Decorative Arts: Design since 1860 Auction by Lyon & Turnbull

DECORATIVE ARTS: DESIGN SINCE 1860 2ND & 3RD NOVEMBER 2020 EDINBURGH

DECORATIVE ARTS: DESIGN SINCE 1860 MONDAY 02 & TUESDAY 03 NOVEMBER 2020 AT 10AM Sale Number LT616

CONTACT EDINBURGH +44 (0) 131 557 8844 info@lyonandturnbull.com

VIEWING BY APPOINTMENT

BIDDING AT THIS SALE

Viewing at 33 Broughton Place Edinburgh EH1 3RR will be available by appointment from Thursday 29th October to Sunday 1st November 10am-4pm each day

ONLINE, TELEPHONE & COMMISSION BIDDING Please see the guide to bidding on page 164 Please note there will be no in-room bidding for this auction

BOOKING Front Cover Lot 83 (detail) Inside Cover Lot 364 (detail)

To book a viewing time please either

Catalogue Â£15

CALL +44 (0) 131 557 8844 EMAIL info@lyonandturnbull.com BOOK ONLINE www.lyonandturnbull.com/appointment-bookings

BUYER'S GUIDE This sale is subject to our Standard conditions of Sale (available at the back of every catalogue and on our website). If you have not bought before we will be delighted to help you.

BUYER’S PREMIUM

REGISTRATION

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

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

25% up to £300,000 / 20% thereafter. VAT will be charged on the premium at the rate imposed by law (see our Conditions of Sale at the back of this catalogue). ADDITIONAL VAT †V AT at the standard rate payable on the hammer price * 5% import VAT payable on the hammer price No VAT is payable on the hammer price or premium for books bought at auction. DROIT DE SUITE § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012, this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the buyer on the hammer price and in addition to the buyer’s premium. It will not apply to works where the hammer price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale. More information on Droit de Suite is available at www.dacs.org.uk

1 – Government issued photo ID (Passport/Driving licence) 2 – Proof of address (utility bill/bank statement). We may, at our option, also ask you to provide a bank reference and/ or deposit. By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale (available at the back of every catalogue and on our website). BIDDING & PAYMENT For information on bidding options see our Guide to Bidding & Payment at the back of the catalogue. REMOVAL OF PURCHASES Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser. See Collections & Storage section for more info specific to this particular auction.

IMPORT/EXPORT Prospective buyers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to; rhino horn, ivory, coral and tortoiseshell. Accordingly, prospective buyers should familiarise themselves with all relevant customs regulations prior to bidding if they intend to import lots to another country. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale nor any delay in making full payment for the lot. ENDANGERED SPECIES Please be aware that lots marked with the symbol Y contain material which may be subject to CITES regulations when exporting outside the EU. For more information visit http://www.defra.gov. uk/ahvla-en/imports-exports/cites COLLECTION OF PURCHASED LOTS Due to social distancing requirements all collections will be by appointment only (this applies to both carriers and personal collections). BOOK ONLINE www.lyonandturnbull. com/appointment-bookings CALL 0131 557 8844

CATALOGUE DESCRIPTIONS All item descriptions, dimensions and estimates are provided for guidance only. It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction. There will be no public viewing for this auction, our specialists will be happy to prepare condition reports and additional images. These are for guidance only and all lots are sold ‘as found’, as per our Conditions of Sale.

Please ensure payment has been made prior to collection. This can be done by bank transfer, and debit/credit card online (powered by Sage Pay) - details will be shown on your invoice. Please note we are unable to take payments over the phone.

MEET THE SPECIALISTS At Lyon & Turnbull we want to make buying at auction as easy and enjoyable as possible. Our specialist team are on hand to assist you, whether you are looking for something in particular for your home or collection, require more detailed information about the history or current condition of a lot, or just want to find out more about the auction process.

John Mackie Head of Department john.mackie@lyonandturnbull.com

Joy McCall Design joy.mccall@lyonandturnbull.com

Philip Smith Design philip.smith@lyonandturnbull.com

Olivia Ross Junior Specialist olivia.ross@lyonandturnbull.com

Nicolette Tomkinson Vintage Poster Consultant nicolette.tomkinson@lyonandturnbull.com

Sophie Churcher Vintage Poster Consultant sophie.churcher@lyonandturnbull.com

TOMKINSON CHURCHER provide independent art advisory services, curate auctions and conduct valuations for private individuals, museums, corporate and institutional collections. They are recognized for their expertise in vintage posters and, as former directors at Christieâ&#x20AC;&#x2122;s, have over 35 years combined experience within the international art market.

1 ATTRIBUTED TO HART, SON, PEARD & CO. GOTHIC REVIVAL BRASS INKSTAND, CIRCA 1880 the removable glass inkwell with conical cover raised on a circular stand engraved with a band of chestnut leaves and raised on trefid feet 23cm diameter

£250-350

2 ENGLISH SCHOOL GOTHIC REVIVAL BRASS CHANDELIER, CIRCA 1870 the conical corona centred by a cast figure of the Virgin and Child, issuing five scrolling branches cast with foliate motifs 76cm wide, 71cm high

£500-800

3 ATTRIBUTED TO HART, SON, PEARD & CO. PAIR OF GOTHIC REVIVAL BRASS CANDELABRA, CIRCA 1870 each with central column set with red cabochon stones and cast foliate motifs, supporting two candle arms and drip trays, the whole raised on tapering quadruped feet linked by a rope twist bracket, with incised motifs (2) 32.5cm wide, 20cm high

£400-600

4 A.W.N. PUGIN (1812-1952) FOR THE HOUSES OF PARLIAMENT PENNANT & FINIAL, CIRCA 1850 gilded cast and wrought steel, pierced with cypher VR (2) pennant 35cm x 29.5cm, the finial 45cm high

£300-500

5 ENGLISH SCHOOL PAIR OF GOTHIC REVIVAL BRASS PRICKET CANDLESTICKS, CIRCA 1870 the circular drip trays above a knopped column cast with motifs, raised on a triform base cast with claw feet and stylised flowering foliage (2) 37.5cm high

£300-500

SIR JOSEPH NOEL PATON (1821-1901)

ENGLISH SCHOOL, MANNER OF A.W.N. PUGIN

FAMILY AT PRAYER Pen & ink, signed, inscribed and dated under mount TO DR CAMERON LEES, WITH ALL FRIENDLY REGARDS. NOEL PATON, NOVR. 1888

GOTHIC REVIVAL HALL LANTERN, CIRCA 1880

15.5cm x 26cm

of hexagonal section, with leaf floret frieze and foliate bracket supports

£300-500

39.5cm diameter, 78cm high

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

8 MANNER OF E. W. PUGIN GOTHIC REVIVAL CARVED GILTWOOD WALL MIRROR, CIRCA 1870 the rectangular mirror plate enclosed by a giltwood frame carved with rosettes and painted foliate reserves 87cm x 68cm

£800-1,200

9 A.W.N. PUGIN (1812-1852), PROBABLY FOR CRACE & SON FRAMED OIL CLOTH SAMPLE, CIRCA 1900 the design of opposed birds reserved on a chevron ground, 58.5cm x 49.5cm, framed; together with NINE FURTHER UNFRAMED OIL CLOTH SAMPLES (10) Literature: Pugin, A.W.N. Glossary of Ecclesiastical Ornament and Costume, Henry G Bohn, London 1847 where this design is illustrated

£800-1,200

10 § HENRY J. HUNT (1867-1951) ‘AH GALAHAD!’, A LARGE CARTOON FOR STAINED GLASS, CIRCA 1920 pen and ink, watercolour, and bodycolour, signed lower left H. J. HUNT and inscribed AH GALAHAD! HOLY CREATURE, I SEE THEE SO COMPASSED...LA QUOSTODEL SAINT GRAAL’ and depicting the knight overcoming Satan with attendant angels, framed 70cm x 47cm Note: Sir Galahad, and other Arthurian imagery was used in a number of memorial windows both in Britain and broad after the Boer War and the First World War.

£600-800

11 A.W.N. PUGIN (1812-1852) FOR MINTON & CO. SIXTEEN-TILE PANEL, CIRCA 1860 the repeat pattern featuring a diagonally-set cross with a central circle, in which is set white fleurs-de-lys on a red ground, mounted and framed (16) each tile 10cm square, total including frame 44.5cm square Note: For a similar design see British Museum Collection, Museum number1980,0307.102.a-d

£200-300

12 WILLIAM WHITE (1825–1900) FOR QUY HALL, CAMBRIDGESHIRE NEAR PAIR OF GOTHIC REVIVAL BEDSIDE CABINETS, CIRCA 1860 each with carved and moulded tops above a single cupboard door, raised on square feet, one constructed from pitch pine, 46.5cm wide, 84.5cm high, 44.5cm deep; the other in oak 47cm wide, 84.5cm high, 37cm deep (2) Provenance: Quy Hall, Cambridgeshire Note: In 1854 Clement Francis, a Cambridge solicitor, bought Quy Hall, a substantial 16th-century house in Cambridgeshire and employed William White to design the rebuilding works.

£600-800

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

13 ENGLISH SCHOOL, MANNER OF CHARLES EASTLAKE’S ART FURNITURE COMPANY EBONISED OAK SIDE CABINET, 1870 the pitched roof cornice with an arrangement of open shelves below, above two cupboard doors incised with gilded peacock feathers, the whole raised on a plinth base with open fretwork, retains original key 125cm wide, 202cm high, 40cm deep

£2,000-3,000

14 FLORENCE CAMM (1874 – 1960) AND CAMM STUDIOS, SMETHWICK FIVE ARTS & CRAFTS STAINED GLASS PANELS, CIRCA 1928 each panel of stained, painted and leaded glass in a collage design (5) each approximately 25cm x 20cm Provenance: Great Hytall House, Lovelace Avenue, Solihull

£300-500 Note: Florence Camm and two of her brothers, Robert and Walter, ran the firm T. W. Camm from 1912 when their father died. Florence was the principal designer and she and her brother Walter designed and created most of the firm’s commissions in the Smethwick studio. The studio-workshop transitioned from creating late Victorian designs into more contemporary designs along with the use of colours and materials characteristic of the Arts and Crafts movement. They obtained commissions from influential architects and designers working in the Arts & Crafts style. Camm’s masterpiece The Story of Dante and Beatrice is kept at Birmingham Museum & Art Gallery. The current lot, with painted figurative subjects by Camm and other stained and painted elements by the firm, would have made up by the studio for the commission at Great Hytall House, designed by Leonard Harper in 1928.

