Decorative Art: Design since 1860 by Lyon & Turnbull

Decorative Arts: Design since 1860 A

Wednesday, 31st October 2018 33 Broughton Place Edinburgh

Decorative Arts: Design since 1860

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

B Lyon & Turnbull

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Decorative Arts: Design since 1860 Wednesday, 31st October, 2018 at 11am Sale Number LT541

Location Lyon & Turnbull Ltd. 33 Broughton Place Edinburgh EH1 3RR

Viewing Sunday, 28th October 12 noon - 4pm Monday, 29th October 10am - 5pm Tuesday, 30th October 10am - 5pm Morning of sale from 9am

Enquiries Tel. 0131 557 8844 Fax. 0131 557 8668 Email. info@lyonandturnbull.com www.lyonandturnbull.com

Catalogue: ÂŁ15

Front Cover Lot 454 (detail)

Inside Front & Back Covers Lot 392 (detail)

2 Lyon & Turnbull

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

Buyer’s Premium & Other Charges

Registration

Catalogue descriptions

The buyer shall pay the hammer price together with a premium, at the following rate, thereon.

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

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

25% up to £100,000/20% thereafter. VAT will be charged on the premium at the rate imposed by law (see our Conditions of Sale). Additional VAT † VAT at the standard rate payable on the hammer price * 5% import VAT payable on the hammer price No VAT is payable on the hammer price or premium for books bought at auction. Droit de Suite indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012, this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the buyer on the hammer price and in addition to the buyer’s premium. It will not apply to works where the hammer price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale. More information on Droit de Suite is available at www.dacs.org.uk

1–G overnment issued photo ID (Passport/ Driving licence) 2–P roof of address (utility bill/bank statement). We may, at our option, also ask you to provide a bank reference and/ or deposit. By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale (available at the back of every catalogue and on our website). Bidding & Payment For information on bidding options see our Guide to Bidding & Payment at the back of the catalogue. Removal of Purchases Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser.

Import/Export Prospective buyers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to; rhino horn, ivory, coral and tortoiseshell. Accordingly, prospective buyers should familiarise themselves with all relevant customs regulations prior to bidding if they intend to import lots to another country. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale nor any delay in making full payment for the lot. Endangered Species Please be aware that lots marked with the symbol Y contain material which may be subject to CITES regulations when exporting outside the EU. For more information visit http:// www.defra.gov. uk/ahvla-en/ imports-exports/cites

Decorative Arts: Design since 1860 3

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 Decorative Arts & Design john.mackie@lyonandturnbull.com

Theodora Burrell Decorative Arts & Design theo.burrell@lyonandturnbull.com

Olivia Ross Administrator olivia.ross@lyonandturnbull.com

How to find us in Edinburgh

Lyon & Turnbull

York Place Tram Stop Waverley Station, Princes Street

4 Lyon & Turnbull

Decorative Arts: Design since 1860 5

1 A. W. N. PUGIN (1812-1852) FOR THE PALACE OF WESTMINSTER GOTHIC REVIVAL SINGLE BRONZE DOOR HINGE, CIRCA 1845 bronze, stamped maker’s marks J. JAMES/ MAKER 51cm long, 33cm wide Provenance: With The Fine Art Society, London

£200-400

2 A. W. N. PUGIN (1812-1852) FOR THE PALACE OF WESTMINSTER PAIR OF GOTHIC REVIVAL BRASS DOOR HINGES, CIRCA 1845 with elaborate pierced and scrolled decoration 39cm long, 15cm wide Provenance: With The Fine Art Society, London

£200-400

3 A. W. N. PUGIN (1812-1852) FOR JOHN HARDMAN & CO., BIRMINGHAM TWO GOTHIC REVIVAL BRASS DOOR GRILLES, DESIGNED FOR THE PALACE OF WESTMINSTER CIRCA 1845 each with elaborate pierced decoration (2) 54cm x 23cm and 55cm x 30cm Literature: Riding, Christine and Jacqueline ‘Palace of Westminster’, pub. London 2000, page 125 for similar example. Note: These grilles were designed by Pugin to protect the glass on the doors of the new Palace of Westminster, for which he designed the interiors from 1844.

£300-500

JOHN HARDMAN & CO., BIRMINGHAM, POSSIBLY BY A.W.N. PUGIN

AFTER A. W. N. PUGIN

JOHN HARDMAN & CO., BIRMINGHAM, POSSIBLY BY A. W. N. PUGIN

FIVE GOTHIC REVIVAL OAK PANELS, CIRCA 1845 each with linenfold decoration (5)

FOURTEEN SHEETS OF STAINED GLASS DRAWINGS, MID-19TH CENTURY pencil, some sheets with the watermark for R. TURNER/ CHAFFORD MILLS, subjects include The Annunciation, Visitation and The Nativity, unframed

largest 80cm x 54cm

each approximately 17cm x 23.5cm

Note: By repute from the New Palace of Westminster, London.

Provenance: Hardman Archive

PAIR OF GOTHIC REVIVAL BRASS PROCESSIONAL STAFF CANDLE LAMPS, CIRCA 1860 each with cruciform finials (glass liners lacking) (2) Provenance: St Mary’s Convent, Hunter’s Road, Birmingham

Note: These sheets are leaves from a sketch-book from the Hardman Archive and demonstrate fire damage to their edges. A large proportion of the Hardman archive, particularly their Medieval Room, was damaged and destroyed in a fire at the Newhall Hill studio in 1970.

£100-200

£200-400

£150-250

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

6 Lyon & Turnbull

7 JOHN HARDMAN POWELL (1827-1895) DRAWING OF A GOTHIC REVIVAL MEDALLION NECKLACE no. 96568, ink and watercolour, on Hardman Powell & Co. stamped paper 53cm x 41cm Provenance: Hardman Archive

£300-500

8 JOHN HARDMAN POWELL (1827-1895) COLLECTION OF NINE DRAWINGS OF ORNAMENTAL FIREPLACES pencil, ink and watercolour, mounted on card and under two frames (9) largest drawing 27cm x 21cm Provenance: Hardman Archive

£300-500

JOHN HARDMAN & CO., BIRMINGHAM, POSSIBLY BY A. W. N. PUGIN

JOHN HARDMAN POWELL (1827-1895)

COLLECTION OF FOUR DESIGNS FOR SEALS/MEDALLIONS, CIRCA 1850 ink on paper, two mounted on card, all unframed (4)

COLLECTION OF ELEVEN DRAWINGS OF GOTHIC REVIVAL JEWELLERY AND WORKS OF ART ink and watercolour, mounted on card, some mounted to the reverse (11)

DESIGNS FOR MEDALS, SEALS AND CHURCH ORNAMENTATION, CIRCA 1850 pencil and ink on paper, each laid down on both sides of an unframed sheet

the largest 16.5cm x 30cm

largest drawing 17cm x 16.5cm

Provenance: Hardman Archive

£200-400

£300-500

Note: In 1844 John Hardman senior sent his young nephew John Hardman Powell to Ramsgate to train with and assist Pugin, probably with a view to helping with the additional work to be done for the interior of the House of Lords. Soon afterwards the firm opened a new factory in Birmingham’s Great Charles Street.

sheet size 49cm x 37cm

£200-400 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Decorative Arts: Design since 1860 7

12 MANNER OF A.W.N. PUGIN FOR JOHN HARDMAN & CO., BIRMINGHAM GARNITURE OF THREE GOTHIC REVIVAL ALTAR CANDLESTICKS, CIRCA 1860 plated metal and brass, comprising a CANDELABRA and a PAIR OF SINGLE CANDLESTICKS, the candlesticks with applied brass quatrefoil plaques, one inscribed IN MEMORY OF THE LATE REV. T. I. O’SULLIVAN TO HERBERT EVANS ESQ, 30cm high; the central candelabra with scrolling oak leaf design, 42cm high (3) £800-1,200

13 ATTRIBUTED TO A. W. N. PUGIN DESIGNS FOR GOTHIC REVIVAL FURNITURE, CIRCA 1830 pen and brown ink, five sheets mounted in a single frame, two inscribed in pencil A. W. PUGIN, one inscribed in pencil SKETCHES BY A. W. PUGIN (5) two largest 31cm x 18.5 cm Provenance: Hardman Archive Note: Some of these drawings, which came from a folder inscribed ‘Sketches by A. W. Pugin Esq’re’ appear to date from between 1829 and 1834, and may have been connected with Pugin’s early foray into furniture design and manufacture at 12 Hart Street, Covent Garden, London.

£600-800

14 JOHN HARDMAN & CO., BIRMINGHAM, POSSIBLY DESIGNED BY A. W. N. PUGIN PAIR OF GOTHIC REVIVAL TRIPLE-SCONCE BRASS WALL BRACKETS, CIRCA 1860 each with scrolling foliate decoration (2) 51cm long Provenance: Salford Cathedral.

£1,000-1,500

8 Lyon & Turnbull

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Decorative Arts: Design since 1860 9

15 ATTRIBUTED TO WILLIAM CURTIS BRANGWYN EMBROIDERED STOLE, CIRCA 1870 embroidered on a cream damask ground with three quatrefoil floral and foliate panels, the central panel embroidered with the figure of Christ and the Virgin 269cm x 50cm Note: For an embroidered banner by William Brangwyn see Victoria & Albert Museum, London, collection no. 689-1868

£500-800

16 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) £500-800

17 ENGLISH SCHOOL GOTHIC REVIVAL STAINED PINE SIDE CABINET, CIRCA 1870 the upstand with open shelf raised above an arrangement of three drawers with two panelled doors on a plinth, the whole with gilded stencilled decoration 92cm wide, 159cm high, 44cm deep

£800-1,200

10 Lyon & Turnbull

18 ENGLISH SCHOOL GOTHIC REVIVAL OAK DRUM TABLE, CIRCA 1890 the octagonal top with baize surface above four drawers and four false drawers raised on ring-turned, knopped and inlaid legs linked by cross stretchers 112cm diameter, 73cm high

£400-600

19 ENGLISH SCHOOL GOTHIC REVIVAL OAK HALLSTAND, CIRCA 1890 the chamfered frame with pierced cresting and central mirror surrounded by hat pegs, the base with tile splashback and single drawer flanked by stick stands and raised on ring-turned legs 127cm wide, 241cm high, 48cm deep

£1,000-1,500

20 CHARLES EASTLAKE (1836-1906) OAK GOTHIC REVIVAL 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

£1,000-1,500

21 ATTRIBUTED TO CHARLES BEVAN FOR MARSH & JONES., LEEDS THREE GOTHIC REVIVAL INLAID OAK SIDE CHAIRS, CIRCA 1860 each with leather-upholstered back and seats, the backs with brass handles, above dot-inlaid and chamfered splats, the whole raised on turned and tapering legs with corresponding inlay, brass caps and castors, bears maker’s label under seat MARSH & JONES (LATE KENDELL & CO.) LEEDS/ NO. 1651/ WORKMAN’S NAME: COOPER (3) 50cm wide, 91cm high, 53cm deep

£400-600 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Decorative Arts: Design since 1860 11

22 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

£1,500-2,500

Victorian designer Charles Bevan was a prominent 19th century English furniture maker and designer who created critically acclaimed 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.

23 MANNER OF CHARLES BEVAN GOTHIC REVIVAL OAK AND MARQUETRY-INLAID SIDE CABINET, CIRCA 1890 the upper section with six panelled doors, above a reverse breakfront marble top on base with three drawers with four panelled doors and with bracket feet 178cm wide, 179cm high, 67cm deep

£1,500-2,000

12 Lyon & Turnbull

24 BURMANTOFTS POTTERY, LEEDS ANGLO-PERSIAN FAIENCE BOTTLE VASE, CIRCA 1895 decorated with a frieze of flowering foliage in characteristic colourway, impressed maker’s mark, painted inscription 40/ DESIGN 14/ 48 25cm high

£500-800

25 THEODORE DECK (1823-1891) IZNIK CERAMIC AND GILT BRASS MOUNTED LAMP BASE, CIRCA 1880 of cylindrical form with gilt brass mounts, maker’s marks under base TH. DECK, converted to electricity 40cm high

£300-500

26 GOTHIC REVIVAL OAK AND STEEL-MOUNTED CASKET, CIRCA 1900 with domed lid, opening to a velvet-lined interior, the whole with pierced tracery straps backed with leather panels 32cm wide, 26cm high, 19cm deep Literature: Atterbury, Paul and Wainwright, Clive ‘Pugin: A Gothic Passion’, V&A 1994, p.97, pl. 175. Note: This Victorian coffer is based on a French 15th century iron coffer held at the Victoria & Albert Museum, London.

£600-800

ENGLISH SCHOOL

PAIR OF GOTHIC-STYLE PAINTED WOOD JARDINIÈRES, CIRCA 1900 with pokerwork designs to each side, painted in gilt and coloured enamels (2)

AESTHETIC MOVEMENT LOW EASY CHAIR, CIRCA 1880 with incised gilt decoration and upholstered back and seat

ATTRIBUTED TO LAMB, MANCHESTER

MANNER OF ALEXANDER ‘GREEK’ THOMSON

21.5cm wide

58cm wide, 91cm high, 54cm deep

£300-500

£200-300

WALNUT AND EBONISED WOOD FOOTSTOOLS, CIRCA 1880 the late-upholstered tops above turned legs and cruciform base with gilt incised decoration (2) 31cm square, 20cm high

THIRTEEN GREEK REVIVAL PAINTED GLASS PANELS, CIRCA 1880 each painted with anthemion and Greek key motifs on a frosted ground (13)

£300-500

91.5cm x 40.5cm

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

£200-300

Decorative Arts: Design since 1860 13

31 EUGÈNE VICTOR COLLINOT (1824-1889) PAIR OF GILT METAL-MOUNTED CERAMIC CACHEPOTS, CIRCA 1880 each in the Japanese taste, the moulded yellow ground painted with flowers and with four painted relief panels of birds in a landscape, elaborate pierced and cast mounts to the rim and base, each bears maker’s marks in underglaze blue under the mounts, E.C./ 11938 (2)

Note: Eugène Collinot was interested in both Middle and Far Eastern design and architecture, and with Adalbert de Beaumont he published, as one of a series, Ornements du Japon (1883), a handbook for students containing Japanese motifs similar to those on these fine cachepots. He was singled out in the British and French reports on the 1867 Paris Exhibition, the French reporter commenting that ‘for the reproduction of Oriental faience M. Collinot is second to none’.

35cm high, 41cm diameter

£1,000-1,500

32 ATTRIBUTED TO JOHN MOYR SMITH FOR COX & SON EBONISED SIDEBOARD CABINET, CIRCA 1870 the rectangular top above two central drawers with painted panels within amboyna band and flanked by two further panelled doors with drawers above 180cm wide, 106cm high, 56cm deep

£800-1,200

14 Lyon & Turnbull

33 ENGLISH SCHOOL LARGE AESTHETIC MOVEMENT CERAMIC VASE AND COVER, CIRCA 1880 painted with a continuous frieze of Marsh Marigolds and Apple Blossom in a landscape and with gilded Dog of Fo finial 74.5cm high

£300-400

34 ATTRIBUTED TO BRUCE TALBERT FOR TEMPLETON’S, GLASGOW PAIR OF AESTHETIC MOVEMENT HANGINGS, CIRCA 1880 each machine-woven with designs of birds and foliage, lined (2) 303cm x 126cm

£250-400

35 ENGLISH SCHOOL AESTHETIC MOVEMENT STAINED BEECH MUSIC CABINET, CIRCA 1890 the moulded top above single door enclosing shelves for music and with relief panel of dancers with inscription ON WITH THE DANCE/ LET JOY BE UNCONFINED, stamped maker’s marks verso 1521 61cm wide, 101cm high, 40cm deep

£300-500 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Decorative Arts: Design since 1860 15

36 ENGLISH SCHOOL PAIR OF AESTHETIC MOVEMENT PAINTED GLASS WINDOWS, CIRCA 1880 each with central panel painted with the head of a woman and a gentleman in a cap, and enclosed by panels of stained glass painted with fruiting ivy (2) each 48cm x 40cm

£400-600

37 ATTRIBUTED TO TEMPLETON’S, GLASGOW AESTHETIC MOVEMENT PORTIÈRE, CIRCA 1890 machine-embroidered in gold and coloured threads with a panel of stylised Prunus blossom, reserved on a ruby red ground, lined 302cm x 119cm

£300-500

38 ENGLISH SCHOOL AESTHETIC MOVEMENT MAHOGANY WALL SHELVES, CIRCA 1880 in the Japanese taste, the fretwork canopy above an arrangement of open shelves with mirrored back 64cm wide, 94cm high, 18cm deep

£300-500

16 Lyon & Turnbull

39 ATTRIBUTED TO CHRISTOPHER DRESSER FOR MINTON & CO. ’CLOISONNÉ’ PORCELAIN FLOWER VASE/ CARD HOLDER, CIRCA 1870 decorated in gilt and coloured enamels on a turquoise ground, printed maker’s marks 13cm high

£200-300

40 ATTRIBUTED TO CHRISTOPHER DRESSER FOR MINTON & CO. ’CLOISONNÉ’ PORCELAIN POT POURRI & COVER, CIRCA 1870 of cylindrical form with pierced cover, decorated in gilt and coloured enamels on a turquoise ground, apparently unmarked 16cm diameter

£300-500

41 ATTRIBUTED TO CHRISTOPHER DRESSER FOR MINTON & CO. ’CLOISONNÉ’ PORCELAIN EWER, CIRCA 1870 with ribbon handle, decorated in gilt and coloured enamels on a turquoise ground, apparently unmarked 23cm high

£400-600

42 ATTRIBUTED TO CHRISTOPHER DRESSER FOR MINTON & CO. ’CLOISONNÉ’ PORCELAIN VASE, CIRCA 1870 with four applied lugs, decorated in gilt and coloured enamels on a turquoise ground, apparently unmarked 19.5cm high

£300-500

ATTRIBUTED TO CHRISTOPHER DRESSER FOR AULT POTTERY

MANNER OF CHRISTOPHER DRESSER FOR MINTON & CO.

CERAMIC VASE, 1880’S each side modelled as a grotesque merman, glazed in green and brown, with moulded and impressed maker’s marks

AESTHETIC MOVEMENT FIVE-PIECE PART TEA SERVICE, DATED 1870 comprising a TEA CUP, 11cm diameter; a MILK JUG, 8cm high; a SLOP BOWL, 13.5cm diameter; a SAUCER, 16.5cm diameter; and a SIDE PLATE, 20cm diameter, all decorated with cranes and bands of bamboo, impressed and painted marks (5)

18cm high

£150-250 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

£100-200

Decorative Arts: Design since 1860 17

45 CHRISTOPHER DRESSER (1834-1904) SILVER PLATED SOUP LADLE, DATED 1880 with circular bowl, angular stem and tapering ebonised wood handle, with registration lozenge mark for 1880 29cm long Literature: ‘Christopher Dresser Metalwork, The Andrew McIntosh Patrick Collection’, Lyon & Turnbull, 19 April 2005, lot 36, for a ladle of matching pattern (with soup tureen).

£400-600

46 MANNER OF LEWIS F. DAY AESTHETIC MOVEMENT CANTEEN OF FRUIT KNIVES AND FORKS, CIRCA 1870 comprising 12 knives and 12 forks, each with ceramic handles decorated with blue and white foliate design and enclosed within a fitted oak box forks, 18cm long, knives 21.5cm long

£300-400

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

£1,000-1,500

MANNER OF CHRISTOPHER DRESSER

CHRISTOPHER DRESSER (1834-1904) FOR HUKIN & HEATH

AESTHETIC MOVEMENT BRASS TRAY, CIRCA 1870 chased with an allover foliate design

SILVER PLATED CRUET SET, CIRCA 1880 fitted with three glass cruets, stamped maker’s marks H&H

57cm diameter

12cm high

£150-250

18 Lyon & Turnbull

50 ATTRIBUTED TO CHRISTOPHER DRESSER FOR BENHAM & FROUD PATINATED STEEL AND OAK COAL BOX, CIRCA 1870 with decorative hinges and strapwork, includes liner for coal 28cm wide, 45cm high, 47cm deep

£400-600

51 AULT POTTERY ’THE OCEANA’ JARDINIÈRE AND STAND, CIRCA 1900 moulded with fish in a foaming sea and covered in a green glaze, impressed and applied maker’s marks ‘THE OCEANA/ 546/ AULT 83cm high

£250-350

52 ATTRIBUTED TO E.W. GODWIN FOR JAMES PEDDLE, HIGH WYCOMBE AESTHETIC MOVEMENT MAHOGANY ARMCHAIR, CIRCA 1880 with shaped slatted back with open arms enclosing an upholstered panel seat and raised on ring-turned and blocked legs 78cm wide, 86cm high, 45cm deep Literature: Soros, Susan ‘The Secular Furniture of E.W. Godwin’, Yale 1999, p. 131, pl. 178 where a similar armchair is illustrated.

£200-300

MANNER OF E.W.GODWIN

MANNER OF E.W. GODWIN

AESTHETIC MOVEMENT ‘SHAKESPEARE’ STAINED OAK ARMCHAIR, CIRCA 1890 the high back with turned spindles, enclosed by curved arms and a triangular seat

ANGLO-JAPANESE EBONISED ARMCHAIR, CIRCA 1880 the fretwork back and open arms above upholstered panel seat on turned legs linked by crossed stretchers

61cm wide, 131cm high, 52cm deep

£200-300

51cm wide, 84cm high, 46cm deep

Decorative Arts: Design since 1860 19

55Y MANNER OF E. W. GODWIN AESTHETIC MOVEMENT EBONISED GAMES TABLE, CIRCA 1880 the square top with an ebony and ivory inlaid games board and counters above a lower tier supported on ring turned legs with spindle gallery 45cm square, 52cm high

£600-800

56 AFTER E.W. GODWIN ANGLO-JAPANESE EBONISED TUB ARMCHAIR, CIRCA 1880 the spindle-filled and reeded curved back and arms above upholstered panel seat on turned legs joined by stretchers 52cm wide, 71cm high, 41cm deep Note: Variant of a chair attributed to Godwin and made by Gillow, circa 1880.

£300-500

57 ATTRIBUTED TO CHRISTOPHER DRESSER FOR BENHAM & FROUD, LONDON COPPER, BRASS AND STEEL BANDED COAL HOD, CIRCA 1890 with ribbed carrying handle and pad feet 26cm wide, 38cm high, 53cm long Literature: Lyons, Harry ‘Christopher Dresser: The People’s Designer’, Woodbridge 2005, p.210, pl. 409 where a similar coal hod is illustrated.

£300-400

58 MANNER OF THOMAS JECKYLL AESTHETIC MOVEMENT MAHOGANY CENTRE TABLE, CIRCA 1890 the octagonal top raised on eight turned supports linked by fretwork stretchers on curved legs 92cm diameter, 75cm high

£800-1,200

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

20 Lyon & Turnbull

59 MANNER OF MORRIS & COMPANY ARTS & CRAFTS MAHOGANY CENTRE TABLE, CIRCA 1890 the shaped circular top raised above an ogee apron of splayed ring-turned legs linked by stretchers 79cm diameter, 75cm high, 36cm deep

£500-800

60 JOHN HENRY DEARLE (1859-1932) FOR MORRIS & COMPANY PAIR OF ARTS & CRAFTS ‘SUNFLOWER’ PATTERN WOOL CURTAINS, CIRCA 1890 hand-loom jacquard woven at Merton Abbey, each with repeating pattern of stylised flowering foliage with fringed edges (2) 236cm x 176cm and 233cm x 179cm Literature: Parry, Linda ‘William Morris Textiles’, V&A 2013, p. 250, pl. 79

£600-800

61 PHILIP WEBB (1831-1915) FOR MORRIS & COMPANY ARTS & CRAFTS OAK WRITING DESK, CIRCA 1890 the rectangular top with inset leather writing surface above and four drawers raised on turned and blocked legs linked by stretchers and with arched bracket support, stamped maker’s mark to drawer MORRIS & CO./ 449 OXFORD STREET/ W/ 1183 137cm wide, 75.5cm high, 75cm deep

£2,000-3,000 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Decorative Arts: Design since 1860 21

62 ’DECORATION’ CATALOGUE: MORRIS AND COMPANY CIRCA 1909 hardback cloth binding incorporating THE MERTON ABBEY ARRAS TAPESTRIES; MORRIS WALL-PAPERS; PRINTED LINENS AND COTTONS; SILK AND WOOD TAPESTRIES AND BROCADES; MORRIS CARPETS & ORIENTAL RUGS; EMBROIDERY WORK; SPECIMENS OF FURNITURE UPHOLSTERY & INTERIOR DECORATION; UPHOLSTERED FURNITURE; DECORATED INTERIORS, FITMENTS, PANELLING, WALL-PAINTINGS, ETC.; also a CHANGE OF ADDRESS BROCHURE, from 449 Oxford Street to 17 George Street, Hanover Square; a REPRINTED PAGE FROM COUNTRY LIFE, dated June 1924; and a pamphlet on THE CORONATION THRONES (4) £800-1,200

63 MORRIS & COMPANY ARTS & CRAFTS GREEN-STAINED OAK WRITING DESK, CIRCA 1890 the panelled upstand above a rectangular top with moulded edge, and single central drawer, the whole raised on square tapering legs linked by stretchers and an undertier, stamped maker’s marks to drawer MORRIS & CO./ 449 OXFORD STREET/ W/ 714 120cm wide, 96cm high, 58cm deep

£1,000-1,500

22 Lyon & Turnbull

64 MANNER OF MORRIS & COMPANY 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 196cm wide, 182cm high, 63cm deep

£800-1,200

W. S. COLEMAN (1829-1904)

ATTRIBUTED TO CLEMENT HEATON FOR MINTON, HOLLINS AND CO.

