518 Decorative Arts: Design since 1860

Wednesday, 11th April 2018 33 Broughton Place Edinburgh

Decorative Arts: Design since 1860

Decorative Arts: Design since 1860 3

Decorative Arts: Design since 1860 Wednesday, 11th April, 2018 at 11am Sale Number LT518

Viewing in Edinburgh Sunday, 8th April 12 noon - 4pm Monday, 9th April 10am - 5pm Tuesday 10th April 10am - 5pm Morning of sale from 9am

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

Catalogue: ÂŁ15

Front Cover Lot 520 (detail)

Inside Front Cover Lot 1

Inside Back Cover Lot 62 (detail)

4 Lyon & Turnbull

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Catalogue descriptions

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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.

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

Decorative Arts: Design since 1860 5

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

Olivia Ross

Decorative Arts & Design

Decorative Arts & Design

Administrator

john.mackie@lyonandturnbull.com

theo.burrell@lyonandturnbull.com

olivia.ross@lyonandturnbull.com

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6 Lyon & Turnbull

1 ENGLISH SCHOOL PAIR OF GOTHIC REVIVAL PATINATED CAST IRON ANDIRONS, CIRCA 1862 each cast as double-headed grotesque birds with opposed applied rosettes and fearsome talons raised on a plinth, bears registration marks for 22nd April 1862 (2) 23cm high Note: See endpapers for detail

£500-800

2 MANNER OF RICHARD NORMAN SHAW PAIR OF GOTHIC REVIVAL CAST IRON AND BRASS ANDIRONS, CIRCA 1865 the uprights surmounted by brass rosettes (2) 69cm high

£200-300

3 MANNER OF A.W.N. PUGIN THREE GOTHIC REVIVAL WOVEN SILK HANGINGS, CIRCA 1880 machine woven in shades of red, blue and buff with a trellis design with foliate and cross motifs, 287cm x 138cm; 267cm x 130cm; and 284cm x 130cm; also TWO ASSOCIATED CURTAIN TIE BACKS and SIX LENGTHS OF TIE-BACK ROPE, various lengths (11) £400-600

4 GOTHIC REVIVAL OAK LIBRARY TABLE, CIRCA 1890 the latticed parquetry top raised above a carved chevron and dentil banded frieze with three opposed drawers, and with corresponding opposed false drawers to each end, the whole raised on turned and facetted legs, with incised decoration and applied prunts 192cm long, 80cm high, 108cm wide

£2,500-3,500

Decorative Arts: Design since 1860 7

5 ATTRIBUTED TO A.W.N. PUGIN FOR JOHN HARDMAN & CO. GOTHIC REVIVAL HARDMAN BRASS AND STEEL TABLE BELL, CIRCA 1850 with openwork trefoil handle supporting four steel bells, the whole raised on cast paw feet 28cm high

£1,000-1,500

6 CHARLES EASTLAKE (1836-1906) OAK BUREAU CABINET, CIRCA 1860 the upstand with open shelf, carved with foliate motifs and with characteristic pierced sides above a sloping fall, opening to reveal an interior fitted with pigeonholes, and raised above two panelled doors, the whole fitted with elaborate brass fittings 107cm wide, 160cm high, 45cm deep

£2,000-3,000

7 ATTRIBUTED TO CHARLES BEVAN FOR MARSH & JONES GOTHIC REVIVAL OAK AND LEATHER-UPHOLSTERED RECLINING ARMCHAIR, CIRCA 1870 with upholstered back, seat and arm pads, detailed peg construction, chamfered and with incised linear decoration and brass castors 68cm wide, 100cm high, 51cm deep Literature: Cooper, Jeremy ‘Victorian and Edwardian Furniture and Interiors’, Thames & Hudson, 1987, fig 267 where a related chair designed by Charles Bevan, and manufactured on licence by Marsh & Jones is illustrated.

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

£1,500-2,000

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8 HANNAH BARLOW (1851-1916) FOR DOULTON, LAMBETH STONEWARE VASE, DATED 1879 incised with a frieze of sheep in a landscape with foliate bands, impressed and incised maker’s marks with artist’s initials 30cm high

£500-800

9 ATTRIBUTED TO CHARLES BEVAN FOR MARSH & JONES GOTHIC REVIVAL INLAID OAK SIDEBOARD, CIRCA 1875 the reverse breakfront top above three drawers and four inlaid panelled doors, the central doors with bracket supports, the whole raised on two plinths, the central lock stamped * TONKS & SON/ REGISTERED/ APRIL 16TH 187* 220cm wide, 98cm high, 74cm deep Literature: Gere, Charlotte and Whiteway, Michael ‘Nineteenth Century Design’, London 1993, p.

113-4, pl. 125 and 126 Note: Victorian designer Charles Bevan was a prominent nineteenth-century English furniture maker and designer who created criticallyacclaimed pieces of ornate furniture in the Gothic Revival style. He worked with numerous furniture designers and his pieces were written about in various catalogues and periodicals, and can now be found in both private and public collections such as the Victoria & Albert Museum in London.

Bevan’s works were shown at international exhibitions such as a bookcase designed for James Lamb shown at the Paris Exposition Universelle of 1867, and two cabinets at the International Exhibition in London in 1872, which he designed for Gillows & Co.

£3,000-5,000

10

11

12

12A

DOULTON, LAMBETH

[§] ALEXANDER STODDART (B. 1959)

BURMANTOFTS POTTERY, LEEDS

GOTHIC REVIVAL

31cm high

PORTRAIT ROUNDEL OF ALEXANDER GREEK THOMSON plaster roundel, cast in relief and bearing inscription A. THOMSON/ ARCHT/ MDCCCXVII/ VXXV/ A. STODDART SC. 1993

FAIENCE STICK STAND, CIRCA 1895 model 2026, decorated with irises in relief, impressed and painted maker’s marks BURMANTOFTS FAIENCE 2026/ COL NO. 80/ 2

£150-250

44.5cm diameter

62cm high

£300-500

£300-500

STONEWARE OIL LAMP BASE, DATED 1873 impressed, incised and applied decoration, converted to electricity, marked to base HINKS & CO

BRASS ADJUSTABLE TABLE LAMP, CIRCA 1900 with hinged column on tripod base linked with a ring stretcher 41cm high (with fitting)

£200-300

Decorative Arts: Design since 1860 9

13 LEONARD KING FOR BURMANTOFTS POTTERY, LEEDS FAIENCE ANGLO-PERSIAN BOTTLE VASE, CIRCA 1880 model no. 35, the ovoid body with tapering neck and bulbous rim, painted with panels of stylised foliage in blue, turquoise, green and aubergine on a white ground, impressed and painted maker’s marks BURMANTOFTS FAIENCE/ 35/ D274/ 1931, painted artist’s monogram 36cm high

£2,000-3,000

14 SCOTTISH SCHOOL THIRTEEN GREEK REVIVAL PAINTED GLASS PANELS, CIRCA 1880 each painted with anthemion and Greek key motifs on a frosted ground (13) 91.5cm x 40.5cm

£300-500

15 BRUCE TALBERT (1839-1881) SET OF SIX OAK AND EBONISED WOOD DINING CHAIRS, CIRCA 1880 each with spindle backs above upholstered seats on turned legs linked by stretchers (6) 45cm wide, 82cm high, 45cm deep

£300-500

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

10 Lyon & Turnbull

16Y MANNER OF JACKSON & GRAHAM AESTHETIC MOVEMENT WALNUT, EBONY AND IVORY INLAID OVERMANTEL MIRROR, CIRCA 1870 the arched mirror plate in a frame inlaid with panels of foliate scrolls and outlined with ivory stringing, the cresting centred with an inlaid monogrammed cartouche MJW 184cm high, 126cm wide

£600-800

17 PAIR OF PATINATED AND POLISHED BRASS HANGING LANTERNS 20TH CENTURY in the Persian taste, the pierced domed tops above octagonal sides with frosted glass, electrified (2) 45cm wide, 76cm high

£400-600

18 LONGWY, FRANCE A PAIR OF TWIN-HANDLED VASES, LATE 19TH CENTURY of baluster form, decorated with reserves of birds and foliage within a frieze of flowers on a pink ground, 42.5cm high; a PAIR OF CYLINDRICAL VASES, of similar decoration on a blue ground, 23.5cm high; and a JARDINIERE, of flattened ovoid form with floral decoration, base drilled, 22cm diameter, variously marked, damages (5) Contents of a Northumbrian Country House

£500-800

Decorative Arts: Design since 1860 11

19Y MANNER OF E.W. GODWIN AESTHETIC MOVEMENT ROSEWOOD DRAUGHT SCREEN, CIRCA 1880 each finely carved fold with fretwork gallery and ripple mouldings enclosing later fabric panels 236cm wide, 181cm high

£800-1,200

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21

22

[§] SIR WILLIAM NICHOLSON (1872-1949)

JAMES PITTENDRIGH MACGILLIVRAY (1856-1938)

THOMAS GRAHAM JACKSON (1835-1924) FOR JAMES POWELL & SONS

AN ALMANAC OF TWELVE SPORTS set of twelve lithographs from the woodblocks, all framed (12)

BUST OF A CHILD patinated plaster, signed with anthemion stamp

SET OF EIGHT SEA GREEN DRINKING GLASSES, CIRCA 1870 each glass with shaped bowl on a knopped stem with spreading circular base (8)

27.5cm x 24cm

56cm high

15cm high

£400-600

£300-500

Provenance: Laurence W. Hodson, Compton Hall, Wolverhampton, sold Dreweatts, 27th March 2013

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

£250-350

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23 ENGLISH SCHOOL ANGLO-MORESQUE MAHOGANY WRITING DESK, CIRCA 1890 the rectangular top with inset leather writing surface, above leaf-carved kneehole with four drawers, the sides with fretwork panels, the whole raised on square chamfered legs 153cm wide, 76cm high, 88cm deep

£800-1,200

24 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

£600-800

25 JOHN MOYR SMITH (1839-1912) FOR COX & SON AESTHETIC MOVEMENT WALL CABINET, CIRCA 1875 the cresting with incised and gilded decoration, above an open shelf and twin glazed doors above two further shelves 77cm wide, 117cm high, 17cm deep Literature: Cox & Son catalogue for 1871 H. Blairman & Sons Ltd. ‘Furniture and Works of Art’, annual catalogue, 1999, where a drawing of this cabinet is illustrated.

£500-800

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27

MINTON, HOLLINS & CO.

MINTONS LTD.

PAIR OF MOULDED ‘PERSIAN’ TILES, CIRCA 1880 each within contemporary frame (2) 19cm square

PAIR OF FRAMED TWO-TILE PANELS, CIRCA 1890 each moulded in relief with fruiting brambles and covered in turquoise and royal blue glazes (2)

£150-250

each tile approx. 21cm square

£150-250

Decorative Arts: Design since 1860 13

28 W.T. COPELAND & SONS GROUP OF 24 ‘MEDIEVAL OCCUPATIONS’ DUST-PRESSED TILES, CIRCA 1880 mounted in a pair of brass frames (24) Panels; 92cm x 32cm, Tiles; 15cm square

£1,000-1,500

29 MANNER OF E. W. GODWIN AESTHETIC MOVEMENT OAK DRESSING MIRROR, CIRCA 1880 the rectangular swing mirror supported on turned and blocked frame with platform stretcher base 48cm wide, 90cm high, 31cm deep

£400-600

30 GEORGE HUGO TABOR (1857-1920) FOR DOULTON, LAMBETH

31

STONEWARE VASE, DATED 1883 of bottle form, incised with a frieze of flowering foliage within beaded borders, impressed and incised maker’s marks with artist’s initials

MINTON & CO.

33cm high

107cm wide, 98cm high

£200-300

£400-600

IZNIK TILED FIREPLACE SURROUND, CIRCA 1880 the painted iron frame set with tiles

14 Lyon & Turnbull

32 MANNER OF DANIEL COTTIER LARGE AESTHETIC MOVEMENT STAINED, PAINTED AND LEADED GLASS PANEL, CIRCA 1870 depicting a maiden in Classical attire in an interior and enclosed within coloured bands and panels of fruits and flowers, framed 225cm high, 96cm wide

£2,000-3,000

Decorative Arts: Design since 1860 15

33 LAMBS OF MANCHESTER AESTHETIC MOVEMENT DRAWING ROOM CABINET, CIRCA 1880 satinwood, amboyna and ebonised wood with gilding, the spindle gallery above a single door with central roundel, painted with a scene of Titania and Oberon, and flanked by open shelves with foliate ground, the base with single drawer above mirrored open shelves, bears serial no. 1078/ 3, the drawer stamped with maker’s mark LAMBS 136cm wide, 209cm high, 53cm deep

£1,000-1,500

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34 CONTINENTAL SCHOOL THE RESCUE oil on canvas, signed with monogram and dated 1860 50cm x 39cm

£400-600

35 BENHAM & FROUD, LONDON AESTHETIC MOVEMENT EBONISED PURDONIUM, CIRCA 1880 with hinged panel door enclosing a lined container and incised with a sunflower motif, below an open shelf with turned supports, stamped maker’s mark, 39910 48cm wide, 100cm high, 38cm deep

£300-500

36 W.T. COPELAND & SONS PAIR OF TILE PANELS, CIRCA 1880 painted as a Medieval falconer and his companion in a landscape, impressed maker’s marks verso, framed and glazed (2) 40cm x 20cm

£300-500

Decorative Arts: Design since 1860 17

37 FRED MILLER FOR HOWELL & JAMES, LONDON AESTHETIC MOVEMENT CERAMIC MANTEL CLOCK, DATED 1880 the twin train movement with circular dial painted with a sunflower motif within case decorated in blue on white with anthemions and garden flowers, painted inscription under base PAINTED FOR/ HOWELL, JAMES & CO/ BY/ FRED MILLER/ LONDON 1880 27cm high

£500-800

38 ATTRIBUTED TO EDWARD WILLIAM GODWIN FOR MINTON, HOLLINS & CO. PAIR OF PAINTED 8” TILES, CIRCA 1870 each depicting labourers at rest, within single oak frame (2) each tile 20cm square Literature: Soros, Susan ‘E. W. Godwin: Aesthetic Movement Architect and Designer’, Yale University Press 1999, p.308, fig.

11-18 where tiles in a similar manner are illustrated.

£500-700

39 MANNER OF WALTER CRANE AESTHETIC MOVEMENT EMBROIDERED APPLIQUE PANEL, CIRCA 1880 worked in coloured silks on an unbleached linen ground with a maiden and bearing inscription HARK FROM HER LIPS HOW THE NEWBORN MUSIC FALLS...etc., framed 53cm x 22.5cm

£200-300

40 ENGLISH SCHOOL PAIR OF AESTHETIC MOVEMENT SILKWORK EMBROIDERIES, LATE 19TH CENTURY each worked in coloured silks on a linen ground and depicting a young woman in Classical dress in a garden, later framed (2) 60cm x 28.5cm

£400-600 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

18 Lyon & Turnbull

41 ATTRIBUTED TO HENRY WILLIAM BATLEY AESTHETIC MOVEMENT EBONISED WALL CLOCK, CIRCA 1870 with twin train movement, the circular enamel dial within case with pierced metal panels and an arrangement of open shelves with pointed arch above 33cm wide, 102cm high, 12cm deep

£300-500

42 ENGLISH SCHOOL AESTHETIC MOVEMENT BRASS FRAMED MIRRORED WALL SCONCE, CIRCA 1890 with rectangular frame pierced with flowering foliate panels and enclosing a bevelled mirror, applied two arm branches, converted for electricity 64cm x 20cm

£300-500

Decorative Arts: Design since 1860 19

43 FRENCH SCHOOL SET OF FOUR PAINTED, STAINED AND LEADED GLASS PANELS, DATED 1916 each depicting scenes from the life of Joan of Arc, signed to the lower edge E. HAYES/ PARIS, one dated 1916 (4) 44.5cm x 32cm

£3,000-5,000

44 ATTRIBUTED TO HENRY WILLIAM BATLEY FOR JAMES SHOOLBRED & CO. AESTHETIC MOVEMENT LACQUERED CHAISE, CIRCA 1875 red lacquered wood and upholstery, the padded arm with a pierced panel, the buttoned upholstery with additional bolster cushion, the whole raised on square legs with brass caps and castors, linked by stretchers and fretwork 176cm long, 78cm high, 65cm deep Note: Henry William Batley (1846-1932), one of the great freelance designers of the 19th century, was most widely associated with the Aesthetic Movement. A pupil of Bruce J. Talbert, Batley designed furniture for Collinson & Lock and James Shoolbred & Co. He also designed the interiors for Doulton’s terracotta house, which was exhibited at the Paris Exhibition in 1878 and for which he was to receive the Legion d’Honneur. In 1883 he wrote his ‘Series of Studies for Domestic Furniture Decoration Etc.’, and in 1908 founded the Guild of Decorators Syndicate Ltd. with the aim of forging close links with commercial furniture and textile manufacturers, in stark contrast to the Arts & Crafts ideals of the time.

During the 1870s Batley was apprenticed by Arthur Silver, who in 1880 was to become founder of the Silver Studio. Here Batley has captured the fashionable and exotic Anglo-Japanese aesthetic in his use of linear design elements, fretwork panels and lacquered finish.

£3,000-5,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

20 Lyon & Turnbull

45 ATTRIBUTED TO CHRISTOPHER DRESSER FOR HUKIN & HEATH, LONDON SILVER PLATE SPIRIT KETTLE AND STAND, CIRCA 1878 the kettle with ebonised handle and reeded support with serrated leaf terminal, bears maker’s mark H&H/ 2966, the base with line decoration and separate burner, bearing registration mark for May 1878 27cm high Literature: Whiteway, Michael ‘Christopher Dresser 18341904’, Milan 2001, p.88, fig. 66 where a similar stand is illustrated.

H. Blairman & Sons ‘Furniture & Works of Art’ annual exhibition catalogue, 2011, no. 13 where a bowl and stand, the stand of similar design to the current example, is illustrated with a registration date of May 1878

£500-800

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47

48

CHRISTOPHER DRESSER (1834-1904) FOR COALBROOKDALE

ATTRIBUTED TO CHRISTOPHER DRESSER FOR R. PERRY, SON & CO., WOLVERHAMPTON

CHRISTOPHER DRESSER (1834-1904) FOR JAMES COUPER & SONS, GLASGOW

BRASS JUG, CIRCA 1885 of angular baluster form with elongated spout, and angular handle, indistinct painted marks to the base

’CLUTHA’ GLASS VASE, CIRCA 1880 of bulbous form with tall neck, the amber glass with trailing milky and aventurine inclusions

24cm high

19.3cm high

£400-600

Literature: ‘The John Scott Collection: Volume 5’ The Fine Art Society, London, p. 30 no. 42 where similar examples are illustrated.

Literature: Lyons. Harry ‘Christopher Dresser: The People’s Designer 1834-1904’, Woodbridge 2005, p. 226, pl. 475 where a ewer with similarities to the present lot is illustrated.

£200-300

£200-300

49

50

51

CHRISTOPHER DRESSER (1834-1904) FOR JAMES DIXON & SON, SHEFFIELD

JAMES COUPER & SONS, GLASGOW

ATTRIBUTED TO CHRISTOPHER DRESSER FOR HEATH & MIDDLETON LONDON

PAIR OF BRONZE AND MARBLE FIRE DOGS, CIRCA 1872 each with cast bracket supports with dentil collar raised on a spreading marble vase with leaf-cast bracket feet, cast registration mark for 1872, No. 265101 (2) 20cm high

GLASS CRUET SET, CIRCA 1880 with three circular bowls containing mustard pot, salt and pepper pot, stamped maker’s marks

’CLUTHA’ GLASS INSERT, CIRCA 1890 green glass with aventurine inclusions

12.3cm high

SILVER AND GLASS CLARET JUG, 1897 with silver collar, handle and spout, above the shouldered glass body, stamped maker’s marks, hallmarked London 1897

£200-300

20cm high

8.5cm high

£200-300

£300-500

Decorative Arts: Design since 1860 21

52 CHRISTOPHER DRESSER (1834-1904) FOR ELKINGTON & CO., BIRMINGHAM SILVER AND EBONY TWO-PIECE TEA SERVICE,1882 comprising a TEAPOT, of sphere form, with ebony handle, raised on three tapered feet supports, 15cm high; and a MILK JUG, also of sphere form, with ebony handle and raised on three tapered feet supports, 8.5cm high, each with engraved cipher to one side and bearing stamped maker’s marks to base FE (Frederick Elkington or Elkington & Co.), and hallmarks for London 1882 (2) £6,000-8,000

Literature: Halén, Widar ‘Christopher Dresser: A Pioneer of Modern Design’, London, 1993, p. 146 and p. 148, fig. 166 for an illustration of a similar silver teapot dated 1885.

Whiteway, Michael ‘Christopher Dresser, Skira 2001, p. 162 and p. 171, fig.

206 Exhibition catalogue, ‘Truth, Beauty, Power: Dr. Christopher Dresser 18341904, New York’, Historical Design, 1998, p. 55 Lyons, Harry ‘Christopher Dresser: The People’s Designer’, Woodbridge 2005, p.192, pl. 363.

Note: Dresser was associated with Elkington from about 1865-1890, and, apart from the series of famous designs he produced for the firm in the 1880s, was also employed in an advisory capacity with their experiments in Japanese techniques such as cloisonné enamel and Komai Ware. His designs for the firm in the 1880s were inspired by the Japanese teapots and other cooking vessels which he would have admired on his famous trip to Japan in 1876-77 but also the metal wares that were being imported and exhibited in Europe in the 1870s. Dresser reviewed the Japanese section of the Vienna International Exhibition of 1873 and commented that “While the kettle is an object of use in every house in the land, we have to go to Japan to learn how to make one as it should be”. The “square kettles and round kettles and polyhydric kettles” will have inspired him and the “breadth of treatment, simplicity of execution, and boldness of design” of the objects which he saw there and in Japan later on are reflected in the simplicity of line and undecorated nature of the famous designs he produced for Elkington’s, Hukin & Heath and James Dixon at this time. The present example, shape 16611, is entered as July 1881 in the V&A archive and is identical to the set registered in 1880 by James Dixon of Sheffield (shape 2278).

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53 CHRISTOPHER DRESSER (1834-1904) FOR HUKIN & HEATH SILVER PLATE TUREEN, COVER AND LADLE, CIRCA 1880 the TUREEN with deep bowl set on three tapering feet, with two cylindrical ebonised wood handles, the cover with turned ebonised wood finial, bears inscription to one side IN REMEMBRANCE OF DAYS AT WORSLEY/ DECR. 1882 and with cipher, bears maker’s marks to base DESIGNED BY DR C. DRESSER/ H&H/ 2123 with registration mark for July 1880, 31cm across the handles, 20cm high; the LADLE with deep bowl and cylindrical, slightly tapering ebonised wood handle, bears registration mark to bowl for July 1880, 36cm long (2) Literature: Whiteway, Michael ‘Christopher Dresser 1834-1904’, Milan, 2001, p. 96, pl. 96; Whiteway, Michael (ed.), ‘Christopher Dresser, A Design Revolution’, Victoria & Albert Museum, London, 9 September - 5 December 2004, p. 151, pl. 186.

£6,000-8,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Decorative Arts: Design since 1860 23

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54Y CHRISTOPHER DRESSER (1834-1904) FOR HEATH & MIDDLETON, LONDON SILVER MOUNTED CLARET JUG, 1885 the clear glass body attributed to Tees Bottle Company, Liverpool, with cylindrical neck to lozenge shaped flared body and star cut base, the simple applied wide collar and short curved angular spout, the lower neck mount attached with straight stems to ivory handle, with flat hinged cover engraved with Ducal coronet and initial C for Spencer Compton Cavendish, 8th Duke of Devonshire, stamped maker’s marks, hallmarked London 1885, bears registration marks for May, 1881 21.5cm high Literature: ‘Christopher Dresser and Japan’ Catalogue Committee, Japan, 2002, plate 104 Whiteway, Michael ‘Christopher Dresser: A Design Revolution’, V & A Publications, London, 2004, plate 181

£2,000-3,000

55 CHRISTOPHER DRESSER (1834-1904) FOR HUKIN & HEATH ELECTROPLATED CRUET SET, DATED 1879 the base with four conjoined bowls containing cut glass cruets, with maker’s marks H&H/ 2239 and registration mark for 1879 13cm high Provenance: Andrew McIntosh Patrick Collection Literature: Whiteway, Michael ‘Christopher Dresser 1834-1904’, Milan 2001, p. 87, pl. 61 where this example is illustrated

£400-600

56 CHRISTOPHER DRESSER (1834-1904) FOR HUKIN & HEATH, LONDON GLASS CRUET SET, CIRCA 1880 the angular frame with two clear glass bottles and stoppers, stamped maker’s marks DESIGNED BY DR. C. DRESSER/ H&H/ 1953 with registration mark for October 1878 21.5cm high

£400-600

Decorative Arts: Design since 1860 25

57 CHRISTOPHER DRESSER (1834-1904) FOR JAMES COUPER & SONS, GLASGOW ’CLUTHA’ GLASS VASE, CIRCA 1880 with an elongated neck and bulbous body, the green glass with opaque swirls and aventurine inclusions 38cm high

£1,000-1,500

58 CHRISTOPHER DRESSER (1834-1904) FOR JAMES COUPER & SONS, GLASGOW ’CLUTHA’ GLASS BOTTLE VASE, CIRCA 1880 with curved tapering neck, the pink glass with trailing milky and aventurine inclusions 24cm high

£500-800

59 CHRISTOPHER DRESSER (1834-1904) FOR HUKIN & HEATH, LONDON ELECTROPLATE ARTICULATED LETTER RACK, CIRCA 1881 with rod and ball construction on an arched base, stamped maker’s marks, H&H/ 2555 12.5cm high Literature: Whiteway, Michael ‘Christopher Dresser 1834-1904’, Milan 2001, p. 84, pl. 58 for a comparable example registered for 1881.

£600-800

60

61

CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE POTTERY

CHRISTOPHER DRESSER (1834-1904) FOR ELKINGTON & CO.

LUSTRE VASE, CIRCA 1880 the globular body in an olive green lustre glaze decorated with foliage and insects, impressed marks LINTHORPE/ CHR. DRESSER/ 152.