15 FLORENCE CAMM (1874 – 1960) AND CAMM STUDIOS, SMETHWICK FIVE ARTS & CRAFTS STAINED GLASS PANELS, CIRCA 1928 each panel of stained, painted and leaded glass in a collage design (5) each approximately 25cm x 20cm Provenance: Great Hytall House, Lovelace Avenue, Solihull

£300-500

ENGLISH SCHOOL

MANNER OF GEORGE EDWARD STREET

PAIR OF GOTHIC REVIVAL CAST IRON FIRE DOGS, CIRCA 1870

GOTHIC REVIVAL BOOK STAND, CIRCA 1870

with spiked knop finial on curved chamfered supports, 52.5cm high, 54cm deep; together with a GROUP OF THREE GOTHIC REVIVAL FIRE TOOLS, steel with cast brass handles, comprising a pair of COAL TONGS, 77cm long; a POKER, 76cm long; and an ASH SHOVEL, 76cm long (5)

the moulded top with turned column dividers and carved foliate ends, with brass handles, raised on carved bun feet

£200-300

53cm wide, 25cm high, 27cm deep

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

18 MANNER OF A.W.N. PUGIN, PROBABLY FOR JOHN HARDMAN & CO. GOTHIC REVIVAL GEM-SET AND ENAMELLED BROOCH, CIRCA 1850 worked as a rose within trefoil band and set with coloured cabochon stones, 5cm diameter; together with A SET OF FOUR GILDED AND ENAMELLED CRESCENT BOSSES IN THE MANNER OF WILLIAM BURGES, each with foliate decoration on a blue enamelled ground, each 9.8cm wide (5) £400-600

19 ENGLISH SCHOOL GOTHIC REVIVAL OAK HANGING SHELVES, CIRCA 1880 the sides pierced and carved with foliate roundels, the two open shelves set against a similarly carved back 39cm wide, 35cm high, 22.5cm deep

£200-300

20 JOHN HARDMAN & CO., BIRMINGHAM

21 WILLIAM BUTTERFIELD (1814-1900) GOTHIC REVIVAL GILTMETAL-MOUNTED LIDDED WINE JUG, CIRCA 1860 with tapering glass body, applied scroll handle with pierced and chased decoration, bearing inscription GLORY BE TO GOD ON HIGH

PAIR OF GOTHIC REVIVAL BRASS WALL SCONCES, CIRCA 1870 the curved bracket and foliate backplate issuing a single candle arm, with applied leafy decoration and floral roundel, backed on later ebonised plinths, stamped HARDMAN verso (2) 8.5cm wide, 34cm high, 23.5cm deep (excluding plinths)

£400-600

27cm high Literature: Tilbrook, Adrian J. and Fisher Fine Art Truth, Beauty and Design: Victorian, Edwardian and Later Decorative Art, Exhibition Catalogue, 1986, p. 31, no. 38 where a flagon of similar design is illustrated

£400-600

22 JOHN HARDMAN POWELL (1827-1895) FOR HARDMAN & CO. ORIGINAL DRAWINGS FOR COVERED CUP AND A TANKARD pencil, pen & ink on paper, laid down, the TANKARD entitled “New Drawing for Cup/ Real Size” bearing the arms of Eton and Kings College with further arms for “Mr Cornish” and cypher for Henry VI, embossed company mark to paper HARDMAN & CO., 33cm x 27cm; the COVERED CUP bearing inscription NO. 28, 43cm x 36cm (2) Provenance: Hardman Archive

£200-300

23 JOHN HARDMAN POWELL (1827-1895) FOR HARDMAN & CO. ORIGINAL DESIGN FOR A PULPIT FOR THE MARQUIS OF BUTE pencil, pen & ink on paper, with inscription “Design for a Pulpit in oak “carved”/ Marquis of Bute”, bears makers embossed stamp HARDMAN & CO 61cm x 26cm Provenance: Hardman Archive

£200-300

24 ATTRIBUTED TO A.W.N. PUGIN FOR HARDMAN & CO. THREE SHEETS OF ORIGINAL DRAWINGS, CIRCA 1860 the FIRST SHEET comprising two drawings of INKWELLS, for the Palace of Westminster, 9cm x 16.5cm and 9cm x 17.3cm; two of THURIBLES ON STANDS, 17.5cm x 7cm and 15cm x 6cm; one of a GOTHIC REVIVAL WALL MOUNTED BRACKET, 14cm x 5cm; a MONUMENTAL CLOCK, 17.5cm x 11cm and five further drawings of MEDALLIONS; A CASKET; A DEPICTION OF THE VIRGIN; and a WALL BRACKET; the SECOND SHEET comprising a drawing of a PAIR OF SIDE DISHES, 21cm x 20cm; a SWORD HANDLE, 10cm x 21cm; and verso a FONT COVER, 20cm x 14.5cm; and a STATUE OF CHRIST ON A PEDESTAL, 23cm x 11.3cm; the THIRD SHEET with drawings of a GOTHIC FRAME, 17.3cm x 11.7cm; a POLE SCREEN, 23cm x 8.5cm; a CHAMBER CANDLESTICK, 12.5cm x 16cm, each pencil, pen & ink on paper, mounted onto card (3) Provenance: Hardman Archive

£300-500

25 HARDMAN & CO. TWO ORIGINAL DESIGNS FOR BRASS MEMORIALS, DATED 1925 AND 1947 pen & ink on paper, one laid down on card, the first a memorial for CECILY POWELL, 48cm x 24cm; and the other for DOROTHY, 40.5cm x 23,5cm (both members of the Powell family) (2) Provenance: Hardman Archive Note: Cecily Powell (1864-1925) was the daughter of John Hardman Powell and Ann Pugin, granddaughter of A.W.N. Pugin. Dorothy Knill (1883-1947) was the granddaughter of John Hardman Powell and daughter of Sir John Knill and Mary Hardman Powell.

£150-250

26 § JOHN LAWSON (1932-2009) FOR GODDARD & GIBBS STAINED GLASS DESIGN FOR THE HENRY VII CHAPEL, WESTMINSTER ABBEY, CIRCA 1992 watercolour on cartridge paper, laid down on board, the design proposing embellishments to the original scheme 32cm x 39cm Provenance: Hardman Archive

£200-300

27 JOHN HARDMAN POWELL (1827-1895) FOR HARDMAN & CO. ORIGINAL DRAWINGS FOR A TEAPOT AND SUGAR BOWL WITH TONGS, CIRCA 1860 pencil, pen and ink on paper, mounted onto card, 17cm x 21cm and 14cm x 11.5cm; also an ORIGINAL DRAWING BY THE SAME HAND, depicting studies of medieval caps and cap badges, pencil, pen & ink on paper, mounted verso, 25cm x 20cm, card inscribed 72/ 30856/15 (1) and 71/ 30856 (15) Provenance: Hardman Archive Note: See V&A collection, museum number 8119-1863 for the realised teapot in silver dated 1861-2

£500-700

28 JOHN HARDMAN POWELL (1827-1895) INTEREST TWO ORIGINAL PHOTOGRAPHIC PLATES OF THE HARMAN’S SHOWROOM, CIRCA 1880 comprising a GLASS NEGATIVE PLATE, depicting the interior of the Hardman Shop showing an array of altar candlesticks and altar crosses etc. 38cm x 30.3cm; and another GLASS NEGATIVE PLATE, showing a display of chalices, altar candlesticks, ciboriums etc., bears label with inscription 43115/ HARDMAN J.P./ CHALICES12+10 MOUNTED, 30.3cm x 38cm (2) Provenance: Hardman Archive

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

29 W.A.S. BENSON (1854-1924) ROSE BOWL, CIRCA 1900 brass and copper, the broad petal-shaped cover with pierced holes, the base with a conical body on four spreading cast foliate legs 27cm diameter Literature: For a similar rose bowl, see Hammerton, I. (ed). W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, p.90, pl.64

£400-600

30 W.A.S. BENSON (1854-1924) AND JAMES POWELL & SONS BRASS AND GLASS PENDANT LIGHT, CIRCA 1890 the moulded and frosted glass shade set in a matched circular brass frame suspended by three brass supports 18cm diameter Note: For similar light fitting see Studio Yearbook, 1906, p. 168

£800-1,200

31 ENGLISH SCHOOL AESTHETIC MOVEMENT EBONISED MANTEL CLOCK, CIRCA 1880 the twin train movement with a circular brass dial, with stylised enamelled Arabic numerals, the rectangular ebonised case decorated in gilt and coloured enamels with floral panels, the spindle gallery above turned angles raised on ring-turned feet 27.5cm wide, 48cm high, 20cm deep

£300-500

32 MANNER OF E.W. GODWIN AESTHETIC MOVEMENT EBONISED STOOL, CIRCA 1880 with incised gilt decoration, the woven silk upholstered seat by Morris & Co, ‘Flower Garden’ pattern, raised on ringturned tapering legs, linked by spindle-filled stretchers 46cm wide, 52cm high, 37cm deep

£300-500

33 ENGLISH SCHOOL, MANNER OF E.W. GODWIN AESTHETIC MOVEMENT WALNUT CENTRE TABLE, CIRCA 1880

34 MANNER OF E.W. GODWIN

the octagonal top above ring-turned and incised legs with corresponding cross stretchers

AESTHETIC MOVEMENT EBONISED OCCASIONAL TABLE, CIRCA 1880

99cm diameter, 74cm high

50.5cm square, 65.5cm high

£300-500

the square top above two lower tiers, raised on ring-turned legs, linked by stretchers

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

35 E.W. GODWIN (1833-1886), PROBABLY FOR GILLOW & CO. AESTHETIC MOVEMENT ‘COFFEE TABLE’, CIRCA 1880 ebonised birch with incised and gilded decoration 48cm long, 69.5cm high, 37.5cm deep Literature: Soros, Susan The Secular Furniture of E. W. Godwin, Yale 1999, pp. 29, 155, 267, pl.220 William Watt (Firm); Watt, William, Godwin E.W., et al Art Furniture designed by Edward W, Godwin F.S.A. and manufactured by William Watt, B.T. Batsford, London, 1877, plate 8 where the design for the present lot a ‘Coffee Table’, is illustrated.

£1,500-2,000

Note: Godwin’s ideas for furniture were ‘so accurately rendered that they were easily translated into actual designs to be put into production by the many well-established cabinetmakers that flourished in Britain during the 19th century’. Godwin contended that “Cabinetmakers always prefer architects to design for them when they can get them” and this is borne out by the numbers of firms which used his designs including Collinson & Lock, Cox & Son W.A.&S. Smee, William Watt, Gillow & Co. and others.

Godwin’s design for the current lot, the maker attributed to Gillow & Co., appears marked ‘Coffee Table’ in an interior setting in one of his line drawing in William Watt’s Art Furniture designed by Edward W, Godwin F.S.A. and manufactured by William Watt of 1877. The quality of construction and refined details such as the incised gilding suggests the superior cabinet-making skills of a firm like Gillows. This example also equates to other marked examples of Godwin’s more familiar square-topped coffee table by Gillows, which bear similar gilded embellishments.

36 THE COALBOOKDALE COMPANY AESTHETIC MOVEMENT CAST IRON OVERMANTEL MIRROR/ CABINET, CIRCA 1885 with two glazed cupboards enclosing shelves, centred by a convex mirror, cast mark 24 145cm wide, 126.5cm high, 20.5cm deep Note: Registered on September 9th 1882 with registered design number 386123

£300-500

38 ENGLISH SCHOOL, ATTRIBUTED TO COX & SONS, LONDON

37 JOHN MOYR SMITH (1839-1912) AND THOMAS JECKYLL (1827-1881) FOR BARNARD, BISHOP AND BARNARDS AESTHETIC MOVEMENT TILED FIRE INSERT, CIRCA 1880 the cast frame enclosing a series of Minton tiles, inscribed POETRY/ MORT D’ARTHUR/ GERAINT VIVIAN/ ENID/ ISOLT/ CLAIRE/ GUINEVERE 89cm wide, 92cm high; internal measurement 45.5cm wide, 70.5cm high

£800-1,200

AESTHETIC MOVEMENT EBONISED FIRESCREEN, CIRCA 1880 with silkwork embroidered panel enclosed by pierced and carved frame 76cm wide, 116cm high, 33cm deep

£300-500

39 THOMAS JECKYLL (1827-1881) FOR BARNARD, BISHOP AND BARNARDS AESTHETIC MOVEMENT BRASS AND CAST IRON FENDER, CIRCA 1880 of rectilinear form, with cast decoration of floral and foliate mon in a fretwork ground 149cm wide, 36.5cm deep; internal measurement: 136cm wide, 9.5cm deep

£500-800

E.J. POYNTER (1836-1919) FOR MINTON’S ART POTTERY STUDIO

MAW & CO., BROSELEY, SHROPSHIRE

ENGLISH SCHOOL

GLAZED TILE, CIRCA 1868 painted with a medieval castle on a rocky outcrop, the border a latticed field of stylised sunflower heads and fruiting sprigs, in shades of blue, framed 35.5cm square

£800-1,200 Note: Poynter designed the Grill Room at the South Kensington Museum including the tiles and fireplaces. The tiles were painted by students from the museums’ porcelain class and then later by Minton’s Art Pottery Studio.

43 ENGLISH SCHOOL, MANNER OF THOMAS JECKYLL ANGLO-JAPANESE MAHOGANY DESK, CIRCA 1880 inset with embossed leather panels, the galleried top with open shelves, the base with two drawers to the front and three graduated drawers to each side, the locks stamped HOBBS & CO. 136.5cm wide, 156cm high, 75.5cm deep

£700-1,000

Literature: See Soros, S. Thomas Jeckyll: Architect and Designer, 1827-1881, pp.188 and 189 where two Anglo-Japanese desks by Jeckyll are illustrated.