ENGLISH SCHOOL

GIRL WITH A SKIPPING ROPE pencil and watercolour, signed lower right W.S. COLEMAN 29cm x 17.5cm

GROUP OF THREE AESTHETIC MOVEMENT TILES, CIRCA 1890 depicting birds and flowers, within later frame

£200-300

each tile 15cm square

AESTHETIC MOVEMENT MAHOGANY PLANT STAND, CIRCA 1890 the square top centred with a Pilkington’s Iznik tile, above arched and pierced apron on turned legs linked by an undertier with spindle gallery

£150-250

35cm wide, 105cm high

£300-500

Decorative Arts: Design since 1860 23

68 ENGLISH SCHOOL THE FOUR SEASONS: A SET OF FOUR ARTS & CRAFTS STAINED, LEADED AND PAINTED GLASS PANELS, CIRCA 1900 each depicting figures in Medieval dress engaged in seasonal pursuits (4) 65.5cm x 31.5cm

£3,000-5,000

69 AFTER SIR WILLIAM HAMO THORNYCROFT TWO BRONZE PRESENTATION PLAQUES, CIRCA 1919 for the Open Championship Horticultural and Agricultural prizes, presented by Toogood and Sons of Southampton, cast in relief, each with cast signature mark (2) 28cm x 17cm

£200-300

70 NELSON DAWSON (1859-1941) BRASENOSE COLLEGE, OXFORD ARMORIAL PLAQUE, DATED 1917 decorated with gilt and coloured enamels and incised verso NELSON DAWSON/ MAY 1917/ COPYRIGHT 30cm high

£200-300

71 LADY BEATRICE GLENAVY (1881-1970) FRANCIS VALERIO patinated plaster plaque, inscribed verso BEATRICE ELVERY (LADY GLENAVY) 1900 37cm x 30cm

£250-350 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

24 Lyon & Turnbull

72 OMAR RAMSDEN (1873-1939) ARTS & CRAFTS SILVER BEAKER, LONDON 1929 the planished surface with chased and repoussé honeycomb band, stamped maker’s marks OMAR RAMSDEN ME FECIT/ OR/ 1337, hallmarked London 1929, 5.57oz 10cm high

£600-800

73 LEVI & SALAMAN, BIRMINGHAM ARTS & CRAFTS SILVER AND ENAMEL BELT BUCKLE, BIRMINGHAM 1902 worked as twin planished panels set with enamelled bud decoration, stamped maker’s marks L&S, Rd.407365, hallmarked Birmingham 1902 10.5cm across

£250-400

74 ALBERT EDWARD JONES (1878-1954) ARTS & CRAFTS ‘ST DUNSTAN WARE’ COPPER JEWELLERY CASKET, CIRCA 1900 with riveted strapwork decoration, set with a Ruskin plaque, traces of paper label 15cm wide, 5cm high, 11cm deep

£200-300

SCOTTISH SCHOOL

ARTS & CRAFTS

ENGLISH SCHOOL

MINTON & CO.

ARTS & CRAFTS BRASS WALL MIRROR, CIRCA 1910 of octagonal outline, the circular bevelled plated within frame with repoussé decoration

WOOL CUSHION, CIRCA 1900 AND LATER the original fabric front later made up as a cushion

56cm across

£80-120

PAIR OF ARTS & CRAFTS OAK PHOTOGRAPH FRAMES, CIRCA 1900 each of shaped and pierced outline mounted with repoussé copper leaf decoration (2)

SECESSIONIST JARDINIÈRE & MATCHED STAND, CIRCA 1900 each decorated in tube-line and coloured glazes with stylised flowering plants, bears maker’s marks (2)

42cm x 32cm

36cm diameter, 108cm high

£300-500

£250-400

46cm square

£200-300

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Decorative Arts: Design since 1860 25

79 JAMES CROMAR WATT (1862-1940) ARTS & CRAFTS GOLD, ENAMEL AND PEARL AND GEM-SET NECKLACE, CIRCA 1905 with multiple chains with enamelled, seed pearl and garnet cabochon spacers, suspending graduated boteh-shaped painted enamel pendant drops 45cm long Literature: Gere, Charlotte and Munn, Geoffrey C. ‘Pre-Raphaelite to Arts and Crafts Jewellery’, Antique Collectors Club 1996, p. 40, pl. 15 Literature: Note: James Cromar Watt was born in Aberdeen. He worked in precious metals, and developed particular skills in the ancient techniques of gold granulation and translucent foiled enamelling. His work was exhibited in Turin in 1902 and was illustrated in the Art Journal periodical of the time. Some of his pieces were strongly influenced by the enamel work of Phoebe Traquair and some were designed in association with the painter and stained glass artist, Douglas Strachan. His work is predominantly in the collection of Aberdeen Art Gallery & Museum.

£3,000-5,000

26 Lyon & Turnbull

80 W.A.S. BENSON (1854-1924) ARTS & CRAFTS BRASS HANGING LIGHT, CIRCA 1900 with shaped brass frame and frosted glass shade with hanging chains and a ceiling rose 21cm diameter, 69cm high

£300-500

81 W.A.S. BENSON (1854-1924) ARTS & CRAFTS BRASS AND COPPER CHANDELIER, CIRCA 1910 with cylindrical corona supporting six scrolling brackets suspending openwork fittings for lights with later Vaseline glass shades, with flowerhead ceiling rose fitting 72cm diameter, 79cm high Literature: Hamerton Ian (edt.), ‘W.A.S. Benson: Arts & Crafts Luminary and Pioneer of Modern Design’, Antique Collector’s Club 2005, p. 258 where similar examples are illustrated.

£3,000-5,000

82 ATTRIBUTED TO JOHN PEARSON ARTS & CRAFTS COPPER WORK BOX, CIRCA 1900 repoussé-decorated with a frieze of seed pods to the sides and to the domed lid with stylised flowerhead, the interior fitted with a lift-out tray 36cm wide, 14cm, 26cm deep

£400-600

83 ATTRIBUTED TO JOHN PEARSON ARTS & CRAFTS COPPER WALL MIRROR, CIRCA 1890 the rectangular frame repoussé decorated with stylised entwined tendrils on a hammered ground 80cm x 65cm

£400-600 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Decorative Arts: Design since 1860 27

84 COMPTON POTTERS’ ART GUILD LARGE POTTERY FIGURE OF ST MICHAEL, CIRCA 1920 painted in tempera, impressed inscription to plinth ST. MICHAEL 32cm high

£500-700

85 THOMAS GRAHAM JACKSON (1835-1924) FOR JAMES POWELL & SONS SET OF TEN SEA-GREEN DRINKING GLASSES, CIRCA 1870 each glass with shaped bowl on a knopped stem with spreading circular base (10) 16.3cm high

£300-400

86 W.A.S. BENSON (1854-1924) ARTS & CRAFTS COPPER AND BRASS TABLE LAMP, CIRCA 1900 the central column with three curved brackets raised on a cast quadruped base with facetted feet, stamped maker’s mark under foot W.A.S. BENSON, with later pleated silk shade 86cm high (including shade) Literature: Hamerton Ian (edt.), ‘W.A.S. Benson: Arts & Crafts Luminary and Pioneer of Modern Design’, Antique Collector’s Club 2005, p. 259, pl. 16 where similar examples are illustrated.

£1,000-1,500

87 ATTRIBUTED TO CLEMENT HEATON LARGE ARTS & CRAFTS CLOISONNÉ ENAMEL PANEL, CIRCA 1890 the framed panel centred with the figure of an angel 75cm x 74cm

£600-800

28 Lyon & Turnbull

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Decorative Arts: Design since 1860 29

88 SIR GEORGE JAMES FRAMPTON (1860-1928) PETER PAN, DATED 1911 patinated bronze figure, signed with initials in the bronze GF and dated 1911, also inscribed with an encircled PP and raised on a veined green marble base figure 48cm high, total height 52.5cm Provenance: Private Scottish Collection Literature: Skipwith, Peyton ‘Sir George Frampton & Sir Alfred Gilbert, Peter Pan & Eros: Public & Private Sculpture in Britain 1880-1940’, The Fine Art Society, London 2002

£25,000-35,000

Note: In 1911 an anonymous donor commissioned George Frampton to create a sculpture of Peter Pan to be placed on the very spot in Kensington Gardens where the magical boy appears nightly in J M Barrie’s Little White Bird of 1901, the first book in which the character appears. Sir George Frampton’s ‘Peter Pan’ is one of the best-known monuments in London, based on the character from J.M. Barrie’s novel of the same name, with the author commissioning the statue in Kensington Gardens himself. When it was completed, the original life-size bronze was first shown in 1911 at the Royal Academy, London. Subsequent to this exhibition the life-sized figure was erected overnight in secret in 1912, with no pre-publicity, simply a brief announcement which appeared in The Times that day: ’There is a surprise in store for the children who go to Kensington Gardens to feed the ducks in the Serpentine this morning…a May-day gift by Mr J.M. Barrie, a figure of Peter Pan blowing his pipe on the stump of a tree, with fairies and mice and squirrels all around. It is the work of Sir George Frampton, and the bronze figure of the boy who would never grow up is delightfully conceived.’ Sir George James Frampton (1860-1928) studied at the Royal Academy, becoming president of the Royal Society of Sculptors in 1911, and is known as one of the leading figures in the New Sculpture movement. Peter Pan marks a technical milestone in the evolution of public sculpture in Britain, reflecting advances in casting by two of Britain’s leading foundries at the time, Singer’s and Burton’s. A further six life-sized casts were erected, in Liverpool, Australia, Belgium, Canada, and the US, demonstrating the wide-spread popularity of Frampton’s interpretation of the character. Taking advantage of its immediate popular appeal, Frampton produced a series of bronze reductions of the main figure as an independent statuette, of which the present lot is a rare and early example. Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

30 Lyon & Turnbull

89 SIBYL DUNLOP (1889-1968) ARTS & CRAFTS SILVER AND GEM-SET PENDANT, CIRCA 1930 set with amethysts and moonstone cabochon stones, stamped mark 950 5.2cm high Literature: Zorn Karlin, Elyse ‘Jewelry & Metalwork in the Arts & Crafts Tradition’, Schiffer 2004, p.56 where a similar example is illustrated.

£800-1,200

90 SIBYL DUNLOP (1889-1968) ARTS & CRAFTS SILVER AND GEM SET BROOCH, LONDON 1965 of oval outline, the scrolling openwork set with cut coloured stones and central cabochon, stamped maker’s marks SD/ S. DUNLOP, hallmarked London 1965 3.5cm across

£800-1,200

91 SIBYL DUNLOP (1889-1968) ARTS & CRAFTS SILVER AND GEM SET BROOCH, LONDON 1965 of triangular outline, the scrolling openwork set with opal, moonstone and chrysoprase cabochons, stamped maker’s marks SD/ S. DUNLOP, hallmarked London 1965 4cm across

£800-1,200

Decorative Arts: Design since 1860 31

92 ENGLISH SCHOOL ARTS & CRAFTS FRAMED ENAMEL PANEL, CIRCA 1890 depicting St Christopher and the Christ Child by the river, painted gilt highlights, and inscription 8.2cm x 4cm

£600-800

93 SIBYL DUNLOP (1889-1968) ARTS & CRAFTS SILVER AND APPLIED COPPER CROSS PENDANT, LONDON 1965 cast and chased openwork, bears maker’s mark SD, hallmarked London 1965, within original card box 4.5cm high

£300-500

94 ATTRIBUTED TO BERNARD INSTONE ARTS & CRAFTS SILVER AND GOLD GEMSET BROOCH, CIRCA 1900 of penannular form with applied leaves and rope twist band, set with cabochon moonstones and other gems, and fitted with decorated pin 6cm across

£600-800

95 MANNER OF SIBYL DUNLOP ARTS & CRAFTS WHITE METAL AND JADE-SET BROOCH, EARLY 20TH CENTURY of triangular outline, the leafy openwork frame set with jade discs and set with jade, chrysoprase and seed pearls 7.8cm across

£400-600 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

32 Lyon & Turnbull

96 ARTHUR E. BELLS FOR DELLA ROBBIA POTTERY, BIRKENHEAD TWIN-HANDLED BALUSTER VASE, CIRCA 1900 decorated with shamrocks, incised maker’s marks DR, and decorator’s initials 25cm high

£250-350

97 MARTIN BROTHERS TWO STONEWARE TILES, CIRCA 1890 one decorated with a perched crow by a church, unmarked, 13.2cm x 15cm; the other with a sparrow, moulded maker’s mark MARTIN BROTHERS LONDON, 7.5cm square also a group of FOUR ENCAUSTIC TILES designed by C.F.A. VOYSEY, with opposed bird motif, maker’s marks verso W. GODWIN, 10.5cm square; and THREE DUTCH ROYAL DELFT TILES, decorated with crows in a winter landscape, impressed marks DELFT, 11.5cm square (6) £500-700

98 ATTRIBUTED TO C.F.A. VOYSEY FOR J. C. EDWARDS, RUABON ART NOUVEAU TWO-TILE PANEL, CIRCA 1900 moulded as a stylised flowering plant and glazed in yellow and green glazes, moulded maker’s marks verso J. C. EDWARDS/ RUABON, later oak frame each tile 15cm square

£300-500

100

101

102

ENGLISH SCHOOL

ARTS & CRAFTS GESSO PANEL, DATED 1900 worked in relief with angels and enclosed within an oak frame, marked verso GESSO PANEL/ OCTOBER 1900/ ADA CLEGG

ARTS & CRAFTS COPPER COAL HOD, CIRCA 1900 of tapering form with swing handle, repoussé-decorated with opposed peacocks and with riveted details

DELLA ROBBIA POTTERY, BIRKENHEAD

ATTRIBUTED TO C.F.A. VOYSEY FOR J. C. EDWARDS, RUABON

16cm x 17.5cm

£250-350

32cm wide, 50cm high

£150-250

BALUSTER VASE, CIRCA 1900 the vase of baluster form decorated with a frieze of flowering lilies, 17.5cm high; and a CARLO MANZONI BOWL, with incised decoration, 10cm diameter, both with incised maker’s marks (2) £200-300

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

ART NOUVEAU TWO-TILE PANEL, CIRCA 1900 moulded as a stylised flowering plant and glazed in yellow and green glazes, moulded maker’s marks verso J. C. EDWARDS/ RUABON, later oak frame each tile 15cm square £300-500

Decorative Arts: Design since 1860 33

103 CHARLES ROBERT ASHBEE (1863-1942) FOR THE GUILD OF HANDICRAFT LTD. ARTS & CRAFTS SILVER PORRINGER, LONDON 1905 with whiplash handle inset with purple cabochon stone, bears maker’s mark GofHLTD, hallmarked London 1905, with engraved initials MB 18cm long Note: The engraved monogram MB refers to Marie Brema (1856-1925), the first British singer to sing at Bayreuth.

£2,000-3,000

104 THE GUILD OF HANDICRAFT LTD. ART NOUVEAU WHITE METAL BELT BUCKLE, CIRCA 1905 cast with stylised flowering foliage within original fitted box bearing printed inscription THE GUILD OF HANDICRAFT LD./ 16A BROOK STREET/ LONDON. W./ WORKS: ESSEX HOUSE,/ CHIPPING CAMPDEN, GLOS. 9.5cm across

£700-900

105 ATTRIBUTED TO ARTHUR DIXON FOR BIRMINGHAM GUILD OF HANDICRAFT ARTS AND CRAFTS SILVER TEAPOT, BIRMINGHAM 1903 of bulbous form with everted flared rim, ebonised finial and scrolled handle, on a spreading foot, with an allover hammered finish, hallmarked Birmingham, 1903 12.7cm high

£600-800

106 ENGLISH SCHOOL ARTS & CRAFTS COPPER CASKET, CIRCA 1900 with hammered finish, and decorative strap hinges set with Ruskin cabochon plaques 23.5cm wide, 8cm high, 15cm deep

£200-300

34 Lyon & Turnbull

107 SHAPLAND & PETTER, BARNSTAPLE ARTS & CRAFTS OAK WALL CABINET, CIRCA 1900 the projecting moulded cornice above twin doors with inset patinated copper panels and decorative hinges, the lock stamped S&P/ B 50.5cm wide, 52cm high, 19cm deep Literature: Bennett, Daryl ‘Shapland & Petter of Barnstaple’, Museum of Barnstaple & North Devon, 2005, p. 74, pl. 5.12 illus.

£600-800

108 ARTS & CRAFTS STYLE LARGE CARPET, MODERN the cream field with allover stylised foliate pattern, within similar border 243cm x 179cm

£300-500

109 JOHN STUART SHELLIS GROUP OF THREE SILVER AND ENAMEL CADDY SPOONS, BIRMINGHAM 2016 two with round planished bowls, collet disc with blue green enamel, one with applied wirework to form the handle; the other with attached wirework handle, each hallmarked Birmingham 2016, 43g (3) average length 6.5cm

£150-250 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Decorative Arts: Design since 1860 35

110 ENGLISH SCHOOL ARTS & CRAFTS EMBROIDERED ROUNDEL, CIRCA 1900 worked in coloured threads with a peacock, framed and glazed 40cm diameter

£200-300

111 ATTRIBUTED TO THE ROYAL SCHOOL OF NEEDLEWORK ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1900 worked in coloured silks on a cream silk ground, with birds perched amongst flowering foliage 61cm x 74cm

£200-300

112 MANNER OF W.A.S. BENSON ARTS & CRAFTS COPPER AND WROUGHT IRON OCCASIONAL TABLE, CIRCA 1900 the circular top set with Ruskin panels on a scollwork base with baluster openwork central column support 56cm diameter, 66cm high

£600-800

113 SCOTTISH SCHOOL ARTS & CRAFTS BRASS WALL MIRROR, CIRCA 1900 of kidney-shaped outline, the bevelled plate enclosed by frame, repoussé-decorated with perching owls, applied glass eyes 39cm x 67.5cm

£500-800

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114 ENGLISH SCHOOL ARTS AND CRAFTS TEXTILE PELMET, CIRCA 1910 linen and wool, depicting fruit and foliage and ribbon bows 207cm long, 26cm wide

£200-400

115 SCOTTISH SCHOOL ARTS & CRAFTS BRASS WALL MIRROR, CIRCA 1910 the circular bevelled plate enclosed by frame embossed with butterflies and foliate designs 47.5cm diameter

£250-350

116 SHAPLAND & PETTER, BARNSTAPLE ARTS & CRAFTS OAK BOOKCASE CABINET, CIRCA 1900 with projecting cornice above an arrangement of open shelves, with panelled doors below 130cm wide, 163cm high, 30cm deep

£1,500-2,000

117 MURRLE BENNETT & CO. ARTS & CRAFTS SILVER AND ENAMEL SET BRACELET, CIRCA 1905 with rectangular links, stamped maker’s marks to clasp MB&C/ SILVER 18cm long

£150-250

Decorative Arts: Design since 1860 37

118 ARTS & CRAFTS ARTS & CRAFTS PATINATED COPPER WALL MIRROR, CIRCA 1900 of rectangular outline, set with Ruskin roundels and with riveted strapwork decoration 47cm x 62cm

£300-500

119 W.A.S. BENSON BRASS, COPPER AND STEEL SPIRIT KETTLE AND STAND, CIRCA 1900 stamped maker’s mark to kettle BENSON 80cm high

£300-500

120 SHAPLAND & PETTER, BARNSTAPLE ARTS & CRAFTS OAK SECRETAIRE BOOKCASE, CIRCA 1900 the arched ledge back with inset heart-shaped enamel above an arrangement of open shelves and panelled fall with stencilled polychrome scene, enclosing a fitted interior and with three further panelled doors, stamped maker’s mark No. 154 92cm wide, 158cm high, 36cm deep Literature: Bennett, Daryl ‘Shapland & Petter of Barnstaple’, Museum of Barnstaple & North Devon, 2005, p. 45, pl. 4.13 illus.

£2,000-3,000

121 ENGLISH SCHOOL ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1900 depicting a maiden in a garden and bearing inscription TO PLACES THEN AND AT ALL SEASONS... 43cm x 34cm

£150-250 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

38 Lyon & Turnbull

122 CHARLES PAYTON, BIRMINGHAM ART NOUVEAU SILVER AND ENAMEL BROOCH, BIRMINGHAM 1908 worked as a stylised butterfly, stamped maker’s marks C.P., hallmarked Birmingham 1908 3.8cm across

£300-400

123 CHARLES S. GREEN & CO. LTD., BIRMINGHAM ARTS & CRAFTS SILVER PHOTO FRAME, BIRMINGHAM 1900 embossed with a pastoral scene, stamped maker’s mark, hallmarked Birmingham 1900 21.5cm x 18cm

£300-400

124 ENGLISH SCHOOL ARTS & CRAFTS BRONZE ‘CATS & RATS’ CIGARETTE BOX, CIRCA 1900 the hammered lid and sides cast with cats and rats, wooden liner 20cm wide, 5cm high, 13.2cm deep

£300-400

125 ELLEN MARY ROPE (1855-1934) ARTS & CRAFTS PLASTER PANEL, DATED 1903 depicting children greeting the sunrise, signed and dated lower left E.M.ROPE/ 1903, within oak frame 9.5cm x 31cm

£250-350

126

127

ELLEN MARY ROPE (1855-1934)

ENGLISH SCHOOL

’SNAPDRAGON’ PLASTER PLAQUE, CIRCA 1900 signed with initials EMR, 12cm x 9cm; and another attributed to the same hand, within oak frame and inscribed verso ROBERT DICKMAN AS A CHILD BY ? ROPE, 17.5cm x 9cm (2)

CARVED OAK ARTS & CRAFTS MIRROR, CIRCA 1900 the oval plate enclosed within frame carved with scrolling foliage

£200-300

£150-250

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

57cm x 45cm

Decorative Arts: Design since 1860 39

128 ENGLISH SCHOOL ARTS & CRAFTS COPPER WALL MIRROR, CIRCA 1900 the rectangular hammered frame set with Ruskin panels 35.5cm x 32cm

£200-300

129 ENGLISH SCHOOL ARTS & CRAFTS SILVERED HALL LANTERN, CIRCA 1910 the cylindrical Vaseline glass shade within planished scrollwork frame 43cm high

£200-300

130 WILLIAM HENRY MAWSON FOR KESWICK HOME INDUSTRIES ARTS & CRAFTS COPPER WALL MIRROR, CIRCA 1900 of oval outline, repoussédecorated with a band of fruiting lemons 58cm x 72cm

£1,000-1,500

131

132

133

COTSWOLD SCHOOL

ENGLISH SCHOOL

ARTS & CRAFTS CARVED MAHOGANY STATIONERY BOX, CIRCA 1910 the hinged lid enclosing a fitted interior, the whole carved with stylised foliate forms and a frog

ARTS & CRAFTS BRASS JEWELLERY BOX, CIRCA 1910 of rectangular outline with riveted strap and repoussé decoration

ATTRIBUTED TO JOHN PEARSON FOR FIVEMILETOWN, CO. TYRONE

24cm wide, 24cm high, 8cm deep

26cm wide, 7cm high, 14.5cm deep

33cm wide, 49cm high, 53cm long

£300-500

£150-250

£200-300

ARTS & CRAFTS BRASS COAL BOX, CIRCA 1900 of square tapering form, repoussé-decorated with heart and foliate designs

40 Lyon & Turnbull

134 MANNER OF W.A.S. BENSON ARTS & CRAFTS BRASS CEILING LIGHT, CIRCA 1900 with five scrolling arms centred by a ceiling rose of embossed leaf design 55cm diameter, 57cm high

£300-500

135 W.A.S. BENSON (1854-1924) ARTS & CRAFTS BRASS AND COPPER TABLE LAMP, CIRCA 1890 converted to electricity from an oil lamp, the copper reservoir raised on a quadruped base, stamped maker’s marks W.A.S. BENSON 30cm high

£300-400

136 ATTRIBUTED TO FIVEMILETOWN, COUNTY TYRONE ARTS & CRAFTS COPPER JARDINIÈRE, CIRCA 1895 of tapering form with twin handles, repoussé-decorated with panels of opposed peacocks 21.5cm high

£200-300

137 ENGLISH SCHOOL ARTS & CRAFTS COPPER WALL MIRROR, CIRCA 1900 repoussé-decorated with stylised flowers set with turquoise ceramic roundels on a hammered ground 68.5cm x 52cm

£300-500

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Decorative Arts: Design since 1860 41

