 4.5cm across; and another contemporary brooch (7) £300-500

536

537

538

539

ENGLISH SCHOOL

ENGLISH FOLK ART

MID-CENTURY

ENGLISH SCHOOL

FREEFORM SCULPTURE, CIRCA 1960 hardwood, steel and marble, unsigned

CATS AT REST oil on board, bears artist’s initials

53cm high

£200-300

THREE COFFEE TABLES, CIRCA 1970 to include a G-PLAN LIBRENZA TABLE,137cm long, 40cm high, 49cm deep; and TWO CHROMIUM FRAMED GLASS COFFEE TABLES (3)

PAINTED FOUR FOLD SCREEN, CIRCA 1965 the Edwardian screen later painted with four stylised female figures allegorical of the seasons

£300-500

£300-500

£180-220

29cm x 59cm

240cm wide, 184cm high

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

540 MAISON JANSEN, PARIS PALM TREE FLOOR LAMP, CIRCA 1970 brass, bamboo, plastic 198cm high, 80cm wide

£1,200-1,800

541 CHESTER JONES COROMANDEL AND INLAID BREAKFAST TABLE, LATE 20TH CENTURY the circular top with chequer inlaid edge above moulded ebonised frieze on hinged gateleg supports linked by stretchers 123cm diameter, 74cm high

£2,000-3,000

542 Y BRITISH SCHOOL MODERNIST LIBRARY TABLE, CIRCA 1980 the rectangular top with canted edge above two clusters of rectangular section supports raised on twin platforms 178cm long, 72cm high, 67cm deep

£800-1,200

133

134

Lyon & Turnbull

543 Y KAI KRISTIANSEN (B.1929) FOR KORUP STOLEFABRIK, DENMARK SET OF SIX ROSEWOOD DINING CHAIRS, CIRCA 1960 each with wool upholstered backs and seats enclosing open arms, branded maker’s marks (6) 53cm wide, 79cm high, 42cm deep Note: Sold in compliance with CITES regulations, with (non-transferable) Transaction Specific Certificate no.

560586/02

£400-600

544

545

546

547

[§] CHARLES BRAY (19222012)

[§] ANTHONY BRYANT (B. 1960)

ROBERT WILLIAMS FOR PEARL DOT

CERAMICHE GALVANI, PORDENONE, ITALY

GLASS AND SLATE SCULPTURE raised on a black glass plinth, signed in the slate BRAY

TURNED OAK BOWL, DATED 1991 incised maker’s mark to base ANTHONY BRYANT/ OAK/ 1991

42cm high

37.5cm across, 26cm high

MILLEFIORI VASE, CIRCA 1940 printed makers mark GALVANI/ PORDENONE/ MADE IN ITALY/ 21/ F. TO. 3360

£200-300

£180-220

SET OF THREE SATIN BIRCH ‘PLANK BACK’ CHAIRS, CIRCA 1980 each with tall tapering backs above solid seats on plank supports with exposed dovetails, inlaid with a mother-of-pearl dot (3)

26.5cm high

£200-300

41cm wide, 108cm high, 38cm deep

£300-500

548

549

550

551

GIO PONTI (1891-1979) FOR RICHARD GINORI

ATTRIBUTED TO FONTANA ARTE

HAGENAUER

FLORIS MEYDAM (19192011) FOR LEERDAM

COFFEE SET, DATED 1935 black and white glaze, comprising a Coffee Pot and Cover, 18cm high; Milk Jug; Sugar Basin and Cover; and six Cups and Saucers, printed maker’s marks, 1812-35/ 5030 (15)

GLASS DESK SET, CIRCA 1940 comprising a pen tray, 18cm across; an ashtray, 10cm across; and a blotter, 18cm across (3)

£300-500

£150-250

CHROMIUM PLATED CHROME FIGURE, CIRCA 1950 cast as a tennis player, stamped maker’s marks 46cm high

£300-500

THREE SERICA GLASS VASES, CIRCA 1955 each with etched maker’s marks LEERDAM/ UNICA/ MEYDAM, 19.5, 16 and 15cm wide; and a VAL ST LAMBERT FLASH GLASS VASE, with faceted decoration, etched maker’s mark VAL ST. LAMBERT, 15cm high (4) £200-300

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

552 [§] MARC SAINT-SAËNS (1903-1973) WOOL TAPESTRY PANEL, 1950S depicting a cellist, signed in the tapestry MARC SAINT-SAËNS 203cm x 120cm

£500-800

553 ALVAR AALTO (1898-1976) FOR ARTEK SERVING TROLLEY, DESIGNED 1936-7 solid and laminated birch with tile and cane 91cm long, 59cm high, 65cm deep

