Decorative Arts: Design since 1860 | Auction 1st April by Lyon & Turnbull

DECORATIVE ARTS: DESIGN SINCE 1860 1ST APRIL 2020 EDINBURGH

DECORATIVE ARTS: DESIGN SINCE 1860 WEDNESDAY 01 APRIL 2020 AT 10AM Sale Number LT593

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VIEWING Sunday, 29th March 12 noon - 4pm Monday, 30th March 10am - 5pm Tuesday, 31st March 10am - 5pm Morning of sale from 9am

Front Cover Lot 43 [detail]

Inside Front Cover Lot 120 [detail]

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1 ENGLISH SCHOOL GOTHIC REVIVAL PAINTED GILTWOOD DRESSING MIRROR, CIRCA 1860 the oval mirror plate in a gilt wood frame depicting repeating circles and Gothic tracery, raised on a corresponding serpentine base with marble top 73cm high

£400-600

ENGLISH SCHOOL GOTHIC REVIVAL BRASS-MOUNTED OAK DESK STAND, CIRCA 1890 the central covered compartment with enamelled decoration, flanked by removable ink bottles and raised on a stand with fretwork mounts 28cm wide, 18cm high, 20cm deep

£200-300

3 ENGLISH SCHOOL GROUP OF FOUR OF GOTHIC REVIVAL BRASS AND JEWELLED CANDLESTICKS, CIRCA 1880 to include a PAIR OF CANDLESTICKS, each with a barleytwist stem supporting a pierced sconce above an incised knop set with clear glass cabochons, all raised on a conical base incised with stylised foliate bands; 29.5cm high; and another PAIR OF CANDLESTICKS, of corresponding decoration, 23.5cm high (4) £300-500

4 A. W. N. PUGIN (1812-1852) FOR MINTON & CO. GROUP OF GOTHIC REVIVAL ‘NEW STONE’ CHINA WARES, CIRCA 1850 to include a FOOTBATH, with transfer printed band of stylised foliate motifs, impressed marks BB/ NEW STONE, 48cm wide; and a LARGE ASHET, 48.5cm wide; a LARGE SERVING DISH, 38cm diameter; a SMALLER SERVING DISH, 23cm diameter; and a TAZZA, 30cm diameter, all of similar decoration, variously marked (5) £300-500

Literature: See Atterbury, P. and Wainwright, C. Pugin: A Gothic Passion, page 152, plate 287 for Pugin ceramics of a similar design

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

5Y PRATT & PRINCE, BRADFORD GOTHIC REVIVAL INLAID WALNUT AND COROMANDEL WARDROBE, CIRCA 1880 decorated with ivory-inlaid ebony banding, with fleur-de-lis carved cresting and later-carved finials, above a central mirrored door, flanked by tongue-and-groove panelling, enclosing a fitted interior 196cm wide, 233cm high, 56cm deep

£500-800

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

6 ENGLISH SCHOOL GOTHIC REVIVAL BRASS TABLE LIGHT, CIRCA 1880 of square section with pointed leafy finials, enclosing four glass panels, linked by brass panels cast with stylised Gothic motifs, wired for electricity 21cm square, 55.5cm high

£300-500

7 J. W. BENSON, LUDGATE HILL ENGLISH GOTHIC REVIVAL OAK BRACKET CLOCK, CIRCA 1880 with circular steel dial, the twin fusée movement within elaborate carved case, inscribed to the dial J.W. BENSON/ 62&64 LUDGATE HILL/ BY SPECIAL WARRANT TO THE QUEEN, 36cm wide, 72cm high, 28cm deep; with matching bracket, 38cm wide, 20cm high, 33cm deep (2) £600-800

8 FRENCH SCHOOL LARGE GOTHIC REVIVAL UPHOLSTERED MAHOGANY ARMCHAIR, CIRCA 1870 with curved back and padded arms, the frame deeply carved with scrolling foliage to the sides, flanking the mythical beast arm terminals terminating in fish-form tails, raised on front castors, with period olive green velvet upholstery 84cm wide, 120cm high, 65cm deep Provenance: An Eye for Design: The Collection of Paul Reeves, Lyon & Turnbull, February 2019

£1,000-1,500

9 ENGLISH SCHOOL GOTHIC REVIVAL CARVED OAK BIJOUTERIE TABLE, CIRCA 1900 the hinged and glazed lid enclosing a velvet-lined interior with glazed sides, raised on square tapering legs with trefoil brackets 114.5cm wide, 76.5cm high, 61cm deep

£300-500

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

10 ENGLISH SCHOOL GOTHIC REVIVAL BRASS, COPPER AND PATINATED WROUGHT IRON CHANDELIER, CIRCA 1880 the pierced corona supporting three curved branches with later iridescent glass shades, the central knopped column with scrolling bracket supports 89cm high, 64cm diameter

£500-800

11 ENGLISH SCHOOL GOTHIC REVIVAL WALNUT WALL SHELF, CIRCA 1880 the single shelf above two further adjustable shelves, above two panelled cupboards with brass mounts cast with scroll motifs 79cm wide, 144 high, 21cm deep

£500-800

12 ENGLISH SCHOOL GOTHIC REVIVAL OAK DISPLAY CABINET ON STAND, CIRCA 1890

ENGLISH SCHOOL

with castellated frieze above glazed door, on related stand with chamfered legs

GOTHIC REVIVAL CAST BRASS MANTEL CLOCK, MID-19TH CENTURY

63cm wide, 183.5cm high, 36cm deep

the silvered dial with single train movement within case cast with Gothic tracery

£300-500

40cm high

£150-250

A.W.N. PUGIN FOR JOHN HARDMAN & SONS

GOTHIC REVIVAL

PAIR OF GOTHIC REVIVAL BRASS DOOR PLATES, CIRCA 1880

LARGE GROUP OF GLAZED TILES, MID TO LATE 19TH CENTURY

each with central rosette flanked by pierced foliate decoration with stylised leafy terminals, 28cm long; and a GROUP OF TWENTY ARTS AND CRAFTS BRASS MOUNTS ATTRIBUTED TO A.W.N. PUGIN, all of pierced form, comprising 16 snowflake-form examples, with eight leaf and trefoil terminals centred by leaves, 21cm wide; and FOUR SHAPED EXAMPLES, surmounted by pointed leaves above symmetrical scrolled leaves, 22.5cm high; with traces of gilding and faint impressed number (22)

variously marked each tile 15.5cm square approx., together with a large group of MINTON & CO. tiles, decorated with fruiting vines on a black ground within beaded bands, stamped maker’s marks MINTONS/ CHINA WORKS/ STOKE ON TRENT, each tile 20.7cm square approx (qty)

£200-300

each tile 15.5cm square approx.

£300-500

16 ATTRIBUTED TO CHARLES BEVAN PAIR OF GOTHIC REVIVAL INLAID OAK CHAIRS, CIRCA 1870 each with dentil top rail and inlaid panel above a close-nailed upholstered seat on turned and blocked legs, with corresponding dentil seat rail ((2)) 41cm wide, 88.5cm high, 43cm deep

£200-300

17 ENGLISH SCHOOL GOTHIC REVIVAL TOLEWORK COAL BUCKET, CIRCA 1880 the barrelled body with raised bosses to each side 38.5cm wide, 38cm high

£200-300

18 CHARLES EASTLAKE (1793-1865) GOTHIC REVIVAL MAHOGANY CHEST OF DRAWERS, CIRCA 1870 the rectangular galleried top above two short over three long graduated drawers, each fitted with brass swing handles and horizontal mouldings and enclosed by leaf carved brackets 106.6cm wide, 105cm high, 60cm deep Provenance: Paul Reeves, London Literature: Eastlake, Charles L. Hints on Household Taste, Longmans, Green & Co., 1878, p 215 where a similar chest is illustrated. Cooper, Jeremy Victorian & Edwardian Furniture & Interiors, Thames & Hudson 1998, pp.108-9, pl. 240 Note: Eastlake was not a commercial designer and earned his living as Keeper of the National Gallery. Most of his designs were variants based on his published designs, as in the present example.

£800-1,200

19 A.W.N. PUGIN (1812-1852) FOR JOHN HARDMAN & CO., BIRMINGHAM GOTHIC REVIVAL SILVER GILT CIBORIUM, BIRMINGHAM 1857 chased and engraved with stylised foliage and fleur-de-lis, raised on a knopped stem with chased rosette roundels, shaped foot, stamped maker’s marks and hallmarks for Birmingham 1857 31.5cm high, weight: 969.7g approx Literature: Atterbury, Paul & Wainwright, Clive (edits.), Pugin: A Gothic Passion, New Haven and London 1994, p.104, pl.356 and p. 247 pl. 457 where this example is illustrated. Note: The present lot is similar to a ciborium procured by Bishop Robert William Willson from Hardmans through his friend A.W.N. Pugin. The purchase was part of a large consignment of church furnishings bought by Willson circa 1842 for his appointment to the new see of Hobart Town, Tasmania where, he was informed, “there was not a single thing for the use of a bishop”.

£1,500-2,000

20 ENGLISH SCHOOL LARGE GOTHIC REVIVAL POLYCHROME AND GILTWOOD ALTAR CANDLESTICK, EARLY 20TH CENTURY the brass sconce above circular drip tray, raised on a circular column painted in green, gilt and red, raised on a turned circular base 45cm diameter, 166cm high

£400-600

21 MANNER OF EUGÈNE EMMANUEL VIOLLET-LE-DUC GOTHIC REVIVAL GILT AND PATINATED IRON TABLE CASKET, LATE 19TH CENTURY decorated throughout with scrolling leaves with green and red painted flower heads, the pitched crested lid bearing monogram EBR, above the rectangular base, enclosing a padded plush interior, all raised on squat bun feet, with a key 37cm wide, 35.5cm high, 27cm deep

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

22 E. W. GODWIN (1833-1886) FOR DROMORE CASTLE, CO. LIMERICK OAK REFECTORY TABLE, CIRCA 1870 the reduced rectangular top above turned and block legs with turned pad feet, linked by stretchers 134cm wide, 72cm high, 83cm deep Provenance: Haslam & Whiteway, London Paul Reeves, London Literature: Soros, S. The Secular Furniture of E. W. Godwin, Yale1999, pp. 144145, 208,I and 208.II

£2,000-3,000

Note: A pair of tables was designed by Godwin for the Dining Room at Dromore along with sixteen wainscot chairs, two carvers and a buffet. As the furniture does not appear in the inventory of furniture from William Watt it is thought likely that they were made by Reuben Burkitt who made other furniture for this commission.

The original dimensions of the tables are unknown as this table was reduced in the 1950s and the whereabouts of the other table is unknown.

£200-300

MANNER OF DANIEL COTTIER PORTRAIT OF A LADY, CIRCA 1870 oil on board, within gilded ebony frame 24cm diameter

24 ENGLISH SCHOOL PAIR OF GOTHIC REVIVAL OAK BENCHES, CIRCA 1870 the rectangular seats raised on raised on turned and arched supports linked by stretchers (2)

244.5cm long, 48cm high, 29cm wide

ATTRIBUTED TO BRUCE J. TALBERT FOR TEMPLETON’S, GLASGOW

£300-500

CARPET RUNNER, CIRCA 1890 the blue ground with allover floral and foliate panels within guard bands 372cm x 136cm

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

26 BRUCE J. TALBERT (1838-1881) FOR COWLISHAW, NICHOL & CO. PAIR OF AESTHETIC MOVEMENT WOVEN SILK SATIN HANGINGS, CIRCA 1875 with a repeat pattern of birds within flowering foliage on a red ground, with cotton backing and later-applied braided edge (2) panel 230cm x 131cm Literature: Gere, Charlotte and Whiteway, Michael Nineteenth Century Design, London 1993, pp. 162-3 illus. See V&A T.10-1990 for an example with a brown satin ground Note: This design was exhibited at the Philadelphia Exhibition of 1876 and was illustrated by Talbert in Examples of Ancient & Modern Furniture, published in 1876.

£500-700

27 ATTRIBUTED TO BRUCE J. TALBERT FOR GILLOW & CO. VICTORIAN OAK ADJUSTABLE DESK CHAIR, CIRCA 1880 the tapered back with leaf carving and spindle gallery above rotating adjustable seat, with later leather upholstery, raised above gilded and moulded seat rail on turned blocked and incised legs, linked by stretchers 39cm wide, 84cm high, 43cm deep

£200-300

28 BRUCE J. TALBERT (18381881) FOR GILLOW & CO. AESTHETIC MOVEMENT WALNUT DOUBLE BED, CIRCA 1880 the headboard with spindle gallery and upholstered panel, the footboard with corresponding gallery and panel carved in relief with sunflowers 150m wide, 172.5cm high, 205cm long

£400-600

29 MANNER OF WILLIAM BURGES PAIR OF STAINED GLASS ROUNDELS, MID 19TH CENTURY each in the French 13th century style, both depicting scenes with David and Goliath, inscribed to the perimeter (2) 44cm diameter

£800-1,200

30 ATTRIBUTED TO A. W. N. PUGIN FOR JOHN HARDMAN & CO., BIRMINGHAM GOTHIC REVIVAL SILVER EWER, BIRMINGHAM 1861-2 of lobed baluster form, engraved with a central crest, on a spreading circular foot, indistinct maker’s marks, hallmarked Birmingham 1861-2, 27cm high; and a MARTIN HALL AND CO. GOTHIC REVIVAL PLATED EWER, the pointed hinged cover with leaf clasped finial, the body of lobed form, spreading base, 31.5cm high; together with a SET OF 10 GOTHIC REVIVAL SILVER TEASPOONS, by Jehoiada Alsop Rhodes, each with writhen handles and leafy trefoil finials, stamped maker’s mark, hallmarked Sheffield 1872, date lozenge mark, 12cm long (12) £400-600

A.W.N. PUGIN (1812-1852) FOR MINTON & CO.

ENGLISH SCHOOL

A.W.N. PUGIN (1812-1852)

SET OF SIX GOTHIC REVIVAL OAK DINING CHAIRS, CIRCA 1880

SET OF SIX GOTHIC REVIVAL OAK DINING CHAIRS, CIRCA 1850

the backs with chamfered top and mid rails above close-nailed plush upholstered seats on square legs (6)

each with chamfered decoration, the upholstered back and seat on square legs linked by stretchers, 47cm wide, 90cm high, 44cm de; and a PAIR OF GOTHIC REVIVAL OAK DINING CHAIRS, each with leather upholstery and raised on facetted turned and blocked legs, united by stretchers, 48cm wide, 92cm high, 48cm deep (8)

SQUARE FORM JARDINIÈRE AND STAND, CIRCA 1850 decorated with an interlaced panel on a magenta ground, impressed maker’s marks, 16cm wide, 18.5cm high; together with a STONEWARE JARDINIÈRE AND STAND IN THE MANNER OF DOULTON & CO., CIRCA 1880, decorated with a frieze of ornate stylised foliate designs, unmarked, 19cm wide, 22.5cm high (2)

45cm wide, 89.5cm high, 42.5cm deep

£400-600

£100-200 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

£300-500

34 ATTRIBUTED TO BRUCE J. TALBERT FOR TEMPLETON’S, GLASGOW AESTHETIC MOVEMENT WOVEN COTTON HANGING, CIRCA 1870 machine-woven cotton, with all-over repeating flowering foliate pattern within corresponding border 167cm x 143cm

£300-500

35 Y ATTRIBUTED TO H.W. BATLEY FOR JAMES SHOOLBRED & CO. AESTHETIC MOVEMENT ROSEWOOD DRAWING ROOM CABINET, CIRCA 1890 the arched pediment and spindle gallery top, above a glazed cupboard with single shelf flanked by open shelves with mirrored backs, above a corresponding base, raised on turned legs (with key) 117cm wide, 184cm high, 38cm deep

£800-1,200

36 ENGLISH SCHOOL AESTHETIC MOVEMENT SLATECASED MANTEL CLOCK, CIRCA 1880 the shaped case enclosing a circular dial with Roman numerals, set with painted panels depicting figural courtly scenes and set with brass mounts, with twin train movement 47cm wide, 44cm high, 16cm deep

£200-300

37 ENGLISH SCHOOL AESTHETIC MOVEMENT EBONISED SCULPTURE STAND, CIRCA 1890 the circular top incised and gilded with stylised foliate motifs, above three turned and angled legs, linked by spindle-filled stretchers, the whole raised on castors 42.5cm diameter, 95cm high

£300-400

38 LAMB, MANCHESTER AESTHETIC MOVEMENT CENTRE STOOL, CIRCA 1880 the upholstered top with woolwork panel, raised on an ebonised base with incised and gilded decoration, stamped under seat rail LAMB/ MANCHESTER/ 28756 86cm wide, 38cm high, 56.5cm deep

£300-500

39 MANNER OF E. W. GODWIN AESTHETIC MOVEMENT LADY’S AND GENTLEMAN’S EBONISED ARMCHAIRS, CIRCA 1880 comprising an ARMCHAIR, with upholstered back and seat, enclosing spindle-filled arms raised on turned legs, 63cm wide, 86cm high, 66cm deep; and a SIDE CHAIR, of corresponding design, 53cm wide, 88.5cm high, 63cm deep (2) £300-500

40 AFTER E. W. GODWIN AESTHETIC MOVEMENT EBONISED LOW CHAIR, CIRCA 1880 with lattice-back above later upholstered seat and ring-turned legs, raised on castors 48cm wide, 72cm high, 46.5cm deep

£150-250

41 F. & C. OSLER, LONDON & BIRMINGHAM AESTHETIC MOVEMENT HALL LANTERN, CIRCA 1880 the brass frame with central turned column, with four later fittings for light bulbs and cylindrical glass shade, comprising four panels, each etched with peacocks and other birds in a landscape 101cm high, 30cm diameter Provenance: Paul Reeves, London

£800-1,200

42 AESTHETIC MOVEMENT, MANNER OF WALTER CRANE INLAID SATINWOOD DRAWING ROOM CABINET, CIRCA 1890 the arched spindle-filled gallery above two adjustable open shelves, flanked by two canted shelves, with a mirrored back, above a single drawer and twin cupboard doors, with marquetry urn motifs, flanked by canted open shelves, raised on turned toupie feet 138cm wide, 196cm high, 42cm deep

£600-800

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

43 MINTON & CO. AESTHETIC MOVEMENT FRAMED TILE PANEL, CIRCA 1880 comprising three large tiles, depicting flowering and fruiting orange boughs, moulded maker’s marks for MINTON CHINA WORKS/ STOKE ON TRENT and with painted number and artist’s initials 1624/ LB 90cm x 29cm, each tile 12 inches approx

£400-600

44 H. W. BATLEY (1846-1932) FOR GILLOW & CO., LANCASTER AESTHETIC MOVEMENT MAHOGANY CORNER CABINET, CIRCA 1875 the upper section with fretwork, an arrangement of open shelves and a cupboard, the base with blind-fretwork drawer, stamped maker’s marks to the drawer GILLOW & CO./ LANCASTER/ L11046 87cm wide, 229cm high, 55cm deep Literature: Soros, Susan Weber Rediscovering H.W. Batley (1846-1932), British Aesthetic Movement Artist and Designer, Studies in the Decorative Arts, VI, no. 2 (Spring-Summer 1999), pp. 6-8

£600-800

Note: Soros states that what distinguishes Batley’s work from other art furniture by designers such as T.E. Collcut and E.W. Godwin is the dense effect of the sheer quantity of decorative devices he used, including tooled leather, turned spindles, applied and painted panels, carved details, and decorative mouldings, as in the present example. Batley trained under Bruce Talbert and designed in the Gothic Revival style in the 1860s, however although this cabinet demonstrates some Gothic origins, here Batley incorporates Japonesque Aesthetic details in an asymmetric composition.

45 ENGLISH SCHOOL AESTHETIC MOVEMENT OAK PARQUETRY OCCASIONAL TABLE, CIRCA 1880 the moulded circular top parquetry inlaid with specimen woods, above turned and blocked legs linked by a cross stretcher 58.5cm diameter, 72cm high

£500-700

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

46 ENGLISH SCHOOL AESTHETIC MOVEMENT BRASS FRAMED HALL LANTERN, CIRCA 1880 of cylindrical form, set with painted, stained, and leaded glass panels, each with roundels inscribed RUBENS, MICHAEL ANGELO, MOZART, and SHAKESPEARE 89cm high, 40cm diameter

£1,500-2,000

47 ENGLISH SCHOOL AESTHETIC MOVEMENT FRAMED TILE PANEL, DATED 1889 decorated on a Minton tile blank, depicting a Classical lady holding a flower, painted marks BROOKE 1889 lower right 49cm x 24cm

£400-600

48 ENGLISH SCHOOL, MANNER OF JAMES SHOOLBRED AND CO. PAIR OF AESTHETIC MOVEMENT MAHOGANY AND BRASS OCCASIONAL TABLES, CIRCA 1800 each with central looped carrying handles above the trefoil brass galleried platforms, raised on three brass legs terminating in ball feet, linked by a knopped triform stretcher, stamped initials to brass base (2) 45cm wide, 90cm high

£600-800

49 JOHN MOYR SMITH (1839-1912) AESTHETIC MOVEMENT FRAMED TILE PANEL, CIRCA 1890 comprising three tiles, each depicting female figures as GEOLOGY, MECHANICS and AGRICULTURE, signed MOYR SMITH, in an oak frame each tile 15cm square approx

£200-300

50 FREDERICK WALKER (1840-1875) GROUP OF ORIGINAL PEN & INK CARTOON SKETCHES to include DOING PARIS- THE LAST DAY, signed lower right with initials, 8cm x 13cm; THE HURLEY BIRD, unsigned, 8.5cm x 12cm; TOMORROW 1/2P.8P.M., 12cm x 9cm; ANDANTE & RONDO A LA POLKA, 11.5cm x 17cm; and KUHLAN/ PRATTEN, 13.5cm x 14cm (5) Provenance: John George Marks, the artist’s biographer Literature: Marks, John George Life and letters of Frederick Walker, A.R.A., London: Macmillan & Co, 1896, pp. 105; 76; 69; 60; 317 illus.

£300-500

51 52 MINTON’S CHINA WORKS GROUP OF FOUR AESTHETIC MOVEMENT TILES, CIRCA 1890 painted with various scenes, to include ACTIVITY; SLOTH; INDUSTRY and IDLENESS, each with painted monogram TA, impressed marks MINTON’S CHINA WORKS/ STOKE-ONTRENT (4)

BOMBAY SCHOOL OF ART FURNITURE AESTHETIC MOVEMENT HARDWOOD WALL CABINET, CIRCA 1880 the mirrored back with embossed leather panels and open shelves 83cm wide, 136cm high, 22cm deep

£200-300

20cm square

£300-400

53 GODFREY SYKES (1824-1866) FOR THOMAS BRADBURY & SONS, SHEFFIELD TOBACCO JAR AND COVER, CIRCA 1855 copper, electrotyped 23cm high Literature: For a similar example lacking its finial see Victoria & Albert Museum Collection, London, museum no. 4031&B-1858 Note: Geoffrey Sykes was first apprenticed to an engraver, James Bell, in Sheffield and attended Sheffield School of Art in 1843. Sykes was strongly influenced by Alfred Stevens, who from 1850 was chief designer for iron founders Hoole & Co. of Sheffield, and Sykes worked for a period under Stevens at Hoole & Co. for no pay. This tobacco jar was designed by Sykes during this period and shown at the Dublin 1853 exhibition. In 1859, Sykes moved to London and worked on the decoration of the new South Kensington Museum, now the V&A, under the architect Captain Fowke. The work employed a variety of media: terracotta, mosaic, bronze, majolica, stained glass, paint and iron.

£200-300

54 BENJAMIN CRESWICK (1853-1946) CAST BRONZED IRON PANEL, 1886 mid-brown patina, cast in high-relief depicting three children skipping below apple trees, signed in bronze B. CRESWICK/ 1886, framed 30.5cm x 26.5cm Note: Born in Sheffield, Benjamin Creswick began his career as a knife-grinder, before taking an early interest in sculpture through the encouragement of John Ruskin. In 1887 he modelled a terracotta frieze depicting the processes knife-grinding for the exterior of Cutlers’ Hall, before working with A. H. Mackmurdo on the Century Guild’s at the Inventions Exhibition in 1885. After settling in Birmingham in 1889, Creswick’s talents as a sculptor earned him the role of Master of Modelling and Modelled Design at Birmingham School of Art. Later in 1914, Creswick became Professor of Sculpture at the Royal Birmingham Society of Artists.

£300-500

55 MANNER OF E.W. GODWIN AESTHETIC MOVEMENT MAHOGANY SIDEBOARD, CIRCA 1890 the mirrored back with open shelf, above three short drawers, flanked by two panelled cupboards, with brass mounts, raised on square legs and linked by a lower tier 166.5cm wide, 150.5cm high, 58cm deep

£1,000-1,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

ENGLISH SCHOOL

DANIEL MACLISE (1806-1870)

AESTHETIC MOVEMENT OAK CASED MANTEL CLOCK, CIRCA 1880

FIGURES BATHING

in the form of a miniature long case clock, the twin train movement with silvered chapter ring, the case with cast brass panels in the manner of Christopher Dresser

£200-300

pen and ink and bodycolour, framed 7cm x 8.8cm

8cm wide, 51.5cm high, 14cm deep

£400-600

58 BURMANTOFTS POTTERY, LEEDS PAIR OF FAÏENCE VASES, CIRCA 1895 each with flowering foliate decoration, impressed and painted maker’s marks BF/ 2059/ ENGLAND/ COL. 164/ 10, 41.5cm high; and a PIERRE MALLET FAÏENCE WALL PLAQUE, moulded with a garden scene and covered in a puce glaze, moulded artist’s signature P. MALLET, impressed maker’s marks BURMANTOFTS FAIENCE/ 947/ N, 28cm diameter (3) £400-600

ALEXANDRE CHARPENTIER (1856–1909)

MANNER OF E. W. GODWIN

PLASTER PLAQUE, CIRCA 1890

AESTHETIC MOVEMENT MAHOGANY TUB CHAIR, CIRCA 1890

cast in low relief as a metalworker, with artist’s monogram, ALC, framed 14.5cm diameter; and a PRIZE MEDAL, designed by Sir Edward John Poynter, white metal, contained in a fitted case, marked to the cover in gilt PRINCE CONSORT PRIZE 1920 and presented to Frederick Lewis Taylor B.A. of St Johns College, the original design 1889, but has been used by various Universities as prizes with amendments made to the text, unmarked, 11cm diameter; together with an ELECTROTYPE ROUNDEL, by G. G. Adams after William Etty, depicting Cupid and Psyche, published by The Art Union of London 1872, framed, inscribed W. ETTY R.A./ G. G. ADAMS SC/ ART UNION OF LONDON 1872, 26cm diameter (3)

the curved arms and spindle-filled back above a later circular upholstered seat, raised on turned legs linked by stretchers

Note: Taylor received the medal for his work The Art of War in Italy, 1494-1529. This book examines changes in warfare between the medieval period and the renaissance and relates them to intellectual developments.

£200-300

55cm wide, 71cm high, 40cm deep

£300-500

MINTONS LTD.

MAW & CO., BROSELEY, SHROPSHIRE

MATCHED PAIR OF SECESSIONIST CANDLESTICKS, CIRCA 1900

FOUR AESTHETIC MOVEMENT FRAMED WALL TILES, CIRCA 1880

each with printed and impressed maker’s marks MINTONS LTD/ NO. 1 (2)

in green and ochre glazes, depicting impressed birds and shepherdess designs

10.5cm high

each tile 15.5cm square

£200-300

£300-500

63 CHRISTOPHER DRESSER (1834-1904) FOR THE COALBROOKDALE COMPANY CAST-IRON UMBRELLA STAND, CIRCA 1875 elaborately cast with stylised foliate motifs, with removable rectangular drip pan, indistinct cast lozenge mark and number verso 48cm wide, 81cm high, 17.5cm deep Literature: Cooper, Jeremy Victorian & Edwardian Furniture & Interiors, Thames & Hudson 1998, p.145, pl. 357.

£800-1,200

64 MANNER OF CHRISTOPHER DRESSER PAIR OF AESTHETIC MOVEMENT BRASS AND CAST IRON FIRE DOGS, CIRCA 1880 each upright with floral rosette, leaf brackets and stamped and incised uprights, raised on corresponding lobed brackets (2) 26.5cm wide, 70cm high, 40cm deep

£700-900

65 ATTRIBUTED TO THOMAS JECKYLL (1827-1881) FOR ROBBINS & CO. AESTHETIC MOVEMENT BRASS DOORSTOP, CIRCA 1880 the semi-conical weighted base with reeded and stylised foliate roundel decoration

66 THOMAS JECKYLL (1827-1881) FOR BARNARD, BISHOP & BARNARD, NORWICH

40cm high

AESTHETIC MOVEMENT BRASS FIRE INSERT, CIRCA 1880

£700-900

cast with stylised flowerheads 76cm x 92cm; internal 65cm x 58cm

£300-500

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

67 Y FRENCH SCHOOL AESTHETIC MOVEMENT BRASS AND ENAMEL DOOR HANDLE, CIRCA 1870 incised and enamelled with Egyptian-esque motifs and with ivory mounted handle, stamped and incised marks verso E/ V1111, 55cm x 20cm; and a PAIR OF CAST BRASS DOOR HANDLES BY JAMES CARTLAND & SONS, BIRMINGHAM, with traces of original enamel decoration and turned ebony handles, cast maker’s mark JSC/ 37, 36cm x 6cm (3) £300-500

68 E. W. GODWIN (1833-1886) (WALLPAPER DESIGNER) AESTHETIC MOVEMENT FOURFOLD SCREEN, CIRCA 1880 each panel depicting an allover floral design above a classical frieze of urn motifs each panel 58cm x 206cm Literature: Soros, S. at al. E.W. Godwin: Aesthetic Movement Architect and Designer, Yale 1999, p.290 Note: This wallpaper design was registered on 25th August 1880 for the firm Lightbown, Aspinall and Company, Hayfield Mills, Pendleton, Lancashire. Godwin is thought to have begun his association with the firm around 1876.

£400-600

ENGLISH SCHOOL

MINTON’S CHINA WORKS

AESTHETIC MOVEMENT

AESTHETIC MOVEMENT EBONISED OCCASIONAL TABLE, CIRCA 1880

AESTHETIC MOVEMENT SILKWORK PANEL, CIRCA 1870

GROUP OF TEN AESTHETIC MOVEMENT SEPIA TILES, CIRCA 1890

LARGE GROUP OF GLAZED TILES, LATE 19TH CENTURY

the circular top above four tapering columns with incised and gilded foliate motifs, raised on a quadruped base, linked by a lower tier with central rosette 59cm diameter, 71.5cm high

£200-300

with repeating pattern of flying cranes in a landscape, reserved on a later silk border and linen backing, 130cm x 68cm ; together with an AESTHETIC MOVEMENT SILK EMBROIDERED COMPOSITE PANEL, with repeating pattern of boats and water plants, later silk border and cotton backing, 137cm x 110cm (2) £200-300

painted with scenes of children, inscribed with various songs and poetry, each with painted monogram ER, some with impressed marks MINTON’S CHINA WORKS/ STOKE-ON-TRENT (10) 15.5cm square

£200-300

various maker’s marks including Minton, Wedgwood and Maw & Co, each tile 15.5cm square approx; together with a LARGE GROUP OF ARTS & CRAFTS AND AESTHETIC MOVEMENT TILES, variously marked including eighteen Mintons examples, four Flaxman examples and one Wedgwood, largest 20cm square approx ((qty)) £300-500

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

73 CONTINENTAL SCHOOL, AFTER FRANZ VON STUCK ‘SALOME’, STAINED, LEADED AND PAINTED GLASS PANEL, CIRCA 1920 bears painted initials AN to bottom right hand corner 63cm x 57cm Note: The German Symbolist artist Franz von Stuck (1863-1928) painted three versions of Salome in 1906. This panel would appear to be taken directly from the version formerly at the Landesmuseum in Darmstadt and subsequently lost during World War II.

£400-600

74 JOHN MOYR SMITH (1839-1912) FOR MINTON HOLLINS LTD. ‘THESEUS AND THE CROMMYONIAN SOW’, FRAMED TILE PANEL, CIRCA 1880 comprising six tiles, each depicting a scene from the legend 89.5cm x 14.5cm; each tile 15cm square approx

£400-600

75 MINTON & CO. MAJOLICA RELIEF TILE PANEL, CIRCA 1880 comprising three tiles, each moulded in relief with winged caryatids, stamped maker’s marks MINTON/ 2083, each tile 20cm x 20cm; also a group of WILLIAM DE MORGAN SPACER TILES, glazed in green and white, impressed makers marks, 22 at approximately 5cm x 15.5cm and 8 others, various sizes (33) £250-350

ENGLISH SCHOOL

WILLIAM TONKS & SONS, BIRMINGHAM

LINTHORPE AND BRETBY ART POTTERY

PAIR OF AESTHETIC MOVEMENT BRASS FIRE DOGS, CIRCA 1880

GROUP OF WARES, CIRCA 1880

AESTHETIC MOVEMENT MAHOGANY OCCASIONAL TABLE, CIRCA 1870 the moulded rectangular top above incised and chamfered legs, with shaped bracket supports 61.5cm wide, 74cm high, 44cm deep

£200-300

surmounted by sunflower heads above urn knopped stems and spreading pierced bases, impressed W. T. & S, with a star each, and with rubbed Victorian lozenge marks (2) 38cm high

£150-250

comprising a BRETBY TWIN-HANDLED VASE, stamped marks, 30.5cm high; a BRETBY TAPERED VASE, stamped marks, 24cm high; a LINTHORPE SHOULDERED VASE, stamped marks, 25.5cm high; and a LINTHORPE BALUSTER VASE, with frilled rim, unmarked, 27.5cm high (4) £200-300

79 CHRISTOPHER DRESSER (1834-1904) FOR HUKIN & HEATH, LONDON ELECTROPLATED ARTICULATED LETTER RACK, 1880S with rod and ball construction on an arched base, stamped maker’s marks H&H and with registration lozenge for 1881 12.5cm high Literature: Whiteway, Michael Christopher Dresser 1834-1904, Milan 2001, p. 84, pl. 58 for a comparable example registered for 1881.