138 ATTRIBUTED TO JOHN PEARSON ARTS & CRAFTS COPPER AND OAK WALL MIRROR, CIRCA 1900 the rectangular frame, repoussédecorated with a floral and foliate band 70cm x 85cm

£1,500-2,000

139 AFTER IVAN YAKOVLEVICH BILIBIN TWO RUSSIAN ARTS & CRAFTS FRAMED PRINTS, CIRCA 1900 each depicting a Russian historical scene, printed signature and date 1900, within oak frames (2) 30cm x 24cm

£200-300

140 ENGLISH SCHOOL ARTS & CRAFTS OAK OCCASIONAL TABLE, CIRCA 1900 the octagonal top raised above heart-pierced tapering plank supports linked by a lower tier 42cm diameter, 86cm high

£200-300

42 Lyon & Turnbull

141 ENGLISH SCHOOL ARTS & CRAFTS ‘MORRIS’ RECLINING ARMCHAIR, CIRCA 1900 with later-upholstered loose cushions, the spindle-filled arms on turned front legs 59cm wide, 88cm high, 82cm deep

£300-500

142 ARTHUR W. SIMPSON (1857-1952), KENDAL ARTS & CRAFTS OAK OCCASIONAL TABLE, CIRCA 1900 the dished oval top on shaped supports linked by a corresponding lower tier, bears maker’s label ARTHUR W. SIMPSON/ THE HANDICRAFTS/ KENDAL/ 8863 65cm wide, 62cm high, 44cm deep

£600-800

143 SCOTTISH SCHOOL ARTS & CRAFTS RENAISSANCE REVIVAL OAK MANTELPIECE, CIRCA 1910 the moulded and gadrooned mantle shelf above a panelled frieze with applied busts above fluted jambs and enclosing a rouge marble slip 190cm wide, 142cm high, 28cm deep, inside 121cm wide, 99cm high

£400-600

144

145

146

ENGLISH SCHOOL

BERNARD MOORE (1850-1935)

’THE STUDIO’

ARTS & CRAFTS BRASS TABLE LAMP, CIRCA 1900 the adjustable fitting with frosted glass shade on turned column with sphere terminal and strut and scroll supports

LARGE FLAMBÉ GINGER JAR AND COVER, CIRCA 1920 allover design depicting longboats at sea, painted marks under base BERNARD MOORE

26cm high, 45cm long

26cm high

COLLECTION OF BOUND VOLUMES AND MAGAZINES to include: 150 magazines; 160 modern copies (green covers); 10 special editions and 12 bound volumes

£200-300

£300-500

Decorative Arts: Design since 1860 43

147 ARTS & CRAFTS STYLE LARGE CARPET, MODERN the cream field with allover stylised foliate pattern, within similar border 310cm x 248cm

£1,200-1,800

148

149

150

ENGLISH SCHOOL

BIRMINGHAM GUILD OF HANDICRAFT

R. M. SEATON

OAK ARTS & CRAFTS SIDE CHAIR, CIRCA 1900 the tall back with pierced roundel above rushcovered seat

PAIR OF BRASS DOOR HANDLES, CIRCA 1900 each of curved form with shaped backplates, bear maker’s stamp B.G.H. (2)

SOUNDS OF THE SEA pen, ink and watercolour, signed and dated lower centre R.M. SEATON 1911

40cm wide, 105cm high, 47cm deep

30cm long

25cm x 18.5cm

£200-300

£200-300 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

44 Lyon & Turnbull

151 KESWICK SCHOOL OF INDUSTRIAL ARTS CASED SET OF SIX SILVER COFFEE SPOONS, BIRMINGHAM 1904 with stylised leaf terminals and planished bowls, stamped makers marks, hallmarked Birmingham 1904, within original case (6) 10cm long

£400-600

152 KESWICK SCHOOL OF INDUSTRIAL ART ARTS & CRAFTS BRASS JARDINIÈRE, CIRCA 1900 of cylindrical form, decorated with a repoussé band of fruiting foliage, stamped maker’s marks to base KSIA 24.5cm high

£200-300

153 JAMES POWELL & SON ARTS & CRAFTS GLASS VASE, CIRCA 1900 green lustre glass, the fan-shaped body with frilled rim 21.5cm high

£150-250

154

155

156

COTSWOLD SCHOOL

MANNER OF KESWICK SCHOOL OF INDUSTRIAL ART

ATTRIBUTED TO ROBERT TEMPLE FOR KESWICK SCHOOL OF INDUSTRIAL ARTS

ARTS & CRAFTS BRASS SERVING TRAY, CIRCA 1900 the rectangular galleried tray with cut-out handles and sphere feet, repoussé-decorated with a band of flowering dog roses

ARTS AND CRAFTS COPPER TEA CADDY, CIRCA 1895 of rectangular form with domed hinge cover, the panels embossed with animals, bearing inscription FAITHFULNESS/ PLACABLENESS/ GUILELESSNESS, inscribed with monogram TCM

ARTS & CRAFTS CARVED MAHOGANY BOOKENDS, CIRCA 1920 the slide-out base with two hinged ends pierced and carved with entwined leafy branches within a rope-twist border 30cm wide (closed), 15cm high

69cm x 39.5cm

£150-200

£150-250

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

11cm long Note: A tea caddy of similar design in solid silver was included in an Exhibition of Keswick School Silver, ‘The Loving Eye & Skilful Hand’, Payne & Son, Oxford, 3-29 September, 2018

£200-300

Decorative Arts: Design since 1860 45

157 ENGLISH SCHOOL THE FOUR SEASONS: FOUR ARTS & CRAFTS WATERCOLOUR STUDIES ink and watercolour, framed (4) 40cm x 14.5cm

£500-700

158 THE ALEXANDER CLARK MANUFACTURING CO. FOUR ART NOUVEAU SILVER CRUETS, BIRMINGHAM 1904 comprising a PAIR OF SALT CELLARS, with stylised handles, 6.5cm high; and a PAIR OF MUSTARD POTS, of similar form, 8.5cm high, all hallmarked Birmingham 1904 (4) £200-300

159 MARTIN, HALL AND CO., SHEFFIELD SILVER MOUNTED CLARET JUG, BIRMINGHAM 1904 the pinched glass body decorated with bouquets of flowers, hallmarked Birmingham 1904 24cm high

£300-500

46 Lyon & Turnbull

160 BRAY ART FURNITURE INDUSTRY ARTS & CRAFTS OAK LOW CHAIR, CIRCA 1910 the simple railed back with moulded seat on square tapering legs, allover Celtic carved decoration, bears paper maker’s label under seat BRAY ART FURNITURE INDUSTRY 41cm wide, 72cm high, 42cm deep Note: The Bray Art Furniture Industry was a co-operative society formed in 1905, which employed up to 50 craft workers. Their work included domestic furniture fashioned from native woods, and was displayed in a shop on Bray’s Main Street which opened in 1907. The Bray Art Furniture Industry was an important factor in the revival of woodcarving in Ireland, and was associated with the Irish Arts & Crafts Movement.

£300-500

161 GORDON RUSSELL (1892-1980) FOR RUSSELL & SONS, BROADWAY ’LYGON’ BRASS FRUIT BOWL, CIRCA 1920 of circular form with everted rim, stamped maker’s marks LYGON/ R&S/ MADE BY HAND ON THE COTSWOLD HILLS 36cm diameter Note: This bowl was probably made for Russell & Sons by George Hart at Chipping Campden.

£300-500

162 GORDON RUSSELL (1892-1980) ARTS & CRAFTS OAK TABLE, DATED 1925 the rectangular top above an arrangement of three drawers, raised on square legs, bears maker’s label inscribed THIS PIECE, A SIMPLE OAK DRESSING TABLE NO. 267, WAS DESIGNED & MADE THROUGHOUT IN THE RUSSELL WORKSHOP IN JULY 1925/ DESIGNER S. GORDON RUSSELL/ FOREMAN E. TURNER/ CABINET MAKER G. COOK/ METALWORK P. WALKER 122cm wide, 77cm high, 47cm deep

£1,000-1,500

163

164

165

ENGLISH SCHOOL

ROBERT ‘MOUSEMAN’ THOMPSON

[§] TIM STEAD (1952-2000)

ARTS & CRAFTS WALNUT BUREAU, CIRCA 1920 the panelled fall with fitted interior above six drawers on ball and claw feet

OAK COFFEE TABLE, MID-LATE 20TH CENTURY the rectangular top with octagonal baluster end supports and trestle feet

100cm wide, 110cm high, 56cm deep

91cm long, 45cm high, 38cm deep

STAINED PINE OCCASIONAL TABLE, CIRCA 1990 the circular top raised on square column and cruciform base

£200-300

£250-350

85cm diameter, 45cm high

£250-350 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Decorative Arts: Design since 1860 47

166 BRYNMAWR FURNITURE MAKERS ARTS & CRAFTS OAK EASY ARMCHAIR AND MATCHING STOOL, CIRCA 1930 the armchair with loose back and seat cushions enclosed by open arms on chamfered supports linked by stretchers, bears maker’s label BRYNMAWR FURNITURE, 66cm wide, 87cm high, 50cm deep; the matching stool with drop-in upholstered seat on chamfered square legs linked by stretchers, 42cm wide, 47cm high, 30cm deep (2) £800-1,200

167 GORDON RUSSELL (1892-1980) FOR RUSSELL & SONS, BROADWAY ARTS & CRAFTS OAK STOOL, 1930’S the drop in leather seat supported on a chamfered frame, bears maker’s label RUSSELL & SONS/ BROADWAY/ WORCS 37.5cm square, 36cm high

£200-300

168 ERNEST GIMSON (1864-1919) FOUR ARTS & CRAFTS 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 2

48 Lyon & Turnbull

169 WILLIAM NEALE, CHESTER ART NOUVEAU SILVER PHOTOGRAPH FRAME, CHESTER 1901 of shaped rectangular form, depicting irises, with maker’s marks W.N and hallmarked Chester 1901, with later oak easel backing 19.5cm x 15.5cm

£400-600

170 HENRY WILLIAMSON LTD., BIRMINGHAM ART NOUVEAU SILVER PHOTOGRAPH FRAME, BIRMINGHAM 1909 of shaped rectangular form, depicting reserves of stylised flowers and leaves within panelled bands, maker’s marks W. H. LD and hallmarked Birmingham 1909, with oak backing and later easel 28.5cm x 17.5cm

£300-500

171 SUFFRAGETTE INTEREST EDWARDIAN EMBROIDERED LINEN SMOCK DRESS, CIRCA 1900 gathered unbleached linen with covered buttons, embroidered to the neck, sleeves and pocket in green and purple silks with meandering flowering tendrils 132cm long

£600-800

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Decorative Arts: Design since 1860 49

173 172 BARNET HENRY JOSEPH (B.H. JOSEPH & CO., 1865-1929) ART NOUVEAU 9 CARAT GOLD AND TURQUOISE-SET PENDANT, CIRCA 1900 with pierced openwork set with cabochon stone and with seed pearl drop, later chain, stamped maker’s marks B.H.J/ 9CT

MURRLE BENNETT & CO., LONDON ART NOUVEAU GOLD, TURQUOISE AND DIAMOND-SET PENDANT, CIRCA 1900 of oval outline with whiplash tendril, set with turquoise and diamond, stamped maker’s marks MBCo/ 15CT

174

3.8cm long

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

£400-600

3cm wide

£300-400

pendant 5.7cm long

£400-600

176 ABRAHALL & BINT, BIRMINGHAM

175 W.H. HASELER LTD. ART NOUVEAU SILVER AND ENAMEL PENDANT, LONDON 1909 of heart-shaped outline decorated with blue enamels and cast leaf band, stamped maker’s mark W.H.H., hallmarked London 1909

ART NOUVEAU SILVER AND ENAMEL BELT BUCKLE, LONDON 1909 the hammered ground with panels of turquoise enamels, stamped maker’s mark A&B, hallmarked London 1909 9cm across

£150-250

177 MURRLE BENNETT & CO. GOLD AND TURQUOISE SET BAR BROOCH, CIRCA 1900 with entwined tendril decoration set with a turquoise cabochon, stamped marks MBCo

2.5cm tall

4cm across

£200-300

£300-400

50 Lyon & Turnbull

178 T. H. HAZLEWOOD & CO. ART NOUVEAU SILVER BOX, BIRMINGHAM 1901 of oval form, the lid with chased and embossed panel depicting a maiden in a landscape, stamped maker’s marks, hallmarked Birmingham 1901, 3.31oz 10cm across

£100-200

179 ART NOUVEAU LARGE SILVER PHOTOGRAPH FRAME, CHESTER 1905 of shaped rectangular form, depicting chrysanthemums, maker’s marks C.C and hallmarked Chester 1905, with later oak easel backing 33cm x 24cm

£500-800

180 WILLIAM NEALE, CHESTER LARGE ART NOUVEAU SILVER PHOTOGRAPH FRAME, CHESTER 1904 of shaped rectangular form, depicting lilies and kingfishers, with maker’s marks W.N, hallmarked Chester 1904 and with registration number RD 412167, with later oak easel backing 32cm x 26.5cm

£600-800

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Decorative Arts: Design since 1860 51

181 ART NOUVEAU MAHOGANY, SATIN WOOD AND MARQUETRY ENVELOPE CARD TABLE EARLY 20TH CENTURY the square top inlaid with foliate arabesques, opening to reveal a tooled green baize playing surface with outer guinea wells, above a frieze drawer, raised on faceted tapered legs joined by an undertier with foliate inlaid brackets, ending in faceted baluster feet and brass castors 56cm wide, 74cm high, 56cm deep

£400-600

182 GEORGE MONTAGUE ELLWOOD (1875-1955) FOR J. S. HENRY, LONDON ARTS & CRAFTS MAHOGANY AND INLAID SECRETAIRE, CIRCA 1900 the slatted back with two cupboards enclosing a marquetry-inlaid fall, opening to reveal a fitted interior, above two drawers on square legs linked by stretchers 146cm wide, 187cm high, 40cm deep

£2,000-3,000

182A ATTRIBUTED TO J. S. HENRY, LONDON ARTS & CRAFTS MAHOGANY AND INLAID SIDE CHAIR, CIRCA 1900 the tall back with marquetry inlaid roundels above upholstered panel seat on turned and tapered legs linked by stretchers 41cm wide, 100cm high, 38cm deep

£150-250

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183 MANNER OF SHAPLAND & PETTER ARTS & CRAFTS MAHOGANY AND STAINED GLASS WRITING DESK, CIRCA 1900 inlaid with floral and foliate marquetry, the leather writing surface above a single drawer on pierced supports 106cm wide, 109cm high, 57cm deep

£400-600

184 SHAPLAND & PETTER, BARNSTAPLE ART NOUVEAU MAHOGANY AND COPPER FIRESCREEN, CIRCA 1900 of shaped outline with embossed copper panels set with enamel roundels, bears maker’s stamped marks under stretcher R2047/ 109 52cm wide, 87cm high

£200-300

185 ENGLISH SCHOOL ART NOUVEAU MAHOGANY AND INLAID DISPLAY CABINET, CIRCA 1900 with twin leaded and glazed doors enclosing shelves and with drawers and a stretcher shelf below 142cm wide, 209cm high, 430cm deep

£600-800

Decorative Arts: Design since 1860 53

186 ENGLISH SCHOOL ART NOUVEAU MAHOGANY WALL CABINET, CIRCA 1900 with central panelled door with elaborate stylised foliate carved decoration enclosed by open shelves 86cm wide, 78cm high, 23cm deep

£400-600

187 [§] LUCY POETT (B. 1942) GOOSE GIRL bronze, after the painting by Sir James Guthrie, with dark brown patina, incised in the bronze with initials LP, foundry stamp 71cm long Note: Lucy Poett was born in Scotland, and started working in clay at The Heatherley School of Art in London, where she studied for a short time, before attending Dundee School of Art. She is both a painter and sculptor, and regularly exhibits her artworks at the Royal Society of Portrait Painters’ Exhibitions in London.

£800-1,200

188 SHAPLAND & PETTER, BARNSTAPLE ART NOUVEAU MAHOGANY AND MARQUETRY INLAID REVOLVING BOOKCASE, CIRCA 1900 the shaped square top above open shelves to each side with further inlaid panels, the whole raised on a cruciform base 56cm wide, 82cm high Literature: Bennett, Daryl ‘Shapland & Petter of Barnstaple’, Museum of Barnstaple & North Devon, 2005, p. 108, pl. 6.19 illus.

£2,500-3,500

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

54 Lyon & Turnbull

189 ZSOLNAY, PÉCS AND WALTER SCHERF & CO, NUREMBERG ART NOUVEAU ‘OSIRIS’ GILT METAL MOUNTED LUSTRE VASE, CIRCA 1900 the tall tapered vase with marbled lustre glaze, mounted with cast whiplash foliate handles, collar and base, stamped maker’s marks “OSIRIS”/ 578 31cm high

£300-500

190Y ERHARD & SÖHNE ART NOUVEAU ROSEWOOD JEWELLERY CASKET, CIRCA 1900 inlaid in brass with exotic birds and foliage, and with velvet-lined interior 25cm wide

£200-300

191

192

193

194

ENGLISH SCHOOL

ARTHUR BARNETT, WOLVERHAMPTON

WMF (WÜRTTEMBERGISCHE METALLWAREN FABRIK)

PAIR OF ART NOUVEAU COPPER MIRRORS, CIRCA 1900 each with oval bevelled plate enclosed by shaped frame embossed with stylised roses, each bears paper label ART & HANDICRAFT/ ARTHUR BARNETT, SNOW HILL, WOLVERHAMPTON/ DEALER IN WORKS OF ART/ ARTISTIC FRAMING/ GILDING (2)

ART NOUVEAU SILVER PLATED SWEET OR FRUIT DISH, CIRCA 1910 cast as an Art Nouveau maiden above a trefoil tray, stamped factory marks WMF/ EP/ I/O/ OX

ART NOUVEAU EMBOSSED SILVER PLATED VISITING CARD TRAY, CIRCA 1905 of oval outline, depicting the profile of a lady amongst bramble bushes, stamped factory marks WMF, 39cm wide; together with a WMF EMBOSSED PEWTER VISITING CARD TRAY, depicting the profiles of a young couple, marked 196/ B/ WMF G/ OX, 27.5cm wide (2)

ART NOUVEAU BRASS FENDER, CIRCA 1900 of moulded rectilinear form with pierced floral and foliate firedog uprights 137cm wide, 38cm deep

£200-300

32cm wide

£200-300

23cm x 21cm

£150-250

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Literature: ‘Art Nouveau Domestic Metalwork from Württembergische Metallwaren Fabrik: The English Catalogue 1906’, Antiques Collectors’ Club, Woodbridge, 1990, pp. 169170, where both examples are illustrated and listed as model nos. 208 and 196.

£200-300

Decorative Arts: Design since 1860 55

195 FRENCH SCHOOL ART NOUVEAU GILDED WHITE METAL AND MOTHER-OF-PEARL BUCKLE, CIRCA 1900 cast and chased with stylised bulrushes and set with mother of pearl panels 7cm across

£300-500

196 GERMAN SCHOOL ART NOUVEAU WHITE METAL AND ENAMEL PENDANT LOCKET, CIRCA 1900 the elliptical hinged pendant cast with an Art Nouveau maiden and set with green cabochon stones, bears maker’s marks verso 900/ depose 4.6cm across

£300-400

197 WMF (WÜRTTEMBERGISCHE METALLWARENFABRIK) ART NOUVEAU SILVER PLATED AND GLASS CLARET JUG, CIRCA 1910 with embossed mounts and lid depicting scrolling foliage, above the tapered glass body etched with flowers and fruiting vines, stamped WMFB/ I/O/ AS 34cm high

£150-250

198 WMF (WÜRTTEMBERGISCHE METALLWARENFABRIK) ART NOUVEAU ELECTROPLATED ‘ECHO’ STRUT MIRROR, CIRCA 1905 the rectangular shaped frame cast with sinuous flowering tendrils and an Art Nouveau maiden with hand cupped to her ear, enclosing a mirrored plate, stamped marks 36cm x 28cm Literature: ‘Art Nouveau Domestic Metalwork from Württembergische Metallwaren Fabrik: The English Catalogue 1906’, Antiques Collectors’ Club, Woodbridge, 1990, p. 295, where an example is illustrated and listed as model no. 131.

£400-600

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199 EMILE GALLÉ (1846-1904) CAMEO GLASS BOTTLE VASE, CIRCA 1910 the frosted glass body overlaid in amethyst and acid etched with a design of aquilegia, cameo signature to body GALLÉ 10cm high

£300-500

200 MAX LE VERRIER (1891-1973) AND DAUM, NANCY WALL LIGHT, CIRCA 1920 with tapered glass shade inscribed with maker’s mark DAUM NANCY FRANCE, the cast bronze fitting cast as a pelican, maker’s marks ANTUS/ FRANCE 25cm high

£300-500

201 MANNER OF LOETZ TWO ART NOUVEAU LUSTRE VASES, CIRCA 1900 comprising an OPALINE GLASS VASE, with frilled rim and pulled decoration, 22cm high; and a SQUAT TAPERED VASE, with dimpled decoration and frilled rim, 10cm high (2) £200-300

202

203

204

BRETBY ART POTTERY

WMF (WÜRTTEMBERGISCHE METALLWARENFABRIK)

KARL WIEDMANN (1905-1992) FOR WÜRTTEMBERGISCHE METALLWARENFABRIK (WMF)

PAIR OF ART NOUVEAU VASES, CIRCA 1900 each of tall tapered form with applied lugs, impressed maker’s marks, 28cm high; and a CONTINENTAL ART NOUVEAU VASE, 27cm high (3) £100-200

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

£100-200

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

FOUR ‘MYRA KRISTALL’ LUSTRE GLASS VESSELS, CIRCA 1930 comprising an OVOID TWIN-HANDLED VASE, 13cm high; a CONICAL BOWL, 10cm high; a POSY VASE, 8cm high; and a LOBED DISH, 10cm diameter (4) £150-250

Decorative Arts: Design since 1860 57

205 BRUNO ZACH (1891-1935) PATINATED BRONZE AND CAMEO GLASS TABLE LAMP, CIRCA 1910 the base cast as a field worker holding his hay rake and arm in arm with his companion, raised on a naturalistic base, signed in the bronze ZACH, and supporting an Arsall cameo glass domed shade, depicting deer and stag in a landscape, cameo signature ARSALL 75cm high

£5,000-8,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

58 Lyon & Turnbull

206 LOETZ, AUSTRIA IRIDESCENT GLASS CHALICE, EARLY 20TH CENTURY of squat baluster form with applied lugs, the green glass covered in blue papillon iridescence 15.5cm high

£200-300

207 ATTRIBUTED TO OSIRIS PAIR OF JUGENDSTIL PEWTER-MOUNTED CERAMIC VASES, CIRCA 1900 of tapered form, mounted with twin whiplash handles, painted maker’s serial number marks (2) 20cm high

£200-300

208 CHARLES SCHNEIDER (1881-1953) FOR SCHNEIDER GLASSWORKS ’LE VERRE FRANCAIS’ CAMEO GLASS VASE, CIRCA 1920 of tapered form, decorated in yellow, pink and orange with convolvulus flowers, cameo signature mark CHARDER, etched maker’s mark LE VERRE FRANCAIS 28cm high

£300-500

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

£200-300 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Decorative Arts: Design since 1860 59

210 GUSTAVE SERRURIER-BOVY (1958-1910) ART NOUVEAU GLASS AND BRASSMOUNTED FLOWER VASE, CIRCA 1900 the clear glass cylinder vase within pierced finned mounts 25.5cm high

£800-1,200

211 EMILE GALLE (1846-1904) ART NOUVEAU FAIENCE CAT FIGURE, CIRCA 1890 with applied glass eyes, underglaze blue maker’s marks GR with Cross of Lorraine 32cm high

£600-800

212 ALFRED JEAN FORETAY (1861-1944) ART NOUVEAU SILVERED VASE, CIRCA 1900 of ovoid form cast with two Art Nouveau maidens, signed in the body A. FORETAY 27cm high

£800-1,200 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

60 Lyon & Turnbull

213 TIFFANY & CO., NEW YORK GROUP OF FIVE ‘FAVRILE’ IRIDESCENT CHAMPAGNE GLASSES, CIRCA 1910 the pale amber glass covered in gold iridescence, each with etched mark L.C.T. (5) tallest 15cm high

£300-500

214 WIENER WERKSTÄTTE THREE SHEETS OF PRINTED TISSUE WRAPPING PAPER, CIRCA 1900 two with repeating flower motif, one with repeating inscription WIENER WERKSTÄTTE (3) 29.5cm x 21cm

£300-500

215 ATTRIBUTED TO JOSEF HOFFMANN FOR ALEXANDER STURM PART SUITE OF WHITE METAL CUTLERY, CIRCA 1900 comprising 6 Dessert Spoons; 6 Dessert Forks; 6 Teaspoons and 6 Coffee spoons, each with stamped maker’s marks 800; also EIGHT PIECES OF ‘2000’ RANGE SILVER PLATED CUTLERY, DESIGNED BY JOSEPH MARIA OLBRICH (1867-1908) FOR CLARFELD & SPRINGMEYER, CIRCA 1901, comprising two Serving Spoons; one Soup Spoon, one Fish Knife; one Dessert Fork; one Knife Rest; One Dinner Knife and one Dinner Fork, stamped maker’s marks 60/ GRAMM (32) £300-400

217

218

CZECHOSLOVAKIAN GLASS

JOHANNA MEIER-MICHEL FOR WIENER KUNSTKERAMISCHE WERKSTÄTTE

ART NOUVEAU BRONZE BUST, CIRCA 1900 signed in the bronze GRUBER, 13.5cm high; also a JUST ANDERSEN BRONZE FIGURAL PEN HOLDER, modelled as a putto, stamped maker’s mark, 6cm high (2)

ART NOUVEAU IRIDESCENT GLASS VASE, CIRCA 1900 with red and gold iridescence on a beige glass body, 27cm high; together with an IRIDESCENT GLASS BOTTLE VASE, with marble decoration to the base, 17cm high (2)

£200-300

£150-250

216 * GRUBER

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

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

£200-300

Decorative Arts: Design since 1860 61

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

62 Lyon & Turnbull

219 HENRY TAYLOR WYSE (DESIGNER, 1870-1951) AND WILLIAM MIDDLETON (MAKER, 1838-1919) FOR THE SCOTTISH GUILD OF HANDICRAFT RARE DECORATED OAK DRESSER, CIRCA 1900 with painted gesso decoration, the moulded cornice above an arrangement of open shelves with central cupboards, the base with two drawers above two panelled doors on bracket feet 127cm wide, 169cm high, 43cm deep Literature: Cumming, Elizabeth and Jack, Heather ‘Henry Taylor Wyse: Artist Teacher Craftsman’, Aberbrothock 2016, pp. 44-54

£4,000-6,000

Note: Between 1897 and 1899 Henry Taylor Wyse was entering competitions in The Studio magazine, including designs for furniture. Whilst living in Arbroath on the east coast, he began exhibiting some of his new furniture at the Dundee Graphic Art Society, produced in collaboration with the cabinetmaker William Middleton. By 1902 he was combining the fine and applied arts by contributing painted gesso panels which were incorporated into Middleton’s furniture, which he had designed. This form of decorated furniture reflected sophisticated middle class taste of the time, initiated by firms like Morris & Co. and promoted at the turn of the century by figures such as C.R. Ashbee and M.H. Baillie Scott.