£800-1,200

554 Y SKOVBY MØBELFABRIK, DENMARK ROSEWOOD SIDEBOARD, CIRCA 1970 the rectangular top above four doors enclosing a fitted interior, plinth base 205cm wide, 83cm high, 48cm deep Note: Sold in compliance with CITES regulations, with (non-transferable) Transaction Specific Certificate no. 560586/03

£300-500

135

136

Lyon & Turnbull

555

556

557

558

PIERO FORNASETTI (1913-1988)

[§] HERVÉ LELONG (B. 1937)

PHILLIPE STARCK (B. 1949) FOR FLOS

SCANDINAVIAN SCHOOL

PAIR OF ENAMELLED METAL BOOKENDS, CIRCA 1950 each printed with a Roman arch, printed maker’s marks (2) 20.5cm high

WOOL TAPESTRY PANEL, CIRCA 1960 depicting an exotic bird amongst lush foliage, signed in the tapestry HERVÉ LELONG 97cm x 147cm

’ARA’ TABLE LAMP, DESIGNED 1988 chromed steel 56cm high

£200-300

£200-300

METAMORPHIC NEST OF TEAK OCCASIONAL TABLES, 1960S the rectangular glazed top above two sliding elements which open out to form two additional tables, the whole raised on square tapering legs 52cm wide, 39cm high, 51cm deep

£200-300

£200-300

559 JOHANNES HAMMERBORG (1920-1982) FOR FOG & MØRUP ’TROMBONE 2’ TABLE LAMP, 1960S brushed aluminium and steel, bears maker’s label 57cm high

£300-400

560 [§] TAPIO WIRKKALA (1915-1985) GLASS VASE, NO. 3305, DESIGNED 1959 oval section green frosted glass 14cm high

£200-300

561 FINN JUHL (1912-1989) FOR FRANCE & SON ’DIPLOMAT’ TEAK SIDE TABLE, 1950S the rectangular top with dished edge raised on tapered legs with undertier 71cm long, 55cm high, 51cm deep

£300-500

562 SCANDINAVIAN SCHOOL PAIR OF BEECH OPEN ARMCHAIRS, CIRCA 1950 with later lattice upholstery (2) 62cm wide, 79cm high, 48cm deep

£300-500 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

137

563 EERO SAARINEN (1910-1961) FOR KNOLL INTERNATIONAL TULIP COFFEE TABLE, MODEL 162TR2 cast aluminium pedestal finished in white supporting a white marble table top with an undercut bevelled edge 91cm diameter, 40cm high

£1,000-1,500

564 BØRGE MOGENSEN (1914-1972) FOR FREDERICIA FURNITURE MODEL 2207 ARMCHAIR, DESIGNED 1963 teak frame with leather upholstery 70cm wide, 78cm high, 46cm deep

£500-800

565 Y

566 Y

567 Y

DANISH SCHOOL

SKOVBY MØBELFABRIK, DENMARK

DANISH SCHOOL

ROSEWOOD EXTENDING DINING TABLE, CIRCA 1970 the six-sided crossbanded top raised on twin pedestals, includes one additional leaf

ROSEWOOD SIDEBOARD, 1970S semi-bowed with five drawers flanked by cupboards, branded maker’s marks

ROSEWOOD EXTENDING DINING TABLE, CIRCA 1960 the rounded rectangular top on twin pedestals, included one additional leaf

172cm long (extended), 73cm high, 123cm wide Provenance: From the collection of the late Hugh Malcolm (1886-1961), for more information, please see lot 187.

From the collection of the late Hugh Malcolm (1886-1961), for more information, please see lot 187.

Note: Sold in compliance with CITES regulations, with (non-transferable) Transaction Specific Certificate no.

560631/01

£200-300

200cm wide, 80cm high, 48cm deep Provenance:

Note: Sold in compliance with CITES regulations, with (non-transferable) Transaction Specific Certificate no.

560631/02

£300-500

150cm long (extended), 72cm high, 100cm wide Note: Sold in compliance with CITES regulations, with (non-transferable) Transaction Specific Certificate no.

560586/01

568 No lot

138

Lyon & Turnbull

569

570

HENNING KOPPEL (1918-1981) FOR GEORG JENSEN

GEORG JENSEN 18 CARAT GOLD AND AMETHYST RING, CIRCA 1970 the circular cabochon collet set to a tapering mount, numbered 1124, with stamped maker’s marks

18CT GOLD ‘SAIL’ BROOCH, DESIGNED 1956 numbered 1327, stamped maker’s marks 6cm long

£500-700

ring size L½

£250-400

571 UNI DAVID-ANDERSEN (B. 1930) FOR DAVID-ANDERSEN STERLING SILVER AND ENAMEL ‘MAGICAL MIRROR’ TORQUE, CIRCA 1965 set with facetted paste stone on a turquoise enamel ground, stamped maker’s marks D-A/ 925S/ NORWAY-STERLING/ UNI total length 20cm