£400-600

80 CHRISTOPHER DRESSER (18341904) FOR HUKIN & HEATH ELECTROPLATED FOUR-BAR LETTER RAC, 1880S with rod and ball construction, with four adjustable racks, lozenge mark, stamped marks H&H 13cm high

£400-600

81 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 27cm across Literature: ‘Christopher Dresser People’s Designer 1834-1904’, New Century Exhibition Catalogue, June 1999, Cat. No. M-048, for a matching example

£400-600

82 CHRISTOPHER DRESSER (1834-1904) FOR JOHN WILSON, LONDON LINEN DAMASK TABLECLOTH, CIRCA 1891 stylised floral and foliate designs, manufactured by Ireland Brothers 304.5cm x 223.5cm Literature: Lyons, Harry Christopher Dresser Textiles, ACC, 2018, p.36-7 illus. and 110 illus. Note: An established linen draper, John Wilson, Bond Street, London continued to credit Dresser as a company designer until 1910, although Dresser died in 1904. The company is known to have commissioned designs for linen damask from Ireland Brothers, Belfast and this is thought to be a rare surviving example.

£1,000-1,500

83 CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE ART POTTERY ‘PERUVIAN’ POTTERY PITCHER, CIRCA 1880 the curved handle uniting two splayed spouts above the incised base depicting a face, in mottled green and turquoise glazes, impressed marks LINTHORPE/ HT and with impressed facsimile signature Chr. Dresser 18cn high Literature: See Whiteway, M. Christopher Dresser, 1834-1904, (Italy, 2001), pl. 137, p. 131 where a similar vessel is illustrated.

£1,200-1,500

84 CHRISTOPHER DRESSER (1834-1904) FOR WILLIAM AULT & CO. PROPELLER VASE, 1890S with waved rim above the spreading twisted body, in yellow to turquoise glazes, impressed facsimile signature, 22cm high; and a PAIR OF MINIATURE VASES FOR LINTHORPE POTTERY, each of tapering form, covered with a streaked turquoise glaze, one with impressed maker’s mark to base, 8cm high (3) Literature: See Whiteway, Michael, Christopher Dresser, 1834-1904, (Italy, 2001), pl. 234, p.191. where similar vases are illustrated.

£300-500

85 CHRISTOPHER DRESSER (1834-1904) FOR WILLIAM AULT & CO. ‘FROG’/FLOWER HOLDER, CIRCA 1893 with yellow glaze, stamped facsimile signature under base and no. 238, 10cm across; and a WILLIAM AULT & CO. BOTTLE VASE, puce glaze, stamped makers marks to base WM. AULT/ ENGLAND, 23.5cm high (2) £150-250

CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE POTTERY

CHRISTOPHER DRESSER (1834-1904) FOR HUKIN & HEATH, LONDON

‘HUMP BACK’ POTTERY WATER JUG CIRCA 1880 with incised decoration and covered in a brown glaze, impressed marks LINTHORPE/ 347 and impressed facsimile signature Chr. Dresser, 18cm high; and a FURTHER BOTTLE VASE BY THE SAME HAND, covered in an ochre glaze, impressed mark LINTHORPE, 18cm high; together with a POTTERY VASE, probably Linthorpe, but unmarked, ainted with daffodils and applied decoration, impressed and incised marks, 24.5cm high; and a PAIR OF TAPERING VASES, with moulded rib decoration and covered in a green glaze, 16cm high (5)

COPPER AND INLAID BEAKER, CIRCA 1880

£200-300

of tapering form, inlaid with white metal stylised foliage, stamped maker’s marks H&H, 13.5cm high; and an ELECTROPLATED TANKARD BY THE SAME HAND, of tapering form with applied ebonised handle, stamped maker’s marks H&H/ 2089, 13cm high (2) Literature: See Whiteway, M. (ed.) Shock of the Old: Christopher Dresser’s Design Revolution, V&A, 2004, p.131, pl.163 where a tankard of the same shape is illustrated.

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

88 CHRISTOPHER DRESSER (1834-1904) FOR HUKIN & HEATH, LONDON ELECTROPLATE-MOUNTED DECANTER JUG, CIRCA 1880 the clear glass body with cylindrical neck to lozenge shaped flared body and star cut base, the simple applied wide collar and short curved angular spout, the lower neck mount attached with straight stems to ebonised handle, with flat hinged cover, unmarked 22cm high Literature: Whiteway, Michael, Christopher Dresser 1834-1904, Skira, 2001, plate 86

£400-600

89 CHRISTOPHER DRESSER (1834-1904) FOR HUKIN & HEATH ELECTROPLATED DECANTER JUG, CIRCA 1880 with ebony handle and electroplated mounts, the faceted body raised on a star cut foot, unmarked 23cm high

£300-500

90 CHRISTOPHER DRESSER (1834-1904) FOR HUKIN & HEATH, LONDON RARE ELECTROPLATED PRESERVE POT AND COVER, CIRCA 1880

Literature: See Lyons, H. ’Christopher Dresser : The People’s Designer 1834-1904’, ACC, 2005, p. 194, pl. 370 where a similar pot and cover in brass is illustrated

of bulbous form, decorated with Persian-style panels and decorative script, stamped maker’s marks H&H 1831, 12cm high; and a DOULTON, LAMBETH AESTHETIC MOVEMENT SILVER MOUNTED PRESERVE JAR AND COVER, decorated with a frieze of ornate stylised foliate design, incised and impressed maker’s marks, the silver mounted cover and handle with maker’s marks for Hukin & Heath, Birmingham hallmarks, 13cm high (handle up) (2) £200-300

91 ATTRIBUTED TO CHRISTOPHER DRESSER FOR HUKIN & HEATH, LONDON THREE PIECE PLATED TEA SERVICE, CIRCA 1880 bark finish, comprising a TEA POT, 18cm high; a SUGAR BOWL, 11cm diameter; and a CREAMER, 14cm across, each with stamped maker’s marks, the teapot stamped RD. NO. 137119 (3) £400-600

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

92 ATTRIBUTED TO CHRISTOPHER DRESSER FOR HUKIN & HEATH, LONDON ELECTROPLATED CRUET SET, CIRCA 1880 of triangular form, with central holders containing a glass bowl, salt, pepper, mustard pot and bottle decanter, flanked by angled dividers, stamped maker’s marks H&H/ 2150 22.5cm high Literature: Lyons, H. Christopher Dresser: The People’s Designer 1834-1904, ACC, 2005 p.40-41 pl.40 & 41 Note: For similar designs for cruet sets see Pevsner’s drawings from Dresser’s accounts books, circa 1936.

£200-300

93 CHRISTOPHER DRESSER (1834-1904) FOR WILLIAM AULT & CO. SQUAT BALUSTER VASE, CIRCA 1895 covered with a puce glaze, impressed facsimile signature to base 16cm high

£300-500

94 CHRISTOPHER DRESSER (1834-1904) FOR WILLIAM AULT & CO. EARTHENWARE BOTTLE VASE, CIRCA 1895 / of bottle form, moulded with an allover daisy design in relief, applied maker’s mark/ 46, 32cm high; and a BULB-SHAPED BOTTLE VASE FOR WILLIAM AULT & CO., the waved rim above a slender banded neck, terminating in a bulbous body, in brown and white marbled glazes, impressed facsimile signature Ch. Dresser/ 323, 22.5cm high (2) £300-500

95 CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE ART POTTERY TAPERED VASE, CIRCA 1880 covered in a hare’s fur glaze, indistinctly impressed maker’s mark and facsimile signature, 19.5cm high; and TWO CABINET PLATES FOR LINTHORPE POTTERY, one moulded with a band of flowering foliage, 24.5cm diameter; the other moulded with a moth and leafy branch, 20cm diameter, each with impressed maker’s marks, facsimile signature and initials HT (Henry Tooth) (3) Note: For an example of model 323 see The John Scott Collection, Truth, Beauty, Power: The Designs of Christopher Dresser, The Fine Art Society, 2014.

£300-500

96 CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE ART POTTERY BIRD FORM POTTERY JUG, CIRCA 1880 the tilted spout with impressed eyes and feathered wings, above the shaped handle and spreading body with rows of feathers, in yellow and blue glazes, impressed marks LINTHORPE/ 2119 21cm high Literature: See Lyons, Harry, Christopher Dresser: The People’s Designer, 1834-1904 (Woodbridge, 2004), pl.124, p.94; Whiteway, Michael (ed), Shock of the Old: Christopher Dresser’s Design Revolution (New York, 2004), pl.226, p.170

£1,500-2,000

97 CHRISTOPHER DRESSER (1834-1904) FOR WILLIAM AULT & CO. SINGLE-HANDLED EARTHENWARE EWER, CIRCA 1890 the elongated tipped spout above a short handle and domed body, incised with scrolled flowers and line borders, in a green glaze, moulded maker’s urn mark and impressed 177 18.5cm high

£300-500

98 CHRISTOPHER DRESSER (1834-1904) FOR JAMES COUPER & SONS, GLASGOW ‘CLUTHA’ GLASS VASE, CIRCA 1880 with an elongated neck and bulbous body, the green glass with opaque swirls and aventurine inclusions 39cm high

£300-500

99 CHRISTOPHER DRESSER (1834–1904) FOR GEORGE JONES ‘KUMASSIE’ JUG, CIRCA 1874 of tapering angular form, covered in a Royal Blue glaze with gilt highlights, with applied salamander handle and bat spout, moulded lozenge registration mark 20cm high Literature: Morley, C. 2010, Dresser`s Decorative Design, p. 135, Fig. 221 where a similar design is illustrated

£150-250

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

100 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. ‘OLIVE AND ROSE’, CIRCA 1880 worked in coloured silks, framed 41.5cm x 44cm Literature: Mason, A. (et.al), May Morris: Arts and Crafts Designer, Thames & Hudson, 2017, p.72-73, pl. 57-58 illus.

£500-800

101 MORRIS & CO., THE DESIGN ATTRIBUTED TO MAY MORRIS EMBROIDERED SILKWORK PANEL, CIRCA 1885 worked in coloured silks, with an allover design of flowering foliage 79cm x 44cm Literature; Mason, A.; Marsh, J.; Bain, R. et al. May Morris: Arts & Crafts Designer, Thames & Hudson 2017, p.111, pl. 99 for a similar design attributed to May Morris

£600-800

102 WILLIAM MORRIS (1834-1896) ‘APPLE TREE’ EMBROIDERED PANEL, CIRCA 1900 worked in coloured silks and threads on a linen ground, framed 62cm square

£400-600

103 PHILIP WEBB (1831-1915) FOR MORRIS & CO ARTS & CRAFTS MAHOGANY SIDEBOARD, CIRCA 1900

LEWIS F. DAY (1845-1910) FOR PILKINGTON’S TILE & POTTERY CO.

the superstructure with sloping moulding cornice above three tiered plate stands with column supports, the base with three central drawers flanked by panelled doors above carved apron, above stile supports

PAIR OF CLOISONNÉ TILES, CIRCA 1895

206.5cm wide, 211cm high, 68.5cm deep

104

stylised foliate design on a turquoise ground, 15cm square; and TWO CRAVEN DUNNILL TILES, 15cm square; a MAW & CO tile, moulded maker’s mark, 15cm square; a PILKINGTON’S TILE, 15cm square, all with stylised floral and foliate decoration; together with a PATTERN DESIGN BOOK by Lewis Foreman Day, printed by Darien Press, Edinburgh 1903 (7)

Literature: Morris & Company Catalogue, circa 1914, p. 34, no. 497 illus.

£3,000-5,000

Literature: Hansen, Joan M., Lewis Foreman Day (1845-1910) Unity in Design and Industry, ACC, 2007, p.186, pl. 6.30 & 6.31

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

105 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. PAIR OF ‘PEACOCK & DRAGON’ WOVEN WOOL AND MOHAIR DOUBLE CLOTH CUSHIONS (FABRIC CIRCA 1880) hand-loom jacquard woven with later velvet backings, 30cm x 73cm; and a SINGLE CUSHION, 28cm x 70cm (3) Literature: Parry, Linda William Morris Textiles, V&A 2013, p.224, no.36

£400-600

106 PHILIP SPEAKMAN WEBB (1831-1915) FOR MORRIS & CO. EBONISED WOOD ‘SUSSEX’ ARMCHAIR, CIRCA 1890 with spindle filled back, open arms and rush seat, raised on turned legs linked by stretchers 51.5cm wide, 86cm high, 42cm deep

£250-350

107 PHILIP SPEAKMAN WEBB (1831-1915) FOR MORRIS & CO. STAINED BEECH ‘SUSSEX’ ARMCHAIR, CIRCA 1890 the spindle filled back above open arms and later rush seat, raised on turned tapering legs linked by stretchers 52cm wide, 92cm high, 43cm deep

£200-300

108

109

110

AFTER MORRIS & CO.

MANNER OF MORRIS & CO.

MANNER OF MORRIS & COMPANY

‘HAMMERSMITH’ WOOL CARPET, MODERN

ARTS & CRAFTS MAHOGANY CENTRE TABLE, CIRCA 1890

ARTS & CRAFTS MAHOGANY ADJUSTABLE FRAMED ARMCHAIR, CIRCA 1900

353cm x 232cm

the octagonal top with marquetry-inlaid band above arcaded frieze on turned and blocked legs, linked by a shaped stretcher

£200-300

76cm across, 73.5cm high

with loose back and seat cushions, the slatted back above corresponding arms, raised on square section double baluster legs and terminating in pot castors

£300-400

63.5cm wide, 64cm high approx., 93.5cm deep

the design with overlying formalised clusters of stylised flowers and leaves reserved on an indigo ground

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

111 WILLIAM MORRIS (1834-1896) FOR MORRIS & COMPANY PAIR OF ‘VIOLET & COLUMBINE’ WOVEN WOOL AND MOHAIR DOUBLE CLOTH CURTAINS, CIRCA 1883 hand-loom jacquard woven (2) 210cm x 250cm

£2,500-4,000

Literature: Parry, L. William Morris Textiles, V&A Publishing, London 2013, p.233, pl.51

112 WILLIAM MORRIS (1834-1896) FOR MORRIS & COMPANY ‘VIOLET & COLUMBINE’ WOVEN WOOL AND MOHAIR FABRICS, CIRCA 1883 hand-loom jacquard woven, one panel 216cm (+20cm folded) x 51cm; the other 147cm x 49.5cm (2) £400-600

113 ATTRIBUTED TO GEORGE WASHINGTON JACK FOR MORRIS & COMPANY ARTS & CRAFTS MAHOGANY WRITING DESK, CIRCA 1890 the rectangular top with inset leather writing surface above six drawers raised on spirallyturned and blocked legs linked by stretchers, stamped maker’s mark to drawer MORRIS & CO./ 449 OXFORD STREET/ W 137cm wide, 75.5cm high, 75cm deep

£500-800

114 MAY MORRIS (1862-1938) ‘THE HUNTER AT BAY’ EMBROIDERED PANEL, 1935 worked in coloured wools and threads on a linen ground, depicting a tabby cat in a woodland landscape, bears printed label verso FROM MAY MORRIS, KELMSCOTT MANOR, LECHDALE, GLOUCESTERSHIRE and with handwritten inscription ‘THE HUNTER AT BAY’ WAS DESIGNED AND WORKED BY ME IN 1935. MAY MORRIS, framed 45cm x 70cm Literature: Palmer, Caroline, Designs of May Morris in the Ashmolean, The Decorative Arts Society: 1850 to the Present, Journal 42 – 2018, p.125, figs. 4 & 5 Mason, A.; Marsh, J.; Bain, R. et al. May Morris: Arts & Crafts Designer, Thames & Hudson 2017, p. 61 and p. 151 pl. 145

£3,000-5,000 Image © Ashmolean Museum University of Oxford

The work and career of May Morris has, until recently, been somewhat overshadowed by the work of her father, William Morris, however she played a major role within the embroidery and design landscape of Arts & Crafts Britain and was extremely important in her own right. In 1885, at the age of 23, she became manager of the Morris & Co. embroidery department. Her artistic upbringing had greatly influenced her interest in the arts and in making, and in this she was assisted by her studies at the National Art Training School. By the mid-1880s she was a skilful embroiderer and designer and continued to lead the department at Morris & Co. until the death of her father in 1896. Although May continued to produce pieces for the firm after her departure, she also focused on private embroidery projects and for these she did not have to adhere to the design restrictions and product ranges of the company. The breadth of May’s work was further realised after her death, when a large quantity of drawings, embroidery patterns and photographs were uncovered at her previous home, Kelmscott Manor. In 1941 this archive was purchased by the Ashmolean Museum, where it remains today. The archive is remarkable, comprising a range of designs for everything from screens and hangings to cushions and garments. It also reveals May’s working processes, from initial studies through to completed patterns, providing us with an invaluable insight into her work.

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

Included in the group was the design for the present lot, a watercolour study depicting a tabby cat sitting in a wooded landscape (see illustration), detailed with graphite and black chalk. When comparing the finished embroidery to the study almost every detail, from the swallows in the sky, the positioning of the trees, to the rabbits in the right-hand corner, correspond with the finished piece. There are also further studies of a tabby cat within the collection, including an example drawn on a brown envelope, with a corrected design of the head facing forward rather than to the side, pasted on top of the drawing. Caroline Palmer, who featured these images in her article for the Decorative Art Society Journal ‘Designs of May Morris in the Ashmolean’ writes about May’s love of drawing and the importance which she placed on the study of nature in advance of completing her designs. May’s preference for incorporating English hedgerow and meadow plants, which feature in her preparatory sketches, are in contrast with her father’s recurring motifs of pomegranates and acanthus, and thus helped distinguish her work as distinct from that of Morris & Co. ‘The Hunter at Bay’ also illustrates May’s passion for reviving traditional embroidery techniques, with subtle references to earlier crewelwork and folkloric patterning. The label verso, written in her hand, explicitly credits her as designer and embroiderer; a concept which was an integral tenet of the Arts & Crafts ideology and remained at the heart of her work.

115 WILLIAM MORRIS (18341896) FOR MORRIS & CO. ‘FRITILLARY’ FRAMED WALLPAPER PANEL, 1885 green colourway, manufactured and printed by Jeffrey & Co., bears maker’s marks MORRIS & CO., framed and glazed 128.5cm x 52cm

£400-600

116 WILLIAM MORRIS (18341896) FOR MORRIS & CO. ‘SUNFLOWER’ FRAMED WALLPAPER PANEL, 1879 red colourway, manufactured and printed by Jeffrey & Co., bears maker’s marks MORRIS & CO., framed and glazed 128.5cm x 52cm

£400-600

117 ATTRIBUTED TO DANTE GABRIEL ROSSETTI FOR MORRIS & CO. PAIR OF ARTS & CRAFTS EBONISED ARMCHAIRS, CIRCA 1890 each with waisted spindle backs, the open arms above circular rush seats, raised on turned legs linked by stretchers (2) 45.5cm wide, 88cm high, 47cm deep

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

118 C.F.A. VOYSEY (1857-1941) FOR GEORGE WRIGHT & CO, ROTHERHAM, SHEFFIELD ARTS & CRAFTS CAST IRON FIREPLACE, CIRCA 1908 cast with a decorative frieze of rooks below the mantel shelf, the jambs with ribbed decoration, cast number under mantel shelf 1060 99cm wide, 112.5cm high, 12.5cm deep

£1,500-2,000

119 C.F.A. VOYSEY (1857-1941) FOR FALKIRK IRONWORKS ARTS & CRAFTS CAST IRON FIREPLACE, CIRCA 1899 the moulded mantel shelf above a frieze of three hearts in relief, fitted with grille, grate and fireback, cast maker’s mark verso FALKIRK NO.64 84cm wide, 135cm high, 16.5cm deep

£800-1,200

120 ATTRIBUTED TO JOHN WILLIAMS FOR FIVEMILETOWN, COUNTY TYRONE ARTS & CRAFTS BRASS FENDER, CIRCA 1897 pierced and repoussé-decorated to three sides with panels of opposed squirrels with acorn branches 123cm wide, 32cm high, 48cm deep Provenance: William Scawen Blunt, thence by descent. Lyon & Turnbull Decorative Arts, 21st April 2004, lot 330 Private Collection

£1,000-1,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

121 W. A. S. BENSON (1854-1924) ARTS & CRAFTS BRASS AND COPPER CEILING LIGHT, CIRCA 1900 model 1093, the embossed ceiling rose above three branches, each cast with leafy boughs and suspending light fittings with Vaseline glass shades, stamped maker’s marks to fittings BENSON, and to cast branches W.A.S. BENSON 102cm high, 40cm wide Literature: Hamerton, Ian (ed.) W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, ACC, 2005, Appendix 1B, p. 257, pl. 3 where the design for this lamp is illustrated (no. 1093)

£5,000-7,000

122 WILLIAM DE MORGAN (1839-1917) PERSIAN VASE, CIRCA 1890 of tapering form, decorated in blue and green on a white ground, painted with flowers and leaves, unmarked 17cm high

£400-600

123 MAW & CO., JACKFIELD LARGE RUBY LUSTRE CHARGER, CIRCA 1890 decorated with thistle, rose and shamrocks, within a border painted with tridents and opposed sea beasts, bears impressed maker’s mark verso MAW & CO/ BROSELEY, and with painted camel mark and initials MJ (Maw/ Jackfield) 55cm diameter

£1,500-2,000

124 WILLIAM DE MORGAN (1839-1917) ARTS & CRAFTS RUBY LUSTRE CHARGER, CIRCA 1890 decorated with opposed tritons, dolphins and winged term figures on a foliate ground 36cm diameter Literature: Greenwood, M., The Designs of William De Morgan, Richard Dennis, 2007, p. 28, pl.1213 illus.

£1,000-1,500

125 ENGLISH SCHOOL ARTS & CRAFTS OAK COFFER, CIRCA 1900 with lidded top above three panelled sides, the front with inset repoussé copper panel 92cm wide, 48cm high, 45cm deep

£400-600

126 MANNER OF EDWARD SPENCER FOR THE ARTIFICERS’ GUILD ARTS & CRAFTS BRASS CHANDELIER, CIRCA 1900 the central orb with panels of pierced work depicting urns, issuing flowering foliage, supporting three curved branches, suspending later brass shades 82cm high, 58cm wide

£500-700

127 WALTER CAVE (1863-1939) FOR GOODYERS, LONDON ARTS & CRAFTS STAINED OAK ARMCHAIR, CIRCA 1900 the back with stylised plant-form spindles above moulded open arms and later-upholstered drop-in seat, on tapered legs, bears embossed metal maker’s label 57.5cm wide, 125cm high, 55cm deep

£400-600

128 WALTER CAVE (1863-1939) RARE ARTS & CRAFTS OAK HALL SETTLE, CIRCA 1900 the waved top rail with slatted panels above twin drop-in rush seats with two drawers below, with two keys 124cm wide, 91cm high, 48cm deep

£1,000-1,500

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

129

130

H.G. MURPHY (1884-1939) FOR THE FALCON WORKS ARTS & CRAFTS OPAL SET PENDANT NECKLACE, CIRCA 1920

ENGLISH SCHOOL

collet set with three graduated opal cabochons within an open-work setting of fruiting vines, to a trace link chain, the reverse applied with Falcon Works plaque and initials ‘HGM’, contained in a gilt tooled green leather box

ARTS & CRAFTS GEM SET BRACELET, CIRCA 1900

Length of pendant: 41mm A drawing by Murphy for a pendant of similar design, also set with three opals is illustrated, P. Atterbury and J. Benjamin, The Jewellery & Silver of H. G. Murphy: Arts and Crafts to Art Deco, Antique Collector’s Club: Woodbridge 2005, p. 61.

£2,000-3,000

composed as a double strand of fancy link chains, collet set with moonstone, garnet and peridot cabochons to the clasp, two openwork panels and safety chain Length: 17.5 cm (approx.)

£1,000-1,500

131 THE GUILD OF HANDICRAFT LTD. GREEN STAINED BEECH WALL CABINET, CIRCA 1900 the projecting cornice above twin glazed doors, enclosing a single adjustable shelf, stamped maker’s mark THE GUILD OF HANDICRAFT LTD./ESSEX HOUSE/BOW.E. 116cm wide, 58cm high, 30.5cm deep

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

132 ATTRIBUTED TO C.R. ASHBEE FOR THE GUILD OF HANDICRAFT LTD. ARTS & CRAFTS SILVER MUSTARD SPOON, CIRCA 1905 the hand-hammered heart-shaped bowl with bifurcated stem and pointed finial set with an oval cabochon moonstone in beaded rim mount, unmarked 9cm long

£200-300

133 C.R. ASHBEE (1863-1942) FOR THE GUILD OF HANDICRAFT LTD. ARTS & CRAFTS SILVER PRESERVE SPOON, LONDON 1901 the tapering oval bowl with planished decoration, faceted tapering stem with a chrysoprase finial, stamped maker’s marks and hallmarks for London 1901

134 THE GUILD OF HANDICRAFT PAIR OF SILVER SEAL-TOP SPOONS, LONDON 1927

12cm long, weight: 15.7g approx

each of planished form with seal terminal, hallmarks for London 1927 (2)

£1,000-1,500

15.2cm long, combined weight: 86.1g approx

£400-600

135 C.R. ASHBEE (1863-1942) FOR THE GUILD OF HANDICRAFT LTD. ARTS & CRAFTS SILVER BUTTER DISH, LONDON, 1904 the hand-hammered silver circular bowl with elongated wirework handle, set with a green chrysoprase cabochon, maker’s mark GOFH LTD. 18.5cm wide

£2,000-3,000

136 C.R. ASHBEE (1863-1942) FOR THE GUILD OF HANDICRAFT LTD. PAIR OF ARTS & CRAFTS SILVER SALTS AND SPOONS, LONDON 1900 each with blue glass liners, within circular frames with spiral stylised pierced leaf supports on tapering and spreading bases, stamped maker’s marks and hallmarks for London 1900, together with the MATCHING SPOONS, unmarked (4) salts, 8cm diameter; spoons, 7.5cm long Literature: See Crawford, A. C.R. Ashbee’s English Silverwork, B. Weinreb, 1974, pl. 15 where a similar salt is illustrated.

£1,500-2,000

137 APHRA PEIRCE FOR DELLA ROBBIA POTTERY, BIRKENHEAD RARE MANTEL CLOCK, CIRCA 1903 the circular dial with single train movement, within a moulded case with putto amongst foliage 22.5cm wide, 27.5cm high, 15cm deep

£2,500-3,500

138 DELLA ROBBIA POTTERY, BIRKINHEAD TERRACOTTA BOWL, DATED 1901 decorated by Willie Williams or William Warwick , with an exuberant foliate design, incised maker’s marks and artist’s marks WW 27cm diameter

£200-300

139 DELLA ROBBIA POTTERY, BIRKENHEAD TERRACOTTA SLEEVE VASE, DATED 1900 decorated by Liza Wilkins, with bands of stylised scrolling foliage, incised maker’s marks and artist’s marks LW 40.5cm high

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

140 ENGLISH SCHOOL ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1900 worked in coloured threads on a linen ground, depicting woodland creatures amongst flowering foliage, framed 53.5cm x 70cm

£200-300

141 ATTRIBUTED TO C.F.A. VOYSEY FOR PILKINGTON’S TILE & POTTERY CO. ARTS & CRAFTS FRAMED TILE PANEL, CIRCA 1920 comprising three tiles, depicting a stylised galleon in full sail, framed 19.5cm x 39.5cm

£400-600

142 SHAPLAND & PETTER, BARNSTAPLE, IN THE MANNER OF M. H. BAILLIE SCOTT INLAID ARTS & CRAFTS OAK BOOKCASE CABINET, CIRCA 1900 with chequer inlay, and cut-out side handles, three open shelves, and with a panelled door, marquetry inlaid with a stylised daffodil, the whole raised on plank bracket supports, with a key 51cm wide, 64cm high, 18cm deep Literature: Bennett, Daryl Shapland & Petter Ltd. of Barnstaple: Arts & Crafts Furniture, 2005, p. 102, fig. 6.11 where a similar bookcase is illustrated.

£1,000-1,500

143 SHAPLAND & PETTER, BARNSTAPLE ARTS & CRAFTS STAINED OAK HANGING SHELF, CIRCA 1900 the projecting cornice above a stencilled polychrome panel, decorated with roses and leaves, above an open shelf, stamped maker’s marks R2464/ 16 84cm wide

£300-500

144 ENGLISH SCHOOL ARTS & CRAFTS OAK WALL CABINET, CIRCA 1900 the moulded cornice above entwined foliate carved frieze and pair of corresponding panelled doors 72cm wide, 86cm high, 24.5cm deep

£200-300

145 MANNER OF THE BROMSGROVE GUILD OF APPLIED ARTS GROUP OF ARTS & CRAFTS WHITE METAL AND ENAMELLED BUCKLES AND PLAQUE, CIRCA 1900 each with repoussé decorated and chased decoration comprising a BUCKLE, depicting opposed squirrels, and with enamelled backing, 15cm x 8.5cm; a BUCKLE, depicting opposed fish, one side with enamelled backing (unfinished), 9cm x 9xm; a PLAQUE, depicting an angel, 7.5cm x 5.5cm, and another BUCKLE, depicting a mermaid and merman and with enamelled backing, set within a tooled leather box with velvet cushioned interior, 8cm x 6.5cm (4) £1,500-2,500

146 H. W. DE KONINGH SILVER & ENAMEL OVAL-SHAPED BROOCH, CIRCA 1910 with oval enamel plaque in Autumnal shades of amber and yellow within a hand-beaten border applied to either side with a cluster of three curled fir cones, the reverse stamped with maker’s mark HW over K, 7cm wide; together with an ARTS & CRAFTS SILVER & ENAMEL RECTANGULAR BROOCH, of elongated form, with silver foliated scroll pattern highlighted in blue, red and green enamel, within applied corded wirework and beaded border, unmarked, 10cm wide (2) Literature: Erika Spiel, Dictionary of Enamelling, p.36-7, and De Koningh, The Preparation of Precious and other Metals for Enamelling.

£200-300

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

147 OMAR RAMSDEN (1873–1939) AND ALWYN CARR (1872-1940) ARTS & CRAFTS SILVER & ENAMEL CADDY SPOON, LONDON 1906 the planished bowl with scroll terminals, set with enamel, stamped maker’s marks and hallmarks for London 1906 7.5cm long, weight: 45g approx.

£1,000-1,500

148 OMAR RAMSDEN (1873–1939) AND ALWYN CARR (1872-1940) ARTS & CRAFTS SILVER & ENAMEL BOX AND COVER, LONDON 1907 the cover with openwork decoration, set with enamel cabochons, stamped maker’s marks and hallmarks for London 1907 9.5cm high, 11.3cm diameter, weight: 240.6g approx

£2,500-3,500

149 OMAR RAMSDEN (1973-1939) ARTS & CRAFTS SILVER SALT, LONDON 1930 with planished finish, bearing inscription OMAR RAMSDEN ME FECIT, hallmarked London 1939, weight: 38.8g 7cm long, 4.2cm deep

£150-200

150 EDWARD SPENCER (1873-1938) FOR THE ARTIFICERS’ GUILD ARTS & CRAFTS SILVER-PLATED BOWL & COVER, CIRCA 1920 with overall hand-hammered finish, the bayonet-fitting domed cover with incised wavy-line borders and reeded rim, on hexagonal foot, stamped mark: EDWARD SPENCER DEL., no. 383 13.5cm diameter

£250-350

151 OMAR RAMSDEN (1873–1939) ARTS & CRAFTS SILVER BOWL AND COVER, LONDON 1934 the cover with rose finial and applied inscription IRENE ANNE, the base with repoussé band of flowering rose tendrils reserved on a planished ground, inscribed to base OMAR RAMSDEN ME FECIT, hallmarked London 1934 16cm across

£500-800

152 OMAR RAMSDEN (1873–1939) AND ALWYN CARR (1872-1940) ARTS & CRAFTS SILVER BOX, LONDON 1910 the hinged cover with central embossed panel depicting an eagle and snake above a crest, amongst scrolling foliage, the base with stamped inscription OMAR RAMSDEN ET ALWYN CARR/ ME FECERVNT MCMXI, hallmarks for London 1910 11cm high, weight: 723.7g approx

£800-1,200

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

153 ATTRIBUTED TO SIBYL DUNLOP ARTS & CRAFTS GEM SET PENDANT SAUTOIR NECKLACE, CIRCA 1930 the pendant with russet brown agate carved as a stylised lotus flower with pierced silver mount chased with foliage and set with vari-coloured agate cabochons, the suspension mount set with moonstones, green chalcedony and carnelian beads, with intricately worked long silver chain, unmarked 63cm long

£600-800

154 ATTRIBUTED TO C.F.A. VOYSEY FOR KESWICK SCHOOL OF INDUSTRIAL ARTS ARTS & CRAFTS SILVER PEPPER POT, CHESTER 1906 repoussé decorated with a band of heart motifs, with pierced detachable cover, stamped maker’s mark and hallmarks K.S.I.A./ Chester, 1906 5.5 cm. high Literature: Hitchmough,W. C.F.A. Voysey, Phaidon, 1995, p. 181, where a pepper pot of matching pattern attributed to Voysey is illustrated.