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Between 1900 and 1902 Wyse published catalogues of their designs under the title ‘Simple Furniture, and customers could choose form a number of woods, gesso colourings and metalwork. The furniture was promoted through the Scottish Guild of Handicraft, inspired by Ashbee’s Guild of Handicraft, and set up with his friend Robert Maclaurin in 1898. Essentially a co-operative of independent like-minded craftsmen, the Guild promoted its members works at its gallery in Glasgow before moving to premises in Stirling in 1906. Furniture by Wyse is uncommon but for a related cabinet see the example in the collection of Glasgow Museums, acquired in 2009 and recently exhibited in the exhibition ‘Charles Rennie Mackintosh - Making the Glasgow Style’, Kelvingrove Art Gallery & Museum, 30 March to 14 August, 2018.

Decorative Arts: Design since 1860 63

220 CHARLES RENNIE MACKINTOSH: TWO MANUSCRIPT ACCOUNT BOOKS JOHN HONEYMAN & KEPPIE [AND] HONEYMAN, KEPPIE & MACKINTOSH the first dated 31st December 1889 - 31st December 1903, manuscript accounts including records of sums owed by Miss Cranston Sauchiehall Street in 1903, Glasgow School of Art and the Glasgow Herald Buildings; the second dated 1st January 1901 - 31st December 1923 including details of Mackintosh’s expenditures and fees and records of fees owed by the Glasgow School of Art and others, also included is a manuscript copy of the “Contract of Partnership between John Keppie Architect in Glasgow of the first part and Charles Rennie Mackintosh Architect there of the second part”, with Mackintosh’s signature appearing 13 times on the balance sheets, both volumes in uniform half calf over red cloth £2,000-3,000

221 CHARLES RENNIE MACKINTOSH (1868-1928) FOR MISS CRANSTON’S TEAROOMS PAIR OF ELECTROPLATED PRESERVE SPOONS, CIRCA 1900 with oval bowl and long handle with trefoil finial, stamped to the reverse MISS CRANSTON’S (2) 15.5cm long

£300-500

222 CHARLES RENNIE MACKINTOSH (1868-1928) FOR MISS CRANSTON’S TEAROOMS ELECTROPLATED TEASPOON, CIRCA 1900 with oval bowl and long handle with trefoil finial, stamped to the reverse MISS CRANSTON’S 14.7cm long

£200-300

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223 CHARLES RENNIE MACKINTOSH (1968-1928) FOR MISS CRANSTON’S ARGYLE STREET TEA ROOMS, GLASGOW STAINED OAK ARMCHAIR, 1898 the slightly arched top rail above curved arms and panelled sides enclosing a moulded seat and supported on turned and tapering uprights 63cm wide, 84cm high, 48cm deep Provenance: William Smith Esq., Glasgow Literature: Billcliffe, Roger. Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings & Interior Designs. pp 10-12, 56-58., illustrations 1898.28 & 1898.30 Howarth, Thomas. Charles Rennie Mackintosh: The Modern Movement. pp 121-128

£30,000-50,000

Note: In 1898, early in the career of renowned Scottish architect Charles Rennie Mackintosh (1868-1928), entrepreneur Catherine Cranston - known simply as Miss Cranston - commissioned him to furnish her new rooms at her tearooms on Argyle Street, Glasgow. Miss Cranston was to be an important patron for the young architect, who came to rely on a relatively small number of patrons throughout his career. The commission afforded Mackintosh a new freedom to experiment, whilst leading to further projects, including the Ingram Street Tea Rooms (1900) and the Willow Tea Rooms (1903) The work at Argyle Street followed on from his previous work at Miss Cranston’s new Buchannan Street Tea Rooms, which had been conceived two years earlier in 1896, together with designer George Walton. In this new undertaking, however, Mackintosh found himself in a role reversal, being fully in charge of the furnishings whilst Walton was preoccupied with designing the interiors. The furniture Mackintosh designed for these new rooms exhibit a new, more robust evolution of his repertoire and established a style for much of his work up to 1900. The bold and simple aesthetic of the designs marked him out from his contemporaries, and the distinctive furniture he produced were also employed by him, for the first time, to define and separate the rooms as designed by Walton.

These armchairs were designed for the men’s Billiards and Smoking Rooms, which occupied the building’s top two floors above the tea and luncheon rooms. The tearooms were a haven from the city for both men and women, however the Smoking and Billiards Rooms were purely a masculine domain and the design and construction of the furniture is a reflection of that fact. Combining English Arts & Crafts and Scottish vernacular design, Mackintosh produced three types of sturdy and generous seating for these rooms; a prominent ladderback armchair, its long, rectangular back rail adorned with ascending wooden slats; a cube shaped tub chair, the current example, which was a version of this chair without the tall back; and a stool, only seen in the Smoking Room from contemporary photographs. All of the furniture was either clear-varnished or dark-stained and waxed. The construction of the tub chair is traditional but the form anything but. The broad panels of sawn timber are stripped of decoration and the solid box shape is lightened with curved aprons and subtle detailing under the arms and back. Gently curved and moulded timbers to the arms and back and the distinctive tapering uprights on the angles demarcate the chair’s compact, box-like composition. These details are repeated throughout the rooms, creating a balanced composition of expressive lines and simple organic shapes. The Argyle Tea Rooms closed in 1920, and much of the furniture was dispersed. These armchairs came into the possession of established Glasgow restaurateur William Smith, whose daughter passed them on to the current owner as a gift. The robust construction of these chairs has helped them withstand many years of use, however it is their beautiful and functional design, anticipating the 20th century’s Modernist ethos, which has stood the test of time.

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Decorative Arts: Design since 1860 65

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

66 Lyon & Turnbull

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Decorative Arts: Design since 1860 67

224 CHARLES RENNIE MACKINTOSH (1968-1928) FOR MISS CRANSTON’S ARGYLE STREET TEA ROOMS, GLASGOW STAINED OAK ARMCHAIR, 1898 the slightly arched top rail above curved arms and panelled sides enclosing a moulded seat and supported on turned and tapering uprights 62.5cm wide, 83.4cm high, 47cm deep Provenance: William Smith Esq., Glasgow Literature: Billcliffe, Roger. Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings & Interior Designs. pp 10-12, 56-58., illustrations 1898.28 & 1898.30 Howarth, Thomas. Charles Rennie Mackintosh: The Modern Movement. pp 121-128

£30,000-50,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

68 Lyon & Turnbull

225 GLASGOW SCHOOL ARTS & CRAFTS BRASS CANDLE SCONCE, CIRCA 1900 repoussé-decorated with opposed owls on stylised branches with galleried sconce below 30.5cm high Provenance: Charles Macdonald, Dunglass Castle, Bowling L.A. Dunderdale Esq., Glasgow and by descent

Note: Dunglass Castle, on the Clyde at Bowling, was the home of the parents of Margaret and Frances Macdonald from July 1899. Mrs. L. A. Dunderdale was the daughter of their brother, Charles Macdonald.

£250-350

226 SAMUEL HEATH & SONS, BIRMINGHAM ARTS & CRAFTS BRASS WIND CHIMES, CIRCA 1890 the tapered and riveted hood above eight tubular chimes with oak striker, stamped mark SH&S/ PATENT 18cm wide, 85cm high Provenance: Charles Macdonald, Dunglass Castle, Bowling L.A. Dunderdale Esq., Glasgow and by descent

£300-500

227 TALWIN MORRIS (1865-1911) GLASGOW STYLE ART NOUVEAU BOOKCASE WITH BOOKS, CIRCA 1900 the moulded top above three open shelves filled with clothbound books, each designed by Morris, the frame with four embossed copper panels, the design reflecting that of the bindings, the whole raised on a plinth 50cm wide, 74cm high, 18cm deep

£300-500 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Decorative Arts: Design since 1860 69

228 ATTRIBUTED TO J. HERBERT MCNAIR THREE-FOLD ‘OWL’ DRAUGHT SCREEN, CIRCA 1895 stained wood, glass and textile panels 175cm x 188cm Provenance: J. Paul Getty, Sutton Place Michael Whiteway, London Literature: The Studio Volume II, No. 54 September 1897 p.225 Robertson, Pamela ‘Doves and Dreams: The Art of Francis Macdonald and James Herbert McNair’, Lund Humphries 2006, pp. 68-70, plates 4.1 and 4.2.

Note: This screen is a variant of the ‘Owl’ screen illustrated in The Studio magazine in September 1897, now untraced. The ‘Owl’ screen formed part of a group of furniture and decorative arts made by McNair around this time, some of which had been exhibited at the Queen’s Rooms in Glasgow in 1895. McNair had been attending classes in the applied arts at the Technical Art Studios since its inception in 1893. The Technical Art Studios were set up by Fra Newbery, the inspirational director of the Glasgow School of Art, to extend the facilities of the School and to broaden the experience of the students.

£3,000-5,000 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

70 Lyon & Turnbull

229 [§] MARY NEWBERY STURROCK (1892-1985) IRIS DOUGLASII/ MECANOPSIS BAYLII pencil and watercolour, signed and inscribed in pencil M.N. STURROCK/ IRIS DOUGLASII/ MECANOPSIS BAYLII 37cm x 27cm

£200-300

230 [§] MARY NEWBERY STURROCK (1892-1985) ARBUTUS & LENTEN ROSES pencil and watercolour, signed with initials in pencil M.N.S., inscribed on label verso ARBUTUS & LENTEN ROSES/ 1938/ MARY NEWBERY STURROCK 37cm x 27cm

£200-300

231 GEORGE WALTON (1867 - 1933) INLAID MAHOGANY ‘BRUSSELS’ ARMCHAIR, CIRCA 1900 the moulded serpentine top rail above tall baluster splat inlaid with a marquetry penwork design of wild flowers, the shaped arms on ring-turned baluster supports enclosing an upholstered panel seat on turned and tapering legs with flared feet 57cm wide, 119cm high, 46cm deep

£2,000-3,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Decorative Arts: Design since 1860 71

232 [§] KATHERINE CAMERON (1874-1965) IN PROVENCE pencil and watercolour, signed lower right K. CAMERON, inscribed with T. & R. Annan label verso 24cm x 15cm

£500-700

233 JOHN KEPPIE (1862-1945) MOSQUE, CAIRO watercolour, signed and inscribed lower right JOHN KEPPIE/ *MOSQUE/ CAIRO, bears Glasgow Art Club label verso 69cm x 48.5cm

£800-1,200

234 GEORGE WALTON (1867-1933) STAINED MAHOGANY ARMCHAIR, CIRCA 1900 the back with upholstered panel and spindle panels above curved arms and upholstered seat raised on outswept turned legs 58cm wide, 110cm high, 44cm deep Literature: Moon, Karen ‘George Walton, Designer and Architect’, Oxford 1993, p 70, pl. 84. Note: This chair is an upholstered version of the chairs designed by Walton for Miss Cranston’s Buchanan Street Tearooms in 1897, and which he subsequently used in some of his interiors including his own house, Elm Bank, in York in 1898.

£1,000-1,500

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

72 Lyon & Turnbull

235 [§] ERNEST ARCHIBALD TAYLOR (1874-1951) KIRKCUDBRIGHT COTTAGES charcoal and watercolour, signed lower right E.A. TAYLOR 23.5cm x 34cm

£600-800

236 WILLIAM KELLOCK BROWN (1856-1934) BRONZE FIGURE, DATED 1927 dark brown patina, possibly depicting Grace Darling, signed and dated in the bronze KELLOCK BROWN/ 1927 47cm high

£800-1,200

237 GLASGOW SCHOOL ARTS & CRAFTS BRASS JARDINIÈRE, CIRCA 1900 of square section with broad rim, repoussédecorated with galleons in full sail 31.5cm wide, 27cm high

£200-300

238

239

240

MARGARET GILMOUR (1860-1942)

GLASGOW SCHOOL

SCOTTISH SCHOOL ARTS & CRAFTS CELTIC REVIVAL BROOCH, CIRCA 1900 copper and brass, set with turquoise enamels

14.5cm high

EMBROIDERED TABLE CLOTH, CIRCA 1900 with applique and embroidered foliate design, 196cm square; and an ARTS & CRAFTS FRAMED EMBROIDERED PANEL, depicting the Virgin and Child, 19.5 x 13cm (2)

£150-250

£200-300

RARE EARTHENWARE VASE, CIRCA 1910 of ovoid form, with chequer decoration, marked with painted monogram

6cm diameter

£150-250

Decorative Arts: Design since 1860 73

241 [§] PETER WYLIE DAVIDSON (1870-1963) CELTIC REVIVAL SILVER COMMEMORATIVE PLAQUE, CIRCA 1945 the repoussé-decorated panel set with clear cabochon stones and mounted on an oak strut frame, inscribed GLASGOW CATHOLIC YOUTH FESTIVAL/ DONATED BY MARGARET MCGINTY, signed and inscribed lower right SOLID SILVER/ P. WYLIE DAVIDSON panel 46.5cm x 32cm, frame 56cm x 41.5cm

£1,000-1,500

Note: Peter Wylie Davidson (1870-1963) was an extremely influential and talented artist craftsman working in Glasgow during that turn of the century period when the ‘Glasgow Style’ was receiving international acclaim. Aside from his own work, he both taught and collaborated with many of the other well-known exponents of the style during his time as metalwork instructor at Glasgow School of Art, from the late 1890’s until he retired in 1935. Born in Bridge of Allan, Davidson began a seven year apprenticeship with silversmiths James Reid & Company in Glasgow at the age of eleven. In 1884, he was enrolled for evening classes at Glasgow School of Art, alongside a sixteen year old Charles Rennie Mackintosh, with whom he would later collaborate. In the 1890s, Davidson set up a studio workshop with his younger brother, William, at 93 Hope Street, where he felt he was “discarding the apron of the workshop and donning the artist’s smock”. The brothers began to produce applied art wares, from jewellery to tea sets and mirrors. An exhibition held within their first year was a great success.

In 1892 the technical studios were opened at Glasgow School of Art and Fra Newbery, the director at the school from 1885 to 1918, persuaded Davidson to become an assistant instructor in the metalwork classes, initially for only one day a week. By 1899, however, he had become the full time metalwork craft instructor. Davidson’s work won silver medal at the Aberdeen Exhibition of Industry and Art in 1899. As a member of the Scottish Guild of Handicraft, he had pieces in their first show in 1902. In that year he also exhibited at the Turin and Cork International Exhibitions. By now, Davidson was also executing various pieces to the designs of his compatriots, notably Charles Rennie Mackintosh, Jessie Marion King and the Newberys. For Mackintosh, he created the candlesticks for Miss Cranston’s home Hous’hill and with his brother, The Fleming Casket (now in the V&A), both circa 1909. He wrote three books, the first of which, Educational Metalcraft (1913), became the standard text for the metalwork, jewellery and enamelling course at Glasgow School of Art and remained so even after he retired in 1935. After leaving the art school, he continued to make objects in various crafts, becoming more interested in wood carving in particular as he got older and he continued to exhibit right up until his last years. Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

74 Lyon & Turnbull

242 SCOTTISH SCHOOL ARTS & CRAFTS COPPER OVERMANTEL MIRROR, CIRCA 1900 embossed in low-relief with elongated budding organic foliate tendrils to either side, surmounted by three rectangular Glasgow rose motifs 73cm x 114cm

£1,000-1,500

243 ATTRIBUTED TO JOHN EDNIE FOR WYLIE & LOCHHEAD, GLASGOW OAK PLANT STAND, CIRCA 1900 the circular reeded top with four shaped supports centred by a lower tier 39cm wide, 77cm high

£300-500

244 MANNER OF WYLIE & LOCHHEAD, GLASGOW ARTS & CRAFTS OAK AND INLAID OCCASIONAL TABLE, CIRCA 1900 the circular top raised above chequer-inlaid panels on divided supports linked by crossed stretcher 60cm diameter, 69cm high

£500-800

245 SCOTTISH SCHOOL PAIR OF ART NOUVEAU OAK SIDE CHAIRS, CIRCA 1910 each with tall inlaid backs on upholstered panel seats with square tapering legs linked by stretchers 44cm wide, 107cm high, 39cm deep

£100-200

246

247

248

GLASGOW SCHOOL

WYLIE & LOCHHEAD, GLASGOW

TWO ARTS & CRAFTS BRASS WARES, CIRCA 1910 comprising a JARDINIÈRE, of hexagonal section, 23cm diameter; and a TRIVET, 40cm across, each with repoussé decoration (2)

TWO ARTS & CRAFTS BRASS WARES, CIRCA 1910 comprising a GALLERIED TRAY, of kidney shape, 51cm across; and a CARD TRAY, 17.5cm across, each with repoussé decoration (2)

ARTS & CRAFTS MAHOGANY AND INLAID CABINET AND SIDE CHAIR, CIRCA 1900 the CABINET with single panelled door, stamped maker’s marks 7290/ 341/ 104, 42cm wide, 84cm high, 36cm deep; and a SIDE CHAIR, with upholstered panel seat, 41cm wide, 94cm high, 36cm deep, each with chevron chequer inlay (2)

£250-350

£300-400

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Decorative Arts: Design since 1860 75

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

£600-800

250 WYLIE & LOCHHEAD, GLASGOW ARTS & CRAFTS OAK SIDEBOARD, CIRCA 1900 the projecting cornice above stage back and four columns carved with fruits, the base with arrangement of three drawers and two cupboards, applied maker’s label WYLIE & LOCHHEAD LTD./ 45 BUCHANAN STREET/ GLASGOW 211cm wide, 190cm high, 66cm deep

£600-800 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

76 Lyon & Turnbull

251 ALEXANDER RITCHIE (1856-1941), IONA CELTIC REVIVAL WHITE METAL PENDANT, EARLY 20TH CENTURY the pendant cast as a longboat in full sail, with heavy chain and elliptical spacers cast with crosses and longboats, stamped maker’s marks A.R./ IONA chain 100cm long, pendant 3.5cm high

£300-500

252 ALEXANDER RITCHIE (1856-1941), IONA CELTIC REVIVAL WHITE METAL AND ENAMEL BAR BROOCH, EARLY 20TH CENTURY cast with Celtic knotwork and purple enamelled panels, stamped maker’s marks A.R./ IONA 5.5cm across

£200-300

253 EDINBURGH SCHOOL ARTS & CRAFTS PAINTED AND EMBROIDERED DEVOTIONAL PANEL, CIRCA 1900 depicting the Virgin & Child with attendant angels, with illuminated inscription AVE REGINA COELORUM....ET PRO NOBIS CHRISTUM EXORS, within gilt painted case and stand with twin doors panel 28.5cm x 21cm, case 44cm x 35cm

£400-600

254 [§] GLASGOW SCHOOL OF ART ENGRAVED SILVER BOX BY PETER POWELL, GLASGOW 1961 of oval outline with domed hinged lid, engraved with a Chinoiserie scene, the interior lined with leather, stamped maker’s marks G.S.A., hallmarked Glasgow 1961 13cm across

Note: This box was designed as a box for collar stiffeners. The fantastical scene on the lid depicts a Royal palace set in a landscape with an exotic bird. In the imagination of the maker the King who lived in this palace and who was interested in clothes, insisted that the tail feathers of this bird be collected for his collar stiffeners.

£300-500

255

256

257

258

[§] RICHARD ROSS ROBERTSON (1914-2007)

[§] MARGARET SOUTTAR (1914-1987)

[§] BRUCE MCLEAN (B. 1944)

[§] JESSIE MARION KING (1875-1949)

LOTUS ABSTRACT carved mahogany, signed in pan on the base R. R. ROBERTSON R.S.A.