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

FOUR AESTHETIC MOVEMENT FRAMED WALL TILES, CIRCA 1880 in green and ochre glazes, depicting impressed birds and shepherdess designs (4) each tile 15.5cm square

£200-300

AESTHETIC MOVEMENT SLATE MANTEL CLOCK, CIRCA 1890 with twin-train movement, the case with faux tongue and groove panels, carved with thistle rose and shamrocks, the dial set within a painted frieze, key and pendulum supplied 20cm wide, 30cm high

£300-500

44 ATTRIBUTED TO THOMAS JECKYLL AESTHETIC MOVEMENT DROP-LEAF OCCASIONAL TABLE, CIRCA 1900 inlaid oak, the oval top inlaid with a central panel of stylised foliage, raised on tapering legs with corresponding inlay linked by a ring-turned stretcher 16cm wide, 55cm high, 51cm deep (Closed); 76.5cm wide (Open) Provenance: Purchased Ken Hill, Snettisham, Norfolk; Christie’s house sale, 13 September 1999

£600-800

45 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

£400-600

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.

46 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

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

47 ENGLISH SCHOOL AESTHETIC MOVEMENT FOUR-FOLD DRAUGHT SCREEN, CIRCA 1880 with a mahogany frame, enclosing embroidered appliqué panels, the whole depicting a landscape scene each panel 50cm x 162cm

£1,800-2,200

48 ENGLISH SCHOOL, MANNER OF BRUCE TALBERT LARGE AESTHETIC MOVEMENT OAK SIDEBOARD, CIRCA 1880 with mirrored back flanked by cupboards with panels carved with birds, fish, flowers and animals, the base with two central drawers flanked by corresponding carved panelled doors, the whole raised on turned and blocked legs on a plinth 245cm wide, 167cm high, 69cm deep

£1,000-1,500

Literature: Cooper, Jeremy Victorian and Edwardian Furniture and Interiors: From the Gothic Revival to Art Nouveau, Abbeville Press, 1987, p. 86, pl. 189 where an example by Talbert, with related carved panels is illustrated.

49 ENGLISH SCHOOL PAIR OF ARTS & CRAFTS EMBROIDERED HANGINGS, CIRCA 1910 each embroidered on coloured wool threads on a lined mercerised cotton ground, the design depicting geese flying above reeds, each 192cm x 200cm; together with A GROUP OF SEVEN ORIGINAL WATERCOLOUR STUDIES, each approx. 38cm square (9) £800-1,200

50 ENGLISH SCHOOL PAIR OF ARTS & CRAFTS EMBROIDERED HANGINGS, CIRCA 1900 each embroidered with coloured wool threads on a lined mercerised cotton ground, the design depicting yellow irises and other water plants, and with fish swimming below (2) 344cm x 273cm

£600-800

ROSE ELLEN WELBY (FL.1879-C.1927)

ENGLISH SCHOOL

‘MUSIC’, AESTHETIC MOVEMENT EMBROIDERED PANEL, CIRCA 1900

AESTHETIC MOVEMENT OAK CASED MANTEL CLOCK, CIRCA 1880

76cm x 25cm

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 Bruce Talbert

£200-300

8cm wide, 51.5cm high, 14cm deep

monochrome threads reserved on an unbleached linen ground and bearing embroidered inscription APOLLO FIDECEN

£300-500

ENGLISH SCHOOL

THOMAS JECKYLL (1827-1881) FOR BARNARD, BISHOP AND BARNARDS

TWO ARTS & CRAFTS EMBROIDERED PANELS, CIRCA 1900 each worked in coloured silks on a satin ground, the design of birds perched on flowering foliate tendrils (2) 92cm x 37cm and 72cm x 37cm

£300-500

AESTHETIC MOVEMENT CAST IRON FIRE INSERT, CIRCA 1880 with Japanese motif decoration 74cm wide, 90cm high, inside 52cm wide 66.5cm high (includes grate front)

£150-250

55 ENGLISH SCHOOL, MANNER OF E.W. GODWIN AESTHETIC MOVEMENT FIVE-FOLD SCREEN, CIRCA 1885 walnut, gold leaf and embroidered silk, with stained and leaded glass panels each fold 198cm x 54cm Literature: Soros, Susan Weber The Secular Furniture of E. W. Godwin Yale University Press, 1999, p.246, pl.409 and p.264 where a screen with similar Japanese embroidered panels is illustrated.

£2,000-3,000

E. W. GODWIN (1833-1886) (WALLPAPER DESIGNER)

WALTER CRANE (1845-1915)

AESTHETIC MOVEMENT FOUR-FOLD SCREEN, CIRCA 1880

FLOWERS FROM SHAKESPEARE’S GARDEN: A POSY FROM THE PLAYS, CIRCA 1906

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.

group of TWELVE FRAMED PRINTS, two mounted in each frame (6) each 22cm x 16cm

£200-300

£300-500

ENGLISH SCHOOL, AFTER E.W. GODWIN

ENGLISH SCHOOL, MANNER OF CHARLES BEVAN

AUBREY BEARDSLEY (1872-1898)

AESTHETIC MOVEMENT STAINED BEECH JARDINIÈRE STAND, CIRCA 1880

PAIR OF INLAID OAK SIDE CHAIRS, CIRCA 1870

the circular top with fret-filled panels, on splayed legs, linked by a lower tier, 29cm diameter, 91cm high; together with an ARTS & CRAFTS OCCASIONAL TABLE, ATTRIBUTED TO LIBERTY & CO., LONDON, the hexagonal top above ring-turned legs, linked by a lower tier, 47.5cm wide , 69.5cm high (2)

each with upholstered panel back and seat, raised on carved tapering front legs (2) 50cm wide, 91cm high, 55cm deep

£300-500

TWO PRINTED BOOKPLATE DESIGNS, PROOF COPIES Ex Libris John Lumsden Propert, 95 x 61mm (sheet 285 x 222mm), depicting a woman in black gazing down at a clown figure; the second unnamed, 140 x 90mm (sheet 285 x 222mm), depicting a man slumped in a chair with a woman at his back, possibly a proof plate for a publication (2) £200-300

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

61 CLEMENT OSWALD SKILBECK (1865–1954) PRE-RAPHAELITE MEDALLION, DATED 1914 cast plated metal, signed and dated in the metal C O SKILBECK 1914, and bearing cast inscription NUNC FACTA EST SALUS ET VIRTUS ET REGNUM DEI NOSTRI ET POTESTAS CHRISTI EJUS, fitted case 11.5cm diameter Note: Clement Skilbeck trained at the Royal Academy Schools and was associated with the Pre-Raphaelites and was a friend of William Morris and Sir Edward Burne-Jones. His primary medium was painting but he also designed for a wide range of media from stained glass to metalwork.

£600-800

62 S. GIBBS & MOORE, LONDON RARE GROUP OF FOUR 6-INCH AESTHETIC MOVEMENT TILES, CIRCA 1880 hand-painted on Minton blanks, depicting stylised birds and fish, moulded factory marks and stamped maker’s marks to each (4) Note: Gibbs & Moore was founded in 1871 and existed as such till 1896, mainly producing stained glass. The design of these tiles are probably based on the quarries from their glass windows and are very rare to find from this company. 15.2cm square

£400-600

64 MINTON, HOLLINS & CO. GROUP OF EIGHT AESTHETIC MOVEMENT 8-INCH TILES, CIRCA 1880

63 ARTISTIC DRESS: JAMES SHOOLBRED & CO., LONDON

comprising a pair decorated with Oriental flowers; a group of three depicting musicians; and a further group of three depicting swallows and dragonflies, each with moulded decoration and covered in blue glazes (8)

EMBROIDERED LADIES JACKET, CIRCA 1900 linen with embroidered velvet facings, silk lining, bears maker’s label JAMES SHOOLBRED & CO./ TOTTENHAM HOUSE; and a LADIES CLOAK, CIRCA 1900, printed brushed cotton with applied lace and black velvet tie, lined to the shoulders £200-300

20.5cm square

£300-500

65 MANNER OF E. W. GODWIN AESTHETIC MOVEMENT EBONISED CENTRE STOOL, CIRCA 1880 the close-nailed upholstered seat above ring-turned legs, linked by a stretcher 54cm wide, 91cm high, 35cm deep

£500-800

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

66 WILLIAM DE MORGAN (1839-1917) ‘FRUIT TREE IN ORNAMENTAL POT’ THREE-TILE PANEL, CIRCA 1875 framed, each with Chelsea period impressed maker’s marks verso each tile 15.1cm square Provenance: William E. Wiltshire Collection Literature: Greenwood, M. The Designs of William De Morgan, Richard Dennis 1989, p. 156, pl. 474 (design drawing illustrated)

£1,200-1,800

67 MINTON’S LTD TWO SECESSIONIST JARDINIÈRES, CIRCA 1900 one decorated with stylised plant forms on a turquoise ground, 25cm diameter; the other of similar decoration on a red ground, 25cm diameter; printed and impressed maker’s marks (2) £300-500

68 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. 144-145, 208,I and 208.II

£1,500-2,000

Note: A pair of tables were 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.

69 CHRISTOPHER DRESSER (1834-1904) FOR JAMES DIXON & SON, SHEFFIELD ELECTROPLATED TEAPOT, 1880 of sphere form, with ebony handle, stamped maker’s marks and facsimile signature J.D.&S./ CHR. DRESSER/ 2/ 2278/ JAS. DIXON & SONS/ SHEFFIELD, with stamped lozenge mark for 1880 13.5cm high Literature: Rudoe, J. Design and Manufacture: Evidence from the Dixon & Sons Calculation Books, The Decorative Arts Society 1850 to the Present: Christopher Dresser in Context, Journal 29, 2008: pp.66-83 James Dixon and Sons, Cornish Place, Sheffield, Catalogue, 1885, page 96 Halen, W. Christopher Dresser: A Pioneer of Modern Design, Phaidon Press Ltd, London, 1993, plate 205 Whiteway, M. Christopher Dresser 1834-1904, Skira 2001, plate 95

£5,000-8,000

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

Note: This teapot appears in one of a series of costings books held in the archives at Sheffield. The books date from 1879 to 1883 and reveal that Dresser produced approximately 80 designs for Dixon’s, not all of which are thought to have gone into full production. This was possibly due to comparative expense of manufacture, but also because of the radical nature of the designs. What the books also show us is how much each item produced cost to make in detail, how they were made and in most cases which were designed by Dresser. Scholarly study of the books has tended to concentrate on the costings for 1879, which contains the famous designs for Japanese teapots, and this spherical teapot which appears in the book with the inscription “1 gill teapot 2278/ Designed by Dr. Dresser”. Looking through the books, the majority of the designs are not illustrated, with the exception of those by Dresser, which usually appear as a thumbnail sketch or photograph. This may be an indication that these more expensive and unusual vessels did not appear in their trade catalogues and were perhaps generally made to order.

70 CHRISTOPHER DRESSER (1834-1904) FOR HUKIN & HEATH ELECTROPLATED SOUP TUREEN AND COVER, CIRCA 1880 with deep bowl set on three tapering feet, with two cylindrical ebonised wood handles, the cover with turned ebonised wood finial, engraved with double-headed eagle crest, stamped marks to base DESIGNED BY DR C. DRESSER/ H&H/ 2123 31cm wide across the handles, 20cm high

£2,000-3,000

Literature: Whiteway, Michael ’Christopher Dresser 1834-1904’, Milan, 2001, p. 96, pl. 96; Whiteway, Michael (ed.), ’Christopher Dresser, A Design Revolution’, Victoria & Albert Museum, London, 9 September - 5 December 2004, p. 151, pl. 186 Note: See Christopher Dresser Metalwork, The Andrew McIntosh Patrick Collection, Lyon & Turnbull, 19 April 2005, lot 35, for a soup tureen of matching pattern

71 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 number verso, cast mark COALBROOKDALE under drip pan 48cm wide, 81cm high, 17.5cm deep Literature: Cooper, Jeremy Victorian & Edwardian Furniture & Interiors, Thames & Hudson 1998, p.145, pl. 357.