£400-600

572 HUGO LIISBERG (1896-1958) FOR GEORG JENSEN STERLING SILVER BROOCH, CIRCA 1945 cast with a pair of ducks, impressed maker’s marks GEORG JENSEN/ STERLING/ DENMARK/ 299 5.2cm diameter

£200-300

573 HENNING KOPPEL (1918-1981) FOR GEORGE JENSEN GROUP OF ‘CARAVEL’ STERLING SILVER FLATWARE, DESIGNED 1957 comprising two dinner knives and forks; two soup spoons; two tea spoons; a side knife; and a cake knife and spoon, each with stamped maker’s marks (11) £200-300

574 JØRGEN JENSEN (1895-1966) FOR GEORG JENSEN STERLING SILVER PITCHER, PATTERN 385, CIRCA 1945 the planished body with applied fruiting berry motif and ribbed ebony handle, stamped maker’s marks 17.5cm high

£1,000-1,500

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

139

575 HANS J. WEGNER (1914-2007) FOR CARL HANSEN & SON, DENMARK SET OF FOUR OAK ‘Y’ WISHBONE CHAIRS, MODEL NO. 24, DESIGNED 1950. each with curved rails above divided splats and cord seats, raised on turned legs linked by stretcher, bears maker’s labels (4) 56cm wide, 73cm high, 40cm deep

£600-800

576 MID-CENTURY GROUP OF GLASS VESSELS, MID-20TH CENTURY comprising a TIMO SARPANEVA ‘BIRD DECANTER, 17cm high; an ORREFORS CLEAR GLASS VASE, 16cm high; an EKENAS BOTTLE VASE, 24.5cm high; a HOLMEGAARD SMOKED GLASS VASE, 7.5cm across; and an ITALIAN SOLIFLEUR VASE, 14cm high (5) £200-300

577 NIELS MØLLER (1920-1982) FOR J.L. MØLLERS MØBELFABRIK TEAK DINING SUITE, DESIGNED 1954 comprising an extending DINING TABLE, 218cm long (open), 120cm long (closed), 74cm high, 121cm deep; and a SET OF EIGHT MODEL 75 CHAIRS, 50cm wide, 77cm high, 42cm deep (9) £500-800

140

Lyon & Turnbull

578 EERO SAARINEN (1910-1961) FOR KNOLL STUDIO SET OF SIX ‘TULIP’ CHAIRS, DESIGNED 1958 aluminium and fibreglass with upholstered cushions, each bears maker’s label, 47cm wide, 80cm high, 45cm deep; and an associated TULIP TABLE, with oval marble top on tapering base, 200cm long, 73cm high, 122cm deep (6)

£2,500-3,000

579

580

581

582

BERNHARD PEDERSEN & SON

MANNER OF BØRGE MOGENSEN

SCANDINAVIAN SCHOOL

TEAK SIDEBOARD, 1960S the rectangular top above two tambour doors enclosing a shelved interior, tapered legs

DANISH LEATHER SOFA, LATE 20TH CENTURY tan leather upholstery with six loose cushions on square stained wood legs

JOHANNES ANDERSEN (1903-1991) FOR C.F.C. SILKEBORG

211cm wide, 79cm high, 51cm deep

184cm wide, 72cm high, 51cm deep

£300-500

£400-600

NEST OF TEAK TABLES, CIRCA 1960 the largest with tiled panel, all raised on tapered legs (3) largest 60cm wide, 51cm high, 36cm deep

TEAK SIDEBOARD, CIRCA 1960 with three central drawers flanked by cupboards raised on turned legs 183cm wide, 78cm high, 46cm deep

£200-300

£250-350

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

583 [§] ARCHIMEDE SEGUSO (1909-1999) PAIR OF MURANO GLASS BIRDS ‘COPPIA DI FARAONE’, MID 20TH CENTURY each with aventurine inclusions and with pale green glass bodies, raised on a ribbed base, etched marks ARCHIMEDE SEGUSO/ MURANO (2) 28cm and 25cm high Both figures in good overall condition with no damages Some light scratches under the bases as you would expect

£700-1,000

584 C.I.A./ MANNA, TORINO EARTHENWARE FIGURE, CIRCA 1940 with gilt highlights, bears painted maker’s marks I.A. MANNA/ TORINO 30cm high

£200-400

585 [§] JEAN COCTEAU (1889-1963) FOR ATELIER MADELINE JOLLY CIRCULAR PLATE, DATED 1958 No. 15 of an edition of 50, partially glazed ceramic and decorated with a male and a female figure, signed and dated JEAN COCTEAU/ 1958, and with maker’s marks verso EDITION ORIGINALE/ DE JEAN COCTEAU/ ATELIER MEDELINE JOLLY/ 15/50 27.5cm diameter