INTERIOR SCENE oil on paper, signed and dated in pencil lower right M. SOUTTAR ‘51

CERAMIC PLATE, CIRCA 1990 painted and incised with a head, painted signature verso BRUCE MCLEAN/ F.P. 30cm diameter

EARTHENWARE BOWL, CIRCA 1930 painted with a frieze of flowers, 17cm diameter; and FOUR SAUCERS AND A TEACUP, decorated with bluebells, all with painted artist’s marks (6)

41cm high

33cm x 40cm

£100-200

£200-300

£300-500

£200-300

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Decorative Arts: Design since 1860 77

259 MANNER OF SIR ROBERT LORIMER ARTS & CRAFTS OAK TRESTLE TABLE, CIRCA 1910 the rectangular top above chamfered legs linked by a curved stretcher 153cm long, 78cm high, 77cm deep

£300-500

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

£300-500

261 MANNER OF SIR ROBERT LORIMER ARTS & CRAFTS OAK EXTENDING DINING TABLE, CIRCA 1890 the rectangular top raised above three baluster columns, two with cruciform bases with leaf-carved terminals 490cm long extended, 74cm high, 134cm deep

£800-1,200 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

78 Lyon & Turnbull

262 ROBERT HERON & SONS EARLY WEMYSS WARE ‘FIFE POTTERY’ COCK VASE, CIRCA 1890 moulded in relief to one side and painted with a cockerel chasing a fly, and to the other with a group of dahlias, the sides with applied rosette bosses, painted maker’s marks R.H.&S./ FIFE POTTERY 38cm high

£500-800

263 A LARGE WEMYSS WARE PIG CIRCA 1900 sponged black on white, impressed mark WEMYSS WARE/ R. H. & S. (damage to one ear) 43cm long

£800-1,200

264

265

266

267

WEMYSS WARE

MATCHED ‘BEES AND HIVE’ HONEY BOX, COVER AND STAND, EARLY 20TH CENTURY the box and stand decorated by Karel Nekola, painted and impressed mark WEMYSS (hairlines)

GROUP OF ‘CABBAGE ROSES’ WARES, EARLY 20TH CENTURY comprising a PAIR OF LOW CANDLESTICKS, decorated by Edwin Sandland, 18cm high; a HEART-SHAPED INKWELL, 16.5cm long; a HAT PIN HOLDER, 14.5cm high; and a HAIR TIDY, 6cm high, each with maker’s marks (5)

’CABBAGE ROSES’ HEARTSHAPED TRAY, CIRCA 1900 impressed mark WEMYSS WARE / R. H. & S., 30cm long; together with a LARGE ‘DOG ROSES’ MUG, impressed mark WEMYSS, 14cm high (2)

’CABBAGE ROSES’ MATCHED TEA SERVICE, EARLY 20TH CENTURY comprising a TEAPOT, 11.5cm high; a TEACUP, 9cm diameter; a SAUCER, 13cm diameter; a MILK JUG, 6cm high; a SUGAR BOWL, 6.5cm diameter; a JAM POT, 8cm high; a SIDE PLATE, 14cm diameter; and a COMB TRAY, 29.5cm across, each with maker’s marks (8)

Box and cover: 13cm across; tray 18.5cm across

£200-300

£150-250 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

£300-400

£250-350

Decorative Arts: Design since 1860 79

268 WEMYSS WARE SMALL ‘PEARS’ TYG, EARLY 20TH CENTURY impressed mark WEMYSS 10.5cm high

£200-300

269 WEMYSS WARE SMALL ‘THISTLES’ PATTERN PIG FIGURE, CIRCA 1900 impressed and painted maker’s mark ‘WEMYSS’ 16cm long

£300-500

270 WEMYSS WARE ’CHERRIES’ PIPKIN, EARLY 20TH CENTURY impressed maker’s mark WEMYSS 19.5cm high

£200-300

271 WEMYSS WARE GROUP OF ‘PURPLE PLUMS’ WARES, EARLY 20TH CENTURY comprising a SMALL STUART FLOWER POT, 7cm high; a PRESERVE JAR AND COVER, 12.5cm high; a SMALL DOG BOWL, 12cm diameter; and a PAIR OF SIDE PLATES, 19cm diameter, each with maker’s marks (5) £250-350

272

273

274

275

WEMYSS WARE

’CABBAGE ROSES’ PATTERN HEART-SHAPED TRAY, CIRCA 1900 impressed maker’s mark ‘WEMYSS’ printed retailer’s mark, 30cm long; a ‘CABBAGE ROSES’ PATTERN COMB TRAY, CIRCA 1900, decorated by Karel Nekola, 25cm long; a ‘THISTLES’ PATTERN COMB TRAY, 25.5cm long; and a ‘CABBAGE ROSES’ PATTERN HEART-SHAPED INKWELL, 17cm across, each with maker’s marks (4)

GROUP OF ‘CABBAGE ROSES’ PATTERN WARES, CIRCA 1900 comprising a EWER, 23cm high; a CHAMBER POT, decorated by Joe Nekola, 21cm diameter; a SOAP DISH, COVER AND LINER, decorated by Edwin Sandland, 15cm diameter, each with maker’s marks (3)

LARGE ‘CABBAGE ROSES’ LADY EVA VASE, EARLY 20TH CENTURY decorated on a black ground by Edwin Sandland, painted and impressed maker’s marks

PAIR OF ‘CABBAGE ROSES’ PATTERN GROSVENOR VASES, CIRCA 1900 21cm high; a ‘CABBAGE ROSES’ PATTERN MEDIUM BEAKER, 15cm high and two ‘CABBAGE ROSES’ PATTERN CUPS, 5cm high, each with impressed and painted maker’s marks (5)

£300-400

£250-350

20cm high

£100-200

£150-250

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276 WEMYSS WARE ’DRAGONFLIES’ LOW POMADE, EARLY 20TH CENTURY painted and impressed marks WEMYSS 9.5cm diameter

£400-600

277 WEMYSS WARE GROUP OF ‘TULIPS’ PATTERN WARES, EARLY 20TH CENTURY comprising a SMALL GYPSY FLOWER POT,13cm diameter; a CHESHAM FERN POT, 13cm diameter; and a LARGE MUG, 14cm high, each with maker’s marks (hairlines) (3) £250-350

278 WEMYSS WARE A GROUP OF ‘SWEET PEAS’ PATTERN WARES, CIRCA 1900 comprising a MEDIUM BEAKER, 15.5cm high; a SMALL BEAKER, 11cm high; a CUP AND SAUCER, a SMALL JAPAN VASE, 16cm high; and a ‘DAFFODIL’ PATTERN FRILLED VASE, 14cm high, each with maker’s marks (6) £300-500

279

280

281

282

WEMYSS WARE

GROUP OF ‘THISTLES’ WARES, EARLY 20TH CENTURY comprising a BISCUIT BARREL AND COVER, 12cm high; a CHESHAM FERN POT, 9.5cm high; a HAIR TIDY, 8.5cm high; together with a ‘SWEETPEAS’ LOW POMADE, 9.5cm diameter, each with maker’s marks (4)

GROUP OF ‘BROWNS COCKERELS AND HEN’ WARES, EARLY 20TH CENTURY comprising a HEART-SHAPED INKWELL, 15cm long; a LARGE MUG, 14cm high; a BONJOUR MILK JUG, 7cm high; and a BONJOUR SUGAR BOWL, 8cm diameter, each with maker’s marks (4)

GROUP OF WARES, EARLY 20TH CENTURY comprising a LARGE ‘LEMONS’ PLATE, 24.5cm high; a SMALL ‘LEMONS’ PLATE, 21cm high; a ‘STRAWBERRIES’ PRESERVE JAR AND COVER, 16cm high; and an ‘ORANGES’ BISCUIT BARREL AND COVER, bearing inscription BISCUITS, 12cm high, each with maker’s marks (4)

£200-300

£150-250

’SHAMROCKS’ PATTERN MATCHBOX COVER, EARLY 20TH CENTURY printed retailer’s mark T. GOODE & CO., 8cm across; and a WEMYSS WARE COMB TRAY, bearing inscription O, LIST TO ME YE LADIES FAIR,/ AND WHEN YE WISH TO CURL YOUR HAIR;/ FOR THE SAFETY OF THIS DOMICILE,/ PRAY PLACE YOUR LAMP UPON THIS TILE., impressed mark WEMYSS, printed retailer’s mark T. GOODE & CO., 26cm across (2)

£150-250

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

£250-350

Decorative Arts: Design since 1860 81

283 WEMYSS WARE ’JOLLY SAILOR’ TOBY JUG, EARLY 20TH CENTURY decorated by Joe Nekola, painted mark WEMYSS 18cm high

£150-200

284 WEMYSS WARE LARGE ‘CABBAGE ROSES’ PATTERN BASKET, CIRCA 1900 decorated by Edwin Sandland, printed and painted maker’s marks WEMYSS 40cm long

£300-400

285 WEMYSS WARE TWIN-HANDLED COMMEMORATIVE GOBLET AND COVER, DATED 1902 probably decorated by Karel Nekola, depicting the royal crown and monogram of King Edward VII within a field of roses, thistles and acorns, bearing inscription CORONATION OF KING EDWARD VII 1902 AND QUEEN ALEXANDRA 26 JUNE 1902/ LONG LIVE THE KING/ HERE’S A HEALTH UNTO HIS MAJESTY, impressed mark WEMYSS WARE/ R. H. & S., painted retailer’s mark T. GOODE & CO. 23cm high

£200-300

286

287

288

289

ROYAL DOULTON - WEMYSS

WEMYSS WARE

TWO CENTENARY GOBLETS WITH PRESENTATION BOXES, DATED 1980 number 332 and 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’ (2)

’ORANGES’ PATTERN BASIN, CIRCA 1900 painted and impressed marks WEMYSS, painted retailer’s marks

GROUP OF ‘CHERRIES’ WARES, EARLY 20TH CENTURY comprising a BISCUIT BARREL AND COVER, 15.5cm high, a LARGE MUG, 14cm high; a TEAPOT, 11.5cm high; a CHESHAM FERN POT, 8cm high; and a GORDON DESSERT PLATE, 21cm diameter, each with maker’s marks (5)

GROUP OF ‘APPLES’ WARES, CIRCA 1900 comprising a GROSVENOR VASE, 21cm high; a BEAKER VASE, 15cm high; a LARGE MUG, 14cm high; and a CHESHAM FERN POT, 8.5cm high, variously marked (restorations) (4)

19cm high

£100-200

39cm diameter

£200-300

82 Lyon & Turnbull

290 WEMYSS WARE ’BEES AND HIVE’ HONEY BOX, COVER AND STAND, EARLY 20TH CENTURY decorated by James Sharp, painted maker’s and retailer’s marks Box and cover: 13cm across; tray 19cm across

£300-500

291 WEMYSS WARE SET OF THREE ‘CABBAGE ROSES’ GRADUATED JUGS, EARLY 20TH CENTURY each with maker’s marks (3) tallest 17.5cm

£250-350

292 WEMYSS WARE GROUP OF ‘CHRYSANTHEMUMS’ WARES, EARLY 20TH CENTURY comprising a VASE, of squat baluster form, decorated on a black ground, 17.5cm diameter; a BASKET, 30cm wide; and a LADY EVA VASE, decorated on a black ground, 15cm high, each with maker’s marks (restorations) (3) £200-300

293 SCOTTISH POTTERY FOUR PAINTED VESSELS, CIRCA 1930 comprising a BOUGH POTTERY LOVING CUP, 19cm high; a BOUGH POTTERY TWINHANDLED VASE, 16cm high; a BOUGH POTTERY SHALLOW BOWL, 26.5cm diameter; and a MAK’ MERRY JUG, 16cm high (4) £200-300

294

295

WEMYSS WARE

NEAR PAIR OF ‘BUTTERCUPS’ BEAKER VASES, EARLY 20TH CENTURY each with maker’s marks (2)

’EARLSHALL’ PATTERN BASIN, CIRCA 1914 decorated by Edwin Sandland, painted marks WEMYSS

tallest 15.5cm

40cm diameter

£200-300

£300-500

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Decorative Arts: Design since 1860 83

84 Lyon & Turnbull

296 DOULTON & CO., LAMBETH ’SILICON’ STONEWARE JARDINIÈRE, CIRCA 1890 with butterflies on a repeating lattice ground, numbered 1884, 17cm high; together with a DOULTON & CO. ‘SILICON’ STONEWARE VASE, with mosaic decoration, incised initials, 20cm high; and a ROYAL DOULTON STONEWARE VASE, depicting chrysthanthemums, incised initials, 23cm high; all with impressed maker’s marks (3) £150-250

297 HANNAH BARLOW (1851-1916) FOR DOULTON & CO., 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

298 FLORENCE E. BARLOW FOR DOULTON & CO., LAMBETH ENAMELLED STONEWARE VASE the flared neck and rounded body decorated with impressed flowerheads, tube-lined lilies and enamelled with swans, impressed and incised maker’s marks and initials FEB 27.5cm high

£200-300

299 DOULTON & CO., LAMBETH GLAZED STONEWARE GLAZED JUG, LATE 19TH CENTURY marked MADE ONLY FOR CLAUDIUS ASH & SONS LTD/ LONDON, 19cm high; together with a DOULTON & CO. GLAZED STONEWARE JUG, impressed DOULTON & SLATER’S PATENT, 22cm high; a ROYAL DOULTON STONEWARE BOTTLE VASE, impressed maker’s marks, numbered 7017, 40.5cm high; and a ROYAL DOULTON GLAZED STONEWARE BISCUIT BARREL AND COVER, 12cm high; all with moulded glazed bodies depicting flowers and foliage, impressed and incised maker’s marks (4) £200-300 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Decorative Arts: Design since 1860 85

300 MARY ANN THOMSON FOR DOULTON & CO., LAMBETH PAIR OF GLAZED STONEWARE BOTTLE VASES, LATE 19TH CENTURY the moulded rounded bodies with flared necks, decorated with flowerheads and leaves, impressed and incised maker’s marks and initials, numbered 1877, 24cm high; together with a JOAN HONEY FOR DOULTON LAMBETH & CO. GLAZED STONEWARE JARDINIÈRE, impressed and incised maker’s marks and initials, 19.5cm high; and a DOULTON & CO. GLAZED STONEWARE SPITTOON, impressed and incised maker’s marks, inscribed MADE ONLY FOR CLAUDIUS ASH & SONS LTD/ LONDON, 19.5cm diam. (4) £200-300

301 ROYAL DOULTON ART NOUVEAU STONEWARE VASE, CIRCA 1905 of baluster form decorated with stylised flowering trees, impressed and incised maker’s marks 46cm high

£300-500

302 DOULTON & CO., LAMBETH GLAZED STONEWARE WATER FILTER AND COVER the moulded body depicting a frieze of classical figures above leafy bands and tap, the liner with charcoal, impressed and incised maker’s marks, numbered 1883 35.5cm high

£200-300

303

304

DOULTON & CO., LAMBETH

STONEWARE BOWL, DATED 1880 with plated rim, the bowl incised with a frieze of flowering foliage, impressed and incised maker’s marks with artist’s initials

GROUP OF GLAZED STONEWARE VESSELS AND CONDIMENTS, LATE 19TH CENTURY all with moulded decoration, with maker’s marks, comprising a EWER, 24.4cm high; a JUG, with a pewter lid, 17.5cm high; a further JUG, lid lacking, possibly by Louisa Wakely, 18.5cm high; and a PAIR OF SALTS, 5.5cm high (5)

24.5cm diameter

£150-250

304A DOULTON & CO., LAMBETH PAIR OF SMALL STONEWARE VASES, LATE 19TH CENTURY with pinched necks and shouldered moulded bodies, impressed and incised maker’s marks, numbered 1878, 17.5cm high; together with a ROYAL DOULTON STONEWARE EWER, the fluted neck above single handle and moulded body, with maker’s marks and inscribed ART UNION OF LONDON/ 2918, 19cm high (3) £150-250

86 Lyon & Turnbull

305 MOORCROFT POTTERY ’MOONLIT BLUE’ PATTERN SHOULDERED VASE, CIRCA 1930 impressed maker’s marks MOORCROFT/ MADE IN ENGLAND/ 22, initialled WM 14cm high

£300-500

306 MOORCROFT POTTERY PAIR OF ‘PANSIES’ PATTERN BALUSTER VASES, CIRCA 1930 impressed and painted maker’s marks, 14cm high; and a ‘PANSIES’ TAPERED VASE, impressed and painted maker’s marks, 17.5cm high (3) £200-300

307 MOORCROFT POTTERY LARGE ‘LILIES’ PATTERN VASE, CIRCA 1950 of shouldered tapering form, impressed maker’s marks, initialled WM 31cm high

£200-300

308 MOORCROFT POTTERY LARGE ‘ANEMONES’ PATTERN VASE, CIRCA 1950 of ovoid form, impressed maker’s marks and facsimile signature, initialled WM 26cm high

£200-300

309

310

311

312

MOORCROFT POTTERY

GROUP OF THREE VASES, MODERN comprising a ‘HARTGRING’ OVOID VASE, dated 2002, 22cm high; a ‘SWEET AMARYLLIS’ VASE, dated 2010; 21cm high; and ANOTHER SIMILAR, decorated with bluebells on a yellow reserve, dated 2011, all with painted and impressed maker’s marks (3)

’CLEMATIS’ PATTERN FLARED VASE, CIRCA 1930 20cm high; a SELF-COLOURED TAPERED VASE, 28cm high; a SELF-COLOURED BOTTLE VASE, 20cm high; an ‘ORCHIDS’ PATTERN BOX AND COVER, 11.5cm diameter and ‘PLUM WISTERIA’ PATTERN CANDLESTICK, 8cm high; each with impressed and painted maker’s marks (5)

’PLUM WISTERIA’ PATTERN TAZZA, CIRCA 1930 with hammered pewter base, 21.5cm diameter; a ‘POMEGRANATE’ PATTERN TAZZA, with chromium plated base, 18.5cm diameter; and a ‘POMEGRANATE’ PATTERN PRESERVE JAR AND COVER, 9.5cm high, each with impressed and painted maker’s marks (3)

GROUP OF WARES, MID-20TH CENTURY comprising a ‘LEAF & BERRY’ PATTERN BOX AND COVER, 12cm diameter; a ‘HIBISCUS’ PATTERN LAMP BASE, 21cm high; a ‘HIBISCUS PATTERN VASE, 25cm high; an ‘ORCHID’ PATTERN PLATE, 19cm diameter; an ‘ANEMONES’ PATTERN JARDINIÈRE, 12.5cm high; a ‘LEAF & BERRY’ PATTERN LAMP BASE, 17cm high; and a ‘SPRING FLOWERS’ PATTERN BOX & COVER, 9.5cm high (6)

£300-400

£200-300

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

£200-300

£300-500

Decorative Arts: Design since 1860 87

313 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. ’CORNFLOWERS’ PATTERN TWINHANDLED VASE, CIRCA 1910 printed maker’s marks, signed in green W. MOORCROFT 25.5cm high

£250-400

314 RACHEL BISHOP FOR MOORCROFT POTTERY MONUMENTAL ‘KYOTO’ PATTERN EARTHENWARE VASE, DATED 1995 of baluster form, decorated with pink glazed cranes amidst oriental flowers and foliage against a graduated blue ground, number 51 of 100, with impressed and painted maker’s marks, signed and dated 5/1/95 61cm high

£600-800

315 MOORCROFT POTTERY ’POMEGRANATE’ PATTERN FLARED VASE, CIRCA 1930 impressed and painted maker’s marks, 27cm high and a ‘POMEGRANATE’ PATTERN SHALLOW BOWL, impressed and painted maker’s marks, 27cm diameter (2) £300-500

316

317

318

319

MOORCROFT POTTERY

’POMEGRANATE’ PATTERN TOBACCO JAR AND COVER, CIRCA 1940 impressed maker’s marks, initialled to base WM

LARGE ‘LILIES’ PATTERN BOWL, CIRCA 1950 impressed maker’s marks and facsimile signature, initialled WM

11.5cm high

31cm high

£200-300

GROUP OF THREE ‘LEAF & BERRY’ PATTERN WARES, MID20TH CENTURY comprising a FLAMBÉ JUG, 12cm high; a BOWL & COVER, 14.5cm diameter; and a LAMP BASE, 17cm high, each with impressed and painted maker’s marks (3)

’LEAF AND BERRY’ PATTERN FLAMBÉ DISH, CIRCA 1940 impressed and painted maker’s marks, 22cm diameter; a ‘LEAF AND BERRY’ PATTERN DISH, 18.5cm diameter; a ‘PANSIES’ PATTERN PLATE, 21cm diameter; and a ‘LILIES’ PATTERN BOX AND COVER, 12cm across, each with impressed and painted maker’s marks (4)

£150-250

88 Lyon & Turnbull

320 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. FLORIANWARE TWIN-HANDLED COVERED TAZZA, CIRCA 1905 decorated in gilt and coloured enamels with flowering plants, printed maker’s marks, no. M2412 21cm high

£300-500

321 MANNER OF LIBERTY & CO. ANGLO-MORESQUE OAK OCCASIONAL TABLE, CIRCA 1910 the hexagonal top above arcaded frieze on ring turned legs united by a lower tier 36cm across, 50cm high

£200-300

322 ATTRIBUTED TO LIBERTY & CO, LONDON ANGLO-MORESQUE MAHOGANY DRAWING ROOM SET, CIRCA 1900 each with fretwork and spindle-filled backs raised on square tapered legs, and comprising a SETTEE, 107cm wide, 86cm high, 45cm deep; and a PAIR OF MATCHING SIDE CHAIRS, 41cm wide, 83cm high, 37cm deep (3) £300-500 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Decorative Arts: Design since 1860 89

323 MANNER OF LIBERTY & CO., LONDON ANGLO-MORESQUE MAHOGANY OCCASIONAL TABLE, CIRCA 1890 the rectangular top with drop flaps above turned and blocked legs, with fretwork apron, linked by a lower tier 48cm wide, 68cm high, 49cm deep

£300-500

324 LIBERTY & CO., LONDON ANGLO-MORESQUE MAHOGANY CABINET, CIRCA 1900 with fretwork upstand above arcaded open shelf enclosed by an arrangement of three drawers, a single cupboard door and open shelves 102cm wide, 142cm high, 30cm deep

£600-800

325 ATTRIBUTED TO LIBERTY & CO., LONDON ARTS & CRAFTS INLAID OAK MANTEL CLOCK, CIRCA 1900 the twin-train movement with circular enamel dial enclosed within case inlaid with pewter, copper and with marquetry inlay, depicting an owl on a branch 33cm high

£300-500

90 Lyon & Turnbull

326 LIBERTY & CO., LONDON ARTS & CRAFTS PATINATED COPPER WALL MIRROR, CIRCA 1900 of oval outline, set with heart-shaped Ruskin ceramic panels, bears maker’s label verso LIBERTY & CO./ LONDON 60cm x 86cm

£800-1,200

327 DAVID VEAZEY FOR LIBERTY & CO. LONDON ’TUDRIC’ PEWTER TWIN-HANDLED ROSE BOWL, CIRCA 1900 decorated with stylised plant forms around the body and bearing inscription THE MUSK OF THE ROSE IS BLOWN AND THE WOODBINE SPICES ARE WAFTED ABROAD, stamped marks 011 31cm across Provenance: Charles Macdonald, Dunglass Castle, Bowling L.A. Dunderdale Esq., Glasgow and by descent

£300-500

328 LIBERTY & CO., LONDON ARTS & CRAFTS OAK SIDE CABINET, CIRCA 1900 with pierced back and stepped top above a single glazed door flanked to the sides by bookshelves 83cm wide, 138cm high, 38cm deep

£400-600

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Decorative Arts: Design since 1860 91

329 LIBERTY & CO., LONDON ART NOUVEAU BRASS AND MOTHEROF-PEARL WALL MIRROR, CIRCA 1900 the rectangular mirrored plate enclosed by beaten and riveted brass frame inset with three marquetry panels of flowers in mother-of-pearl 107cm wide, 65cm high

£3,000-4,000

330 ARCHIBALD KNOX (1864-1933) ’PVLROS’ MANX LANDSCAPE watercolour, inscribed lower left PVLROS, bears Manx Museum label verso 40.4cm x 55cm Provenance: The Manx Museum and Art Gallery

£1,500-2,000

Note: Bears printed label verso inscribed ‘This picture is the work of Archibald Knox. It is one of the paintings handed over to the Manx Museum by the family of the artist for sale; the proceeds of which will be for the Archibald Knox Endowment Fund at the museum/ A.M. Cubbon, Director, 1959’

331

332

ARCHIBALD KNOX FOR LIBERTY & CO., LONDON

LEONARD WYBURD (1865-1958) FOR LIBERTY & CO., LONDON

ARTS & CRAFTS OAK MANTEL CLOCK, CIRCA 1900 the single-train movement with circular enamel dial enclosed within shaped case carved with Celtic knotwork

ARTS & CRAFTS MAHOGANY INLAID ARMCHAIR, CIRCA 1900 with inlaid top rails above tall slatted backs and upholstered panel seats raised on square tapered legs linked by stretchers

34cm high

58cm wide, 112cm high, 47cm deep

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

£200-300

£300-500 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

92 Lyon & Turnbull

333 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON SET OF SIX ‘CYMRIC’ SILVER AND ENAMEL COFFEE SPOONS, BIRMINGHAM 1929 each with stylised bud terminals, stamped maker’s marks L&Co, hallmarked Birmingham 1929 (6) 11.2cm long

£300-500

334 LIBERTY & CO., LONDON ART NOUVEAU ‘CYMRIC’ SILVER BOX & COVER, LONDON 1902 of cylindrical form, embossed with stylised foliate motifs, stamped maker’s marks CYMRIC/ L&Co, hallmarked London 1902, 15.29oz 13.5cm high

£500-800

335 OLIVER BAKER (1856-1939) FOR LIBERTY & CO., LONDON ART NOUVEAU ‘CYMRIC’ SILVER TWINHANDLED VASE, BIRMINGHAM 1900 of shouldered tapering form with broad rim extending to opposed cartouches and strap handles, stamped maker’s marks L&Co, hallmarked Birmingham 1900, 32.88oz 23cm wide, 14cm high Note: Designed by Oliver Baker for the Cymric range, the original design for 1900 indicated the collar should be enamelled, and only one example dated 1901 is known. It is commonly found in pewter, for example Lyon & Turnbull ‘Decorative Arts’, 10th November 2010, lot 254.

£700-900

336

337

338

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

PAIR OF ‘CYMRIC’ SILVER AND ENAMEL KNIFE RESTS, BIRMINGHAM 1905 stamped maker’s marks L&Co/ CYMRIC/ 464, hallmarked Birmingham 1905 (2)

’TUDRIC’ PEWTER TRAY, CIRCA 1900 with beaten finish, cast with whiplash tendrils, stamped maker’s marks ENGLISH PEWTER 0376, 50cm across; a PAIR OF ‘TUDRIC’ PEWTER CANDLESTICKS, stamped maker’s marks TUDRIC/ 0469, 21.5cm high; and a CONTINENTAL ART NOUVEAU PEWTER PITCHER, unmarked, 41cm high (4)

SILVER AND ENAMEL MATCHBOX COVER, LONDON 1908 hallmarked Birmingham 1908, indistinctly stamped with maker’s marks L&Co, 4.5cm across; and a PAIR OF ART NOUVEAU WHITE METAL AND ENAMEL HATPINS ATTRIBUTED TO ARCHIBALD KNOX FOR LIBERTY & CO., LONDON, CIRCA 1900, each with Celtic entwined decoration and rainbow enamels, unmarked, terminals 4cm high, total length 21cm (3)

£150-250

£200-300

5.4cm long

£200-300

Decorative Arts: Design since 1860 93

339

340

341

342

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

ARTS & CRAFTS ‘CYMRIC’ SILVER CORONATION SPOON, BIRMINGHAM 1901 commemorating the Coronation of Edward VII, inscribed to bowl ER VII/ ANNO CORON, stamped maker’s marks L&Co/ CYMRIC, Rd.391478, hallmarked Birmingham 1901, 2.3oz

’CYMRIC’ SILVER & ENAMEL CORONATION SPOON, BIRMINGHAM 1901 the pointed ovoid bowl with cast Celtic knotwork and crown, and with inscription AC/ ER VII, the stem with pierced and cast reciprocal design, stamped maker’s marks L&Co/ CYMRIC, hallmarked Birmingham 1901

’CYMRIC’ SILVER AND ENAMEL CEREMONIAL SPOON, BIRMINGHAM 1905 with entwined Celtic knot decoration, stamped maker’s marks L&Co, hallmarked Birmingham 1905

20cm long

12.3cm long

Note: See Tilbrook, A. J. ‘Designs of Archibald Knox for Liberty and Co.’, p. 127, fig. no. 109.