NEAR PAIR OF ELECTROPLATED LIDDED JUGS, DATED 1894 AND 1896 with knop handles and hinged lids above tapering necks and bulbous bodies, with maker’s marks

15cm high

23cm high

£200-300

£100-200

26 Lyon & Turnbull

62 JOHN HENRY DEARLE (1859-1932) FOR MORRIS & CO. ’ACANTHUS’, EMBROIDERED PORTIÈRE, CIRCA 1890 silk embroidery on linen with green cotton backing, bears retailer’s label MORRIS & COMPANY/ 449 OXFORD STREET/ LONDON. W. 240cm x 158cm Provenance: Purchased at Morris & Co. and by family descent Note: By 1885 William Morris had turned his attention to other ventures within the business, handing the embroidery section to his daughter May, herself a talented embroiderer and passionate advocate of the Arts and Crafts movement. Whilst a majority of the designs produced for the firm were direct creations of William Morris, he was adept at handing on the reigns to a team of skilled draughtsmen who produced designs for many important commissions, none more so than John Henry Dearle.

Dearle began his career with the firm as a shop assistant at 449 Oxford Street in 1878. Recognising the young man’s potential during his apprenticeship, Morris allowed Dearle to create fabric details and floral backgrounds for many of his designs.

The pair opened a tapestry workshop at Queen Square shortly after and by 1890, at the age of 31, Dearle was Head Designer of the firm and responsible for handling the company’s commissions for house decorative schemes.

Under the guidance of May Morris, Dearle produced a series of portières featuring some of his most recognisable designs, including Owl (circa 1895) now on display in the Victoria and Albert Museum. Whilst his artistic style always remains loyal to William Morris’ aesthetic, the 1890s mark a clear attempt from Dearle to develop a mature, more individual artistic vision.

Morris’ early embroidery work typically features repeating patterns, yet in Acanthus, Dearle opts for a different design approach: a singular central acanthus motif which grounds the piece. He surrounds this dominating feature with a sensation for the eyes: interlocking vines and swirls of vibrantly coloured flowers. Among them are two of Dearle’s most distinctive designs: the pointed-headed tulip and dark veining on various flowers and leaves. Designed on linen and embroidered in silk using a dazzling array of colours, the quality of the piece remains in keeping with the Arts and Crafts tradition, valuing the skills of the craftsman over industrial machinery.

Another example of this portière exists in the Art Gallery of South Australia, Adelaide.

Their version was embroidered by Mary Isobel Barr Smith: a woman from wealthy and influential family who furnished a great number of their homes with Morris & Co. fabrics and furnishings.

£3,000-5,000 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Decorative Arts: Design since 1860 27

63 W.A.S. BENSON (1854-1924) AND JAMES POWELL & SONS BRASS AND FROSTED GLASS PENDANT LIGHT, CIRCA 1890 the moulded and frosted pointed lobe shade set in a circular brass openwork frame suspended by three associated chain supports 30cm diameter, 60cm drop

£800-1,200

64 ENGLISH SCHOOL ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1890 worked in coloured silks on a linen ground with an allover design of birds perched amongst exuberant foliage, later framed 65cm x 62cm

£500-800

65 W.A.S. BENSON (1854-1924) AND JAMES POWELL & SONS BRASS AND FROSTED GLASS PENDANT LIGHT, CIRCA 1890 the moulded and frosted pointed lobe shade set in a circular brass openwork frame suspended by three brass bar supports below a circular brass reflector with three leafy light fittings 30cm diameter, 54cm drop

£1,000-1,500

66 MORRIS & CO. ARTS & CRAFTS EMBROIDERED PANEL, LATE 19TH CENTURY silk threads on a linen ground, with apple tree design enclosed by tulips, later framed 73cm wide, 76cm high

£400-600

67 W.A.S. BENSON (1854-1924) BRASS LAMPSHADE FRAME, CIRCA 1900 of conical outline 55cm diameter, 32cm high

£300-500

28 Lyon & Turnbull

68 THOMAS WEBB & SONS SILVER MOUNTED CLARET JUG, HALLMARKED 1904 the base with cut glass decoration, hallmarked London, 1904 27cm high

£200-300

69 ENGLISH SCHOOL RUBY LUSTRE TWELVE-TILE PANEL, CIRCA 1890 the panel decorated with elaborate flowering foliate design, moulded marks verso each tile 15cm square

£400-600

70 CHARLES ROBERT ASHBEE (1863-1942) FOR THE GUILD OF HANDICRAFT LTD. TWIN-HANDLED SILVER BOWL, 1907 the tapered cylindrical bowl with planished surface and applied foot set with looping twinwire handle, bears later inscription around base F.J.S. FROM J.S./ 16TH JULY 1907, stamped maker’s mark, hallmarked London 1907, 171g 16cm wide

£500-700

71

72

W. B. SIMPSON & SONS LTD.

THE GUILD OF HANDICRAFT

FRAMED TILE PANEL, CIRCA 1890 painted as an urn issuing oak and laurel branches, painted maker’s marks W.B. SIMPSON & SONS/ 100 ST MARTIN’S LANE/ LONDON with maker’s logo

SILVER PRESERVE SPOON, 1956 tapering oval bowl with square tapering stem and seal finial, stamped makers marks, hallmarked London 1956, approx. weight 17g

69cm x 19cm

14cm long

£150-250

£200-300

Decorative Arts: Design since 1860 29

73 CHARLES ROBERT ASHBEE (1863-1942) FOR THE GUILD OF HANDICRAFT SILVER, GOLD, MOTHER-OF-PEARL AND CHRYSOPRASE SET PENDANT, CIRCA 1900 the central mother-of-pearl panel within a scrolling wirework surround, set with three circular chrysoprase cabochons, to a plain tapering bale, in original fitted box with velvet and silk lining bearing inscription THE GUILD OF HANDICRAFT LTS/ 16A BROOK STREET/ BOND STREET W/ WORKS: ESSEX HOUSE/ CHIPPING CAMPDEN GLOS. Length: 6.4cm Exhibited: ‘The Arts & Crafts Movement in Europe and America 1880-1920: Design for the Modern World’, Los Angeles County Museum of Art, Milwaukee Art Museum, and Cleveland Museum of Art, 2004-2006.

£3,000-5,000

74

75

CHARLES ROBERT ASHBEE (1863-1942) FOR THE GUILD OF HANDICRAFT LIMITED

CHARLES ROBERT ASHBEE (1863-1942) FOR THE GUILD OF HANDICRAFT LIMITED

EDWARDIAN SILVER MUSTARD SPOON, 1901 the tapering oval bowl with planished decoration, faceted tapering stem with a chrysoprase finial, stamped maker’s marks, hallmarked London 1901, approx. weight 0.6oz.

EDWARDIAN SILVER PORRINGER SPOON, 1902 tapering oval bowl with tapering stem and divided openwork terminal set with green chrysoprase cabochon, stamped makers marks, hallmarked London 1902, approx. weight 17g

12cm long

14.1cm long

£300-500

£1,200-1,800

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76 MANNER OF MORRIS & CO., LONDON LARGE ARTS & CRAFTS INLAID OAK COURT CUPBOARD, CIRCA 1890 the projecting cornice above stylised cup and cover supports enclosing three inlaid doors, the base with three drawers and cupboards below, the whole applied with Rathbone brass handles and hinges, stamped marks

77

78

JAMES BARRETT, BETHNAL GREEN

SCOTTISH SCHOOL

ARTS & CRAFTS PRINTING BLOCK, LATE 19TH CENTURY with raised metal, outlining a long-eared owl perched on a leafy oak tree, painted N. 777 and impressed J. BARRETT/ 2/ PRINT

ARTS & CRAFTS COPPER WALL MIRROR, CIRCA 1910 the bevelled mirror plate within hammered frame with repoussé motifs and inscription EAST WEST HAME’S BEST

196cm wide, 182cm high, 63cm deep

45.5cm x 30.5cm

68cm x 52cm

£1,000-1,500

Note: James Barrett of 489 Bethnal Green Road, London were commissioned to produce the blocks used by Morris & Co. at Merton Abbey.

£200-300

£200-300

Decorative Arts: Design since 1860 31

79 [§] GILBERT BAYES (1872-1953) ’THE GOAL’, ELECTROTYPE PANEL, 1892 signed with initials GB, within oak frame 12.5cm x 62cm Literature: Atterbury, Paul and Irvine, Louise ‘Gilbert Bayes: Sculptor 1872-1953’, Richard Dennis 1998, pp.95-6

£300-500

80 JOHN RILEY WILMER (1883-1941) TWO DESIGNS FOR PLAYING CARDS ink and watercolour embellished with gilding, signed to one with initials lower right JRW 10cm x 6.5cm and 11cm x 7.5cm

£400-600

81 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

£1,800-2,200

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82 ENGLISH SCHOOL ARTS & CRAFTS DOUBLE CORONA BRASS ELECTROLIER, CIRCA 1910 with two graduated rings, decorated with scrolling foliate motifs and supporting scrolling branches 160cm diameter, 70cm high

£2,000-3,000

83 ATTRIBUTED TO JOHN HARDMAN & CO. BRASS ELECTROLIER, CIRCA 1895 with three hanging light fittings suspended within frame with cut-out panels of Gothic tracery and foliate vines 78cm high, 44cm wide

£600-800

84

85

86

JAMES SMITHIES, WILMSLOW

ARTS & CRAFTS

MURRLE BENNETT & CO.

ARTS & CRAFTS PEWTER BOX, DATED 1908 of rectangular form, decorated with repoussé stylised flowers and an inscription RHOS ON SEA GOLF CLUB/ EASTER 1908, with stamped maker’s marks

COPPER AND ENAMEL BOX, CIRCA 1900 of rectangular form, depicting a stylised Viking ship with a blue enamel sun, opening to a void interior, on squat-bun feet

ARTS & CRAFTS GOLD PENDANT, CIRCA 1906 the 9 ct. openwork pendant with leaf decoration, set with a blister pearl and peridot drop, stamped maker’s mark MBCo/ 9CT

24.5cm wide

19.5cm wide

£300-500

£400-600

£250-350

3.2cm long

Decorative Arts: Design since 1860 33

87 MORRIS & CO., LONDON RARE ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1895 worked in coloured silks with a pattern of flowering plants, later framed and glazed 120cm x 46cm Note: The following two lots, dating from the late 1890s, are previously unrecorded designs for Morris & Co. Worked with their silks and with the same techniques the designs demonstrate the characteristic sophisticated style of the company.

Lyon & Turnbull would like to thank Linda Parry for her assistance in cataloguing these lots.

£800-1,200

88 MORRIS & CO., LONDON RARE ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1895 worked in coloured silks with a tulip and vine pattern, later framed and glazed 118cm x 46cm

£800-1,200

34 Lyon & Turnbull

89 ATTRIBUTED TO JOHN PEARSON NEWLYN SCHOOL COPPER FRAMED WALL MIRROR, CIRCA 1900 the circular hammered frame with repoussé decoration of flying birds, and set with four turquoise Ruskin roundels 39.5cm diameter

£800-1,200

90 W.A.S. BENSON (1854-1924) PAIR OF COPPER TABLE LAMPS, CIRCA 1900 each with frilled Vaseline glass shades above a turned column with leafy brackets and raised on tripod base (2) 35cm high Literature: Hamerton, Ian ‘W.A.S. Benson’, Woodbridge, 2005, Appendix 1B, pl. 17 where a similar lamp is illustrated.

£1,000-1,500

91 ARTS & CRAFTS SET OF THREE EMBROIDERED LINEN WALL HANGINGS depicting pink roses, with a verse across the three panels: THE GLADNESS OF SPRING I WILL BORROW, TO GIVE THEE GLAD MORROW;/ THE SWEETNESS OF SUMMER I’LL TREASURE, TO SPREAD FOR THY PLEASURE;/ AUTUMN’S PEACE, WINTER’S REST, I WILL KEEP, TO WRAP THEE IN SLEEP. (3) 187cm x 28cm approx.

£400-600

Decorative Arts: Design since 1860 35

92

93

94

MURRLE BENNETT & CO.

MURRLE BENNETT & CO.

ARTS & CRAFTS SILVER PENDANT, CIRCA 1906 of ovoid form, the planished surface set with turquoise stone and pierced with stylised plant forms, stamped maker’s marks MBCo/ 950

ATTRIBUTED TO MURRLE BENNETT & CO.

2.6cm long

ARTS & CRAFTS SILVER & PERIDOT PENDANT, CIRCA 1910 the oval facetted peridot enclosed within planished shield-shaped setting, with beaded scrollwork border and corresponding peridot drop, later chain, stamped maker’s mark MBCo/ 950

£300-500

pendant 4.5cm long

Length of central pendant: 6.5cm

£400-600

£800-1,200

TURQUOISE SET NECKLACE, CIRCA 1910 composed of alternating geometric planished links, set at intervals with an oval turquoise cabochon, the central shaped and pierced pendant panels similarly set, apparently unmarked

95 CHARLES ROBERT ASHBEE (1863-1942) FOR THE GUILD OF HANDICRAFT ARTS & CRAFTS SILVER PORRINGER, CIRCA 1905 the hammered bowl with pulled wirework handle, set with a green chrysoprase cabochon, indistinct hallmarks, total weight 154g 18.5cm long

£800-1,200

96 CHARLES ROBERT ASHBEE (1863-1942) FOR THE GUILD OF HANDICRAFT SILVER PLATED PORRINGER, CIRCA 1905 of circular shallow form with an elongated looped handle, inset with a green chrysoprase cabochon, marked W. J. HEYWOOD/ LONDON 19.5cm wide overall

£500-700

97 NELSON DAWSON (1859-1942) PAIR OF ARTS & CRAFTS SILVER SALTS, 1905 each with twin fluted and scrolled handles and gilded planished bowls on applied foot, stamped maker’s marks, hallmarked London 1905, 134g (2) 12cm across

£300-500

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

36 Lyon & Turnbull

98 ALEXANDER FISHER (1864-1936) ’SALOME’, ENAMEL PLAQUE, CIRCA 1900 within a copper frame with hammered and repoussé decoration, pokerwork mark to reverse SALOME BY ALEXANDER FISHER, and retailer’s paper label ROBERT WOOD/ NEWCASTLE-ON-TYNE, with ink inscription SALOME/ ALEX. FISHER 22.5cm x 27.5cm

£800-1,200

99 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

£400-600

100 ARTS & CRAFTS PEWTER WALL MIRROR, CIRCA 1900 of rectangular form, the hammered surface with rivet decoration and pierced roundel with a blue enamelled ground 49cm x 34.5cm

£400-600

101

102

RUSKIN POTTERY (1898-1935)

THE STUDIO MAGAZINE

FIVE PAIRS OF GENTLEMAN’S CUFFLINKS, CIRCA 1910 each with terminals of various outlines composed of high fired porcelain, various colours, belcher links, two pairs stamped RUSKIN to reverse (5)

COLLECTION OF UNBOUND VOLUMES 1896-1915 many complete years, sold as seen, not subject to return

£200-300

Note: Collection includes 1895 (Jan - Apr, Aug, Oct lacking);1896; 1897; 1898; 1899 (Jan lacking); 19001901; 1902; 1903 (July, Aug, Sept, Oct, Nov lacking); 1904; 1905; 1906; 1907; 1908; 1909 (June & Aug lacking); 1910 (Jan, Feb, Mar, June, Aug, Oct, Nov lacking); 1911 (June lacking); 1912; 1913 (Dec lacking); 1914 (Jan lacking); 1915

£300-500

Decorative Arts: Design since 1860 37

104 ATTRIBUTED TO ERNEST GIMSON ARTS & CRAFTS STEEL FIRE FORK, CIRCA 1910 with scrolled terminal handle and two prong fork 106.5cm long

£150-250

103 EDWARD GARDINER AFTER ERNEST GIMSON PAIR OF OAK ARMCHAIRS, EARLY 20TH CENTURY each back with five shaped rails above open arms and rush seat raised on turned legs linked by stretchers (2) 57cm wide, 116cm high, 44cm deep

£400-600

105 ERNEST GIMSON (1864-1919) FOUR OAK LADDERBACK CHAIRS, EARLY 20TH CENTURY each back with four shaped rails above rush seats on turned legs linked by stretchers (4) 41cm wide, 99cm high, 38cm deep

£400-600

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

38 Lyon & Turnbull

106 CHARLES FRANCIS ANNESLEY VOYSEY (1857-1941) FOR THOMAS ELSLEY & CO. BRONZE KEY, CIRCA 1898 later mounted, framed and glazed key: 10cm long Provenance: Moorcrag, Lake Windermere, Cumbria Literature: C.F.A.Voysey: Arts and Crafts Designer, Livingstone, K. et al., V&A Publishing, London, 2016, p. 233-239 where this example is illustrated Note: Though initially gaining critical acclaim as an architect, Voysey’s fastidious nature and disdain for the banality of industrialisation spurred an immensely varied career as a designer of furniture, wallpapers and textiles, ceramics and metalwork. For Voysey, even the most ordinary and smallest of items should illustrate a simple elegance in their design: ”…the common articles of everyday are intrinsically ugly…Why must we open our cash-box with a hideous key and find each coin devoid of dignity or grace?”

These critical observations prompted him to produce designs for metalwork in the early 1890s, which included hinges and locks, keys, fireplaces, lights and jewellery. This bronze key is a fine example of Voysey’s arts and crafts ideology: characterised by a simple heart motif, the bold terminal creates a sense of originality for such a commonplace object. Strong vertical lines set against a plain surface advocate form and function over the needless complexities of ornate decoration. Graceful and elegant, his love for natural forms produced works of striking beauty.

£2,000-3,000

107 CHARLES FRANCIS ANNESLEY VOYSEY (1857-1941) FOR THOMAS ELSLEY & CO. GROUP OF BRASS LIGHT SWITCHES, CIRCA 1920 comprising a pair of double and two single toggle switches, each with cut out back plates, stamped maker’s mark to one plate ELSLEY (4) 9cm x 14.8cm and 8cm square

£500-800

108

109

110

ATTRIBUTED TO JOHN PEARSON

MANNER OF C.F.A. VOYSEY

THE STUDIO MAGAZINE

ARTS & CRAFTS COPPER MIRROR, CIRCA 1895 of circular form, the hammered surface with repoussé stylised flower stems, enclosing a bevelled glass mirror plate

ARTS & CRAFTS FABRIC PANEL, CIRCA 1900 woven wool and cotton, 200cm drop, 128cm wide; also a ‘HONEYSUCKLE’ LINEN PANEL, by WILLIAM MORRIS (1834-1896) FOR MORRIS & CO., DESIGNED 1876; and a quantity of other Arts & Crafts and Art Nouveau fabric offcuts (a lot)

VOLUME 1, 1893 the cover designed by C F A Voysey.

25cm diameter

£300-500

29cm x 22cm

£150-250

Note: This fabric design is a variant of Voysey’s design ‘The Wykehamist’ of 1897.

£300-500

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Decorative Arts: Design since 1860 39

111 MANNER OF JOHN PEARSON ARTS & CRAFTS COPPER WALL MIRROR, CIRCA 1900 of rectangular form, the hammered surface with repoussé floral fronds with green Ruskin inset panels 82cm x 47cm

£800-1,200

112 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.

£2,500-3,500

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113 ENGLISH SCHOOL ARTS & CRAFTS OAK ARMCHAIR, CIRCA 1900 the curved top rail above broad splat back and solid seat with curved open arms raised on plank supports linked by stretchers 59cm wide, 117cm high, 50cm deep

£400-600

114 [§] BERNARD DEAN WALMSLEY (1893-1985) ’THE CALLING OF SAMUEL’, STAINED GLASS PANEL, CIRCA 1920 within oak frame, bears paper label inscribed in ink “THE CALLING OF SAMUEL”/ B.D. WALMSLEY, and with number ‘120’ 63cm x 53cm

£200-300

115 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.

£2,000-3,000

Decorative Arts: Design since 1860 41

116 ENGLISH SCHOOL SUITE OF THREE STAINED GLASS PANELS, CIRCA 1900 depicting a King; a Queen; and a Monk, each in Medieval dress, and bearing the inscription LET GOOD DIGESTION/ WAIT ON APPETITE/ AND HEALTH ON BOTH (3) each 75cm wide, 51cm high

£300-400

117 ENGLISH SCHOOL PAIR OF ARTS & CRAFTS STAINED GLASS PANELS, CIRCA 1900 the pair forming a scene with a traveller in a landscape and bearing the inscription “CONTENTE YOURSELFE AS WELL AS I/ LET REASON RULE YOURE MINDE”/ GRANGE’S GARDEN 1577 (2) 49cm wide, 158cm high

£400-600

118

119

ENGLISH SCHOOL

ENGLISH SCHOOL

PAIR OF ARTS & CRAFTS STAINED GLASS PANELS, CIRCA 1900 each depicting a galleon in full sail and bearing the legend ROLL UP/ ROLL DOWN/ OUR SHIPS/ AT SEA (2)

PAIR OF ARTS & CRAFTS STAINED GLASS PANELS, CIRCA 1900 each depicting a tavern scene (2)

71cm wide, 51cm high

52cm wide, 40cm high

£200-300

£200-300

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120 GORDON FORSYTH FOR PILKINGTONS LUSTRE VASE, DATED 1909 decorated with a frieze of heraldic lions, impressed maker’s marks, painted date and artist’s monogram 19.5cm high

£600-800

121 OMAR RAMSDEN (1873–1939) SILVER BERRY SPOON, 1937 the planished bowl of tear form, with stem and terminal worked in relief with floral and foliate decoration, stamped maker’s mark, hallmarked London 1937 19cm long

£400-600

122 NELSON DAWSON (1859-1942) ARTS & CRAFTS SILVER SAUCE BOAT, 1904 with fluted and scrolled handle and with planished bowl on applied foot, stamped maker’s marks, hallmarked London 1904, 74g 13.2cm long

£200-300

123 SAMUEL JACOB, LONDON ARTS & CRAFTS SILVER TWIN HANDLED CUP, 1910 of baluster form, scrolling handles, punched faux rivet border, on a raised circular foot, stamped maker’s marks, hallmarked London 1910, 437g 16.8cm high

£300-400

124

125

126

OMAR RAMSDEN (1873–1939)

OMAR RAMSDEN & ALWYN CARR

[§] ALBERT EDWARD JONES (1878-1954)

TWO SILVER COFFEE SPOONS, 1931 the planished bowls of tear form, with tapered stems and squared terminals, stamped maker’s marks, hallmarked London 1931 (2)

TWO SILVER EMBOSSED NAPKIN RINGS, EARLY 20TH CENTURY the first depicting a pomegranate and the inscription C.H.S/ JANUARY 4 1910, maker’s marks, hallmarked London 1909, 5.5cm high; the second depicting a stylised tree and inscription G.F.B.H./ FROM/ B.F.B 1905, maker’s marks, hallmarked London 1904 (2)

HAMMERED SILVER INKWELL, 1928 with a domed hinged lid and cylindrical base, liner lacking, with maker’s marks and hallmarked Birmingham 1928

11cm long

£150-250

£300-400

6.5cm high

£200-300

Decorative Arts: Design since 1860 43

127Y EDWARD SPENCER (1872-1938) FOR THE ARTIFICERS’ GUILD, LONDON ARTS & CRAFTS SILVER AND GEM-SET TAZZA, 1925 the shallow bowl with planished finish and moulded rim, the sides set with medallions cast with yachts and galleons above a chased and repoussé-decorated collar set with garnet cabochon stones, on a Narwhal tusk column with castellated collar below, raised on a domed spreading base, inscribed under the base CLYDE CORINTHIAN YACHT CLUB, TARBERT RACE, WYLIE MEMORIAL CUP, 31ST JULY 1926, bears makers marks AS/GD/LD, hallmarked twice London 1925 20cm diameter, 18.5cm high

£3,000-5,000

128 ALBERT EDWARD JONES (1878-1954) SILVER CIGAR LIGHTER, 1932 in the form of a Roman lamp with a removable match, inscribed THERE IS NO HERB LIKE IT UNDER THE CANOPY OF HEAVEN, stamped maker’s marks, hallmarked Birmingham 1932 10.5cm high

£300-400

129 KESWICK SCHOOL OF INDUSTRIAL ART ARTS & CRAFTS PLATED AND EMBOSSED CASKET, CIRCA 1895 with a domed lid inscribed THIS CASKET OF DEAD LEAVES SHALL BRING/ EACH MORN NEW THOUGHTS AWAKENING, above panels depicting vases, birds and masks 12cm high

£250-350

130

131

132

ROBERT PRINGLE & SONS, LONDON

GEORGE NATHAN & RIDLEY HAYES

ENGLISH SCHOOL

A SET OF SIX ENAMEL BUTTONS, 1907 each of shaped circular form, the cast stylised foliate design with blue and green enamel detail, in a fitted box with six retainers, stamped maker’s marks, hallmarked London 1907 (6)

ARTS & CRAFTS SILVER PRESENTATION BOWL, 1907 with lobed well and foot, with inscription PRESENTED TO MR. & MRS. JAMES TENNANT BY THE DIRECTORS OF ALEXANDER, FERGUSSON & CO. LTD. ON THEIR GOLDEN WEDDING DAY. SEPT. 4TH. 1929., stamped maker’s marks, hallmarked Chester 1907

THE FOUR SEASONS, CIRCA 1920 ink and watercolour, inscribed WINTER; SPRING; SUMMER; AUTUMN (4)

Diameter: 21cm

12cm high, bowl 13.5cm diameter

£200-300

£200-300

19.5cm x 13cm

£400-600

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

44 Lyon & Turnbull

133 ARTHUR W. SIMPSON OF KENDAL (1857-1922) ARTS & CRAFTS CARVED OAK WARDROBE, CIRCA 1910 the projecting moulded cornice above four doors, each carved with a panel of flowers over two drawers raised on square supports with carved brackets, with applied characteristic patinated brass handles 157cm wide, 190cm high, 63cm deep

£2,500-3,500 Note: Arthur William Simpson was born in Kendal, Cumbria 1857 and was apprenticed to Gillows of Lancaster in 1875 and worked at a number of workshops until setting up his own in Kendal in 1885, known as the Handicrafts.

He was a follower of John Ruskin and in 1889 one piece was accepted by the Arts and Crafts Exhibition Society. It was there that he would have met the architect Charles Voysey who became a great influence on his work; his designs became more architectural and simpler with less carving; this wardrobe, designed circa 1910, being a good example.

By 1912, Simpson was exhibiting alongside Voysey and Walton in the Ideal Home Exhibition at Olympia. His entire stand was sold to one client. He was commissioned to carve panels for Blackwell House, designed by Baillie Scott for Sir Edward Holt and such was his skill he was entrusted by Voysey to make a number of furniture commissions.