£700-900

586

587

PAOLO VENINI (1895-1959)

A.V.E.M. (ATTRIB.), MURANO

’VETRO INCISO’ GLASS PERFUME BOTTLE AND STOPPER, CIRCA 1955 etched marks VENINI/ ITALIA/ 19.5cm high; a DINO MARTENS FOR AURELIANO TOSO CASED GLASS HANDKERCHIEF VASE, maker’s paper labels, 9.5cm high; and a PAOLO VENINI CASED GLASS HANDKERCHIEF VASE, etched maker’s marks, 6cm high (3)

LARGE GLASS VASE, 1950S of flattened ovoid form, the red body with multi-coloured vertical striping and millefiore inclusions

£300-500

£200-300

23.5cm high

141

142

Lyon & Turnbull

588 ROBIN DAY (1915-2010) FOR HILLE, LONDON CLUB ARMCHAIR, DESIGNED 1962 tan leather upholstery on a teak underframe, with loose buttoned seat and back cushions 80cm wide, 70cm high, 60cm deep Note: This example manufactured early 1960s.

£1,000-1,500

589 AFTER FLORENCE KNOLL MARBLE TOP ‘TABLE DESK’, DESIGNED 1961 with oval marble top raised on chromium plated circular column on quadruped base 200cm long, 70cm high, 122cm deep

£600-800

590

591 Y

592

DANISH SCHOOL

SCANDINAVIAN SCHOOL

TEAK DINING ROOM SUITE, CIRCA 1960 comprising a DINING TABLE, 182cm wide, 72cm high, 86cm deep; and EIGHT MATCHING CHAIRS, each with curved back above upholstered seat on turned legs linked by stretchers, 49cm wide, 75cm high, 40cm deep (9)

TEAK VINYL RECORD CABINET, CIRCA 1960 the rectangular top enclosing fourteen compartments for records, the whole raised on square tapering legs

OLE WANSCHER (1903-1985) FOR FRANCE & SØN, DENMARK PAIR OF TEAK 110 CHAIRS, DESIGNED 1951 each with open arms raised on turned legs, bears maker’s label (cushions lacking) (2)

120cm long, 56cm high, 39cm deep

62cm wide, 75cm high, 50cm deep

£200-300

£300-400

£300-500

593 - 595 No Lots For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

596 [§] MARY GALLAGHER (SCOTTISH CONTEMPORARY) STILL LIFE OF RED TULIPS signed, pastel 74cm x 53cm (29in x 21in)

£300-500

597 [§] JAMES BEATTIE MICHIE (SCOTTISH 1891-1959) SOUVENIR D’UNE AFFICHE signed, inscribed with title verso, watercolour 52cm x 41cm (20.5in x 16in)

£300-500

598 [§] GEORGE DEVLIN (SCOTTISH 1937-2014) BOATS IN HARBOUR signed, mixed media 75cm x 55.5cm (29.5in x 21.75in)

£400-600

143

144

Lyon & Turnbull

599 IRENE HALLIDAY R.S.W. (SCOTTISH B.1931) JANUARY LANDSCAPE signed and dated ‘60, mixed media 37cm x 55.5cm (14.5in x 22in) Exhibited: Royal Academy, 1962 Royal Watercolour Society

£150-250

600 [§] ANN PATRICK (SCOTTISH B.1937) SUMMERTIME SWIMMING signed, oil on board 35cm x 61cm (13.75in x 24in)

£400-600

601 [§] GEORGE DEVLIN (SCOTTISH 1937-2014) STORMY CLIFFS signed, oil on board 33.5cm x 29.5cm (13.25in x 11.5in)

£400-600

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

602

603

[§] DEREK CLARKE M.B.E., R.S.A. (BRITISH 1912-2014)

[§] DAVID WARRILOW (SCOTTISH B.1956)

PORTRAIT OF A DOG signed, oil on canvasboard

PANSIES - 2002 oil on board

15.5cm x 23.5cm (6in x 9.25in)

27.5cm x 32.5cm (10.75in x 12.75in) Provenance: Cyril Gerber Gallery

£400-600

£400-600

604

605

[§] CATRIONA CAMPBELL (SCOTTISH B.1940)

[§] MARJ BOND R.S.W. (SCOTTISH B.1939)

CIRCUS COSSACK signed, oil on board

MASKS signed and dated ‘86, oil on board

28cm x 28cm (11in x 11in)

74cm x 75cm (29in x 29.5in)

£300-500

£400-600

145

146

Lyon & Turnbull

606

607

[§] CHARLES NEAL (BRITISH B. 1951)

[§] CHARLES NEAL (BRITISH B. 1951)