£500-800

£300-500

16.5cm long

£800-1,200

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

94 Lyon & Turnbull

343 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON SILVER AND ENAMEL BROOCH, CIRCA 1905 with a blue/green enamel panel, flanked by entwined Celtic knot motifs, with stamped maker’s marks for W. H. Haseler 4cm long Literature: Moro, G. ‘European Designer Jewelry’, 1995, p. 145, for illustration of a brooch of matching pattern designed by Archibald Knox.

£300-500

344

345

JESSIE MARION KING (1875-1949) FOR LIBERTY & CO., LONDON

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

SILVER AND ENAMELLED BROOCH, BIRMINGHAM 1907 the pierced roundel decorated with stylised birds and flowers (converted from a buckle), with maker’s marks for W.H. Haseler, hallmarked Birmingham 1907

’CYMRIC’ SILVER CADDY SPOON, BIRMINGHAM 1907 with Celtic knot handle and planished finish, stamped maker’s marks L&Co, hallmarked Birmingham 1907, 0.54oz

4.2cm diameter

£250-350

8cm long Note: See Tilbrook. A. J. ‘Designs of Archibald Knox for Liberty and Co.’ p.125, fig. no. 107 where a similar spoon is illustrated.

£500-700

346 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON SILVER AND ENAMEL CALLING CARD CASE, BIRMINGHAM 1906 with an applied roundel in blue and green enamel, set with an oval turquoise, maker’s mark of W .H. Haseler, hallmarked Birmingham, 1906 8.5cm long

£400-600

347 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON ART NOUVEAU SILVER AND ENAMEL SET BUCKLE, BIRMINGHAM 1907 made by William H. Haseler, Birmingham, with whiplash tendril decoration and planished surface, stamped maker’s marks W.H.H., hallmarked Birmingham 1907 9.5cm across

£600-800

348

349

350

351

LIBERTY & CO., LONDON

ARCHIBALD KNOX (18641933) FOR LIBERTY & CO., LONDON

ATTRIBUTED TO OLIVER BAKER FOR LIBERTY & CO., LONDON

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

TWO ‘CYMRIC’ SILVER, ENAMEL AND GLASS DRESSING CASE BOTTLES, BIRMINGHAM 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)

ART NOUVEAU SILVER BELT BUCKLE, BIRMINGHAM 1912 cast with elaborate interlacing scrollwork, stamped maker’s mark L&Co, 7.5cm across; and another LIBERTY & CO. SILVER & ENAMEL BUCKLE, of oval outline decorated with a leafy band, 6.6cm across, both with stamped maker’s mark L&Co, hallmarked Birmingham 1912 (2)

£200-300

ARTS & CRAFTS SILVER AND ENAMEL BROOCH, BIRMINGHAM 1901 decorated in relief with a peacock, stamped maker’s marks L&Co, hallmarked Birmingham 1901 2.5cm diameter

£150-250

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

’TUDRIC’ PEWTER AND ENAMEL CHAMBER CANDLESTICK, CIRCA 1900 cast with whiplash foliage, stamped maker’s marks TUDRIC 0523, 18.5cm across; an ARCHIBALD KNOX LIBERTY PEWTER AND ENAMEL BOWL, stamped maker’s marks TUDRIC 0288, 9cm diameter; and an ARCHIBALD KNOX PEWTER BOWL, stamped maker’s marks ENGLISH PEWTER/ MADE BY LIBERTY & CO./ 0546, 12.5cm across (3) £300-500

Decorative Arts: Design since 1860 95

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

96 Lyon & Turnbull

352 GEORG JENSEN (1866-1935) PART SUITE OF STERLING SILVER ‘ACORN’ PATTERN FLATWARE, POST 1945 comprising 6 Soup Spoons; 10 Dinner Knives; 8 Dinner Forks; 9 Side Knives; 3 Fish Knives; 2 Fish Forks; 6 Dessert Spoons; 7 Dessert Forks; 11 Cake Forks; 8 Cake Knives; 2 Butter Knives; 4 Pickle Forks; 2 Cheese Knives; 1 Teaspoon; 4 Serving Spoons; 1 Salad Server; 1 Carving Knife and Fork; 2 Cake Slices; 1 Cheese Slicer; 1 Caddy Spoon; 3 Salts; 3 Letter Openers; 1 Bottle Opener, stamped maker’s marks GEORG JENSEN/ STERLING/ DENMARK (96) £1,200-1,800

353

354

355

ANTON MICHELSEN (1809-77)

SWEDISH SCHOOL

GEORG JENSEN (1866-1935)

STERLING SILVER GILT AND ENAMEL REPLICA OF QUEEN MARGRETHE’S CUP, CIRCA 1905-1910 of lobed form, decorated with bands of embossed floral and foliate motifs, with maker’s marks and Danish hallmarks

ART DECO STERLING SILVER FOOTED BOWL, EARLY 20TH CENTURY of deep circular form with a ribbed well, the base moulded with leaves and stylised foliage, raised on a spreading circular foot, Swedish hallmarks

DANISH STERLING SILVER SAUCE LADLE, CIRCA 1939 the planished bowl with scrolling foliate handle, stamped maker’s marks GJ/ DENMARK/ STERLING/ 141, import hallmarks London,1939

6cm high

24cm diameter

20cm across

£150-250

£250-350

£200-300

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Decorative Arts: Design since 1860 97

356 HARALD NIELSEN (1892-1977) FOR GEORG JENSEN SET OF EIGHT LARGE STERLING SILVER GOBLETS, CIRCA 1949 each with planished bowls above openwork stems decorated with beading and raised on a spreading foot, stamped maker’s marks DESSIN/ HN/ GEORG JENSEN SILVERSMITHS LTD/ DENMARK/ STERLING/ 532C, import hallmarks London 1949 (8) 17cm high

£2,500-3,500

357 GEORG JENSEN (1866-1935) PAIR OF DANISH STERLING SILVER THREE-LIGHT CANDELABRA, 1915-30 each raised on a circular base, the fluted cylindrical stem with stylised berries and leaves, supporting two branches and a central standard, the three sockets with lobed bases and partfluted bodies, stamped maker’s marks GJ/ 925/ S/ DENMARK/ STERLING/ 161, import hallmarks London, 1928 (2) 33.5cm high

£3,000-5,000

358 HARALD NIELSEN (1892-1977) FOR GEORG JENSEN SET OF EIGHT STERLING SILVER GOBLETS, CIRCA 1949 each with planished bowls above openwork stems decorated with beading and raised on a spreading foot, stamped maker’s marks DESSIN/ HN/ GEORG JENSEN SILVERSMITHS LTD/ DENMARK/ STERLING/ 532b, import hallmarks London 1949 (8) 14.5cm high

£1,800-2,200

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

98 Lyon & Turnbull

359 GEORG JENSEN (1866-1935) DANISH STERLING SILVER AND COROMANDEL WOOD LADLE, CIRCA 1925 the long turned handle with curved brackets and foliate terminal, the planished bowl with foliate decorations, bears maker’s marks GEORG JENSEN/ 925 S/ DENMARK/ STERLING/ A 55, import hallmarks London, 1925 (2) 44cm long

£500-800

360 GEORG JENSEN (1866-1935) DANISH STERLING SILVER SAUCE BOAT, 1933-44 the planished bowl with scrolling foliate handle above a leaf-cast collar and spreading oval foot, stamped maker’s marks GJ/ 925 S/ DENMARK/ STERLING/ 177A, import hallmarks London, 1933 21cm across

£500-800

361 GEORG JENSEN (1866-1935) DANISH STERLING SILVER CHAFING DISH, CIRCA 1928 the planished bowl with cast and chased border of flowering whiplash foliage, and with leaf-carved hardwood handle, stamped maker’s marks GJ/ 925 S/ GEORG JENSEN/ DENMARK/ STERLING/ 227, import hallmarks London, 1928 29cm across

£500-800

362 THEODOR SABROE, DENMARK ART DECO STERLING SILVER COFFEE SET, CIRCA 1947 comprising a COFFEE POT, 22.5cm high; a SUGAR BOWL, 11.5cm diameter; and a MILK JUG, 9cm high, all with oak handles, with Danish hallmarks and artist’s monogram (3) £600-800

Decorative Arts: Design since 1860 99

363 GEORG JENSEN (1866-1935) SILVER, AMBER AND CHRYSOPRASE BROOCH, DESIGNED 1905, MARKS FOR 1915-30 worked as a design of naturalistic leaves and fruits with three pendant fruits, and set with cabochon stones, with presentation plaque verso TIL LAURA/ MIN KAERLIGHED/ VIDAR 1931, stamped maker’s marks GEORG JENSEN/ COPENHAGEN/ GJ/ 830/ S/ 96 8.5cm x 5.7cm

£2,500-3,500

364 GEORG JENSEN (1866-1935) STERLING SILVER PERFUME BOTTLE, 1915-1930 the final cast with a foliate motif above a planished spherical body, with stamped maker’s marks GI/ DENMARK/ 172/ STERLING/ 925.S, 10cm high; a PAIR OF GEORG JENSEN SILVER SUGAR TONGS, CIRCA 1930, the handles cast with acorns and leaves, with stamped maker’s marks, GEORG JENSEN/ STERLING DENMARK/ 925, 10cm long; and a HARALD NIELSEN SILVER CACHEPOT, 1930’S, the final cast with a foliate motif above a planished spherical body, with stamped maker’s marks GEORG JENSEN/ HN/ GI 925 S, 10.5cm high (3) £500-800

365 GEORG JENSEN (1866-1935) STERLING SILVER AND AGATE BRACELET, MARKS FOR 1933-1944 consisting of six links in bird and foliate motifs, containing nine oval cabochon cut agates, stamped maker’s marks GJ/ 925/ STERLING DENMARK/ 14 18cm long

£500-800 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

100 Lyon & Turnbull

366 HARALD NIELSEN (1892-1977) FOR GEORG JENSEN PAIR OF 18 CARAT GOLD CUFFLINKS, POST 1945 each of circular cabochon design, stamped maker’s marks GJLD/ GEORG JENSEN/ 750/ 18K/ 10 44D (2) 1.5cm across

£400-600

367 HARALD NIELSEN FOR GEORG JENSEN 18 CARAT GOLD BROOCH, CIRCA 1964 designed as two leaping dolphins, stamped maker’s marks GEORG JENSEN/ 750 18K/ 1317, with import marks for London, 1964 4cm long

£200-300

368 GEORG JENSEN (1866-1935) 18 CARAT GOLD ‘CACTUS FLOWER’ BROOCH, CIRCA 1965 stamped maker’s marks GEORG JENSEN/ 18K 750/ 227, import marks for London 1965 3cm long

£300-500

369 GEORG JENSEN LTD. 18 CARAT GOLD BROOCH, CIRCA 1968 of double ovoid form, stamped maker’s marks GEORG JENSEN/ 750 18K/ 1357, import marks for London 1968 3.6cm across

£300-500

370

371

372

ARNO MALINOWSKI (1899-1976) FOR GEORG JENSEN

STERLING SILVER BROOCH, MARKS FOR 1933-1944 designed with a kneeling deer amongst stylised flowers, within an oval frame, stamped maker’s marks GJ/ 925/ STERLING DENMARK/ 256

STERLING SILVER BROOCH, MARKS FOR 1933-1944 designed with opposed birds and barley head, within a square frame, stamped maker’s marks GJ/ STERLING DENMARK/ 250

4.4cm across

£150-250

STERLING SILVER PENDANT, MARKS FOR POST 1945 designed with a kneeling deer amongst stylised flowers, within an oval frame, with hanging chain, stamped maker’s marks GEORG JENSEN/ 925/ STERLING DENMARK/ 95

3.6cm across

£150-250 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

4.4cm across

£150-250

Decorative Arts: Design since 1860 101

373 ASTRID FOG (1911-1993) FOR GEORG JENSEN STERLING SILVER AND CORNELIAN SET RING, 1960’S set with multiple cabochon stones, stamped maker’s marks GEORG JENSEN/ 925S/ DENMARK/ 166, within original fitted box 3.5cm tall

£500-700

374 HENNING KOPPEL (1918-1981) FOR GEORG JENSEN 18 CARAT GOLD ‘SPLASH’ BROOCH, CIRCA 1968 pierced freeform outline, stamped maker’s marks GEORG JENSEN/ 18K 750/ 1342, import marks for London, 1968 7.7cm across

£400-600

375 NANA AND JORGEN DITZEL FOR GEORG JENSEN STERLING SILVER BANGLE, CIRCA 1960 elliptical form, stamped maker’s marks GEORG JENSEN/ STERLING/ DENMARK/ NJD/ 111 10cm wide

£200-300

376 STUDIO ELSE & PAUL HUGHES, NORWAY STERLING SILVER MODERNIST BRACELET, CIRCA 1970 abstract panel links, stamped maker’s marks STERLING/ 925/ DENMARK 19cm long

£200-300

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

102 Lyon & Turnbull

377 HENNING KOPPEL (1918-1981) FOR GEORG JENSEN STERLING SILVER ‘SPLASH’ SILVER NECKLACE, LATE 20TH CENTURY comprised of freeform links, stamped maker’s marks GEORG JENSEN/ 925S/ DENMARK/ 88B 42cm long

£600-800

378 NANNA DITZEL (1923-2005) FOR ANTON MICHELSEN STERLING SILVER NECKLACE, 1960’S stamped maker’s marks AM/ STERLING/ DENMARK, 40cm long; and a PAIR OF MATCHING EARRINGS, also with stamped maker’s marks AM/ STERLING/ DENMARK, 2cm long (3) £600-800

379

380

GEORG JENSEN (1866-1935)

EDVARD KINDT-LARSEN (1901-1982) FOR GEORG JENSEN

STERLING SILVER BROOCH, POST 1945 cast with a bird within foliate band, stamped marks GEORG JENSEN/ STERLING/ DENMARK/ 70

STERLING SILVER ‘BUTTERFLY’ BRACELET, CIRCA 1970 with shaped links, stamped maker’s marks GEORG JENSEN/ STERLING/ DENMARK/ 104B

6cm diameter

19.5cm long

£150-250

£200-300

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Decorative Arts: Design since 1860 103

381Y DEMETRE H. CHIPARUS (1886-1947) ’THE NIMBLE DANCER’: ART DECO BRONZE AND IVORY FIGURE, CIRCA 1925 modelled as a dancer, with tilted head topped by a hat, holding arms outstretched, on a brown stepped onyx base with a chequered band of green onyx and portoro marble squares, base inscribed 47cm high Literature: Catley, Bryan ‘Art Deco and Other Figures’, Antique Collectors Clubb, 1978, p. 91

£10,000-15,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

104 Lyon & Turnbull

382Y FERDINAND PREISS (1882-1943) ART DECO SILVERED BRONZE AND IVORY FIGURE OF A DANCER, CIRCA 1925 the figure with arms outstretched on a silvered base, raised on a green onyx plinth, etched inscription to base F. PREISS 27cm high

£5,000-7,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Decorative Arts: Design since 1860 105

383 [§] GUSTAVE GILLOT (FRENCH, 1888–1965), AFTER PAUL FOLLOT ART DECO BRONZE MANTEL CLOCK, CIRCA 1925 the circular dial within case cast with a youth leaning over foliage and bearing marks PAUL FOLLOT INV. and G. GILLOT SCR, also inscribed verso EDITION POMONE 23cm high

£600-800

384 [§] FAYRAL (PSEUDONYM FOR PIERRE LE FAGUAYS) (1892-1962) ’SEDUCTION’, SPELTER FIGURE GROUP, CIRCA 1925 the figure raised on a stepped black marble plinth, signed FAYRAL 23cm high, 65cm across

£1,500-2,000

385 FRENCH SCHOOL ART DECO SILVERED BRONZE FIGURE GROUP, CIRCA 1930 cast as a naked figure of a girl, raised on a marble plinth and with gilded urn of flowers 50cm long

£800-1,200 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

106 Lyon & Turnbull

386 AFTER WALTER GILBERT PATINATED PLASTER PANEL, CIRCA 1975 cast with stylised leaping antelope in a landscape 46cm x 183cm

£300-500 Note: This plaster panel is cast after the original designed by Walter Gilbert and made by the Bromsgrove Guild for Derry & Toms department store in Kensington, London, which was designed by George Bernard and built between 1929 and 1931. The present example was made circa 1975 for the Biba store in central London.

387 FRENCH SCHOOL ART DECO BEECH-FRAMED DRAWING ROOM SUITE, CIRCA 1930 each with carved hardwood frames and later cream upholstery and comprising a SOFA, 133cm wide, 88cm high, 60cm deep; a PAIR OF ARMCHAIRS, 64cm wide, 82cm high, 60cm deep; and a PAIR OF SIDE CHAIRS, 50cm wide, 88cm high, 38cm deep (5) £2,000-3,000

388

389

390

391

CHRISTIAN FJERDINGSTAD (1891-1968) FOR CHRISTOFLE

JEAN PUIFORCAT (1897-1945)

LEROY, PARIS

PART SUITE OF ART DECO ‘NORMANDIE’ PLATED CUTLERY, CIRCA 1935 comprising SIX DESSERT SPOONS; and SIX DESSERT FORKS, each with applied roundels with Art Deco initial S, stamped maker’s marks; also a SUITE OF ART DECO WHITE METAL CUTLERY BY CHRISTOFLE, PARIS, CIRCA 1930, comprising 10 Dinner Forks; 10 Soup/ Dessert Spoons; 10 Tea Spoons; 1 Serving Spoon; and a Soup Divider, each with stamped maker’s marks CHRISTOFLE (44)

ART DECO WHITE AND YELLOW METAL COMPACT, CIRCA 1925 with engine turned decoration and panel of stylised plant forms, stamped marks LEROY PARIS/ 15191

G. MOUROT FOR ALMERIC WALTER

SILVER PLATED GALLIA ‘SWAN’ SAUCE DISH AND SPOON, 1930’S 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)

£100-200

£200-300

PÂTE DE VERRE VIDEPOCHE, CIRCA 1920 of ovoid form, moulded in relief with a goose amongst lily pads, moulded maker’s marks A WALTER/ NANCY/ G. MOUROT (damages)

7cm square

16cm long

£200-300

£300-500

Decorative Arts: Design since 1860 107

392 EUGÈNE ALAIN SÉGUY (1889-1985) ’SUGGESTIONS FOR STUFFS AND CARPETS’, TWELVE ART DECO FRAMED PRINTS, pochoir lithographs, within modern gilded and stepped frames, each inscribed E.A. SEGUY/ SUGGESTIONS POUR ÉTOFFES ET TAPIS/ SUGGESTIONS FOR STUFFS AND CARPETS (12) each approx. 40cm x 29cm Note: Eugene Alain Seguy was one of the foremost French designers of the early 20th century. His work captures the essence of both the Art Nouveau and Art Deco Styles. He was a master of the pochoir (stencil) technique which allowed him to create images with dense and vibrant colours. Included plates 3; 4; 6; 7; 10; 11; 12; 14; 16; 18; 19; and 20.

£1,000-1,500

393

394

RENÉ LALIQUE (1860-1945)

GLASS POWDER BOWL AND COVER, CIRCA 1920 depicting a stylised female figure with floral motifs, stamped mark TRADE MARK/ COTY FRANCE/ LALIQUE/ DEPOSE

’VOLUTES’ OPALESCENT GLASS BOWL, INTRODUCED 1934 etched mark R. LALIQUE/ FRANCE, 20.5cm diameter; and a LALIQUE ‘OURSINS’ OPALESCENT GLASS BOWL, introduced 1935, etched mark R. LALIQUE/ FRANCE, 20.5cm diameter (2)

8.5cm diameter

£100-200

£300-500 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

108 Lyon & Turnbull

395 HENRI BERGÉ (1870-1937) FOR ALMERIC WALTER PÂTE DE VERRE OCTAGONAL DISH, CIRCA 1920 moulded in relief with a butterfly, moulded maker’s marks A. WALTER/ NANCY and BERGÉ SC. 23cm across

£4,000-6,000

396 HENRI BERGÉ (1870-1937) FOR ALMERIC WALTER PÂTE DE VERRE VIDE-POCHE, CIRCA 1920 of shaped circular form, moulded in relief with a lizard amongst flowering nasturtiums, moulded maker’s marks A. WALTER/ NANCY and BERGÉ SC. 17cm across

£1,800-2,500

397

398

399

400

LALIQUE, FRANCE

SABINO, PARIS

VAL ST. LAMBERT

SCANDINAVIAN SCHOOL

’BAGATELLE’ PATTERN CLEAR AND FROSTED GLASS VASE, DESIGNED 1939, MODERN moulded with birds perched in foliage, script etched maker’s marks LALIQUE/ FRANCE, with original box

OPALESCENT GLASS VASE, 1930’S moulded with a frieze of perching birds, with etched signature SABINO/ FRANCE, 21cm high; together with a FRENCH OPALESCENT GLASS BOWL, the underside moulded with a starfish, with moulded mark MADE IN FRANCE, 23.5cm diameter (2)

RUBY CUT-GLASS LIDDED BOWL, CIRCA 1930 with etched signature VAL ST. LAMBERT, 26.5cm high; also two unmarked glass vessels including a BALUSTER VASE, with blue flashcoloured decoration, 16.5cm high; and a SHOULDERED VASE, with pink flash-coloured decoration, 21.5cm high (3)

ART DECO GLASS VASE, CIRCA 1930 of footed trumpet form, etched with the figure of Diana the huntress

£150-250

£200-300

17cm high

£200-300

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

35cm high

£200-300

Decorative Arts: Design since 1860 109

401 RENÉ LALIQUE (1860-1945) ’DOMRÉMY’ FROSTED AND OPALESCENT GLASS VASE, INTRODUCED 1926 of shouldered tapering form, traces of original white patina, script etched mark R. LALIQUE/ FRANCE/ NO. 979 21.5cm high

£1,500-2,000

402 LALIQUE, FRANCE ’BACCHANTES’ FROSTED GLASS VASE, POST 1945 the original design introduced in 1927, the tapered body moulded with a frieze of female nudes, with etched script mark LALIQUE/ FRANCE with registered trade mark 24.5cm high

£800-1,200

110 Lyon & Turnbull

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

£1,000-1,500

404 HENRI DUPETIT ART DECO DESIGN FOR WROUGHT IRON DOORS, CIRCA 1930 pencil, inscribed verso HENRI DUPETIT/ DECORATEUR/ 57 RUE GEOFFREY ST HILAIRE/ PARIS V/ GOBELINS 85.78.85.79 19cm x 15.5cm

£200-300

405

406

407

408

FRENCH SCHOOL

BACCARAT, FRANCE

ENGLISH SCHOOL

MANNER OF SUE ET MAR

ART DECO TAPERED GLASS VASE, 1930’S with metal mounted rim, the body with three acid-etched floral panels, with acid-etched maker’s signature HESQUES

BLACK CRYSTAL FIGURE OF A PELICAN with etched maker’s mark, 17cm high; together with a FERJAC CRYSTAL FIGURE OF A BIRD, raised on a plinth, with moulded maker’s mark FERJAC FRANCE, 13cm high (2)

PAIR OF ART DECO CHROMIUM PLATED WALL LIGHTS, CIRCA 1930 each with frosted circular shades (2)

ART DECO WALNUT OVERMANTEL GARNITURE, CIRCA 1930 each piece carved in low relief with stylised flowering foliage, comprising a MANTEL CLOCK, 28.5cm high; a PAIR OF TAZZAS, 29cm high; and a WALL MIRROR, of canted rectangular outline, with rope hanging supports, 50cm x 112cm (4)

27cm high

£200-300

£150-250

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

28cm wide, 28cm high, 10cm deep

£200-300

£300-500

Decorative Arts: Design since 1860 111

409 ENGLISH SCHOOL ART DECO CHROMIUM PLATED FLOOR LAMP UPLIGHTER, CIRCA 1930 the broad dished shade on tubular column support raised on stepped wooden base 40cm wide, 172cm high

£300-500

410 RICHARD MEIER (B. 1934) FOR SWID POWELL PAIR OF PLATED ‘SKYSCRAPER’ CANDLESTICKS, DESIGNED 1983 each with disc base raised on four ball feet and issuing cruciform structure with square piercings surmounted by candle sconce, stamped maker’s marks SWID POWELL/ SILVER PLATED (2) 23.3cm high Literature: Tapert, Annette ‘Swid Powell: Objects by Architects’, Rizzoli, 1990, pp. 73-76.