134 ARTHUR W. SIMPSON OF KENDAL (1857-1922) ARTS & CRAFTS CARVED OAK BED, CIRCA 1910 with panelled headboard and corresponding footboard, carved with a frieze of scrolling foliage 143cm wide, 119cm high

£1,200-1,800

135 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

£400-600

Decorative Arts: Design since 1860 45

136 SHAPLAND & PETTER, BARNSTAPLE ARTS & CRAFTS INLAID MAHOGANY OVERMANTEL MIRROR, CIRCA 1900 the rectangular bevelled plate below an open shelf and spindle gallery, enclosed by marquetry panels of stylised roses and foliage, inlaid with stained specimen woods and mother of pearl 146cm wide, 84cm high, 20cm deep

£800-1,200

137 ATTRIBUTED TO GEORGE MONTAGUE ELLWOOD SATIN BIRCH CONSOLE TABLE, CIRCA 1915 the rectangular top raised above a moulded frieze on twin square tapering legs linked by stretchers 107cm wide, 76cm high, 51cm deep

£600-800

138 COMPTON POTTER’S GUILD FIGURAL POTTERY WALL PLAQUE, CIRCA 1920 moulded as a winged angel, painted in tempera on plaster, with impressed seal mark 34cm high

£300-500

139

140

ARTHUR W. SIMPSON OF KENDAL (1857-1922)

ATTRIBUTED TO ARTHUR W. SIMPSON OF KENDAL

PAIR OF ARTS & CRAFTS OAK CHAIRS, CIRCA 1910 each with woven leather seats raised on square tapering legs linked by stretchers (2)

ARTS & CRAFTS OAK STOOL, EARLY 20TH CENTURY the close nailed leather top on square legs linked by stretchers

46cm wide, 99cm high, 40cm deep

£100-200

£300-500

41cm wide, 39cm high, 31cm deep

46 Lyon & Turnbull

141 ENGLISH SCHOOL DESIGNS FOR POTTERY, CIRCA 1900 comprising six watercolour studies for pottery designs mounted in a single frame and bearing inscription DESIGNS FOR POTTERY/ TWO SHEETS/ TWO SPECIMENS SUBMITTED, DESIGNED, DECORATED AND MADE IN THE STUDIO 57cm x 78cm measurement within frame

£300-500

142 ARTS & CRAFTS COPPER WALL MIRROR, CIRCA 1900 of shaped rectangular form, the repoussé surface decorated with stylised flowers and spheres enclosing a square mirror plate, above two brass candle sconces 83.5cm high, 59.5cm wide

£300-500

143

144

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

OAK AND BURR OAK STOOL, CIRCA 1940 the dished top raised on four shaped column legs, linked by stretchers, carved mouse signature

OAK CHOPPING BOARD, 20TH CENTURY of octagonal form, with carved mouse signature, 30.5cm across; together with a SET OF FOUR OAK NAPKIN RINGS, all with carved mouse signature, 3cm diameter (5)

40cm wide, 37cm high, 27.5cm deep

£200-300

£800-1,200

145

146

147

ENGLISH SCHOOL

ARTS & CRAFTS

ARTS & CRAFTS

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

GROUP OF THREE INLAID MAHOGANY PARLOUR CHAIRS, CIRCA 1900 including a single armchair and two side chairs, each with upholstered panel seats on square tapering legs (3)

PAIR OF OAK RECLINING ARMCHAIRS, CIRCA 1900 each with later linen-upholstered cushion back and seat with open arms raised on square legs linked by stretchers (2)

armchair 50cm wide, 98cm high, 46cm deep; side chair 46cm wide, 94cm high, 40cm deep

69cm wide, 117cm high, 51cm seat depth

40cm diameter

£200-300

£300-500

£300-500

Decorative Arts: Design since 1860 47

148 MANNER OF ALFRED WICKHAM JARVIS ARTS & CRAFTS MAHOGANY AND PAINTED GESSO OVERMANTEL, CIRCA 1900 the projecting cornice above three panels, painted with a peacock in a garden setting 129cm wide, 98cm high, 13cm deep

£400-600

149 BARNSTAPLE GUILD OF METALWORK ARTS & CRAFTS COPPER WALL MIRROR, CIRCA 1900 of circular outline, repoussé-decorated with a border of hearts and bearing the inscription TO SEE OURSELVES AS OTHERS SEE US, stamped maker’s mark W.K. MASSEY/ BARNSTAPLE 54.5cm diameter

£700-900

150 DELLA ROBBIA POTTERY, BIRKENHEAD LARGE FRAMED WALL PLAQUE, CIRCA 1900 or circular form, depicting the Madonna and Child with the cross, within a band of four angels in relief, with inscribed maker’s marks verso, within a square stained oak frame (crack to left side) frame 68cm square, panel 52.5cm square

£600-800

151

152

153

SCOTTISH SCHOOL

SCOTTISH SCHOOL

[§] JOHN ROBERT PINCHES (1884-1968)

ARTS & CRAFTS OAK CENTRE TABLE, CIRCA 1900 the rectangular top raised on square tapered legs with ogee brackets, linked by stretchers

BY THE ROCKS pencil and watercolour, unsigned, bears later label verso

137cm wide, 76cm high, 76cm deep

ARTS AND CRAFTS EBONISED OAK HALL MIRROR, CIRCA 1900 the projecting cornice above a heartshaped cut out and Ruskin roundel, above a rectangular mirrored plate and shelf

Provenance: St Margaret Tollcross, Glasgow

45cm wide, 119cm high, 20cm deep

£400-600

£200-300

47cm x 30cm

£200-300

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

48 Lyon & Turnbull

154 WILLIAM SKULL, HIGH WYCOMBE, AFTER M. H. BAILLIE SCOTT ARTS & CRAFTS OAK-FRAMED WING ARMCHAIR, CIRCA 1900 the upholstered back and seat within oak frame with square section supports linked by stretchers and inlaid with chequered panels 70cm wide, 110cm high, 54cm deep Literature: M. H. Baillie Scott ‘Houses and Gardens’, p. 298 and 299 for period pictures of a house Baillie Scott designed called The Garth containing an image of this chair model.

Note: Although often ascribed to M.H. Baillie Scott this chair is made by William Skull of High Wycombe but was used by Baillie Scott in many of his houses.

£600-800

155 L. & J.G. STICKLEY OAK DISPLAY CABINET, LATE 20TH CENTURY the projecting cornice above two astragal glazed doors and tongue and groove doors below with decorative hinges, branded maker’s mark 139cm wide, 195.5cm high, 43cm deep

£700-900

156 THOMAS MOSER, MAINE ARTS & CRAFTS WALNUT WRITING DESK, LATE 20TH CENTURY the rectangular top above a single drawer (with key), raised on square legs linked to the sides with open shelves with slatted ends 152.5cm wide, 75cm high, 91.5cm deep

£400-600

Decorative Arts: Design since 1860 49

157

158

159

ATTRIBUTED TO DORRIE NOSSITER

ATTRIBUTED TO RHODA WAGER

DORRIE NOSSITER (1893-1977)

THREE MOONSTONE AND WHITE METAL BROOCHES/PINS, 1920S each with a cluster of stones set amongst wire scrolls on pointed sword bars; comprising a moonstone example, 6.7cm long; and two gem-set and moonstone examples, 6.5cm long and 5.5cm long (3)

TWO OPAL DOUBLET AND WHITE METAL BROOCHES, CIRCA 1920 each with collet set opals, the tapering surrounds with applied stylised foliate motifs, the larger example with berries (2)

MULTI-GEM SET AND WHITE METAL CLIP, 1920S of fan-form, with citrine, peridot, amethyst, pink tourmaline and pearls set amongst gilt leaves, the hinged back with pierced scrolls

4.8cm and 3.8cm across

5.7cm wide

£250-350

£600-800

£300-500

160 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

£400-600

161

162

163

ATTRIBUTED TO BERNARD INSTONE

BERNARD INSTONE (1891-1987)

ATTRIBUTED TO KATE EADIE

FOUR RINGS, EARLY 20TH CENTURY comprising a collet set red-paste ring with entwined leaves, ring size L/M; a blue-paste claw set ring with flowerheads and leaves, marked SILVER, ring size O; a green-paste claw set example with a flower to each shoulder, marked STERLING, ring size L (flaw to paste); and a ring with a collet set cornelian within a circular border of leaves, marked SILVER, ring size G (4)

GEM-SET AND SILVER BROOCH, EARLY 20TH CENTURY of wreath-form with flowers and leaves, set with three orangepaste stones, marked SILVER/ BI, 4.5cm across; together with TWO QUARTZ-SET BROOCHES, ATTRIBUTED TO BERNARD INSTONE, each with leaves, 5.5cm and 3.7cm across (one with natural fracture to stone) (3)

CITRINE, GILT METAL AND WHITE METAL RING, CIRCA 1910 the claw-set citrine with a twisted-metal border and flanked by a three-leaf clover to each shoulder

£300-500

£200-300

ring size L/M

£250-350

164 JAMES FENTON & CO., BIRMINGHAM ARTS & CRAFTS ENAMELLED SILVER BROOCH, HALLMARKED 1908 with an oval green enamelled panel flanked by four blue enamelled circles, with open curved sides, maker’s marks and hallmarked Birmingham 1908 2.4cm long

£150-250

50 Lyon & Turnbull

165 SIR ROBERT LORIMER (1864-1929) PAIR OF SILVERED THREE BRANCH CEILING LIGHTS, CIRCA 1900 each with three scrolling branches terminating in leaf-clasps light fittings and supported by a bulbous turned spindle with heart-shaped drop, the whole supended by long chain with later cast ceiling rose (2) each 32cm diameter, 93cm high

£1,500-2,000

166 MANNER OF SIR ROBERT LORIMER PAIR OF ARTS AND CRAFTS CARVED OAK WALL BRACKETS, EARLY 20TH CENTURY each with shaped self and carved angel bracket (2) 28cm wide, 16cm high, 14cm deep

£400-600

167 ARTS & CRAFTS PAIR OF CARVED OAK ANGELS, CIRCA 1900 each winged figure carved in relief and depicted standing on a cloud (2) 64cm high

£200-300

168 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.

£600-800

Decorative Arts: Design since 1860 51

169 SIR ROBERT LORIMER (1864-1929) WALNUT LIBRARY DESK, CIRCA 1927 made by Whytock & Reid, Edinburgh, the semi-concave rectangular top with open staged back flanked by four short drawers with burr veneers having curved carved and moulded handles, raised above a single burr veneered frieze drawer with cast bronze dolphin handles, on lyre-shaped end standards and trestle feet, united by a cusped serpentine stretcher, stamped with maker’s mark to the drawer WHYTOCK & REID, EDINBURGH 151cm wide, 94cm high, 65cm deep Provenance: Alexander Mackay Esq., Glencruitten House, Oban, Argyll Literature: Christopher Hussey, The Works of Sir Robert Lorimer; Country Life, 1931, p.106, and illus. pl.224 Note: The design and construction of the library at Glencruitten in 1927-8 was one of Lorimer’s last major country house commissions and included some of his last designs for furniture. ”(Lorimer) was aiming at something larger than had satisfied him formerly. He went back to early Renaissance models - indeed he had recently been to Rome and returned full of ideas but simplified them into something essentially modern.

The stool and writing table (the current lot) are eminently functional, in that they perform their purpose with a minimum of fuss, but at the same time rejoice the eye with their varied surfaced and vital lines...For these pieces Lorimer supplied the rough sketch, Whytock & Reid’s detailing the woods.”

£5,000-7,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

52 Lyon & Turnbull

170 WILLIAM BIRNIE RHIND (1853-1933) MARBLE BUST OF JAMES BAIRD OF ELIE, DATED 1906 inscribed, W.JAMES BAIRD/ ELIE/ EXECUTED BY/ BIRNIE RHIND/ 1906 64cm high Note: Edinburgh born sculptor William Birnie Rhind (1853-1933), was well known for his war memorials and other public commissions, and produced a large number of pieces during his prolific career. He trained under his father, John Rhind, before attending the School of Design and then the RSA. His work includes important architectural pieces such as the Boer War Memorials in Edinburgh and the statue of Science on Kelvingrove Art Gallery and Museum. Other public works can be found in England, Canada and Australia.

He was elected ARSA in 1893, and RSA in 1905, where he exhibited regularly.

£800-1,200

171 MANNER OF SIR ROBERT LORIMER ARTS & CRAFTS WALNUT TORCHERE, CIRCA 1910 the canted square moulded top raised above Gothic style apron and four leaf clasped columns with ring turned detail, the spreading base of open leaf clasped and Gothic arch form 29cm wide, 111cm high

£400-600

172 HENRY W. PAGE (ACTIVE 1892-1930) MARBLE PLAQUE, CIRCA 1920 carved in shallow relief with the head and shoulders of a young child, signed lower left in the marble HENRY W. PAGE 35.5cm x 23.5cm

£200-300

173 J. M. RIDING FIGURE OF A SPRITE, 1915 bronze, signed in the bronze J.M. RIDING/ 1915, raised on a green marble plinth 16cm high

£300-400

174 N*A*T* FIGURE OF A SEATED CHILD, 1915 bronze, signed and dated in the bronze with monogram NAT/ 1915, raised on a green marble plinth 15cm high

£200-300

Decorative Arts: Design since 1860 53

175 ATTRIBUTED TO THE BIRMINGHAM GUILD OF HANDICRAFTS PAIR OF BRASS ARTS & CRAFTS WALL SCONCES, CIRCA 1900 with central scrolls above domed horizontal bands fitted with two green Ruskin panels each, pierced for decoration (2) 31cm long

£400-600

176 [§] OSCAR NEMON (1906-1985) MODEL OF SIGMUND FREUD mixed media, modelled in composition, the figure modelled sitting, signed NEMON to the rear and FREUD STATUE COMMITTEE to one side 24cm high

£200-300

177

178

ELKINGTON & CO., BIRMINGHAM

ENGLISH SCHOOL

ARTS AND CRAFTS SILVER INKWELL, DATED 1926 the square base set to the angles with embossed rosettes, bearing the inscription THERE’S NO MAN WHO CAN EXCEL THE MAN/ WHO BEARS THE NAME OF SMITH/ FOR BORING IN THE TREE OF LIFE/ AND TAKING OUT THE PITH, with separate glass inkwell and silver lid, indistinct maker’s marks, stamped ELKINGTON & CO., hallmarked Birmingham, 1926

ARTS & CRAFTS OAK SIDEBOARD, CIRCA 1900 with three central drawers flanked by carved doors and with copper handles and hinges 156cm wide, 123cm high, 59cm deep

£250-400

base: 10cm across

£150-250

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

54 Lyon & Turnbull

179 [§] ERIK MAGNUSSEN (1884-1960) AN OPAL AND SAPPHIRE SET PENDANT, CIRCA 1918 modelled as a stylised butterfly, the body set with an opal and two sapphire cabochon eyes, to an integral fancy link chain and toggle clasp, stamped EM/ 750/ 1918 to reverse Length of pendant: 50mm

Note: Mainly self-taught, Erik Magnussen originated from Denmark, where he developed his characteristic techniques and designs using naturalistic motifs. Beginning his career at his uncle’s gallery ‘Winkel and Magnussen’, he was influenced by H.C. Viggo-Hansen where he developed his chasing skills, and from the sculptor Stephan Sinding.

One of his first major successes was the sale of his ‘Grasshopper’ brooch to the Museum of Decorative Art in 1907, and the current lot is thought to be from this period.

£3,000-4,000

180Y EVALD NIELSEN (1879-1958) SILVER AND IVORY SAUCE BOAT, CIRCA 1920 of curved oval outline, with an ivory handle terminating in silver applied balls, maker’s marks 19.5cm long

£300-400

181 POSSIBLY NILS LUNDSTRÖM (1865-1960) FOR RÖRSTRAND, SWEDEN LARGE PORCELAIN VASE, EARLY 20TH CENTURY of shouldered form, decorated with magpies on leafy branches on a blue ground, painted initials, printed maker’s marks, impressed S2/65 56cm high

£500-700

182 BELGIAN SCHOOL PEWTER AND COPPER-BOUND CASKET, CIRCA 1900 the hinged rectangular lid with repoussé decoration depicting a lily pond and mallard, the sides with bands of ivy leaf and horse chestnut 24cm high, 40cm wide, 20 cm deep

£150-250

Decorative Arts: Design since 1860 55

183 MANNER OF LIBERTY & CO. ARTS & CRAFTS ENAMELLED AND COPPER WALL MIRROR, CIRCA 1900 of rectangular form, the hammered surface with a blue enamelled roundel, and four embossed roundels to each corner 52.5cm x 42cm

184

£400-600

LEONARD WYBURD (1865-1958) FOR LIBERTY & CO., LONDON PAIR OF OAK SIDE CHAIRS, CIRCA 1900 each with pierced tapering backs above later slung horsehair seats on square tapered legs linked by shaped stretchers (2) 47cm wide, 97cm high, 10cm deep Literature: Bennett, Daryl ‘Liberty’s Furniture 1875-1915’, Woodbridge 2012, p. 176, pl. 5.43 Note: A rare variant of the Wiclif chair, also designed by Wyburd.

£1,000-1,500

185 ATTRIBUTED TO LIBERTY & CO., LONDON EBONISED HALL WARDROBE, CIRCA 1900 with single panelled door inset with repoussé copper panel and enclosed by linenfold panels with open shelves above 157cm wide, 197cm high, 47cm deep

£500-700

186 MINTONS LTD. SECESSIONIST PLATE, CIRCA 1910 decorated with a stylised flowerhead on a green ground, with impressed and printed maker’s marks MINTONS LTD/ B 5 25.5cm diameter

£200-300

187 W*E*G*B* AMONGST THE SUNFLOWERS watercolour, signed and dated with initials lower left W.E.G.B./ 3.06 27cm x 17cm

£150-250

56 Lyon & Turnbull

188

189

NEWLYN SCHOOL

MURRLE BENNETT & CO.

ENAMELLED PENDANT, CIRCA 1900 the central oval panel with blue, green and purple enamel detail, in a scrolling wirework border, to a plain belcher link chain, unmarked

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

Length of pendant: 38mm

£400-600

4.5cm long

£600-800

190 OLIVER BAKER (1856-1939) FOR LIBERTY & CO., LONDON ’CYMRIC’ SILVER BUCKLE, DATE 1900 of rectangular form, with open seed pod design flanking a circular opal cabochon, bears maker’s mark L&Co, hallmarked Birmingham 1900 (with additional buckle section, also hallmarked Birmingham 1902) (2) 7.5cm wide

£800-1,200

191

192

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

ARTS & CRAFTS

TWO ‘CYMRIC’ SILVER, ENAMEL AND GLASS DRESSING CASE BOTTLES, 1915 each faceted bottle with silver cover, inset with enamelled Celtic knot motifs, stamped maker’s marks, hallmarked Birmingham 1915, 16.5cm and 9cm high; and ANOTHER SILVER AND ENAMEL COVER, hallmarked Birmingham 1921, 4.2cm across (3)

ENAMELLED PENDANT, CIRCA 1900 of circular outline, the enamelled ground with floral detail and central ‘Lucile’, pierced detail to the border, suspending three green enamelled circular pendants from belcher links, to an integral belcher link chain Length of pendant: 70mm

£300-400

£300-500

193

194

195

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

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

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

SILVER BUCKLE, 1908 formed of two sections, decorated with stylised plant forms on a hammered ground, stamped maker’s marks L&Co, hallmarked Birmingham 1908

’CYMRIC’ SILVER AND ENAMEL VESTA CASE, MARKED 1910 of open rectangular form, with a stylised circular roundel, with marks for William H. Haseler, hallmarked Birmingham 1910

8cm wide

6.1cm long

£300-500

£300-500

’TUDRIC’ PEWTER ASHTRAY, CIRCA 1900 of triangular form, decorated with stylised plant forms, stamped with maker’s marks and number 0898, 14cm across; together with two ARCHIBALD KNOX NAPKIN RINGS, of flattened oval form, decorated with stylised floral motifs, one inset with blue and green enamelling, both stamped TUDRIC/ 0919, 5cm across (3)

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

£400-600

Decorative Arts: Design since 1860 57

196 JESSIE MARION KING (1875-1949) FOR LIBERTY & CO., LONDON SILVER AND ENAMEL BELT BUCKLE, DATED 1906 of oval outline, formed of two sections, each pierced with a design of flying swallows and enamelled flowers, hallmarked Birmingham 1906 7.5cm across

£1,000-1,500

197 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON ’CYMRIC’ SILVER AND ENAMEL BUCKLE, 1901 formed of two sections, cast in the form of Celtic enterlacs flanking two panels with blue and green enamelling, stamped maker’s marks L&Co/ CYMRIC, hallmarked Birmingham 1901 7.5cm wide Literature: S. Martin, Archibald Knox, London, 2001, p. 268

£1,500-2,000

198 ATTRIBUTED TO JESSIE M. KING FOR LIBERTY & CO., LONDON SET OF SIX SILVER & ENAMEL BUTTONS, 1909 each designed as a galleon in full sail, stamped maker’s marks L&Co, hallmarked Birmingham 1909, within original box with later silk lining (6) each 2.5cm diameter

£400-600

199

200

201

LIBERTY & CO., LONDON

LIBERTY & CO., LONDON

POTTERY JUG, CIRCA 1900 with pinched rim, painted with an allover floral design, signed LIBERTY/ LONDON to the base, with impressed marks

MINIATURE SILVER PHOTOGRAPH FRAME, 1911 of circular form, with applied rosettes and a single enamel roundel, with original oak back, stamped maker’s marks L&Co/ 5550, hallmarked Birmingham 1911

ATTRIBUTED TO LIBERTY & CO., LONDON

14cm high

£150-250

ENAMELLED BROOCH, CIRCA 1910 the rounded rectangular panel with enamelled sunset landscape, in a plain planished surround with scrolling detail, apparently unmarked

8.5cm diameter

Length: 43mm

£200-300

£200-300

58 Lyon & Turnbull

202 AFTER ARCHIBALD KNOX LARGE LIBERTY STYLE COPPER MIRROR, LATE 20TH CENTURY of rectangular outline with Celtic knot panel and rivet decoration 184cm wide, 109cm high

£500-700

203 MOORCROFT POTTERY FLAMMINIAN WARE TWIN-HANDLED VASE, CIRCA 1910 with red glaze and tube-lined roundel, impressed maker’s marks, indistinctly signed to base W. MOORCROFT 21cm high

£200-300

204 [§] SIDNEY LEWIS RANSOM (1881-1958) IN THE GARDEN pen and ink, signed lower left SIDNEY LEWIS RANSOM 25cm x 20cm

£200-300

205 LIBERTY & CO., LONDON MAHOGANY WALL SHELVES, CIRCA 1880 in the Japanese taste, with open shelves and fretwork brackets, bears maker’s label to rear 53cm wide, 63cm high, 15cm deep

£300-400

Decorative Arts: Design since 1860 59

206 MANNER OF LIBERTY & CO. ENAMELLED AND BRASS WALL MIRROR, CIRCA 1900 of oval outline, the hammered surface inset with four enamelled panels and brass bosses 57cm high, 76.5cm wide

£500-700

207 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON ’TUDRIC’ PEWTER TEA SERVICE, CIRCA 1900 comprising a TEAPOT; SUGAR BOWL and MILK JUG, stamped maker’s marks 0213; and with TWIN-HANDLED TRAY, 50cm across (4) £400-600

208 LIBERTY & CO., LONDON ‘TUDRIC’ POLISHED PEWTER AND ENAMEL BOX, CIRCA 1900 of rectangular form, with a panel of blue enamel to the lid, opening to a velvet-lined void interior, maker’s marks and numbered 0122 27cm wide

£300-500

209 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON ’TUDRIC’ PEWTER CARD TRAY, CIRCA 1902 of circular form, the hammered surface decorated with cast Celtic motifs, stamped marks MADE IN ENGLAND/ TUDRIC/ 0163/ SOLKETS 24.5cm diameter Literature: A. J. Tilbrook, The Designs of Archibald Knox for Liberty & Co., London, 1976, p. 91, fig. 64.

£150-250 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

60 Lyon & Turnbull

210 CHARLES RENNIE MACKINTOSH (1868-1928) CEREMONIAL KEY FOR THE OPENING OF THE GLASGOW SCHOOL OF ART, 1899 painted cast and wrought iron, made by George Adam & Sons, Havelock Street, Glasgow, the key with swollen cylindrical shaft and terminal of square outline, cast and pirced with totemic motif, the pierced top rim suspending a planished silver plaque with chain, bearing the inscription WITH THIS KEY/ SIR JAMES KING BART./ OF CAMPSIE, L.L.D. D.L./ OPENED THE DOOR OF/ THE GLASGOW SCHOOL/ OF ART. DECEMBER 20TH/ 1899., the silver plaque hallmarked Glasgow 1899 and with indistinct maker’s marks, possibly James Reid & Co., Glasgow, the whole contained within original oak presentation case with velvet lining (2) Key 20cm long, 4.8cm wide; Pendant 5.2cm square; Total length with chain 28.5cm; Box: 27cm x 2.5cm x 10.5cm Provenance: Sir James King Bart. of Campsie and by family descent Literature: Buchanan, William ‘Mackintosh’s Masterwork: The Glasgow School of Art’, Bloomsbury 2004 Moffat, Alistair ‘Remembering Charles Rennie Mackintosh: An Illustrated Biography’, Colin Baxter Photography Ltd., 1989 University of Glasgow: ‘Mackintosh Architecture, Context Making and Meaning’ http://www.mackintosh-architecture.gla.ac.uk Glasgow School of Art Archives

£20,000-30,000

Decorative Arts: Design since 1860 61

62 Lyon & Turnbull

This remarkable object, a key for the opening ceremony of Glasgow School of Art in 1899, was designed by the architect of the new school, Charles Rennie Mackintosh. As an architect and designer Mackintosh is seen as a ‘v transitional figure from the historicism of the 19th century to the abstraction of the 20th century’. With his masterwork the new Glasgow School of Art of 1899 and 1910, came a building that has come to symbolise his achievement as an architect. It speaks to this transition, with its roots in the Scottish tradition of building but with the influences of many including English Vernacular architecture, the architecture of the Arts & Crafts Movement and the Cult of Japan.

The architectural competition for a new School of Art took place in 1896. The previous year the Bellahouston Trustees, a group of Glasgow businessmen and public officials who managed an estate of nearly £500,000, agreed to buy the Renfrew Street site for £6000 and present it to the School, with an additional £4000 for the building fund, on condition that the School raised a further £6000. Eight Glasgow architects were asked to take part in a competition for the new School, including John Honeyman & Keppie, where Mackintosh was employed as a junior draughtsmen.

Sir James King and Sir Renny Watson were appointed to assess the plans.