PARLIAMENT HEATH, GROTON, SUFFOLK signed, inscribed with title stretcher verso, oil on canvas

MEADOWS AT QUEENINGTON signed, inscribed with title verso, oil on canvas

49cm x 39cm (19.25in x 15.25in)

75cm x 65cm (29.5in x 25.5in)

£800-1,200

£800-1,200

608

609

[§] DICK VAN HEERDE (DUTCH B. 1954)

[§] DICK VAN HEERDE (DUTCH B. 1954)

KING OF THE SERENGETI signed lower left D.V. HEERDE, oil on canvas

AT THE WATER’S EDGE: LEOPARD signed lower right D.V. HEERDE, oil on canvas

69cm x 109cm (27in x 43in)

69cm x 109cm (27in x 43in)

£300-500

£300-500

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

147

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

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

Names or Recognised Designation of an Artist without any Qualification In our opinion a work by the artist

Manner of…

In our opinion a work executed in the artist’s style but of a later date

Attributed to…

In our opinion probably a work by the artist in whole or on part

Studio of… / Workshop of…

In our opinion a work executed in the studio or workshop of the artist, possibly under their supervision

Circle of…

In our opinion work of the period of the artist and showing their influence

Follower of…

In our opinion a work executed in the artist’s style but not necessarily by by a pupil

Signed… / Dated… / Inscribed… / In our opinion the work has been signed/dated/ inscribed by the artist

Bears Signature… / Date… / Inscription… / In our opinion the signature/date/inscription appears to be by a hand other than that of the artist

Dimensions are given height before width

148

Lyon & Turnbull

Conditions of Sale SELLERS 1. DEFINITIONS In these Conditions of Sale (Sellers): “Auctioneer” means Lyon & Turnbull Ltd (Registered in Scotland No: 191166 | Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) 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; “Terms of consignment” means the stipulated terms and rates of commission on which the Auctioneer accepts instructions from Sellers or their agents; “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; “Without reserve” where there is no minimum

price at which a lot may be sold (whether at auction or private treaty); “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.

“Us”, “Our”, “We” etc refers to Lyon & Turnbull Ltd The singular includes the plural and vice versa as appropriate.

2. WARRANTY OF TITLE AND AVAILABILITY The Seller warrants:(a) that you are the true owner of the property consigned or are properly authorised by the true owner to consign it for sale and are able to transfer good and marketable title to the property free from any third party claims. (b) that all requirements have been complied with, legal or otherwise, relating to any export or import of the property consigned, all duties and taxes in respect of the export or import of the lot have (unless agreed in writing with us) been paid and, so far as you and any principal for whom they are acting in relation to the lot are aware, all third parties have complied with such requirements in the past. (c) that you have provided Lyon & Turnbull with any and all information concerning the item’s provenance or any concerns expressed by third parties concerning its ownership, condition, authenticity, attribution, and export or import history; and (d) Unless the Seller advises Lyon & Turnbull in writing to the contrary on delivery of the item to Lyon & Turnbull, there are no restrictions on Lyon & Turnbull rights to reproduce photographs or other images of the item in connection with the sale or any other marketing which will be done in accordance with good taste and decency.

3. PREPARATION FOR SALE (a) Lyon & Turnbull shall decide the way in which a lot may be included in the sale, how any lot is described and illustrated in the catalogue or any report, and the marketing, promotion, date, place and conduct of the sale. (b) Lyon & Turnbull will instruct, consult with, and rely on, any outside experts or restorers, agents or other third parties, and carry out such other due diligence, inquiries, research or tests in relation to the property or its provenance, either before the Proposed Sale as it may deem appropriate in its reasonable discretion.

(c) Any oral or written estimate or evaluation or report provided by Lyon & Turnbull is a genuinely held opinion only. It may not be relied on as a prediction of the selling price or value of the Item, and may in Lyon & Turnbull’s absolute discretion be revised 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 The Seller acknowledges that lots are sold subject to these Conditions and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot.

5. STANDARD SELLER FEES AND CHARGES (Subject to VAT) (1) Commission: 15% is charged on the selling price of each lot, (subject to a minimum charge of £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.

1(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. A 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

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

pursue other remedies.

9. LOT WITHDRAWAL

(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.