£200-300

155 ATTRIBUTED TO SIBYL DUNLOP ARTS & CRAFTS GEM SET NECKLACE, CIRCA 1930 with characteristic entwined silver wirework heart-shaped links, alternately set with oval carnelian and oval pale agates, with carnelian bead drops between, unmarked 39cm long

£300-500

156 OMAR RAMSDEN (1873–1939) AND ALWYN CARR (1872-1940) ARTS & CRAFTS SILVER SERVING TRAY, LONDON 1910 of rectangular form, the central engraved design of stylised vines and flowering roses and lilies, raised on claw and ball feet, base with stamped inscription OMAR RAMSDEN ET ALWYN CARR/ ME FECERVNT MCMXI, stamped maker’s marks and hallmarks for London 1910 30.5cm across

£1,600-1,800

157 ENGLISH SCHOOL ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1900 depicting an angel, worked in coloured silks and metal threads on a blue ribbed cotton ground 43.5cm x 19cm

£400-600

158 W.A.S. BENSON (1854-1924) FOR MORRIS & CO. ‘GARDEN CRAFT’ WALLPAPER PANEL, CIRCA 1908 printed by Jeffrey & Co., bears maker’s marks MORRIS & CO./ GARDEN CRAFT, framed and glazed 128.5cm x 52cm

£400-600

159 W.A.S. BENSON (1854-1924) SILVERED BRASS COUNTERWEIGHTED CANDLESTICK, CIRCA 1890 the baluster nozzle and wide drip tray on a scrolled arm, resting on a shaped bracket and terminating on a pointed ball end, stamped maker’s marks W.A.S. BENSON 30.5cm long Literature: for a form of this design see: W.A.S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, ed. by Ian Hamerton (Woodbridge, 2005), pl 98, p.121.

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

160 ENGLISH SCHOOL ARTS & CRAFTS SILVERED MANTEL CLOCK, CIRCA 1910 with twin train movement and applied circular dial, enclosed within a silvered case with hammered finish, bearing inscription REST COMES AT LENGTH, the whole raised on four spreading feet with two column supports 20.5cm wide, 26cm high, 11cm deep

£1,200-1,800

161 ATTRIBUTED TO KATE HARRIS FOR CONNELL, LONDON ARTS & CRAFTS TRINKET BOX, CIRCA 1900 patinated copper with silvered mounts and green cabochon stones 14cm wide, 5.5cm high, 11.5cm deep Literature: Tilbrook, Adrian J. The Designs of Archibald Knox for Liberty & Co. Richard Dennis 1995, p. 185, pl. 180 where a similar box is illustrated

£300-400

162 ANNE GRISDALE STUBBS (1879-1975) FOR A. E. JONES ARTS & CRAFTS COPPER AND SILVER PLATE BOX, CIRCA 1910 with cedar-lined interior and applied foliate mounts 20cm wide, 6.5cm high, 10.5cm deep

£300-500

163 ENGLISH SCHOOL ARTS & CRAFTS COPPER AND ABALONE-INLAID BOX, CIRCA 1900 of rectangular form, with two inlaid abalone central panels, the hinged lid opening to a wood-lined interior 23cm wide, 5cm high, 14.5cm deep

£250-350

164 CELTIC REVIVAL SUBSTANTIAL ARTS & CRAFTS GILTWOOD AND GESSO PICTURE FRAME, CIRCA 1920 the cushion frame decorated in relief with entwined scrolling foliage and Celtic imagery 119.5cm x 165.5cm

£800-1,200

165 ENGLISH SCHOOL ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1900 worked in coloured silks and metal threads on a silk damask ground, depicting a peacock amongst foliage 55cm x 46cm

£300-500

166 JOHN PEARSON (FL. 1885-1910) ARTS & CRAFTS COPPER BOX, DATED 1891 repoussé-decorated with stylised foliage, the domed and hinged lid opening to reveal a void interior, chased inscription to base J. PEARSON/ 1891 21.5cm wide, 16cm high, 15cm deep

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

167 ATTRIBUTED TO JOHN PEARSON ARTS & CRAFTS COPPER MIRROR, CIRCA 1900 the rectangular mirror plate enclosed within a copper frame, repoussé decorated with stylised foliate motifs 40cm x 45.5cm

£300-400

168 HARRY JAMES POWELL (1853-1922) FOR WHITEFRIARS OPALESCENT GLASS TABLE VASE, CIRCA 1890 of tapering octagonal section, raised on a pinched knopped stem on a spreading circular foot 21.5cm high Literature: Jackson, L., Whitefriars Glass: The Art of James Powell & Sons, Richard Dennis, 1996, p.24, pl. 58 John Scott Collection - Vol 4 - James Powell & Sons - Whitefriars Glass 1860 – 1960, Fine Art Society, London 2014, no. 32

£200-300

169 HARRY JAMES POWELL (1853-1922) FOR WHITEFRIARS ENGLISH ART NOUVEAU OPALESCENT GLASS FAN-SHAPED VASE, CIRCA 1910 the frilled tapering body with long stem, raised on a spreading base 21cm high Literature: John Scott Collection - Vol 4 - James Powell & Sons - Whitefriars Glass 1860 – 1960, Fine Art Society, London 2014, no. 26

£200-300

170 ENGLISH SCHOOL PAINTED AND LEADED GLASS PANEL, CIRCA 1900 with central panel painted with an allegorical scene of a man pruning vines and bearing inscription MARCH 44cm x 31cm

£400-600

171 ENGLISH SCHOOL ARTS & CRAFTS OAK AND COPPER OVERMANTEL MIRROR, CIRCA 1900 the projecting cornice above tapering rectangular frame, enclosing a bevelled mirror plate flanked by three copper repoussé panels with stylised flowerheads, one bearing inscription LOOK IN MY FACE 135cm x 79cm

£400-600

172 W.A.S. BENSON (1854-1924) BRASS AND COPPER EXTENDING STANDARD LAMP, CIRCA 1900 the knopped column support with applied leafy brackets around the reservoir, raised on quadruped base linked by stretchers and mounted with an orb weight, converted to electricity 170cm high extended Literature: Hamerton Ian (edt.), W.A.S. Benson: Arts & Crafts Luminary and Pioneer of Modern Design, Antique Collector’s Club 2005, p. 249, pl. 7 where a similar example is illustrated.

£1,000-1,500

173 ARTHUR GASKIN (1862-1928) ‘THE PRINCE AND THE ROSE BUSH’ EMBROIDERED PANEL, CIRCA 1900 appliqué work, coloured silks and wools on a wool ground, framed 59.5cm x 44cm Note: The original design for this work was published as a design in Home Art Work, Volume XV, Part LXIV, April 1898. The work was inscribed “The Prince and the Rose Bush/ Designed for Needlework by A.C. Gaskin/ Director of The Birmingham Municipal School of Art/ John Heywood (Publisher) London E.C.” and could be used as a template for pricking out onto a fabric ready for embroidery.

£400-600

174

175

JOHN HASSALL (1868-1948)

ENGLISH SCHOOL

‘FALLEN JESTER’, 1903

ARTS & CRAFTS OAK CRIB, CIRCA 1910

watercolour, signed, inscribed and dated lower right 1903, framed 51cm x 29cm

the slated crib supported by tapered uprights, one bearing carved inscription WHERE SOFT THE FOOT STEP FALLS

£300-500

100cm long, 127cm high, 48cm deep

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

176 MANNER OF ERNEST GIMSON PAIR OF ARTS & CRAFTS BRASS AND STEEL FIRE DOGS, CIRCA 1910 each with applied and pierced foliate rosettes reserved on a panelled upright with corresponding applied decoration (2) 28cm wide, 65.5cm high, 42.5cm deep

£400-600

177 ENGLISH SCHOOL ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1900 worked in gold and coloured silks on a black ribbed cotton ground, with an allover design of stylised flower heads, framed 107cm x 51cm

£250-350

178 JAMES DIXON & SONS, SHEFFIELD PAIR OF ARTS & CRAFTS SILVER CANDLESTICKS, SHEFFIELD 1908 stamped maker’s marks and hallmarks for Sheffield 1908, weighted (2) 22cm high

£1,000-1,500

179 C.F.A. VOYSEY (1857-1941) (FABRIC DESIGNER) VICTORIAN UPHOLSTERED SETTEE, CIRCA 1900 covered in ‘The Owl’ woollen fabric by Alexander Morton & Co., Davel, the upholstered back, arms and seat with fringed apron raised on turned mahogany front legs 178cm wide, 97cm high, 73cm deep

£800-1,200

Note: The design of this fabric was originally used for wallpaper and was adapted by the manufacturer Alexander Morton for this woollen textile circa 1898. Voysey’s stylised birds and trees became his trademark and because of the popularity of his work at the time, they came to characterise the Arts & Crafts style.

180 ENGLISH SCHOOL PAIR OF ARTS & CRAFTS STAINED, LEADED AND PAINTED GLASS PANELS, CIRCA 1900 together depicting a procession of a goose; turkey; pig; cockerel, hen & chicks (2) each panel 44cm x 35cm

£300-500

181 ENGLISH SCHOOL ARTS & CRAFTS GILTWOOD FRAMED MIRROR, CIRCA 1900 the rectangular mirror plate enclosed by a giltwood frame carved with stylised flowering foliage, with retailer’s label verso 61cm x 46cm

£200-300

182 ENGLISH SCHOOL ARTS & CRAFTS INLAID FRUITWOOD CHILD’S WING ARMCHAIR, CIRCA 1900 the arched back inlaid with stylised floral motifs, above a square seat, the panelled sides terminating in moulded square feet 45.5cm wide, 88.5cm high, 42cm deep

£250-350

183 COTSWOLD SCHOOL PAIR OF ARTS & CRAFTS BRASS FIREDOGS, CIRCA 1910 each with curved uprights and pierced foliate finials, raised on a wrought iron base (2) 46.5cm high

£200-300

184 JOHN PEARSON (FL. 1885-1910) ARTS & CRAFTS COPPER BOWL, DATED 1893 repoussé decorated with stylised leaves and foliage, base signed and dated J. PEARSON/ 1893 12.5.cm high

£400-600

185 ENGLISH SCHOOL PAIR OF ARTS & CRAFTS PATINATED COPPER CANDLESTICKS, CIRCA 1900 each with hammered finish, the tapered columns with applied riveted heart shaped plaques on domed bases, stamped maker’s marks to each FP (2) 30cm high

£250-350

186 C.F.A. VOYSEY (1857-1941) FOR THOMAS ELSLEY & CO. PAIR OF ARTS & CRAFTS COPPER FINGER PLATES, CIRCA 1888 each with flowering foliate decoration, each bears registration number 109925, later framed and mounted (2) each 37.5cm x 8.5cm

£400-600

187 MANNER OF JOHN PEARSON ARTS & CRAFTS COPPER CHARGER, CIRCA 1900 repoussé-decorated with a central rosette within a border of flowering foliage 41cm diameter

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

188 SELWYN IMAGE (1849-1930) ‘IUSTITIA’, 1908 pencil, ink and watercolour, signed with initials and dated bottom right corner S. I./ 08, framed, 25.5cm x 10cm; and TWO DESIGNS FOR TILES BY SELWYN IMAGE pencil and watercolour, framed, 32.5cm x 33cm ; and 19cm x 27.5cm (3) £300-400

189 ENGLISH SCHOOL THREE ARTS & CRAFTS BRASS DOOR PLATES, CIRCA 1900 each with hammered finish and cut-out decoration of grotesque beasts, includes two matching door handles (5) Doorplates 79.5cm tall, 34cm wide

£200-300

190 JAMES POWELL & SONS, LONDON OPALESCENT LIGHT SHADE, CIRCA 1900 with foliate decoration 15cm high; another OPALESCENT LIGHT SHADE, with frilled rim and moulded lattice work, 12cm high; an OPALESCENT GLASS DISH, with wide wavy rim and threaded decoration, 21cm wide; together with a FOOTED FLOWER VASE, of baluster form with shaped wavy rim, raised on a spreading circular foot, 19cm high (4) Literature: Hammerton, Ian, ‘W.A.S. Benson: Arts & Crafts Luminary and Pioneer of Modern Design’, ACC, , p.88, pl. 61, where similar opalescent dishes are illustrated

191

£200-300

WILLIAM BIRCH, HIGH WYCOMBE PAIR OF OAK SIDE CHAIRS, CIRCA 1920 each with broad backs above ring turned uprights and rush seats, on corresponding legs linked by stretchers (2) 43cm wide, 99cm high, 42cm deep

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

192 ENGLISH SCHOOL PAIR OF ARTS & CRAFTS SILKWORK EMBROIDERED PANELS, CIRCA 1900 each depicting peacocks on foliate branches, coloured silks on an unbleached linen ground, framed (2) 58cm x 28cm

£400-600

193 COMPTON POTTERS’ ART GUILD POTTERY PLAQUE OF ANGELS, CIRCA 1920 painted in tempera, impressed seal mark 17cm x 14.5cm Literature: Calvert, H., & Boreham, L., ’Mary Seaton Watts and the Compton Pottery’, PWP, 2019, p. 215, pl. B30 illus.

£250-350

194 ENGLISH SCHOOL ARTS & CRAFTS EMBROIDERED PORTIÈRE, CIRCA 1890 worked in coloured threads on an indigo wool ground 204cm x 134cm

£300-500

195 ATTRIBUTED TO M. H. BAILLIE-SCOTT FOR GEORGE WRIGHT & CO, ROTHERHAM ARTS & CRAFTS WROUGHT AND CAST IRON FIRE GRATE, CIRCA 1900 the fire back with cast stylised foliate and heart decoration, above the grate with corresponding foliate decoration flanked by two upright dogs with flattened finials 85cm wide, 77cm high, 47cm deep Literature: The Studio Magazine Yearbook, 1896, p. 106 where a fireplace with similar characteristics is illustrated. Dog-Grates, a George Wright & Co. catalogue, circa 1900, where this example is illustrated no. 847

£600-800

196 MANNER OF M. H. BAILLIE-SCOTT CAST IRON FIREPLACE AND SURROUND, CIRCA 1900 overpainted in white, with of canted rectangular outline, the overhanging mantel above cast panels of stylised plant forms, cast Rd. No. 344379 147cm wide, 129cm high, 20cm deep

£300-400

197 ENGLISH SCHOOL ARTS & CRAFTS WROUGHT IRON CLUB FENDER, CIRCA 1920 the embroidered seat above scrolling wrought iron frieze 181cm wide, 50cm high, 62cm deep

£400-600

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

198 JOHN PEARSON (FL. 1885-1910) LARGE ARTS & CRAFTS COPPER MIRROR, CIRCA 1890 the bevelled mirror plate enclosed by a rectangular copper frame, repoussé decorated with stylised birds and foliage on a hammered ground 62cm high, 123cm wide

£3,000-5,000

199 MANNER OF C.R.ASHBEE FOR THE GUILD OF HANDICRAFT ARTS & CRAFTS OAK SIDEBOARD, CIRCA 1900 the rectangular top with galleried upstand above two drawers, with three cupboards below, broad strapwork hinges 185cm wide, 119cm high, 70cm deep Literature: The Guild of Handicraft, Ltd: Workers in Applied Art, Silversmiths and Jewellers Catalogue, page 14, where a sideboard with similar characteristics is illustrated

£600-800

200 LEONARD LESLIE BROOKE (1862-1940) SET OF EIGHT ORIGINAL ILLUSTRATIONS FOR ‘THE THREE LITTLE PIGS, CIRCA 1904 watercolour and ink, signed with initials lower left, framed, 25cm x 19.5cm; and a copy of THE STORY OF THE THREE LITTLE PIGS, illustrated by Leonard Leslie Brooke, published by F. Warne & Co.; together with a HARDBACK EDITION OF THE GOLDEN GOOSE BOOK, with illustrations by Leonard Leslie Brooke, published by F. Warne & Co. (11) Note: Despite formative training as a portrait and landscape painter, Leonard Leslie Brooke is best known as an illustrator, primarily for children’s books. Brooke quickly gained recognition for his work through numerous collaborations with Mrs Molesworth, author of children’s classics such as The Cuckoo Clock and The Carved Lions. In 1899, knowing his talent as an illustrator, Brooke decided to try his hand as a writer and penned the hugely popular novel Johnny Crow’s Garden. Following this success, Brooke moved his family to London and began working on illustrations for various fairy tales and nursery rhymes, of which The Golden Goose and The Three Little Pigs are widely considered his best work. These charming illustrations are characteristic of Brooke’s work: deploying witty visual puns which delight and amuse the audience.

£4,000-6,000

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

201 JOHN HASSALL (1868-1948) ‘MORNING’ AND ‘NIGHT’ NURSERY PRINTS, CIRCA 1910 printed signature lower right, framed (2) 65cm x 22cm

£400-600

202 JESSON, BIRKETT & CO., BIRMINGHAM LARGE ARTS & CRAFTS COPPER MANTEL CLOCK, CIRCA 1900 the pointed and projecting cornice above a tapering rectangular case set with Ruskin roundels, enclosing a circular Ruskin dial, the movement stamped SR/ FA 39.5cm high

£400-600

203 GORDON RUSSELL (1892-1980) PAIR OF WALNUT BEDS, CIRCA 1930 each with panelled head and footboard, the headboard with serpentine arched frame, retains iron side rails (2) 107cm wide, 107cm high, 202cm long

£400-600

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

204 ENGLISH SCHOOL, IN THE MANNER OF THE BIRMINGHAM GUILD OF HANDICRAFTS PAIR OF ARTS & CRAFTS COPPER CEILING LIGHTS, CIRCA 1900 of conical form, with repoussé decorated bands of stylised Honesty, and each with four applied brass medallions, repoussé decorated with animals including Platypus, Ram, Tortoise, Crab, Owl and Wolf (2) 54cm diameter, 30cm high

£1,200-1,800

205 MARION MACKENZIE HEYWOOD PAIR OF NURSERY FRIEZES, CIRCA 1930 oil on canvas, each signed lower right MARION MACKENZIE HEYWOOD (2) 48.5cm x 211cm

£300-500

206 WILLIAM DE MORGAN (1839-1917) ARTS & CRAFTS RUBY LUSTRE DISH, CIRCA 1890 decorated with border frieze of grotesques, displaying stylised mermen and mermaids 25.5cm diameter Literature: Greenwood, M. The Designs of William de Morgan, Shepton Beauchamp, 1989, no.1302 for a border design displaying with similar grotesques.

£1,500-2,000

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

207 ENGLISH SCHOOL PAIR OF ARTS & CRAFTS WROUGHT IRON AND COPPER HANGING LIGHTS, CIRCA 1900 each with hammered ceiling rose above scrolling supports, with two branches, and later copper shades (2) 82cm high, 50cm wide

£1,200-1,800

208 CHARLES PASSENGER FOR WILLIAM DE MORGAN (1839-1917) ARTS & CRAFTS LUSTRE DISH, CIRCA 1890 decorated with a Viking ship in full sail, bears artist’s initials CP 18.5cm diameter

£800-1,200

209 COTSWOLD SCHOOL PAIR OF ARTS & CRAFTS CARVED WALNUT SINGLE BEDS, CIRCA 1930 the headboards with leaf-carved finials, the footboards with central panel and finials carved as perched birds, each retains sprung base (2) 94cm wide, 114cm high, 206cm long

£600-800

210 § MILLICENT SOWERBY (1878-1967) SEVEN ORIGINAL ILLUSTRATIONS FROM ‘CHILDHOOD’, CIRCA 1907 watercolour, unsigned, one with pencil inscription HE SAW BELINDA THERE PEELING SOME APPLES FOR A PIE, another inscribed ON SUNDAY, WHEN I GO TO CHURCH, each with gilt slip and frame (7) 16.5cm x 12cm Note: Millicent Sowerby was born in Northumberland, England, the daughter of designer and illustrator John G. Sowerby. Her style was clearly influenced by the Victorian illustrator Kate Greenaway. ‘Childhood’, written by her sister Githa, was published by Chatto & Windus, London in 1907 and was her third illustrated book. A 1911 review of three books produced with Githa proclaimed “Millicent Sowerby is Kate Greenaway come to life again.”

£1,000-1,500

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

211 OLIVER WHEATLEY (1868-1931) ‘MUSES’, FRAMED COPPER PANEL, CIRCA 1900 depicting the three muses, POLYHYMNIA, ERATO and EUTERPE, in an oak frame 39cm x 112cm Literature: The Studio Yearbook, 1910, p.102 illus.

£800-1,200

212 SIR EDMUND ELTON (1846-1920) AT SUNFLOWER POTTERY THREE VESSELS, CIRCA 1907 to include; a THREE-HANDLED TYG, of cylindrical form with undulating rim, slipdecorated and moulded with sprays of flowers on a blue ground, 21.5cm high; and a BOTTLE VASE, with moulded fruiting vine pattern on a blue ground, 35cm high; together with a TAPERING VASE, slip-decorated and moulded with fruiting vine pattern on a green ground, 17.5cm high; all with painted marks ELTON (3) £400-600

213 STANLEY WEBB DAVIES (1894-1978) ARTS & CRAFTS OAK STANDARD LAMP BASE, DATED 1952 the hexagonal top above a faceted column with supports, raised on a tripod base, carved maker’s marks to base SWD/ 1952/ and with cabinetmaker’s initials CK, wired for electricity 140cm high

£300-500

214 ENGLISH SCHOOL ARTS & CRAFTS ‘CAMBRIDGE UNIVERSITY’ OAK BOOKCASE, CIRCA 1910 the projecting cornice above open shelves with applied university crest, on square tapered legs 59.5cm wide, 116cm high, 30cm deep

£500-800

215 § KAY NIELSEN (1886-1957) STUDY FOR ‘IN POWDER AND CRINOLINE’, 1912 watercolour and bodycolour, signed and dated lower left 1912, in an oak frame 19cm x 37cm

£800-1,200

216 § ALEXANDER PROUDFOOT (1878-1957) ‘THE FAUN’, CIRCA 1920 bronze figure of a young girl, signed in the bronze ‘A. Proudfoot’

217

21.5cm high

ENGLISH SCHOOL

Note: Alexander Proudfoot was born in Liverpool in 1878 and died in Glasgow in 1957. He studied in Liverpool and was the head of sculpture at the Glasgow School of Art from 1912-1928. He exhibited figures and portraits at the Royal Scottish Academy and was elected R.S.A. in 1932

DESIGN FOR A MOSAIC, CIRCA 1890 watercolour with gilt highlights, framed 16.5cm x 10.5cm

£200-300

£400-600

218 ENGLISH SCHOOL FINE ARTS & CRAFTS EMBROIDERED BEDSPREAD, CIRCA 1900 comprised of fourteen embroidered panels within a lace ground and linen border with further lace trim 242cm x 247cm Provenance: An Eye for Design: The Collection of Paul Reeves, Lyon & Turnbull, February 2019

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

219 ENGLISH SCHOOL STAINED, LEADED AND PAINTED GLASS PANEL, CIRCA 1900 depicting an encounter at sea 65cm x 50cm

£400-600

220 ENGLISH SCHOOL STAINED, LEADED, AND PAINTED GLASS PANEL, CIRCA 1900 depicting Susanna & The Elders 65cm x 50cm

£400-600

221

223

225

ENGLISH SCHOOL

ARTS & CRAFTS STEEL HANGING CHANDELIER, CIRCA 1920

ARTS & CRAFTS WHITE METAL AND ENAMEL ALTAR CANDLESTICK, CIRCA 1900

ARTS & CRAFTS COPPER LIDDED BOX, CIRCA 1900

with hammered finish and suspending three Vaseline glass shades

the hemispherical drip tray above a column set with four enamel roundels, raised on a domed and spreading base, unmarked 23.5cm high

with beaten finish, decorated to the front and back with stylised plant forms and hearts, the sides with applied handles, the hinged lid opening to a void interior

£200-300

28cm high

57cm high (excluding chain), approx. 48cm diameter (including shades)

£300-500

222

224

ENGLISH SCHOOL

PAIR OF ARTS & CRAFTS COPPER TABLE LAMPS, CIRCA 1900

SUITE OF ARTS & CRAFTS STEEL LIGHT, CIRCA 1920

with hammered finish, the three bowed supports raised on a domed circular base, on pad feet (2)

comprising a PAIR OF ADJUSTABLE READING LIGHTS, with scrolling arms and square columns above quadruped bases, 161cm high; and a MATCHING CANDELABRA, with adjustable arms branches on a corresponding tripod base, 121.5cm high (3)

25cm high (excluding fittings)

£250-350

226 SIBYL DUNLOP (1889-1968) ARTS & CRAFTS SILVER QUAICH, LONDON 1923 with hammered finish, the circular bowl with twin handles, each with applied foliate knot motif set with an amber cabochon, stamped maker’s marks SD, hallmarked London 1923 11.5cm across

£800-1,200

227 ATTRIBUTED TO C.R. ASHBEE FOR THE GUILD OF HANDICRAFT LTD, CASED SET OF FOUR WHITE METAL AND ENAMEL NAPKIN RINGS, EARLY 20TH CENTURY the square enamels depicting bumble bees against a blue ground, set within wirework supports, each ring bears a later-engraved single initial (J, R, F & P), with fitted case (4) 5cm diameter

£400-600 Literature: The Guild of Handicraft, Ltd: Workers in Applied Art, Silversmiths and Jewellers Catalogue, page 6, where a similar ‘serviette ring’ is illustrated

228 A. E. JONES (1878-1954) SILVER CADDY SPOON, BIRMINGHAM 1909 with planished bowl and openwork finial, stamped maker’s marks and hallmarks for Birmingham 1909 9cm long, weight: 17.4g approx.

229 Y

£200-300

W.A.S. BENSON (1854-1924) RARE ARTS & CRAFTS SILVER KETTLE ON BURNER STAND, LONDON 1910 the ovoid kettle with insulated handle and ivory finial, the shoulder decorated with a diamond and dot band, raised on a stand with triple burner stand and ebonised bun feet, both stamped makers marks WB, hallmarked London 1910 total height including handle 29.5cm, combined weight 972.2g

£2,500-4,000

Literature: For a related burner and stand see Hamerton Ian (edt.), W.A.S. Benson: Arts & Crafts Luminary and Pioneer of Modern Design, Antique Collector’s Club 2005, p. 68, pl. 42 (No. 2301)

230 WAKELY & WHEELER (JAMES WAKELY & FRANK CLARKE WHEELER) ARTS & CRAFTS SILVER BOWL, LONDON 1906 of planished form, the applied handles with stylised leafy forms, the base with applied turquoise roundels, stamped makers marks and hallmarks for London 1906 14cm high, weight: 856g approx

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

72 Regarded as ‘The Border Sculptor’, Thomas Clapperton initially trained at the Glasgow School of Art, before becoming apprentice to Sir William Goscombe John, one of the most eminent sculptors of the period. After much time studying in Paris and Rome, Clapperton eventually settled in London and setup a sculptor’s studio in Chelsea. Although his sculpture of Robert the Bruce at Edinburgh Castle is renowned, the sculptor’s skilful execution of numerous war memorials are also highly regarded. In the immediate aftermath of the First World War, the nation was in mourning and anxious to reflect; Clapperton’s sympathetic and emotive treatment of the subject won him several commissions at this early stage in his career, including those from as far afield as New Zealand. During an official visit to the UK, mayor Robert Milligan was charmed by Sir George Frampton’s portrayal of Peter Pan in Kensington Gardens, now an iconic homage to J. M. Barrie’s novel of the same name. Following this, he reached out to Clapperton for two commissions: one for the North Otago War Memorial; and the other for ‘Wonderland’. Initially, the mayor’s request was to produce a direct replica of Frampton’s Pan, however Clapperton felt copying the work of his contemporary would not be appropriate so instead agreed to produce a similar bronze, drawing inspiration from the piece.

The influence from Frampton’s Pan are clear in ‘Wonderland’: a conical base with mystical fairies, pixies and woodland creatures perching amongst the naturalistic rockery; the charming innocence of the figures in search of adventure. Clapperton however, opts for a more dynamic rendition of the piece, as the figures interact with the wonderland they have just discovered below them. The girl, perhaps a representation of J.M. Barrie’s Wendy, sits on the edge of the rock face and delights in the fantasy world below. The boy, eagerly peering over the edge, is about to be drawn in to the dreamlike world by one fairy, reaching out to touch the tip of his foot, as if inviting the children into Wonderland. Upon its completion in 1926, Robert Milligan gifted the piece to the children of Oamaru, New Zealand, where it still stands today in the Wonderland Garden. The finished bronze, of which this is a reduction, marks Clapperton’s diversity as a sculptor, stepping away from sombre memorial compositions to stir up fond memories of the joys of childhood.

231 THOMAS J. CLAPPERTON (1879-1962) ‘WONDERLAND’, CIRCA 1926 bronze, with revolving socket on a dished marble base, signed in the bronze THOS. J. CLAPPERTON bronze 31cm high, marble base 12.3cm high, 43cm diameter

£6,000-9,000

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

Image Ref: 1/4-055813-G. Alexander Turnbull Library, Wellington, New Zealand.

232

233

ENGLISH SCHOOL

ARTHUR W. SIMPSON (18571922), KENDAL

ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1910 depicting Bo Peep and her sheep in a landscape, worked in coloured wool and silk threads on an unbleached linen ground, framed

ARTS & CRAFTS OAK TRIPTYCH FIRESCREEN, CIRCA 1900 carved with characteristic stylised foliage, the hinged sides with fabric filled side panels

22.5cm x 207cm

total width 71.5cm, 93cm high

£400-600

Note: Arthur William Simpson was born in Kendal, Cumbria 1857 and was apprenticed to Gillows of Lancaster in 1875 and worked at a number of workshops until setting up his own in Kendal in 1885, known as the Handicrafts. He was a follower of John Ruskin and in 1889 one piece was accepted by the Arts and Crafts Exhibition Society. It was there that he would have met the architect Charles Voysey who became a great influence on his work; his designs became more architectural and simpler with less carving; this wardrobe, designed circa 1910, being a good example. By 1912, Simpson was exhibiting alongside Voysey and Walton in the Ideal Home Exhibition at Olympia. His entire stand was sold to one client. He was commissioned to carve panels for Blackwell House, designed by Baillie Scott for Sir Edward Holt and such was his skill he was entrusted by Voysey to make a number of furniture commissions.

234 ARTHUR W. SIMPSON (18571922), KENDAL ARTS & CRAFTS MAHOGANY WRITING DESK, CIRCA 1900 the dentil cornice above panelled fall with carved foliate rosettes opening to reveal an interior with leather skiver and sliding shelves and flanked by a panelled door, the base with kneehole and bank of four graduated drawers, the whole fitted with characteristic bronze fittings and raised on square canted legs, bears maker’s label to the rear ARTHUR W. SIMPSON/ THE HANDICRAFTS/ KENDAL 121cm wide, 123cm high, 53cm deep

£1,500-2,000

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

235 ARTHUR W. SIMPSON (1857-1922), KENDAL ARTS & CRAFTS OAK AND POLLARDED OAK TABLE DESK, CIRCA 1910 the removable fall opening to reveal a fitted interior, bears makers label to base ARTHUR W. SIMPSON/ THE HANDICRAFTS/ KENDAL 34cm wide, 30cm high, 14cm deep Literature: Hamerton, Ian (ed.) W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, ACC, 2005, P.110, plate 86 where an example of this lamp is illustrated

£300-500

236 W.A.S. BENSON (1854-1924) ARTS & CRAFTS COPPER AND BRASS TABLE LAMP, CIRCA 1900 the turned column with leaf-cast handle and leaf-cast quadruped base, embellished with copper leaves, with adjustable opaline glass shade, stamped maker’s marks under base, BENSON 31cm high (excluding fittings) Literature: For a similar table lamp, see Hammerton, I. (ed). W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, p.259, pl.18, no.1187

£400-600

237 § JACK BUTLER YEATS (1871-1957) GROUP OF HAND-COLOURED CUALA PRESS PRINTS, CIRCA 1904 to include MOUNTAIN ROAD, 11.5cm x 13cm; THE MESSAGE, signed in the plate lower right, 12cm x 11cm; ONCE I WENT OVER THE OCEAN, 10.5cm x 13.5cm; THE WREN BOYS, signed in the plate lower right, 12.5cm x 9.5cm, all unframed (4) £300-500

238 § JACK BUTLER YEATS (1871-1957) GROUP OF HAND-COLOURED CUALA PRESS PRINTS, CIRCA 1904 to include THE CRIB, 10cm x 12cm; THE STAR IN THE EAST, 10cm x 13.5cm; THE STAR IS RISEN, signed in the plate lower left, 10cm x 11.5cm; DAY CLOSES, signed in the plate lower left, 11cm x 9cm; and a hand-coloured Cuala Print by MARY COTTENHAM YEATS (18691947), signed in the plate lower right 10cm x 12cm, all unframed (5) £300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

239 SIR GEORGE JAMES FRAMPTON (1860-1928) ‘PETER PAN’, DATED 1911 patinated bronze, 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: Sir Alexander Walker II (1869–1950) Literature: Skipwith, Peyton Sir George Frampton & Sir Alfred Gilbert, Peter Pan & Eros: Public & Private Sculpture in Britain 18801940’, The Fine Art Society, London 2002 Note: Sir Alexander Walker II (1869– 1950) was the younger grandson of John ‘Johnnie’ Walker, creator of the famous whisky brand. Sir Alexander donated this figure of Peter Pan to a local educational trust on his death.