£800-1,200

72 ATTRIBUTED TO CHRISTOPHER DRESSER FOR BENHAM & FROUD, LONDON MIXED METAL LAMP BASE, CIRCA 1880 copper and brass with twin handles, unmarked, 25cm high; a CHRISTOPHER DRESSER SPIRIT KETTLE BY BENHAM & FROUD, copper, brass and wood, stamped maker’s marks, 24.5cm high; and a BENHAM & FROUD GOTHIC REVIVAL VASE, set with malachite cabochons, stamped maker’s marks, 21cm high (3) £300-400

73 CHRISTOPHER DRESSER (1834-1904) FOR ELKINGTON & CO. SILVER PLATE FOUR-PIECE CRUET SET, CIRCA 1880 the quatrefoil frame with central angular handle on four cylindrical supports, fitted with cut glass bottles for oil, vinegar, pepper & mustard, stamped marks ELKINGTON & CO. 17219 14cm high Literature: Christopher Dresser Metalwork, The Andrew McIntosh Patrick Collection, Lyon & Turnbull, 19 April 2005, lot 15, for a matching cruet set

£300-500

74 CHRISTOPHER DRESSER (1834-1904) FOR HUKIN & HEATH, LONDON ELECTROPLATED CLARET JUG, 1885 with ebonised handle and clear glass body, with applied mounts engraved with a commemoration of a Golf Prize SCOTTISH GATHERING LONDON 1891/ ND PRIZE/ PUTTING THE BALL/ WON BY/ J. ROBERTSON, the flat hinged cover engraved 2 22.5cm high

£500-800

75 ATTRIBUTED TO CHRISTOPHER DRESSER FOR HUKIN & HEATH SILVER PLATE CRUET STAND, CIRCA 1880 with openwork handle, enclosing a glass bottle with stopper; three salt and pepper pots and two further glass bottles, stamped maker’s marks H&H/ 2881 17.5cm high. 19.5cm long

£200-300

76 Y

ATTRIBUTED TO CHRISTOPHER DRESSER FOR RICHARD HODD & SONS, LONDON

CHRISTOPHER DRESSER (1834-1904) FOR ROBERTS & BELK

AESTHETIC MOVEMENT SIX-PIECE SILVER PLATE TEA SERVICE, CIRCA 1878

SILVER-PLATED SWEETMEAT DISH, CIRCA 1880

comprising a SPIRIT KETTLE ON STAND, 25cm high; HOT WATER JUG, 14cm high and 12cm high (both with ivory insulation to handles); TEAPOT, 9cm high; MILK JUG, 7.5cm high; and SUGAR BOWL, 10.5cm across, each bearing stamped maker’s mark (6)

with two conjoined ovoid dishes centred by a loop handle, stamped maker’s marks R&B/ 2700, 20cm across; together with TWO PLATED SERVING FORKS, one with ebonised handle, 15cm long; the other with loop handle, stamped maker’s marks, 14.5cm long (3)

Exhibited: Hereford Museum & Art Gallery The Art & Craft of Design: An Exhibition of Work by Christopher Dresser 20th January-3rd March 2007

£300-500

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

78 CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE ART POTTERY TAPERED VASE, CIRCA 1880 with banded decoration, impressed marks LINTHORPE/ HT/ 114 and with impressed facsimile signature Chr. Dresser 14.5cm high

£300-500

79 CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE ART POTTERY GLAZED CERAMIC VASE, CIRCA 1880 of double diamond section, covered in a streaky green glaze on a brown ground, indistinct impressed maker’s marks LINTHORPE/ HT (Henry Tooth) and impressed facsimile signature Chr. Dresser 18.5cm high

£400-600

80 CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE ART POTTERY EARTHENWARE DIMPLE VASE, CIRCA 1880 covered in a streaky green and brown glaze, impressed factory marks LINTHORPE/ 24, 23cm high; together with an EARTHENWARE SHOULDER VASE, BY CHRISTOPHER DRESSER FOR LINTHORPE ART POTTERY, covered in a streaky green and brown glaze, impressed maker’s marks and facsimile signature LINTHORPE/ CH. DRESSER, 21.5cm high (2) £300-500

81 CHRISTOPHER DRESSER (1834-1904) FOR WILLIAM AULT & CO. SINGLE-HANDLED EARTHENWARE VASE, CIRCA 1880

with tall neck and bulbous body, glazed in green and yellow and incised with stylised friezes, moulded and impressed factory marks, 22.5cm high; together with a TWIN-HANDLED VASE BY CHRISTOPHER DRESSER FOR LINTHORPE ART POTTERY, decorated with incised friezes, covered in a streaky green and brown glaze, maker’s mark and facsimile signature C. DRESSER/ LINTHORPE/ 225, 23.5cm high (2)

CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE ART POTTERY

£300-500

£200-300

GLAZED EARTHENWARE PLATE, CIRCA 1880 with incised decoration depicting a stylised bird amongst flowering foliage, covered in a green glaze, impressed maker’s marks LINTHORPE/ HT (Henry Tooth) and impressed facsimile signature 27cm diameter

83 ATTRIBUTED TO CHRISTOPHER DRESSER OR JOHN MOYR SMITH, POSSIBLY FOR COX & SONS, LONDON AESTHETIC MOVEMENT EBONISED AND INLAID CORNER CABINET, CIRCA 1875 the galleried top with frieze inlaid with florets, the glazed door with lined and shelved interior enclosed by panelled sides, each inlaid with figurative allegorical roundels, the whole raised on a plinth base 68cm wide, 109.5cm high, 50.5cm deep Literature: Lyons, H. Christopher Dresser: The People’s Designer, 1834-1904 (Woodbridge, 2004), p.19, 52 and 144; plates 12, 13, 51, 52, 260 and 260A Durant, S. Christopher Dresser, Academy 1993, p.19-20 Halen, W. Christopher Dresser, Phaidon 1993, pp.131 and 135, plates 146 and151 Whiteway, M. (ed.), Shock of the Old: Christopher Dresser’s Design Revolution, New York, 2004, Stapleton, A. John Moyr Smith 1839-1912: A Victorian Designer, Richard Dennis 2002, pp.11-15, plates 11 and 12 Cooper, J. Victorian & Edwardian Furniture & Interiors, Thames & Hudson 1998, pp.130-132 Woolley & Wallis, Salisbury, 20th Century Design, 14 October 2009, lot 549

£4,000-6,000

Note: This fine cabinet, although of conventional form, has particular design characteristics which set it apart; its distinctive gallery and the fine marquetry panels inlaid to the sides. The design of two of the inlays appear to be adapted from colour plates published in Christopher Dresser’s Studies in Design of 1876 - the hares from plate VII; and the duck from bird designs in plates XLVI and VI. There are also strong similarities to an illustration in his Principles of Decorative Design of 1873 (the fish from figure 20); and bird and animal designs for Minton & Co. circa 1871. These designs were, like other output from the Christopher Dresser’s studio, often drawn up and, on occasion designed under Dresser’s supervision by an assistant. In the case of the first two examples this assistant is thought to be the Scottish-born designer John Moyr Smith. The confusion surrounding the attribution of certain designs by Dresser is largely due to a lack of information but also that the stylistic similarities of many of his designs to those of his assistants is so striking. Some assistants were to leave Dresser’s offices and pursue careers of their own and although most believe that Moyr Smith worked for Dresser in his studio for a short period it may also be the case that he collaborated with him in the supply of designs to his projects on an ongoing basis. Whether he worked for Dresser directly or not by 1872 Moyr Smith was an independent designer supplying designs to a number of manufacturers including Cox & Sons in London. The firm of Cox & Sons, originally church furnishers, were involved in the art movements in the second half of the 19th century and commissioned furniture, metalwork, stained glass and ceramic designs from several leading designers, including Bruce Talbert and E.W. Godwin.

Cox & Sons also supplied stained glass to some of Christopher Dresser’s interior projects, but if Dresser used them in a wider sense is unclear. He was obliged to distance himself from their output because of the similarities of his designs to those of Moyr Smith. The attribution to Cox & Sons is strengthened by the fact that the firm is known to have used one of the designs used on this cabinet on a single-handled vase (Woolley & Wallis, October 2009, Lot 549). Many of the firms who produced Dresser’s textile and carpet designs believed in his abilities as a designer and were all based in the Halifax region. A number of them also commissioned Dresser to design the interiors of their homes. Of those only two domestic commissions survive and are in very poor condition, leaving only clues to the total composition of Dresser’s interiors. In 1865 The Furniture Gazette published designs for the panels in dining room supplied by Dresser to J.W. Ward of Halifax, a textile maker who used Dresser’s designs. The panels represented fish, fowl, flesh, fruit, wine and beer. The panels in the current lot, representing Game, Fowl, Fish and Mutton may also have been designed for a similar dining room scheme. The profuse, albeit restrained, marquetry inlay of this cabinet is somewhat at odds with Dresser’s more characteristically austere and pared-down aesthetic. He was, however, known to have been expedient and his ‘theoretical utterances’ did not always get in the way of the success of a busy studio where it was impossible to be entirely pure in intention. Many of Moyr Smith’s published designs of the 1870s were later ascribed to Dresser suggesting their origins in Dresser’s studio. Either way, until further information emerges, the attribution of many of these intriguing pieces remains unclear.

CLUTHA GLASS It is thought that Dresser first became acquainted with James Coupar & Sons following their production of St. Mungo glass. Its affinity with early Venetian and Roman glass resonated well with Dresser’s own interests in glassmaking; he admired the organically formed shapes and naturally coloured tints, which led him to further investigate the technical aspects of glass-blowing. He believed that “glass was capable of assuming the most delicate of shades” and in applying the principles of traditional glass-blowing techniques a harmonious effect could be produced. Following suit, Dresser’s designs for the Clutha range are defined by daring use of colour and an array of mesmerising shapes. Typified by hues of pale green, Dresser experimented further with various colours and shades and began to incorporate aventurine inclusions – a direct influence of those early glasswares which fascinated him.

Dresser designed for James Couper & Sons until the mid-1890s and was followed by George Walton as a designer. Production ceased shortly after 1900.

CHRISTOPHER DRESSER (1834-1904) AND GEORGE WALTON (1867-1933) FOR JAMES COUPER AND SONS, GLASGOW

GEORGE WALTON (1867-1933) FOR JAMES COUPER & SONS, GLASGOW

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

GROUP OF FOUR ‘CLUTHA’ GLASS VESSELS, CIRCA 1890

of tapered cylindrical form, with milky inclusions

comprising a THREE-HANDLED VASE, with applied spiralling neck and bulbous body, 21.5cm high; a TALL OVOID VASE, with tapering and knopped neck, 19cm high; a BOTTLE VASE, 12.5cm high; and a DOUBLE GOURD VASE, by George Walton, 11cm high, each with aventurine and milky trailed inclusions (4)

9cm high

Literature: see The John Scott Collection Volume 5, Truth, Beauty, Power: The Designs of Christopher Dresser, The Fine Art Society, 2014, nos. 201, 197

£1,000-1,500

‘CLUTHA’ GLASS VASE, CIRCA 1900

£600-800

‘CLUTHA’ GLASS PITCHER, CIRCA 1890 the green glass body with aventurine and milky trailed inclusions 22cm high

86 CHRISTOPHER DRESSER (1834-1904) FOR JAMES COUPER & SONS, GLASGOW ‘CLUTHA’ GLASS VASE, CIRCA 1890 with tall neck and ovoid body, the green glass body with aventurine and milky trailed inclusions 37.5cm high

£600-800

Literature: See Halén, W., Christopher Dresser: A Pioneer of Modern Design, Phaidon, London 1993, pl.225, p.192 where an example of this jug is illustrated in Liberty’s ‘Yule-Tide’ Gifts Catalogue, 1895

£1,000-1,500

TALL ‘CLUTHA’ GLASS VASE, CIRCA 1890 with tall knopped neck and bulbous body, the green glass body with aventurine and milky trailed inclusions, 38.5cm high; together with a CLUTHA STYLE TALL GLASS VASE IN THE MANNER OF CHRISTOPHER DRESSER, 57cm high (2) Literature: See Whiteway, M. Christopher Dresser: 1834-1904, Skira 2001, pl.242, p.197 where a vase of the same design in yellow glass is illustrated.