If a Seller wishes to withdraw a lot organised for sale, a withdrawal fee will apply;

7. LOSS & DAMAGE WARRANTY (a) Subject to condition 7(c) below Lyon & Turnbull will assume liability for loss or damage to an item, commencing at the time that item is taken into physical control and possession

by Lyon & Turnbull and ceasing on the earliest date of; (i) when risk passes to the Buyer of the lot following its sale; (ii) for unsold lots, when the lot is released to the Seller, or, within 3 months of the sale;or (iii) 6 months from the date of delivery to Lyon & Turnbull for items still in the possession of Lyon & Turnbull but not consigned for sale (unless part of a long-term storage agreement). (b) Lyon & Turnbull shall charge a loss and damage warranty fee of 1.5% of the hammer price, plus VAT. (c) If any loss or damage should occur to the lot during the period identified in paragraphs (a) above, Lyon & Turnbull’s liability to compensate the Seller in respect of that loss shall be restricted to a maximum of the upper estimate, or actual loss incurred, whichever is lower. This compensation will be subject to a deduction of a 1.5% loss & warranty fee (subject to VAT).

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

(2) Aftersales: We reserve the right to accept an after-auction offer on a lot on behalf of the seller, at the agreed reserve price or above, for up to 48 hours after the original auction. In which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these Conditions apply.

(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

149

(c) lf the Seller elects to take action against any Buyer on its own behalf Lyon & Turnbull will provide the Seller with such assistance as may be reasonably necessary to pursue that action. (d) The Seller hereby agrees to inform Lyon & Turnbull of any action which it chooses to take against the Buyer to enforce payment of the amount due to the Seller. (e) In the event that a Buyer fails to pay for a lot in accordance with the Conditions of Sale for Buyers, that lot will be treated in the same way as an unsold or collected lot.

12. SETTLEMENT PAYMENTS Subject to full payment by the Buyer, payment of the net proceeds of sale due to you will be made over to you 28 working days following a sale. Provided we have received cleared funds.

Payment will be made by cheque or BACS (if requested).

(ii) it reasonably doubts the accuracy of any of the Seller’s warranties; or

13. SALE BY PRIVATE TREATY

(iii) the Seller breaches any provisions of the Conditions of Sale in any material respect; or

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

(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.

(b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers.

(d) 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.

(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.

10. AUTHORITY TO DEDUCT COMMISSION AND EXPENSES AND RETAIN PREMIUM AND INTEREST

(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.

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.

14. THIRD PARTY LIABILITY

11. NON-PAYMENT BY THE BUYER (a) Lyon & Turnbull will, where it considers appropriate, take reasonable steps to investigate the ability of bidders to pay for lots and will use reasonable endeavours, in consultation with the Seller, to enforce payment of the Hammer Price by any Buyer. (b) Lyon & Turnbull, in consultation with the Seller, will decide whether to pursue any of the remedies available to it, including those set out in Condition 10 of the Condition of Sale (Buyers) including the right to cancel the sale and return the property to the Seller. Lyon & Turnbull will inform the Seller of any action which it contemplates taking against the Buyer.

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 or similarly for the safety of the property of persons visiting prior to, during or after a sale.

15. GENERAL (a) We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. (b) Any notice to any Buyer, Seller, bidder or viewer may be given by email, or if not available then first class mail, in which case it shall be deemed to have been received by the addressee 48 hours after posting. (c) Notices to Lyon & Turnbull should be in writing and addressed to the Managing Director at 33 Broughton Place, Edinburgh EH1 3RR, quoting the reference number specified at the

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beginning of the sale catalogue. (d) Should any provision of these Conditions of Sale be held unenforceable for any reason, the remaining provisions shall remain in full force and effect. (e) These Conditions of Sale are not assignable by either party without the other’s prior written consent, but are binding on the seller’s successor and representatives. No act, omission or delay by Lyon & Turnbull shall be deemed a waiver or release of any of its rights. (f) The contract between the parties may be varied by the parties by agreement and in writing.

16. RECISSION OF SALES Lyon & Turnbull may rescind the sale where it reasonably believes that the lot falls within the terms as defined by Lyon & Turnbull’s Authenticity Guarantee (see Buyer’s conditions), in this event Lyon & Turnbull shall send the Seller notice of such rescission. The Seller agrees to return to Lyon & Turnbull the Net Sale Proceeds received from the sale of such

BUYERS The Auctioneer carries on business with bidders, Buyers and all those present in the auction room prior to, or in connection with, a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein.

1. DEFINITIONS In these Conditions of Sale (Buyers): “Auctioneer” means Lyon & Turnbull Ltd (Registered in Scotland No: 191166 | Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) 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;

lot with any additional expenses incurred by Lyon & Turnbull. Lyon & Turnbull will return the property to the Seller upon receipt of the Net Sale Proceeds and Expenses, unless prevented in doing so by reasons outwith Lyon & Turnbull’s control.

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

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

18. 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

“Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd The singular includes the plural and vice versa as appropriate.

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

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

3. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security and credit references or arrangements before entering the auction room to view or bid; (b) High Value Lots and High Cumulative Value of Lots: If you wish to bid on any High Value Lot (a lot with a lower estimate of £30,000 or above) or if you are bidding on several lots with a total lower estimate value of £30,000 or above, you are invited to complete the High Value Lot pre-registration. After you have successfully registered as a bidder with Lyon & Turnbull, you should complete the High Value Lot pre-registration before the date of sale by

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 0131 557 8844.