£15,000-20,000

In 1911 an anonymous donor commissioned Sir 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. Despite the familiar presentation of this figure, the early date and subtle details in the casting point to this example being an early, perhaps the first, trial casting.

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

240 THOMAS J. CLAPPERTON (1879-1962) ‘HESITATION’, DATED 1922 bronze, raised on a naturalistic onyx plinth, signed and dated to the base THOS. J. CLAPPERTON RB 1922, the whole rotating on a hexagonal sculpture stand with faceted legs linked by a lower tier figure and plinth 74cm high, 167cm total height

£4,000-6,000

241 ENGLISH SCHOOL, CIRCLE OF SIR ALFRED GILBERT SEA NYMPH, CIRCA 1910 bronze, unsigned 37cm high

£600-800

242 § FERDINAND VICTOR BLUNDSTONE (1882-1951) ‘THE GOATHERD’ bronze, mid-brown patina, signed to base F V BLUNDSTONE 39cm high

£1,000-1,500

243 § FERDINAND VICTOR BLUNDSTONE (1882-1951) FIGURE GROUP, DATED 1934 bronze, mid-brown patina, raised on a later stained plinth, signed and dated in bronze to base F V BLUNDSTONE/ 1934 bronze 39.5cm high, total height 48cm high

£500-800

244 ALFRED BERTRAM PEGRAM (1873-1941) BRONZE FIGURE GROUP, EARLY 20TH CENTURY dark brown patina, depicting a labourer and his wife holding a newborn child, signed to base A. BERTRAM PEGRAM 35cm high

£200-300

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

245 ENGLISH SCHOOL ARTS & CRAFTS COPPER AND WROUGHT IRON CEILING LIGHT, CIRCA 1900 with hammered mounts and associated cased glass period shades 28.5cm high, 64cm wide

£300-500

246 JOHN PEARSON (FL. 1885-1910) ARTS & CRAFTS COPPER COAL BIN, CIRCA 1900 with repoussé foliate decoration and hammered finish, the punched coal shovel with stamped maker’s mark JP 33cm wide, 24.5cm high, 38cm deep

£300-500

247 JOHN PEARSON (FL. 1885-1910) ARTS & CRAFTS COPPER CHAMBER STICK, CIRCA 1900 repoussé decorated with stylised foliage on a hammered base, stamped maker’s initials JP 20cm diameter

£200-300

248 ENGLISH SCHOOL ARTS & CRAFTS PATINATED COPPER FIRE SURROUND, CIRCA 1900 the frame and hood repoussé-decorated with heart forms and rosettes enclosing a pair of tiled niches with grate front below 104cm wide, 97.5cm high, 21cm deep; together with a matching ARTS & CRAFTS COPPER FENDER, with corresponding decoration, 146cm wide, 8cm high, 41cm deep (2) £400-600

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

249 ATTRIBUTED TO MARGARET MORRIS HINDU DANCER pencil, watercolour and bodycolour, framed 14cm x 25cm

£250-350

250 § FRANK BRANGWYN (1867-1956) ‘ZAMBRENE’, HAND-COLOURED LITHOGRAPH POSTER, CIRCA 1930 lithographic print, initialled in the plate FB, signed in pencil lower left FRANK BRANGWYN, framed, 37cm x 34cm; and ‘ROLL OF HONOUR’ POSTER, circa 1920, initialled in the plate FB, signed in pen lower right FRANK BRANGWYN, framed, 60cm x 62cm (2) £400-600

251 ATTRIBUTED TO LIBERTY & CO., LONDON ARTS & CRAFTS STAINED OAK HALL STAND, CIRCA 1900 with single drawer above curved uprights supporting a stick stand, with inset tin drip tray 46cm wide, 141cm high, 32cm deep

£200-300

252 JOHN PEARSON (FL. 1885-1910) ARTS & CRAFTS COPPER TWIN-HANDLED TRAY, CIRCA 1900 of oval outline and with hammered finish and stamped decoration, stamped twice with maker’s monogram JP 64cm across, 44cm wide

£200-300

253 OBED NICHOLLS (1885–1962) FOR NEWLYN SCHOOL PAIR OF ARTS & CRAFTS TWIN HANDLED COPPER VASES, CIRCA 1900 each repoussé-decorated with swimming fish, one vase bears maker’s marks (2) 23.5cm high

£500-700

254 NEWLYN SCHOOL GROUP OF THREE ARTS & CRAFTS GRADUATED COPPER JUGS, CIRCA 1900 each with hinged lids and woven wicker covered handles, repoussé decorated with birds and fish, two largest stamped NEWLYN (3) 25cm, 21cm and 19.5cm high

£500-800

255 NEWLYN SCHOOL ARTS & CRAFTS COPPER JARDINIÈRE, CIRCA 1900 of circular form, repoussé-decorated with fish and a sailing boat, stamped NEWLYN 22.5cm diameter, 22cm high

£300-500

256 NEWLYN SCHOOL ARTS & CRAFTS COPPER MIRROR, CIRCA 1900 the circular bevelled plate enclosed by a repoussé design of swimming fish, stamped to edge NEWLYN 38cm diameter

£400-600

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

257 ARTHUR RACKHAM (1867-1939) ‘YOUNG BECKIE’, ORIGINAL ILLUSTRATION, CIRCA 1919 pen, ink and watercolour, signed lower right A. RACKHAM 22cm x 17cm Note: Original illustration to the ballad ‘Young Beckie’, from ‘Some British Ballads’, first published in 1919

£4,000-6,000

258 ATTRIBUTED TO W. A. S. BENSON ARTS & CRAFTS BRASS AND COPPER WALL SCONCE, CIRCA 1900 with faceted mirrored reflector enclosed by leafy frame with twin corkscrew candle arms 33.5cm x 31.5cm

£250-350

259 W. A. S. BENSON (1854-1924) ARTS & CRAFTS BRASS AND COPPER FLOWER POT HOLDER, CIRCA 1890 with weighted base, stamped maker’s marks to base 21cm high Literature: Hamerton Ian (edt.), W.A.S. Benson: Arts & Crafts Luminary and Pioneer of Modern Design, ACC 2005, p. 89, pl. 62 where a similar example is illustrated.

£200-300

260 ENGLISH SCHOOL ARTS & CRAFTS EMBROIDERED WOOLWORK AND APPLIQUÉ PANEL, CIRCA 1900 the central panel worked as a fruit tree with lilies, the meandering border of fruiting foliage reserved on a later padded linen backing 209cm x 111cm

£300-500

261 W. A. S. BENSON (1854-1924) ARTS & CRAFTS BRASS AND FROSTED GLASS PENDANT CEILING LIGHT, CIRCA 1910 with frosted tapering glass shade supported by cast stylised foliate mounts and hanging supports with ceiling rose, stamped shield mark WASB 23cm diameter, 53cm high

£400-600

262 W.A.S. BENSON (1854-1924) ARTS & CRAFTS BRASS AND COPPER OIL LAMP, CIRCA 1890 with tripod base and carrying handle, stamped maker’s marks total height, 36cm

£400-600

263 W.A.S. BENSON (1854-1924) ARTS & CRAFTS BRASS AND COPPER TABLE LAMP, CIRCA 1900 the central reeded column support with twin branches each with twin conical shades, the whole raised on a spreading base, stamped maker’s marks to base 48.5cm high

£1,500-2,500

Literature: Hamerton, Ian (ed.) W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, ACC, 2005, Appendix 1A, p. 249, pl. 6 where the design for this lamp is illustrated (no. 426)

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

264 FLORENCE HARRIET STEELE (1857-1948) ‘DAWN DISPELLING SLEEP AND NIGHT’ PAINTED PLASTER PANEL, 1910 bas-relief, framed, impressed signature J.H. STEELE/ 1910/ ART OF UNION LONDON 1910 25.5cm x 54cm Literature: Beattie, Susan. The New Sculpture. New Haven: Yale University Press, 1983, p. 205

£200-300 Note: Florence Steele studied at the National Art Training School under Édouard Lantéri. She trained as a designer and modeller and worked principally in low relief in silver, bronze or plaster, creating designs for Elkingtons and Pilkingtons and exhibiting with the Arts & Crafts Exhibition Society from 1896.

265 ATTRIBUTED TO GEORGE P. BANKART PLASTER PANEL, CIRCA 1910 depicting a scallop shell amongst scrolling foliage, framed 18.5cm x 57cm

£200-300 Note: Having initially trained as an architect, George Bankart, after meeting with Ernest Gimson, turned his attentions to plasterwork and modelling; a decision which soon forged him an esteemed reputation as one of the leading specialists in the field of the Arts & Crafts movement. After spending time living and working in London and the Cotswolds, Bankart moved to Bromsgrove in 1899, where he worked under Henry Ludlow for the Bromsgrove Guild. During his seven years here, Bankart expanded the decorative plasterwork shops and undertook several commissions, including the plaster mouldings on the ceiling of the Great Hall at the Royal Naval College, London.

266 RICHARD JOYCE (1873-1931) FOR PILKINGTON’S TILE AND POTTERY CO. LANCASTRIAN LUSTRE VASE, DATED 1911 decorated with butterflies, painted artist’s and date cyphers to the base, impressed factory monogram and marks 2791/ */ ENGLAND, 8cm high; and a PILKINGTON’S ROYAL LANCASTRIAN LUSTRE VASE, BY RICHARD JOYCE, CIRCA 1920, decorated with swimming pike, painted artist’s cypher to the base, impressed factory monogram and marks 2618/ ROYAL LANCASTRIAN/ ENGLAND, 16cm high (2) £400-600

267 ALFRED OR LOUISE POWELL FOR WEDGWOOD EARTHENWARE LUSTRE VASE & COVER, CIRCA 1920

268 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. EARLY ‘FLORIAN WARE’ MINIATURE JARDINIÈRE, CIRCA 1899 tube-lined decoration, painted initials in green W.M./ DES 9cm high

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

hand painted with Persian inspired floral designs in shades of blue, purple and green on a cream ground, impressed marks WEDGWOOD/ MADE IN ENGLAND and painted pattern numbers CL931B 22.5cm high

£200-300

269 § SIR FRANK BRANGWYN (1867-1956) DESIGN FOR AN ALTARPIECE/CASKET pencil and chalk, with inscriptions, framed 37cm x 26.5cm Provenance: Edmund Davis

£200-300

270 HAROLD STABLER (1872-1945) FOR KESWICK SCHOOL OF INDUSTRIAL ARTS ARTS & CRAFTS LIDDED COPPER FLAGON, CIRCA 1900 of faceted tapering form, repoussé-decorated with a frieze of stylised plant forms, stamped maker’s marks to base KSIA 23cm high

£250-350

271 A. E. JONES (1878-1954) PAIR OF SILVER TRUMPET VASES, BIRMINGHAM 1921 planished form, applied rosettes, stamped maker’s marks and hallmarks for Birmingham 1921, base stamped 785 15.5cm high, combined weight: 232.7g

£300-400

272 W.H. MAWSON (1872-1960) FOR THE KESWICK HOME INDUSTRY ARTS & CRAFTS COPPER POST BOX, CIRCA 1900 the back plate repoussé decorated with the word ‘POST’ above a pair of doves, the front with a central ‘green man’ mask and foliated scrolls, the base stamped W.H. MAWSON, KESWICK 22cm x 25cm Note: William Henry Mawson set up the Keswick Home Industry around 1900/01 after leaving the Keswick School of Industrial Art

£250-350

273 HUGH WALLIS (1871-1943) ARTS & CRAFTS BRASS TWIN-HANDLED JARDINIÈRE, CIRCA 1910 of swollen cylinder form with riveted straps, decorated with repoussé panels of flowering foliage, stamped monogram to base HW 34cm across, 24cm high

£200-300

274 THE STUDIO MAGAZINE QUANTITY OF BOUND VOLUMES, FROM 1897 to include 36 volumes; also THE ART JOURNAL, 1905-8 and 1910 (41) Please note this lot is sold not subject to return

£200-300

275 THE STUDIO MAGAZINE RUN OF HARDBACK CLOTH VOLUMES, FROM 1893 to include volumes 1-33; 35-80; additional volumes 24 and 29; General Index 1-21 and 22-42; Special Numbers Summer 1903; Winter 1903; Winter 1904; Summer 1904; Autumn 1904; Spring 1905; Summer 1905; Spring 1906; Summer 1906; Yearbook Decorative Arts 1906; Spring 1907; Yearbook 1907 and The Art of 1897 (Approx. 95 volumes) Note: The Studio: An Illustrated Magazine of Fine and Applied Art was an illustrated fine arts and decorative arts magazine published in London from 1893 by Charles Holme and running until 1964. Please note this lot is sold not subject to return.

£500-800

276 ARCHITECTURAL REVIEW RUN OF HARDBOUND CLOTH VOLUMES, FROM 1896 to include volumes 1-30; 33-99; and 103; 106; 107; 117; 119; 120; 125; 126; 133-136; also Jan-June 1949; July - Dec 1950; June-July 1951; July-Dec 1951; July-Dec 1952; Jan-June 1953; July-Dec 1953; Jan-June 1954; July-Dec 1954; July - Dec 1955; JanJune 1960; July-Dec 1960 (119) Note: The Architectural Review was founded as a monthly magazine, the Architectural Review for the Artist and Craftsman, in 1896 by Percy Hastings, owner of the Architectural Press. Please note this lot is sold not subject to return

£500-800

277 ENGLISH SCHOOL ARTS & CRAFTS OAK BOOKCASE, CIRCA 1920 the gallery with inscription CHOOSE AN AUTHOR AS YOU WOULD A FRIEND, with open shelves below 68.5cm wide, 109cm high, 28cm deep

£300-400

278 ENGLISH SCHOOL PAIR OF ARTS & CRAFTS OAK BOOKENDS, CIRCA 1900 each depicting a maiden in profile, carved in high relief (2) 15.5cm wide, 20cm high

£200-300

279 FRENCH SCHOOL SIX ARCHITECTURAL STUDIES, CIRCA 1880 pencil, pen and ink and watercolour, for the full list of titles and measurements please consult our website at www.lyonandturnbull.com (6) £200-300

280 FRENCH SCHOOL FOLIO OF ARCHITECTURAL STUDIES, CIRCA 1880 pencil, pen and ink and watercolour, for the full list of illustrations and measurements please consult our website at www.lyonandturnbull.com (32) £300-500

281

283

285 §

287

NORMAN WILKINSON OF FOUR OAKS (1882-1934)

ENGLISH SCHOOL

HELEN COLVILL (1856-1953)

ENGLISH SCHOOL

THE GARDEN GATE

VILLAGE SCENE, 1910

ARTS & CRAFTS EMBROIDERED SILKWORK PANEL, CIRCA 1900

watercolour, signed and dated lower left NORMAN WILKINSON OF FOUR OAKS/ 1910, framed

worked as a stylised basket of flowers in coloured silks on a silk ground, framed

ARTS & CRAFTS WALNUT OCCASIONAL BOOKCASE/ TABLE, CIRCA 1915

26cm x 36.5cm

63.5cm x 54.5cm

£200-300

£150-200

watercolour, framed, watercolour society of Ireland label verso, 38cm x 28cm; and GLADIOLAS BY HELEN ALLINGHAM, dated 1875, watercolour, signed and dated with initials H. A./ 1875, framed, 19.5cm x 7cm (2)

the canted square top above an arrangement of open shelves with marquetry inlaid upright supports on bracket feet 61.5cm wide, 62cm high

£300-500

£150-200

282 §

284

286

288

FRANK BRANGWYN (18671956) AND YOSHIJIRO URUSHIBARA (1888-1953)

ATTRIBUTED TO SHAPLAND & PETTER OF BARNSTAPLE

SHAPLAND & PETTER, BARNSTAPLE

BIRMINGHAM SCHOOL

ARTS & CRAFTS OAK PIANO STOOL, CIRCA 1900

ARTS & CRAFTS MAHOGANY SMOKER’S CABINET, CIRCA 1900

‘BRUGES AT DAWN’ woodblock print, signed in pencil lower left Y. URUSHIBARA, and lower right FRANK BRANGWYN Literature: Marechal, Dominique Frank Brangwyn, Bruges 1987, p. 254, Inv. 0.2/ 56.II and III.

the sides pierced with organic bud motifs, on tapering supports with overhanging disc finials, the hinged seat with compartment to house sheet music, and folding ledge to heighten and angle the seat

£200-300

52cm wide, 56cm high, 56cm deep

38cm x 50cm

£200-300

ARTS & CRAFTS PENWORK MIRROR, CIRCA 1900

Literature: Bennett, Daryl Shapland & Petter of Barnstaple, Museum of Barnstaple & North Devon, 2005, p. 76, pl. 5.17, illustrated

the square mirror plate within a shaped panelled frame, depicting medieval figures within chequered borders, bearing inscriptions VOLATE IRREVOCIBLE TEMPUS, 52cm x 63.5cm ; and a SCANDINAVIAN SCHOOL CARVED BEECH MIRROR, the frame carved with fruit and laurel boughs, 43cm x 73cm (2)

£300-400

£200-300

the projecting cornice above a single glazed door, overlaid with pierced and embossed metal grille 51cm wide, 50.5cm high, 23cm deep

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

289 THOMAS MATTHEWS ROOKE (1842-1942) STUDY OF GEORGIANA BURNE-JONES brown wash on tracing paper, framed, 30cm x 24cm; and a STUDY BY THE SAME HAND OF ETHELDRED EMILY ADAMS R.I.P . pencil, inscribed and dated September 29th 1897, framed, 26cm x 37cm (2) £400-600

290 NOEL ROOKE (1881-1953) NORTH PORCH: CHURCH OF NOTRE DAME DE SEMAR EN AURIOS, BURGUNDY, 1905 watercolour, signed, inscribed and dated, framed, 37cm x 54cm; and a COLUMN STUDY AT VEZELAY, 1903, by the same hand, signed, dated and inscribed by the artist verso, framed, 34cm x 26cm (2) £400-600

291 AFTER SIR EDWARD COLEY BURNE-JONES ‘FIDES’, ARTS & CRAFTS OAKFRAMED PRINT, CIRCA 1890 the sepia print within carved frame with fluted pilasters and cast plaster capitals and beaded details, printed initials lower right EBJ frame 72 x 39.5cm

£300-500

292 AFTER SIR EDWARD COLEY BURNE-JONES ‘FIDES’, ARTS & CRAFTS OAK-FRAMED PRINT, CIRCA 1890 framed 52cm x 17.5cm; together with another similar print, framed, 52cm x 18cm; and another, framed, 26.5cm x 10cm; and LORD FREDERIC LEIGHTON (1830-1896) THE LAST WATCH OF HERO, print with Printsellers Association Stamp, published in Newcastle-onTyne, framed, 60.5cm x 37cm (4) £200-300

293 ENGLISH SCHOOL LARGE ARTS & CRAFTS COPPER WALL MIRROR, CIRCA 1900 the bevelled plate enclosed by oak frame, overlaid with a repoussé copper panel, depicting a pastoral scene at sunrise 71cm x 120cm

£700-900

294 BIRMINGHAM GUILD OF HANDICRAFT ARTS & CRAFTS BRASS WALL SCONCE, CIRCA 1900 with single curved bracket and shield backplate, stamped BGH, with Vaseline shade 60cm high, 17cm wide

£300-500

295 ENGLISH SCHOOL ARTS & CRAFTS PATINATED METAL MANTEL CLOCK, CIRCA 1910 the circular dial within a shaped rectangular case, repoussé-decorated with stylised leafy trees and raised on bracket feet with rivet detail 25cm wide, 10cm high, 10.5cm deep

£1,000-1,500

296 BIRMINGHAM GUILD OF HANDICRAFT ARTS & CRAFTS BRASS KETTLE, CIRCA 1900 with hammered finish and swing handle, 21cm high; and a BIRMINGHAM GUILD OF HANDICRAFT COPPER LIDDED JUG, of tapering form, 25.5cm high, each with stamped maker’s marks to base BGH (2) £300-500

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

297 RUSKIN POTTERY GROUP OF JEWELLERY, CIRCA 1920 comprising a PAIR OF EARRINGS, unmarked, 2.5cm diameter; a SILVER-MOUNTED BROOCH, hallmarked Birmingham 1919, stamped RUSKIN, 3cm diameter; another SILVER-MOUNTED BROOCH, hallmarked Birmingham 1917, stamped RUSKIN POTTERY, 4.3cm diameter; and FOUR FURTHER RUSKIN POTTERY BROOCHES (8)

298

£200-300

ENGLISH SCHOOL BRONZE HEAD, EARLY 20TH CENTURY with dark brown patina, raised on a veined marble plinth base, apparently unmarked 33.5cm high overall

£200-300

299 SOUTH KENSINGTON SCHOOL DESIGN FOR A PLATE, CIRCA 1900 pen, ink and watercolour, embossed blind stamp E.S.K. (Examined South Kensington) lower left, framed 26cm diameter

£200-300

300 ENGLISH SCHOOL ARTS & CRAFTS SILKWORK PANEL, CIRCA 1900 with repeating lattice design of flowering foliage, later chenille and silk borders with rope braiding, 81cm x 68cm; an ARTS & CRAFTS EMBROIDERED SILKWORK TABLECLOTH, worked in coloured silks on a lace and muslin ground with roundels of floral motifs, later mounted on covered board, panel 90cm x 92cm; and an ARTS & CRAFTS ‘MADRAS MUSLIN’ PANEL ATTRIBUTED TO ALEXANDER MORTON & CO with repeating pattern of lilies and roses, reserved on a later cotton border and quilted backing, 205cm x 121.5cm (3) £300-500

301 ENGLISH SCHOOL ARTS & CRAFTS SILKWORK EMBROIDERED TABLECLOTH, CIRCA 1900 worked in coloured silks with stylised flowers on a mercerised cotton ground, enclosed within silk satin frilled border, detail illustrated right panel 83cm square

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

302 MANNER OF GEORGE WALTON FOR GOODYERS, LONDON ARTS & CRAFTS SILVERED AND ENAMEL-SET MANTEL CLOCK, CIRCA 1910 the circular enamel dial enclosed by a hammered case, with repoussé stylised tree forms, backed by Ruskin turquoise roundels, the whole raised on pad feet 29cm wide, 16cm high, 10cm deep

£1,200-1,800

303 LIBERTY & CO., LONDON ART NOUVEAU SILVER CIGARETTE CASE, BIRMINGHAM, 1905 embossed with a design of four budding organic motifs radiating from the centre, on a lightly hammered silver ground, with matt textured pale gilt interior, maker’s mark WHH for William Hair Haseler, hallmarked Birmingham, 1905 8cm high

£200-300

304 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON ‘CYMRIC’ SILVER RECTANGULAR MATCH BOX HOLDER, BIRMINGHAM, 1904 with entwined Celtic knot and bud motif highlighted in blue, green and orange enamel, maker’s mark L & Co., stamped CYMRIC, hallmarked Birmingham, 1904 7cm x 5cm

£400-600

305 LIBERTY & CO., LONDON TWO ARTS & CRAFTS SILVER PHOTOGRAPH FRAMES, BIRMINGHAM 1909 the largest set with one turquoise cabochon, stamped maker’s marks and hallmarks for Birmingham 1909, 17.5cm x 13cm; the other set with three turquoise cabochons, stamped maker’s marks and hallmarks for Birmingham 1905, 12cm x 16cm (2) £400-600

306 ARCHIBALD KNOX (1864-1933) LIBERTY & CO., LONDON ARTS & CRAFTS SILVER-MOUNTED DECANTER, BIRMINGHAM 1906 of square form with pinched body, the silver mount set with two turquoise cabochons and two stylised circular enamel roundels, stamped maker’s marks and hallmarks for Birmingham 1906/ 2230 26cm high

£800-1,200

307 LIBERTY & CO., LONDON ‘CYMRIC’ SILVER PHOTOGRAPH FRAME, BIRMINGHAM 1904 of rectangular form, the frame set with a green cabochon, stamped maker’s marks and hallmarks for BIRMINGHAM 1904 17.5cm x 13cm

£200-300

308 LIBERTY & CO., LONDON RARE ARTS & CRAFTS SILVER & ENAMEL BELT BUCKLE, BIRMINGHAM 1899 of shaped outline with hammered finish, enclosing two roundels with stylised whiplash foliage on a blue and green enamelled ground, flanked by a central blue enamel roundel, stamped maker’s mark, hallmarked Birmingham 1899 10.5cm long

£600-800

309 MANNER OF LIBERTY & CO.., LONDON MAHOGANY FRAMED CORNER CHAIR, CIRCA 1910 with Mashrabiya turnings, close-nailed upholstered seat, raised on turned legs linked by cross stretchers, stamped to seat rail B57 43.5cm wide, 77cm high, 43.5cm deep

£200-300

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

310 LIBERTY & CO., LONDON ARTS & CRAFTS ‘QUITE CONTRARY’ EMBROIDERED PANEL, CIRCA 1900 worked in coloured silks and metal threads on a mercerised cotton ground, embroidered initials E. A. A. 24.5cm x 22.5cm Literature: Liberty & Co. Designs for Embroidery catalogue, circa 1900, No. 19

£300-500

311 LIBERTY & CO., LONDON ARTS & CRAFTS OAK MOORESQUE OCCASIONAL TABLE, CIRCA 1900 the hexagonal top above shaped and arched supports, raised on turned legs linked by a lower tier 52.5cm across, 67cm high

£200-300

312 LEONARD WYBURD (1865-1958) FOR LIBERTY & CO. LONDON ARTS & CRAFTS MAHOGANY ARMCHAIR, CIRCA 1900 the tall slatted back with open arms and drop-in seat with later upholstery 57.5cm wide, 111cm high, 47cm deep

£300-500

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

313

314

STYLE OF LIBERTY & CO., LONDON

ATTRIBUTED TO LIBERTY & CO., LONDON

ARTS & CRAFTS MAHOGANY OCCASIONAL TABLE, CIRCA 1900

ARTS & CRAFTS MAHOGANY MOORESQUE OCCASIONAL TABLE, CIRCA 1900

with waved slatted sides, 44.5cm across, 66cm high; and AESTHETIC MOVEMENT MAHOGANY OCCASIONAL TABLE, with octagonal top on ring-turned legs, 54cm across, 63.5cm high, together with a TOWEL RAIL, 76.5cm wide, 91.5cm high, 20cm deep (3)

the hexagonal top above shaped arched supports, the whole raised on six tapering legs, 44cm wide, 67cm high; and an AESTHETIC MOVEMENT MAHOGANY OCCASIONAL TABLE (MANNER OF E. W. GODWIN), the square top above four ring-turned legs, supporting a lower tier with spindle filled gallery, 41.5cm square, 66cm high (2)

£200-300

£250-350

315 ATTRIBUTED TO LIBERTY AND CO., LONDON LARGE ARTS & CRAFTS COPPER WALL MIRROR, CIRCA 1910 the rectangular bevelled plate enclosed by riveted copper frame with hammered finish and embossed leaf and berry motifs 92cm x 123cm

£1,200-1,800

316 LIBERTY AND CO., LONDON ARTS & CRAFTS OAK SECRETAIRE, CIRCA 1900 the panelled fall opening to reveal a fitted interior and flanked by original brass candle sconces, single drawer and shelved base, supports pierced with foliate forms 84cm wide, 116cm high, 33.5cm deep Literature: Bennett, D., Liberty’s Furniture 1875-1915: The Birth of Modern Interior Design, Antique Collector’s Club, 2012, p.173, pl. 5.32, where similar examples of Liberty bureaus are listed

£300-500

317 ATTRIBUTED TO LIBERTY & CO., LONDON ARTS & CRAFTS STAINED BEECH ‘THEBES’ STOOL, CIRCA 1900 the rectangular close-nailed and upholstered seat raised on turned legs linked by stretchers with angled supports 47.5cm wide, 44cm high, 34cm deep

£200-300

318 LIBERTY & CO., LONDON ARTS & CRAFTS OAK FRAMED MIRROR, CIRCA 1900 the rectangular frame with applied copper heart motif, with maker’s ivorine label verso 61.5cm x 41cm

£400-600

319 LIBERTY & CO., LONDON ARTS & CRAFTS OAK BOOKCASE, CIRCA 1910 the projecting cornice above frieze with applied motto TOIL HARD REST WELL, above stained and leaded glass doors, enclosing adjustable shelves with cupboards below 101cm wide, 194cm high, 34.5cm deep

£400-600

320 LIBERTY & CO., LONDON OAK SIDE CHAIR, CIRCA 1910 the curved blindfretwork top rail above spindle back drop-in seat and barley twist legs 47.5cm wide, 100cm high, 42cm deep

£200-300

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

321 MANNER OF LIBERTY & CO., ARTS & CRAFTS OVERMANTEL MIRROR, CIRCA 1900 with beaten finish, the overhanging cornice above frame repoussé-decorated with fleurde-lys and set with Ruskin panels 70cm x 76cm

£1,000-1,500

322 LIBERTY & CO., LONDON ‘TUDRIC’ PEWTER BOX, CIRCA 1900 of rectangular outline, with applied medallions cast with pine trees, stamped maker’s marks TUDRIC/ 0127 28.5cm wide

£250-350

323 DAVID VEASEY FOR LIBERTY & CO., LONDON ARTS & CRAFTS PEWTER TWIN-HANDLED ROSE BOWL, CIRCA 1910 bearing inscription AND THE MUSK OF THE ROSE IS BLOWN AND THE WOODBINE SPICES ARE WAFTED ABROAD, stamped ENGLISH PEWTER 011 30.5cm diameter

£200-300

324 CHILD & CHILD, LONDON ARTS & CRAFTS SILVER & ENAMEL BELT BUCKLE, LONDON 1910 of oval form, cast with flowering lily-ofthe-valley, set with blue and green enamels, stamped maker’s mark and hallmarks for London 1910, with original box 7.5cm across

£600-800

325 LIBERTY & CO., LONDON ARTS & CRAFTS MAHOGANY MOORESQUE OCCASIONAL TABLE, CIRCA 1900 the moulded square top above shaped arched supports, the whole raised on turned legs linked by stretchers 65cm square, 72cm high

£300-500

100

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

£600-800

327 MANNER OF LIBERTY & CO. ARTS & CRAFTS OAK THREE PIECE HALL SUITE, CIRCA 1900 comprising a HALL BENCH, with pierced back spindle with stylised hearts, open arms raised on shaped and moulded feet linked by a stretcher, stamped number to front rail 1091, 99cm wide, 106cm high, 45cm deep; and a PAIR OF CHAIRS, of corresponding design, on tapering legs linked by stretchers, 45cm wide, 103.5cm high, 45cm deep (3) £350-450

328

329

330

ENGLISH SCHOOL

ATTRIBUTED TO C. F. A. VOYSEY FOR THOMAS ELSLEY & CO.

ENGLISH SCHOOL

HEAD OF A BOY, CARVED MARBLE ROUNDEL, CIRCA 1900

PAIR OF BRASS DOOR HINGES, CIRCA 1900

ARTS & CRAFTS FRAMED SILKWORK EMBROIDERED PANEL, CIRCA 1900

within oak frame

each stamped A4509/ 3 (2)

24cm diameter

20cm long

worked in coloured silks on a black ground, depicting a peacock and two opposing squirrels in a tree

£200-300

55cm x 45cm

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

101

331 FLEETWOOD CHARLES VARLEY (1863-1942) ARTS & CRAFTS ENAMEL PLAQUE, CIRCA 1900 depicting a lake scene, signed lower right VARLEY, framed 5.5cm x 9cm

£600-800

332 LIBERTY & CO., LONDON

333

‘TUDRIC’ PEWTER AND ENAMEL CLOCK, CIRCA 1900

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

the plain circular dial and movement within an arched case, cast with a frieze of circular motifs, set with two blue/green enamel roundels, stamped maker’s marks TUDRIC/ 01318/ MADE IN ENGLAND/ DAWSONS LIMITED/ DUNEDIN NZ

‘TUDRIC’ PEWTER AND ‘CLUTHA’ GLASS COUPE, CIRCA 1903

11.5cm high

£1,000-1,500

the shaped bowl with aventurine and white swirls, the foliate cast pierced support on three finned legs, stamped marks 0276 20cm diameter, 16cm high

£200-300

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

£1,000-1,500

102

335 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON ARTS & CRAFTS SILVER SERVING SPOON, BIRMINGHAM, 1905 with elongated stem, cast foliate finial and circular bowl, maker’s mark WHH for William Hair Haseler, hallmarked Birmingham, 1905

Literature: Martin, Stephen, Archibald Knox, Second Edition 2001, p.64, where a spoon of matching pattern is illustrated from the ‘Cymric’ Silver catalogue of 1899.