£600-800

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

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

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

‘CLUTHA’ GLASS VASE, CIRCA 1890

with flared rim, the green glass body with aventurine and milky trailed inclusions

with flared rim, the amber glass body with aventurine and milky trailed inclusions

21.5cm high

23cm high

with tapered and dimpled body, the green glass body with aventurine and milky trailed inclusions

£400-600

16.5cm high

Literature: See Halén, W., Christopher Dresser: A Pioneer of Modern Design, Phaidon 1993, pl.195, p.173 where a similar ‘Clutha’ vase is illustrated.

£300-500

‘CLUTHA’ GLASS VASE, CIRCA 1890 with tall tapering neck, the green glass body with aventurine and milky trailed inclusions, 18cm high; together with a ‘CLUTHA’ GREEN GLASS BOTTLE VASE BY JAMES COUPER & SONS, GLASGOW, CIRCA 1890, with inverted rim, 12.5cm high (2) Literature: See Whiteway, M. Christopher Dresser: 1834-1904, Skira 2001, pl.242, p.197 where a similar vase is illustrated.

£300-500 91 84

93 92

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

CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE ART POTTERY

MANNER OF CHRISTOPHER DRESSER FOR LIBERTY & CO., LONDON

‘CLUTHA’ GLASS VASE, CIRCA 1890

TWIN-HANDLED JARDINIÈRE, CIRCA 1895

the repeat design depicting flying cranes and Japanese symbol reserved on a rattan ‘woven’ ground

unmarked, 38cm across; together with an AULT YELLOW-GLAZED BOTTLE VASE, unmarked, 21.5cm high; an AULT JARDINIÈRE, with moth decoration, applied maker’s mark, 21.5cm high; and an AULT-STYLE GREEN-GLAZED VASE, unmarked, 15.5cm high (4)

39cm square

with undulating flared rim, the blue glass body with aventurine and milky trailed inclusions, 10cm high; together with another ‘CLUTHA’ GREEN GLASS VASE BY JAMES COUPER & SONS, GLASGOW, CIRCA 1890, of double gourd form, the green glass body with aventurine and milky trailed inclusions, 9cm high (2) Literature: See Halén, W., Christopher Dresser: A Pioneer of Modern Design, Phaidon 1993, pl.194, p.172 where similar vases are illustrated.

£400-600

Exhibited: Hereford Museum & Art Gallery ‘The Art & Craft of Design: An Exhibition of Work by Christopher Dresser’ 20th January – 3rd March 2007, no. A4 (yellow-glazed vase)

£300-500

PRINTED COTTON TEXTILE FRAGMENT, CIRCA 1875

£150-250

96 ENGLISH SCHOOL, MANNER OF CHRISTOPHER DRESSER AESTHETIC MOVEMENT EBONISED LOW CHAIR, CIRCA 1880 incised and ebonised wood with later geometric upholstery 54.5cm wide, 77cm high, 54cm deep

£250-350

97 MAY MORRIS (1862-1938) FOR MORRIS & CO. ‘ROSE BUSH’ ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1900 coloured silk threads, framed 55cm x 52cm Literature: Hulse, Lynn et. al, May Morris: Arts & Crafts Designer, Thames & Hudson, London, 2017, p.88 and 89, pl. 72 and 73 Note: Designed by May Morris circa 1890 ‘Rose Bush’ kits were usually sold as embroidery kits through the Morris & Co. shop circa 1900.

£300-500

98 MANNER OF MORRIS & CO. ARTS & CRAFTS SILKWORK EMBROIDERED PHOTOGRAPH MOUNT, CIRCA 1900 the design depicting flowering foliate forms, worked in coloured silk threads, reserved on a fine linen ground, with an aperture for a photograph, framed panel 25cm x 34cm

£400-600

99 MANNER OF MAY MORRIS ARTS & CRAFTS EMBROIDERED BEDSPREAD, CIRCA 1900 worked in coloured silks with a flowering foliate design within a meandering ribbon border, reserved on a linen ground 191cm x 210.5cm

£400-600

100 ATTRIBUTED TO MAY MORRIS FOR MORRIS & CO. ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1900 worked in coloured silks with flowering foliate design, reserved on a linen ground 139.5cm x 111cm Literature: Mason, A.; Marsh, J.; Bain, R. et al. May Morris: Arts & Crafts Designer, Thames & Hudson 2017, p. 93, pl. 77 where a similar design is illustrated

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

101 WILLIAM MORRIS (1862-1938) FOR MORRIS & COMPANY ARTS & CRAFTS ‘ACANTHUS’ EMBROIDERED PANEL, DESIGNED CIRCA 1876 worked in coloured wool threads on a woven cotton ground 307cm x 160cm Literature: Parry, Linda William Morris Textiles, V&A 2013, p.211, no.21 Note: This panel was probably executed in the Morris & Co. embroidery workshops under the direction of May Morris in the 1890s.

£3,000-5,000

102 WILLIAM MORRIS (1834-1896) 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

£300-500

103 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

£300-500

104 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. TWO PANELS OF ORIGINAL ‘TULIP’ FABRIC, REGISTERED 1875 block printed cotton; red colourway, white ground, marked to selvedge and to top of larger panel REGD. MORRIS & COMPANY, 96cm x 710cm and 96cm x 96cm (2) Literature: Parry, Linda William Morris Textiles, V&A 2013, p.207, no.9 Note: This fabric was printed by Thomas Wardle & Co., Leek, England

£300-500 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. TWO PANELS OF ORIGINAL ‘ACANTHUS’ DAMASK FABRIC, REGISTERED 1879 hand-loom jacquard cotton and silk damask, YELLOW COLOURWAY, 132cm x 148cm; GOLD COLOURWAY, 167cm x 130cm; together with a panel of ‘TULIP & ROSE’ PATTERN SILK & LINEN DAMASK, designed by William Morris circa 1876, green colourway, 156cm x 129cm (3) Literature: Parry, Linda William Morris Textiles, V&A 2013, p.224, no.38 and p.210, no. 18

£300-500

106 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. FIVE PANELS OF ORIGINAL ‘OAK’ FABRIC, REGISTERED 1881

107 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. TWO PANELS OF ORIGINAL ‘BIRD & ANEMONE’ FABRIC, REGISTERED 1875 block-printed cotton, mustard colourway, 359cm x 92cm and 209cm x 92cm; FOUR PANELS OF ORIGINAL ‘KENNET’ FABRIC, REGISTERED 1883, block-printed cotton, designed by William Morris, mustard colourway 126cm x 95cm, 127cm x 95cm, 91cm x 94cm; blue colourway 69cm x 48cm; a SINGLE PANEL OF ORIGINAL ‘SNAKESHEAD’ FABRIC, REGISTERED 1876, block-printed cotton by Thomas Wardle & Co., Leek, 193cm x 96cm; a SINGLE PANEL OF ORIGINAL UN-NAMED JACOBEAN-STYLE FABRIC, CIRCA 1918, printed cotton by Thomas Wardle & Co., Leek, 91cm x 80cm; a SINGLE PANEL OF ORIGINAL ‘SCROLL’, ‘LITTLE SCROLL’ OR ‘WILLOW’ FABRIC, REGISTERED 1895, the design adapted from an earlier wallpaper design by Morris, 120cm x 90cm; and a SINGLE PANEL OF ORIGINAL ‘TANGLEY’ FABRIC, CIRCA 1915, printed cotton, 56cm x 94cm, all marked to selvedge REGD. MORRIS & COMPANY and MORRIS & COMPANY/ 449 OXFORD STREET/ LONDON (10)

power-loom jacquard woven silk, red colourway 237cm x 98cm and 236cm x 105cm, gold and buff colourway 56cm x 245cm (lined and with applied braid to 3 sides); red and gold colourway 60cm x 92cm, and green and blue colourway 66cm x 36cm approx.; together with TWO PANELS OF ORIGINAL ‘ROSE AND LILY’ FABRIC, REGISTERED 1893, hand-loom jacquard woven silk, designed by J.H. Dearle, 33cm x 56cm and 54cm x 33cm approx.; and TWO PANELS OF ORIGINAL ‘ST. JAMES’ FABRIC, REGISTERED 1881, power-loom jacquard woven silk, designed by William Morris, red colourway 41cm x 77cm, blue colourway 77cm x 41cm (9) Literature: Parry, Linda William Morris Textiles, V&A 2013, p.255, no.90; p.226, no.42; p.226, no.43

£400-600

Literature: Parry, Linda William Morris Textiles, V&A 2013, p.226, no.44; p.237, no.55; 214, no.24; p.282, no.147; p.256, no.94; and p.281, no.143

£400-600

108 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. FOUR PANELS OF ORIGINAL ‘BIRD & VINE’ FABRIC, REGISTERED 1879 hand-loom jacquard woven woollen fabric, two pieces bearing Morris & Co shop label BIRD & VINE TAPESTRY/ 36/- PER YARD, 107cm x 172cm; 109cm x 137cm (braided to sides with curtain hooks verso); 61cm x 178cm (hemmed to top and bottom, bears label); 192cm x 85cm (hemmed to top and bottom, bears label) (4) Literature: Parry, Linda William Morris Textiles, V&A 2013, p.225, no.39 Note: A large quantity of this fabric was ordered by Edward Burne-Jones in 1880 and 1881 for his own use.

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

109 WILLIAM MORRIS, C.F.A. VOYSEY, JAMES MORTON ‘SOME HINTS ON PATTERN DESIGN’, WITH RARE BOOKPLATE Chiswick Press 1899, original linen-backed boards; with RARE BOOKPLATE DESIGNED BY C.F.A. VOYSEY, inscribed BEATRICE EMILY AND JAMES MORTON M21 1901, inscribed by the owner JAS. MORTON/ DARVEL/ AYRSHIRE/ NOV. 1899; together with William Morris. The Earthly Paradise. Longman, 1903; and J.W. Mackail. The Life of William Morris. Longmans 1899 (3) £200-300

110 WILLIAM MORRIS (1834-1896) AND EDWARD COLEY BURNE-JONES (1833-1898) FOR KELMSCOTT PRESS FRAMED SPECIMEN PAGE FOR THE KELMSCOTT CHAUCER, 1896 woodcut print, engraved by W. H. Hooper, framed 42cm x 28.5cm Note: The specimen leaf is of the original text version, which was later altered. The first column of text here contains seven lines; in the published version the seventh line appears at the head of the second column and the final line “The chambres and the stables weren wyde” is moved to the following page. The illustration depicts Chaucer in a garden, holding a book and pen.

£1,000-1,500

111

112

113

MORRIS AND CO.