The winning entry, submitted in Mackintosh’s hand, was John Honeyman & Keppie. It had become clear to all the competing architects that there were not sufficient funds to complete the building as the trustees had wanted so it was reluctantly agreed that work should proceed only on the central and eastern half of the building only. Building work commenced in 1897 and by December 1899 the first phase of the School had been completed.

Sir James King Bart

Corporation Galleries at 2.30 o’clock - where they were received by the Chairman and Governors, and having adhibited their names to an illuminated document prepared by Miss Ann Macbeth a student of the School - were presented to the Hon the Lord Provost Samuel Chisholm.

A procession was then formed - walking to the front entrance of the New Building, where a wrought iron key was presented on a white satin cushion by little Miss Mary Newbery to Sir James King Bart. of Campsie who then performed the Ceremony of unlocking the door. Miss Elsie Newbery at same time presented a bouquet to Mrs Chisholm.

The minutes of the board of the School of Art record the elaborate preparations for the opening of the new school in the early months of 1899. “Sir Francis Powell to ask if Princess Louise could be induced to come about the middle to end of October” records one entry. In the end, Princess Louise was unavailable and, after some deliberation by the board it was decided to ask Sir James King to open the school. Sir James King (1830-1911) had been the Lord Provost of Glasgow from 1886-9 and was the chairman of the 1888 Glasgow International Exhibition. As well as running his own family business he was a director and chairman of the Clydesdale Bank and played an active part in the public affairs of Glasgow, including as a trustee of the Bellahouston Trustees, which contributed to generously to the building of the new school.

A large party of ladies and gentlemen, on the invitation of the Chairman and Governors, were assembled in one of the class rooms, the platform being fully occupied by the numerous Representatives present…the whole Company (then) proceeded to inspect the premises and were further entertained with a light refreshment. The same evening a Re-union of students took place in the rooms which was largely attended and a most enjoyable evening was spent. A varied programme having been provided.”

The minutes later commented that “…at the suggestion of the headmaster (Francis “Fra” Newbery) it was recommended that the function should take place towards the end of the year including the Christmas holidays, when for a week or 10 days the Public might be invited to view the school, and where an exhibition of student’s work could be made in the main rooms”.

“When Glasgow School of Art opened in 1899 I remember a grey shady afternoon. Not a big crowd but quite an assembly of people arriving at the school and going into the first hall. After we’d been there a bit, a certain amount of talk and then we were all shooed out. Everybody stood out on the steps. Then there was another pause, then I’m afraid there were speeches. I don’t remember what they said I just remember waiting. Then I was shepherded up holding a small, oblong, pale, pearly silk cushion with a silver fringe round. It was oblong so as to be suitable to hold the special key of the front door. This cushion was made by Mrs. Mackintosh and my mother.

And so the stage was set and a date of 20th December decided upon. The minutes go on to describe the events of the day, including the crucial moment when the key, designed by Mackintosh, opened the building; “Representatives met in the

This contemporary account is almost entirely verified by the same little girl when she gave an interview, aged 92, to the author Alistair Moffat in 1985. Unlike the Board of Governors Mary Newbery (Sturrock) remembers some of the details the officials missed.

Decorative Arts: Design since 1860 63

Thinking about this lately, the formal ceremony would be arranged by my father who had a touch of pageantry. He liked formal things done properly. Then the door was unlocked and in we went. There was a feeling of cheerful achievement. I don’t remember Mackintosh being present at the ceremony but I’m sure he must have been there somewhere in the building.

When he did the work on the Glasgow School of Art he was only a draughtsman in Keppie’s office. Then he was made a junior partner. But in all these jobs, Keppie always maintained they were done by the firm.

I think Margaret must have got the cushion home because it would have been very suitable for us to play with. But the cushion was very fine. The thing is the Mackintoshes were perfectionists and they couldn’t have an ordinary key. The door had a special plate and to open that interesting door of the new School of Art there had to be a proper key and that key had to be laid on a special cushion, and they couldn’t have just bought a Victorian cushion for a Mackintosh key.

That’s the thing - Mackintosh wasn’t all that fussy, as they said he was, but to get things right he had to design them. I remember the key quite clearly now, shining pale in this grey afternoon when it was raining slightly, a drizzle, a real Glasgow afternoon. I was six.”

How the key was commissioned is unclear. It may be that Newbery, as the architect of the ceremony and his “touch of pageantry”, commissioned it from Mackintosh, and perhaps also paid for it. An entry in the Job Books dated 26 April 1900 notes an invoice from the blacksmith and metalworker George Adam & Son for ‘£2 10s 0d’. The entry also reads ‘Key for opening (Newbery)’, just under an entry for the same maker for the Fleming Memorial for £39.0.0, also marked ‘(Newbery)’, further suggesting his personal involvement. George Adam established his firm around 1874, and whose firm became George Adam & Son when his eldest son, James joined the firm in 1896. At this time the work the firm was additionally described as ‘art metal works’ and now also undertook ‘gates, railings, roofing, casements etc. Many of the decorative metal brackets on the front of the school, the aluminium totems and the balcony for the headmaster’s balcony were made by the firm as the accounts show. The iron key is skilfully wrought with its totemic square terminal enclosing overlaid plant motifs is pierced with a series of circular apertures and painted black. Attached to the key by a chain is a planished silver commemorative plaque, probably applied after the ceremony. It is engraved with an inscription describing the key and its part in the opening of the School. The silver is hallmarked Glasgow 1899 and the engraved lettering almost

exactly matches the typeface used by the School of Art at this time, for example on the cover of its Prospectus and its Annual Report. The maker’s mark, which is mis-struck, was possibly for James Reid & Co. A silver and enamel commemorative Quaich with the same maker’s mark was made for the school by Dorothy Carleton Smyth, William Armstrong Davidson and Margaret De Courcy Lewthwaite Dewar. Sold in these rooms it is now held at the Kelvingrove Museum & Art Gallery in Glasgow (Lot 52, Taffner Collection, 7th September 2012). Also engraved on the plaque is a thistle and a leaf scroll within incused squares. The key and its plaque are mounted in a handmade oak presentation box, with a fitted interior lined in velvet to hold the key, presumably made as a presentation to Sir James to commemorate his part in the proceedings.

What is clear from all of the contemporary accounts is that Mackintosh is barely mentioned. He is certainly not credited as the architect and was not involved in any of the labyrinthine speeches and ceremony, or in any of the minutes - that fell to John Keppie as was the custom. Writing to his friend Hermann Muthesius after the laying of the foundation stone the previous year he bemoans his anonymity; “You must understand that for the time being I am under a cloud - as it were - although the building in Mitchell Street here was designed by me the architects are or were Messrs Honeyman & Keppie - who employ me as an assistant.

You will see that is very unfortunate for me, but I hope, when brighter days come, I shall be able to work for myself entirely and claim the work as mine”. Those brighter days did come and by the time the second phase opened in 1910 he was finally recognised as the architect.

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211 GLASGOW SCHOOL WHITE METAL AND ENAMELLED PENDANT, CIRCA 1900 of slender tapering form chased with a design of opposed peacocks perched on a stylised tree with green enamel panels and set with turquoise cabochon stones, with corresponding heart-shaped pendant drops 11cm long, with drop 17cm long Literature: Vallance, Aymer, Mourey, Gabriel, et al ‘Art Nouveau Jewellery & Fans’, p. 87 illus. pictured right.

Burkhauser, Jude (edit.) ‘Glasgow Girls’, Edinburgh 1990, p. 179, fig. 241 and 242 Note: This pendant in its form and execution demonstrates awareness of the symbolist jewellery being produced in Glasgow at the end of the 19th century and early 20th century, especially by Francis and Margaret Macdonald. The known work of the sisters is mainly figurative rather than in this example which shows opposed birds, a motif more commonly associated with artists such as Talwin Morris.

£2,000-3,000

212 MANNER OF JAMES HERBERT MACNAIR WHITE METAL AND COPPER BELT BUCKLE, CIRCA 1905 of elliptical outline, with applied planished grille decoration, apparently unmarked 10cm across Literature: ‘Modern Design in Jewellery & Fans’, The Studio magazine supplement, 1901/2, plate 23b for a brooch by MacNair with similar characteristics, pictured right.

£500-700

Decorative Arts: Design since 1860 65

213 CHARLES RENNIE MACKINTOSH AND MISS CRANSTON’S TEAROOMS GROUP OF TEAWARES, CIRCA 1900 including a PLATED TEASPOON, designed by Mackintosh, with trefoil terminal, stamped verso MISS CRANSTON’S, 13cm long; a GROUP OF WILLOW PATTERN TEAWARES, by Adderleys in blue on white Willow Pattern, comprising a teacup and saucer; a milk jug, 7.5cm high; and a small beaker, all with printed mark to base MISS CRANSTON’S (5) £300-500

214 AFTER CHARLES RENNIE MACKINTOSH FOR MARSH, JONES CRIBB & CO. MAHOGANY ‘ARGYLE’ TYPE CHAIR, CIRCA 1900 the oval top rail pierced with bird motif above drop-in seat and square tapered legs, bears maker’s label under seat 49cm wide, 111cm high, 41cm deep Literature: Billcliffe, Roger, ‘Charles Rennie Mackintosh: The Complete Furniture Drawings & Interior Designs’, Moffatt 2009, pp 61-62 Note: Billcliffe alludes to “six smaller variants” of the high backed Argyle Street tea Room chair, designed by Mackintosh for Miss Cranston in 1898, two of which bear the Marsh, Jones Cribb & Co. label. Billcliffe goes on to suggest that as the firm only existed from 1897-1904 it is likely that that they had seen the larger chairs, either in Glasgow or at the Arts & Crafts Exhibition in 1899, and amended the design to this smaller version.

£500-700

214A CHARLES RENNIE MACKINTOSH (1868-1928) FOR MISS CRANSTON’S TEAROOMS TWO ELECTROPLATED PRESERVE SPOONS, CIRCA 1900 each with circular bowls and long handles with trefoil finials, stamped to the reverse MISS CRANSTON’S (2) 15cm long

£200-300

215 CHARLES RENNIE MACKINTOSH (1868-1928) FOR MISS CRANSTON’S TEAROOMS ELECTROPLATED PRESERVE SPOON, CIRCA 1900 with oval bowl and long handle with trefoil finial, stamped to the reverse MISS CRANSTON’S 15.5cm long

£200-300

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216 (BEARDSLEY, AUBREY.) MALORY, SIR THOMAS. LE MORTE D’ARTHUR JOHN KEPPIE’S COPIES Limited edition in two volumes, London: Printed by Turnbull & Spears for J. D. Dent at Aldine House, 1893 & 1894, set in original pictorial cloth. (4to) 24 x 19 cm, one of 1500 copies of the regular issue, from a run of 1800, each bearing the bookplate of John Keppie, designed by Charles Rennie Mackintosh, to the inside cover, and with bookseller’s label Hugh Hopkins, 17 West Regent Street, Glasgow (2) £1,000-1,500

Note: Despite his short-lived career, Beardsley’s creative output over six years significantly shaped the development of the Art Nouveau style in Britain. His first major commission, at the age of twenty, was to produce a series of illustrations for an edition of Le Morte D’Arthur for J.M. Dent & Co. This particular copy was owned by John Keppie, the Glasgow-born architect and colleague to Charles Rennie Mackintosh, who designed his bookplate, pasted into each of these editions. Sinuous lines, extenuating plant forms and stylised figures characterise the work of Beardsley, easily the most influential draftsman of his time.

217 MANNER OF CHARLES RENNIE MACKINTOSH GLASGOW SCHOOL ARCHITECTURAL DRAWING, CIRCA 1900 ink and watercolour, stuck down, bears inscription COTTAGE AT LONG ACRE RENFREWSHIRE/ DESIGN NO. 3 WEST ELEVATION 31cm x 53cm

£300-500

218

219

JOHN KEPPIE (1862-1945)

[§] MARY NEWBERY STURROCK (1892-1985)

’ENTRANCE TO NEWABBEY’ watercolour, signed and inscribed lower right JOHN KEPPIE/ ENTRANCE TO NEWABBEY, and with inscribed label verso, original gilt frame

EARLY PURPLE ORCHIDS & CUCKOO FLOWER pen, ink and watercolour, 29.5cm x 19cm; and THOMASIANUS, pen, ink and watercolour, by the same hand, 10cm x 8.5cm (2)

26cm x 37cm

£200-300

£200-300

Decorative Arts: Design since 1860 67

220 [§] KATHERINE CAMERON (1874-1965) SNOWDROP AND THE SEVEN DWARFS pen, ink and watercolour, with inscription SNOWDROP OUR SNOWDROP IS DEAD!, bears artist’s initials K.C. 15.5cm x 22cm

£500-700

221 [§] STEWART CARMICHAEL (1869-1950) PORTRAIT OF JAMES GRIGOR, DATED JUNE 9TH, 1907 charcoal and chalk, monogrammed, dated, and inscribed lower right TO JAMES GRIGOR/ FROM / CS - 1907 / JUNE 9TH, framed, 50cm x 38.5cm; together with a CERTIFICATE, issued by the Glasgow School of Art to James Grigor (2) Note: James Grigor A.R.C.S, I.S.O., was His Majesty’s Sub-Inspector for the Scottish Education Department (Science and Art) (act. 1895 - 1930). He, alongside Fra Newbery and other highprofile art educationalists of the time, hosted drawing competitions and lectures amongst secondary schools in the West of Scotland. The drawing comes with a certificate issued by the Glasgow School of Art that expresses their gratitude to Grigor on his retiral from his post at the Scottish Education Department in 1930.

£200-300

222 SCOTTISH SCHOOL ARTS & CRAFTS STAINED BEECH ALTAR TABLE, CIRCA 1890 the rectangular top with planked sides, pierced with Gothic tracery and linked by a pierced panelled stretcher 168cm wide, 75cm high, 93cm deep Provenance: St Margaret Tollcross, Glasgow Note: St Margaret Tollcross Church in Glasgow was designed

by W.G. Rowan in 1900 and was noted for its Glasgow Style chancel furniture.

£600-800

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

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223 [§] MARION HENDERSON WILSON (1869-1956) CIRCULAR BRASS CHARGER, CIRCA 1910 repoussé decorated with a central panel depicting a galleon at sea in full sail, within broad rim with circular roundels, bears initials MHW 53cm diameter

£300-500

224 ERNEST ARCHIBALD TAYLOR (1874-1951) FOR WYLIE & LOCHHEAD, GLASGOW MAHOGANY INLAID DRAWING ROOM CABINET, CIRCA 1900 the projecting cornice with square column supports and cut-out brackets, above two glazed doors enclosing shelves, the base with twin panelled doors, each inlaid in pewter, brass, copper and motherof-pearl with stylised rosettes, with slatted sided supports linked by stretchers and a lower tier 88cm wide, 177cm high, 47cm deep Literature: ‘The Studio’ magazine, Vol. 23, No. 101, July 1901, p. 166 where a bookcase of similar form by Wylie & Lochhead, exhibited at the 1901 Glasgow International Exhibition, is illustrated.

Note: The inlaid stylized flower motif on the facade of this cabinet is identical to that which featured on a suite of chairs designed by E.A.Taylor for the Wylie & Lochhead Pavilion at the International Exhibition, Glasgow, 1901 and similar to the inlay in the cabinet illustrated in the Studio magazine in July of the same year.

£4,000-6,000

225 GEORGE LOGAN (1866-1939) FOR WYLIE & LOCHHEAD, GLASGOW GLASGOW STYLE MAHOGANY LONG STOOL, CIRCA 1900 the close nailed upholstered seat above square legs, linked by stretchers and with carved capitals, enclosing pierced uprights carved as stylised plant forms 107cm long, 49cm high, 42cm deep

£1,000-1,500

Decorative Arts: Design since 1860 69

226 MANNER OF LEWIS F. DAY ARTS & CRAFTS PEWTER FRAMED WALL MIRROR, CIRCA 1900 with stained wood frame set with metal panels, repoussédecorated with daffodils and bearing the inscription JE PENSE 51cm x 151cm

£800-1,200

227 MANNER OF E.A. TAYLOR GLASGOW STYLE STAINED AND LEADED GLASS PANEL, CIRCA 1900 the central panel of a figure in a garden enclosed by meandering Glasgow roses, in two panels (2) 65cm wide, 156cm high Provenance: Collection of the late Dr David Lloyd-Jones.

£400-600

228 [§] ATTRIBUTED TO ANNIE FRENCH TRYST IN THE GARDEN pen and ink, signed with monogram 14cm x 10cm

£200-300

229

230

MARGARET GILMOUR (1860-1942)

MANNER OF STEPHEN ADAM

CELTIC REVIVAL BRASS DESK SET, CIRCA 1910 comprising a BLOTTER, 46cm across; an INKWELL, 10cm across; and a PEN TRAY, 23cm long, each with Celtic knot decoration, signed with monogram to the inkwell MG (3)

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

£250-350

£200-300

231

232

GLASGOW SCHOOL

SCOTTISH SCHOOL

PAIR OF STAINED AND LEADED GLASS PANELS, CIRCA 1900 each worked as a stylised rose and forming a central heart motif (2)

STUDY OF A SIAMESE IN GRASSES Signed with a monogram and dated ‘93, mixed media on canvas

45cm wide, 76cm high

£400-600

£200-300

31cm x 31cm (12in x 12in)

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233 GLASGOW STYLE ARTS & CRAFTS COPPER WALL MIRROR, CIRCA 1900 of rectangular form, the hammered surface inset with a Ruskin roundel above repoussé panels of stylised flowers 76.5 x 56cm

£800-1,200

234 GLASGOW SCHOOL ART NOUVEAU STAINED AND LEADED GLASS PANEL, CIRCA 1910 comprised as three panels of entwined and flowering roses within a single frame 116cm x 82cm

£400-600

235 MANNER OF GEORGE WALTON OAK STICK STAND, CIRCA 1900 the back with heart piercing above tapering sides with a tole liner 79cm wide, 82.5cm high, 19.5cm deep

£400-600

236 ATTRIBUTED TO GEORGE WALTON OAK EXTENDING DINING TABLE, CIRCA 1900 the circular top opening with concertina action and including an additional leaf, raised above a plain frieze on angled legs, hinges marked KLDW/ 5848 120cm diameter (closed), 182cm long (extended), 71cm high, 122cm deep

£2,000-3,000

237

238

[§] JESSIE MARION KING (1875-1949)

[§] JESSIE MARION KING (1875-1949)

CERAMIC PLATE, CIRCA 1940 decorated with flowers, signed to reverse with Greengate and rabbit, 15.3cm; a BOWL and PIN DISH by ELIZABETH MARY WATT, one decorated with flowers, the other with a longboat, 7.5cm and 8cm diameter; and a CUP & SAUCER by AGNES BAIN HERBERT (4)

POTTERY BOWL, CIRCA 1940 painted with the Knave of hearts in a garden and with inscription THE KNAVE OF HEARTS, 16cm diameter (minor restoration to rim); and a CIRCULAR CAKE PLATE, painted with flowers, 22cm diameter, each with painted initials, Greengate and rabbit marks verso (2)

£300-500

£300-500

Decorative Arts: Design since 1860 71

239 [§] JESSIE MARION KING (1875-1949) ’THE SHEPHERDESS’ pen, ink and watercolour on vellum, signed lower right JESSIE M. KING 17cm x 28cm

£1,500-2,000

240 [§] ANNIE FRENCH (1872-1965) ’GIRL WITH A CANARY’ OR ‘CANARY SONG’ pen and ink and watercolour 15cm x 10cm approx.

£500-800

241 [§] JESSIE MARION KING (1875-1949) ’A KIRKCUDBRIGHT CLOSE’ watercolour, signed lower right JESSIE M. KING 28cm x 22cm Provenance: Merle Taylor Exhibited: Lady Artist’s Club, Glasgow

£400-600

242 [§] ERNEST ARCHIBALD TAYLOR (1874-1951) THE SANDSTONE QUAY, CORRIE charcoal and watercolour, signed lower right E.A. TAYLOR 24cm x 85cm

£300-500

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Decorative Arts: Design since 1860 73

243 JOSEF HOFFMANN (1870-1956) FOR WIENER WERKSTÄTTE BRASS INKSTAND, 20TH CENTURY the spherical inkwell with revolving lid, with original glass liner, raised on a tapering column within a shaped square dish, stamped maker’s marks WIENER WERKSTÄTTE/ MADE IN AUSTRIA with artist’s monogram 22.5cm wide Note: MAK, Vienna, holds the Archive of the Wiener Werkstätte and the original pencil drawing for this piece, ref. KI 12067-1, which is inscribed “Häusler 10. I. 24 Tintenzeug alles polliert M sz5” (https://sammlung. mak.at/sammlung_online?id=collect-231032.)

£3,000-4,000

244 KOLOMAN MOSER (1868-1918) AND THERESE TRETHAN (1879-1957) FOR WIENER WERKSTÄTTE GROUP OF THREE CARVED AND PAINTED WOOD TOYS, CIRCA 1905 MAN, in a spotted cloak, maker’s mark to base WIENER WERKSTÄTTE, with stamped artist’s and maker’s marks, 21cm high; WOMAN, unmarked (damage to one arm), 15cm high; CHILD, unmarked, 9.5cm high (3) Literature: cf. Rudolf Leopold (ed.), Koloman Moser. 1868-1918, Exhibition Catalogue, Leopold Museum, Vienna, Munich 2007, p. 90 Note: Instilling the notion of Gesamtkunstwerk at an early age was important to the group and so the making of children’s toys were an integral part of the production program of the Wiener Werkstätte.

£800-1,200

245 MICHAEL POWOLNY (1871-1954) FOR LOETZ TWO GLASS VASES, CIRCA 1930 each in orange glass, the first of shouldered form with black striping, 15cm high; the other of fluted form, raised on three blue glass feet, 14.5cm high (2) £300-500

246

247

KOLOMAN MOSER (1868-1918) FOR WIENER WERKSTÄTTE, VIENNA

AFTER MAX SNISCHEK FOR WIENER WERKSTATTE

TWO FRAMED WRAPPING PAPER SAMPLES, CIRCA 1900 original printed paper, later framed (2) each 28cm x 19.5cm

STAINED WOOD AND ENAMEL JEWELLERY BOX, 20TH CENTURY the top with an enamel plaque depicting a reclining female with abstract forms, the box with moulded sides, unmarked

Literature: Fahr-Becker, Gabriele ‘Wiener Werstatte’, Taschen, 1995, p. 215 where a similar sample is illustrated. (See illustration left)

16.5cm wide, 7cm high, 11cm deep

£200-300

£300-500

Literature: Neuwirth, Waltraud ‘Wiener Werkstatte’, Vienna 1984, p.227, pl. 179 where the design for this box is illustrated.

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248 SECESSIONIST SCHOOL AUSTRIAN TABLE LAMP, EARLY 20TH CENTURY of tall tapering form with a large spreading base, hammered decoration, with a plated metal and fabric square shade, wired for electricity 56cm high (with shade)

£300-500

249 THONET BENTWOOD ROCKING CRADLE, CIRCA 1900 stained beechwood, on four legs rising to two outswept supports, one terminating in a turned wood spindle, the swinging body constructed of incurved side supports issuing from a central rib, the whole surmounted by a curved support for drapery 128cm long, 215cm high, 59cm wide

£300-500

250 HAGENAUER, VIENNA CHROMIUM PLATED LAMP, 20TH CENTURY the base with a cast stylised female nude, raised on a wooden plinth, stamped maker’s marks HAGENAUER/ WEIN/ MADE IN AUSTRIA 45cm high

£500-700

251Y

252

MANNER OF JOSEF HOFFMANN

SECESSIONIST STYLE

VIENNESE MIXED METAL CAKE STAND, CIRCA 1900 with opposed brass bowls enclosed by a pierced band with central shaft and ivory sphere handle 23cm diameter, 32cm high

PAINTED WOOD AND STEEL CEILING LIGHT, EARLY 20TH CENTURY the pierced domed shade with later checked apron suspended from turned rose with applied spheres and with four decorative pendants

£200-300

93cm wide, 23cm high

£300-500

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Decorative Arts: Design since 1860 75

253 PETER BEHRENS (1868-1940) FOR SIMON PETER GERZ, HÖHR GRADUATED SET OF THREE JUGENDSTIL STONEWARE EWERS, CIRCA 1907 model no.1146, glazed in grey and blue, impressed maker’s marks (3) 32.5cm; 29.5cm and 24.5cm high Literature: Greenhalgh, Peter ‘Art Nouveau’, Victoria & Albert Museum exhibition catalogue, p. 198 pl. 12.6 where this model is illustrated.

£500-800

254 MANNER OF MICHAEL POWOLNY LARGE POTTERY VASE, CIRCA 1920 of shouldered tapering form, moulded in relief with figures and birds amidst flowering foliage, moulded maker’s marks to base with no. 4200 62cm high

£300-500

255 HANS CHRISTIANSEN (1866-1945) FOR VILLEROY & BOCH ’DIE NACHT’ METTLACH JUGENDSTIL VASE, CIRCA 1900 moulded with a maiden in a field of poppies against a night sky, impressed factory marks VB/ METTLACH/ 2424 25.5cm high

£600-800

256 OTTO PRUTSCHER (1880-1949) FOR WIENERBERGER KERAMIK GLAZED TERRACOTTA JARDINIÈRE, CIRCA 1920 of tapered cylinder form with ‘quilted’ panels, covered in a streaked glaze, incised mark under base 4-104 32.5cm diameter, 22cm high

£300-500

257

258

259

MANNER OF HAGENAUER, VIENNA

LE VERRE FRANCAIS

EMMANUEL VILLANIS (1858-1914)

CARVED FIGURE OF A SKIER, 20TH CENTURY of stylised form with chromium plated metal skis and poles, raised on an ebonised and stepped wooden base, unmarked

ART NOUVEAU CAMEO GLASS LAMP BASE, CIRCA 1910 acid-etched with stylised plant forms, script etched mark to base LE VERRE FRANCAIS

34cm high

£300-500

ART NOUVEAU BRONZE BUST OF A LADY, CIRCA 1890 dark brown patina, signed, numbered and stamped, raised on a rouge marble base, signed in the bronze E. VILLANUS, with foundry stamp and numbered 6482

£200-300

25cm high exluding fitting

14cm high

£250-350

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260 AFTER GERRIT RIETVELD RED AND BLUE CHAIR, DESIGNED 1915, MODERN painted wood construction 66cm wide, 87cm high, 46cm deep

£400-600

261 CARLO BUGATTI (1856-1940) INLAID TABLE, CIRCA 1900 mahogany, ebonised wood, bone, pewter and copper, the canted rectangular top with inset roundel, inlaid with abstracted crabs amongst bamboo fronds, above base with corresponding inlay and applied pierced copper motifs 72cm wide, 70cm high, 72cm deep

£6,000-8,000

Decorative Arts: Design since 1860 77

262 ATTRIBUTED TO HENRY VAN DE VELDE JUGENDSTIL TALL CLOCK, CIRCA 1900 the arches hood enclosing a pewter dial incised with scrolling foliate motifs above an open case with square section front supports 53cm wide, 175cm high, 33cm deep

£2,000-3,000

263 ALPHONSE MUCHA (1860-1939) ’HIVER’, VINTAGE LITHOGRAPH POSTER, CIRCA 1900 printed in coloured inks 95cm x 45cm

£600-800

264 CARLO BUGATTI (1856-1940) EBONISED STOOL, CIRCA 1900 the square top with distressed vellum cover raised above a blocked frieze and base with applied pierced roundels and hammered brackets top 31cm x 32cm, 45cm high

£600-800

265

267

268

ART NOUVEAU

CHARLES S. GREEN & CO.