20cm long

£400-600

336 LIBERTY & CO., LONDON ‘TUDRIC’ PEWTER AND ENAMEL BOX, CIRCA 1900 of rectangular form, set with an enamel plaque depicting cliffs by the sea, stamped maker’s marks TUDRIC/ MADE IN ENGLAND/ 01026 26cm wide, 6cm high, 10cm deep

£300-500

337 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON ‘TUDRIC’ PEWTER & ENAMEL CANDELABRUM, CIRCA 1905 with twin-branches (drip trays lacking), supported on a column with openwork leaves and berries, the pierced base embellished with variegated blue enamelled leaves, stamped maker’s and retailer’s marks TUDRIC 0530 26.5cm high

£400-600

338 LIBERTY & CO., LONDON ‘TUDRIC’ PEWTER AND ENAMEL BOX, CIRCA 1900 of square form, the lid set with an enamelled panel depicting a galleon in full sail, stamped maker’s marks TUDRIC 0544 12.5cm wide, 6cm high, 10cm deep

£300-500

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

103

339 LIBERTY & CO., LONDON RARE ‘CYMRIC’ SILVER-MOUNTED RUSKIN POTTERY BOX & COVER, BIRMINGHAM, 1902 the Ruskin pottery tapering circular body in a mottled blue/green glaze, the hinged cover with inset roundel in turquoise/green glaze, with silver rim mounts, maker’s mark L & Co., stamped CYMRIC, hallmarked Birmingham, 1902, the base with early Ruskin painted ‘scissors’ mark 5.5cm x 4.5cm

£1,000-1,500

340 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON ‘TUDRIC’ PEWTER BUTTER DISH, CIRCA 1900 with hammered finish and original glass liner by James Powell & Sons, stamped maker’s marks “TUDRIC” 0163 18.5cm diameter Literature: Martin, Stephen Archibald Knox, ArtMedia 2001, p. 208,

£200-300

315

JB664-010

ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON ARTS & CRAFTS SILVER SERVING SPOON, BIRMINGHAM, 1905 with elongated stem, cast foliate finial and circular bowl, maker’s mark WHH for William Hair Haseler, hallmarked Birmingham, 1905 20cm long

341 ARCHIBALD KNOX (1864–1933) FOR LIBERTY & CO., LONDON PAIR OF ‘TUDRIC’ PEWTER VASES, CIRCA 1900 each of bullet form cast with stylised foliate design, stamped maker’s marks ENGLISH PEWTER 0226 (2) 19cm high

£250-350

Literature: Martin, Stephen, Archibald Knox, Second Edition 2001, p.64, where a spoon of matching pattern is illustrated from the ‘Cymric’ Silver catalogue of 1899.

£400-600

104

342

345

FRED TAYLOR (1875-1963)

ANONYMOUS

WHITBY ABBEY

JERSEY

lithograph, c.1930, distributed in New York, condition A-; not backed

offset lithograph, c.1960, condition B+; not backed

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

£400-600

£300-500

343

346

LESLIE CARR

FRANK HENRY MASON (1875-1965)

KENWOOD AND HAMPSTEAD HEATH

EDINBURGH

lithograph, c.1910, condition A-; not backed

40 x 25 in. (101 x 63 cm.)

lithograph, condition A; backed on linen £400-600

30 x 20in. (76 x 51cm.)

£600-800

344 JOHN GILROY (1898-1985) GUINNESS FOR STRENGTH lithograph, 1934, condition B+/A-; backed on linen 30 x 20 in. (76 x 51cm.)

£200-300

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

105

347 J. Y WRIGHT TROON, GOLF COURSES lithograph, c.1910, condition B/B+; backed on linen 40 x 25 in. (102 x 64 cm.)

£500-700

348 ROGER BRODERS (1883-1953) NORTH WALES, SNOWDON SUMMIT lithograph, condition A-; backed on linen 39 1/2 x 24 1/2 in. (100 x 62 cm.)

£2,000-3,000

349 ANONYMOUS THE TOUR FOR YOU, WESTERN HIGHLANDS lithograph, c.1910, condition B+; backed on linen, 39 x 24 in. (99 x 62 cm.) ; TOGETHER WITH NORTH BRITISH RAILWAY (2) £300-500

106

350 EILEEN ROSEMARY MAYO (1906-1994) AUSTRALIA, THE GREAT BARRIER REEF offset lithograph, c.1956, condition A-; backed on linen 39½ x 25 in. (100 x 64 cm.)

£1,500-2,000

351 PETER JAY KENYA offset lithograph, c.1950, condition A-; backed on linen 29 1/2 x 19 1/2 in. (75 x 50 cm.)

£500-700

352 MACDONALD (MAX) GILL (1884-1947) CEYLON lithograph, 1933, condition A-; backed on linen 40 x 25 in. (102 x 64 cm.)

£1,000-1,500

107

353 ANONYMOUS IMPERIAL AIRWAYS offset lithograph, condition B+; not backed 29 1/2 x 19 1/2 in. (75 x 50 cm.)

£500-700

354 N. GERALD ALEXANDRE GERAL AIR FRANCE lithograph, c.1935, condition A-; backed on linen 39 x 25 in. (99 x 63 cm)

£1,000-1,500

355 LOUIS THÉOPHILE HINGRE (1832–1911) PNEU VELO MICHELIN lithograph, 1911, condition B+/A-; backed on linen 32 x 23 1/2 in. (81 x 60 cm.)

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

108

356

358

JEAN JACQUELIN (1905-1989)

ROGER BEZCOMBES (1913-1994)

PROVENCE

CÔTE D’AZUR

lithograph, 1945, condition A; backed on linen

offset lithograph, 1956, condition A; backed on linen

39 x 24 in. (99 x 61 cm.)

38 1/2 x 24 in. (98 x 61 cm.)

£400-600

357

359

ARTHUR PAGES

AFTER HENRI MATISSE (1869-1954)

CORSE

NICE

offset lithograph, 1958, condition A; backed on linen

lithograph, 1947, printed by Mourlot, Paris, condition A; backed on linen

39 x 24 in. (99 x 61 cm.)

39 x 25 1/2 in. (99 x 65 cm.)

£400-600

£800-1,200

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

109

360

362

AFTER PABLO PICASSO (1881-1973)

ROGER BRODERS (1883-1953)

CANNES A.M

GRASSE

lithograph, 1962, printed by Mourlot, Paris, condition A; not backed

lithograph, c.1930, condition A-; backed on linen, framed

39 x 26in. (99 x 66cm.)

42½ x 30½ in. (108 x 77 cm.)

£800-1,200

£1,000-1,500

361

363

AFTER RAOUL DUFY (1877-1953)

RENÉ GRUAU (RENATO DE ZAVAGLI, 1909-2004)

PARIS lithograph, c.1965 condition A-; backed on linen

RELAX...

39 x 24 1/2in. (99 x 62cm.)

offset lithograph, c.1950, condition A; not backed

£400-600

38½ x 24 1/2 in. (98 x 62 cm.)

£500-700

110

111

364

367

ALPHONSE MUCHA (1860-1939)

AUTUMN/L’AUTOMNE

TÊTES BYZANTINES (BRUNETTE)

decorative panel on silk, 1897, condition A-; framed

lithograph, 1897, condition A-; backed on linen, framed

28 x 12 1/4 in. (71 x 31 cm.)

22.5 x 16.5 in. (57 x 42cm.)

£2,000-3,000

£3,000-5,000

365

368

ALPHONSE MUCHA (1860-1939)

WINTER /L’HIVER

TÊTES BYZANTINES (BLONDE)

decorative panel on silk, 1900, condition A-; framed

lithograph, 1897, condition B; backed on linen, framed

27 1/2 x 12 1/4 in. (70 x 31 cm.)

22.5 x 16.5 in. (57 x42 cm.)

£2,000-3,000

£3,000-5,000

366 AFTER MARC CHAGALL (1887-1985) PARIS, L’OPERA lithograph, 1965, printed by Mourlot, Paris, condition A; backed on linen 25 x 39in. (64 x 99cm.)

£600-800

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

112

369

371

BOB PEAK

ANONYMOUS

APOCALYPSE NOW

BUTCH CASSIDY AND THE SUNDANCE KID

1979, United Artists, German double panel poster, condition A-; backed on linen

1969, T.C.F., British quad, backed on linen, framed

46 x 67 in. (117 x 170 cm.),

30 x 40 in. (76 x 105 cm.)

£700-900

£600-800

370

372

ANONYMOUS

NIKI DE SAINT PHALLE (1930 - 2002)

THE GODFATHER

11TH NEW YORK FILM FESTIVAL

1972, Paramount, British onesheet, condition A-; backed on linen

silkscreen, 1973, signed and numbered in pencil, condition A; backed on linen

39 1/2 x 27in. (102 x 69cm.)

70 x 37 in. (178 x 94 cm.)

£600-800

£1,200-1,800

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

114

373 GEORGE WALTON (1867-1933) FOR MISS CRANSTON’S BUCHANAN STREET TEAROOMS SCARCE EBONISED ARMCHAIR, CIRCA 1890 with original painted floral and foliate decoration, the curved back with caned panel above later upholstered drop in seat, lifting to reveal a caned seat below, raised on ring-turned and tapering legs 58cm wide, 86cm high, 49cm deep Literature: Moon, K. George Walton, White Cockade 1993, p.53, pl. 62

£2,000-3,000

Note: This chair was made for Miss Cranston’s new tearoom in Buchanan Street in Glasgow in 1896. Walton designed a tall side chair, a low side chair and an armchair for these rooms, each with hand-painted floral sprigs following the colour scheme of the walls which were designed by Charles Rennie Mackintosh. The curved form of the chair continues the ‘Glasgow Style’ Art Nouveau aesthetic, whilst the Regency inspiration which the design subverts is still evident. Other versions of the armchair were used by Walton in schemes throughout his career (for example in the drawing room at Elm Bank), but only the Buchanan Street chairs are marked out by their painted floral decoration.

374 OLIVE CARLETON SMYTH (1882-1949) ‘THE PIPES OF PAN’ tempera on vellum, signed with initials lower right OCS, within contemporary silvered frame 24.5cm x 40.5cm Literature: Burkhauser, Jude, ‘Glasgow Girls: Women in Art & Design 1880-1920’, 1990, pages 170-172 Note: Olive Carleton Smyth trained at Glasgow School of Art between 1900 and 1909 as a fresco decorator and artist. She was an early tutor at the School and was recruited by Francis (Fra) Newbery in 1902 while still a student. Smythe’s work has a theatrical quality, reflecting her interest in theatre, and her influences included the Ballets Russes, with its dramatic themes, colours and costumes.

£2,000-3,000

375

376

377

SCOTTISH SCHOOL

MARGARET GILMOUR (1860-1942)

CELTIC REVIVAL BRASS WALL MIRROR, CIRCA 1920

AESTHETIC STYLE ARTS & CRAFTS BRASS JARDINIÈRE, CIRCA 1890

CELTIC REVIVAL BRASS DESK SET, CIRCA 1910

of oval outline, repoussédecorated with Celtic knotwork 39.5cm x 82cm

of square tapered form with broad rim, above panelled sides, repoussé decorated with dragonflies and geese, signed J. T. R *AIR

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

£250-350

27.5cm wide, 23cm high

£200-300

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

116

378 GLASGOW SCHOOL ARTS & CRAFTS BRASS MIRROR, CIRCA 1900 the shaped bevelled mirror plate within a repoussé-decorated frame of stylised butterflies and foliage 35cm x 77cm

£400-600

379 PETER WYLIE DAVIDSON (1870-1963) ARTS & CRAFTS BRASS WALL CLOCK, CIRCA 1900 the shaped dial with decorative scrolled edges, repoussé-decorated with chapter ring, enclosed by a galleon in full sail and inscription TIME & TIDE dial 44cm high, 33cm wide

£600-800

380 MARGARET GILMOUR (1860-1942) GLASGOW SCHOOL BRASS WALL SCONCE, CIRCA 1910 stamped maker’s monogram MG, 36.5cm high; together with a GLASGOW SCHOOL CELTIC REVIVAL BRASS CHARGER, with repoussé decoration, 43cm diameter (2) £400-600

381 GLASGOW SCHOOL ARTS & CRAFTS BRASS WALL MIRROR, CIRCA 1910 of oval outline repoussé-decorated with a band of faux rivets and stylised roses 57cm x 76cm

£400-600

117

382 § HENRY TAYLOR WYSE (1870-1951) RIVER LANDSCAPE, 1918 watercolour, signed and dated lower right WYSE/ 18 21.5cm x 32cm Literature: Cumming, Elizabeth and Jack, Heather ‘Henry Taylor Wyse: Artist Teacher Craftsman’, Aberbrothock 2016

£200-300

383 MANNER OF GEORGE WALTON FOR GOODYERS. LONDON ARTS & CRAFTS COPPER AND ENAMELSET MANTEL CLOCK, CIRCA 1910 the circular enamel dial enclosed by hammered case, with repoussé stylised tree forms, backed by Ruskin turquoise roundels, the whole raised on pad feet 33cm wide, 16.5cm high, 10.7cm deep

£1,200-1,800

384 GEORGE HENRY WALTON (1867-1933) INLAID MAHOGANY ‘BRUSSELS’ ARMCHAIR, CIRCA 1900 the moulded top rail above heart-pierced splat, marquetry inlaid with flowers above shaped open arms and original close-nailed crewelwork seat, raised on tapering legs 62.5cm wide, 121.5cm high, 55cm deep Literature: Moon, Karen George Walton, White Cockade 1993, p.104, pl. 137, illus.

£1,800-2,200 Note: Designed for the Kodak showrooms in Brussels, this elegant armchair sees Walton subvert traditional style of country seating furniture. Inspired by the form of the ‘fiddle-back’ chair, Walton elongates the back as the curved top rail meets the open arms in a manner similar to late 18 th century methods of furniture construction. Later exhibited in Glasgow at the 1901 International Exhibition, the iconic ‘Brussels’ armchair exemplifies Walton’s radical approach to furniture design. Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

118

385 ATTRIBUTED TO MARY THEW (1876-1953) PAIR OF GLASGOW SCHOOL SILVER & ABALONE HATPINS, CIRCA 1910 with scrolled silver wirework mounts enclosing lozenge-shaped abalone shell panels, unmarked (2) 19cm long

£200-300

386 E. THOMPSON GLASGOW SCHOOL WHITE METAL BUTTERFLY HAIRCOMB, CIRCA 1910 cast as a butterfly with textured outstretched wings, set with paste opal and ‘peacock’s eye’ cabochons, the reverse inscribed, E. THOMPSON, 45 DUDLEY DRIVE 9cm wide

£200-300

387 MANNER OF MARY THEW (1876-1953) GLASGOW SCHOOL SILVER & HAND-PAINTED BROOCH, CIRCA 1910 with characteristic entwined silver wirework border punctuated with beaded clusters, enclosing an oval porcelain panel painted with a butterfly and flowers, unmarked 4.5cm wide

£200-300

388 GLASGOW SCHOOL, MANNER OF ANN MACBETH ARTS & CRAFTS EMBROIDERED SILKWORK PANEL, CIRCA 1900 of oval form, depicting a girl holding a dove, worked in coloured silks and threads, framed 18.5cm x 14cm

£400-600

389 MANNER OF ANNIE FRENCH ‘WHEN I CAME BACK FROM LYONESSE WITH MAGIC IN MY EYES...’ pen and ink, bears pencil inscription, stuck down on card, unsigned 26.5cm x 17.5cm

£250-350

390 § ANNIE FRENCH (1872-1965) THE ROSE ink, watercolour, gold ink and traces of pencil on paper, signed lower left ANNIE FRENCH 24.5 x 26.5cm Provenance: The Taffner Collection

£1,000-1,500

391 § ANNIE FRENCH (1872 – 1965) PAINTED BOOKMARK AND OTHER RELATED ITEMS the bookmark depicting a Glasgow-style girl in a green dress, with delicately painted flowers drawn in black ink and watercolour; two further painted bookmarks; two calendars; two New Year cards; three hand-written letters and a postcard from Annie French, addressed from Oaklands, Hayes Lane, Kenley, Surrey to Violet Neish, including two with floral embellishments; and three other hand-painted floral designs (qty) £400-600

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

120

392 JESSIE MARION KING (1875-1949) FOR PETER WYLIE DAVIDSON (1870-1963) GLASGOW SCHOOL OF ART SILVER LAPEL BADGE, CIRCA 1900 the pierced circular badge featuring the School coat of arms and inscribed THE GLASGOW SCHOOL OF ART 2.7cm wide Note: A silver lapel badge of matching pattern is noted in the Glasgow School of Art Collections, gifted by Iain Davidson, the maker’s grandson.

£300-500

393 JESSIE MARION KING (1875-1949) FOR LIBERTY & CO., LONDON SILVER & ENAMEL PENDANT NECKLACE, CIRCA 1900 with six flower heads highlighted in turquoise/green enamel with delicate silver tendrils and berries between, suspending an oval blister pearl drop, on silver neck chain 4.5cm high

£300-500

394 JESSIE MARION KING (1875-1949) ALBUM COVER: WERKE-ALTERMEISTER, 1902 laid on a book board, coloured, printed signature and date lower left JESSY (SIC) M. KING/ 1902, framed 33cm x 26cm

£200-300

395 JESSIE MARION KING (1875 – 1949) BOOKPLATE FOR CHARLES D. EDWARDS with inscription CHARLES D. EDWARDS/ THAT MAN’S UNWISE WILLE SEARCHE FOR ILLE AND MAYE PREVENT IT SETTINGE STILLE, printed signature JESSIE M. KING, 14cm x 10cm; and a POSTCARD DESIGNED BY THE SAME HAND, printed by Millar & Lang Art Publishers Glasgow & London, printed in colours and highlighted in gilt with two medieval-style figures in a wooded landscape and a flight of swallows above, inscribed ‘LITTLE BOY BLUE COME BLOW UP YOUR HORN….’ with JMK monogram, lower right, 14cm x 9cm (2) £200-300

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

121

396 JESSIE MARION KING (1875-1949) ‘PUFFER AT CORRIE’ watercolour, framed with exhibition label verso 22cm x 28cm Provenance: Sotheby Parke Bernet & Co. auction catalogue Jessie M. King and E.A. Taylor, Paul Harris & Sotheby’s, 1977 Barclay Lennie Fine Art Limited, Glasgow, 1987 Private Collection, London.

£300-500

397

398

JESSIE MARION KING (1875-1949)

HAND-PAINTED POTTERY BOWL AND PLATE, CIRCA 1940

PAINTED POTTERY VASE, EARLY 20TH CENTURY

painted with the Knave of Hearts in a garden and with inscription THE KNAVE OF HEARTS, 16cm diameter (minor restoration to rim); and a CIRCULAR CAKE PLATE, painted with flowers, 22cm diameter, each with painted initials, Greengate and rabbit marks verso (2) £300-500

of shouldered form with short cylindrical neck, painted with a hunter walking dogs whilst deer run ahead, in a detailed landscape, with initials JMK, Greengate and rabbit marks 16.5cm high

£300-500

399 JESSIE MARION KING (1875-1949) GROUP OF HAND-PAINTED POTTERY, CIRCA 1940 comprising a MUG, depicting a ship (hairline), 12cm high; a SMALL BOWL, with bunches of grapes, 12cm diam.; a DESSERT PLATE, with yellow and blue flowers, 19cm diam.; a BOX AND COVER, with inscription OVER THE HILLS AND FAR AWAY, 12cm diam.; an OVAL DISH, with red and blue flowers, 21cm wide; a PEPPERETTE, 12cm high; and a TRIO, comprising a teacup, 6.5cm high, a saucer, 14cm diam. and a cake plate, 18cm wide, all with polychrome flowers; each with painted initials JMK, a rabbit and a Greengate marks (9) £800-1,200

122

400 SCOTTISH SCHOOL IN THE MANNER OF OSCAR PATERSON SUITE OF STAINED AND LEADED GLASS PANELS, CIRCA 1900 comprising a GROUP OF FOUR WINDOWS, depicting foliate and scroll motifs, two: 46cm x 55cm and two: 109cm x 55cm; a GROUP OF THREE PANELS, each with flowering foliate motifs, 47cm x 47cm; and a SINGLE PANEL, depicting a flying bluebird, 79cm x 43cm, each within cast iron frames (8) Provenance: Netherlaw House, Dundrennan, Kirkcudbright

£400-600

401 ALEXANDER RITCHIE (18561941), IONA TWELVE SILVER ‘NUNNERY’ COFFEE SPOONS, 1938 of Roman-style design, with cast foliate stems and pointed oval bowls, stamped maker’s marks A.R.; IONA; ICA; and Birmingham hallmarks for 1938 7.5cm long

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

123

402 Y ALEXANDER RITCHIE (1856-1941), IONA RARE CELTIC REVIVAL SILVER MOUNTED LETTER OPENER, GLASGOW 1927 the ivory opener with handle cast with scrolling foliate motifs, longboat and Griffin devices and cast inscription, further inscribed MACKINNONS CROSS/ IONA, bears makers marks for George & John Morgan, hallmarked Glasgow 1927 32cm long

£500-800

Literature: E. Mairi MacArthur Iona Celtic Art: The Work of Alexander and Euphemia Ritchie, Iona 2003, p. 46 where a similar letter-opener is illustrated Note: One side of the handle of this letter-opener bears the design of an Iona cross shaft, set up in 1489 by Abbott John Mackinnon and his father Lachlan, chief of the clan and the reverse mirrors the cross back, with long plant-scroll emanating from the tail of a griffin, a commonly occurring motif in Ritchie’s work.

403 ALEXANDER RITCHIE (1856-1941), IONA ‘MACKINNON’S CROSS’, 1900 carved and stained oak, bears inscription to base IONA/ MACKINNON’S CROSS, incised makers marks to base AR/ IONA/ 1900 55.5cm high Literature: E. Mairi MacArthur Iona Celtic Art: The Work of Alexander and Euphemia Ritchie, Iona 2003, p. 36, plate 6d where a similar cross of the same date is illustrated.

£400-600

404 ALEXANDER RITCHIE (1856-1941), IONA CELTIC REVIVAL SILVER CROSS PENDANT, GLASGOW 1930 the pendant cast with entwined knotwork decoration, with heavy chain and elliptical spacers cast with crosses and longboats, stamped maker’s marks A.R./ IONA, hallmarked Glasgow 1930 length of pendant 6cm long; length with chain 80cm long

£400-600

405 ALEXANDER RITCHIE (1856-1941), IONA ENAMELLED CELTIC REVIVAL ANNULAR BROOCH, BIRMINGHAM 1914 the deep blue enamel with Gaelic motto (transl, ‘May all your days be happy’), with an integral swing pin, stamped maker’s marks and hallmarks for Birmingham 1914 3.5cm diameter

£200-300

124

406 § HENRY TAYLOR WYSE (1870-1951) ‘SUMMER’, 1914 watercolour, signed and dated lower right WYSE/ 1914 24cm x 34cm

£200-300

407 ATTRIBUTED TO MARGARET GILMOUR GLASGOW STYLE BRASS WALL SCONCE, CIRCA 1900 repoussé-decorated with two owls on a branch and with stylised plant forms, with two later applied candle sconces

79cm high, 39.5cm wide

£700-900

408 SCOTTISH SCHOOL ARTS & CRAFTS BRASS MIRROR, CIRCA 1910

410

the shaped and bevelled mirror plate enclosed by a repoussé frame decorated with birds perching on branches

SABATTINI, AFTER CHARLES RENNIE MACKINTOSH

76.5cm wide, 34cm high

£200-300

PLATED FORK AND KNIFE, CONTEMPORARY each stamped with maker’s marks (2) 23cm long

£150-250

409

411

JAMES HERBERT MACNAIR (1868-1955)

GLASGOW SCHOOL

LIVERPOOL SCHOOL OF TROPICAL MEDICINE, 1920

ARTS & CRAFTS BRASS CHARGER, CIRCA 1900

historical Record, 1898-1920, published by the University Press, Liverpool, bound in cloth with gilt front cover design by MacNair depicting a sailing ship, signed with initials J.H.McN, lower right, 22cm x 14.5 cm; and BINDING ON THE GRASS BY CHARLES RENNIE MACKINTOSH, 1914, poetry book by Madeleine C. Rock, published by John G. Wislon, 77 Queen Street, London E.C., 1914, with C. R. Mackintosh design on cover and dust jacket, 19.5cm x 13.5cm (2)

repoussé-decorated depicting a galleon in full sail, enclosed by a band of Celtic knotwork, 45cm diameter; and an ARTS & CRAFTS COPPER CHARGER, also repoussé-decorated with a galleon in full sale, enclosed by five roundels, the reverse engraved H. M. GAIRDNER, 55.5cm diameter (2)

£200-400

£200-300

125

412 ATTRIBUTED TO TALWIN MORRIS ARTS & CRAFTS COPPER JEWELLERY BOX, CIRCA 1900 repoussé-decorated with stylised foliate motifs, the hinged lid opening to reveal a velvet-lined interior, with pen mark to base 1899, 20.5cm wide, 10cm high, 21cm deep; and a PEWTER PLATE BY THE SAME HAND, repoussé-decorated with stylised heart motifs, 30.5cm diameter (2) £400-600

413 WYLIE & LOCHHEAD, GLASGOW WALNUT COCKTAIL CABINET, CIRCA 1920 with pull-down fall, inlaid with a shaped panel, and enclosing a void interior, above three graduated panelled doors on moulded cabriole legs, bears makers label 83.5cm wide, 116cm high, 52.5cm deep

£500-800

414 DE COURCY LEWTHWAITE DEWAR (1878-1959) WESTERN INFIRMARY GLASGOW SCHOOL OF NURSING SILVER & ENAMEL BADGE the navette-shaped badge with central coat-ofarms on a blue enamel ground, inscribed around the border WESTERN INFIRMARY GLASGOW SCHOOL OF NURSING, signed lower left on shield: DE C. L. D., maker’s mark of Vaughton and Sons, and Birmingham hallmarks 1952-3 5.5cm high

£100-200

415 ALEXANDER RITCHIE (1856-1941), IONA CELTIC REVIVAL SILVER PENDANT, DATED 1938 of oval form with a Celtic cross to one side, and a Gaelic inscription of St Columba’s prophecy to other, marked AR/ IONA, hallmarked Birmingham 1938, on a later chain 3.7cm high

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

126

416 § MARGARET ISOBEL WRIGHT (1884-1957) ‘PICKING BLUEBELLS’ watercolour, signed lower left 36cm x 32cm Exhibited: Royal Scottish Academy; Glasgow Institute of Fine Arts and Walker A.G., Liverpool

£300-500

417 GLASGOW SCHOOL SILKWORK EMBROIDERY, CIRCA 1910 worked as a stylised poppy design in coloured silks on a silk ground, framed 45.5cm x 50cm

£150-200

418 GLASGOW SCHOOL ARTS & CRAFTS PEWTER WALL CLOCK, CIRCA 1900 the twin train movement with shaped dial, repoussé-decorated with stylised foliate motifs, enclosing a chapter ring of Arabic numerals, the corresponding pendulum and weights repoussé-decorated with similar motifs dial 34cm x 28.5cm

£300-500

419 ALEXANDER RITCHIE (1856-1941), IONA WHITE METAL PENDANT CHAIN, CIRCA 1920 with spacers cast with stylised foliate motifs, the clasp stamped WWC 67cm long

£300-500

420 TIFFANY STUDIOS, NEW YORK ‘ZODIAC’ PATTERN TABLE LAMP, CIRCA 1910 bronze, with ‘turtle back’ glass shade, the bronze cast with Zodiac decoration, stamped maker’s marks TIFFANY STUDIOS NEW YORK 541. 37cm high Provenance: The Taffner Collection, Lyon & Turnbull, Lot38, 07/09/2012 Literature: Duncan, Alistair Tiffany Lamps and Metalware, Woodbridge 2007, p. 106, pl. 424

£3,000-5,000

128

421 TIFFANY STUDIOS, NEW YORK MOUNTED IRIDESCENT ‘FAVRILE’ GLASS TRUMPET VASE, CIRCA 1910 gold and green iridescent glass, raised on a cast patinated bronze base with stylised plant form stem, base with engraved initial R, stamped makers marks TIFFANY STUDIOS/ NEW YORK/ 1043/ G/ 11, painted number 8345 38cm high Literature: Duncan, A., Louis C. Tiffany: The Garden Museum Collection, Antique Collectors’ Club, 2004,p.397 where similar vases are illustrated

£800-1,200

422 TIFFANY STUDIOS, NEW YORK PAIR OF ‘FAVRILE’ IRIDESCENT FINGER BOWLS AND STANDS, CIRCA 1920 each with etched maker’s mark LCT (2) stand 17cm across; bowl 12.5cm diameter

£400-600

423 TIFFANY STUDIOS, NEW YORK IRIDESCENT ‘FAVRILE’ GLASS CANDLE LAMP & SHADE, CIRCA 1910 the lamp of tapering form with raised spiral decoration, with frilled glass shade, etched maker’s mark LCT 45cm high Literature: Duncan, A., Louis C. Tiffany: The Garden Museum Collection, Antique Collectors’ Club, 2004, p322

£500-800

424 TIFFANY STUDIOS, NEW YORK IRIDESCENT ‘FAVRILE’ GLASS VASE, CIRCA 1920 of tapering form, the amber glass covered in a gold iridescence, etched maker’s mark L C TIFFANY FAVRILE/ 114-1196 M 27cm high

£400-600

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

129

425 TIFFANY STUDIOS., NEW YORK ART NOUVEAU BRONZE AND ‘FAVRILE’ GLASS TABLE LAMP BASE, CIRCA 1900 with twisted stem set with ‘Favrile’ iridescent glass spheres, the divided base set with corresponding sphere decoration, stamped under base 8687 40cm high to the top of fitting Literature: Duncan, Alastair, Tiffany: Lamps & Metalware, ACC 2007, pp. 375 and 391, plates 1534 and 1597 where similar examples are illustrated.

£3,000-5,000

426 TIFFANY & CO, NEW YORK PIERCED SILVER VASE, CIRCA 1906 with an everted octagonal neck later engraved 1881/ D/ 1906, above a tapered panelled column with a glass insert and corresponding base, stamped TIFFANY & CO./ 15703/ MAKERS/ 6443/ STERLING SILVER/ 925, with draw-string bag 25.5cm high

£200-300

131

427 WMF (WURTTEMBERGISCHE METALLWARENFABRIK) CHROMIUM PLATED CEILING LIGHT, 20TH CENTURY the cylindrical shade with pierced decoration, stamped maker’s marks 25cm diameter, 50cm high

£300-500

428 AUSTRIAN SCHOOL PAIR OF SECESSIONIST INLAID WALNUT CABINETS, CIRCA 1900 the superstructure each with faceted glazed door enclosing a glass shelf with slated panels to the sides, the base with oval green marble inset top above twin marquetry-inlaid doors enclosing a shelf, the whole raised on square tapered legs (2) 119cm wide, 187cm high, 68cm deep

£3,000-5,000

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

132

429 DAGOBERT PECHE (1887-1923) FOR WIENER WERKSTATTE BRASS BOWL, CIRCA 1920 moulded form with stamped star motifs 9.5cm diameter

£300-500

430 LOETZ, AUSTRIA IRIDESCENT ‘PAPILLON’ VASE, CIRCA 1900 the bulbous body with tall slender neck and everted shaped rim, with papillon iridescence 23cm high

£400-600

431 LOETZ, AUSTRIA PAIR OF IRIDESCENT GLASS VASES, CIRCA 1900 yellow/blue iridescence on clear glass, with applied rope twist forms across the bodies (2) 30cm high Literature: Neuwirth, Waltraud Loetz Austria 1900, Vienna 1996, pp, 122-123, pl. 99, cat. 21, where a similar vase is illustrated

£1,000-1,500

432 MANNER OF HENRY VAN DE VELDE ART NOUVEAU BRASS DESKSTAND, CIRCA 1900 of shaped oval form, cast with stylised knotwork, later ceramic inkwell 25cm across

£150-250

133

433 HAGENAUER, AUSTRIA CAST BRONZE AND BRASS WALL PLAQUE, MID-20TH CENTURY brass back plate with cast bronze head of an African female, stamped monogram and maker’s marks to base HAGENAUER/ WEIN/ MADE IN AUSTRIA 23cm across

£200-300

434 ATTRIBUTED TO WIENER WERKSTÄTTE AMETHYST GLASS VASE, CIRCA 1917 painted in white and gilt with floral sprigs within zig-zag bands 15cm high Literature: See Br ö han, T., Glaskinst Der Moderne, Klinkhardt & Biermann, 1992, p.144, pl. 52 were a similar vase is illustrated.