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

to include PRINTED LINENS AND COTTONS; and WALL-PAPERS, both from the ‘Decoration’ series circa 1909; WILLIAM MORRIS 1834-1934 SOME APPRECIATIONS, published by the Walthamstow Antiquarian Society 1934; and MORRIS EMBROIDERIES: THE PROTOTYPES by A.R. Duffy, published by The Society of Antiquaries, 1985; together with THE NEW GALLERY CATALOGUE, LONDON 1898-1899 - EXHIBITION OF THE WORKS OF SIR EDWARD BURNE JONES, with foreword by J. Comyns Carr, bookplate to inside front cover inscribed CHARLES ARTHUR WYNNE FINCH (5)

TWO PANELS OF ORIGINAL ‘ACANTHUS’ DAMASK FABRIC, REGISTERED 1879

FOUR PANELS OF ORIGINAL ‘TULIP’ FABRIC, REGISTERED 1875

hand-loom jacquard cotton and silk damask, GREEN COLOURWAY, 132cm x 276cm; RED COLOURWAY, 126cm x 260cm; together with a panel of ‘CROWN IMPERIAL’ OR ‘MOHAIR DAMASK’ PATTERN DAMASK, power-loom jacquard woven wool and mohair, designed by William Morris circa 1876, red colourway, (‘L’-shaped panel)104cm x 136cm and 126cm x approx. 48cm (3)

block printed cotton; TWO PANELS OF RED COLOURWAY, pink ground, marked to selvedge MORRIS & COMPANY, 100cm x 212cm and 100cm x 262cm; TWO PANELS OF GREEN COLOURWAY, marked to selvedge REGD. MORRIS & COMPANY, 100cm x 332cm and 100cm x 380cm (4)

£150-250

£400-600

GROUP OF FOUR PUBLICATIONS

Literature: Parry, Linda William Morris Textiles, V&A 2013, p.224, no.38 and p.218, no.28

Literature: Parry, Linda William Morris Textiles, V&A 2013, p.207, no.9 Note: This fabric was printed by Thomas Wardle & Co., Leek, England

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

114 PHILIP SPEAKMAN WEBB (1831-1915) FOR MORRIS & CO ARTS & CRAFTS MAHOGANY SIDEBOARD, CIRCA 1900 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 206.5cm wide, 211cm high, 68.5cm deep Literature: Morris & Company Catalogue, circa 1914, p. 34, no. 497 illus.

£2,000-3,000

115 SANDERSON & SONS, LTD ‘THE MORRIS COLLECTION’, EARLY WALLPAPER SAMPLE BOOK, 1950S hardback cloth cover containing 60 printed samples each sheet 38cm x 45cm

£200-300

116 ENGLISH SCHOOL ARTS & CRAFTS ‘MORRIS’ STYLE ARMCHAIR, CIRCA 1900 with mahogany frame, the adjustable back and seat with later Liberty’s velvet upholstery 62cm wide, 103cm high, 75cm deep

£500-800

117 PHILIP SPEAKMAN WEBB (1831-1915) FOR MORRIS & CO EBONISED ‘SUSSEX’ CHAIR CIRCA 1880 with spindle back above rush seat 49cm wide, 88cm high, 42cm deep

£200-300

118 ATTRIBUTED TO FORD MADDOX BROWN FOR MORRIS & CO.

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

ARTS & CRAFTS EBONISED ARMCHAIR, CIRCA 1880

‘CROWN IMPERIAL’ FABRIC PANEL, DESIGNED 1876

with cruciform spindle back and open arms raised above a circular rush seat, raised on turned legs linked by stretchers

mohair damask, framed, 65cm x 128.5cm; together with WILLIAM MORRIS ‘MARIGOLD’ COTTON PANEL, red colourway, makers mark to the selvedge MORRIS & CO 449 OXFORD STREET LONDON, 132cm x 134cm (2)

54cm wide, 88cm high, 51cm deep

£300-500

£200-300

120 AFTER E. W. GODWIN STAINED WALNUT OCCASIONAL TABLE, CIRCA 1880 square top above ring-tuned supports, linked by a lower tier 43cm square, 66.5cm high

£200-300

121 ENGLISH SCHOOL ARTS & CRAFTS EBONISED BEECH ‘SUSSEX’ CHAIR, CIRCA 1890 with spindle-filled back and rush seat, 55.5cm wide, 94.5cm high, 44cm deep; and a MORRIS & CO. ‘SUSSEX’ SIDE CHAIR, ebonised beech, with original rush seat, 42.5cm wide, 87cm high, 38.5cm deep (2) £200-300 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

122 PHILIP SPEAKMAN WEBB (1831-1915) FOR MORRIS & CO. ARTS & CRAFTS OAK CENTRE TABLE, CIRCA 1880 the circular quarter-sawn top on six ring-turned legs and central turned column, all linked with corresponding ring-turned stretchers 122cm diameter, 72.5cm high Literature: Whiteway, Michael and Gere, Charlotte Nineteenth Century Design: From Pugin to Mackintosh, Weidenfeld & Nicolson, 1993, p.100, pl. 108 Parry, Linda, William Morris, London, 1996, p.175 Lyon & Turnbull, Decorative Arts, April 2004, lot 328 for a similar example in mahogany

ÂŁ6,000-8,000

Note: In 1861 Philip Webb began collaborating with William Morris at Morris, Marshall, Faulkner & Co. (later Morris & Co.). After designing a similar table for Sir Edward Burne-Jones in the 1850â&#x20AC;&#x2122;s, the firm later produced several related examples for highprofile commissions. These included Old Swan House, Chelsea, designed by Sir Richard Norman Shaw for the connoisseur Wickham Flower, and Great Tangley Manor in Sussex, where Webb carried out extensions in 1885. A walnut version of this table is in the collection at Standen, the Arts and Crafts house Webb designed in 1891, now in the care of the National Trust.

123 GEORGE WASHINGTON JACK (1855-1931) FOR MORRIS & CO. ARTS & CRAFTS MAHOGANY-FRAMED ‘SAVILLE’ ARMCHAIR, CIRCA 1890 the later upholstered back and seat in Morris & Co. ‘Windrush’ pattern, enclosed by spindlefilled arms on square baluster front legs 65cm wide, 91cm high, 62cm deep Literature: Anscombe, Isabelle & Gere, Charlotte Arts and Crafts in Britain & America, Academy Editions 1978, p. 39, pl. 37 Note: A similar ‘Saville’ armchair with turned legs can be found in the entrance hall of Standen, Sussex.

£2,000-3,000

124 ENGLISH SCHOOL, MANNER OF PHILIP SPEAKMAN WEBB ARTS & CRAFTS MAHOGANY DAY BED, CIRCA 1900 the spindle-filled back and arms raised on tapering legs and feet, with loose squab cushions to the back and seat 178cm wide, 73cm high, 74.5cm deep

£1,500-2,000

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

125 Y GEORGE WASHINGTON JACK (1855-1931) FOR MORRIS & CO. ARTS & CRAFTS INLAID MAHOGANY SIDEBOARD, CIRCA 1887 rosewood, fruitwood and ebony inlay, the carved and pierced back with intricately inlaid panels, on carved column uprights, above three frieze drawers and an open shelf flanked by two cupboard doors, opening to reveal a single shelf, the whole raised on a plinth base 228cm wide, 154.5cm high, 78cm deep Literature: The Cabinet Maker and Art Furnisher 1 July 1887, p. 281 Whiteway M., Gere, C. Nineteenth Century Design, 1993, p. 249, where another example without the inlaid back is illustrated Parry. L. William Morris, Tieste, 1996, p.163, fig.78

£6,000-8,000 Note: The Cabinet Maker and Art Furnisher of 1887 shows a ‘Rough Memory’ sketch of a sideboard of this design exhibited at the 1887 Manchester Jubilee Exhibition, and notes that the lines of the Manchester sideboard may be studied, for they are ‘fresh’. The sketch is very closely related to the current cabinet and may illustrate the same piece. Manchester was an important part of the Morris & Company empire, as the firm exhibited at the Manchester Fine Art and Industrial Exhibition of 1882, and opened a shop there in 1883.

126 ENGLISH SCHOOL, AFTER WILLIAM HOLMAN HUNT ARTS & CRAFTS FRAMED ENAMEL PLAQUE depicting Isabella and a pot of Basil, framed 15cm x 10cm

£200-300

127 ENGLISH SCHOOL ARTS & CRAFTS COFFER, CIRCA 1910 elm, with hinged lid, decorated to the front with a frieze carved with birds and opposed figures 61cm wide, 44.5cm high, 32.5cm deep

£400-600

Note: The iconography in the carved frieze may refer to ‘Ababil’ (meaning a flock of birds), the miraculous birds in Islamic belief, mentioned in Sura 105 of the Quran, that protected the Kaaba in Mecca from the Aksumite elephant army of Abraha, then self-styled governor of Himyar, by dropping small clay stones on them as they approached. This event is said to have occurred in 570, the year that the Islamic prophet Muhammad was born.

128 ENGLISH SCHOOL, MANNER OF WILLIAM LETHABY ARTS & CRAFTS OAK CENTRE TABLE, CIRCA 1900 the rectangular top above a waved stretcher and raised on square chamfered legs on trestle ends linked by a stretcher 167cm wide, 74cm high, 76cm deep

£1,000-1,500

129

130

131

ENGLISH SCHOOL

‘AUTUMN’

ARTS & CRAFTS WALNUT OVERMANTEL MIRROR, CIRCA 1900

ARTS & CRAFTS OAK OPEN BOOKCASE, CIRCA 1900

watercolour with gold embellishments, inscribed bottom right AUTUMN XLNS 40cm x 14.5cm

the frame with elaborate carving of entwined flowering foliage

£300-500

148cm wide, 59.5cm high, 8cm deep

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

with single adjustable and three fixed shelves 94cm wide, 107cm high, 28cm deep

£200-300

132 ENGLISH SCHOOL, MANNER OF WALTER CRANE ARTS & CRAFTS CARVED OAK PANEL, CIRCA 1900 carved in low relief depicting two opposing putto playing the trumpet 30cm x 67cm

£300-500

133 ATTRIBUTED TO JOHN HASSALL ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1900 worked in coloured threads and silks, depicting a woman collecting water by a well, later framed and mounted 25cm x 21cm

£300-400

134 E.G. PUNNETT FOR WILLIAM BIRCH, HIGH WYCOMBE ARTS & CRAFTS ARMCHAIR, CIRCA 1901 oak with ebony inlay, rush upholstery 72cm wide, 86cm high, 50cm deep

£1,500-2,000

135 ENGLISH SCHOOL ARTS & CRAFTS OAK LAMP TABLE, CIRCA 1910 the circular moulded top above slat-filled cruciform base 60cm diameter, 74cm high

£200-300

136 WYLIE & LOCHHEAD, GLASGOW ARTS & CRAFTS OAK STOOL, CIRCA 1920 the dished seat with slatted arms, raised on square tapering legs, linked by stretchers 57.5cm wide, 61cm high, 38cm deep

£150-250

137 WILLIAM DE MORGAN (1839-1917) ARTS & CRAFTS SIX-TILE PANEL, CIRCA 1880 the tiles painted with a vase of flowers entwined by a serpent, within an ebonised wood frame 50cm x 35cm Exhibited: William De Morgan Exhibition, Leighton House, London, 18 May - 24 June 1972, No. 50. (part) Literature: Greenwood, M. The Designs of William De Morgan, Richard Dennis 1989, p. 180, pl. 458 (design drawing illustrated) Provenance: Metford Warner The Roger Warner Collection, Christies, 20 th January 2009, lot 225 Private Collection, London Note: Metford Warner (1843-1930) owned the wallpaper manufacturing company Jeffrey & Co., and contributed to the change away from French taste in wallpaper design employing designers such as Walter Crane, Owen Jones, Charles Eastlake, William Burges and Edward W. Godwin to produce designs for wallpapers. His grandson Roger Warner was a renowned antique dealer based in Burford Oxfordshire who directed taste towards objects that previously had been disregarded or even derided, ensuring that popular, regional and vernacular arts, whether wooden furniture, pottery, treen, metal-wares, textiles and domestic utensils, were saved and studied.

£4,000-6,000

THE TILES OF WILLIAM DE MORGAN There had not been a tile-making tradition in England since the reformation and it was not re-introduced until the 1830s, at the beginning of the great period of Victorian church building and restoration. Initially confined to tiling for floors by the 1870s the market for decorative tiles was enormous, and virtually every new building project incorporated a tiled element of one sort of another, extending in some cases to the walls and even the ceilings. It was in this burgeoning market that the renowned Arts & Crafts ceramicist William de Morgan (1839-1917) made his name. The eldest of seven children, de Morgan was born in 1839 and showed early promise as an artist. During his formal education at the Royal Academy Schools he met influential artists like Simeon Solomon and Henry Holiday. In 1862 Holiday introduced de Morgan to William Morris who was to become a life-long friend and collaborator and who offered him a job. Morris & Company was only two years old at this point and de Morgan began with the firm designing stained glass with Burne-Jones and also decorating tiles, to the designs of Morris. During his work with glass de Morgan noticed that if silver nitrate stain was fired at the wrong temperature on the glass it would reduce and produce an iridescence on the surface.