GOURDEL VALES & CO., BIRMINGHAM

MAHOGANY AND INLAID VITRINE, CIRCA 1910 with single leaded and glazed door, the case with inlay in specimen woods, copper and pewter

ART NOUVEAU SILVER PHOTOGRAPH FRAME, 1906 of shaped rectangular form, decorated with a female figure picking fruit from an apple tree, on an oak back, stamped maker’s marks, hallmarked Birmingham 1906, registration number 42788

ART NOUVEAU SILVER PHOTOGRAPH FRAME, DATED 1903 of shaped square outline, decorated with flowers, bearing inscription DINNA FORGET, with original oak back, stamped maker’s marks, hallmarked Birmingham 1903, No. 421609

16cm high

£150-250

92cm wide, 168cm high, 39cm deep

£400-600

266

14.5cm high

£250-350

RÖRSTRAND, SWEDEN JUGENDSTIL PORCELAIN VASE, CIRCA 1900 of elongated form, decorated with pastelcoloured irises in relief, printed and incised maker’s marks 43.5cm high

£300-500

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

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Decorative Arts: Design since 1860 79

269 RHEINISCHE GLASHÜTTEN AG., KÖLN-EHRENFELD GROUP OF SIX JUGENDSTIL ‘FLOWER FORM’ CHAMPAGNE GLASSES, CIRCA 1900 the clear bowls each overlaid and acid-etched with coloured flowerheads, all with green tinted knopped stems and flat feet (6) 14.5cm high

£2,500-3,000

270 LUDWIG SÜTTERLIN (1865-1917) FOR FRITZ HECKERT, PETERSDORF THREE JUGENDSTIL ‘FLOWER FORM’ LIQUEUR GLASSES, CIRCA 1900 each bowl decorated as a flowerhead in gilt with coloured enamels (2) 16.5 and 16cm high

£800-1,200

271 THERESIENTHAL GLASS WORKS GROUP OF SIX JUGENDSTIL ‘FLOWER FORM’ LIQUEUR GLASSES, CIRCA 1900 each with clear bowls painted with a flowerhead in gilt and coloured enamel, the green stems and spreading feet all decorated with gilt rims (6) 14.5cm high

£600-800

272

273

274

ADOLF BECKERT (1884-1929)

STOURBRIDGE, ENGLAND

STOURBRIDGE, ENGLAND

GERMAN ENAMELLED GLASS VASE, 1920S of mallet form with a panelled elongated neck and gilt rim, decorated with silhouettes of fauns cavorting 20.5cm high

ART NOUVEAU GLASS TRUMPET VASE, 20TH CENTURY with applied green glass decoration, 31.5cm high (chip to foot rim); together with a FLUTED BOWL of similar decoration, 15cm diameter (2)

£200-300

£150-250

TWO ART NOUVEAU CLEAR GLASS VASES, CIRCA 1900 each with applied green glass decoration, 16cm and 10cm; and a JOHN WALSH WALSH GOBLET, the opaline brocade frilled bowl on clear cylindrical stem and conical foot, 22cm high (3)

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

£200-300

80 Lyon & Turnbull

275 TIFFANY STUDIOS, NEW YORK ’FAVRILE’ GLASS FLOWERFORM VASE, CIRCA 1907 etched maker’s mark L.C.T./ T1330, and bearing original maker’s paper label 39.5cm high Literature: Duncan, Alistair ‘Louis C. Tiffany: The Garden Collection’, Woodbridge 2004, pp. 220-226.

£4,000-6,000

276

277

278

UTZSCHNEIDER & CO., SARREGUEMINES

WMF (WURTTEMBERGISCHE METALLWARENFABRIK)

ARNOLD LYONGRÜN (1871–1935)

ART NOUVEAU VASE, EARLY 20TH CENTURY of tall tapering form, with crystalinne glaze and gilt metal floral mounts to the rim, with impressed maker’s marks SARREGUEMINES/ 3310 and stamped ETNA to the base 32cm high

PAIR OF PEWTER MODELS OF MASTIFFS, CIRCA 1900 stamped maker’s marks, 14cm high; and an OSIRIS JUGENDSTIL PEWTER COMPORT, with green glass liner, stamped marks OSIRIS/ 738, 30.5cm wide (2)

DEKORATIONSMOTIVE ETC. (DECORATIVE MOTIFS FROM THE NATURAL WORLD), 1899 folio of lithographic prints to include title page, text sheet and 15 (of 20) colour plates, each approx. 54cm x 38.5cm; the 5 remaining prints framed and glazed

£300-500

£150-250

£200-300

279

280

281

GUSTAVE VAN VAERENBERGH (1873-1927)

WMF (WURTTEMBERGISCHE METALLWARENFABRIK)

AFTER AGATHON LÉONARD

TERACOTTA FIGURE GROUP, EARLY 20TH CENTURY of two children embracing beneath an umbrella, raised on an integral pedestal, inscribed G.V. GUSTAVE VAN VAERENBERGH and stamped 1196 to the base

JUGENDSTIL PLATED COMPORT, CIRCA 1900 with twin handles, the whole cast with butterflies and whiplash foliage, blue glass liner, stamped maker’s marks

34cm high

£200-300

£200-300

30cm wide

TWO ART NOUVEAU BISQUE CERAMIC SCULPTURES, CIRCA 1900 both unmarked (2) 29cm and 30.5cm high

£300-500

Decorative Arts: Design since 1860 81

282 ÉMILE GALLÉ (1864-1904) ENAMELLED GLASS VASE, CIRCA 1890 etched with flowerheads and scrolls and overlaid with enamel and gilt, bears enamelled inscription NOUS ETIONS TROIS FUMEURS FUMANT NOTRE PENSE, signed under base É. GALLÉ/ DEPOSE (shallow rim chip) 9cm high Literature: Garner, Phillipe ‘Émile Gallé’, London, 1990, p. 150 where this lot is illustrated

£400-600

283 LOETZ, AUSTRIA ’CRETE’ SILVER-OVERLAID AND IRIDESCENT GLASS STEM VASE, CIRCA 1900 of baluster form with a tall tapering neck, the green glass body covered with a papillon iridescence, overlaid with daffodils and foliate forms 21cm high

£800-1,200

284 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

285 DAUM, NANCY ’WINTER SCENE’ GLASS VASE, CIRCA 1910 of ovoid form, decorated with a cameo and enamelled winter scene, with gilt signature DAUM/ NANCY to the base, with Cross of Lorraine symbol 25cm high

£2,500-3,500

286 DAUM, FRANCE COLLECTION OF PATE DE VERRE, LATE 20TH CENTURY comprising a FOOTED VASE, moulded with Mimosa, 21cm high; a HAND MIRROR, with bronze frame, 32cm long; a COUPE, moulded with Mimosa, 20cm high; a BEAKER VASE, moulded with masks, 14cm high; and a FIGURE OF A PEACOCK, 28.5cm high, each with etched maker’s marks DAUM/ FRANCE and with Cross of Lorraine symbol (5) £600-800

82 Lyon & Turnbull

287 WILLIAM HUTTON & SONS LTD. ART NOUVEAU SILVER PHOTOGRAPH FRAME, 1902 of shaped rectangular form, decorated with stylised and scrolling foliage, on an oak back lined with green velvet, stamped maker’s marks, hallmarked London 1902 19.5cm high

£1,000-1,500

288 HENRY CHARLES FREEMAN, LONDON ART NOUVEAU SILVER PHOTOGRAPH FRAME, 1905 of shaped rectangular form, decorated with flowers and peacocks, stamped maker’s marks HCF, hallmarked Birmingham 1905 23.5cm high

£600-800

289 WILLIAM AITKEN, BIRMINGHAM ART NOUVEAU SILVER MIRROR, DATED 1905 of shaped rectangular form, with herons, lotus flowers and stylised plant forms, maker’s marks W.A/ 415410, hallmarked Birmingham 1905 32cm high

£500-800

290 A. E. GOODBY & SON, BIRMINGHAM ART NOUVEAU SILVER PHOTOGRAPH FRAME, 1903 with blue and green enamel decoration, hallmarked Birmingham 1903, with restored oak back and replaced glass 19cm x 18cm

£500-800

291 JAMES FENTON & CO., BIRMINGHAM ART NOUVEAU SILVER AND ENAMEL MANTEL CLOCK, 1906 the circular dial within arched oak case, faced with embossed silver with faux rivet decoration and enamelled flowers, stamped maker’s mark, hallmarked Birmingham 1906 16cm high

£400-600

293 ART NOUVEAU

ART NOUVEAU MINIATURE SILVER PHOTOGRAPH FRAME, 1903 of shaped rectangular form, decorated with stylised plant form motifs inset with original enamelling, on an oak back lined with green velvet, stamped maker’s marks, hallmarked London 1903, registration number 404502

INLAID MAHOGANY MANTEL CLOCK, CIRCA 1900 with domed top above a white enamel dial enclosed by inlaid flowers and fronds, on a splayed base, the movement striking a gong, stamped D.C.Co.

7.5cm high

28cm high

£400-600

£200-300

292 WILLIAM HUTTON & SONS LTD.

Decorative Arts: Design since 1860 83

294 ATTRIBUTED TO WYLIE & LOCHHEAD, GLASGOW SET OF TEN ART NOUVEAU OAK FRAMED DINING CHAIRS, CIRCA 1910 each with tall tapering backs with carved roundel and pierced splat above an upholstered panel seat on square tapering legs linked by stretchers (10) 43cm wide, 108cm high, 40cm deep

£600-800

295 PROBABLY W. J. NEATBY FOR LIBERTY & CO., LONDON ART NOUVEAU FRUITWOOD WARDROBE, CIRCA 1900 the projecting cornice above twin panelled doors, enclosing a fitted interior, carved with stylised foliage and with elaborated applied hammered brass fittings, probably

by Richard Rathbone, with single drawer below on bracket feet 139cm wide, 197cm high, 61cm deep

£1,000-1,500

296 ATTRIBUTED TO SILVER STUDIOS ART NOUVEAU PRINTED VELVET PANEL, CIRCA 1900 printed with an allover poppy design 267cm x 80cm

£200-300

297

298

299

WILLIAM HUTTON & SONS, BIRMINGHAM

ATTRIBUTED TO KATE HARRIS FOR WILLIAM HUTTON & SONS

REYNOLDS & WESTWOOD, BIRMINGHAM

ART NOUVEAU SILVER JEWELLERY BOX, 1905 of rectangular form with a domed lid, above four embossed fronds, with a velvet-lined void interior, on scrolled feet, stamped maker’s marks, hallmarked Birmingham 1905

A SET OF SIX SILVER BUTTONS, 1903 each of circular outline, with cast detail of a woman’s head in profile, numbered RD411100, in a fitted case, hallmarked Birmingham 1903 (6)

ART NOUVEAU SILVER PILL BOX, 1901 of cylindrical form, the lid embossed with an Art Nouveau lady, stamped maker’s marks, hallmarked Birmingham 1901

Diameter: 25mm

£100-200

19cm wide

£200-300

£400-600

4cm diameter

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

84 Lyon & Turnbull

300 RENÉ LALIQUE (1860-1945) ’CEYLAN’ OPALESCENT AND FROSTED GLASS VASE, INTRODUCED 1924 moulded with a frieze of budgerigars, with etched mark R. LALIQUE/ FRANCE 24cm high

£2,000-3,000

301 RENÉ LALIQUE (1860-1945) ’ANGES’ CLEAR, FROSTED AND OPALESCENT GLASS CHARGER, INTRODUCED 1930 wheel etched mark to underside R. LALIQUE/ FRANCE 37cm diameter

£2,000-3,000

302 RENÉ LALIQUE (1860-1945) ’SAUTERELLES’ CLEAR AND FROSTED DEMICRISTAL GLASS VASE, INTRODUCED 1912 with original blue and green staining, signed to the body LALIQUE 27cm high

£4,000-6,000

Decorative Arts: Design since 1860 85

86 Lyon & Turnbull

303 RENÉ LALIQUE (1860-1945) ’ARCHERS’ CLEAR AND FROSTED DEMICRISTAL GLASS VASE, INTRODUCED 1921 with original grey staining, script etched mark to base R. LALIQUE/ FRANCE 26.5cm high

£3,000-5,000

304 EILEEN GRAY (1878-1976) ’TRANSAT’ LOUNGE CHAIR, 20TH CENTURY black lacquered beech with adjustable back cushion and seat upholstered in black leather, nickel fittings 56cm wide, 80cm high, 74cm deep Note: The ‘Transat’ chair was designed in 1927

by Eileen Gray for her seaside villa E-1027 in the south of France. The chair’s name derived from the word transatlantic.

£1,000-1,500

305

306

306A

RENÉ LALIQUE (1860-1945)

RENÉ LALIQUE (1860-1945)

RENÉ LALIQUE (1860-1945)

’POISSONS’ OPALESCENT GLASS DISH, INTRODUCED 1931 moulded with radiating fish, impressed maker’s mark R. LALIQUE 27cm diameter

’COQUILLES’ OPALESCENT GLASS PLATE, INTRODUCED 1924 the underside moulded with four scallop shells, with etched maker’s mark R. LALIQUE/ FRANCE/ NO. 3013

£300-500

16.5cm diameter

PART SUITE OF ‘DORNACH’ CLEAR AND FROSTED DRINKING GLASSES, INTRODUCED 1927 comprising four champagne glasses, 13.5cm high; a single red wine glass, 16cm high; four white wine glasses, 14.5cm high; and four cordial glasses, 13.5cm high, each with etched maker’s marks R. LALIQUE/ FRANCE (13)

£80-120

£300-500

Decorative Arts: Design since 1860 87

307 DAUM, NANCY ART DECO SMOKED GLASS VASE, CIRCA 1930S decorated with repeating acid-etched geometric frieze, raised on a faceted glass base, with etched signature DAUM/ NANCY/ FRANCE and with Cross of Lorraine mark 30cm high

£500-800

308 AFTER EDGAR BRANDT PAIR OF WROUGHT IRON TORCHERES, 20TH CENTURY each with square top on a textured column support raised on a stepped plinth base (2) 24cm wide, 125cm high Note: See Sothebys, 20th Century Decorative Arts, 11 Mar 2004, New York, lot 203 for a lot by Brandt of similar form.

£400-600

309 SCHNEIDER LARGE GLASS CHARGER, 1930S the underside with an allover design of acid-etched abstract forms, retailer’s label on the base, etched maker’s mark SCHNEIDER, 41.5cm diameter; and an ANDRÉ DELATTE AMBER GLASS LINER DISH, of shallow circular form, the underside with acid-etched stylised motifs, with etched signature A DELATTE/ NANCY, 40.5cm diameter (2) £200-300 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

88 Lyon & Turnbull

310 AFTER MIES VAN DER ROHE PAIR OF KNOLL STUDIOS ‘BRNO’ ARMCHAIRS, DESIGNED 1929, MODERN each with leather upholstery on polished chrome frame, cast maker’s marks to base (2) 58cm wide, 81cm high, 53cm deep

£300-500

311 AFTER LUDWIG MIES VAN DER ROHE ’BARCELONA’ CHAIR AND COUCH, DESIGNED 1929, MODERN chrome plated steel with buttoned leather upholstery (2) couch 150cm wide, 77cm high, 50cm deep, chair 77cm wide, 75cm high, 50cm deep

£400-600

312 AFTER LE CORBUSIER LC2 SOFA AND TWO ARMCHAIRS, DESIGNED 1928, MODERN black leather upholstery and chromium plated frame (3) sofa 129cm wide, 68cm high, 54cm deep; chair 75cm wide, 71cm high, 56cm deep

£600-800

Decorative Arts: Design since 1860 89

313 ART DECO WROUGHT IRON CEILING LIGHT, EARLY 20TH CENTURY with domed circular alabaster shade within frame decorated with vine leaf and grape clusters 55cm diameter, 129cm high

£300-500

314 CONTINENTAL SCHOOL PAIR OF LARGE ART DECO WROUGHT IRON FLOOR LAMPS, CIRCA 1930 each with four scrolling branches, raised on divided textured columns with applied scrolls on bracket feet (2) 96cm wide, 193cm high

£600-800

315

316

317

CERAMICHE GALVANI, PORDENONE, ITALY

CHRISTOFLE, FRANCE

CHRISTIAN FJERDINGSTAD (1891-1968) FOR CHRISTOFLE

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

ART DECO SILVER PLATED COMPORT, CIRCA 1930 the dish raised on a ribbed stem and spreading foot, stamped maker’s marks CHRISTOFLE/ 35

26.5cm high

33cm across

£150-250

£200-300

SILVER PLATED GALLIA ‘SWAN’ SAUCE DISH AND SPOON, 1930S each with maker’s marks, the sauce dish of oval form with a platform handle, 20cm long overall; the spoon with a curved handle terminating in a swan’s head, 20cm long (2) £200-300

90 Lyon & Turnbull

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

£3,000-4,000

319 MANNER OF JACQUES ADNET PAIR OF TABLE LAMPS, 20TH CENTURY chromium plated metal with glass sphere and tall opaque glass shades (2) 39cm high

£300-500

320 PAUL HAUSTEIN (1880-1944) FOR WMF (WÜRTTEMBERGISCHE METALLWARENFABRIK) PATINATED BRASS CYLINDRICAL VASE, CIRCA 1920 of tall tulip form, raised on a short stem and circular base, the body decorated with geometric forms, stamped maker’s marks 35cm high

£400-600

321 MANNER OF EDGAR BRANDT PAIR OF FRENCH MODERNIST WROUGHT IRON FIRE DOGS, CIRCA 1930 each with graduated scrolled uprights (2) each 59cm wide, 34cm high, 16cm deep

£1,000-1,500

Decorative Arts: Design since 1860 91

322 SABINO, PARIS FROSTED GLASS MANNEQUIN HEAD, CIRCA 1925 with metal plate base, signed on the base SABINO/ PARIS/ MADE IN FRANCE 30cm high

£500-800

323 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

£500-800

324 ADRIEN MAZOYER (1887-1950) ENAMELLED GLASS VASE, CIRCA 1930 with an everted neck flanked by twin handles, painted with peonies and insects in orange, blue, green and black, signed A MAZOYER 17.5cm high

£200-300

325 AFTER EILEEN GRAY MODEL E1027 OCCASIONAL TABLE, DESIGNED 1927, MODERN chrome plated steel and glass, the circular adjustable top on twin column support with circular base 51cm diameter, 61cm high

£100-200

326

327

328

AMERICAN SCHOOL

[§] KURT VERSEN (1901-1997)

FRENCH SCHOOL

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

PAIR OF ART DECO WALL LIGHTS, CIRCA 1930 chromium plated steel, cast maker’s marks (2)

ART DECO CONSOLE TABLE, CIRCA 1930 marble and patinated steel

25.5cm diameter

25cm diameter

£300-500

£300-500

£400-600

131cm wide, 88cm high, 33cm deep

92 Lyon & Turnbull

329 [§] FAYRAL (PSEUDONYM FOR PIERRE LE FAGUAYS) (1892-1962)

330 DIDISHEIM GOLDSCHMIDT FILS & COMPANY FOR JUVENIA, SWITZERLAND

’SEDUCTION’, BRONZE FIGURE GROUP, CIRCA 1925 the figure raised on a stepped black marble plinth, signed in the bronze FAYRAL 23cm high, 65cm across

£2,000-3,000

ART DECO TRAVEL CLOCK, CIRCA 1930 in the form of a perfume bottle, with carved mother of pearl dial contained within brass and green onyx case, inscribed to the back LE NUMERO 7 DE JUVENIA, makers logo to base and inscribed METAL DORÉ/ DIDISHEIM-GOLDSCHMIDT FILS & CIE/ SWISS

331 ART DECO PATINATED BRONZE FIGURE OF A BATHER, 1920S/30S depicted with one hand behind her head, in a swimming costume and hat, on carved rock-form marble base

9cm high

£400-600

22cm high

£300-500

332Y FERDINAND PREISS (1882-1943) ’VICTORIAN LADY’, PATINATED BRONZE & IVORY FIGURE, CIRCA 1925 raised on a faceted green onyx plinth 15cm high

£400-600

333 ROYAL DUX, CZECHOSLOVAKIA ART DECO PORCELAIN FIGURE, CIRCA 1930 modelled as a female dancer, applied pink triangle mark, with impressed and printed maker’s marks CZECHOSLOVAKIA/ 3268/ 2 31cm high

£150-250

Decorative Arts: Design since 1860 93

334 STEFAN DAKON (1904–1992) FOR GOLDSCHEIDER, AUSTRIA ART DECO CERAMIC FIGURE OF A DANCER, CIRCA 1925 modelled as a dancer in a flowing green skirt, impressed and printed marks DAKON/ GOLDSCHEIDER/ WIEN/ 7195/ 1336/ 4, restorations 40cm high

£500-700

335 RICHARD W. LANGE (1879-1944) GERMAN PATINATED BRONZE FIGURE OF A NUDE, EARLY 20TH CENTURY golden-brown patina, playing a horn, and raised on a black marble plinth base, signed RICHARD W. LANGE 29cm high

£400-600

336 ART DECO PATINATED BRONZE FIGURE OF A DANCER, 1920S/30S with head raised and arms spread, on a polished marble base 50cm high

£400-600

337 GOLDSCHEIDER, AUSTRIA ART DECO CERAMIC FIGURE OF A DANCER, CIRCA 1930 modelled as a lady in a flowing blue dress, impressed marks GOLDSCHEIDER/ WIEN/ 6492/ 99/ 11, printed factory marks, with retailer’s label for ALFRED PEARCE, restorations 41cm high

£200-300

94 Lyon & Turnbull

338 [§] ELYSE ASHE LORD (1900-1971) ’NEWSBOY’ coloured etching, signed and inscribed in pencil lower right ELYSE ASHE LORD/ 52/75, 40 x 45cm; and another, of a mandolin player, signed lower right ELYSE ASHE LORD/ 2/75, 33cm x 28cm (2) £300-500

339

340

341

CONTINENTAL SCHOOL

ART DECO

ART DECO

ART DECO PATINATED METAL TABLE CANDELABRA, CIRCA 1930 cast as a dancer holding a three branch light fitting and raised on an onyx plinth

PATINATED SPELTER TABLE LAMP, CIRCA 1930 cast as a seated girl, holding an alabaster spherical shade and raised on a marble plinth

PAIR OF STRUT DRESSING MIRRORS, CIRCA 1920 each of canted rectangular form with cushion frames and strut supports verso (2)

46cm high

28cm high, 37cm long

43cm wide, 59cm high

£200-300

£300-500

£300-500

342

343

344

ROYAL COPENHAGEN

ROYAL COPENHAGEN

SÈVRES

TWELVE PORCELAIN WALL PLATES, EARLY 20TH CENTURY each decorated with flowers and leaves, with maker’s marks, largest 20.5cm diameter; together with a ROYAL COPENHAGEN PORCELAIN BOWL, 1920s/30s, decorated with a rose, with maker’s marks, 21cm diameter (13)

COLLECTION OF PORCELAIN WARES, EARLY 20TH CENTURY all with maker’s marks, comprising a CHRISTIAN THOMSEN FIGURE OF A FAUN, 21cm high; a large VASE, decorated with nasturtium, 22cm high; a small VASE, depicting a sailing ship, 15cm high; a DISH, with a mallard, 17cm long; and a small SEABIRD, 6cm long; together with a VASE, 22cm high, and a FIGURE GROUP, 10cm high

BY B&G, maker’s marks; and a small FIGURE OF A BIRD, unmarked, 3cm high (8)

ART DECO JAR AND COVER, CIRCA 1920 with stylised foliate decoration, buff glaze highlighted with gilt, impressed mark SEVRES, painted mark H. PATINE, 25cm high (restored cover); TWO SMALL SÈVRES ART DECO VASES, with slip and craquelure decoration, printed marks and artist’s monogram, 10cm and 6cm high; and TWO SÈVRES VASES BY PAUL MILET (1870-1950), each covered in green, blue and turquoise glazes, printed and painted marks PM/ SÈVRES/ FRANCE, 14.5cm and 12cm (5)

£200-300

£200-300

345

346

347

ART DECO

ART DECO

ART DECO

WALNUT OCCASIONAL TABLE, CIRCA 1930 the octagonal top on square base and plinth

CHINOISERIE WALNUT CASED MANTEL CLOCK, CIRCA 1930 of stepped rectangular outline, painted with Chinoiserie scenes 35.5cm wide, 23cm high

WALNUT & MAPLE INLAID SIDE TABLE, CIRCA 1925 the rectangular cross-banded top with central marquetry panel of specimen woods, raised on a square column with plinth base

£250-350

63cm wide, 54cm high, 48cm deep

£250-350

58cm across, 48cm high

£150-250

£300-500

Decorative Arts: Design since 1860 95

348 NORITAKE, JAPAN ART DECO PORCELAIN COFFEE SERVICE, CIRCA 1930 painted in gilt and coloured enamels with a cubist design, and comprising a COFFEE POT & COVER, 17.5cm high; MILK JUG; TWIN-HANDLED SUGAR BOWL & COVER, SIX COFFEE CANS & SAUCERS, printed maker’s marks (15) £200-300

349 WALKER & HALL, SHEFFIELD ART DECO FOUR PIECE ‘SKYSCRAPER’ SILVER CRUET SET, DATED 1934-1935 comprising a SUGAR SIFTER, 15.5cm high; a PEPPER SHAKER, 7.5cm high; a LIDDED MUSTARD POT and SALT DISH, each with blue glass liners and corresponding spoons, 5cm long, all in the form of skyscrapers, with stamped maker’s marks, hallmarked Sheffield 1934-35 (4) £1,000-1,500

350 ART DECO PEWTER FIGURAL TABLE LAMP, CIRCA 1930 cast in pewter with opposed stylised figures of Pierrot and Pierrette, seated on a frosted orb shade and raised on a marble plinth 29.5cm high

£250-350

351 ART DECO WALNUT & COROMANDEL WOOD OVAL CENTRE TABLE, CIRCA 1925 the oval inlaid top with abstract design, raised on square supports with beaded edge on a tapering plinth with corresponding inlay 94cm wide, 78cm high, 60cm deep

£600-800

96 Lyon & Turnbull

Decorative Arts: Design since 1860 97

352 [§] NORMAN JOHN FORREST (1898-1972) CARVED LIMEWOOD PANEL, CIRCA 1930 depicting a female figure, signed lower right N J FORREST 84cm x 57cm

£700-900

353 [§] NINA MILLER DAVIDSON (1895-1957) APPLIQUE PANEL, CIRCA 1930 mixed fabrics, framed 52cm x 54cm Provenance: Nina Miller Davidson and by family descent.