£150-250

435 C.J. VAN DER HOEF (18751933) FOR GERO, ZEIST THREE-PIECE WHITE METAL TEA SERVICE, CIRCA 1925 comprising a TEAPOT, 15cm high; a MILK JUG, 7cm high; and a SUGAR BOWL & COVER, 12cm high, each with stamped maker’s marks (3) £150-250

436 JOSEF HOFFMANN (1870-1956) FOR WIENER WERKSTÄTTE PAIR OF WHITE METAL TEA GLASS HOLDERS, CIRCA 1920 of pierced circular form with applied beadwork, stamped maker’s marks (2) 8cm diameter, 6.5cm high

£3,000-5,000

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

134

437 MANNER OF WIENER WERKSTATTE AUSTRIAN SCHOOL WOOLWORK APPLIQUÉ PANEL, CIRCA 1900 worked in coloured wool and felt on a woven ground 62cm x 49cm

£150-200

438 BERTOLD LÖFFLER (1874-1960) FOR GMUNDNER KERAMIK AUSTRIA SECESSIONIST CERAMIC FIGURE GROUP, CIRCA 1905 depicting a courting couple in 19th century dress, impressed maker’s marks under base, 32cm high; and a PORCELAIN FIGURE GROUP, by GEORGES VAN DER STRAETEN, depicting a seated female, covered in mottled glazes, signed VAN DER STRAETEN with factory mark AUB/ PARIS, 23.5cm high (2) £400-600

439 ATTRIBUTED TO PORTOIS & FIX., VIENNA SECESSIONIST MAHOGANY AND BRASS MOUNTED CENTRE TABLE, CIRCA 1900 the moulded rectangular top raised on square tapered and brass-mounted legs, linked by a panelled stretcher and terminating in brass feet 89.5cm wide, 76cm high, 58cm deep

£400-600

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

135

440 CONTINENTAL SCHOOL OAK AND BRASS-MOUNTED OCCASIONAL TABLE, CIRCA 1920 the circular hammered top on square stepped supports linked by a lower tier 40.5cm diameter, 76cm high

£150-200

441 RICHARD RIEMERSCHMID (1868-1957) FOR DEUTSCHE WERKSTÄTTEN, HELLERAU PAIR OF OAK FRAMED DINING CHAIRS, CIRCA 1902 each with shaped and pierced top rails above upholstered panel seats and square tapering legs (2) 43cm wide, 90cm high, 38cm deep

£200-300

442 AUSTRIAN SCHOOL SECESSIONIST INLAID MAHOGANY OCCASIONAL TABLE, CIRCA 1900 the square top inset with woven silk panel, raised on four rectangular supports pierced with brass capped columns, linked by two circular tiers, the whole raised on a tapering brass base top 60cm square, 72cm high

£300-500

443 ATTRIBUTED TO THONET, VIENNA NEST OF FOUR BENTWOOD TABLES, CIRCA 1905 on arched and splayed supports with dark-stained finish, stamped pattern No. 16 55cm wide, 71cm high, 38cm deep

£250-350

136

444 Y DOMINIQUE ALONZO (FL. 1910-1930) GILT BRONZE AND IVORY JEWELLERY CASKET, CIRCA 1900 depicting a medievalist girl, the hinged lid opening to reveal a plush-lined interior, raised on an onyx plinth base, indistinctly marked to base C****ET SOREL/ 605 18.5cm high

£1,000-1,500

445 PAUL PHILIPPE (1870-1930) ‘RUSSIAN DANCER’, CIRCA 1925 patinated bronze, raised on a turned marble plinth figure 32.5cm high, total height 40cm high

£1,500-2,000

446 CONTINENTAL SCHOOL PAIR OF ART NOUVEAU COPPER PLATED BRASS AND ONYX CANDELABRA, CIRCA 1900 each with three whiplash branches on tapering onyx columns, raised on plinths with bracket feet (2) 49.5cm high

£300-500

137

447 FRENCH SCHOOL ART NOUVEAU GILTWOOD AND GESSO WALL MIRROR. CIRCA 1900 the frame carved and moulded with flowering foliage 110cm high, 70cm wide

£500-800

448 ÉMILE GALLÉ (1846-1904) ART NOUVEAU WALNUT AND MARQUETRY INLAID CARD TABLE, CIRCA 1900 the foldover top inlaid with a marquetry panel depicting flowering poppies and opening to reveal a baize-lined interior, the whole raised on cabriole legs linked by stretchers, marquetry inlaid signature to top ÉMILE GALLÉ / NANCY 74cm wide, 75cm high, 39cm deep

£400-600

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

138

449 FRENCH AVIATION POSTER AEROPLANES BLERIOT printed by G. Borel & Cie, 25 Rue Brunel, Paris 71cm x 94cm

£500-800

450 JOSEPH F. DROUOT ‘LUFTSTROM’, STUDY OF THE GLIDER ROBERT KRONFELD patinated plaster, bears inscription DER SEGELFLIEGER ROBERT KRONFELD/ M LUFTSTROM, signed and dated JOSEPHU-DROUOT/ FECIT WIEN 1900 37cm high, 50cm long

£300-500

451 GEORGES DE FEURE (1868-1943) POSTER: ‘PARIS - ALMANACH’, 1896 lithograph, printed signature lower left DE FEURE, framed, 79cm x 59.5cm; together with a ‘ BAL BANAL’ ORIGINAL PROGRAMME COVER, 1924, AFTER PABLO PICASSO, 35cm x 27cm (2) Note: The Almanach was a guide to Paris published by Ed. Sagot. This is a rare version of the design before the addition of sales and printer’s text.

£400-600

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

139

452 CONSTANTIN GUYS (1802-1892) ‘DEUX GRISETTES’ watercolour, unsigned 37cm x 24cm

£300-500

453 Y § PIERRE LE FAGUAYS (1892-1962) ‘DANCER WITH PIPES’, CIRCA 1925 bronze and ivory, raised on a black slate plinth, stamped number 2 to base of foot figure 26cm high, total height 37cm high Note: The word ‘grisette’ has referred to a French working-class woman from the late 17th century and remained in common use through the Belle Époque era, albeit with some modifications to its meaning. It derives from gris, and refers to the cheap grey fabric of the dresses these women originally wore.

£1,000-1,500

454 ÉDOUARD-ALEXANDRE DAMMOUSE (1850-1903) FOR HAVILAND & CO. LARGE EARTHENWARE JUG, CIRCA 1879 painted with impressionistic flowers on a graduated ground, incised initials to body E.D., impressed marks to base H&CO/L/2/1 34cm high

£400-600

455 DELPHIN MASSIER (1836-1907) SMALL LUSTRE GLAZED VASE, CIRCA 1900 the slightly everted neck with twin handles, fitted to an ovoid body decorated with threeleaf clover on a green-purple lustre ground, signed DM/ Vallauris 8.5cm high

£100-200

140

456 GEORGES-ERNEST NOWAK FRENCH ART NOUVEAU OAK AND GILT-METAL MOUNTED SIDEBOARD CABINET, CIRCA 1900 the upper section with three glazed doors fitted with a single adjustable shelf, the base with two drawers above two cupboard doors, each inlaid with cast gilt bronze panels of fruiting foliage, stamped makers marks to drawer G. NOWAK 144cm wide, 194cm high, 57cm deep Literature: Duncan, Alastair The Paris Salons 1895-1914 Volume III: Furniture, p.446 where this suite is illustrated entitled ‘Dining Room, oak/ Le Salon d’Automne, 1910’

£1,000-1,500

457 GEORGES-ERNEST NOWAK FRENCH ART NOUVEAU OAK AND GILT-METAL MOUNTED ASSISTANT SIDEBOARD, CIRCA 1900 with mirrored back above two drawers and open shelf and two doors below, each inset with cast gilt bronze panels, stamped makers mark to drawer and back G NOWAK 127.5cm wide, 140.5cm high, 46cm deep Literature: Duncan, Alastair The Paris Salons 1895-1914 Volume III: Furniture, p.446 where this suite is illustrated entitled ‘Dining Room, oak/ Le Salon d’Automne, 1910’

£800-1,200

141

458 GEORGES-ERNEST NOWAK FRENCH ART NOUVEAU OAK DINING TABLE AND SIX MATCHING CHAIRS, CIRCA 1900 the extending table with rectangular moulded top and two additional leaves, raised by shaped and moulded tapered legs, linked by stretchers, stamped maker’s mark G. NOWAK 117cm long, 73cm high, 184.5cm deep (closed), with one original and two later leaves, each 44.5 long; the chairs each with three tapered splats on caned seats, shaped and moulded tapering legs, linked by stretchers, stamped maker’s mark to back rail G. NOWAK, 43cm wide, 93cm high, 40cm deep (7) Literature: Duncan, Alastair The Paris Salons 1895-1914 Volume III: Furniture, p.446 where this suite is illustrated entitled ‘Dining Room, oak/ Le Salon d’Automne, 1910’

£800-1,200

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

142

459 THÉODORE LOUIS AUGUSTE RIVIÈRE (1857-1912) FIGURE OF LOUIS PASTEUR bronze, dark brown patina, signed to the circular base THEODORE RIVIERE, with foundry stamp and incised Susse Fr Ldt 31cm high

£250-350

460 Y § PETER TERESZCZUK (1875-1963) BRONZE & IVORY FIGURE, CIRCA 1910 depicting a Neoclassical female figure, raised on a turned marble plinth, signed in the bronze figure 21cm high, total height 24cm

£800-1,200

461 MANNER OF RICHARD RIEMERSCHMID PAIR OF JUGENDSTIL OAK SIDE CHAIRS, CIRCA 1900 each with later upholstered back panel and seat, raised on square tapered legs (2) 43cm wide, 95cm high, 42cm deep

£200-300

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

143

462 CHARLES RENÉ THÉVENI FOR VILLEROY & BOCH LARGE ‘METTLACH’ EARTHENWARE CHARGER, CIRCA 1890 depicting an Art Nouveau maiden gazing across a river scene, enclosed by a circular frieze of stylised foliage, painted signature R.THÉVENI, impressed maker’s marks METTLACH 2542 40cm diameter

£300-500

463 CONTINENTAL SCHOOL ARTS & CRAFTS OAK SIDEBOARD CABINET, CIRCA 1900 the upper section with projecting cornice above two astragal glazed doors and a central panelled door, each with elaborate copper hinges, the base with single-planked top above three drawers with cupboards below, each with corresponding copper fittings 187cm wide, 230cm high, 71cm deep

£1,000-1,500

464 CONTINENTAL SCHOOL COPPER BOOK TROUGH, CIRCA 1910 the repoussé-decorated end panels linked by an angled copper lined shelf 43cm wide, 31cm high, 24.5cm deep

£200-300

144

465 ATTRIBUTED TO KAYSERZINN JUGENDSTIL PEWTER INKWELL, CIRCA 1900 cast as a grotesque bird, with hinged lid enclosing ceramic liner, the body of maroon glazed earthenware, engraved to base of foot H 3 12cm high

£300-400

466 WMF (WURTTEMBERGISCHE METALLWARENFABRIK) PLATED AND GLASS CLARET JUG, CIRCA 1900 of tall tapering form, the green glass body with single handle and pierced stopper cast with whiplash foliage, stamped maker’s marks 38cm high

£500-800

467 WMF (WURTTEMBERGISCHE METALLWARENFABRIK) JUGENDSTIL PLATED COMPORT, CIRCA 1900 cast as an Art Nouveau maiden on a shaped and dished base, stamped maker’s marks under base 35cm wide, 22cm high

£200-300

145

468 CONTINENTAL SCHOOL SILVER CHALICE, CIRCA 1897 the bowl with chased and engraved rosettes and hearts, the stem with corresponding design in relief, on a frilled foot, stamped marks to base and London import hallmarks 1897 13cm high, weight: 141.8g approx

£300-500

469 CONTINENTAL SCHOOL ART NOUVEAU BRONZE LAMP, CIRCA 1910 with lily-of-the-valley cast and applied detail, raised on a pierced spreading base, with ribbed Vaseline shade 54cm high

£800-1,200

470 THERESIENTHAL GROUP OF FOUR JUGENDSTIL ‘FLOWER FORM’ LIQUEUR GLASSES, CIRCA 1900 each with clear bowls painted with a flowerhead in gilt and coloured enamel, the green stems and spreading feet all decorated with gilt rims (4) 15cm high

£200-300

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

146

471 CARL SIGFRID LUBER (1896-1934) JUGENDSTIL FRAMED TILE, CIRCA 1900 depicting a lady picking daffodils, painted mark VI 15cm x 25.5cm

£300-400

472 CONTINENTAL SCHOOL ART NOUVEAU OAK FRAMED MIRROR, CIRCA 1920 the rectangular mirror plate enclosed by an oak frame, the arched and pierced top carved with flowering foliage in low relief, with applied brass mounts to base 84cm x 44.5cm

£200-300

473 AMSTERDAM SCHOOL OAK DRAWING ROOM CABINET, CIRCA 1920 the stepped-top with glazed door above three further doors each inset with etched composite panels 112.5cm wide, 96.5cm high, 42cm deep

£300-500

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

147

474 EDVARD ERIKSEN (1876-1959) ‘THE LITTLE MERMAID’ signed in the bronze EDVARD ERIKSEN, SCULP. RA, COPENHAGEN, and with foundry mark NIC O. SCHMIDT, BRONCESTOBER 25cm high

£300-500

475 ROYAL COPENHAGEN, DENMARK PORCELAIN SHOULDERED VASE, EARLY 20TH CENTURY of tapering form, painted with a frieze of flowering rose trees, printed and painted maker’s marks 27.5cm high

£200-300

476 ROYAL COPENHAGEN, DENMARK GROUP OF FIVE PORCELAIN VASES, 20TH CENTURY each decorated with flowering foliage and insects, printed and painted maker’s marks, largest 25cm high, smallest, 10cm high; and a BING & GRONDAHL PORCELAIN VASE, decorated with pansies, printed and painted maker’s marks, 25cm high (6) £400-600

148

477 ZSOLNAY, PECS ART NOUVEAU TILE, CIRCA 1905 depicting a fair haired maiden, surrounded by lily pads, eosin glazed earthenware tile 7.2cm x 15cm Provenance: London, Christies, Art Nouveau, 21 April 2004, Lot 30 Private Collection, UK.

£300-500

478 BELGIAN SCHOOL ART NOUVEAU PINE HALL MIRROR, CIRCA 1900 the rectangular bevelled plate enclosed by frame with leaf carved brackets, the base with shelf and corresponding leaf carving 75.5cm wide, 235cm high, 34cm deep

£500-700

479 ART NOUVEAU INLAID MAHOGANY MANTEL CLOCK, EARLY 20TH CENTURY the circular dial within tapered case inlaid with specimen woods and mother-of-pearl with a boating scene 22cm high

£250-350

480 AUSTRIAN SCHOOL PAIR OF ONYX AND COLD PAINTED BRONZE BOOKENDS, EARLY 20TH CENTURY each with arched ends supported by rectangular platforms, fitted with budgies perched on branches (2) 16.5cm-17cm wide

£250-400 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

149

481 THÉODORE DECK (1823-1891) PAIR OF FRENCH AESTHETIC MOVEMENT FAÏENCE BALUSTER VASES, CIRCA 1880 each with polychromatic décor in the Japonisme style, comprising of birds, butterflies and insects amongst blossoming foliage, each with impressed maker’s marks in red under base TH. DECK ((2)) 52cm high Provenance: Property from Newbattle Abbey, Midlothian

£1,500-2,500

Note: Born in Guebwiller, Haut-Rhin, Théodore Deck moved to Vienna as a young man, training as a stove-maker and producing work for Schönbrunn Palace. He returned to France in 1847 and, impressed by the majolica wares shown by the Minton factory at the Exposition Universelle of 1855, Deck was moved to produce his own. In 1856 he established his faïence workshop Joseph-Théodore Deck Ceramique Française, initially producing ceramics in the Islamic and Turkish Iznik style. Throughout the 1880s Deck’s pottery began to reflect elements of japonisme, a popular element of the Aesthetic Movement in the late 19th century. Working with notable artists such Raphaël Collin, Deck developed a number of his own glazes, the most familiar being bleu de Deck, used in this pair of baluster vases. Deck’s obituary in the New York Times recognises that it was “at the Exhibitions of Decorative Arts, in Paris in 1880 and 1884, [that] he attained world-wide celebrity with his vases, red, turquoise, Deck blue, and other colors (sic), limpid, profound, and dazzling.” A committed aesthete, “Deck died at Sèvres, in the little pavilion-with rooms of gold, satin, and velvet, filled with vases painted in manganese violet and eel yellow colors (sic), lacquers, netsukes, and swords of Japan…. He was inseparable from his surroundings; he wore the air of their art and charm as if he had been born among them.”

150

482 BERNHARD BLOCH (1836-1909) THREE FIGURAL COVERED TOBACCO JARS, CIRCA 1890 Man with monocle, BB/WJ/333, 33cm high; Man with binoculars, BB/8092, 31.5cm high (Christie’s); Man with newspaper, BB/3067, 26cm high. £500-800

483 BOHEMIAN MAKERS GROUP OF FIGURAL TOBACCO JARS AND VESTA HOLDERS, CIRCA 1890 Lidded elephant, S&F/1090/15.5cm high; Elephant basket, FGW/066, 21cm high; Elephant monkey, W&C/1090, 16cm high; Elephant with bowl, 550, 15cm high; Larger elephant with bowl, unmarked, 22cm high; Seated man, HN/19, 28cm high; Sultan, Dep/336 indistinct, 22cm high; Ostrich, G&ST/1805, 38cm high; Large elephant, FGW/880, 43cm high (missing cover) (9) £500-800

484 JOHANN MARESCH (1821-1914), BERNHARD BLOCH (1836-1909) AND OTHERS FOUR AUSTRIAN POLYCHROME DECORATED TERRACOTTA FIGURES AND TOBACCO JARS, CIRCA 1900 comprising a figural SPILL VASE, modelled as a seated boy with a fan, with impressed marks ‘JM / 6491’, 30.5cm high; TWO TOBACCO JARS, one modelled as a boy eating corn, with impressed marks ‘JM / Austria / 3406’, the other modelled as a man sitting on a stump, with impressed marks ‘BB / 3003’, each 28cm high; and a FIGURE ON A CHAIR, with impressed marks ‘6455’, 36cm high (4) £600-800

151

485 JOHANN MARESCH (1821-1914) TWO POLYCHROME-DECORATED TERRACOTTA FIGURES, CIRCA 1900 one figure leaning on back of chair, impressed marks JM/6452, 43cm high; the other seated on a chair, impressed marks JM/6451, 51cm high (2) £400-600

486 FRIEDRICH GOLDSCHEIDER (1845–1897) LARGE AUSTRIAN POLYCHROME FIGURE OF A SEATED BOY, CIRCA 1900 variously marked, including with impressed marks REPRODUCTION RESERVEE/ F. GOLDSCHEIDER/ 1345, on a bentwood chair (2) 104cm high figure (114cm high with chair)

£800-1,200

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

152

487 BERNHARD BLOCH (1836-1909) GROUP OF COVERED TOBACCO JARS, CIRCA 1900 comprising a Fortune teller, BB/383, 14cm high; Man with hat, Dep/ BB/349, 16cm high; Deer stalker, BB/335, 15cm high; Fez, 310, 15cm high; Straw boater, BB/336, 14cm high; Explorer, SCH&P/1038, 14cm high; Glazed black, BU401/12cm high; Girl with blue shawl, 337/Y, 15cm high (8) £250-350

488 JOHANN MARESCH (1821-1914) AND OTHERS GROUP OF ANIMAL-FORM COVERED TOBACCO JARS, CIRCA 1900 comprising a Pig with sausages, unmarked, 19.5cm high; Pig with umbrella, JM/3308, 16cm high; Badger with pipe, JM/3322, 17cm high; Cat with fan, JM/3309, 17cm high; Bulldog with hat, JM/3316, 17.5cm high; Pig with tea, JM/3317, 16.5cm high; Dog on log, DEUTSCHLANDE WIEMARER REPUBLIK, 24cm high; Lucky pig, JM/Austria/3563, 19cm high; Woven baskets, JM/3234, 18cm high. (9) £200-300

489 JOHANN MARESCH (1821-1914) AND OTHERS, CIRCA 1900 SEVEN AUSTRIAN POLYCHROME DECORATED TOBACCO JARS, CIRCA 1900 comprising three figures seated on melons, comprising one wearing a derby hat, impressed marks ‘JM/ 3457’, 19cm high; one wearing a top hat, impressed marks ‘JM/ 3455’, 23cm high; and one in a red cap holding a pipe, impressed marks ‘JM/ 3350’, 23cm high; together with three jars modelled as diabolic transitions, comprising a devil’s face with a melon body, impressed marks ‘JM/ 3529’, 15cm high; a man’s head with a cigar on a melon, impressed marks ‘8263’, 16.5cm high; and a further modelled as a devil, impressed marks ‘JM/ 3341’, further jar modelled as a musician sitting atop a wall, impressed marks ‘BU/ 857’, 18cm high (7)

490

£200-300

BERNHARD BLOCH (1836-1909) AND OTHERS GROUP OF AUSTRIAN POLYCHROME DECORATED TOBACCO JARS, CIRCA 1890 all of figural form, each modelled seated on tree stumps, comprising a MAN PLAYING A GUITAR, with impressed marks ‘BB/ 3166’, 29.5cm high; a MAN WITH A RIFLE, indistinct impressed marks ‘BB/ 397’, 28cm high; a MAN WITH A FLUTE, with impressed marks ‘BB/AX/74’, 30cm high; and a MAN WITH A BASKET OF TOYS, with impressed marks ‘BB/ 8011’, 29cm high; together with a SPILL VASE, modelled as a man with a flute, with impressed marks ‘1145’, 28cm high (5) £300-500

491 JOHANN MARESCH (1821-1914), BERNHARD BLOCH (1836-1909) AND OTHERS GROUP OF COVERED TOBACCO JARS, OF NAUTICAL INTEREST, CIRCA 1900 comprising a jar with jolly sailors, FGW/07, 28cm high; Comic sailor, JM/3473, 13.5cm high; Seated admiral, BB/5526, 26.5cm high; Sailor on rope, unmarked, 22cm high; Albert, Albert 229/8178, 18cm high (Christie’s); Tam O’Shanter, BU 756, 18.5cm high; Sou Wester, 58/8462/45/19, 15cm high; Sou Wester with pipe, BB 757, 20cm high; Sailor, folded arms, WSSS/139, 22cm high (9) £250-350

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

154

492 SIR ROBERT LORIMER (1864-1929) DRAWINGS OF EMBROIDERY AND TEXTILE DETAILS. EARLY 20TH CENTURY comprising a DESIGN FOR A BEDSPREAD, 30.5cm x 32cm; a DESIGN FOR AN EMBROIDERY, 36cm x 135cm; and FIVE FURTHER DETAILS OF EMBROIDERY DESIGNS, pencil and coloured pencil on paper, variously inscribed (measurements and images of all items available on request or see our website www.lyonandturnbull.com) (7) Provenance: Sir Robert Lorimer, 54 Melville Street, Edinburgh Gibliston, Fife thence by direct descent Literature: Savage, P., Lorimer and The Edinburgh Craft Designers, Paul Harris, 1980, p.79 & 80, pl. 72 & 73 Note: The bedspread for which this design was produced exists in the National Museum of Scotland Collections, ref.H.SVL 31 A

£600-800

493 SIR ROBERT LORIMER (1864-1929) DRAWINGS OF ARCHITECTURAL DETAILS, EARLY 20TH CENTURY to include TWO DRAWINGS OF PILASTER DETAILS FROM THE HOTEL DE VILLE, PARIS, pencil on linen back paper, one with photograph, 4179cm x 32cm and 159cm x 29.5cm; a DESIGN FOR AN ALTAR FOR THE CHURCH OF THE GOOD SHEPHERD, EDINBURGH, 45cm x 35cm; and FORTYONE FURTHER DRAWINGS IN PENCIL, depicting various architectural and plasterwork details in France, Milan and Westminster (measurements and images of all items available on request or see our website www.lyonandturnbull.com) (qty) Provenance: Sir Robert Lorimer, 54 Melville Street, Edinburgh Gibliston, Fife thence by direct descent Literature: Savage, P., Lorimer and The Edinburgh Craft Designers, Paul Harris, 1980, p.24, pl. 32.

£800-1,200

155

494 SIR ROBERT LORIMER (1864-1929) DRAWINGS OF FURNITURE AND WOOD CARVING DETAILS, EARLY 20TH CENTURY to include PLANS FOR A TABLE, pencil with coloured pencil on tracing paper, 101cm x 65cm; THREE DESIGNS FOR A CARVED SCREEN, one bearing inscriptions KELLIE CASTLE, No 50, 88.5cm x 22cm; No 15. 94cm x 22cm and 92cm x 19.5cm; and EIGHTEEN FURTHER DESIGNS, to include details of carved panels, chairs, tables and other furniture items (measurements and images of all items available on request or see our website www.lyonandturnbull.com) (22) Provenance: Sir Robert Lorimer, 54 Melville Street, Edinburgh Gibliston, Fife thence by direct descent Note: Lorimer executed similar designs for a carved screen/altar table for St. James Church, Cupar exist in Historic Environment Scotland’s Lorimer & Matthew Collection, ref DP 050365 .

£600-800

495 SIR ROBERT LORIMER (1864-1929) DRAWINGS OF MARQUETRY DESIGNS, PLANT AND ANIMAL STUDIES, EARLY 20TH CENTURY comprising SIX MARQUETRY DESIGNS OF A LANDSCAPE, pencil on paper, variously inscribed, largest 23cm x 98cm; a MARQUETRY DESIGN, depicting young rabbits at play, 31cm x 152.5cm, pencil and coloured pencil on paper, bearing inscriptions, and NINE FURTHER DESIGNS, featuring birds, plants and animals, pencil on paper (measurements and images of all items available on request or see our website www.lyonandturnbull.com) (16) Provenance: Sir Robert Lorimer, 54 Melville Street, Edinburgh Gibliston, Fife thence by direct descent

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

156

496 ETHEL LARCOMBE (1876-1940) GLASGOW STYLE ART NOUVEAU MINIATURE PICTURE, CIRCA 1910 depicting a woman with a parasol walking her dog, printed in black and pale colours on silk, artist’s monogram ‘EL’ upper right, in gilt metal frame 8.5cm x 6cm Note: Several of Ethel Larcombe’s commissioned Art Nouveau designs were printed on the book bindings and endpapers of works published by Blackie & Son of Glasgow and Gresham, circa 1905. Her artwork was illustrated in periodicals of the time and she also won many competitions featured in The Studio magazine.

£200-300

497 KATE HARRIS FOR WILLIAM HUTTON & SONS LTD ART NOUVEAU SILVER PHOTOGRAPH FRAME, LONDON 1902

498 JAMES DEAKIN & SONS ART NOUVEAU SILVER PHOTOGRAPH FRAME, BIRMINGHAM 1905 of shaped rectangular form, cast with two opposing peacocks, stamped maker’s marks and hallmarks 23cm x 19cm

£250-350

499 CHARLES S GREEN & CO. ART NOUVEAU SILVER PHOTOGRAPH FRAME, BIRMINGHAM 1903 of shaped rectangular form, cast with stylised apple trees, stamped maker’s marks and hallmarks for BIRMINGHAM 1903 21.5cm x 21cm

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

of rectangular form, cast with a maiden and stylised foliage, stamped maker’s marks and hallmarks for LONDON 1902 20cm x 16cm

£600-800

157

500 HEINRICH LEVINGER ART NOUVEAU SILVER & ENAMEL PILL BOX, BIRMINGHAM, 1899 of cushion-shaped circular form, the hinged cover painted with a spray of cornflowers with green foliage on a translucent creamcoloured guilloche enamel ground, with silver borders and interior, maker’s mark: HL, Birmingham import hallmarks for 1899 4.5cm wide

£400-600

501 KATE HARRIS FOR WILLIAM HUTTON & SONS ART NOUVEAU SILVER & MOTHER OF PEARL BUCKLE, LONDON, 1901 the central section cast with a maiden within stylised flowering foliage and mother-of-pearl and abalone highlights, enclosed by panels pierced with prunus blossom, maker’s mark WH & S LD., hallmarked London, 1901, Rd. Design No. 335769 14cm wide

£400-600

502 ENGLISH SCHOOL ART NOUVEAU INLAID MAHOGANY SECRETAIRE, CIRCA 1900 inlaid with mother-of-pearl, specimen woods, copper and pewter, the fall opening to reveal a fitted interior above two drawers, raised on square legs linked by a lower shelf 92cm wide, 130.5cm high, 43cm deep

£1,200-1,800

503 WILLIAM HUTTON AND SONS, LTD ART NOUVEAU SILVER MOUNTED GLASS JUG, LONDON 1903 with stylised and pierced mounts, angular handle, on a tapering green glass body, with maker’s marks and hallmarks for London 1903, 18.5cm high; together with a LIBERTY & CO. ‘ TUDRIC ‘ PEWTER AND GLASS FLAGON, the pewter mounts cast with stylised foliage, stamped marks TUDRIC 5/ 0330, 16cm high (2) £150-250

504 ENGLISH SCHOOL ART NOUVEAU SILVER PHOTOGRAPH FRAME, CHESTER 1911 of shaped rectangular form, cast with stylised flowering foliage, stamped hallmarks CHESTER 1911 16.5cm x 23cm

£250-350

158

505 STUART & SONS, STOURBRIDGE PAIR OF ART NOUVEAU ‘CAIRNGORM’ AMETHYST STEM VASES, CIRCA 1910 with wavy rims and applied amethyst and clear glass trails, 16cm high; together with a POSY VASE, of tapering form and similar decoration, 9cm high, each with applied amethyst trail decoration (3) £200-300

506 ENGLISH SCHOOL ART NOUVEAU INLAID MAHOGANY SIDE CHAIR, CIRCA 1910 the spindle-filled back with inlaid splats above drop-in seat, raised on four square legs linked by stretchers 51.5cm wide, 74cm high, 48.5cm deep

£200-300

507 SHAPLAND & PETTER, BARNSTAPLE MAHOGANY FRAMED WRITING DESK, CIRCA 1900 the spindle-filled upstand with central stained and leaded glass panel, above leather skiver, above central bowed drawer flanked by fitted stationery drawer and two further drawers, raised on square legs linked by pierced stretchers, stamped to lock S&P/ B 99cm wide, 99.5cm high, 51cm deep

£600-800

508

509

510

STUART & SONS, STOURBRIDGE

JOHN WALSH WALSH, BIRMINGHAM

comprising a TAPERING VASE, with everted rim, 30cm high; a PAIR OF SMALL POSY VASES, of tapering form with everted rims, 10cm high; a FOOTED VASE, of tapering baluster form, 23cm high; and a FURTHER VASE with plated wavy foot, stamped maker’s marks, W&W EPNS 9311, 26cm high, all with applied green spiral decoration (5)

GROUP OF THREE ART NOUVEAU GLASS VESSELS, CIRCA 1910

ENGLISH ART NOUVEAU OPALESCENT GLASS FANSHAPED VASE, CIRCA 1900

two with applied green peacock trail decoration (3)

the frilled tapering body with short stem raised on a spreading base

29cm high, 20cm high and 16cm high

21cm high

£250-350

£200-300

£100-200

GROUP OF FIVE ART NOUVEAU GLASS VASES, CIRCA 1910

159

511 MANNER OF J. S. HENRY ART NOUVEAU INLAID MAHOGANY ARMCHAIR, CIRCA 1910 with later plush upholstery and turned and faceted inlaid uprights with moulded finials 60cm wide, 117cm high, 60cm deep

£600-800

512 STUART & SONS, STOURBRIDGE PAIR OF ART NOUVEAU MINIATURE ‘CAIRNGORM’ GLASS DECANTERS, CIRCA 1910 16.5cm high; and a POSY BOWL, of tapering form with wide frilled rim, 8cm high, all with applied green trailing decoration (3) £300-500

513 ENGLISH SCHOOL ART NOUVEAU CAST IRON FIRE SURROUND, CIRCA 1910 cast with stylised leafy foliage, mantel shelf lacking 126cm wide, 137cm high, 14cm deep

£300-500

514 STUART & SONS, STOURBRIDGE ART NOUVEAU TAPERING GLASS VASE, CIRCA 1910 with applied trailing peacock decoration, 18.5cm high; together with a STUART SILVER MOUNTED GLASS DECANTER, the pinched body with applied green glass decoration, with glass stopper, stamped maker’s marks WA and hallmarks for Birmingham 1904, 26.5cm high (2) £200-300

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

160

515 JESSON, BIRKETT & CO. ARTS & CRAFTS COPPER TAZZA, CIRCA 1900 the frilled bowl above scrolling bracket supports, raised on a spreading circular base 20.5cm diameter, 24.5cm high

£400-600

516 F. & C. OSLER, BIRMINGHAM ART NOUVEAU BRASS LAMP BASE, CIRCA 1900 with whiplash foliate tripod base, stamped maker’s marks OSLER 49cm high

£200-300

517 MANNER OF W. J. NEATBY ARTS & CRAFTS COPPER AND ENAMEL WALL CHARGER, CIRCA 1900 the central embossed stylised floral motif set with two Ruskin roundels, enclosed within a border of corresponding motifs 53cm diameter

£300-500

518

519

ENGLISH SCHOOL

GROUP OF VICTORIAN AND EDWARDIAN WALL TILES, CIRCA 1900

ART NOUVEAU COPPER PHOTOGRAPH FRAME, CIRCA 1910

comprising sets and examples by Minton; Marsden (Trentham); Maw & Co., Wedgwood etc. (approx. 45)

of shaped rectangular form, embossed with stylised flowering foliage and set with three turquoise cabochons

£150-250

29cm x 13cm

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

161

520 JOHN MONCRIEFF LTD., PERTH ‘MONART’ CLOISONNÉ PATTERN GLASS VASE, CIRCA 1930 of baluster form, the red glass body overlaid with gilt craquelure 20cm high

£600-800

521 JOHN MONCRIEFF LTD., PERTH ‘MONART’ GLASS VASE, CIRCA 1930 of baluster form, the mottled green glass body with amethyst and aventurine inclusions, with maker’s label 33.5cm high

£300-500

522 § CHARLES D’ORVILLE PILKINGTON JACKSON (1887-1973) ‘LA POLICHE LIBRE’, 1971 patinated bronze raised on an ebonised plinth, signed, dated and inscribed in the bronze PJ/ 1971/ “LA POLICHE LIBRE”/ NR. 4/10 49cm high

£800-1,200

523 JOHN MONCRIEFF LTD., PERTH RARE ‘MONART’ ‘PUMICE EFFECT’ GLASS VASE, CIRCA 1930 of circular baluster form, with milky off-white interior, surface decorated in blue/green and with some iridescence 21cm high

£600-800

162

524

525

MANNER OF WILLIAM AND ALEXANDER CLOW

SCOTTISH SCHOOL ARTS & CRAFTS OAK-FRAMED FIRE SURROUND, CIRCA 1900

SCOTTISH ARTS & CRAFTS CARVED OAK NEWEL POST FINIAL, CIRCA 1910

of rectangular outline with projecting dentil cornice and rectangular frame enclosing a crewelwork wool panel worked with flowering foliage on a cream ground and surrounding aperture for fireplace

depicting a knight’s helmet with lion rampant shield, surmounted by the figure of a crouching dragon 45.5cm high

£200-300

121cm wide, 206cm high, 16cm deep

£400-600

526 WHYTOCK & REID, EDINBURGH SMALL ARTS & CRAFTS ELM CUPBOARD, CIRCA 1930 of rectangular form with four panelled cupboards, on shaped bracket feet, with one key 81cm wide, 83cm high, 86cm deep

£300-500

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

163

527 § GORDON MACWHIRTER WEBSTER (1908-1987) PAIR OF STAINED, PAINTED AND LEADED GLASS PANELS, CIRCA 1950 pendants for BRING ME UNTO THY HOLY HILL and BEHOLD I AM ALIVE FOR EVERMORE, framed (2) 64cm x 77cm Provenance: Broomhill Trinity Church, Glasgow Literature: Donnelly, Michael, Scotland’s Stained Glass, pub. The Stationery Office, 1997, page 96. Note: Gordon McWhirter Webster’s father Alfred A. Webster, was a Stained Glass, artist between 1884 and 1915. On his death his widow continued to operate her dead husband’s firm. In 1929 it finally passed under the direct management of Alf’s son Gordon who had been an infant at the time of his father’s death. Mrs Webster had managed to keep the studio solvent by placing the practical management of the glass shop in the hands of the firm’s former apprentice and assistant, Douglas Hamilton. Hamilton trained Gordon, but like him he was for a number of years strongly influenced by his late father’s work. His fine early windows might very well be mistaken for that of his father’s. However, by the mid1930s he had discovered his own voice and some of his work from this period is very fine indeed.