£300-500

411 EILEEN GRAY (1878-1976) ’TRANSAT’ LOUNGE CHAIR 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.

£1,200-1,800

412 AFTER LE CORBUSIER LEATHER AND CHROMIUM PLATED SOFA, MODERN with loose cushions and tubular frame 157cm wide, 86cm high, 45cm deep

£300-500 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

112 Lyon & Turnbull

413 REISSNER, STELLMACHER AND KESSEL, TURN AMPHORA CHARACTER FIGURE OF A BILLIARDS PLAYER, CIRCA 1900 with overpainted wood billiards cue, impressed maker’s marks AMPHORA/ TURN/ 4456 49cm high

£300-500

414 RÖRSTRAND, SWEDEN PORCELAIN VASE, CIRCA 1935 painted with a continuous scene of flying swans in a landscape, painted maker’s marks RÖRSTRAND/ TJ/ E 24.5cm high

£300-500

415 KNUD KYHN (1880-1969) FOR ROYAL COPENHAGEN STONEWARE SATYR FIGURE, CIRCA 1930 covered in mottled brown and buff glazes, printed and painted maker’s marks with incised artist’s monogram KK, 34cm high; and a ROYAL COPENHAGEN STONEWARE JAR & COVER BY KNUD KYHN, of prism form, decorated with moulded oriental motifs, covered in a red and green marbled glaze, with painted and incised maker’s marks, 19.5cm high £300-500

416

417

HUTSCHENREUTHER

RÖRSTRAND, SWEDEN

PORCELAIN FIGURE GROUP, CIRCA 1940 modelled as a girl feeding a young deer, printed maker’s marks, bears paper label with serial no. 1318/ 6

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

26cm high

43.5cm high

£250-350

£200-300

418 CLARICE CLIFF (1899-1972) FIVE CONICAL SUGAR SIFTERS, 1930’S comprising a BANDED example, 13.5cm high, RODANTHE, 13.5cm high; ORANGE HYDRANGEA, 13.5cm high; WILKINSON POMONA, 13.5cm high; together with a similar example by WILKINSON POTTERY, 13.5cm high; each with printed maker’s marks (5) £200-300 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Decorative Arts: Design since 1860 113

419 CLARICE CLIFF (1899-1972) BONJOUR ‘SECRETS’ SUGAR SIFTER, 1930’S printed ‘Bizarre’ marks 13cm high

£250-350

420 CLARICE CLIFF (1899-1972) TWO BONJOUR SUGAR SIFTERS, 1930’S comprising STILE AND TREES, 13cm high; and ALTON, 13cm high, each with printed maker’s marks (2) £200-300

421 CLARICE CLIFF (1899-1972) THREE CONICAL SUGAR SIFTERS, 1930’S comprising AUTUMN CROCUS, 14.5cm; SPRING CROCUS, 14.5cm high; and CROCUS, 14.5cm high, with printed maker’s marks (3) £200-300

422 CLARICE CLIFF (1899-1972) ’RED AUTUMN’ PATTERN BOWL, CIRCA 1930 printed maker’s marks 19cm diameter

£200-300

114 Lyon & Turnbull

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Decorative Arts: Design since 1860 115

423 DAISY MAKEIG-JONES (1881-1945) FOR WEDGWOOD FAIRYLAND LUSTRE BOWL, CIRCA 1925 of octagonal form, the interior decorated with ‘Ship and Mermaid ‘ pattern, the exterior with ‘Leapfrogging Elves’ pattern, printed factory mark, painted mark Z4968/ 8 19.5cm diameter

£1,000-1,500

424 DAISY MAKEIG-JONES (1881–1945) FOR WEDGWOOD FAIRYLAND LUSTRE ‘DAVENTRY’ BOWL, CIRCA 1925 decorated to the interior in the ‘White Pagodas’ pattern beneath a deep ‘Ghostly Wood’ pine cone and poinsettia foliage border, and to the exterior with a blue lustre band of elves from ‘Dana’, reserved on a bronze lustre ground, printed Portland Vase mark, WEDGWOOD MADE IN ENGLAND, painted pattern number Z5444 25cm diameter

£2,000-3,000

425 DAISY MAKEIG-JONES (1881-1945) FOR WEDGWOOD TWO DRAGON LUSTRE BOWLS, CIRCA 1925 each of octagonal form, printed and painted in gilt and coloured enamels with writhing dragons on a powder blue ground, printed and painted marks ‘Z4829/ X’ (2) 23cm diameter and 20cm diameter

£200-300

426 CARLTON WARE ’FOREST TREE’ PATTERN VASE, CIRCA 1930 painted and printed in gilt and coloured enamels with stylised trees, printed and painted maker’s marks, pattern no. 3253 28cm high

£200-300

427 DAISY MAKEIG-JONES (1881-1945) FOR WEDGWOOD GROUP OF THREE SMALL DRAGON LUSTRE WARES, CIRCA 1925 comprising an OCTAGONAL BOWL, printed and painted in gilt and coloured enamels with oriental motifs on an orange ground, printed and painted marks Z4825/ T, 10.5cm diameter; a FOOTED BOWL, of similar decoration on a blue ground, printed and painted marks Z4829, 11.5cm diameter; and a BALUSTER VASE, of similar decoration on a powder blue ground, printed and painted marks Z4831/ F, 11cm high (3) £200-300 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

116 Lyon & Turnbull

428 ENGLISH SCHOOL ARTS & CRAFTS WOOLWORK EMBROIDERED PANEL, MID-20TH CENTURY worked in coloured wools with fantastical scenes and patterns, framed 151cm x 65cm

£300-500

429 CARLTON WARE LARGE ‘MELANGE’ GINGER JAR AND COVER, EARLY 20TH CENTURY with domed cover and rounded body decorated with enamelled flowerheads and leaves, paper label with pattern no. 3061 and 125, printed maker’s marks 31.5cm high

£200-300

430 CLARICE CLIFF (1899-1972) FIVE CONICAL SUGAR SIFTERS, 1930’S comprising MANTANA, 14.5cm high; SUNSHINE, 14.5cm high; JONQUIL, 14.5cm high; AGAVE, 14.5cm high; and MARGUERITE in green, 14.5cm high, each with printed maker’s marks (5) £200-300

431 CLARICE CLIFF (1899-1972) FOUR BONJOUR SUGAR SIFTERS, 1930’S comprising a BANDED example, 13cm high; a CAPRI example in green, 13cm high; KELVERNE, 13cm high; and WILKINSON, 13cm high, each with printed maker’s marks (4) £200-300

432 CLARICE CLIFF (1899-1972) TWO ‘MY GARDEN’ SUGAR SIFTERS, 1930’S one example in green, the other in beige, 15cm high; together with a LYNTON SHAPE ‘CROCUS’ SUGAR SIFTER, 13cm high, each with printed maker’s marks (3) £150-250

433

434

435

CLARICE CLIFF (1899-1972)

CLARICE CLIFF INTEREST

FOUR BONJOUR SUGAR SIFTERS, 1930’S comprising CANTERBURY BELLS, 13cm high; AUTUMN CROCUS, 13cm high; RODANTHE, 13cm high; and VISCARIA, 13cm high, all with printed maker’s marks (4)

FOUR CLOG VASES, 1930’S comprising AUTUMN CROCUS, 14cm long; CROCUS, 14cm long; GAY DAY, 14cm long; and a similar example stamped WILKINSON LTD, decorated with roses on a black ground, 14cm long, all with printed maker’s marks (4)

£200-300

COLLECTION OF ART REFERENCE BOOKS to include Watson, Howard & Pat ‘The Colourful World of Clarice Cliff, 1992; Slater, Greg & Brough, Jonathan ‘Comprehensively Clarice Cliff’, 2005; Griffin, Leonard ‘The Fantastic Flowers of Clarice Cliff’, 1998; Green, Richard And Jones, Des ‘The Rich Designs of Clarice Cliff’, 1995; Meissel, Susan Pear And Griffin, Leonard ‘Clarice Cliff: The Bizarre Affair’, 1988 (5) £100-200

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Decorative Arts: Design since 1860 117

436 ROWLEY GALLERY, LONDON ART DECO MARQUETRY-INLAID DEMI-LUNE PANEL, CIRCA 1930 depicting a lady and gentleman in 19th century dress taking tea in a landscape 53cm x 111cm

£300-500

437 MANNER OF PHYLLIS BARRON & DOROTHY LARCHER FOUR HAND-BLOCKED FABRIC PANELS, CIRCA 1930 depicting repeat patterns of Fishermen Mending Nets, 274cm x 86.5cm; Feeding the Chickens, 261cm x 98cm; a Pastoral Scene, 262cm x 98cm; and Fern Fronds, 266cm x 98cm (4) £400-600

118 Lyon & Turnbull

438 [§] MABEL DAWSON (1887-1965) ’DASHING WHITE SERGEANT’, AN ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1920 bears label with inscription verso NO. 5/ DASHING WHITE SERGEANT (POLE SCREEN)/ (MISS) MABEL DAWSON R.S.W./ STUDIO. 130. GEORGE ST. EDINBURGH 38cm x 28cm

£200-300

439 ENGLISH SCHOOL ART DECO FOUR-FOLD MIRRORED SCREEN, CIRCA 1930 each arched fold with mirrored front and felt-covered back, the whole raised on brass feet with steel ball castors each fold 135cm high, 28cm wide

£300-500

440 ENGLISH SCHOOL SET OF FOUR ART DECO OAKFRAMED ARMCHAIRS, CIRCA 1930 each with later plush upholstery, raised on square tapered legs (4) 51cm wide, 83cm high, 47cm deep

£300-500

441

442

ENGLISH SCHOOL

[§] ELYSE ASHE LORD (1900-1971)

TWO ART DECO WALL MIRRORS, CIRCA 1935 pink and clear mirrored glass, one of arched rectangular form with incised decoration, 74cm x 51cm; the other of square form with corresponding incised decoration, 65cm x 65cm (2)

’THE IMMORTALS NO.1’ drypoint and coloured woodcut, artist’s signed proof, signed lower right in pencil ELYSE ASHE LORD 60/75, 44.5cm x 56cm; ’THE IMMORTALS NO. 2’, drypoint and coloured woodcut, artist’s signed proof, signed lower right in pencil ELYSE ASHE LORD 75/75, 44.5cm x 56cm; and ‘MASTERS OF THE COLOUR PRINT’, book of coloured prints published by ‘The Studio’, 1927 (two prints lacking (3)

£150-250

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

£300-500

Decorative Arts: Design since 1860 119

443 THONET, AUSTRIA PAIR OF OAK AND POLLARDED OAK ARMCHAIRS, CIRCA 1935 each with broad backs and curved arms with drop-in seats, stamped maker’s marks under seat (2) 55cm wide, 86cm high, 46cm deep

£300-500

444 WYLIE & LOCHHEAD, GLASGOW ART DECO BURRWOOD BEDROOM SUITE, CIRCA 1920 comprising a WARDROBE, 167cm wide, 191cm high, 57cm deep; a DRESSING TABLE, 122cm wide, 77cm high, 59cm deep; a TRIPTYCH MIRROR, 95cm x 85xm; a TALLBOY, 68cm wide, 122cm high, 48cm deep; a PAIR OF ARMCHAIRS, 55cm wide, 89cm high, 45cm deep; a STOOL, 51cm wide, 43cm high; a PAIR OF SINGLE BEDS, each piece decorated with gilded mouldings, 100cm wide, 112cm high, 206cm long, and a BEDSIDE TABLE, 36cm wide, 77cm high, 36cm deep, stamped maker’s marks 7221, applied retailer’s label (9) £600-800

445

446

447

ATTRIBUTED HARRY POWELL FOR JAMES POWELL & SONS

JOSEPH LUCAS LTD.

ENGLISH SCHOOL

CAST BRONZE CAR MASCOT, CIRCA 1930 depicting a lion rampant on oval base, traces of original silvered patination, unmounted 12.5cm high

PAIR OF BRASS WALL LIGHTS, CIRCA 1920 each cast as reeded torches with frosted flame shades (2)

£200-300

64cm high

WHITEFRIARS BLOWN GLASS VASE, 1930’S of ovoid form, decorated with pink horizontal bands, 15cm high; and a WHITEFRIARS GLASS BOWL, of shallow circular form, decorated with a blue spiral, 32cm diameter (2) £200-300

£200-300

120 Lyon & Turnbull

448 MANNER OF ELIZABETH MARY WATT ARTS & CRAFTS PAINTED WOOD DRESSING TABLE SET, CIRCA 1920 comprising a TALL TABLE LAMP, 76cm high; a TABLE CLOCK, 16cm high; HAND MIRROR, 36cm long; TWINHANDLED TRAY, 38.5cm long; a PAIR OF CANDLESTICKS, 20.5cm high; RING HOLDER, 9cm high; BOWL & COVER, 9.5cm diameter; PIN DISH, 11cm diameter, each with penwork and painted decorations, painted maker’s marks “JESMAR” (9) £300-500

449 JAMES WRIGHT (1885-1947) SAINT MARGARET OF SCOTLAND watercolour, inscribed, signed lower right JAS. WRIGHT R.S.W. 26cm x 22cm

£300-400

450 JOHN MONCRIEFF LTD., PERTH ’MONART’ VASE, CIRCA 1930 the cylindrical neck above the tapered body, pink and lilac glass with bubble inclusions 37.5cm high

£200-300

451 JOHN MONCRIEFF LTD., PERTH ’MONART’ GLASS BOWL, CIRCA 1930 the red body with amber and aventurine inclusions to the rim 24cm diameter

£200-300

452

453

JOHN MONCRIEFF LTD., PERTH

’MONART’ GLASS VASE, CIRCA 1930 of tapered form, the mottled yellow glass body with green, pink and aventurine inclusions

GROUP OF ‘MONART’ GLASS WARES, CIRCA 1930 each with aventurine inclusions and comprising THREE PINK GLASS VASES, 20cm, 18cm and 13cm high; a GREEN GLASS BOWL, 20cm diameter; a PALE BLUE VASE and BOWL, 13cm high and 14.5cm high; and a PINK AND BLUE GLASS VASE, 12.5cm high (7)

19cm high

£150-250

£300-500

Decorative Arts: Design since 1860 121

454 ERIC RAVILIOUS (1903-1942) FOR WEDGWOOD LIMITED EDITION ‘BOAT RACE’ BOWL, DATED 1975 based on the original design of 1938, number 138 from an edition of 200, printed marks and accompanied by the original certificate of authenticity, within original box (2) 31cm diameter, 14cm high

£700-1,000

455 ENGLISH SCHOOL ART DECO WALNUT RECLINING EASY CHAIR, CIRCA 1930 with two loose upholstered cushions, enclosed by double scrolled arms raised on square legs 69cm wide, 80cm high, 53cm deep

£800-1,200

456

457

458

459

[§] VIOLET M. KAY (1914-1971)

[§] DAVID LEACH (1911-2005)

[§] JOHN VERNAL (20TH CENTURY)

SIR AMBROSE HEAL (1872-1959) FOR HEAL & SON LTD., LONDON

PORCELAIN BOWL, MID-20TH CENTURY with ribbed decoration, covered in a powder blue glaze, impressed seal mark

THE RED MACAW watercolour, signed lower left JOHN VERNAL, and with inscription verso

16cm diameter

£200-300

OAK DRESSING CHEST, CIRCA 1905 the rectangular plate above jewellery drawers and arrangement of four drawers raised on turned legs linked by stretchers, bears retailer’s label MUSSELWHITE & SIMPKINS/ BOURNEMOUTH

FIRESIDE STORY ink and watercolour, signed and dated lower right VIOLET M. KAY/ 1938 18.5cm x 23.5cm

£150-250

39cm x 30cm

122cm wide, 152cm high, 60cm deep

£200-300 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

122 Lyon & Turnbull

460 MANNER OF HEAL & SON LTD., LONDON ARTS & CRAFTS MAHOGANY AND EBONISED DRESSING MIRROR, CIRCA 1920 the octagonal moulded frame on square supports with curved feet 45cm wide, 57cm high

£150-250

461 MANNER OF HEAL & SON ART DECO MAHOGANY DISPLAY CABINET, CIRCA 1830 the arched top with twin astragal-glazed doors above two flame-veneered doors on square legs 78cm wide, 194cm high, 30cm deep

£300-500

462 HEAL & SON LTD., LONDON OAK OPEN BOOKCASE, CIRCA 1930 the ledge back above an arrangement of open shelves, bears maker’s label to rear HEAL & SON LTD. 153cm wide, 112cm high, 25cm deep

£350-450

463 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

£300-400 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Decorative Arts: Design since 1860 123

464 JOHN MONCRIEFF LTD., PERTH ’MONART’ CLOISONNÉ PATTERN VASE, CIRCA 1930 of baluster form 20cm high

£400-600

465 JOHN MONCRIEFF LTD., PERTH RARE ‘MONART’ GLASS VASE, CIRCA 1930 of squat shouldered form, opaque glass with green spiral and speckled blue decoration 21cm high

£500-800

466 HEAL & SON LTD., LONDON ARTS & CRAFTS OAK BOOKCASE CABINET, CIRCA 1930 of arched form with single astragal glazed door enclosing three shelves, over single door, bears maker’s mark HEALS/ TOTTENHAM COURT ROAD/ LONDON/ W.1 46cm wide, 179cm high, 31cm deep

£700-900

467 CHARLES A. RICHTER (1876–1945) FOR BATH CABINET MAKERS LTD. ART DECO WALNUT AND COROMANDEL WOOD CHEST, DATED 1928 the front with incised decoration, comprising three short drawers above six graduated drawers raised on a plinth, bears maker’s label and marks to inside of drawer BCM/ 1928/ C.A. RICHTER, stamped serial numbers to rear 19826/ 9769/ 2 91cm wide, 140cm high, 56cm deep

£1,200-1,800

124 Lyon & Turnbull

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Decorative Arts: Design since 1860 125

468 ROBERT MCGOWAN (ACTIVE 1950’S) FOR EDINBURGH WEAVERS TWO ‘SARABAND’ PANELS, DESIGNED 1956 screen printed cotton, with EW monogram to the borders (2) each panel 39cm x 120cm, unframed

£150-250

469 RICHARD (DICK) DREW RUSSELL (1903-1981) FOR GORDON RUSSELL LTD. SET OF SIX ‘COVENTRY CATHEDRAL’ OAK STACKING CHAIRS, CIRCA 1960 each with broad back rails on dished seats and rectangular legs (6) 54cm wide, 72cm high, 38cm deep Note: Coventry Cathedral (also called St Michael’s Cathedral) was lost on 14 November 1940 in a World War Two bombing raid. A new cathedral designed by Basil Spence was commissioned in 1950, built on an adjacent site and consecrated on 25 May 1962. Among the many art and design commissions within the new cathedral were a tapestry by Graham Sutherland – which is still the largest in the world – sculpture by Jacob Epstein and chairs designed by Russell.

£400-600 Illustrated left:

470 MID-20TH CENTURY SCHOOL PAIR OF HARLEQUIN DESIGN CURTAINS, CIRCA 1948-60 screen-printed cotton (2) each 240cm x 112cm

£200-400

471Y ROBERT HERITAGE (B. 1927) FOR ARCHIE SHINE (MAKER) AND HEAL & SONS (RETAILER) ROSEWOOD DINING SUITE, CIRCA 1970 comprising a DINING TABLE, with circular top and four drawers raised on a pedestal, 142.5cm diameter, 72cm high; a SIDEBOARD; and a SET OF EIGHT DINING CHAIRS, each with upholstered back and seat, raised on turned legs, 48cm wide, 86cm high, 40cm deep (10) £300-500 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

126 Lyon & Turnbull

472 HANS WEGNER (1914-2007) FOR JOHANNES HANSEN SIX OAK FRAMED JH-713 CHAIRS, DESIGNED 1960 with black leather upholstery, bears maker’s labels (6) 66cm wide, 91cm high, 46cm deep Provenance: The Estate of Bernat Klein

£1,500-2,000

473 [§] NORMAN HARTNELL (1901-1979) GROUP OF ROYAL FASHION DESIGNS, CIRCA 1960 H.M. THE QUEEN/ NO. 6, signed and inscribed, 42cm x 30cm; NO. 9, signed and inscribed; and NO. 4, signed, both 34cm x 23cm; H.R.H. THE PRINCESS MARGARET/ SKETCH NO. 3, signed and inscribed; and NO. 8, signed, both 34cm x 24cm (5) £300-500

474 JOHN AND SYLVIA REID FOR STAG FURNITURE MODEL S201 TEAK SIDEBOARD, 1960’S with two doors and four graduated drawers, steel handles and legs, bears maker’s label 137cm wide, 70cm high, 48cm deep

£400-600

475

476

477Y

478

JOHN AND SYLVIA REID FOR STAG FURNITURE

ENGLISH SCHOOL

MODEL S201 TEAK SIDEBOARD, 1960’S with two doors and four graduated drawers, steel handles and legs, bears maker’s label 137cm wide, 70cm high, 48cm deep

MODEL S211 TEAK DINING TABLE, 1960’S with steel legs, one additional leaf, bears maker’s marks, 141cm long, 70cm high, 91cm deep; and MODEL S220 TEAK WALL SHELVES, 91.5cm wide, 122cm high, 24.5cm deep (2)

ROBERT HERITAGE (B. 1927) FOR ARCHIE SHINE (MAKER) AND HEAL & SONS (RETAILER)

£400-600

£300-500

ROSEWOOD SIDEBOARD, CIRCA 1970 with four drawers and two sliding doors, raised on square tapered legs, bears retailer’s label 213cm wide, 76cm high, 46cm deep

£300-400

FOUR DINING CHAIRS, 1960’S chromium plated steel and white vinyl upholstery (4) 47cm wide, 74cm high, 38cm deep

£300-500

Decorative Arts: Design since 1860 127

479Y RICHARD YOUNG (B. 1930) FOR MERROW ASSOCIATES SANTOS ROSEWOOD AND CHROMIUM PLATED COFFEE TABLE, CIRCA 1970 the square glass top with plated frame and rosewood platform stretcher 86cm wide, 38cm high, 84cm deep

£400-600

480Y RICHARD YOUNG (B. 1930) FOR MERROW ASSOCIATES ROSEWOOD AND CHROMIUM PLATED DINING SUITE, CIRCA 1970 comprising an EXTENDING DINING TABLE, with single additional leaf, 210cm long extended, 73cm high, 90cm deep; a SET OF 8 DINING CHAIRS, each with upholstered back and seat, 46cm wide, 73cm high, 42cm deep; and a SIDEBOARD, with two sliding doors, 183cm wide, 72cm high, 48cm deep (10) £1,500-2,500

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

£200-300 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

128 Lyon & Turnbull

482 ROYAL DOULTON TWO FLAMBÉ VEINED OVIFORM VASES, MID-20TH CENTURY one with tall neck, each with printed maker’s marks and serial numbers 1616, 23cm high; and 1618, 24cm high (2) £300-500

483 [§] VICKI WOOD (1943-2010) WOODEN AUTOMATON, CIRCA 1985 depicting the Bayeux Tapestry 40cm high

£150-250

484 INGER KLINGENBERG (1932-1997) FOR FRANCE & SON, DENMARK TEAK EXTENDING DINING TABLE, CIRCA 1960 the rounded top with two additional leaves, raised on rectangular section legs, bears maker’s label, 180cm long extended, 70cm high, 119cm deep; and a SET OF SIX ‘FONESCA’ TEAK DINING CHAIRS DESIGNED BY JOHN HERBERT FOR A. YOUNGER LTD., each with stylised bar backs above upholstered seat on square tapered legs, 52cm wide, 88cm high, 42cm deep (7) £400-600

485

486

487

487A

JOHN PIPER (1903-1992)

[§] VINCENT BUTLER (B. 1933)

ARNOLD MACHIN (19111999) FOR WEDGWOOD

FRANK POWER (20TH CENTURY)

NUDE FIGURE bronze, raised on an onyx plinth, signed and dated in the bronze VINCENT BUTLER/ 1982

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

68.5cm x 46cm

29.5cm high (with plinth)

40cm long

£200-300

£100-200

EXHIBITION POSTER, 1965 Baukunst, Koln, 25 Sept.-20 Nov. 1965, signed to lower right section with inscription TO JACQUES DUPONT WITH ALL THANKS FROM JOHN PIPER

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

COPPER PANEL, DATED 1979 depicting an exotic bird, signed, initialled and dated verso FRANK POWER/ 1979 56cm x 116cm

£300-500

Decorative Arts: Design since 1860 129

488 DAVID MELLOR (1930-2009) FOR WALKER & HALL MATCHED FOUR-PIECE SILVER ‘PRIDE’ TEA SERVICE, SHEFFIELD 1959 comprising a TEAPOT & COVER, 14cm high; a HOT WATER POT & COVER, 16.5cm high; a SUGAR BOWL, 6.5cm high, each hallmarked Sheffield 1959; and a MILK JUG, 7cm high, hallmarked Sheffield 1960, 74oz (4) For another tea service see John Andrews, Derek Styles, Designer British Silver, p. 345 and illus. £800-1,000

489 SVEND MADSEN (B. 1939) FOR MOREDDI SET OF EIGHT STAINED WALNUT DINING CHAIRS, 1960’S each with angled slatted back and leather seats raised on turned legs, includes two carvers, bears branded maker’s marks MADE IN DENMARK/ DESIGNED BY SVEND A. MADSEN (8) side chairs 48cm wide, 91cm high, 55cm deep