£400-600

354 ENGLISH SCHOOL ART DECO WALNUT DINING TABLE, CIRCA 1930 the cross-banded and quarter-veneered top on twin pedestals with bracket feet 187cm long, 76cm high, 97cm wide

£1,000-1,500

98 Lyon & Turnbull

355 [§] CECIL BEATON (1904-1980) COSTUME DESIGN FOR ‘LE PAVILLION’, CIRCA 1936 bodycolour, signed 25cm x 19cm Provenance: ‘Studio of the Late Cecil Beaton C.B.E.’ Christies, Thursday 7th June 1984, Lot 49.

Note: ‘Le Pavillion’ opened at the Royal Opera House, Covent Garden in August 1936. Beaton designed the costumes and set in various shades of blue and it was the first of Colonel de Basil’s productions at Covent Garden designed by an Englishman. The story was by Boris Kochno, music by Borodin and the choreography was by Lichine.

£700-900

356 [§] CECIL BEATON (1904-1980) COSTUME DESIGN FOR ‘LE PAVILLION’, CIRCA 1936 bodycolour, signed 25cm x 19cm Provenance: ‘Studio of the Late Cecil Beaton C.B.E.’ Christies, Thursday 7th June 1984, Lot 49.

£700-900

357 KEITH MURRAY (1892-1981) FOR STEVENS & WILLIAMS GLASS VASE, CIRCA 1935 the green glass of tulip form, raised on a circular base, with etched maker’s mark KEITH MURRAY/ S&W/ BRIERLEY 25.5cm high

£200-300

358 SHELLEY POTTERY ‘SHELLEY GIRL’ ADVERTISING FIGURE , CIRCA 1925 modelled as an elegant figure in a blue dress, green Shelley backstamp to underside 31cm high

£800-1,200

359 HEAL & SON, LONDON ARTS & CRAFTS MAHOGANY REFECTORY TABLE, MODEL 212, EARLY 20TH CENTURY the rectangular top raised on square legs with ogee brackets, linked by stretchers and with corresponding bracket feet 184cm wide, 76cm high, 76cm deep Literature: Heal, Oliver ‘Sir Ambrose Heal and the Heals Cabinet Factory 1897-1939’, Wetherby 2014, p. 200

£400-600

Decorative Arts: Design since 1860 99

360 ROYAL DOULTON PORCELAIN FIGURE, ‘BUTTERFLY’ HN720, RELEASED 1927 red colourway, restored arm, printed and painted marks, 16.5cm high; and another ROYAL DOULTON ‘BUTTERFLY’ FIGURE, released 1925, restored neck, printed and painted maker’s marks, 16.3cm high (2) £600-800

361 ROYAL DOULTON PORCELAIN FIGURE, ‘LIDO LADY’, HN1220, INTRODUCED 1927 printed and painted maker’s marks, 17cm high; and a ROYAL DOULTON FIGURE ‘ANGELA’ HN1204, INTRODUCED 1927, printed and painted maker’s marks, 19cm high (2) £400-600

362 DAISY MAKEIG-JONES (1881-1945) FOR WEDGWOOD FAIRYLAND LUSTRE ‘BUTTERFLY WOMEN’ TRUMPET VASE, CIRCA 1920 shape 2810, with printed factory mark and painted mark Z4968/ D 15cm high

£600-800

363 DAISY MAKEIG-JONES (1881-1945) FOR WEDGWOOD FAIRYLAND LUSTRE FOOTED BOWL, CIRCA 1925 the interior decorated with fairies on a mottled green glaze, the exterior with ‘Leapfrogging Elves’ pattern, printed factory mark, painted mark Z4968/ R., 12.5cm diameter; and a WEDGWOOD DRAGON LUSTRE FOOTED BOWL, printed and painted in gilt and coloured enamels, decorated with writhing dragons, printed factory mark, 12.5cm diameter (2) £400-600

364

365

366

HEAL & SON, LONDON

ENGLISH SCHOOL

THOMAS WEBB & SONS

MAHOGANY ‘YEWDEN’ WARDROBE, MODEL NO. 409, 1920S the moulded cornice above central panelled door flanked by arched mirrored doors raised on bracket feet

MAHOGANY BOOKCASE CABINET, CIRCA 1930 with central figured door flanked by astragal glazed door enclosing shelves and raised on square legs

CARVED CAMEO FLEUR VASE, CIRCA 1930 of waisted form, clear glass overlaid in blue and acid-etched lilies on a textured ground, with cameo signature WEBB and acid-etched maker’s mark to the base

188cm wide, 185cm high, 56cm deep

122cm wide, 131cm high, 30cm deep

22.5cm high

Literature: Heal, Oliver ‘Sir Ambrose Heal and the Heals Cabinet Factory 1897-1939’, Wetherby 2014, p. 177

Literature: Heals Dining Room and Living Room Furniture, catalogue circa 1930, p. 44

£200-300

£400-600

£500-700 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

100 Lyon & Turnbull

367 ATTRIBUTED TO HEAL & SON, LONDON OAK DESK ARMCHAIR, CIRCA 1920 with fretwork back and arms above drop-in seat and square tapered legs 60cm wide, 78cm high, 47cm deep

£400-600

368 HEAL & SON, LONDON ARTS & CRAFTS OAK BOOKCASE, MODEL NO. 204, CIRCA 1910 with four open shelves and planked back enclosed by arched panel supports, bears maker’s label 122cm wide, 120cm high, 33cm deep Literature: Heal, Oliver ‘Sir Ambrose Heal and the Heals Cabinet Factory 1897-1939’, Wetherby 2014, p. 191 Note: ‘204’ bookcases were introduced around 1907, as part of the Cottage Furniture range.

£400-600

369 HEAL & SON, LONDON LIMED OAK WARDROBE, CIRCA 1930 with twin central arched doors enclosing a hanging space, flanked by two further panelled doors, one enclosing shelves 168cm wide, 190.5cm high, 50cm deep

£400-600

370 SERGE CHERMAYEFF (1900-1996) FOR E. K. COLE LTD EKCO AC 74 BAKELITE RADIO, DESIGNED 1933 moulded Bakelite, chrome, celluloid 38cm wide, 45.5cm high, 26.5cm deep

£150-250

Decorative Arts: Design since 1860 101

371 HEAL & SON, LONDON SET OF FOUR ARTS & CRAFTS OAK CHAIRS, CIRCA 1930 each with bar backs above drop-in rush seats on square tapering legs linked by stretchers (4) 44cm wide, 93cm high, 40cm deep Literature: Heals Dining Room and Living Room Furniture, catalogue circa 1930, p. 27.

£400-600

372 HEAL & SON, LONDON ARTS & CRAFTS OAK REFECTORY TABLE, CIRCA 1920 the rectangular top raised on two turned baluster legs linked by a moulded stretcher with corresponding legs and flattened bun feet, bears maker’s label 177cm wide, 76cm high, 84cm deep

£500-800

373

374

MOORCROFT POTTERY

DECORATIVE ARTS INTEREST

COLLECTION OF WARES, 20TH CENTURY comprising a LARGE PLATE, 26cm diam., a PLATE, 22cm diam., a BOWL, 14cm diam., TWO SMALL PLATES, 11.5cm diam., and an ASHTRAY, 14cm wide, all in the ‘Anemone’ pattern; an ASHTRAY, in the ‘Hibiscus’ pattern, 16cm wide; a VASE, 20.5cm high, and a CLOCK, 16cm high, both with C.R. Mackintosh decoration; a PLATE, with flowerheads, 16cm diam.; and FIVE SMALL PLATES, with various stylised decoration, 12cm diam.; with maker’s marks, some pieces boxed (15)

COLLECTION OF REFERENCE BOOKS, MODERN including ART NOUVEAU (Arwas); C.F.A. VOYSEY (Hitchmough); ARTS & CRAFTS MOVEMENT IN IRELAND (Larmour); WEMYSS WARE (Davis & Rankine); ARTS AND CRAFTS ARCHITECTURE (Davy); ARTS & CRAFTS FURNITURE (Andrews); ARTS & CRAFTS STYLE (Anscombe) etc (17) £100-150

£300-500

375

376

377

PHILLIPS

GILBERT BAYES (1872-1953) FOR ROYAL DOULTON

MOORCROFT POTTERY

TERRESTRIAL GLOBE, MID-20TH CENTURY with illuminating perspex scale raised on a cast metal base, printed maker’s mark 59cm high

£200-300

’THE BIRTH OF PRINTING’ CANDELABRA, DATED 1935 covered in a green glaze and with moulded inscription THE BIRTH OF PRINTING 1476, impressed maker’s mark to base with inscription ALLIED NEWSPAPERS LTD./ CHRISTMAS 1935

’ANEMONES’ JEWELLERY BOX AND COVER, 20TH CENTURY together with a ‘POMEGRANATE’ JEWELLERY BOX AND COVER, each with impressed marks W. MOORCROFT/ POTTER TO/ H.M. THE QUEEN, 12.5cm across (2) £150-250

20cm high

£200-300

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

102 Lyon & Turnbull

378 WEMYSS WARE ’WHITE BROOM’ TALL POMADE, EARLY 20TH CENTURY decorated by James Sharp, painted and impressed marks WEMYSS 7.5cm high

£400-600

379 WEMYSS WARE ’BLACK COCKEREL’ MATCHBOX COVER, EARLY 20TH CENTURY decorated by David Grinton, painted marks WEMYSS / T.GOODE & CO./ LONDON 6.7cm across

£300-500

380 WEMYSS WARE ’THISTLES’ MATCHBOX COVER, EARLY 20TH CENTURY decorated by Joe Nekola, painted mark WEMYSS 8cm across

£400-600

381 WEMYSS WARE ’TULIPS’ TALL POMADE, EARLY 20TH CENTURY decorated by James Sharp, painted and impressed mark WEMYSS 7.5cm high

£200-300

382

383

384

WEMYSS WARE

WEMYSS WARE

WEMYSS WARE

GROUP OF EIGHT BUTTONS, CIRCA 1900 comprising two painted with ivy leaves attributed to James Sharp, 2.2cm diameter; four circular buttons, covered in a celadon glaze, 2.5cm diameter; a further circular button, covered in a blue/green glaze, 2.5cm diameter; and a heart-shaped button, 1.6cm across, variously marked (8)

GROUP OF WARES, 20TH CENTURY comprising a ‘SWEET PEAS’ HAIR TIDY, 6cm high; ‘SWEET PEAS’ CANDLESTICK DRIP TRAY, 7.5cm diameter; a SMALL ‘CABBAGE ROSES’ JUG, 7cm high; a SMALL ‘CABBAGE ROSES’ JAR, 5.2cm high; TWO PLATES, one painted with cherries, the other with greengages, 8.5cm diameter, variously marked; and a copy of ‘WEMYSS WARE: A DECORATIVE SCOTTISH POTTERY’ by Davis, P. and Rankine, R., Scottish Academic Press, Edinburgh and London, 1986 (7)

GROUP OF WARES, 20TH CENTURY comprising a SMALL ‘CHERRIES’ JUG, decorated by Edwin Sandland, painted mark WEMYSS, 7cm high; TWO ‘CHERRIES’ PLATES, decorated by Edwin Sandland, painted and impressed mark WEMYSS, 10cm diameter; a PLICHTA ‘CHERRIES’ BOX & COVER, stamped marks, 11cm across; and a copy of ‘WEMYSS WARE: A DECORATIVE SCOTTISH POTTERY’ by Davis, P. and Rankine, R., Scottish Academic Press, Edinburgh and London, 1986 (5)

£200-300

£150-250

£200-300

Decorative Arts: Design since 1860 103

385 WEMYSS WARE RARE ‘THISTLE’ BUTTON, CIRCA 1900 painted with a thistle on a yellow ground within a scalloped green band, impressed mark WEMYSS 4.5cm diameter

£800-1,200

386 WEMYSS WARE LARGE ‘VIOLETS’ BUTTON, CIRCA 1900 within a scalloped yellow band, impressed mark WEMYSS 4.5cm diameter

£600-800

387 WEMYSS WARE THREE SMALL ‘THISTLES’ BUTTONS, EARLY 20TH CENTURY all with impressed mark WEMYSS (3) 2cm diameter

£400-600

388 WEMYSS WARE ’THISTLES’ LOW POMADE AND COVER, EARLY 20TH CENTURY impressed and painted marks WEMYSS 9cm diameter

£300-500

389

390

WEMYSS WARE

ROYAL DOULTON - WEMYSS

’CHERRIES’ MATCHBOX COVER, EARLY 20TH CENTURY printed retailer’s mark T.GOODE & CO., 8cm across; and a ‘CHERRIES’ LOW POMADE, EARLY 20TH CENTURY, decorated by David Grinton, painted and impressed marks WEMYSS, printed retailer’s mark T, GOODE & CO., 9cm diameter (2)

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’

£300-400

£50-100

19cm high

104 Lyon & Turnbull

391 WILTSHAW & ROBINSON LTD. PAIR OF CARLTON WARE ‘TUTANKHAMUN’ COVERED JARS, NO. 2711, 1930S with printed maker’s marks, gilt Egyptian seal marks and painted pattern numbers (one cover with damages), 27cm high; together with a WILTSHAW & ROBINSON LTD., CARLTON WARE ‘TUTANKHAMUN’ COVERED BOWL, No. 2710, printed maker’s marks, gilt pattern number, 18cm diameter (3) £400-600

392 CLARICE CLIFF (1899-1972) ’ORANGE ERIN’ CONICAL JUG, CIRCA 1930 printed maker’s marks

393 CLARICE CLIFF (1899-1972) TWO ‘CHINTZ’ PATTERN JUGS, CIRCA 1932 to include an ATHENS JUG, 15.5cm high; together with a ‘CHINTZ’ CORONET JUG, 16cm high, each with printed maker’s marks (2)

11.5cm high

£200-300

£250-350

396 395

[§] WILLIAM WILSON (1905-1972)

WENDY WOOD (1892-1981)

Note: This may be the original design for the frontispiece of his Bog-Myrtle and Peat Reek book of verse from 1922.

Note: Wendy Wood, a pseudonym for Gwendoline Meacham, was a fervent Scottish nationalist as well as an artist. One of the founders of the National Party for Scotland, she left it to establish her own organisation, the Scottish Patriots. In 1932 she led a group of nationalists into Stirling Castle, pulled down the union flag and put up the lion rampant. In 1951 she was arrested and imprisoned for incitement to riot after addressing football supporters before a Scotland versus England game. Though less known, her artistic work includes drawings and watercolours for children’s books and the comic ‘Little Dots’. She also worked for the BBC as ‘Auntie Gwen’ in a children’s radio program and, in the 1970s, read Scottish stories for the TV programme Jackanory.

GROUP OF WATERCOLOUR DESIGNS FOR STAINED GLASS For Carrick Church, Stirling: Inscribed ‘I am the Way’ and ‘ To Commemorate Girl Guide Jubilee Year 19101960’, 195cm x 65cm Anonymous Commission: St George and the Dragon, with inscription ‘In Memory of Major General Evered Poole’, 157cm x 42cm South Africa ‘If I Take the Wings of the Morning and Dwell’ etc., and ‘In Memory of Lieutenant Ian F.D. Robertson S.A.A.F.’206cm x 42cm Ratho Church: Inscribed ‘praise ye the Lord’, 180cm x 57cm Anonymous Commission: Inscribed ‘Whom ye Ignorantly Worship’ etc, 123cm x 50cm Anonymous Commission: Inscribed ‘Suffer Little Children to Come unto me’, 195cm x 67cm St. Peter’s Church, Falcon Avenue, Edinburgh: St Peter, 148cm x 42cm and two transept sketches (9)

£200-300

£250-350

£300-500

SUMMER RITE pencil, watercolour and bodycolour, signed lower right WENDY WOOD 72cm x 48cm

394 JAMES PITTENDRIGH MACGILLIVRAY (1856-1938) CROWNED THISTLE, DATED 1922 pencil/pen, signed and dated lower right, framed 21cm x 15.5cm

Decorative Arts: Design since 1860 105

397 [§] ALEXANDER RITCHIE, IONA (1856-1941), IONA CELTIC REVIVAL BRASS CROSS, EARLY 20TH CENTURY repoussé-decorated with scrolled leaves above a longboat 32.5cm high

£200-300

398 [§] THOMAS CURR (1887–1958) VIKING ADVERTISING IMAGE, CIRCA 1940 watercolour, signed lower left TOM CURR 75cm x 52cm Note: Tom Curr was one of Scotland’s most successful and accomplished commercial artists and cartoonists. With the exception of the First World War, he spent his working life in the employment of the Leith-based printers McLagan & Cumming, producing a wide range of tourism and advertising posters. Many of the army recruiting posters he produced for the firm are on display at National War Museum in Edinburgh Castle.

£300-500

399

400

401

ALEXANDER RITCHIE (1856-1941), IONA

CELTIC REVIVAL, IONA

CELTIC REVIVAL, IONA

GROUP OF IONA SILVER JEWELLERY, EARLY-MID 20TH CENTURY comprising GILMORE & WATSON CROSS PENDANT, maker’s marks, hallmarked Glasgow 1914, 7.8cm long; TWO IAIN MCCORMICK BROOCHES, maker’s marks, one enamelled 5cm diam., the other a longboat, 3cm long; a CELTIC ART INDUSTRIES BRACELET, with Celtic knots, maker’s marks, 16.5cm long approx.; a LONGSHIP BROOCH, hallmarked Chester 1935, 3.2cm high; a SHIELD BROOCH, hallmarked Chester 1937; and a BRACELET, with alternating panels of Celtic knots and longboats, rubbed marks, 18cm long, all by S & CO. (7)

GROUP OF JOHN HART SILVER JEWELLERY, MID-LATE 20TH CENTURY with maker’s marks, hallmarks for Edinburgh and Glasgow, comprising a pierced fish-form BROOCH, 1967, 4.8cm wide; a pierced crowned-heart PENDANT, 1973, 4.5cm long; a pierced double crowned-heart BROOCH, with a citrine, 1969, 4.3cm long; a PAIR OF CLIP EARRINGS, with Celtic crosses, 1.4cm across; a Celtic cross PENDANT, 3.4cm long; a RING, depicting a longboat, ring size K/L; and a pierced BROOCH, pierced foliage enclosing a citrine, 1960, 4cm wide (8)

FOUR SILVER BROOCHES, EARLY 20TH CENTURY the first with blue, yellow, purple and white enamels, with pierced details, marked A.R. IONA, 4cm wide; the second, of Scottish shield form, with blue enamel and scrolled silver, marked IONA / AR, D&S, hallmarked Birmingham 1929, 3.2cm diam.; the third depicting a longboat, within a scrolled border, marked AR/ IONA, 3.5cm wide; and an annular brooch, marked AR/ IONA, 4.9cm diam. (4) £400-600

£300-500

£250-350

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

106 Lyon & Turnbull

402 WYLIE & LOCHHEAD, GLASGOW CELTIC REVIVAL OAK BEDROOM SUITE, CIRCA 1930 with carved Celtic decoration, comprising a WARDROBE, 157cm wide, 195cm high, 49cm deep; a DRESSING TABLE, 108cm wide, 168cm high, 48cm deep; a TALLBOY; 85cm wide, 101cm high, 48cm deep; and a DOUBLE BED, 201cm long, 120cm high, 136cm wide, bears maker’s label and serial no.

162549 (4) £600-800

403 GEORGE BAIN (1881-1968) FOR QUAYLE & TRANTER LTD., KIDDERMINSTER 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 192cm x 121cm

£300-400

Decorative Arts: Design since 1860 107

404 SHAPLAND & PETTER, BARNSTAPLE ARTS & CRAFTS MAHOGANY BOOKCASE CABINET, CIRCA 1910 the projecting cornice with embossed copper frieze bearing the inscription READING MAKETH A FULL MAN, above twin leaded and glazed doors enclosing shelves above an open shelf and two linenfold panelled doors enclosing fitted interiors, centred by a single drawer and void and raised on square tapered legs 140cm wide, 210cm high, 55cm deep

£1,500-2,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

108 Lyon & Turnbull

404A RICHARD AMOUR FOR BOUGH POTTERY, EDINBURGH THREE-HANDLED LOVING CUP, CIRCA 1930 decorated with fruit and a chequered band, painted and printed marks R. A. BOUGH/ 384V/ MADE IN SCOTLAND 19cm high

£200-300

405 ELIZABETH AMOUR FOR BOUGH POTTERY, EDINBURGH CIRCULAR WALL CHARGER, CIRCA 1930 decorated with stylised sweet peas, painted and printed marks E.A. BOUGH/ 52/ MADE IN SCOTLAND 37cm diameter

£200-300

406 RICHARD AMOUR FOR BOUGH POTTERY, EDINBURGH CIRCULAR WALL CHARGER, CIRCA 1930 decorated with stylised poppies on a geometric ground, painted marks RA/ BOUGH/ O13 39cm diameter

£200-300

407 RICHARD AMOUR FOR BOUGH POTTERY, EDINBURGH CIRCULAR WALL CHARGER, CIRCA 1930 decorated with stylised flowers on a black ground, painted marks R.A. BOUGH/ VC/ 2/620/ MADE IN SCOTLAND, 30cm diameter; and a BOWL, of similar decoration, painted marks R.A. BOUGH/ 4/620, 23cm diameter (2) £200-300

Decorative Arts: Design since 1860 109

408 [§] KATHERINE PLEYDELL-BOUVERIE (1895-1985) GLAZED TERRACOTTA BOWL, MID 20TH CENTURY with a speckled white-grey glaze, the unglazed base and foot with impressed potter’s seal and glaze code XXVII 14cm high, 17.5cm diameter

£200-300

409 [§] DAVID LEACH (1911-2005) STONEWARE CHARGER, MID 20TH CENTURY decorated with a Willow Tree design, impressed seal mark, 36cm diameter; and a LARGE STONEWARE VASE BY DAVID FRITH (B. 1947), with combed design, impressed seal mark, 54cm high (2) £500-700

410 [§] JANICE TCHALENKO (B.1942) LARGE STONEWARE BOWL, LATE 20TH CENTURY decorated with mottled blue, green and red glazes 39.5cm diameter

£150-250

411

412

413

414

[§] MICHAEL CARDEW (19011983) FOR ABUJA POTTERY

[§] DAVID LEACH (1911-2005)

[§] DAVID LEACH (1911-2005)

[§] PAULINE ZELINSKI

PAIR OF PORCELAIN COFFEE CUPS & SAUCERS, EARLY 1970S each with ribbed decoration and pale celadon glaze, impressed seal marks, 7cm high; a DAVID LEACH STONEWARE COFFEE POT & COVER, 14cm high; and an ADAM DWORSKI STONEWARE HORSE AND RIDER FIGURE, 10cm high (3)

STONEWARE BOWL, MID-1960S with broad ribbed rim and tenmoku glaze, 26cm diameter; and a LEACH POTTERY STONEWARE DISH, with Tree of Life decoration, both with impressed seal marks; and a JAPANESE PAINTED GINGER JAR, initialled to base, 15cm high (3)

TWO SERVING PLATTERS, 21ST CENTURY the larger painted with an allover geometric design, 41cm wide; the other painted with stylised leaves, within a border or abstract rosettes on a red ground, 38cm wide, each with painted signature PAULINE ZELINSKI (2)

Provenance: The Collection of the Late Mr Michael Moulder

£200-300

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

£150-250

Provenance: The Collection of the Late Mr Michael Moulder

£150-250

£150-250 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

110 Lyon & Turnbull

415 FRANK HENRY MASON (1875-1965) EDINBURGH lithograph, condition B+; backed on linen 40 x 25 in. (102 x 64 cm.)

£400-600

416 H. TANCONVILLE (HENRI GANIER, 1845-1936) & H. GRAY (HENRI BOULANGER, 1858-1924) ECOSSE, LOCH CORUISK, SKYE lithograph, condition B+; backed on linen 41 x 29 in. (104 x 73 cm.)

£400-600

417 J R.I. GREENUP (D.1946) HARROGATE lithograph c.1935, condition B; backed on linen 40 x 25 in. (102 x 64 cm.)

£400-600

Decorative Arts: Design since 1860 111

418 AUSTIN COOPER (1890-1964) HARROGATE lithograph, 1939, condition B/B+; backed on linen 40 x 50 in. (101 x 127 cm.)

£700-900

419 DONALD MAXWELL (1877–1936) CHEDDAR GORGE, LOVELY SOMERSET lithograph, condition B; backed on linen 39½ x 49½ in. (100 x 126 cm)

£400-600

420 FREDERICK DONALD BLAKE RI, RSMA (1908–1997) NORTHUMBERLAND AND DURHAM lithograph, 1955, condition B+; not backed, together with thirteen other British travel posters (14) 40 x 50 in. (101 x 127 cm.)

£300-500

112 Lyon & Turnbull

421

423

MACDONALD (MAX) GILL (1884-1947)

MACDONALD (MAX) GILL (1884-1947)

MAIL STEAMSHIP ROUTES lithograph in colours, 1937, condition A; not backed

A MAP OF SCOTLAND lithograph, 1929, condition A-; not backed

40 x 50 in. (101 x 127 cm.)

£2,000-3,000

40 x 60 in. (102 x 152 cm.)

£2,500-3,500

422 MACDONALD (MAX) GILL (1884-1947) POST OFFICE RADIO-TELEPHONE SERVICES lithograph, 1935, condition A-; not backed 40 x 50 in. (101 x 127 cm.)