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 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.

contacting the Office Manager or on the date of sale at the registration area. Unless otherwise agreed by us, you will be permitted to bid for High Value Lots only if Lyon & Turnbull has confirmed your payment of deposit and your completion of the High Value Lot pre-registration before the sale. The Deposit required will be 10% of the lower estimate.

Upon pre-registration, you should pay the deposit or such other sum as determined by Lyon & Turnbull dependant on circumstances, by way of bank transfer or credit card(s) acceptable to Lyon & Turnbull. Please note that Lyon & Turnbull does not accept payment from third parties and this also applies to agents.

If you are not successful in any bid and do not owe Lyon & Turnbull any debt, the deposit will be refunded to you by way of wire transfer or such other methods as determined by Lyon & Turnbull. Please make sure that you provide your bank details in the pre-registration form.

The exchange rate provided to us by the bank on the date of exchange is final. We will arrange to refund the deposit to you within seven days after the date of sale, however we do not guarantee when you will receive the payment due to the variance in time for banks to process fund transfers.

Upon successful pre-registration, you will be given a numbered High Value Lot paddle for identification purposes. The auctioneer will usually only accept bids made with the High Value Lot paddle or by its High Value Lot

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Decorative Arts: Design since 1860

registered bidder. This applies to saleroom, telephone and absentee bids.

Lyon & Turnbull has the right to change the High Value Lot pre-registration procedures and requirements from time to time without notice. (c) 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. (d) Once made, no bid may be withdrawn. (e) Our right to bid on behalf of Sellers is expressly reserved up to the amount of any reserve. (f) The right to refuse any bid is also reserved. (g) 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. (h) Telephone Bids: If a prospective Buyer makes arrangements with us prior to the commencement of the sale we will use reasonable efforts to contact them to enable them to participate in bidding by telephone.

We do not accept liability for failure to do so or for errors and omissions in connections. (h) Online Bidding: We will use reasonable efforts to carry out online bids and do not accept liability for equipment failure, inability to access the internet or software malfunctions related to execution of online bids/ live bidding.

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

5. THE PURCHASE PRICE For each lot purchased a Buyer’s Premium of 25% of the hammer price of each lot up to and including £100,000, plus 20% from £100,001 thereafter. VAT at the appropriate rate is charged on the Buyer’s Premium. No VAT is payable on the hammer price or premium for printed books or unframed maps bought at auction.

Live online bidding is subject to an additional 3% premium (charged by the live bidding service provider Invaluable). This additional premium is subject to VAT at the appropriate rate as above.

6. VALUE ADDED TAX

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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.

by us towards any sums owing by you to us howsoever incurred and without agreement by you or your agent, whether express or implied.

(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.

9. TITLE AND COLLECTION OF PURCHASES

(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.

(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) Lots affixed with [Ω]: Standard rate of Value Added Tax on the hammer price and premium is payable. This applies to items that have been imported from outwith the European Union and do not fall within the reduced rate category outlined above.

7. DROIT de SUITE This symbol § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, which took effect in the United Kingdom on 14th February 2006. We are required to collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012 this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the Buyer on the hammer price and in addition to the Buyer’s premium. It will not apply to works where the hammer price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale. All royalty charges are paid to the Design and Artists Copyright Society (‘DACS’) and no handling costs or additional fees are retained by the auctioneer. Resale royalties are not subject to VAT. Please note that the royalty payment is calculated on the rate of exchange at the European Central Bank on the date of the sale. More information on Droit de Suite is available at www.dacs.org.uk.

8. PAYMENT (1) Within 7 days of a lot being sold you will: (a) Pay to us the total amount due in cash or by such other method as is agreed by us. We accept cash, bank transfer (details on request), debit cards and Visa or MasterCard credit cards. (b) Please note there is a surcharge of 2% when using credit cards. (c) Please note that we do not accept cash payments over £5,000.

(2) Any payments by you to us may be applied

(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.

(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

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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.

(3) Estimates: Estimates are placed on each lot to help Buyers gauge the sums involved for the purchase of a particular lot. Estimates do not include the Buyer’s Premium or VAT. Estimates are a matter of opinion and prepared in advance. Estimates may be subject to change and are for guidance only and should not be relied upon.

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

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

(6) Upholstered items: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations (items manufactured prior to 1950 are exempt from any regulations). Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given.

Lyon & Turnbull provide no guarantee as to the originality of any wood/material contained within the item.