£500-700

490Y MANNER OF ARNE VODDER FINE DANISH ROSEWOOD SIDEBOARD, CIRCA 1960 with three graduated drawers flanked to each side by cupboards with push release doors, raised on square tapering legs 206cm wide, 75cm high, 45cm deep

£1,500-2,000

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491 HADELAND GLASSVERK, NORWAY TWO GLASS VESSELS, 20TH CENTURY comprising a white opaque cylindrical bowl with a removable green glass liner, unmarked, 22.5cm diameter.; and a ribbed glass bowl and cover, with a crownform finial, etched maker’s marks, dated 1976 and numbered 6/500, 30cm high (2) £200-300

492 FRATELLI TOSO 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, 42cm high; together with a ‘ZEBRATI’ PATTERN GLASS DISH, 1930’S, of shallow circular form with a ribbed well, decorated with a purple spiral with gilt inclusions, with a paper maker’s label, 39cm diameter (2) £300-400

493 TAPIO WIRKKALA (FINNISH 1915-1985) FOR IITTALA SIX ENGRAVED GLASS VESSELS, CIRCA 1960 various inscribed maker’s marks, comprising a FOOTED BOWL, 15.5cm high; a small flower-form VASE, 13cm high; a leaf-form BOWL, 13.5cm long; a large slender VASE, 25.5cm high; a smaller slender VASE, 17.5cm high; and a small rounded VASE, 11cm high (6) £300-500

494

495

496

RICHARD YOUNG (B. 1930) FOR MERROW ASSOCIATES

TOULEMONDE BOCHART, FRANCE

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

WOOL CARPET, CONTEMPORARY woven with a design of stylised running horses reserved on a buff ground

GROUP OF MACHINE EMBROIDERED APPLIQUÉ PANELS, CIRCA 1970 ’FLOWER FESTIVAL’, 52.5cm x 32.5cm; ‘UNDERPASS’, 29.5cm x 24.5; UNTITLED, 20cm x 29.5cm, each with embroidered signature JOY CLUCAS; and a mounted print (4)

GLASS AND CHROME DINING TABLE, CIRCA 1970 with rectangular glass top and concave frame 168cm wide, 70cm high, 82cm deep

£250-400

265cm x 185cm

£200-300

Decorative Arts: Design since 1860 131

497 [§] LINE VAUTRIN (1913-1997) SILVERED BRONZE AND MOTHER-OF-PEARL SNUFF BOX, CIRCA 1940 the cover engraved with a stylised bird, with corklined interior, signed on the base LINE VAUTRIN 9cm wide, 2.2cm high, 6cm deep

£800-1,200

498 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

£300-500

499 CURTIS FREILER AND JERRY FELS ’CURTIS JERE’ WALL SCULPTURE, LATE 20TH CENTURY depicting boats in a harbour, steel 82cm x 112cm

£500-700

500

501

502

ATTRIBUTED TO GINO CENEDESE, MURANO

DAUM, FRANCE

HADELAND GLASSVERK, NORWAY

AQUARIUM GLASS LAMP BASE, CIRCA 1950 the clear glass slab depicting two goldfish amongst plants, with a thick twisted-glass base

GROUP OF FOUR CLEAR GLASS LAMP BASES, LATE 20TH CENTURY each of freeform style, etched maker’s marks DAUM/ FRANCE, with Cross of Lorraine mark (4)

THREE GLASS VESSELS, 20TH CENTURY each with etched maker’s marks, comprising a large powder blue bowl, with dark veins, 26cm diam.; an orange glass bowl, with yellow, green and blue inclusions, 15.5cm wide; and a small blue vase, with yellow, pink and brown inclusions, 10.5cm high (3)

15.5cm high (excluding fittings)

tallest 29cm high

£150-250

£200-300

£150-250

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

132 Lyon & Turnbull

503 REM KOOLHAAS (B. 1944) AND ELIA ZENGHELIS (B. 1937) ROOSEVELT ISLAND REDEVELOPMENT PROJECT, NEW YORK, 1975 (AXONOMETRIC) gouache and graphite on board 103.5cm x 84cm Literature: McQuaid, Matilda, ed., ‘Envisioning Architecture: Drawings from The Museum of Modern Art, New York’ by Terence Riley, The Museum of Modern Art, 2002, p. 172 Riley, Terence ed., ‘The Changing of the AvantGarde: Visionary Architectural Drawings from the Howard Gilman Collection, New York’ by Bevin Cline and Tina di Carlo, The Museum of Modern Art, 2002, p. 144.

£400-600

Note: The Roosevelt Island Redevelopment Project was a 1974 competition entry prepared by Rem Koolhaas and Elia Zenghelis, in response to a movement to redevelop Roosevelt Island, New York, the narrow strip of land in the East River between Manhattan and Queens. Four identical stepped blocks rise on the waterfront of the East River island. Between them run extensions of the city street grid bordered by low-rise “synthetic brownstones” made from glass, rock, plastic, marble, and aluminium with stoops and postmodern facades. Seven monumental towers echo the dimensions of the grid and are situated so as to maximize the views. Another example of this study is held is in MoMA, New York.

504Y JORGE ZALSZUPIN (B. 1922) FOR L’ATELIER ’GUANABARA’ ROSEWOOD DINING TABLE, CIRCA 1970 with curved rectangular top (reduced) raised on a leathercovered cast concrete base 178cm long, 75cm high, 125cm deep

£600-800

505

506

507

508

LINO SABATTINI (B. 1925) FOR CHRISTOFLE, FRANCE

AFTER CHARLES AND RAY EAMES

FRENCH SCHOOL

CURTIS FREILER AND JERRY FELS

’MERCURY’ SILVER PLATED TEA AND COFFEE SET, 1970’S comprising a COFFEE POT, 22cm high; a TEAPOT, 12.5cm high; a MILK JUG, 8cm high; and a SUGAR BOWL AND COVER, 10cm diameter, each with impressed maker’s marks (4)

PAIR OF EA208 SOFTPAD CHAIRS, DESIGNED 1969 each with black leather upholstery and with chromed frames (2) 84cm x 58cm

119cm long, 45cm high, 59cm deep

£200-300

£300-500

£200-300

BRASS-FRAMED COFFEE TABLE, 1970’S with glass top raised on turned legs with cross stretchers

’CURTIS JERE’ WALL SCULPTURE, LATE 20TH CENTURY depicting continuous loops, steel 54cm x 100cm

£200-300

Decorative Arts: Design since 1860 133

509 PHILIPPE STARCK (B. 1949) FOR FLOS, ITALY ’GUNS’ TABLE LAMP, DESIGNED 2005 die-cast aluminium, with polished 18K gold finish, and with black matte shade silkscreened in gold on the interior, with cast inscription to base HAPPINESS IS A HOT GUN 75cm high

£300-500

510 PHILIPPE STARCK (B. 1949) FOR FLOS, ITALY ’GUNS’ LOUNGE FLOOR LAMP, DESIGNED 2005 die-cast aluminium, with polished 18K gold finish, and with black matte shade silkscreened in gold on the interior, with cast inscription to base HAPPINESS IS A HOT GUN 145cm high

£400-600

511 PHILIPPE STARCK (B. 1949) FOR FLOS, ITALY PAIR OF ‘GUNS’ BEDSIDE LAMPS, DESIGNED 2005 die-cast aluminium, with polished 18K gold finish, and with black matte shades silkscreened in gold on the interior, with cast inscription to base HAPPINESS IS A HOT GUN (2) 29cm high

£200-300

512 PIERRE PAULIN (1927- 2009) ’OYSTER’ LOUNGE CHAIR, DESIGNED 1952 covered in a blue wool fabric with steel frame 90cm wide, 85cm high, 45cm deep

£300-500 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

134 Lyon & Turnbull

513 INGO MAURER (B. 1932) FOR INGO MAURER GMBH ’BIRDS BIRDS BIRDS’ CHANDELIER, DESIGNED 1992 metal, 24 low-voltage bulbs, goose-feather wings approx. 110cm high, 110cm diameter

£300-500

514 INGO MAURER (B. 1932) FOR INGO MAURER GMBH ’BIRDS BIRDS BIRDS’ CHANDELIER, DESIGNED 1992 metal, 24 low-voltage bulbs, goose-feather wings approx. 110cm high, 110cm diameter

£300-500

515 INGO MAURER (B. 1932) FOR INGO MAURER GMBH ’BIRDS BIRDS BIRDS’ CHANDELIER, DESIGNED 1992 metal, 24 low-voltage bulbs, goose-feather wings approx. 110cm high, 110cm diameter

£300-500

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Decorative Arts: Design since 1860 135

A NEW AUCTION OF MODERN DESIGN, ART & SCULPTURE, HIGHLIGHTING STUDIO & CONTEMPORARY CERAMICS

AU C T I O N M A RC H 2 0 1 9 @ T H E M A L L G A L L E R I E S , LO N D O N

To arrange a valuation nationwide, or for more information, please contact: PHILIP SMITH | philip.smith@lyonandturnbull.com 07741 247225 | 0207 930 9115

LONDON | 0207 930 9115 GLASGOW | 0141 333 1992 EDINBURGH | 0131 557 8844 www.lyonandturnbull.com

to the sale y consigned ad re al r u fo ne of -1995] | O ITISH 1902 R [B IE R IE LUC

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

136 Lyon & Turnbull

A RAISING OF THE SPIRITS INAUGURAL WHISKY & SPIRITS AUCTION 5TH DECEMBER 2018

Demand for high quality aged whisky is far outstripping supply, and record auction prices are being paid for both bottles and casks. For example, the iconic Bowmore Black first edition, released in 1993 for £80, is today valued at £20,000. It is not just rare editions that have seen significant rises. Many bottles sitting at the back of the drinks cabinet are now highly sought after - Macallan 12 year old from the 1990s is now worth over £300 per bottle and £50,000-250,000 per cask. We are proud to announce the formation of our new specialist Whisky department in order to provide our clients both opportunities to acquire fine and rare whiskies and to realise the value of their collections in buoyant market conditions. Our consultant specialists, Colin Fraser and Adam Irvine, have extensive experience, offering current market advice, valuations and auction opportunities for both bottles and casks across the UK. To arrange a valuation of any works you are considering selling, please contact Colin Fraser by email at colin.fraser@lyonandturnbull.com or calling 0131 557 8844.

THE MACALLAN 1971 30 YEAR OLD Matured in sherry cask number 7556, non-chill filtered, with oak presentation box 75cl | 55.9% | £10,000-15,000 + fees Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Decorative Arts: Design since 1860 137

EXHIBITION IN LONDON 28 NOVEMBER - 11 DECEMBER 22 CONNAUGHT STREET W2 2AF This exhibition, contrasting diverse works from the Post-War years onwards, will demonstrate the diversity and quality of the sculptural form both within its normal tenets of abstract and figuration; metal, wood or stone, but also outside the normally conceived sphere of what is considered sculpture, including ceramics. The nature of the work shown will be those examining, challenging and expounding on the qualities of their chosen material and concerned with its shape, colour and surface showing how artists within these mediums helped shape art that was truly significant. Philip Smith, Curator & Specialist

Artists featured include Lynn Chadwick, Henry Moore, Elizabeth Frink, Paul Mount, Halima Cassell, Lucie Rie, John Ward & Wendy Ramshaw (detail illustrated).

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

138 Lyon & Turnbull

SELECT JEWELLERY & WATCHES INC LU D I N G A P R I VAT E C O L L E C T I ON OF EXCEP T I ON A L D I A M ON D JEW EL L ER Y AU CT I O N 2 1 N OV E MBE R IN LO N DO N

IMPRESSIVE DIAMOND SOLITAIRE PENDANT & RING BY DE BEERS Each estimated at £170,000-250, 000

For more inforamtion please contact Kate Flitcroft +44 (0) 207 930 9115 kate.flitcroft@lyonandturnbull.com Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Decorative Arts: Design since 1860 139

FURNITURE, WORKS OF ART & PAINTINGS FROM 1600

AUCTION 14 NOV EDINBURGH Lyon & Turnbull’s new series of auctions will span all disciplines and include fine quality paintings, furniture and works of art. The sale will also encompass specialist collecting areas such as clocks, bronzes, ceramics & glass since 1600 Including your paintings and works of art in the ‘Five Centuries’ sale will ensure they are presented together in an elegant aesthetic, to a wide range of enthusiastic and discerning collectors.

Please contact Lyon & Turnbull’s experienced team of specialists who will be delighted to discuss valuation and consignment opportunities. Douglas Girton (works of art) +44 (0) 131 557 8844 douglas.girton@lyonandturnbull.com Nick Curnow (paintings) +44 (0) 131 557 8844 nick.curnow@lyonandturnbull.com Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

140 Lyon & Turnbull

Conditions of Sale CONDITIONS OF SALE FOR BUYERS (UK) 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 and 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; “High Cumulative Value of Lot” means several lots with a total lower estimate value of £30,000 or above; “High Value Lot” means a lot with a lower estimate of £30,000 or above; “Lot” means each Item offered for sale by Lyon and 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 and Turnbull Ltd, The singular includes the plural and vice versa as appropriate. 2. AGENCY We act as agent solely for and in the interests of the Seller. We do not act for Buyers in this role and do not give advice to Buyers. When we 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. B IDDING 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 us, 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 we have 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 us dependant on circumstances, by way of bank transfer or credit card(s) acceptable to us. Please note that we do not accept payment from third parties and this also applies to agents. If you are not successful in any bid and do not owe us any debt, the deposit will be refunded to you by way of wire transfer or such other methods as determined by us. 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. We have the right to change the High Value Lot pre-registration procedures and requirements from time to time without notice. (c) The maker of the highest bid accepted by the Auctioneer conducting the sale shall be the Buyer and any dispute shall be settled at the Auctioneer’s absolute discretion. (d) Our right to bid on behalf of Sellers is expressly reserved up to the amount of any reserve. (e) The right to refuse any bid is also reserved. (f) Commission Bids: While prospective Buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we shall, if so instructed, clearly and in writing execute bids on their behalf. Neither the Auctioneer nor our employees nor agents shall be responsible for any failure to do so. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made. (g) Telephone Bids: If a prospective Buyer makes arrangements with us prior to the commencement of the sale we will use reasonable efforts to contact them to enable them to participate in bidding by telephone. We do not accept liability for failure

to do so or for errors and omissions in connections. (h) Online Bidding: We will use reasonable efforts to carry out online bids and do not accept liability for equipment failure, inability to access the internet or software malfunctions related to execution of online bids/ live bidding. 4. INCREMENTS Bidding increments shall be at the Auctioneer’s sole discretion. 5. THE PURCHASE PRICE For each lot purchased a Buyer’s Premium of 25% 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 may be subject to an additional premium (level dependent on the live bidding service provider chosen). This additional premium is subject to VAT at the appropriate rate as above. 6. RESERVES Unless indicated by a insert symbol (∆ ), all lots in this catalogue are offered subject to a reserve. A reserve is the confidential hammer price established between us and the seller. The reserve is generally set at a percentage of the low estimate and will not exceed the low estimate for the lot. 7. VALUE ADDED TAX Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by Buyers of relevant lots. (1) Lots affixed with (†): Value Added Tax on the hammer price is imposed by law on all items affixed with a dagger (†). This imposition of VAT maybe because the Seller is registered for VAT within the European Union and is not operating under a Margin Scheme. (2) Lots affixed with (*): A reduced rate of Value Added Tax on the hammer price of 5% is payable. This indicates that a lot has been imported from outwith the European Union. This reduced rate is applicable to Antique items. (3) Lots affixed with [Ω]: Standard rate of Value Added Tax on the hammer price and premium is payable. This applies to items that have been imported from outwith the European Union and do not fall within the reduced rate category outlined above. 8. 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. 9. 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. 10. T ITLE AND COLLECTION OF PURCHASES (1) The ownership of any lots purchased shall not pass to you until you have made payment in full to us of the total amount due. (2) You shall at your own risk and expense take away any lots that you have purchased and paid for not later than 7 working days following the day of the auction or upon the clearance of any cheque used for payment whichever is later. We can provide you with a list of shippers. However, we will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us. (3) No purchase can be claimed or removed until it has been paid for. (4) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for lots not collected by the appropriate time. (5) Export of goods: Buyers intending to export goods should ascertain (a) whether an export licence is required and (b) whether there is any specific prohibition on importing goods of that character, e.g. items that may contain prohibited materials such as ivory or rhino horn. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale not any delay in making full payment for the lot.

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11. 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. 12. 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 endeavour 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 us 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 us and the Buyer. The condition reports do not affect the Buyer’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. We 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.

We 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. 13. 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, we make 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 we 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. 14. CITES Please be aware that all lots marked with the symbol Y may be subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http:// www.defra.gov.uk/ahvla-en/importsexports/cites We accept no liability for any lots which may be subject to CITES but have not be identified as such. 15. 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) We undertake 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. 16. 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. 17. 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 us 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 us 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. 18. AUTHENTICITY GUARANTEE We guarantee 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 saleroom notes or announcements. We make 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 and 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

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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 our 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 us 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 our 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. We have discretion to waive any of the above requirements. We 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 us and the original purchaser of the lot. We 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 and 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.

19. DATA PROTECTION In connection with the management and operation of our business and the marketing and supply of our 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). We will not give out personal information except as may be required by law. If you would like further information on our policies on personal data, or to make corrections to your information, please contact us on 0131 557 8844. 20. FORCE MAJEURE We 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. 21. 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.

CONDITIONS OF SALE FOR SELLERS (UK) 1. DEFINITIONS In these Conditions of Sale (Sellers): “Auctioneer” means Lyon and 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 and Turnbull and the Seller; “Lot” means each Item offered for sale by Lyon and Turnbull;

“Lower Estimate” means the low estimate provided by Lyon and Turnbull to the Seller in relation to each Item, or in relation to any Item which Lyon and Turnbull holds on behalf of the Seller; “Lyon and Turnbull” means the company which has its registered office at 33 Broughton Place, Edinburgh, EHI 3RR registered in Scotland No. 191166 “Net Sale Proceeds” are the Hammer Price, less commissions and other charges, of the Lot sold, to the extent received by Lyon and 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 and Turnbull to the Seller in relation to each Item, or in relation to any Item which Lyon and 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 and Turnbull Ltd The singular includes the plural and vice versa as appropriate. 2. W ARRANTY OF TITLE AND AVAILABILITY The Seller warrants:(a) that you are the true owner of the property consigned or are properly authorised by the true owner to consign it for sale and are able to transfer good and marketable title to the property free from any third party claims. (b) that all requirements have been complied with, legal or otherwise, relating to any export or import of the property consigned, all duties and taxes in respect of the export or import of the lot have (unless agreed in writing with us) been paid and, so far as you and any principal for whom they are acting in relation to the lot are aware, all third parties have complied with such requirements in the past. (c) that you have provided us with any and all information concerning the item’s provenance or any concerns expressed by third parties concerning its ownership, condition, authenticity, attribution, and export or import

history; and (d) Unless the Seller advises us in writing to the contrary on delivery of the item to us, there are no restrictions on our 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. If any of (a) (b) (c) and (d) above are incorrect, you will reimburse us and/or the Buyer in full for all claims, costs or expenses incurred by us or the Buyer as a result, whether arising in relation to the Lots or the sale proceeds. 3. PREPARATION FOR SALE (a) We 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) We 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 us 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 our absolute discretion be revised at any time. (d) The Seller acknowledges that attribution of Items is a matter of opinion and not of fact, and is dependent upon (amongst other things) information provided by the Seller, the condition of the property, the degree of research, examination or testing that is possible or practical in the circumstances, and the status of generally accepted expert opinion at the time of cataloguing. 4. TERMS OF SALE The Seller acknowledges that lots are sold subject to these Conditions and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot. 5. S TANDARD 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 settlement. (3) Illustrations: The cost of any illustrations will be borne by the

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Seller , unless agreed otherwise prior. The copyright in respect of such illustrations shall be the property of us, as is the text of the catalogue. (4) Storage: Of the Lots after the sale, where applicable. 6. RESERVES (a) The lots will be sold subject to the Reserve. If the Reserve is not mutually agreed between us and confirmed by you in writing before the sale, the Reserve will be fixed by us in our sole discretion on the basis of our reasonable opinion as to the probable level of bids for the lot. (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, We may treat the Seller as bound as Seller and as Buyer but without the benefit of our Authenticity Guarantee or the reserve, and/or pursue other remedies. 7. LOSS & DAMAGE WARRANTY (a) Subject to condition 7(c) below we will assume liability for loss or damage to an item, commencing at the time that item is taken into physical control and possession by us 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 us for items still in the possession of us but not consigned for sale (unless part of a long-term storage agreement). (b) We 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, our 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 any or all of the lots are unsold and are not re-consigned to us for sale, or are not included in a sale, or are withdrawn from sale for any reason, they must be collected from us within one month. After the date of the sale, or one month after we send you a notice requiring you to collect them (whichever occurs first). If any such lots remain uncollected at the end of such period we shall arrange storage at your expense, which may involve a third party. If such lots are not collected within 90 days after the date of the sale or the date of notice they may be disposed of as we see fit, which may involve their sale by public

auction on such terms as we consider appropriate, including those relating to estimates and reserved, we shall account to you for the proceeds of sale, deducting all amounts due to us. (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) We may withdraw a lot from the proposed sale without any liability if: (i) We reasonably believes that there is any doubt as to the lot’s authenticity, attribution, or provenance; 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 we took delivery of it. (d) if an item is withdrawn from sale under Condition 9(c) (i), or (iv), the Seller shall not be charged a withdrawal fee and the item shall be returned to the Seller or dealt with pursuant to Clause 8, as the Seller decides. 10. AUTHORITY TO DEDUCT COMMISSION AND EXPENSES AND RETAIN PREMIUM AND INTEREST The Seller authorises us to deduct commission at the stated rate, and all expenses incurred for your account from the hammer price, and consents to our right to retain beneficially the premium paid by the Buyer in accordance with these Conditions of Sale and any interest earned on the sale proceeds until the date of settlement. 11. NON-PAYMENT BY THE BUYER (a) We 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) We, 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. We 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 we will provide the Seller with such assistance as may be reasonably necessary to pursue that action. (d) The Seller hereby agrees to inform us 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. (c) We undertake to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids. (d) For the purposes of a private treaty sale, if a lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale. 14. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly, neither the Auctioneer nor our employees or agents shall incur liability for death or personal injury or similarly for the safety of the property of persons visiting prior to, during or after a sale. 15. GENERAL (a) We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. (b) Any notice to any Buyer, Seller, bidder or viewer may be given by email, or if not available then first class mail, in which case it shall be deemed to have been received by the addressee 48 hours after posting. (c) Notices to us 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, but are binding on the seller’s successor and representatives. No act, omission or delay by us 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 We may rescind the sale where it reasonably believes that the lot falls within the terms as defined by our Authenticity Guarantee (see Buyer’s conditions), in this event we shall send the Seller notice of such rescission. The Seller agrees to return to us the Net Sale Proceeds received from the sale of such lot with any additional expenses incurred by us. We will return the property to the Seller upon receipt of the Net Sale Proceeds and Expenses, unless prevented in doing so by reasons outwith our control. The Buyer must satisfy us that the Buyer is entitled to exercise a remedy under the authenticity guarantee within five years of the date of the auction. 17. AGENCY Lyon and 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 we make a statement about a lot it is doing so on behalf of the Seller of the lot. The Auctioneer normally acts as agent only and disclaims any responsibility for default by Sellers or Buyers. 18. DATA PROTECTION In connection with the management and operation of our business and the marketing and supply of our 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). We will not give out personal information except as may be required by law. If you would like further information on Lyon and Turnbull policies on personal data, or to make corrections to your information, please contact us on 0131 557 8844. 19. LAW AND JURISDICTION (a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law (b) Jurisdiction: The Seller agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply. 18.5

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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

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:

BIDDING At the Sale Registered bidders will be assigned a bidder number and given a paddle for use at the sale. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. To place your bid, simply raise your paddle until the auctioneer acknowledges you. Please ensure that the auctioneer repeats your bidder number correctly when confirming the sale. If there is any doubt at this stage as to the hammer price or buyer it must be brought to the auctioneer’s attention immediately. All lots will be invoiced to the name and address given on your registration form, which is non-transferable.

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. 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 provided entirely at the bidder’s risk. On the internet A fully-illustrated catalogue is available on our website. Registered bidders may leave absentee bids through the website and will receive email confirmation of their bid. Live online bidding 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). You will find a link to this service in any email invoice issued or you can visit the payments section of our website. Cheque Cheques should be made payable to Lyon and Turnbull Ltd. We reserve the right to wait until cheques have been cleared by our bankers before releasing bought goods. Cheques can be cleared prior to sale on request. Cheques drawn by third parties cannot be accepted. If paying by post please include the slip from your invoice. Cash Cash payments can be made at the accounts desk during or after a sale. Cash payments are limited to £5,000.

Decorative Arts: Design since 1860 145

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

146 Lyon & Turnbull

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

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

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

22 Connaught Street, London W2 2AF Tel. +44 (0)207 930 9115