£2,500-3,500

424 MACDONALD (MAX) GILL (1884-1947) POST OFFICE WIRELESS STATIONS lithograph, 1939, condition A; not backed 40 x 50 in. (101 x 127 cm.)

£2,500-3,500

Decorative Arts: Design since 1860 113

425

426

ANONYMOUS

MISHA BLACK (1910-1977) & KRABER (JOHN ROWLAND BARKER, 1911-1959)

THE EMPIRE’S AIRWAY, SCIENCE MUSEUM lithograph, 1935, condition A-; backed on linen 39½ x 24½in. (100 x 62cm.)

LONDON TRANSPORT AT LONDON’S SERVICE offset lithograph, 1947, condition A-; backed on linen

Provenance: The London Transport Museum Collection

40 x 25 in. (102 x 64 cm.)

£600-800

Provenance: The London Transport Museum Collection

£4,000-6,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

114 Lyon & Turnbull

427 VECOUX SAVOIE lithograph, 1946 condition A; backed on linen 38½ x 24 in. (98 x 60 cm.)

£400-600

428 JULES CAVAILLES (1901-1977) FRANCE, LANGUEDOC lithograph, 1955. condition B+/A-; not backed, together with seven other European travel posters (8) 39½ x 24in. (100 x 61cm.)

£300-500

429 FONAY POUGUES-LES-EAUX lithograph, 1935, condition A-; backed on linen 39 x 25 in. (99 x 63 cm.)

£600-800

Decorative Arts: Design since 1860 115

430 ROGER BRODERS (1883-1953) CHARBONNIÈRES-LES-BAINS, PLM lithograph, c.1927, condition A-; backed on linen 42½ x 31in. (108 x 78cm.)

£400-600

431 ROGER BRODERS (1883-1953) JURA.ENVIRONS DE PONTARLIER lithograph, 1930, condition A-; backed on linen 39½ x 24½in. (100 x 62cm.)

£500-700

432 RENÉ GRUAU (RENATO DE ZAVAGLI, 1909-2004) RELAX... lithograph, c.1950, condition A; backed on linen 38½ x 24½in. (98 x 63cm.)

£600-800

116 Lyon & Turnbull

Decorative Arts: Design since 1860 117

433

436

WILLY MUCHA (1905–1995)

ANONYMOUS

OUISTREHAM RIVA-BELLA lithograph, 1934, condition A-; backed on linen

VENEZIA offset lithograph, c.1953, condition A; not backed

40 x 25 in. (102 x 64 cm.)

40 x 25 in. (102 x 64 cm.)

£400-600

£300-500

434

437

ANONYMOUS

JOOP VAN HEUSDEN (1920-2013)

MALTA lithograph, condition B+; not backed

KLM, DOUGLAS GORDON DC 4 lithograph, condition B+/A-; not backed

39½ x 26½in. (100 x 68cm.)

27 x 38½ in. (69 x 98 cm.)

£500-700

£300-500

435

438

FRED PROESSDORF (1882-1925)

S.D.P.

SWEDEN, GOTA CANAL lithograph, condition B+/A-; backed on linen

THE SPORTING lithograph, 1925, condition B+; backed on linen

39 x 25 in. (99 x 63 cm.)

44 x 30 in. (112 x 76 cm.)

£500-700

£800-1,200

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

118 Lyon & Turnbull

439 JAMES NORTHFIELD (1887-1973) HEALESVILLE lithograph, 1930, condition A-; backed on linen 40 x 25 in. (102 x 64 cm.)

£1,500-2,000

440 MOY THOMAS CANADIAN NATIONAL RAILWAYS lithograph, condition A-; not backed 40 x 25 in. (102 x 64 cm.)

£600-800

441 ERNEST LONGMATE ABERDEEN & COMMONWEALTH LINE, ENGLAND TO AUSTRALIA lithograph, c.1933, condition B+/A-; backed on linen 40 x 24½ in. (102 x 63 cm.)

£500-700

Decorative Arts: Design since 1860 119

442

443

ED KEELEY

ED KEELEY

KENYA & UGANDA lithograph, 1930, condition A-; backed on linen

KENYA & UGANDA lithograph, 1930, condition A-; backed on linen

40 x 25 in. (103 x 65 cm.)

40 x 25 in. (103 x 65 cm.)

£1,500-2,000

£1,500-2,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

120 Lyon & Turnbull

444 [§] PETER WOMERSLEY (1923-1993) ARCHITECTURAL MODEL FOR BERNAT KLEIN STUDIO, 1970S balsa wood 38cm wide, 19cm high, 33cm deep

£300-5000

The (Bernat) Klein House or ‘High Sunderland’ in the Scottish Borders was designed by architect Peter Womersley (1923-1993) for the textile designer, Bernat Klein (1922-2014) in 1956, with the later addition of a studio wing in 1982. A low, single storey building with large glass windows and a makore timber frame, the building sits in a picturesque location with views across the green fields, and reflects innovative design of the mid-century from every angle.

Peter Womersley was known for various designs within Scotland, particularly in the Borders, including the football stadium for Gala Fairydean FC in Galashiels and the Nuffield Transplantation Unit at the Western General Hospital in Edinburgh. He also designed numerous homes, many of which are still used as private residences.

His first domestic design was Farnley Hey in the Pennines in 1950, presented to Womersley’s brother John as a wedding gift, which won a Royal Institute of British Architect’s medal. It was this property, seen by Bernat Klein and his wife, which led to the commission of High Sunderland.

Womersley’s work has been described as “exacting” and an “acquired taste” but there is no doubt when viewing his buildings that they reflect innovative mid-century design: open expansive cubic and geometric forms, incorporating the use of exotic hardwoods, glass and rather utilitarian materials like concrete, often situated in picturesque settings and landscapes with light flooding the interiors. Womersley’s work, whilst critiqued, also has strong admirers: Rowan Moore, for example, said in his article about Womersley, that he was “one of the best architects of the 20th century, and…one of the most overlooked. His buildings

are adventurous but poised; lucid, brave in conception and considered in their detail.” As a person he was held to be social, charming and a lover of travelling, but private and elusive. This may have contributed to his work not getting as much attention as it deserved: he wasn’t a big networker and he didn’t join multiple organisations or movements to promote his architecture.

His designs reflect his training at the Architectural Association in London, influenced by the Bauhaus tradition, and nod quite firmly to the American contemporary style popular in California in the mid-century period. High Sunderland is no exception to these influences, being an expansive open space, separated by varied floor levels, secret doors and inbuilt cupboards, residing in a green space. Such is the importance of High Sunderland that is a category A listed property: a rare honour awarded to a post-war building. Historic Environment Scotland lists the house as “a signature work embodying his [Womersley’s] characteristic geometric modular design… © Historic Environment Scotland surviving in its original condition.”

Its owner Bernat Klein was a very fitting occupant for the building, as a designer himself, he was much involved with the local art scene within the Borders of Scotland. High Sunderland was used as a canvas of sorts for Klein, who as well as keeping the original fittings and fixtures of the house to this day, incorporated his specially designed textiles into his home. He supplied textiles to various haute couture designers including Chanel, Dior, Balenciaga and Saint Laurent, and in the 1960s set up his own cottage industry of hand-knitters, before creating his own clothing range in the 1970s. He was inspired by nature, so the rural location of High Sunderland certainly seems like it was a perfect fit for his work.

Decorative Arts: Design since 1860 121

PROPERTY FROM THE ESTATE OF BERNAT KLEIN

445 [§] PETER WOMERSLEY (1923-1993) ARCHITECT’S PLANS FOR KLEIN HOUSE AND STUDIO, 1950S-1970S comprising numerous plans, sections and elevations on tracing paper, as well as photocopies; for Klein House: included are Northern, Southern, Eastern and Western elevations, ground floor plans, foundation plans, roof plans and interior room plans; for the Klein Studio: included are Northern, Southern, Eastern and Western elevations, front, side and back elevations, upper and lower roof plans, a key cross section plan, floor plans, and a services layout diagram (approx. 80 including photocopies) £700-900

446 BERNDT FRIBERG (1899-1981) FOR GUSTAVSBERG, SWEDEN LARGE YELLOW GLAZED STONEWARE VASE, 1950S of squat ovoid form with a tapered neck, the lower section with a hare’s-fur glaze, with an orange ring below the neck, incised maker’s marks 27cm high Provenance: The Estate of Bernat Klein

£2,000-3,000

122 Lyon & Turnbull

447 [§] LUCIE RIE (1902-1995) LARGE HAND-THROWN CERAMIC BOWL, MID-20TH CENTURY of cylindrical form, the exterior covered in a dark glaze with a band of sgraffito decoration, impressed seal mark (hairlines) 25cm high, 27cm diameter Provenance: The Estate of Bernat Klein

£1,000-1,500

448 BERNDT FRIBERG (1899-1981) FOR GUSTAVSBERG, SWEDEN LARGE HARE’S-FUR GLAZED STONEWARE VASE, 1950S of shouldered form with a cylindrical neck, in an ombre glaze from brown to blue, incised maker’s marks 32cm high Provenance: The Estate of Bernat Klein

£700-900

449

450

HANS WEGNER (1914-2007) FOR JOHANNES HANSEN

JACQUES (1926-2008) AND DANI (1933-2010) RUELLAND

SIX TEAK FRAMED JH-713 CHAIRS, DESIGNED 1960 with black leather upholstery, bears maker’s labels (6) 66cm wide, 91cm high, 46cm deep

PURPLE GLAZED CERAMIC VASE of bottle form, with an elongated neck, in allover purple glaze, inscribed RUELLAND

Provenance: The Estate of Bernat Klein

31cm high

£1,500-2,000

Provenance: The Estate of Bernat Klein

£300-500

Decorative Arts: Design since 1860 123

451 MID-CENTURY TWO CLEAR GLASS VASES, DATED 1968 the first of slender form with a tapered neck, 45cm high; the second of squat form, also with a tapered neck, 21cm high; both signed KGW/ 1968 (2) Provenance: The Estate of Bernat Klein

£200-300

452 [§] JOHN DITCHFIELD, GLASFORM THREE IRIDESCENT GLASS BUD VASES, LATE 20TH CENTURY each with slender necks above ovoid bodies, with acid-etched maker’s marks, two with labels, 22cm and 20cm high; together with an ISLE OF WIGHT GILT AND IRIDESCENT VASE, of flattened form, with a maker’s label, 15.5cm high (4) Provenance: The Estate of Bernat Klein

£200-300

453

454

455

BERNDT FRIBERG (1899-1981) FOR GUSTAVSBERG, SWEDEN

CARL HARRY STÅLHANE (1920-1990) FOR RÖRSTRAND, SWEDEN

MÄRTA MÅÅS-FJETTERSTRÖM (1873-1941)

HARE’S-FUR GLAZED STONEWARE VASE, 1960S with an everted neck tapering to an ovoid body, with a blue and brown glaze, incised maker’s marks

TWO SMALL STONEWARE VASES, MID 20TH CENTURY each of slender form with hare’s-fur glaze, inscribed maker’s marks, 20cm and 19cm high (one with a chip to rim); together with TWO BLUE GLAZED BOTTLE VASES, 26cm and 20cm high; and a SMALL POTTERY DISH, inscribed ‘LE FAURE’ to the underside, 13cm diam. (5)

SMALL WOVEN WOOL MAT of rectangular form, depicting a stylised thistle and leaves, signed lower right, 24cm x 22cm; and a HELGE NIELSEN WOODCUT, signed and dated 1970 in pencil, 18cm x 23cm (2)

25cm high Provenance: The Estate of Bernat Klein

£300-500

Provenance: The Estate of Bernat Klein

£150-250

Provenance: The Estate of Bernat Klein

£200-300

456

457

458

ROSENTHAL, GERMANY

[§] SUSANNE BOLT

[§] ROBERT STEWART

FOUR IRIDESCENT ‘STUDIO LINE’ PORCELAIN VASES comprising two bottle vases and a shouldered vase with red and gilt decoration, 26.5cm, 20.5cm high and 18cm high; and a shouldered vase with green and gilt decoration, 18cm high; all with printed maker’s marks (4)

TWO TENMOKU GLAZED STONEWARE VESSELS, 20TH CENTURY with everted necks, spreading to shouldered bodies, maker’s marks, 19cm and 18cm high; together with a LARGE STONEWARE VASE, with speckled cream glaze, 39.5cm high; and a LARGE STONEWARE CASSEROLE DISH AND COVER, with twin handles, impressed monogram, 36.5cm wide (4) Provenance: The Estate of Bernat Klein

TWO CERAMIC TILE PANELS, DATED 1969 one depicting circles, the other squares, each signed lower right STEWART ‘69, mounted to boards (with some damages and repairs), 46cm x 45cm; together with a BÖRJE SKOHG (1923-2006) FOR GUSTAVSBERG, DECORATED WALL PLAQUE, 1970S, of square form, with silver paste lines and dots, signed GUSTAVSBERG/ SKOHG to verso, 23cm x 22.5cm (3)

£200-300

Provenance: The Estate of Bernat Klein

Provenance: The Estate of Bernat Klein

£250-350

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

£200-300

124 Lyon & Turnbull

459 [§] R. B. KITAJ (1932-2007) THE ROMANCE OF THE CIVIL SERVICE (CHARGE SHEET) screenprint, signed and numbered 59/70, unframed 102cm x 68cm Provenance: The Estate of Bernat Klein

£300-500

460 [§] CERI RICHARDS (1903-1971) LANDSCAPE lithograph, signed and dated ‘67, numbered 19/70, unframed 68cm x 64.5cm Provenance: The Estate of Bernat Klein

£300-500

461 [§] GEORGINA BEIER (B. 1938) OCTOPUS oil on board, signed, dated and inscribed GEORGINA BEIER/ OSHOGBO/ 66, and inscribed with title verso, 122cm x 106cm; and GODDESS OF THE SUN, oil on board, by the same hand, unsigned, inscribed with title verso, 122cm x 99cm (2) Provenance: The Estate of Bernat Klein Note: Born in England in 1938, Georgina Beier moved to Nigeria in the 1960s. She is celebrated as an artist who helped inspire the careers of a number of African artists and worked in a variety of media including painting, sculpture, prints, textiles, theatrical sets and costumes.

£300-500

Decorative Arts: Design since 1860 125

462

463

464

AFTER CHARLES AND RAY EAMES

[§] IAN RENINGER

BERNAT KLEIN (1922-2014)

FIBREGLASS ROCKER, MODERN the moulded seat on steel frame with wood rockers

ABSTRACT, DATED 1958 screenprint, signed and dated IAN RENINGER/ 1958/ TEL AVIV, unframed, 76 x 56cm; together with KATE M. ROCHE, GASWORKS ECLIPSE, screenprint, titled, signed and dated DEC. 1968, no. 5/12, unframed, 52 x 38cm (2)

’EYE FOR COLOUR’, 1965 Bernat Klein Scotland with Collins, London; together with a set of the ‘PERSONAL COLOUR GUIDES, NUMBERS 1-6’, by Bernat Klein, 1965 (7)

62cm wide, 68cm high, 65cm deep Provenance: The Estate of Bernat Klein

£100-200

£150-250

Provenance: The Estate of Bernat Klein

£200-300

OTHER PROPERTIES

465 ALVAR AALTO (1898-1976) FOR ARTEK PAIR OF MODEL 51 ARMCHAIRS, DESIGNED 1931 laminated and solid birch, part-ebonised, retains Finmar retailer’s label (2) 55cm wide, 77cm high, 49cm deep Note: This chair was originally designed for Aalto’s Paimio Sanatorium of 1929-32.

£2,000-3,000

466

467

468

DANISH SCHOOL

ERIK PLÖEN (1925-2004)

WALNUT AND BEECH WALL MOUNTED HAT AND COAT RACK, CIRCA 1960 with eight conical shaped hooks, and a slatted shelf above

CYLINDER VASE, DATED 1949 the surface with allover tapered prunts, white and turquoise glazes, painted artist’s mark to base PLÖEN/ ‘49

FRANK REENSKAUG FOR BRAMIN MOBLER

123cm wide, 18cm high, 20cm deep

32cm high

67cm wide, 88cm high, 78cm deep

£200-300

£200-300

£250-350

MID-CENTURY WALNUT ROCKING CHAIR MODEL 182, 1960S with original and later covers

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

126 Lyon & Turnbull

469 ARNE JACOBSEN CHAIRS FOR FRITZ HANSEN SET OF EIGHT SERIES 7 3107 DINING CHAIRS, DESIGNED 1955 chromed steel with leather upholstery, each bears maker’s label (8) 51cm wide, 77cm high, 39cm deep

£500-700

470 LISA LARSON (B. 1931) FOR GUSTAVBERG, SWEDEN LARGE CAT FIGURE, CIRCA 1960 bears maker’s paper label, 33cm long; a GUSTAVBERG VASE BY STIG LINDBERG, CIRCA 1960, from the ‘Karneva’l range, 35.5cm high; and a ROSENTHAL STUDIO LINIE VASE BY BJORN WINBLAD, 1970s, printed maker’s marks, 46cm high (3) £500-700

471 SCANDINAVIAN SCHOOL TEAK WRITING DESK, CIRCA 1960 the rectangular top raised above a kneehole with six drawers raised on rectangular section legs 175cm wide, 72cm high, 82cm deep

£300-500

472 SCANDINAVIAN MAKERS GROUP OF FIVE STUDIO WARES, MID 20TH CENTURY comprising a VASE BY PALME MOLKE, covered in a blue glaze, 10cm high; a BOWL BY BERNGT FRIBERG, covered in a yellow glaze, 9.5cm across; TWO BOWLS BY SVEN HOVFERBERG, covered in crystalline and mottled sang de boeuf glazes, 11cm and 9.5cm diameter; and a NILS THORRSON VASE, covered in a resist tenmoku glaze, 8.5cm high, each with impressed or incised maker’s marks (5) £200-300

Decorative Arts: Design since 1860 127

473 SVEND MADSEN (B. 1939) FOR H. P. HANSEN CURVED TEAK DESK, 1960S the rounded rectangular top above two banks of four drawers within an open frame support on splayed feet, the rear with cupboard and bookshelves 153cm wide, 73cm high, 73cm deep Provenance: purchased La Boutique Danoise, Paris, 1962

£400-600

474 HANS WEGNER (1914-2007) FOR FDB J16 EBONISED ROCKING CHAIR, INTRODUCED 1944 with spindle back and corded seat 63cm wide, 107cm high, 78cm deep

£300-500

475 KAI KRISTIANSEN (B. 1929) FOR MAGNUS OLSEN TEAK FRAMED MODEL 121 ‘PAPER KNIFE’ ARMCHAIR, DESIGNED 1956 with upholstered back and seat cushion, bears maker’s branded mark 61cm wide, 81cm high, 44cm deep

£300-400

476 ILMARI TAPIOVAARA (1914-1999) FOR OY WILH. SCHUMANN AB, HELSINKI PAIR OF WILHELMIINA CHAIRS, DESIGNED 1959 unassembled, laminated birch, each with maker’s label (2)

£700-900

477 FINN JUHL (1912-1989) FOR FRANCE & SON, DENMARK MODEL 532 TEAK COFFEE TABLE, DESIGNED 1959 the dished rectangular top on square tapering legs linked by stretchers, bears maker’s label 175cm long, 45cm high, 60cm deep

£250-350

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

128 Lyon & Turnbull

478 VICKE LINDSTRAND (1904-1983) FOR KOSTA CUT GLASS VASE, CIRCA 1960 bear etched makers mark KOSTA/ LS/ 768, and with paper maker’s label 17cm high; and a KOSTA GLASS SCULPTURE

BY ANN AND GORAN WARFF, LATE 1960S, with engraved decoration of birds in a tree form, etched maker’s mark KOSTA/ WG/ 5690, 23.5cm high; also a copy of SMOKE & ICE: SCANDINAVIAN GLASS 1930-2000 by Lorenzo Vigier and Leslie Pina, published Schiffer 2002 (3) £500-700

479 GUNNEL NYMAN (1909–1948) FOR NUUTAJARVI NOTSJO GLASS VASE, 20TH CENTURY clear and amber glass with bubble inclusions, indistinctly signed G./NYMAN to the base 34cm

£400-600

480Y SVEN IVAR DYSTHE (B. 1931) FOR DOKKA MØBLER ARMCHAIR, CIRCA 1960 chromed steel, rosewood and leather, bears maker’s label 66cm wide, 82cm high, 43cm deep Note: Sold in compliance with CITES regulations, with (nontransferable) Transaction Specific Certificate no. 564918/01

£400-600

481Y SVEN IVAR DYSTHE (B. 1931) FOR DOKKA MØBLER ROSEWOOD TRAY-TOP OCCASIONAL TABLE, CIRCA 1960 the rectangular top raised on turned supports, bears maker’s label 70cm wide, 50cm high, 66cm deep Note: Sold in compliance with CITES regulations, with (non-transferable) Transaction Specific Certificate no.

564915/01

£300-500

Decorative Arts: Design since 1860 129

482Y POUL HUNDEVAD (1917-2011) GULDHØJ / PH 43 MODEL FOLDING STOOL, DESIGNED 1960S rosewood and leather 48cm wide, 37cm high, 38.5cm deep Note: Sold in compliance with CITES regulations, with (non-transferable) Transaction Specific Certificate no. 565865/01

£400-600

483Y ARNE VODDER (1926-2009) FOR SIBAST MØBLER PAIR OF ROSEWOOD FRAMED MODEL 341 ARMCHAIRS, CIRCA 1965 each with black leather upholstery, bears maker’s labels (2) 68cm wide, 87cm high, 47cm deep Note: Sold in compliance with CITES regulations, with (non-transferable) Transaction Specific Certificate no. 565863/01.

£400-600

484

485

NILS JONSSON FOR TROEDS, SWEDEN

MONA MORALES SCHILDT (1908-1999) FOR KOSTA, SWEDEN

’OVE’ TEAK EXTENDING DINING TABLE, LATE 1960S the rounded top enclosing two additional leaves raised on turned legs, branded maker’s marks

VENTANA GLASS VASE, 20TH CENTURY clear and purple glass with cut glass decoration, signed KOSTA/ SS211 to the base

154cm long (closed), 264cm long (extended), 72cm high, 100cm deep

24cm high

£200-300

£200-300

130 Lyon & Turnbull

486 GEORG JENSEN, DENMARK 18 CARAT GOLD RING, 1960S with ribbed decoration, stamped maker’s marks GEORG JENSEN/ 750/ 11C2, size L/M £300-500

487 JACOB HULL, DENMARK THREE WHITE METAL SERVING SPOONS, CIRCA 1975 each with applied foliate decoration and two set with polished stones, with etched signature mark JACOB HULL (3) 32cm, 26cm and 24.5cm long

£200-300

488 GAE AULENTI (1927-2012) FOR ARTEMIDE ’ORCOLIA’ FLOOR LAMP, DESIGNED 1969 with opaque spherical glass shade and pierced metal base 60cm high

£600-800

489

490

491

GEORG JENSEN, DENMARK

FRATELLI TOSO

FERRO TOSO BAROVIER FOR MURANO

GROUP OF SILVER JEWELLERY, 20TH CENTURY maker’s marks, comprising a pierced BROOCH, depicting stylised dolphins, marked 251, 3.8cm across; a BANGLE, marked 423, 6.5cm wide overall; a small BROOCH, with central silver ball enclosed by leaves and berries, marked 224, 3cm across; a PAIR OF EAR CLIPS, marked 246, 2.7cm wide; and a PAIR OF SILVER EARRINGS, 9.5cm long approx.; together with a PAIR OF HANS HANSEN SILVER EARRINGS, marked 422, 2.7cm long (9)

LARGE MURANO GLASS VASE, 20TH CENTURY of ovoid form, decorated with pink and white twist columns with aventurine inclusions, with etched signature TOSO N MURANO to the base

’ZEBRATI’ PATTERN GLASS DISH, 1930S of shallow circular form with a ribbed well, decorated with a purple spiral with gilt inclusions, with a paper maker’s label

£500-700

38cm diameter

£200-300

42cm high

£250-350

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Decorative Arts: Design since 1860 131

492 LINO SABATTINI (B. 1925) FOR CHRISTOFLE ’COMO’ SILVER-PLATE COFFEE AND TEA SERVICE, DESIGNED 1956 comprising a COFFEE POT, 22cm high; a TEA POT, 30.5cm long; a CREAMER, 12cm high; a SUGAR BOWL, 11cm wide; and a SERVING TRAY, 48cm across, each with impressed maker’s marks GALLIA/ FRANCE/ PROD. CHRISTOFLE (5) £3,000-4,000

493 BAROVIER & TOSO WALL MIRROR, 20TH CENTURY the oblong plate encased in brass supports surrounded by a band of pink twisted glass 46cm x 38cm (widest point)

£300-500

494

495

ALBERTO SEGUSO & C. ARTE VETRO, MURANO

REGGIANI, ITALY

MURANO GLASS VASE, MID 20TH CENTURY of tapering form, with silver and gold gilt drop inclusions, indistinct maker’s label to the base 28cm high

PAIR OF BRASS TABLE LAMPS, LATE 20TH CENTURY each of spherical form with a central brushed brass band, with maker’s labels to the underside and white shades (2) 45cm high approx.