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

12. BOOKS, CLOCKS & WATCHES (1) Books-Collation: If on collation any NAMED item in the sale catalogue proves defective, in text or illustration the Buyer may reject the lot provided he returns it within 21 days of the sale stating the defect in writing. This, however, shall not apply in the case of unnamed items, periodicals, autographed letters, music M.M.S., maps, drawings NOR in respect of damage to bindings, stains, foxing, marginal worm holes or other defects not affecting the completeness of the text NOR in respect of Defects mentioned in the catalogue, or at the time of sale, NOR in respect of lots sold for less than £300.

seen”, and the absence of any reference to the condition of a clock or watch does not imply the lot is in good condition and without defects, repairs or restorations. Most clocks and watches will have been repaired during their normal lifetime and may now incorporate additional/newer parts. Furthermore, Lyon & Turnbull makes no representation or warranty that any clock or watch is in working order.

As clocks and watches often contain fine and complex mechanisms, Buyers should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary.

Buyers should also be aware that Lyon & Turnbull cannot guarantee a watch will remain waterproof if the back is removed. Buyers should be aware that the importing watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches cannot be shipped to the USA and only imported personally.

13. CITES Please be aware that all lots marked with the symbol Y may be subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http://www. defra.gov.uk/ahvla-en/imports-exports/cites Lyon & Turnbull accepts no liability for any lots which may be subject to CITES but have not be identified as such.

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

(2) Clocks & Watches: All lots are sold “as

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

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15. THIRD PARTY LIABILITY

This Guarantee does not apply if:

18. DATA PROTECTION

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.

(i) the catalogue description was in accordance with the opinion(s) of generally accepted scholar(s) and expert(s) at the date of the sale, or the catalogue description indicated that there was a conflict of such opinions; or

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.

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 the Managing Director 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. AUTHENTICITY GUARANTEE Lyon & Turnbull guarantees that the authorship, period, or origin (collectively, “Authorship”) of each lot in this catalogue is as stated in the BOLD or CAPITALISED type heading in the catalogue description of the lot, as amended by oral or written salesroom notes or announcements. Lyon & Turnbull makes no warranties whatsoever, whether express or implied, with respect to any material in the catalogue other than that appearing in the Bold or Capitalised heading and subject to the exclusions below.

In the event Lyon & Turnbull in its reasonable opinion deems that the conditions of the authenticity guarantee have been satisfied, it shall refund to the original purchaser of the lot the hammer price and applicable Buyer’s Premium paid for the lot by the original purchaser.

(ii) the only method of establishing that the Authorship was not as described in the Bold or Capitalised heading at the date of the sale would have been by means or processes not then generally available or accepted; unreasonably expensive or impractical to use; or likely (in Lyon &Turnbull’s reasonable opinion) to have caused damage to the lot or likely to have caused loss of value to the lot; or (iii) there has been no material loss in value of the lot from its value had it been in accordance with its description in the Bold or Capitalised type heading.

This Guarantee is provided for a period of one year from the date of the relevant auction, is solely for the benefit of the original purchaser of the lot at the auction and may not be transferred to any third party. To be able to claim under this Authenticity Guarantee, the original purchaser of the lot must: (i) notify Lyon & Turnbull in writing within one month of receiving any information that causes the original purchaser of record to dispute the accuracy of the Bold or Capitalised type heading, specifying the lot number, date of the auction at which it was purchased and the reasons for such dispute; and (ii) return the Lot to Lyon & Turnbull’s registered office in the same condition as at the date of sale to the original purchaser of record and be able to transfer good title to the Lot, free from any third party claims arising after the date of such sale.

Lyon & Turnbull has discretion to waive any of the above requirements. Lyon & Turnbull may require the original purchaser of the lot to obtain, at the original purchaser of lot’s cost, the reports of two independent and recognised experts in the field. The reports must be mutually acceptable to Lyon & Turnbull and the original purchaser of the lot. Lyon & Turnbull shall not be bound by any reports produced by the original purchaser of the lot, and reserves the right to seek additional expert advice at its own expense. It is specifically understood and agreed that the rescission of a sale and the refund of the original purchase price paid (the successful hammer price, plus the buyer’s premium) is exclusive and in lieu of any other remedy which might otherwise be available as a matter of law. Lyon & Turnbull and the Seller shall not be liable for any incidental or consequential damages incurred or claimed, including without limitation, loss of profits or interest.

If you would like further information on Lyon & Turnbull policies on personal data, or to make corrections to your information, please contact us on 0131 557 8844.

19. 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, lockout, 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.

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

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Guide to Bidding & Payment Registration

Droit de Suite

Payment

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:

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 endeavour to undertake such bids to the best of our abilities.

This service is available entirely at our discretion and at the bidder’s risk.

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:

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.

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.

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.

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. For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

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

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

22 Connaught Street, London W2 2AF Tel. +44 (0)207 930 9115