Fascinated by this lustrous effect he began experimenting with glass and ceramics, buying blank tiles and plates, decorating and firing them in a makeshift kiln at his home in Fitzroy Square, which subsequently burnt the roof off. Doubtless this unfortunate event precipitated a move to Chelsea in 1872, marking the end of his stained glass career. It also marked the beginning of his own business producing tiles and other ceramics to his own designs. De Morgan went on to produce tiles for many large commissions. After his period at Merton Abbey he moved the business nearer to his home at Fulham. By the turn of the century his designs had fallen out of fashion and he stopped production in 1907 lamenting that “All my life I have been trying to make beautiful things...and now that I can nobody wants them.” Despite this setback he managed to change his career late in life and became a successful novelist. His tile designs can broadly be categorised as plants and flowers, usually of Middle Eastern influence; exotic or fantastical animals and medieval galleons at sea, of which there are several fine examples of each type in this sale.

138

Literature: Greenwood, M. The Designs of William De Morgan, Richard Dennis, 2007, p153, pl.447 where the design for this tile panel is illustrated.

WILLIAM DE MORGAN (1839-1917) PAIR OF RUBY LUSTRE 8 INCH TILES, CIRCA 1890

Catleugh, J. William de Morgan Tiles Richard Dennis 1983 p. 153

depicting fighting ships and sea creatures (2)

Note: Early lustre tiles by de Morgan were fired on Dutch delft tiles often to impressive effect although these are scarcer. Many examples, as in the present lot, were produced using ‘ bought in’ white glazed industrial tiles. This industrial type of glazed tile had the advantage of consistent and strong glazes and were easily available. The decoration was painted and the tile then re-fired in his workshops.

20.5cm square

£2,000-3,000

139 WILLIAM DE MORGAN (1839-1917) ARTS & CRAFTS CHELSEA PERIOD TILE, CIRCA 1875 painted in blue with a running ostrich, reserved on a turquoise ground, impressed maker’s mark verso 15cm square Literature: Greenwood, M. The Designs of William De Morgan, Richard Dennis 1989, p. 128, pl. 1045 (design drawing illustrated)

£800-1,200

140 ATTRIBUTED TO HASLEY RICARDO FOR WILLIAM DE MORGAN ARTS & CRAFTS 9-INCH RUBY LUSTRE RELIEF TILE, CIRCA 1890 moulded as a fantastic beast on a flowering foliate ground, impressed Sands End maker’s mark verso 22.5cm square Literature: Catleugh, J. William de Morgan Tiles Richard Dennis 1983 p.115, pl. X111a. where similar examples are illustrated

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

141 NEWLYN SCHOOL ARTS & CRAFTS COPPER WALL MIRROR, CIRCA 1900 repoussé-decorated with stylised fish reserved on an oak panel with mirrored glass plate 71.5cm x 104cm

£1,500-2,500

142 WILLIAM DE MORGAN (1839-1917) ARTS & CRAFTS CHELSEA PERIOD TILE, CIRCA 1875 the design attributed to William Morris, impressed makers mark verso, 15.2cm square; an AESTHETIC MOVEMENT TILE BY JOHN MOYR SMITH FOR MINTON CHINA WORKS, inscribed THE MERCHANT OF VENICE, moulded maker’s marks verso, 15.2cm square; and an AESTHETIC MOVEMENT TILE, depicting the Elements, inscribed WATER AIR FIRE EARTH, 15.2cm square (3) £150-250

143 ENGLISH SCHOOL ARTS & CRAFTS OAK REFECTORY TABLE, CIRCA 1920 the rectangular top on square supports with trestle ends, linked by a stretcher 168cm wide, 71cm high, 75cm deep

£400-600

144 WILLIAM DE MORGAN (1839-1917) TWO FIGURAL STUDIES, CIRCA 1880 gouache, framed (2) 10cm x 4cm and 6cm x 3cm

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

145 ENGLISH SCHOOL, MANNER OF WALTER CRANE ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1880 worked in coloured threads and silks on a linen ground, depicting a Classical harvest scene, later framed 24cm x 136cm

£300-500

146 WILLIAM DE MORGAN (1839-1917) ‘KL ROSE’ PATTERN TILE , CHELSEA PERIOD CIRCA 1875 impressed maker’s mark verso, framed 15cm square; a MORRIS & CO ‘LONGDEN’ TILE, designed by Philip Webb, made by Ravesteijn, 15cm square; and another SIMILAR TILE, attributed to Morris & Co., 15cm square (3) Exhibited: Hereford Museum & Art Gallery ‘Love and Labour are All: The Arts and Crafts Movement and Beyond’ 24th March – 16th May 2012, no.3

£200-300

147 ENGLISH SCHOOL ARTS & CRAFTS STAINED BEECH ARMCHAIR, CIRCA 1890 with twisted spindle-filled back above open arms and rush seat, raised on turned legs linked by stretchers 53cm wide, 115cm high, 48.55cm deep

£300-500

148 WILLIAM DE MORGAN (1839-1917) ARTS & CRAFTS RUBY LUSTRE VASE, CIRCA 1890 with flowering foliate decoration 18cm high

£400-600

149

150

ENGLISH SCHOOL

PAIR OF ARTS & CRAFTS OAK TORCHÈRE STANDS, CIRCA 1900

ARTS & CRAFTS OAK CENTRE TABLE, CIRCA 1900

circular moulded tops on cruciform bases (2)

the square top with inset writing surface on pierced plank supports linked by cross-stretchers

30.5cm wide, 116cm high

58cm diameter, 74cm high

£300-500

151 CLEMENT HEATON (1861-1940) COPPER CLOISONNÉ ENAMEL RECTANGULAR PLAQUE, DATED 1898 depicting a maiden in profile bust length within a landscape, within an oak frame, stamped mark to base N134B/ CLEMENT HEATON/ ET CO./ NEUCHATEL/ 1898 45cm x 35.5cm Note: Clement Heaton, an early member of A.H. Mackmurdo’s Century Guild, set up his company ‘Heatons Cloisonné-Mosaic Ltd’ at 6 Berners Street, London in 1887, a year after selling his share in his father’s lucrative stained glass business Heaton, Butler & Bayne for £4,800. He patented his enamelling technique in 1886, inspired by medieval techniques which precluded the firing process and which instead used coloured cements: a mixture of resin, beeswax, sulphur marble dust and coloured pigments. Hardening over time, these cements could be polished to give the soft matt finish characteristic of Heaton’s work and seen in the present example.

£400-600

152 A. E. JONES (1878-1954) ARTS & CRAFTS CASKET, CIRCA 1900 brass and copper, cast with fruiting foliate decoration, the cover centred with a blue and green Ruskin roundel, velvet-lined interior 19cm wide

£400-600

153 MANNER OF HEAL & SON, LONDON ARTS & CRAFTS TUB ARMCHAIR, CIRCA 1920 inlaid oak with drop-in rush seat 61cm wide, 77cm high, 41cm deep

£400-600

154 ENGLISH SCHOOL ARTS & CRAFTS OAK FENDER, CIRCA 1900 with applied brass panels, pierced with stylised plant forms 130.5cm wide, 5cm high, 38cm deep

£300-500

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

155

156

ATTRIBUTED TO ALEXANDER MORTON & CO.

MANNER OF ERNEST GIMSON

ARTS & CRAFTS DONEGAL CARPET, CIRCA 1900

ARTS & CRAFTS PLASTER SAMPLE PANEL, CIRCA 1890

with Ushak design, the cream field with rosette, palmette and vine pattern, within blue palmette and vine border

depicting a frieze of flowering plants within a pine frame,

450cm x 372cm

Literature: Greensted, Mary and Carruthers, Annette Simplicity or Splendour, 1999, fig.144, for examples in the Cheltenham Collections.

£2,000-3,000

15cm x 45cm

£200-300

157 EDWARD SPENCER (1873-1938) FOR THE ARTIFICERS’ GUILD ARTS & CRAFTS SILVER BON BON DISH, LONDON, 1927 with hammered finish, the domed base with six architectural pillars incised with chevrons between arched niches and foliate border, engraved inscription, SCOTTISH CIVIL SERVICE SPORTS 1929, stamped maker’s mark AS GD LD, hallmarked London, 1927, stamped under base EDWARD SPENCER DEL. 9.5cm diameter

£300-500

158 EDWARD SPENCER (1873-1938) FOR THE ARTIFICERS’ GUILD ARTS & CRAFTS SILVER BOWL, LONDON, 1924 with hammered finish and wirework border, inscribed under base, CIVIL SERVICE LAWN TENNIS TROPHY SCOTLAND 1926, MISS I. ROSS, stamped maker’s mark AS GD LD, hallmarked London, 1924 9.5cm diameter

£300-500

159 JOHN PAUL COOPER (1860-1933) ARTS & CRAFTS SILVER BON BON DISH, LONDON, 1913 with hammered finish and applied corded wirework to upper border, stamped maker’s mark and unusual JPC incuse monogram, hallmarked London, 1913 10cm diameter

£300-500

160 BIRMINGHAM GUILD OF HANDICRAFT ARTS & CRAFTS SILVER INKWELL, BIRMINGHAM 1900 of domed form with riveted strapwork decoration, ceramic ink-pot, stamped maker’s marks, hallmarked Birmingham 1900 base 12cm square

£300-500

161

162

163

BERNARD INSTONE (1891-1987)

FRANCIS JOSEPH COMBE JORDAN, BIRMINGHAM

ATTRIBUTED TO BERNARD INSTONE

ARTS & CRAFTS THREE-PIECE SILVER TEA SERVICE, BIRMINGHAM 1930

each with leafy openwork decoration, one set with a opal cabochon, ring size O/P; one set with an aventurine quartz cabochon, ring size O; and the other with a pink cabochon, ring size G; together with a CITRINE, GILT METAL AND WHITE METAL RING, ATTRIBUTED TO KATIE EADIE, the claw-set citrine with a twisted-metal border and flanked by a three-leaf clover to each shoulder, ring size L/M (4)

SILVER AND ENAMEL CHRISTENING SET, BIRMINGHAM 1928 comprising a NAPKIN RING, 4.5cm across; and a SPOON, 11.5cm long, each with floral enamelled decoration, stamped maker’s facsimile signature BERNARD INSTONE, and hallmarks for Birmingham 1928, with original case (2) £200-300

comprising a TEAPOT, 12.5cm high; a SUGAR BOWL, 8cm high; and a MILK JUG, 5.5cm high, each repoussé-decorated with stylised plant forms, stamped maker’s marks, hallmarked Birmingham 1930 (3) £300-500

THREE RINGS, EARLY 20TH CENTURY

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

164 § DORRIE NOSSITER (1893-1977) ARTS & CRAFTS WHITE METAL AND MOONSTONE SET PENDANT, CIRCA 1910 with associated chain pendant 2.7cm diameter; total length 24cm

£200-300

165 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) £1,000-1,500

166 ATTRIBUTED TO AMY SANDHEIM WHITE METAL AND GEM SET PENDANT, CIRCA 1910 the heart-shaped polished rock crystal below a foliate and berry mount set with four backed cabochons, below a faceted rock-crystal and foliate loop 8.5cm long

£200-300

167

168

169 Y

ATTRIBUTED TO EDITH LINNEL

JOHN PEARSON (1859-1930)

MANNER OF H.G. MURPHY

ARTS & CRAFTS WHITE METAL AND GEM SET BROOCH, CIRCA 1920

NEWLYN TWIN-HANDLED COPPER TRAY, CIRCA 1900

ARTS & CRAFTS SILVER PLATE VASE, CIRCA 1930

the amber-cut citrine set within a frame cast leaves and flower heads, set with four further citrines

decorated with a fish motif, stamped J.P. twice verso, 38cm across; a COPPER VASE ATTRIBUTED TO JOHN PEARSON, chased date to base 1893, 11cm high; a NEWLYNSTYLE COPPER DISH, 24cm diameter; and a BRASS CHARGER, 28cm diameter (4)

of lobed form, chased with foliate forms, the spreading base with carved ivory knop

5.5cm across

£150-250

£200-300

23cm high

£200-300

170 ENGLISH SCHOOL INTERIOR OF WHITEFRIARS GLASSWORKS, TUDOR STREET, LONDON oil on canvas, framed 58cm x 48cm Literature: Jackson, L. (edit.), Whitefriars Glass: The Art of James Powell & Sons, Richard Dennis, 1996, p.7, fig. 7 where a photograph of this scene is pictured.