£150-250

£300-500

496

497

498

DAUM, FRANCE

DAUM, FRANCE

PAIR OF CLEAR GLASS LAMP BASES, LATE 20TH CENTURY each of freeform style, etched maker’s marks DAUM/ FRANCE, with Cross of Lorraine mark (2)

PAIR OF CLEAR GLASS LAMP BASES, LATE 20TH CENTURY each of freeform style, etched maker’s marks DAUM/ FRANCE, with Cross of Lorraine mark (2)

ROGER CAPRON (1922-2006) FOR VALLAURIS

22.5cm high

29cm high

£200-300

£300-500

PITCHER, CIRCA 1960 maker’s mark to base ROGER CAPRON/ VALLAURIS cm high

£150-250

132 Lyon & Turnbull

499 SALVADOR DALI (1904-1989) FOR THE INTERNATIONAL SILK CONGRESS ’THE WORLD OF SILK’ SCARF, DATED OCTOBER 1950 printed with an allegorical design of silk, and bearing inscription THE WORLD OF SILK/ INTERNATIONAL SILK CONGRESS/ OCTOBER 1950 with signature mark, framed 91cm x 88cm

£500-700

500 ATTRIBUTED TO FONTANA ARTE GLASS TOILET SET, MID-20TH CENTURY blue glass and mirrored glass with chromium plated fittings, comprising a MIRROR, with oval frame and integral lights above a glass shelf, 110cm wide, 62cm high, 12cm deep; and other accessories including soap dishes and a tooth mug and holder (qty) £400-600

501 FLORENCE KNOLL (B. 1917) 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

Decorative Arts: Design since 1860 133

502 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

£600-800

503 LANE, ALTAVISTA, VIRGINIA TWO WALNUT FREE-STANDING CABINET CHESTS, CIRCA 1960 one with abstract geometric block design to the front, two doors enclosing shelves and a drawer, with three drawers below, 97cm wide, 163cm high, 48cm deep; the other with five drawers and corresponding abstract geometric block design to the front, 97cm wide, 137cm high, 47cm deep, each with branded maker’s marks (2) £1,500-2,500

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

504 FRENCH MOVIE POSTER GONE WITH THE WIND (AUTANT EN EMPORTE LE VENT) from the 1968 re-release campaign in France depicting Rhett holding Scarlett as Atlanta burns orange behind them, text in French, 158cm x 116cm (62in x 45.5in); also a FRENCH MOVIE POSTER ‘REBEL WITHOUT A CAUSE’ (LA FUREUR DE VIVRE), from the 1955 re-release version in France, depicting James Dean in the title role, text in French, 152cm x 115cm (60in x 45.25in) (2) £200-300

134 Lyon & Turnbull

505 [§] HANS UNGER (1915-1975) COUNTRY WALKS; SPRING, 1956 gouache and watercolour, signature logo UNGER; signed, dated and titled SPRING verso, unframed, 76cm x 56cm; together with a copy of the POSTER, for London Transport, with inscription quoting R. L. Stevenson, unframed, 50.5cm x 34.5cm (2) Note: This was the original artwork supplied to the London Transport to be used as a poster on the underground, in 1956.

£3,000-5,000

506 OLYMPIC GAMES, MUNICH FOUR SCREENPRINT ‘ARTIST SERIES’ POSTERS, 1971/2 all with the inscription OLYMPISCHE SPIELE MÜNCHEN 1972, and with facsimile signatures, unframed, comprising examples

by VICTOR VASARELY (1906-1997); HORST ANTES (B. 1936); ALLEN JONES (B. 1937); and RICHARD SMITH, dated ‘71 (4) 105cm x 64cm approx.

£250-350

507 DAVID KLEIN (1918-2005) FOR TWA TWO TRAVEL POSTERS, MID-20TH CENTURY comprising ‘Fly TWA/ The Orient’, 96.5cm x 63cm, and ‘Holy Land/ Fly TWA Jets’, facsimilie signature, 105.5cm x 63.5cm; also S. KREDE, ‘Northern Sweden’, facsimile signature, 99.5cm x 61.5cm; and a DIETRICH SCHWARZWALD poster, with inscriptions ‘Dietrich’ and ‘Schwarzwald’, 118cm x 84cm, and including a GROUP OF EXHIBITION POSTERS, 1970S AND 80S, some mounted on board, comprising posters for the exhibitions of: ROBERT COLQHOUN, ‘Woman with a Birdcage’, 1981, 76cm x 51cm; PAUL KLEE ‘The Last Years’, 1974, 76cm x 51cm; and PISCASSO ‘Fête de L’Humanité’, 1973, 65cm x 99.5cm (7) £300-500

509 508 ROSENTHAL, GERMANY FOUR ‘STUDIO-LINIE’ PORCELAIN VASES, MID/LATE 20TH CENTURY comprising a geometric shoulder vase, 22.5cm high; a small bottle vase of bulbous form, 11.5cm high; a swollen oval vase, 12.5cm high; and a small dish with pinched rim, 13cm across, variously marked (4) £100-200

COLUMBUS-VERLAG PAUL OESTERGAARD K.G COLUMBUS-DUO STANDING GLOBE, CIRCA 1954 stained walnut, plated metal, aluminium and glass 72cm wide, 111cm high Note: Columbus-Verlag Paul Oestergaard GmbH is the oldest producing globe manufacturer in the world. At the beginning of the 20th century two brothers, Peter and Paul Oestergaard began producing globes, and released their first globe in 1904, setting up a cartographic publishing house in 1909. In 1919 the firm was producing globes in 24 languages.

£300-500

Decorative Arts: Design since 1860 135

511 LEICA M3 CAMERA, CIRCA 1958 in chrome, No. 883660, fitted with LEICA METRAWATT METER; and with f=5cm/ 1:2 SUMMICRON LENS No. 1475257, within leather carrying case and instructions; a PAIR OF BARR & STROUD BINOCULARS, 7x CF-31, in leather carrying case; a MINOX 35 el CAMERA; a TRIPOD; a WESTON MASTER V LIGHT METER; and miscellaneous other camera equipment (qty.) £800-1,200

512

WALNUT CHEST OF DRAWERS, 1960S with five graduated drawers on tapering legs, bears maker’s labels

FOUR CHINESE REVOLUTIONARY POSTERS, 1950S-60S comprising: ‘Advance bravely along the bright road shown

by Chairman Mao’s 7th May Instruction’, 52.5cm x 76.5cm; ‘Support the Anti-imperialist struggle of the People of the world’, 77cm x 53cm; ‘For the celebration of the 3rd Plenary Session of the 10th Central Committee of the Communist Party of China’, 53cm x 76.5cm; and ‘We will fight to fulfil the general mission of the new era’, 76.5cm x 105cm (4)

86cm wide, 97cm high, 47cm deep

£200-300

510 ALFRED COX

£300-500

513 H. MORRIS & CO., GLASGOW HARDWOOD EXECUTIVE DESK AND THREE MATCHING CHAIRS, 1960S the DESK, with boomerang shaped top above central drawer flanked by two pedestals, one with three drawers, the other with opposed bookshelves, 309cm wide, 76cm high, 81cm deep; and THREE CHAIRS, an armchair and two side chairs, each with vinyl upholstery, armchair 59cm wide, 81cm high, 45cm deep, side chair 44cm wide, 84cm high, 38cm deep, each bears maker’s label MORRIS MADE/ GUARANTEED TRADE MARK/ GLASGOW (4) £400-600

514 MEREDEW FURNITURE TEAK SECRETAIRE CHEST OF DRAWERS, 1960S with fold-down secretaire drawer above three graduated drawers on square legs, bears maker’s label 92cm wide, 73cm high, 46cm deep

£200-300

136 Lyon & Turnbull

515 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.

£600-800

516 JOHN PIPER (1903-1992) FOR SANDERSON PAIR OF ‘ARUNDEL’ PATTERN CURTAINS, CIRCA 1960 printed ‘Sanderlin’ fabric (satinised cotton), marked to selvedge ‘ARUNDEL/ AN ORIGINAL SCREEN PRINT BY SANDERSON (2) 220cm x 196cm each Note: John Piper’s design for Sanderson was based on his designs for Oundle School’s Chapel windows.

£500-700

517 FRENCH SCHOOL BAMBOO AND OAK CABINET, MID-20TH CENTURY with glazed panel top above twin doors raised on tapering legs 94cm wide, 80cm high, 46cm deep

£300-400

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Decorative Arts: Design since 1860 137

518 [§] HELLA YOUNG (1910-1999) BALUSTER VASE, CIRCA 1950 incised with abstracted architectural motifs, incised artist’s signature to base HELLA YOUNG 23.5cm high Note: Hella Young attended Glasgow School of Art and was later taught by Katie Horsman at Edinburgh College of Art. After the war she was one of only a handful of potters in Scotland and one of the first to set up her own studio, in an outhouse at her Tayport home in 1949. By the mid-1960s she stopped producing pottery and moved her interests to silversmithing and painting watercolours.

£150-200

519 TIBOR REICH (1916-1996) FOR DENBY POTTERY TIGO-WARE DISH, CIRCA 1950 27cm diameter; and a POOLE POTTERY STUDIO PLATE painted with an abstract design in green on a vivid orange ground, blue maker’s mark, 27cm diameter (2) £250-350

520 MARY WARREN FOR HEALS FABRICS LTD. PAIR OF ‘NAUTILUS’ SCREENPRINTED COTTON CURTAINS, CIRCA 1956 abstract forms on a yellow ground, unlined, each 181cm drop x 164cm; and a GROUP OF FOUR ‘INDIAN SUMMER’ CURTAINS by JYOTI BHOMIK FOR HEALS FABRICS LTD., CIRCA 1966, screen-printed cotton crêpe, inscribed to selvedge, unlined, each 178cm drop, 115cm wide (6) £200-300

521

522

523

ROBERT DUDLEY BEST (1892-1984) FOR BEST & LLOYD

TIBOR REICH (1916-1996) FOR DENBY POTTERY

DANISH SCHOOL

BL1 LAMP, DESIGNED 1930 with ochre enamelled shade and base and chromium plated fittings, stamped maker’s marks BEST/ BESTLITE

’SISTERS’ TIGO-WARE DISH, CIRCA 1950 sgraffito decorated with three heads, printed maker’s marks and original paper label, 27cm diameter; and A JANET LEACH STONEWARE VASE of curved oblong form, moulded with abstract patterns to both sides in brown, on a mottled ground, moulded artist’s mark (chip to foot), 28cm high (2)

51.5cm high

£200-300

£200-300

SUITE OF DRINKING GLASSES, 1970S each with graduated amber and blue glass bowls with clear stems, comprising eight water glasses, 18cm high; ten red wine glasses, 15.5cm high; and seven white wine glasses, 14.5cm high (25) £200-300

138 Lyon & Turnbull

524 [§] VINCENT BUTLER (B. 1933) BRONZE FIGURE GROUP, DATED 1987 signed and dated in the bronze VINCENT BUTLER/ 1987, 18cm x 16cm; and an ART DECO SPELTER FIGURE, of a dancer, unmounted, 12.5cm high (2) £400-600

525 FOSTER & PARTNERS FOR TECNO ’NOMOS’ CHROME AND GLASS TABLE, DESIGNED 1986 the rounded top on cantilevered base, cast maker’s marks 240cm long, 73cm high, 110cm deep

£800-1,200

526

527

528

[§] OLA GORIE (B. 1937)

[§] NORMAN GRANT (B. 1943)

MODERNIST SCHOOL

GROUP OF SILVER JEWELLERY, LATE 20TH CENTURY with maker’s marks, hallmarks for Edinburgh, comprising a pierced BROOCH, with entwined birds, 1989, 7cm wide; a further pierced BROOCH, with an entwined beast, 1983, 4.9cm long; a ‘Finnish Beast’ PENDANT, 1994, 3cm long; ‘Ingibiorg Long’ BROOCH, 4.7cm long; a ‘Machair’ NECKLET PENDANT, 2.3cm long; and a further BROOCH, of oblong outline with swirls, 4.8cm across (6)

GROUP OF SILVER JEWELLERY, LATE 20TH CENTURY with maker’s marks and some with Edinburgh hallmarks, comprising five pendants, including an enamelled OWL, 1977, 4.4cm high; an enamelled FLOWER, 1979, 5.1cm wide; TWO PIERCED FLORAL examples, one 1977, 3.5cm diam.; and an ENAMELLED AND PEARL PENDANT, 4.5cm wide; and three brooches, including an enamelled FACE, 1973, 7.4cm wide; a stylised ENAMELLED BROOCH, 3.5cm wide; and an enamelled BAR BROOCH, 1988, 4.8cm wide (8)

GLASS AND CHROME OCCASIONAL TABLE, MODERN the circular top with curved support base

£500-700

£200-300

£250-350

92cm diameter, 32cm high

£100-200

529 MODERNIST SCHOOL KIDNEY SHAPED OCCASIONAL TABLE, MODERN with alternating black and eggshell panels raised on turned legs 121cm wide, 46cm high, 82cm deep

Decorative Arts: Design since 1860 139

530 TOULEMONDE BOCHART, FRANCE WOOL CARPET, CONTEMPORARY woven with a design of stylised running horses reserved on a buff ground 265cm x 185cm

£400-600

531 THE GUILD OF HANDICRAFT SILVER PAPERWEIGHT, 2006 worked as abstracted interlocking forms, stamped maker’s marks, hallmarked London 2006, 26.96 oz. approx. 8.5cm across

£400-600

532 [§] TIM STEAD (1952-2000) ASH, WALNUT AND OAK DINING SUITE, 1990S comprising a DINING TABLE, with circular inlaid top on shaped supports with brackets and raised on quadruped base, 135cm diameter, 76cm high; and SIX DINING CHAIRS, each with shaped solid backs and seats raised on moulded square legs linked by a stretcher (7) £1,500-2,000

END OF SALE

140 Lyon & Turnbull

Lyon & Turnbull launches a new live bidding system – Lyon & Turnbull Live

This new facility allows users to enjoy the convenience and excitement of a live auction from any location, and all without the requirement to pay the additional premiums charged by other live bidding providers.

Register to bid live in an upcoming auction through our website or download the app from the Apple App Store or Google Play to browse and bid from any mobile device.

Features include: •

Quick registration for upcoming auctions

•

Track upcoming lots and receive timely notifications

•

Leave absentee bids for upcoming auctions

•

Bid live using our simple swipe-to-bid interface

•

Watch sales in real time

Decorative Arts: Design since 1860 141

EXHIBITION Lyon & Turnbull London will hold an exhibition of furniture by designer Gordon Russell (1892-1980).

Schooled in the Arts and Crafts tradition of the Cotswolds, Russell believed that good design has a lasting impact on people’s lives. We welcome you to celebrate accessible, well crafted design this autumn.

Lyon & Turnbull London 22 Connaught Street W2 2AF 26th September to 6th October 2018 Open weekdays 10:30-5pm and Saturdays 12-4pm.

For more information and an invitation to our private view and reception, please email: london@lyonandturnbull.com

www.gordonrusselldesignmuseum.org

142 Lyon & Turnbull

Design Exhibition Scotland is a pioneering project driven by a desire to support and champion design excellence in Scotland. Design Exhibition Scotland will celebrate exceptional objects for the everyday. It will showcase the work of around 20 innovative designers and artists working today in a range of materials and styles to create indispensable objects, such as tables, chairs, bookcases, flooring and lights.

12 - 15 May 2018 Lyon & Turnbull Edinburgh Free & open to all designexhibitionscotland designexhibitionscotland.co.uk

Decorative Arts: Design since 1860 143

AUCTION 18 APRIL 2018 AT 11AM IN EDINBURGH CHRISTOPHER WOOD (BRITISH 1901-1930) MAN WITH CARDS 1925, oil on canvas 70cm x 57cm (27.5in x 22.5in)

£50,000-70,000

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AUCTION 02 MAY 2018 AT 11AM IN EDINBURGH FINE AND LARGE VICTORIAN MAHOGANY, SATINWOOD, EBONY, BOXWOOD AND MARQUETRY EXTENDING DINING TABLE, ATTRIBUTED TO JACKSON & GRAHAM CIRCA 1870 534cm long (fully extended), 73cm high, 182cm deep x 91cm

£15,000-20,000 Provenance: Previously The Towers, Didsbury Thence by family descent

Decorative Arts: Design since 1860 145

AUCTION 07 JUNE 2018 AT 6PM IN EDINBURGH • OPEN FOR CONSIGNMENTS NORAH NEILSON GRAY (BRITISH, 1882-1931) EXOTIC | Oil on canvas, signed upper right 108cm x 84cm (42.5in x 33in)

£8,000-12,000

146 Lyon & Turnbull

Conditions of Sale SELLERS

versa as appropriate.

1. DEFINITIONS

2. WARRANTY OF TITLE AND AVAILABILITY

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 postauction sale, the agreed sale price; “Item” means each and every item consigned for sale following express written agreement between Lyon & Turnbull and the Seller; “Lot” means each Item offered for sale by Lyon & Turnbull; “Lower Estimate” means the low estimate provided by Lyon & Turnbull to the Seller in relation to each Item, or in relation to any Item which Lyon & Turnbull holds on behalf of the Seller; “Lyon & Turnbull” means the company which has its registered office at 33 Broughton Place, Edinburgh, EH1 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

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.

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.

(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

(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.

(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.

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.

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

(b) Firm reserves may be no greater than lower pre-sale estimate level. (c) A reserve once set cannot be changed except with our agreement. (d) You may not bid or instruct or permit any other person to bid on your behalf on your own property. If the Seller breaches this prohibition, Lyon & Turnbull may treat the Seller as bound as Seller and as Buyer but without the benefit of Lyon & Turnbull Authenticity Guarantee or the reserve, and/or pursue other remedies. (e) We may sell lots below the reserve provided we account to you for the same sale proceeds as you would have received had the hammer price been the reserve.

7. LOSS & DAMAGE WARRANTY (a) Subject to condition 7(c) below Lyon & Turnbull will assume liability for loss or damage to an item, commencing at the time that item is taken into physical control and possession by Lyon & Turnbull and ceasing on the earliest date of; (i) when risk passes to the Buyer of the lot following its sale; (ii) for unsold lots, when the lot is released to the Seller, or, within 3 months of the sale;or (iii) 6 months from the date of delivery to Lyon & Turnbull for items still in the

possession of Lyon & Turnbull but not consigned for sale (unless part of a longterm 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.

9. LOT WITHDRAWAL If a Seller wishes to withdraw a lot organised for sale, a withdrawal fee will apply; (a) if withdrawn over 28 working days prior to the sale, this will be charged at 10% of the mid estimate along with any ancillary charges incurred (such as photography), all subject to VAT at the current rate. (b) if withdrawn within 28 working days of the sale, this will be charged at 20% of the mid estimate along with any ancillary charges incurred (such as photography), all subject to VAT at the current rate. (c) Lyon & Turnbull may withdraw a lot from the proposed sale without any liability if: (i) Lyon & Turnbull reasonably believes that there is any doubt as to the lot’s authenticity or attribution; or (ii) it reasonably doubts the accuracy of any of the Seller’s warranties; or (iii) the Seller breaches any provisions of the Conditions of Sale in any material respect; or (iv) the lot suffers from loss or damage so that it is not in the state in which it was when Lyon & Turnbull took delivery of it.

147

(d) if an item is withdrawn from sale under Condition 9(c) (i), or (iv), the Seller shall not be charged a withdrawal fee and the item shall be returned to the Seller or dealt with pursuant to Clause 8, as the Seller decides.

10. AUTHORITY TO DEDUCT COMMISSION AND EXPENSES AND RETAIN PREMIUM AND INTEREST The Seller authorises us to deduct commission at the stated rate, and all expenses incurred for your account from the hammer price, and consents to our right to retain beneficially the premium paid by the Buyer in accordance with these Conditions of Sale and any interest earned on the sale proceeds until the date of settlement.

11. NON-PAYMENT BY THE BUYER (a) Lyon & Turnbull will, where it considers appropriate, take reasonable steps to investigate the ability of bidders to pay for lots and will use reasonable endeavours, in consultation with the Seller, to enforce payment of the Hammer Price by any Buyer. (b) Lyon & Turnbull, in consultation with the Seller, will decide whether to pursue any of the remedies available to it, including those set out in Condition 10 of the Condition of Sale (Buyers) including the right to cancel the sale and return the property to the Seller. Lyon & Turnbull will inform the Seller of any action which it contemplates taking against the Buyer. (c) lf the Seller elects to take action against any Buyer on its own behalf Lyon & Turnbull will provide the Seller with such assistance as may be reasonably necessary to pursue that action. (d) The Seller hereby agrees to inform Lyon & Turnbull of any action which it chooses to take against the Buyer to enforce payment of the amount due to the Seller. (e) In the event that a Buyer fails to pay for a lot in accordance with the Conditions of Sale for Buyers, that lot will be treated in the same way as an unsold or collected lot.

12. SETTLEMENT PAYMENTS Subject to full payment by the Buyer, payment of the net proceeds of sale due to you will be made over to you 28 working days following a sale. Provided we have received cleared funds.

Payment will be made by cheque or BACS (if requested).

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

sale, if a lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale.

only and disclaims any responsibility for default by Sellers or Buyers.

14. THIRD PARTY LIABILITY

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

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.

18. DATA PROTECTION

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.

(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.

19. LAW AND JURISDICTION

(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.

(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.

(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 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

(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.

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.

(d) For the purposes of a private treaty

The Auctioneer normally acts as agent

(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

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; “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 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 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

148 Lyon & Turnbull

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 Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by Buyers of relevant lots.

(1) Lots affixed with (†): Value Added Tax on the hammer price is imposed by law on all items affixed with a dagger (†).

This imposition of VAT maybe because the Seller is registered for VAT within the European Union and is not operating under a Margin Scheme.

(2) Lots affixed with (*): A reduced rate of

Value Added Tax on the hammer price of 5% is payable. This indicates that a lot has been imported from outwith the European Union. This reduced rate is applicable to Antique items.

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.

(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.

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 that we do not accept cash payments over £5,000.

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

9. TITLE AND COLLECTION OF PURCHASES (1) The ownership of any lots purchased shall not pass to you until you have made payment in full to us of the total amount due.

(2) You shall at your own risk and expense take away any lots that you have purchased and paid for not later than 7 working days following the day of the auction or upon the clearance of any cheque used for payment whichever is later. We can provide you with a list of shippers. However, we will not be

(3) No purchase can be claimed or removed until it has been paid for.

(5) Export of goods: Buyers intending to export goods should ascertain (a) whether an export licence is required and (b) whether there is any specific prohibition on importing goods of that character, e.g. items that may contain prohibited materials such as ivory or rhino horn. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale not any delay in making full payment for the lot.

10. REMEDIES FOR NON·PAYMENT OR FAILURE TO COLLECT PURCHASES (1) If any lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the Sellers and on their behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (a) to proceed against you for damages for breach of contract; (b) to rescind the contract for sale of that lot and/or any other lots sold by us to you; (c) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). (d) to remove, store and insure the lot in the case of storage, either at our premises or elsewhere and to recover from you all costs incurred in respect thereof; (e) to charge interest at a rate not exceeding 1.5% per month above the current base rate on all sums outstanding for more than 7 working days after the sale; (f) to retain that or any other lot sold to you until you pay the total amount due; (g) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (h) to apply any proceeds of sale of other lots due or which become due to you towards the settlement of the total amount due by you and to exercise a lien over any of your property in our possession for any purpose until the debt due is satisfied.

11. DESCRIPTIONS AND CONDITION

(1) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective Buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective Buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion.

We undertake that any such opinion shall be honestly and reasonably held and only accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer or our employees or agents accept liability for the correctness of such opinions and no warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are given.

Please note that photographs/images provided may not be fully representative of the condition of the lot and should not be relied upon as indicative of the overall condition of the lot.

(2) Condition reports: Condition reports are provided on our website or upon request. The absence of a report does not imply that a lot is without imperfections. Large numbers of such requests are received shortly before each sale and department specialists and administration will endeavor to respond to all requests although we offer no guarantee. Any statement in relation to the lot is merely an expression of opinion of the Seller or Lyon & Turnbull and should not be relied upon as an inducement to bid on the lot. Lots are available for inspection prior to the sale and you are strongly advised to examine any lot in which you are interested prior to the sale. Our condition reports are not prepared by professional conservators, restorers or engineers. Our condition report does not form any contract between Lyon & Turnbull and the Buyer.

The Condition Reports do not affect the Seller’s obligations in any way.

(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) wine: may only be sold to persons aged of 18 years and over. By registering to bid, you affirm that you are at least that age. On collection, you must provide positive proof of age should this be requested. Buyers of wines must make appropriate allowances for natural variations of ullages, conditions of corks and wine. Lyon and Turnbull can provide no guarantees as to how the wine may have been stored. There is always a risk of cork failure and allowance by the buyer must be made. Wine is sold “as is” and quality of the wine is entirely at the risk of the Buyer and no warranties are given.

(8) Special terms may be used in catalogue descriptions of particular classes of items (Books, Jewellery, Paintings, Guns, Firearms etc.) in which case the descriptions must be interpreted in accordance with any glossary appearing in the catalogue.

These notices and terms will also form part of our terms and conditions of sales.

12. BOOKS, CLOCKS & WATCHES (1) Books-Collation: If on collation any NAMED item in the sale catalogue proves defective, in text or illustration the Buyer may reject the lot provided he returns it within 21 days of the sale stating the defect in writing. This, however, shall not apply in the case of unnamed items, periodicals, autographed letters, music M.M.S., maps, drawings NOR in respect of damage to bindings, stains, foxing, marginal worm holes or other defects not affecting the completeness of the text NOR in respect of Defects mentioned in the catalogue, or at the time of sale, NOR in respect of lots sold for less than £300.

(2) Clocks & Watches: All lots are sold “as seen”, and the absence of any reference to the condition of a clock or watch does not imply the lot is in good condition and without defects, repairs or restorations.

Most clocks and watches will have been repaired during their normal lifetime and may now incorporate additional/newer parts. Furthermore, Lyon & Turnbull makes no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms,

Buyers should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary.

Buyers should also be aware that Lyon & Turnbull cannot guarantee a watch will remain waterproof if the back is removed. Buyers should be aware that the importing watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches cannot be shipped to the USA and only imported personally.

13. CITES Please be aware that all lots marked with the symbol Y may be subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http://www.defra.gov.uk/ahvlaen/imports-exports/cites Lyon & Turnbull accepts no liability for any lots which may be subject to CITES but have not be identified as such.

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

15. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation, safety and security arrangements. Accordingly, neither the Auctioneer nor our employees or agents shall incur liability for death or personal injury or similarly for the safety of the property of persons visiting prior to, during or after a sale.

16. GENERAL (a) We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. (b) Any notice to any Buyer, Seller, bidder or viewer may be given by email if not available then first class mail in which case it shall be deemed to have been received by the addressee 48 hours after posting. (c) Notices to Lyon & Turnbull should be in writing and addressed to 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.

This Guarantee does not apply if: (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 (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.

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 Buyer to provide personal information about themselves or obtain information about the Buyer from third parties (e.g. credit information). Lyon & Turnbull will not give out personal information except as may be required by law.

If you would like further information on Lyon & Turnbull policies on personal data, or to make corrections to your information, please contact us on 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, lock-out, strike or other action taken by employees in contemplation or furtherance of a dispute or owing to any inability to procure materials required for the performance of the contract.

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.

150 Lyon & Turnbull

Guide to Bidding & Payment Registration

How to Bid

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:

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.

You will find a link to this service in any email invoice issued or you can visit the payments section of our website.

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 nontransferable.

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 is also available: • L&T Live – Access through our website or download the live bidding app L&T Live, service offered for no additional fee.

• Invaluable – Access through invaluable.com. Invaluable charge an additional 5% for their service.

• The-Saleroom – Access through The-Saleroom.com. The-Saleroom charge an additional 3% for their 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.

Online Card Payments We no longer accept card payments by phone.

Please use our online payment service (provided by Cardstream/Credorax).

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.

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