£600-800

528 §

529

WENDY WOOD (1892-1981)

MORTON SUNDOUR FABRICS LTD., EDINBURGH

‘FISHERWOMEN’ watercolour, signed lower right WENDY WOOD, retailer’s label verso, 34.5cm x 49.5cm; and ABSTRACT STUDY, by the same hand, gouache on board, signed with initials WW, 54cm x 36.5cm (2)

WOVEN CHENILLE AND COTTON ‘SARDINIAN’ PANEL, 1920S

£300-500

£200-300

with repeating stylised polychrome flowers on an olive ground 239cm high x 114cm wide Note: For an example of this patterned fabric, see the V&A collection, museum number: T.896-2018

165

530 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) OAK NEST OF THREE TABLES, 1950S the plain surfaces raised on chamfered carved legs, the two largest tables with carved mouse signatures (3) Largest 45.5cm wide, 50.5cm high, 35.5cm deep

£700-1,000

531 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) EARLY OAK STOOL, CIRCA 1930 the rectangular latticed leather seat on faceted baluster turned legs linked by stretchers, carved mouse signature 34cm wide, 37cm high 26.5cm deep

£300-500

532 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) ARTS & CRAFTS OAK REFECTORY TABLE, CIRCA 1950 the rectangular top with adzed finish and exposed tenons, raised on faceted baluster supports, one with carved mouse signature, raised on trestle ends linked by a stretcher 137cm long, 74cm high, 75cm wide

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

166

533 WORKSHOP OF ROBERT ‘MOUSEMAN’ THOMPSON OAK MAGAZINE RACK, 1970S-80S the octagonal uprights united by a central division with carved handle recess and carved mouse signature, above two slanted sides, raised on chamfered feet 43cm wide, 45.5cm high, 27cm deep

£400-600

534 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) OAK COFFEE TABLE, 1930S-40S the octagonal top raised on concave carved legs and corresponding feet, with carved mouse signature 55.5cm wide, 49.5cm high, 55cm deep

£800-1,200

535 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) SMALL OAK BEDSIDE BOOKCASE, 1950S of rectangular form, with a moulded top surface above two shelves, with a carved mouse signature in low relief to the left hand side panel 50cm wide, 69cm high, 27cm deep

£700-1,000

167

536 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) PAIR OF OAK BOOKENDS, 1930S of concave form with carved mouse signatures (2) 16cm high

£600-800

537 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) OAK BOWL, 1940S of circular form, with a carved mouse signature to the exterior 25cm diameter

£300-500

538 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) LARGE OAK BOWL, 1950S of shallow circular form, the centre with a carved mouse signature

539 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) OAK BREAD BOARD, CIRCA 1950

28.5cm diameter

of canted rectangular form, with moulded rim and carved mouse signature

£200-300

30.5cm across

£150-250

540 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) OAK CHEESEBOARD, 1940S-50S of kidney shape with a rounded curved handle, with a carved mouse signature 37cm long

£300-500

541 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) OAK BOOKRACK, 1940S with curved ends uniting a slanted back panel and single shelf, with a carved mouse signature 45cm wide, 20cm high, 20.5cm deep

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

168

542 ATTRIBUTED TO HEAL & SON., LONDON OAK WRITING DESK, CIRCA 1920 the rectangular top with two single drawers, raised on moulded supports linked by a stretcher 91cm wide, 70cm high, 47cm deep

£600-800

543 ATTRIBUTED TO HEAL & SON, LONDON ARTS & CRAFTS OAK STANDING CLOCK, CIRCA 1920 the three train movement with chamfered dial and inlaid chapters, the case with fielded panel decoration 30.5cm wide, 142.5cm high, 16.5cm deep

£600-800

544 Y HEAL & SON LTD., LONDON WALNUT BOW-FRONT CHEST OF DRAWERS, CIRCA 1920 the crossbanded top above four graduated drawers with ivory handles raised on outswept bracket feet, bears ivorine inset maker’s label to top drawer edge 76cm wide, 91cm high, 52cm deep

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

169

545 § THOMAS WHALEN (1903-1975) DANCING FIGURES, CIRCA 1930 marble panel, inscribed with monogram 48.5cm x 68cm Note: Thomas Whalen was born in Leith, Edinburgh, and studied sculpture at Edinburgh College of Art. He worked mainly in wood and stone, carving relief works for churches and public buildings as well as private commissions. Influenced by Eric Gill, Ivan Mestrovic, Carl Milles, as well as French and medieval sculpture, Whalen carried out a number of religious commissions, as well as work for schools, civic venues and power stations. There are works by Whalen in public collections in Aberdeen, Edinburgh and Bolton and he exhibited at the RSA from 1930-76, was elected ARSA in 1940, and RSA in 1954.

£2,000-3,000

546 § JOHN GUIDA (1897-1965) MODELLO DI CARTA VOGUE, 1934 mixed media, signed, dated and inscribed lower right 1934, 70cm x 50cm; and a COMPANION ‘SOTTANA’, mixed media signed, dated and inscribed 1937 lower right, 70cm x 50cm (2) £800-1,200

170

547 ENGLISH SCHOOL STAINED AND LEADED GLASS PANEL, MID-20TH CENTURY depicting parrots perched in foliage 129cm x 55.5cm

£400-600

548 ENGLISH SCHOOL THE FOURTEEN STATIONS OF THE CROSS, CIRCA 1960 enamel on copper, each mounted on oak cruciform frames (14) panels 9cm square; frames 25cm x 25cm

£500-800

549 § CHARLES E. THOMAS (1883-1981) ‘SPRING’ patinated plaster plaque, depicting a female figure in profile, modelled in relief, 69cm x 35cm; and ‘DIANA’, DESIGN FOR BRONZE FOUNTAIN, patinated plaster, bears cast inscription DEORUM TIMETEIRAM, and label verso ‘DIANA’, DESIGN FOR BRONZE FOUNTAIN/ CHARLES E. THOMAS ARBSA/ MANOR PARK NORTH/ EDGBASTON/ BIRMINGHAM, panel 94cm x 51cm , including frame 119cm x 59cm ; and ‘VIRGINIA’, A ROUNDEL, bearing inscription VIRGINIA, 26cm diameter, unmarke (3) Provenance: Estate of Dr. Virginia Glenn

£400-600

550 §

551

552

FYFFE CHRISTIE (1918-1979)

J. & J. CASH LTD. FOR COVENTRY CATHEDRAL

GENERAL ELECTRIC COMPANY

RARE JACQUARD-WOVEN SILK PANEL, CIRCA 1960

SILVERED METAL HALL LANTERN, CIRCA 1950

with printed label verso inscribed BETHLEHEM FONT AND BAPTISTERY WINDOW, framed and glazed

with cut glass shade, includes hook and ceiling rose, cast maker’s mark to rose GEC/ MADE IN ENGLAND

‘ROLL UP’ STAINED GLASS DESIGN, CIRCA 1950 watercolour, ink and collage, 34cm x 84cm; and NATURE AND HUMANITY, THE WORK OF FYFFE CHRISTIE, 1918:1979, by David Buckman, published by Sansom & Co, 2004 (2) Provenance: in the artist’s possession until 1979; thence with his wife Eleanor Christie-Chatterley until 2012. Literature: Buckman, David, Nature and Humanity, The Work of Fyffe Christie, 1918:1979, Sansom & Co, 2004

£200-300

12.5cm x 7cm

£150-250

lantern 46cm high, total height 56cm

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

171

553 ALBERT JAMES ROWLEY (1875-1944) FOR THE ROWLEY GALLERY, LONDON ‘ITALIAN TOWN’ FRAMED MARQUETRY PANEL, CIRCA 1920 after the original design by Frank Brangwyn, stamped maker’s marks ROWLEY, maker’s label verso 72cm x 53cm Note: Another example of this panel is currently in the V&A Collections in London, CIRC.360-1976

£1,500-2,000

554 BETTY JOEL (1894-1985) FOR TOKEN FURNITURE ANDOMAN PADOUK WOOD DRESSING TABLE, CIRCA 1926 the top with inset glass preserve below a tall mirror with bevelled plate and light, the base with two short over one long drawer raised on tapered legs 121cm wide, 186cm high, 48cm deep Provenance: Purchased directly from Betty Joel in 1926 By family descent Note: The original receipt for this piece, dated October 14th 1926, states that 10% was added to the price for making up the pieces in ‘Andoman Padouk’. Betty Joel set up her furniture making business in 1918 with her husband David Joel and initially has their workshops in factory at Hayling Island where these pieces would have been made. The firm rented a showroom at 177 Sloane Street in London. Such was the popularity of Joel’s designs that by 1929 the factory moved to bigger premises at Portsmouth. Many of England’s social and corporate elite commissioned her to design interiors and furniture for their homes and offices.

£300-500

555

556

BETTY JOEL (1894-1985) FOR TOKEN FURNITURE

PAIR OF ANDOMAN PADOUK WOOD TABLE LAMPS, CIRCA 1926

PAIR OF SATIN BIRCH TABLE LAMPS, CIRCA 1926

each with tall tapered columns on a moulded square base, one bears handwritten and printed maker’s label TOKEN HANDMADE FURNITURE/ REGD. TRADE MARK/ BETTY JOEL/ J.W. BALDWIN/ 1926 (2)

each with tall tapered columns on a moulded square base (2) 29cm high

29cm high

Provenance: Purchased directly from Betty Joel in 1926 then by family descent

£150-250

172

557 ROYAL DOULTON ‘SUNG’ FLAMBÉ BOWL, CIRCA 1930vthe interior decorated with a peacock amongst foliage, painted mark SUNG and printed maker’s mark 18cm diameter

£200-300

558 W. HEATH ROBINSON (1872-1944) ILLUSTRATION FROM ‘THE WATER BABIES’, CIRCA 1914 pen and ink, signed with initials lower right W.H.R., framed 20cm diameter

£300-500

559 ROYAL DOULTON RARE PORCELAIN FIGURE OF DRINKING BEARS, 20TH CENTURY bears printed maker’s mark to base DOULTON 7.7cm high

£800-1,200

560 ATTRIBUTED TO ASCHER LTD., LONDON RARE MODERNIST SCREEN PRINTED RAYON SATIN PANEL, CIRCA 1940 with repeat still-life pattern, reserved on a black ground 176.5cm x 122cm Provenance: Lyon & Turnbull, Edinburgh Textiles as Art: from the collection of Paul Reeves, 23rd February 2017, Lot 151

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

173

561 ROWLEY GALLERY BEECH TRIPTYCH WALL MIRROR, CIRCA 1930 of rectangular form, with ebonised waved border 98cm x 52cm

£300-500

562 § SIR NORMAN HARTNELL (1901-1979) GROUP OF ROYAL FASHION DESIGNS, 1950S including ‘Her Majesty The Queen/ Sketch No.2’, 35cm x 25.5cm; ‘H.R.H. The Princess Elizabeth’, 35cm x 25.5cm; and two designs for ‘H. R. H. The Princess Margaret’, 35cm x 25.5cm, all signed by the artist in pencil, lower right, together with a signed photograph of Norman Hartnell, 21cm x 16cm (5) £400-600

174

563 CLARICE CLIFF (1899-1972) ‘ORANGE ERIN’ CONICAL JUG, CIRCA 1930 printed maker’s marks 11.5cm high

£200-300

564 CLARICE CLIFF (1899-1972) TWO ‘CHINTZ’ PATTERN JUGS, CIRCA 1932 to include an ATHENS JUG, 15.5cm high; together with a ‘CHINTZ’ CORONET JUG, 16cm high, each with printed maker’s marks (2) £250-350

565

566 §

WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY

OLIVE GRACE BOURNE (1897-1962)

LARGE SHOULDERED ‘POMEGRANATE’ PATTERN VASE, 1930S

to include a DESIGN FOR A PLATE, pencil, watercolour and bodycolour, signed lower right DESIGNED BY OLIVE BOURNE, 25.5cm x 22.5cm; and ANOTHER SIMILAR DESIGN BY THE SAME HAND, pen and ink, watercolour, and bodycolour, 31cm x 25cm; and ANOTHER SIMILAR BY THE SAME HAND, pen, wash, and watercolour, 33cm diameter; and ONE FURTHER DESIGN FOR A PLATE, pencil, watercolour and bodycolour, 35cm x 28cm (4)

with green painted signature W. MOORCROFT, and impressed MOORCROFT/ BURSLEM/ ENGLAND 29.5cm high

£500-800

ART DECO DESIGN FOR POOLE POTTERY, CIRCA 1925

£150-200

567

568

569

570

WILLIAM MOORCROFT (18721945) FOR MOORCROFT POTTERY

SUSIE COOPER (19021995)

RACHEL BISHOP FOR MOORCROFT POTTERY

‘LEAF AND BERRY’ VASE, MID 20TH CENTURY

THREE-HANDLED VASE, DATED 1932

‘CATHEDRAL’ EARTHENWARE VASE, DATED 1999

decorated with leaves and berries on a green ground, painted signature W. MOORCROFT, impressed maker’s marks MOORCROFT/ POTTER TO H.M. THE QUEEN/ MADE IN ENGLAND

of tapering form with three applied handles and abstract foliate decoration, painted mark to base SUSIE COOPER/ 1932/ K/ M43

21.5cm high

24.5cm high

£100-200

£120-180

of baluster form, decorated with three arched windows containing biblical scenes of an angel, the Tree of Life and an ark, number 36 of 100, with impressed and painted maker’s marks, signed and dated 1999

‘SWEET HARMONY’ EARTHENWARE VASE, DATED 2004

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

of baluster form, decorated with friezes of butterflies amidst lilies and foliage, number 67 of 150, with impressed and painted maker’s marks, signed and dated 2004

42cm high

£300-500

175

571 FRENCH SCHOOL, MANNER OF EDGAR BRANDT ART DECO STYLE POLYCHROME CARVED WOOD PANEL, 20TH CENTURY carved in low relief as a frieze of stylised foliage and geometric motifs 101cm x 68cm

£300-500

572 § ADALBERT-GEORGES SZABO (1877-1961) FRENCH ART DECO GILDED BRASS PLAQUE, CIRCA 1930 cast as a perched bird and mounted on an ebonised wood disc, the whole on a bronze plinth, stamped maker’s mark SZABO 16cm high

£300-500

Note: Originally from Hungary Adalbert-Georges Szabo became a member of the Société des Artistes Décorateurs in 1907. A stylistic shift in his work became apparent after 1918 when his traditional designs began to show the angular influence of Art Deco. One of his most noted designs was for twelve medallions for the pair of doors leading to the firstclass private dining rooms of the ocean liner Normandie.

573 ATTRIBUTED TO ANDRÉ ARBUS SATIN BIRCH COCKTAIL CABINET, CIRCA 1940 the plain fall opening to reveal a fitted interior above three drawers and square tapering legs with decorative brass capitals 70cm wide,, 125cm high, 37cm deep

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

176

574 JULES LELEU (1883 –1961) ART DECO BURR WALNUT ARMOIRE, 1930S with three doors, enclosing a fully veneered and fitted interior of drawers and shelves, the angles embellished with shaped fins with brass cappings, the whole raised on brass capped outswept bracket feet 210cm wide, 170cm high, 53cm deep Provenance: Maison Gerard, New York Sotheby’s New York 20th Century Decorative Arts, 11th March 2004, Lot 228

£400-600

575

576

MANNER OF GRETA MAGNUSSON-GROSSMAN

NO LOT

ASH VENEERED AND STAINED BEECH OCCASIONAL TABLE, MID-20TH CENTURY the quarter-veneered top above moulded legs linked by a lower tier 75cm diameter, 55.5cm high Literature: See Phillips, New York Design, 17 December 2013, lot 315 where a table by Magnusson Grossman with similar characteristics to the present lot was offered.

£600-800

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

177

577 Y § PROF. OTTO POERTZEL (1876-1963) ART DECO BRONZE AND IVORY FIGURE OF A SEATED INDIAN BOY, CIRCA 1920 cold-painted, raised on a turned marble plinth, signed to base PROF POERTZEL figure 9.5cm high, total height 11.5cm high

£500-800

578 JOSEF LORENZL (1892-1950) DANCING GIRL, CIRCA 1925 bronze with gilt and silvered patination, stamped to base LORENZL, later red marble base total height 39cm high; figure 35cm high

£1,000-1,500

579 JÉROME MASSIER (1850-1916) CERAMIC PAPERWEIGHT, CIRCA 1900 moulded in the form of a cicada, impressed mark J. MASSIER/ VALLAURIS, painted mark TOULON, 12cm long; and a CLEMENT MASSIER TWIN-HANDLED VASE, covered in a streaked sang-de-boeuf glaze, incised mark C. MASSIER / GOLFE JUAN, 28cm high (2) £200-300

580 PIERRE BONNARD (1867-1947) ‘LA VIE DE SAINTE MONIQUE’ off-set lithographic print, printed initials lower right PB, 30cm x 24cm; and EIGHT FURTHER BONNARD PRINTS, each framed (9) £200-300

178

581 RENÉ LALIQUE (1860-1945) ‘DANAIDES’ OPALESCENT GLASS VASE, INTRODUCED 1926 the exterior moulded with a frieze of nude maidens pouring water, wheel and scriptetched maker’s marks R. LALIQUE/ FRANCE/ NO. 972 18cm high

£1,500-2,000

582 RENÉ LALIQUE (1860-1945) ‘CEYLAN’, CLEAR, FROSTED, AND OPALESCENT GLASS VASE, INTRODUCED 1924 moulded with a frieze of budgerigars, traces of original blue staining, wheel and script-etched maker’s marks R. LALIQUE/ FRANCE/ NO. 905 24cm high

£3,000-5,000

179

583 DAUM FRERES ART DECO ETCHED BLUE GLASS CEILING LIGHT, CIRCA 1930 with two graduated shades supported on a turned column with pendant finial, incised maker’s marks DAUM/ NANCY with Cross of Lorraine mark 59.5cm diameter, 75cm high Note: For a similar ceiling light see Sotheby’s London ‘Fine Decorative Arts & Design from 1870’, 5th October 2004, Lot 143

£2,500-3,500

584 DAUM, FRANCE LARGE PATE-DE-VERRE ‘TULIP’ VASE, 20TH CENTURY amber glass, signed on the base DAUM/ FRANCE 32.5cm high

£800-1,200

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

180

585 RENÉ LALIQUE (1860-1945) SET OF FIVE ‘COQUILLES’ GLASS WALL APPLIQUES/ SHADES, INTRODUCED 1924 pale amber glass, each with wheel-etched maker’s marks R. LALIQUE/ FRANCE (5) 29.5cm wide, 14cm deep

£1,000-1,500

586 RENÉ LALIQUE (1860-1945) ‘ONDINES’ CLEAR AND FROSTED GLASS BOWL, INTRODUCED 1921 the exterior moulded with six floating female nudes, wheel and script-etched maker’s marks R. LALIQUE/ FRANCE/ NO. 381 21cm diameter

£400-600

587

588

589

RENÉ LALIQUE (1860-1945)

DAUM, NANCY

DAUM, FRANCE

‘PAQUERETTE’ CLEAR AND FROSTED GLASS BOWL, INTRODUCED 1934

GLASS VASE, 20TH CENTURY

‘WORKSHOP TEST’ PATE DE VERRE VASE, LATE 20TH CENTURY

the exterior with an allover foliate design, impressed stencilled mark R. LALIQUE and acid-etched mark FRANCE, with original Lalique box, 14cm diameter; together with a LALIQUE ‘PAQUERETTE’ DISH, of canted square form, moulded with a tinted green border of flowers, etched stencil marks R. LALIQUE/ FRANCE, 14.5cm square (2)

of squared form, the ribbed sides with clear oval panels, etched mark DAUM/ FRANCE, 24.5cm high; a SEVRES ASHTRAY, clear glass with six points, acid etched marks SEVRES/ FRANCE, 18cm wide; and a LALIQUE ‘TWO FLEURS’ FROSTED GLASS PERFUME BOTTLE AND STOPPER, formed of two flower heads, etched mark LALIQUE/ FRANCE, with maker’s sticker and original box (3)

£250-350

£200-300

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

moulded with cat fish on a textured ground, etched maker’s mark to base DAUM, FRANCE/ EPREUVE D’ATELIER 29.5cm high

£200-300

181

590 RENÉ LALIQUE (1860-1945) ‘FORMOSE’ OPALESCENT GLASS VASE, INTRODUCED 1924 of ovoid form, moulded with fish, wheel and script-etched maker’s marks R. LALIQUE/ FRANCE 16cm high

£700-1,000

591 RENÉ LALIQUE (1860-1945) ‘POISSONS’ OPALESCENT GLASS DISH, INTRODUCED 1921 with spiralling sardines enclosing a bubbled centre, moulded marks R. LALIQUE, 31.5cm diameter; and a LALIQUE ‘POISSONS’ BOWL, moulded and wheel etched marks R. LALIQUE/ FRANCE/ NO. 3212, 20.5cm diameter; together with a LALIQUE ‘COQUILLES’ BOWL, introduced 1924, the underside moulded with four scallop shells, with etched maker’s mark R. LALIQUE/ FRANCE/ NO. 3204, 13cm diameter (3) £400-600

592 RENÉ LALIQUE (1860-1945) ‘MARISA’ CLEAR AND FROSTED GLASS VASE, INTRODUCED 1927 moulded with a frieze of vertical swimming fish, etched maker’s signature R. LALIQUE FRANCE NO. 1002 23cm high

£2,000-3,000

182

593 VAL ST. LAMBERT TWO OVERLAID GLASS VASES, CIRCA 1930 one of cylinder form overlaid in blue with cut bands, 18cm high; the other of bulbous form overlaid in ruby with cut facets, 19cm high, both unmarked (2) £300-500

594 SCHNEIDER ART DECO BLUE GLASS VASE, CIRCA 1930 with acid-etched banded frieze, raised on a circular glass base, etched marks SCHNEIDER/ FRANCE, 25cm high; together with a LARGE SHAPED CIRCULAR GLASS DISH, CIRCA 1920, the red and orange mottled glass with bubble inclusions, with etched maker’s signature SCHNEIDER, 34.5cm x 41.5cm (2) £200-300

595 MARCEL BREUER (1902-1981) FOR GEBRÜDER THONET B9 OCCASIONAL TABLE, DESIGNED 1925–1926 chromed tubular steel and walnut 59cm long, 55.5cm high, 39cm deep

£300-500

596 MARCEL BREUER (1902–1981) FOR GEBRÜDER THONET B91 DESK, 1930S patinated wood and wood and chrome-plated tubular steel, the key with makers mark THONET, 132cm wide, 76cm high, 54cm deep; and an associated S43 CHAIR BY MART STAM; 39cm wide, 82cm high, 45cm deep (2) £800-1,200

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

183

597 DEMETRE H. CHIPARUS (1886-1947) ‘WOMAN WITH MIRROR’ BRONZE FIGURE, CIRCA 1920 raised on square tapered marble plinth, engraved facsimile signature CHIPARUS to plinth figure 34cm high, total height 42.5cm high Literature: A. Shayo, ‘Chiparus Master of Art Deco’, Abbeville Press, 1999, p.102 where this design is illustrated

£4,000-6,000

598 Y DEMETRE H. CHIPARUS (1886-1947) ‘ELEGANT DANCER’ ART DECO BRONZE AND IVORY FIGURE, CIRCA 1930 cold-painted, raised on rectangular marble plinth, engraved facsimile signature D. H. CHIPARUS to plinth figure 31.5cm high, total height 40cm high Literature: A. Shayo, ‘ Chiparus Master of Art Deco’, Abbeville Press, 1999, p.175 where this design is illustrated

£4,000-6,000

184

599 RONSON, UNITED STATES TOUCH TIP ‘BARTENDER’ LIGHTER, 1930S chromium plated, stamped to interior compartment RONSON 17cm high

£400-600

600

601

ART DECO; ART NOUVEAU; AUSTRIAN SECESSION ART REFERENCE LIBRARY

ART DECO; ART NOUVEAU; AUSTRIAN SECESSION ART; ARTS & CRAFTS REFERENCE LIBRARY

CERAMICS & GLASS

METALWORK; SCULPTURE; LIGHTING & DECORATIVE ARTS

To Include: Klesse, B. and Mayr, H. Glas vom Jugendstil bis heute, Cologne 1981; Hartmann, C. Glasmarken Lexikon 1600-1945, Arnoldsche 1997; Ricke, H. and Thor, L. Swedish Glass Factories: Production Catalogues 1915-1960, Prestel 1987; Schröder, U. Trinkgläser vom Jugendstil zum Art Deco, Edition Schröder 1998; Marcilhac, F. René Lalique, 1860-1945, Maitre-Verrier, Les editions de l’amateur, 1994; Adlerova, A., Ploip, E., Vicek, T. Lötz: Bohmisches Glas 1880-1940: Band 1, Werkmonographie & Band 2, Katalog der Musterschnitt, Prestel 1989 (2); Berg, T. Glaskunst Der Moderne, Klinkhardt und Biermann, 1992; Berlin und Brandenburg: Keramik, Deutsches Historisches Museum Catalogue, 1992; Neuwirth, W. Oesterreichische Keramik des Jugendstils, Prestel 1974; Zuhlsdorff, D. Keramikmarken Lexikon 1885-1935, Arnoldsche 1994; Panzetta, A. Le ceramiche Lenci, 1928-1964, Allemandi (2003); Rosso, F.M. Uomini e ceramiche del Novecento italiano: Per virtù del fuoco, Musumeci 1983; Csenkey, E. and Steinert, A. Hungarian Ceramics from the Zsolnay Manufactory, Yale 2002; Dechant R., Goldscheider F. Goldscheider: History of the Company and Catalogue of Works, Arnoldsche 2008; Edmund Lachenal & his Legacy Jason Jacques Gallery Press, Exhibition catalogue 2007; Hiesinger, K. Die Meister des Munchner Jugendstils, Prestel 1989; Midant, Jean Paul Sevres, Editions du Seuil 1992; Niggl, R. (ed), Brohan, K.H., Hogermann, D. Porzellan: Kunst und Design 1889 bis 1939, BrohanMuseum 1993; Hogermann, D. (ed), Brohan, K.H., Porzellan: Kunst und Design 1889 bis 1939 Brohan-Museum 1996; Preaud, T., Gauthier, S. Ceramics of the Twentieth Century, Phiadon 1982; Batkin, M. Wedgwood Ceramics 1946-1959, Richard Dennis 1982

Carpenter, C. H. Tiffany Silver, Peter Owen 1979; Weber, K. Die Metallwerkstatt am Bauhaus, Kupfergraben Verlagsgesellschaft 1992; von Kerssenbrock-Krosigk, D. Modern Art of Metalwork, Catalogue of the Brohan-Museum 2001; Leonhardt, B., Goetz, N., et al. Friedrich Adler, Arnoldsche 1994; Krekel-Aalberse, A. Art Nouveau and Art Deco Silver, Thames & Hudson 1989; Deshairs, L. Modern French Decorative Art Volumes 1&2, Architectural Press 1926 (2); Aumonier, W. (ed) Modern Architectural Sculpture, Architectural Press 1930; British Master Goldsmiths, Goldsmiths Company Exhibition Catalogue, 1997; Bury, S., Crawford, A. C.R. Ashbee’s English Silverwork Weinreb 1974; Noever, P. Dagobert Peche and the Wiener Werkstätte, Yale 2002; Ulmer, R. Museum Künstlerkolonie Darmstadt, Darmstadt, Institute Mathildenhöhe 1990; Das Neue Kunsthandwerk in Deutschland und Oesterreich, A. Koch 1923; Heinz, S. Německá secese, Jugendstil in Deutschland : Kunst und Kunsthandwerk um 1900, Exhibition catalogue 1980; Leidelmeijer, F. Art nouveau en art deco in Nederland, Meulenhoff/Landshoff 1983; Joseph M. Olbrich 1867-1908: Das Werk Des Architekten, Exhibition catalogue, Hessischen Landesmuseum 1967; Torino 1902: Le arti decorative internazionali del nuovo secolo, Fabbri 1994; Papini, R. Le arti d’Oggi : architettura e arti decorative in Europa, Bestetti e Tumminelli, Milano – Roma 1930; Day, S. Art Deco and Modernist Carpets, Thames & Hudson 2002; Janneau, G., Henriot, G. Le Luminaire: Art Deco Lighting Design 1925-1937, Arnoldsche 1992; Despond, A. UAM: Union des artistes modernes, Editions du Regard 1986; Marcilhac, F. Jean Dunand, Abrams 1991; Goguel, S. Rene Herbst, Editions du Regard 1990; Black, J. Dora Gordine, Philip Wilson 2007; Joël et Jan Martel: Sculpteurs, 1896-1966, Gallimard/Electa 1996; Casson, S. Sculpture of Today, The Studio Publications 1939; Ramsden, E.H. Twentieth Century Sculpture, Pleiades 1949; Tilbrook, A.J. Truth, Beauty and Design: Victorian, Edwardian and later decorative art, Fischer Fine Art 1986; Billcliffe, R. Charles Rennie Mackintosh: the Complete Furniture, Furniture Drawings & Interior Designs, Cameron & Hollis 2009; Berman, H. Bronzes: Sculptors & Founders 18001930 (Volumes 1-4 with index), (5) Abage 1976

£300-500

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

185

602 GEORG JENSEN PAIR OF SILVER AND LABRADORITE CUFFLINKS, POST 1945 of oval form, stamped maker’s marks GEORG JENSEN/ 925 S/ DENMARK/ A26 (2) 2cm diameter

£200-300

603 Y GEORG JENSEN (1866-1935) SILVER & IVORY MOUNTED ‘MAGNOLIE’ CHOCOLATE POT AND COVER, DESIGNED 1905 with ivory handle, bears maker’s marks GEORG JENSEN/ DENMARK/ STERLING/ 2E (1915-1930) 13.5cm high

£1,000-1,500

604 HEIMBURGER, DENMARK PAIR OF SILVER CANDLESTICKS, EARLY 20TH CENTURY each with applied scroll decorations, stamped maker’s marks (2) 17.5cm high

£300-500

186

605 HARALD NIELSEN (1892-1977) FOR GEORG JENSEN SUITE OF ‘MOONLIGHT GRAPES’ STERLING JEWELLERY, DESIGNED CIRCA 1925 with stamped maker’s marks GEORG JENSEN/ 925s/ DENMARK/ 217B, and with import marks for London 1972 (3) brooch 7cm long, earrings 5cm long approx

£250-350

606 GEORG JENSEN PAIR OF 18CT GOLD EARRINGS, 1960S of shaped kidney form, stamped 750/ GEORG JENSEN/ 18K/ 1123, 2.1cm long; together with a GEORG JENSEN 18CT RING, stamped GEORG JENSEN/ 750/ GJ Ld, hallmarked, ring size M/N (3) £300-500

607 GEORG JENSEN TWO SILVER RINGS, 1960S the first, designed by Vivianna Torun Bülow-Hübe for Georg Jensen, stamped GEORG JENSEN/ TORUN/ 925S/ DENMARK 148, ring size I/J; the second, designed by Nanna Ditzel for Georg Jensen, stamped 925S/ DENMARK/ GEORG JENSEN/ 93, ring size N; together with a HANS HANSEN SILVER RING, stamped Hans Hansen/ DENMARK, 925S, ring size F/G (3) £200-300

608 GEORG JENSEN TWO SILVER BROOCHES, 1960S AND 1970S comprising an ‘Amoeba’ brooch, stamped GEORG JENSEN/ STERLING DENMARK/ 324, 4.2cm wide; and an example designed by Ibe Dalquist, stamped GEORG JENSEN/ 925 S/ DENMARK/ 362, 3.7cm wide (2) £200-300

609 HANS HANSEN SILVER BRACELET AND BROOCH, 1960S the brooch of elongated arrowhead form, stamped DENMARK/ Hans Hansen/ 9255/ 113, 7.5cm wide; the bracelet of similar design, linked, stamped Hans Hansen/ 925/ DENMARK/ 238, 18cm long; together with an ERNEST BLYTH SILVER BROOCH, of abstract form, stamped Ernest A. Blyth/ IVAN TARRAT ENG, hallmarked Birmingham 1964, 6.6cm long; and a BENT KNUDSEN SILVER BROOCH, in the form of an abstract heart, stamped STERLING/ DENMARK/ BENT K/ 1/ HANDMADE, 6cm long (4) £200-300 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

187

610 N.E. FROM, DENMARK SILVER NECKLACE, 1970S the curved bar hung with panels of balls, connected by a linked chain, stamped STERLING/ DENMARK/ NE FROM/ 925S, overall 236cm wide; together with a NECKLACE BY ANNA GRETE EKER FOR NORWAY DESIGNS STUDIOS PLUS, the heart shaped necklace hung with a silver loop pendant and flattened wood balls, stamped with monograms and AGE/ STERLING 925S/ NORWAY, 14.5cm long (2) £200-300

611 HENNING KOPPEL (19181991) FOR GEORG JENSEN STERLING AMOEBA BROOCH, DESIGNED 1953 stamped maker’s marks GEORG JENSEN/ 925S/ DENMARK/ 322 4.5cm across

£200-300

612 ERNEST A. BLYTH FOR GEORGE TARRATT LTD ‘VEGA’ 9CT GOLD BROOCH, DATED 1992 with domed centre and four squared points, stamped GT Ltd/ IVAN TARRATT ENG/ Ernest A. Blyth, hallmarked Birmingham 1991 3.5cm wide

£250-400

613 HANS HANSEN SILVER BROOCH, 1960S of shaped concave form, stamped Hans Hansen/ 925S/ DENMARK, 7.5cm wide; together with a KAREN STRAND FOR ANTON MICHELSEN SILVER BROOCH, in the form of an apostrophe, AM/ STERLING/ DENMARK/STRAND, 6cm long; and a EIGIL JENSEN FOR ANTON MICHELSEN SILVER BROOCH, of pointed oval form, stamped AM/ STERLING/ DENMARK/ monogrammed, 7.5cm wide (3) £200-300

188

614 OLLE ALBERIUS TOR ERICSSON FOR ORREFORS ,SWEDEN BLUE GLASS VASE, CIRCA 1990 the body encased with flying gulls in clear glass, acid etched signature to base OLLE ALBERIUS TOR ERICSSON/ 93 83 90, with maker’s label 16.5cm high

£300-500

615 TAPIO WIRKKALA (19151985) FOR LITTALA ‘TOKIO’ GLASS VASE, DESIGNED 1954 etched maker’s mark to base TAPIO WIRKKALA 29.5cm high

£200-300

616 TAPIO WIRKKALA (1915-1985) FOR IITTALA, FINLAND FROSTED GLASS VASE, CIRCA 1960 with ribbed surface, etched mark to base TAPIO WIRKKALA/ 3503, 13cm high; and a RANDSFJORD GLASS VASE BY BENNY MOTZFELDT, bears maker’s paper label to base, 11cm high (2) £200-300

617 ARNE JACOBSEN (19021971) FOR FRITZ HANSEN ‘SHAKER’ DINING TABLE, INTRODUCED 1960S

618 JAMES POWELL & SONS WHITEFRIARS ‘THREADED’ GLASS VASE, CIRCA 1920 of textured ovoid form with horizontal pink striped decoration, 22cm high; together with a JAMES POWELL & SONS CRANBERRY GLASS CARAFE, with ovoid opening above a spreading base, with applied glass collar, 21cm high (2) £150-250

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

white laminate top with satin polished aluminium frame, stamped marks 351 under top 180cm long, 70cm high, 90cm deep

£500-800

189

619 Y JOHANNES ANDERSEN (1890-1980) FOR MOGENS KOLD MØBELFABRIK, DENMARK ROSEWOOD DINING SUITE, CIRCA 1960 comprising a SIDEBOARD, 240cm wide, 72cm high, 46cm deep; a SET OF EIGHT CHAIRS, including two carvers, carver 57.5cm wide, 103.5cm high, 50cm deep; and an EXTENDING DINING TABLE, table 170cm long (closed), 72.5cm high, 100cm deep, with two additional leaves each measuring 50cm long (10) Note: Sold in compliance with CITES regulations, with (nontransferable) Transaction Specific Certificate no. 588297/01.

£1,500-2,000

190

620 § RICHARD MEITNER (B. 1949) FOUR GLASS VESSELS, 1979 two of opaline glass with hieroglyphic designs; two with ruby inclusions, two with stoppers, each with etched signature and date (4) largest 21cm high, smallest 6cm high

£300-500

621 NIELS MØLLER (1920-1982) FOR J.L. MØLLERS MØBELFABRIK TEAK DINING SUITE, DESIGNED 1954 comprising an extending DINING TABLE, 258cm long (open), 160cm long (closed), 72cm high, 88cm deep; and a SET OF SIX MODEL 75 CHAIRS, each with maker’s label, 50cm wide, 77cm high, 42cm deep (7) £800-1,200

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

191

622 POUL HUNDEVAD (DANISH 1917-2011) FOR VAMDRUP, DENMARK ‘GULDHOJ’ FOLDING STOOL/TABLE, 1960S Model 41, teak and leather, partial paper label (to underside of leather seat) 37cm high, 48cm wide

£500-700

623 PER LÜTKEN (1916-1998) FOR HOLMEGAARD, DENMARK GROUP OF GLASS VASES, CIRCA 1960 comprising THREE GRADUATED SMOKED GLASS VASES, largest 13cm high; TWO SIMILAR VASES, in green and pale blue glass, 8cm and 7cm high; and TWO OVOID GLASS VASES, 13cm and 9cm high, each with etched maker’s marks and artists’ initials to base (7) £200-300

624 PETER HVIDT (1916-1986) & ORLA MOLGAARD-NIELSEN (1907-1993) FOR FRANCE & SON, DENMARK TEAK DROP LEAF DINING TABLE, 1950S the circular top above shaped square form legs, linked by brass mounts, with maker’s label 162.5cm long (closed) 72cm high, 45cm deep (closed); open: 143cm diameter

£1,000-2,000

192

625 HIGHLAND STONEWARE ‘JUNGLE’ TRIPTYCH TILE PANEL, 1997 decorated by Dorell Pirie and Tracey Montgomery with animals and birds in a jungle setting within tiled borders, signed to each panel central panel 134cm x 92cm; side panels 133cm x 51cm Literature: Haslam, Malcolm, Highland Stoneware, Richard Dennis 1999, p.77 illus.

£800-1,200

626 HEAL & SON, LONDON (RETAILER) COROMANDEL, WALNUT AND SPECIMEN WOOD COFFEE TABLE, CIRCA 1960 the inlaid top raised on shaped legs linked by angled supports 151.5cm long, 36cm high, 46cm deep

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

193

627 § PHIL ROGERS (B. 1951) STONEWARE VESSEL, 20TH CENTURY covered in a mottled glaze with brush stroke decoration, impressed artist’s seal mark, 24.5cm high; and a DEREK CLARKSON VESSEL, covered in a tenmoku glaze, impressed artist’s seal marks, 16cm high (2) £200-300

628 § WALTER CHARLES JOHN KEELER (B. 1942) TWO SALT-GLAZED TWIN-HANDLED DISHES, 20TH CENTURY each with artist’s seal mark, 19cm and 23cm diameter; together with a PAUL STARKEY SALT-GLAZED BON BON DISH, with moulded initials PS, 22cm diameter; and a PAUL STARKEY SALTGLAZED TEAPOT, impressed seal mark, 19cm high (4) £200-300

629 § MICK CASSON (1925-2003) GROUP OF STONEWARE VESSELS, 20TH CENTURY comprising a LARGE EWER, 37cm high; a SMALL EWER, 23cm high; and a JARDINIÈRE, 23cm diameter, two with impressed artist’s seal mark, the jardinière with painted initials MC (3) £200-300

630 §

631 §

632 §

BARBARA CASS (1921-1992)

JANET LEACH (1918-1997)

PETER LANE (B. 1932)

LARGE STUDIO POTTERY VASE, 1950S

TWIN-HANDLED VESSEL, 20TH CENTURY

STONEWARE VESSEL, 20TH CENTURY

with incised ribbed decoration, incised makers marks BC/ YORK; a LARGE TWIN-HANDLED VASE, decorated with slip, unmarked 36.5cm high; and a STUDIO STONEWARE LAMP, with impressed decoration, 29.5cm high (3)

impressed artist’s seal marks, 7cm high; and a PETER HAYES BOW VESSEL, raku, impressed seal mark and incised signature PETER HAYES/ 88, 9cm high; and DAN KELLY VESSEL, of shaped circular form with ripped rim and unglazed, textured surface, 10cm high (3)

£150-250

£200-300

bronzed/brown textured glaze, incised signature PETER LANE, 22cm high; and a TONY LAVERICK BOWL, with painted and gilt abstract decoration, painted mark TL/ 13, 12.5cm diameter; together with a GORDON COOKE PORCELAIN SCULPTURE, of triangular form, incised decoration with metal inclusions, impressed artist monogram, 19cm across (3) £200-300

194

633 ENGLISH SCHOOL FREEFORM SCULPTURE, CIRCA 1960 hardwood, steel and marble, unsigned 53cm high

£250-350

634 GUAXS, GERMANY FOUR LARGE GLASS VASES, MODERN comprising a slender vase, with cut sides revealing orange ribs and terminating in a darkened base, marked MADE IN INDIA, 60cm high; a rounded example with flattened top, with textured hand-cut body, 25cm high; a further elongated vase, the ribbed body with unpolished bands, 64.5cm high; and a shouldered example, of the same decoration, 43cm high; all marked GUAXS (4) £300-500

635 ITALIAN SCHOOL LACQUERED BRASS DRINKS CART, CIRCA 1980 with four smoked-glass tiers 83cm long, 73.5cm high, 40cm deep

£300-500

636 ITALIAN SCHOOL TWO-TIERED VITRINE COFFEE TABLE, 1960S brass, lucite and glass 152.5cm square, 40.5cm high

£600-800

195

637 § PETER COKER (1926-2004) ‘STUDY OF TREES’, 1958 1958, pencil on paper, 37cm x 25.5cm; and ANOTHER STUDY OF TREES BY THE SAME HAND, 54cm x 36cm; and ‘SUNFLOWER HEAD’ BY THE SAME HAND, charcoal, signed with initials PC/ 59 lower right, 68cm x 50cm (3) £400-600

638 ITALIAN SCHOOL PAIR OF BRASS TABLE LAMPS, CIRCA 1970 each of cylindrical form with applied spiked leaf forms, black shades (2) with shades 106cm high, without shades 81cm high

£400-600

639 § IVOR ROBINSON (1924-2014) DESIGN FOR BOOK COVER OF AGAMEMNON pencil, gold pen and gouache 8.7cm x 13.3cm (3.37in x 5.25in)

£300-500

640 AMERICAN SCHOOL LARGE MID-CENTURY TEAK DINING TABLE, CIRCA 1950 the top of elliptical form raised on turned legs with brass sabots, and linked by stretchers 321cm long, 77cm high, 137cm deep

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

196

641 § SCOTTIE WILSON (1888-1972) PAINTED PLATE, CIRCA 1960 of oval form, painted in black and white with stylised trees and birds, signed SCOTTIE (twice) 40.5cm diameter

£400-600

642 ENGLISH SCHOOL EMBRACING FIGURES stone, carved with artist’s initials J*A*R* 74cm high

£1,000-1,500

197

643 § SCOTTIE WILSON (1890-1972) BIRD TREE, CIRCA 1960 pen, ink and crayon, signed lower right SCOTTIE, exhibition label verso 47.5cm x 59.5cm Exhibited: Hastings Museum & Art Gallery, 1986 Provenance: Gimpel Fils Gallery, London

£600-800

644 § SCOTTIE WILSON (1890-1972) BIRD AND FISH MASK ink and watercolour, signed lower right SCOTTIE 24.5cm x 12cm

£300-500

645 §

646 §

SCOTTIE WILSON (1888-1972)

SCOTTIE WILSON (1890-1972)

‘VILLAGE’ CERAMIC PLATE, CIRCA 1960

‘VILLAGE AND TREES’

painted in colours with stylised trees and birds on a deep green ground, signed SCOTTIE, mounted and framed

gouache, signed right hand side SCOTTIE

plate 25cm diameter

£500-800

34.5cm x 24.5cm

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

198

647 CONTEMPORARY EMBROIDERED TEXTILE HANGING, CIRCA 1970 abstract forms in looped wools and mixed threads, reserved on a green ground 190cm x 346cm

£500-800

648 SUSAN & CHRISTOPHER MATHER SPALTED MAPLE INLAID CABINET ON STAND, CIRCA 1990 the chest with four drawers raised on a stand, on square supports linked by a lower tier Chest 30.5cm wide, 36cm high, 26cm deep; Stand 38cm wide, 93cm high, 38cm deep Provenance: Blue Coat Display Centre, Liverpool

£300-400

649 ARIK AMERICAN GLASS FLOOR LAMP, 1970S comprising four curved and frosted glass panels linked by brass supports, with applied abstract design in coloured glass, each panel signed ARIK/ 74/ T17K 31.5cm square, 105cm high

£500-800

199

650 RALPH BALL FOR STUDIO BALL ‘TENSION’ WALL SHELVES, 1990S glass, steel and steel wire 420cm wide, 250cm high, 29cm deep Please note this lot will not be assembled for view due to its size.

£300-500

651 § NICHOLAS CHANDLER STAINED RIPPLED SYCAMORE CADDY, CIRCA 1980 of rectangular form, with pinched hemispherical handles, the hinged lid opening to reveal a wooden-lined interior, stamped NICHOLAS CHANDLER MADE ME 23cm wide

£600-800

652 § BOB CROOKS (B. 1965) ‘LINEWEAVERS’ MONOCHROME TRIO, 2015 glass, each with black and white latticino decoration, etched signature to base (3) 28cm, 22cm and 16.5cm high

£250-350

653 §

654

ALISON KINNAIRD (B. 1949) FOR LINDEAN MILL, SCOTLAND

DAVID LINLEY, LONDON

ENGRAVED GLASS BOWL, DATED 1983

WALNUT AND SILVER-MOUNTED REGENCY STYLE FRUIT BOWL, BIRMINGHAM 2005

depicting Kilmarnock willow trees amongst a mountainous landscape, etched artist’s signature and factory mark ALISON KINNAIRD/ LINDEAN MILL/ ‘83 14cm high

with silver inlay, raised on a turned pedestal base with a silver mounted band, stamped LINLEY, hallmarks for Birmingham 2005, with original box

£150-250

44.5cm wide, 19cm high

£300-500

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

200

CONDITIONS OF SALE FOR BUYERS (UK) These Conditions of Sale and the Saleroom Notices as well as specific Catalogue terms, set out the terms on which we offer the Lots listed in this Catalogue for sale. By registering to bid and/or by bidding at auction You agree to these terms, we recommend that You read them carefully before doing so. You will find a list of definitions and a glossary at the end providing explanations for the meanings of the words and expressions used. 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. In these Conditions the words “Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd, the singular includes the plural and vice versa as appropriate. “You”, “Your” means the Buyer. Lyon & Turnbull Ltd. acts as agent for the Seller.

A. BEFORE THE SALE 1. DESCRIPTIONS OF LOTS

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. All dimensions and weights are approximate only. 2. O UR RESPONSIBILITY FOR OUR DESCRIPTION OF LOTS

We do not provide any guarantee in relation to the nature of a Lot apart from our authenticity warranty contained in paragraph E.2 and to the

19.2

extent provided below. (a) 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. (b) 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. (c) 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. 3. WITHDRAWAL

Lyon & Turnbull may, at its discretion, withdraw any Lot at any time prior to or during the sale of the Lot. Lyon & Turnbull has no liability to You for any decision to withdraw. 4. JEWELLERY, CLOCKS & OTHER ITEMS

(a) Jewellery: (i) Coloured gemstones (such as rubies, sapphires and emeralds) may have been treated to enhance their look, through methods such as heating and oiling. These methods are accepted practice but may make the gemstone less strong and/or require special care in future. (ii) All types of gemstones may have been improved by some method. You may request a gemmological report for any Lot which does not have a report if the request is made to us at least three weeks before the date of the sale and You pay the fee for the report in advance of receiving said report. (iii) We do not obtain a gemmological

report for every gemstone sold in our sales. Where we do get gemmological reports from internationally accepted gemmological laboratories, such reports may be described in the Sale Particulars. Reports will describe any improvement or treatment only if we request that they do so, but will confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree whether a particular gemstone has been treated, the amount of treatment or whether treatment is permanent. The gemmological laboratories will only report on the improvements or treatments known to the laboratories at the date of the report. (iv) For jewellery sales, all Estimates are based on the information in any gemmological report or, if no gemmological report is available, You should assume that the gemstones may have been treated or enhanced. (b) 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. Clocks may be sold without pendulums, weights or keys. (c) Alcohol: 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. All collections must be signed for by a person over the age of 18. We Reserve the right to ask for ID from the person collecting. Buyers of alcohol must make appropriate allowances for natural variations of ullages, conditions of corks and wine. We can provide no guarantees as to how the alcohol may have been stored. There is always a risk of cork failure and allowance by the Buyer must be made. Alcohol is sold “as is” and quality of the alcohol is entirely at the risk of the Buyer and no warranties are given.

(d) 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. (e) 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. (f) 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.

B. REGISTERING TO BID 1. NEW BIDDERS

(a) If this is Your first time bidding at Lyon & Turnbull or You are a returning Bidder who has not bought anything from us within the last two years You must register at least 48 hours before an auction to give us enough time to process and approve Your registration. We may, at our discretion, decline to permit You to register as a Bidder. You will be asked for the following: (i) Individuals: Photo identification (driving licence, national identity card or passport) and, if not shown on the ID document, proof of Your current address (for example, a current utility bill or bank statement) (ii) Corporate clients: Your Certificate of Incorporation or equivalent document(s) showing Your name and registered address together with documentary proof of directors and beneficial owners, and; (iii) Trusts, partnerships, offshore companies and other business structures please contact us directly in advance to discuss requirements. (b) We may also ask You to provide a financial reference and/or a deposit to allow You to bid. For help, please contact our Finance Department on +44(0)131 557 8844.

201 2. RETURNING BIDDERS

We may at our discretion ask You for current identification as described in paragraph B.1.(a) above, a finance reference or a deposit as a condition of allowing You to bid. If You have not bought anything from us in the last two years, or if You want to spend more than on previous occasions, please contact our Finance Department on +44(0)131 557 8844. 3. FAILURE TO PROVIDE THE RIGHT DOCUMENTS

If in our opinion You do not satisfy our Bidder identification and registration procedures including, but not limited to, completing any anti-money laundering and/or anti-terrorism financing checks we may require to our satisfaction, we may refuse to register You to bid, and if You make a successful bid, we may cancel the contract between You and the Seller. 4. BIDDING ON BEHALF OF ANOTHER PERSON

(a) As an authorised Bidder: If You are bidding on behalf of another person, that person will need to complete the registration requirements above before You can bid, and supply a signed letter authorising You to bid for him/ her. (b) As agent for an undisclosed principal: If You are bidding as an agent for an undisclosed principle (the ultimate Buyer(s)) You accept personal liability to pay the Purchase Price and all other sums due, unless it has been agreed in writing with us before commencement of the auction that the Bidder is acting as an agent on behalf of a named third party acceptable to us and we will seek payment from the named third party. 5. BIDDING IN PERSON

If You wish to bid in the saleroom You must register for a numbered bidding paddle before You begin bidding. Please ensure You bring photo identification with You to allow us to verify Your registration. 6. BIDDING SERVICES

The bidding services described below are a free service offered as a convenience to our clients and we are not responsible for any error (human or otherwise), omission or breakdown in providing these services. (a) Phone bids Your request for this service must be made no later than 12 hours prior to the auction. We will accept bids by telephone for Lots only if our staff are available to take the bids. If You need to bid in a language other than English You should arrange this Well before the auction. We do not accept liability for failure to do so or for errors and omissions in connections. (b) Internet Bids For certain auctions we will accept bids over the internet. For more information please visit our Website. 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. (c) Written 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. Bids must be expressed in the currency of the saleroom. The Auctioneer will take reasonable steps to carry out written bids at the lowest possible price, taking into account the Reserve. If You make a written bid on a Lot which does not have a Reserve and there is no higher bid than Yours, we will bid on Your behalf at around 50% of the lower Estimate or, if lower, the amount of Your bid.

C. DURING THE SALE 1. ADMISSION TO OUR AUCTIONS

We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. We may refuse admission at any time before, during or after the auction. 2. RESERVES

Unless indicated by an 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. 3. AUCTIONEER’S DISCRETION

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. The Auctioneer may move the bidding backwards of forwards in any way he or she may decide or change the order of the Lots. The Auctioneer may also; refuse any bid, withdraw any Lot, divide any Lot or combine any two or more Lots, reopen or continuing bidding even after the hammer has fallen. 4. BIDDING

The Auctioneer accepts bids from: (a) Bidders in the saleroom; (b) Telephone Bidders, and internet Bidders through Lyon & Turnbull Live or any other online bidding platform we have chosen to list on and; (c) Written bids (also known as absentee bids or commission bids) left with us by a Bidder before the auction.

5. BIDDING INCREMENTS

Bidding increments shall be at the Auctioneer’s sole discretion. 6. CURRENCY CONVERTER

The saleroom video screens and bidding platforms may show bids in some other major currencies as Well as sterling. Any conversion is for guidance only and we cannot be bound be any rate of exchange used. We are not responsible for any error (human or otherwise) omission or breakdown in providing these services. 7. SUCCESSFUL BIDS

Unless the Auctioneer decides to use their discretion as set out above, when the Auctioneer’s hammer falls, we have accepted the last bid. This means a contract for sale has been formed between the Seller and the successful Bidder. We will issue an invoice only to the registered Bidder who made the successful bid. While we send out invoices by post/or email after the auction, we do not accept responsibility for telling You whether or not Your bid was successful. If You have bid by written bid, You should contact us by telephone or in person as soon as possible after the auction to get details of the outcome of our bid to avoid having to pay unnecessary storage charges. 8. RELEVANT LEGISLATION

You agree that when bidding in any of our sales that You will strictly comply with all relevant legislation including local laws and regulations in force at the time of the sale for the relevant saleroom location.

D. THE BUYER’S PREMIUM, TAXES AND ARTIST’S RESALE ROYALTY

outwit the European Union. This reduced rate is applicable to Antique items. (c) 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 outwit the European Union and do not fall within the reduced rate category outlined above. 3. A RTIST’S RESALE ROYALTY (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.

E. WARRANTIES

1. THE PURCHASE PRICE

1. SELLER’S WARRANTIES

For each Lot purchased a Buyer’s Premium of 25% of the Hammer Price of each Lot up to and including £300,000, plus 20% from £300,001 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.

For each Lot, the Seller gives a warranty that the Seller; (a) Is the owner of the Lot or a joint owner of the Lot acting with the permission of the other co-owners, or if the Sellers is not the owner of or a joint owner of the Lot, has the permission of the owner to sell the Lot, or the right to do so in law, and; (b) Had the right to transfer ownership of the Lot to the Buyer without any restrictions or claims by anyone else. If either other above warranties are incorrect, the Seller shall not have to pay more than the Purchase Price (as defined in the glossary) paid by You to us. The Seller will not be responsible to You for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages or expense. The Seller gives no warranty in relation to any Lot other than as set out above and, as far as the Seller is allowed by law, all warranties from the Seller to You, and all obligations upon the Seller which may be added to this agreement by law, are excluded.

2. 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. (a) 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. (b) 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

202 2. 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 we, in our reasonable opinion, deem that the conditions of the authenticity guarantee have been satisfied, it shall refund to the original purchaser of the Lot the Hammer Price and applicable Buyer’s Premium paid for the Lot by the original purchaser. This Guarantee does not apply if: (a) 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 (b) 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 (c) 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: (a) 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 (b) 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 & 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. 3. YOUR WARRANTIES

(a) You warrant that the funds used for settlement are not connected with any criminal activities, including tax evasion and You are neither; under investigation, have been charged with or convicted of money laundering, terrorist activities or other crimes. (b) Where You are bidding on behalf of another person You warrant that: (i) You have conducted appropriate customer due diligence on the ultimate Buyer(s) of the Lot(s) in accordance with all relevant anti-money laundering legislation, consent to us relying on this due diligence, and You will retain for a period of not less than five years the documentation evidencing the due diligence. You will make such documentation promptly available for immediate inspection by a third party auditor upon our written request to do so; (ii) The arrangements between You and the ultimate Buyer(s) in relation to the Lot or otherwise do not, in whole or in part, facilitate tax crimes, and; (iii) You do not know, and have no reason to suspect that the funds used for settlement are connected with the proceeds of any criminal activity, including tax evasion, or that the ultimate Buyer(s) are under investigation or have been charged with or convicted of money-laundering, terrorist activities, or other crimes.

F. PAYMENT 1. MAKING PAYMENT

(a) Within 7 days of a Lot being sold You will 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. Please note that we do not accept cash payments over £5,000 per Buyer per year. (b) Any payments by You to us can 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. (c) We will only accept payment from the registered Bidder. Once issued, we cannot change the Buyer’s name on an invoice or re-issue the invoice in a different name. (d) 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. The risk in and the responsibility for the Lot will transfer to You from whichever is the earlier of the following: (i) When You collect the Lot; or (ii) At the end of the 30th day following the date of the auction, or, if earlier, the date the Lot is taken into care by a third party unless we have agreed otherwise with You in writing. (e) 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. (f) No purchase can be claimed or removed until it has been paid for. (g) 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. 2. IN THE EVENT OF NON-PAYMENT

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(s) (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 of 5% a year above the Bank of Scotland base rate from time to time 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. You will be deemed to have granted such security to us and we may retain such property as collateral security for Your obligations to us; we may decide to sell Your property in any way we think appropriate. We will use the proceeds of the sale against any amounts You owe us and we will pay any amount left from that sale to You. If there is a shortfall, You must pay us the balance; and (i) Take any other action we see necessary or appropriate.

G. COLLECTION & STORAGE (1) 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. Information on collection is set out in the Catalogue and our Website (2) Unless agreed otherwise, You must collect purchased Lots within seven days from the auction. Please note the Lots will only be released upon full payment being received. (3) If You do not collect any Lot within seven days following the auction we can, at our discretion; (i) Charge You storage costs at the rates set out on our Website. (ii) Move the Lot to another location or an affiliate or third party and charge You transport and administration costs for doing so and You will be subject to the third party storage terms and pay for their fees and costs. (iii) Sell the Lot in any way we think reasonable.

H. TRANSPORT & SHIPPING 1. TRANSPORT AND SHIPPING

We will include transport and shipping information with each invoice sent to You as well as displayed on our Website. You must make all transport and shipping arrangements. 2. 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. 3. CITES: ENDANGERED PLANTS AND ANIMALS LEGISLATION

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

203 which may be subject to CITES but have not be identified as such.

I. OUR LIABILITY TO YOU (a) We give no warranty in relation to any statement made, or information give, by us, our representatives or employees about any Lot other than as set out in the authenticity warranty and as far as we are allowed by law, all warranties and other terms which may be added to this agreement by law are exclude. The Seller’s warranties contained in paragraph E.1 are their own and we do not have a liability in relation to those warranties. (b) (i) We are not responsible to You for any reason whether for breaking this agreement or any other matter relating to Your purchase of, or bid for, any Lot other than in the event of fraud or fraudulent misrepresentation by us other than as expressly set out in these conditions of sale; or (ii) We do not give any representation, warranty or guarantee or assume any liability for a kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance, except as required by local law, any warranty of any kind is excluded by this paragraph. (c) in particular, please be aware that our written and telephone bidding services, Lyon & Turnbull Live, Condition Reports, currency converter and saleroom video screens are free services and we are not responsible for any error (human or otherwise) omission or breakdown in these services. (d) We have no responsibility to any person other than a Buyer in connection with the purchase of any Lot (e) If in spite of the terms of this paragraph we are found to be liable to You for any reason, we shall not have to pay more than the Purchase Price paid by You to us. We will not be responsible for any reason for loss of profits, business, loss of opportunity or value, expected savings or interest, costs damages or expenses.

J. OTHER TERMS 1. OUR ABILITY TO CANCEL

In addition to the other rights of cancellation contained in this agreement, we can cancel the sale of a Lot if; (i) Any of our warranties are not correct, as set out in paragraph E3, (ii) We reasonably believe that completing the transaction is or may be unlawful; or (iii) We reasonably believe that the sale places us or the Seller under any liability to anyone else or may damage our reputation.

2. RECORDINGS

We may videotape and record proceedings at any auction. We will keep any personal information confidential, except to the extent disclosure is required by law if You do not wish to be videotaped, You may make arrangements to bit by telephone or a written bid or bid on Lyon & Turnbull Live instead. Unless we agree otherwise in writing, You may not videotape or record proceedings at any auction. 3. COPYRIGHT

We own the copyright in respect of all images, illustrations and written material produced by or for us relating to a Lot. (Including Catalogue entries unless otherwise noted in the Catalogue) You cannot use them without our prior written permission. We do not offer any guarantee that You will gain any copyright or other reproductions to the Lot. 4. ENFORCING THIS AGREEMENT

If a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as deleted and the rest of this agreement will remain in force. 5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES

You may not grant a security over or transfer Your rights of responsibilities under these terms on the contract of sale with the Buyer unless we have given our written permission. This agreement will be binding on Your successors or estate and anyone who takes over Your rights and responsibilities. 6. REPORTING ON WWW.LYONANDTURNBULL.COM

Details of all Lots sold by us, including Catalogue disruptions and prices, may be reported on www.lyonandturnbull. com. Sales totals are Hammer Price plus Buyer’s Premium and do not reflect any additional fees that may have been incurred. We regret we cannot agree to requests to remove these details from our Website. 7. 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. 8. 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 premises, 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. 9. DATA PROTECTION

Where we obtain any personal information about You, we shall use it in accordance with the terms of our Privacy Policy (subject to any additional specific consent(s) You may have given at the time Your information was disclosed). A copy of our Privacy Policy can be found on our Website www.lyonandturnbull.com or requested from Client Services, 33 Broughton Place, Edinburgh, EH1 3RR or by email from data enquiries@ lyonandturnbull.com. 10. 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. 11. 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.

K. DEFINITIONS & GLOSSARY The following words and phrases used have (unless the context otherwise requires) the meaning to given to them below. The go Glossary is to assist You to understand words and phrases which have a specific legal meaning which You may not be familiar with. 1. DEFINITIONS

“Auctioneer” Lyon & Turnbull Ltd (Registered in Scotland No: 191166 | Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) or it’s authorised representative conducting the sale, as appropriate; “Bidder” a person who has completed a Bidding Form “Bidding Form” our Bidding Registration Form our Absentee Bidding Form or our Telephone Bidding Form. “Buyer” the person to whom a Lot is knocked down by the Auctioneer. The Buyer is also referred to by the words “You” and “Your” “Buyer’s Premium” the sum calculated on the Hammer Price at the rates

stated in Catalogue. “Catalogue” the Catalogue relating to the relevant Sale, including any representation on our Website “Condition Report” the report on the physical condition of a Lot provided to a Bidder or potential Bidder by us on behalf of the Seller. “Estimate” a statement of our opinion of the range within the hammer is likely to fall. “Hammer Price” the level of bidding reached (at or above any Reserve) when the Auctioneer brings down the hammer; “High Cumulative Value of Lot” several Lots with a total lower Estimate value of £30,000 or above; “High Value Lot” a Lot with a lower Estimate of £30,000 or above; “Lot” each Item offered for sale by Lyon & Turnbull; “Purchase Price” is the aggregate of Hammer Price and any applicable Buyer’s Premium, VAT on the Hammer Price (where applicable), VAT on the Buyer’s Premium and any other applicable expenses; “Reserve” the lowest price below which an item cannot be sold whether at auction or by private treaty; “Sale” the auction sale at which a Lot is to be offered for sale by us. “Seller” the person who offers the Lot for Sale. We act as agent for the Seller. “Total Amount Due” 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; “VAT” value added tax at the prevailing rate at the date of the sale in the United Kingdom. “Website” Lyon & Turnbull’s Website at www.lyonandturnbull.com 2. GLOSSARY

The following have specific legal meaning which You may not be familiar with. The following glossary is intended to give You an understanding of those expressions but is not intended to restrict their legal meanings: “Artist’s Resale Right” the right of the creator of a work of art to receive a payment on Sales of that work subsequent to “Knocked Down” when a Lot is sold to a Bidder, indicated by the fall of the hammer at the Sale. “Lien” a right for the person who has possession of the Lot to retain possession of it. “Risk” the possibility that a Lot may be lost, damaged, destroyed, stolen, or deteriorate in condition or value. “Title” the legal and equitable right to the ownership of a Lot.

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GUIDE TO BIDDING & PAYMENT REGISTRATION

HOW TO BID

PAYMENT

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:

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. 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 access through our website, or download the live bidding app L&T Live. This service is offered for no additional fee.

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 Sagepay). 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 & 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 once per year.

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