£300-500

171 172 JAMES POWELL & SONS, LONDON TALL OLIVE GLASS VESSEL, CIRCA 1880 tapering form with frilled rim, raised on a spreading base, 30cm high; and a ‘TEAR’ VASE, of tapering bulbous form with applied sea green tear trail decoration and foot rim, 12.5cm high; together with a CHAMPAGNE GLASS, with similar applied decoration, 13cm high (3) £300-500

ATTRIBUTED TO T. G. JACKSON (1835 - 1924) FOR JAMES POWELL & SONS, WHITEFRIARS SET OF EIGHT ART NOUVEAU GREEN GLASS FLUTES, CIRCA 1875 the bowls with applied pulled prunts on spirally twisted stems, 18cm high; together with THREE WHITEFRIARS OLIVE DRINKING GLASSES ATTRIBUTED TO HARRY POWELL, each of tapering trumpet form, engraved with ribbon and floral swags, with rope twist stem, raised on a spreading circular foot, 19cm high (11) £300-400

173 ARTS & CRAFTS GROUP OF GLASSWARE, CIRCA 1900 to include a PAIR OF DRINKING GLASSES BY T.G.JACKSON FOR JAMES POWELL & SONS, LONDON, 14.5cm high; TWO DRINKING GLASSES BY HARRY POWELL FOR JAMES POWELL & SONS, LONDON, 12.5cm and 12cm high; TWO POWELL-STYLE GREEN GLASS POSY VASES, 11cm high; and TWO FURTHER ASSOCIATED DRINKING GLASSES; a PAIR OF JAMES POWELL & SONS SILVER DECANTER STOPPERS, hallmarked London 1904, 4.5cm diameter; together with a ‘LYGON’ GLASS CELERY VASE designed by GORDON RUSSELL for STEVENS & WILLIAMS, 26.5cm high (10) £250-350 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

174 ENGLISH SCHOOL ‘THE FOUR SEASONS’, SET OF FOUR ARTS & CRAFTS EMBROIDERED PANELS, CIRCA 1900 silk, cotton and gold threads on a silk ground, framed in two panels (2) each 47.5cm x 22cm

£300-500

175 MANNER OF JOHN PEARSON ARTS & CRAFTS COPPER MIRROR, CIRCA 1910 the circular bevelled mirror plate within a repoussé decorated frame with birds and pine cones 42cm diameter

£300-500

176 ENGLISH SCHOOL EDWARDIAN BRASS FRAMED DISPLAY CASE, CIRCA 1900 with twin-glazed doors enclosing glass shelves, raised on shaped square legs linked by stretchers, on brass castors 80cm wide, 159cm high, 49.5cm deep

£400-600

177

178

PHILIP HANSON ABBOT

ENGLISH SCHOOL

ARTS & CRAFTS SILVER-GILT CENTREPIECE TAZZA, LONDON, 1909

ARTS & CRAFTS COPPER WALL MIRROR, CIRCA 1900

with a hammered finish, chased and embossed with a garland of budding roses and flowers, raised on curved tripod supports and domed base, stamped maker’s mark PHA, hallmarked London, 1909

repoussé-decorated with a heart motif on a hammered ground

22.8cm diameter, 13.8cm high; weight 20 ozs. (622g.)

62cm x 51.5cm

£500-700

£250-350

179 ENGLISH SCHOOL STAINED & LEADED GLASS PANEL, CIRCA 1900 the panel depicting a clump of flowering daffodils, 46cm x 44cm; together with a GOTHIC REVIVAL STAINED, LEADED AND PAINTED GLASS PANEL, with lattice decoration, 65cm x 23cm (2) £200-300

180 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

£400-600

181 JOHN PEARSON (1859-1930) ARTS & CRAFTS PAINTED CERAMIC TILE, CIRCA 1900 painted in blue, yellow and green, depicting a galleon in full sail, painted artist’s initials and motif verso 12cm x 18cm

£200-300

182

183

184

HENRY RYLAND (1856-1924)

A. E. JONES (1878-1954)

ENGLISH SCHOOL

EVEN SONG

ARTS & CRAFTS COPPER AND SILVER PLATE SERVING TRAY, CIRCA 1920

lithograph, framed 37cm x 25cm

£200-300

of oval form with applied decorative rim and rosette mounts 61cm across

£300-500

ARTS & CRAFTS COPPER AND BRASS BOWL ON STAND, CIRCA 1900 the bowl with hammered finish, raised on a pierced brass stand with stylised feet, linked by a pierced cruciform support 20cm diameter, 8cm high

£200-300

185 JOHN PEARSON (1859-1930) LARGE EARTHENWARE BOWL, CIRCA 1900 of circular flared form, decorated with a fruiting tree at sunrise on a painted and metallic ground, painted monogram JP to base 26.5cm diameter

£1,000-1,500

186 MANNER OF JOHN PEARSON THREE ARTS & CRAFTS CHARGERS CIRCA 1890 comprising a BRASS CHARGER, repoussé decorated with stylised fish, marked to reverse 501/1 £13-0, 39cm diameter; a COPPER CHARGER, repoussé decorated with flowering foliage, inscribed verso THE ART UNION OF LONDON, 38cm diameter; and a BRASS CHARGER, repoussé decorated with flowering foliage 44cm diameter (3) Exhibited: Hereford Museum & Art Gallery ‘Love and Labour are All: The Arts and Crafts Movement and Beyond’ 24th March – 16th May 2012, no 15 Note: The brass charger is illustrated in the Studio Yearbook, 1906

£300-500

187 JOHN PEARSON (1859-1930) ARTS & CRAFTS NEWLYN COPPER BOWL, DATED 1892 repoussé decorated with a galleon at sea, chased signature to base J. PEARSON 1892/519 43cm diameter Exhibited: Hereford Museum & Art Gallery ‘Love and Labour are All: The Arts and Crafts Movement and Beyond’ 24th March – 16th May 2012, no.29

£600-800

188

189

JOHN PEARSON (1859-1930)

MANNER OF JOHN PEARSON FOR LIBERTY & CO., LONDON

LARGE ARTS & CRAFTS COPPER LAMP, DATED 1894 repoussé-decorated with stylised flowering foliage, surmounted by an etched and frosted glass shade, signed and dated to the base and to the reservoir JP/ 1894 height to fitting 40cm, total height71cm

£800-1,200

ARTS & CRAFTS ‘MEDIAEVAL’ COPPER CANDLE SCONCE, CIRCA 1900 repoussé- decorated with opposed birds on a beaten ground above a single sconce 29cm high Literature: Bennett, Daryl Liberty’s Furniture, Woodbridge 2012, p. 179, pl. 5.51 where this sconce is illustrated in the Liberty & Co. Yuletide Gifts catalogue of 1901

£300-500

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

190 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

£800-1,200

191 MANNER OF JESSIE BAYES ARTS & CRAFTS CASKET, CIRCA 1890 polychrome painted wood, of rectangular form carved in low relief, painted in blue, red, green and gilt, the painted roundels depicting flowers with a central image of a maiden and angel, opening to a silk-lined interior 19cm wide, 8.5cm high, 13cm deep

£250-350

192 ENGLISH SCHOOL

193

194

195

the moulded top with carved leaf bosses, bearing each with letter E/ J/ R/ M/ O/ M/C/C/R/L/C above twin panelled doors with elaborate brass hinges, opening to reveal three embroidered panels, each worked in coloured silks and gold threads on a silk ground, depicting medieval figures, inscribed EMBROIDERY DONE BY MARJORIE COX FROM JUNE 1910 TO OCTOBER 1911, the whole raised on curved bracket supports

ENGLISH SCHOOL

ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1910

ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1920

worked with coloured silks and gold coloured threads on unbleached linen, framed

wool threads with applied sequins on a linen ground and inscribed TAKE ME AND SAY HARRY OF ENGLAND I AM THINE, framed

ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1900

105cm wide, 108cm high, 44cm deep

48cm x 36.5cm

40cm x 28cm

£500-800

£250-350

£200-300

ARTS & CRAFTS OAK-FRAMED TRIPTYCH, CIRCA 1910

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

coloured silks on an unbleached linen ground, framed 35cm x 57cm

£200-300

196 CARDEW, GLORIA. GUILD OF WOMEN-BINDERS A MIDSUMMER NIGHT’S DREAM, CIRCA 1900 published J.M Dent & Co., London 1895, with plates illustrated by R. Anning Bell and hand-coloured by Gloria Cardew, bound in calf, probably by the Guild of Women-Binders, the cover worked in relief with the figure of Puck and other fairies, bears paper label pasted to the interior and bearing inscription THE ILLUSTRATIONS IN THIS BOOK WERE COLOURED BY HAND BY MISS GLORIA CARDEW Literature: Kaplan, Wendy (ed.) Scotland Creates: 5000 Years of Art and Design, Weidenfeld & Nicholson 1990, pp.152-3, fig 10.3 where a book bound by Annie S Macdonald is illustrated Note: Although Gloria Cardew was not a bookbinder, “many books coloured by her were bound by members of the Guild” (Tidcombe, p. 126). This is largely due to Frank Karslake (1851-1920), who acted as an agent of hers in 1898 (IBIS Journal, 2014, p. 75). Cardew was a prolific hand-colourist of book illustration and often worked for the Guild, as well as the Kelmscott and Vale Presses. Little is known of her and it was thought that her name was a pseudonym, although her photograph was published in the 1898 Guild of Women-Binders exhibition catalogue of 1898. Karslake established the Guild of Women-Binders in May 1898 at 61, Charing Cross Road, London in the same building as his other bindery, The Hampstead Bindery. The bindery produced lavishly-bound books in the highest quality material and took on many different binders, such as Annie S. MacDonald, Jessie McGibbon, Phoebe Traquair, Florence de Rheims, and Karslake’s two daughters, Constance & Olive Karslake. A similar binding held in the National Library of Scotland by Annie S. Macdonald (1849‑1924) shows the same technique as the current example in moulded natural morocco. Macdonald, a friend of Traquair re-introduced the craft of artistic bookbinding in Edinburgh in the mid-1890s and she, Traquair and others were affiliated with not only to the new Edinburgh Arts and Crafts Club but to the Guild of Women-Binders from 1898. The subject of the current lot is based on the painting Puck Fleeing before the Dawn by David Scott (1806-1849), currently held in the National Gallery of Scotland (NG 992).

£1,200-1,800

197 THE STUDIO, AN ILLUSTRATED MAGAZINE OF FINE AND APPLIED ART EIGHTY-SIX VOLUMES / THIRTY-FOUR YEARBOOKS, TWELVE INDEXES various hard-back cloth bindings with gilt tooling, and comprising volumes 1-8 (two copies of vol. 5); 11; 14-16; 25; 27-44; 47-64; 66-71; 73-79; 81; 84-85; 91-93; 95-96; 103-107 (two copies of 103); 109-116; THIRTY-FOUR YEARBOOKS, 1906; 1908-1909; 1912; 1914-1917; 1919-1925; 1928-1930; 1934-1937; and TWELVE INDEXES, volumes 1-12, various cloth covers, including volumes 1 and 2 designed by C. F. A. Voysey (120 approx.) £500-700

198 PEAR TREE PRESS - GUTHRIE, JAMES ‘THE ELF’ A SEQUENCE OF THE SEASONS 4 volumes, each number 227 of 250 copies, printed in black and colours, plates and decorations by the author, original holland-backed pictorial or decorative boards, uncut, Old Bourne Press, 1902-04 (4) £200-300

199 CAROLINE AGNES BURRAS (1890-1967) ARTS & CRAFTS ILLUMINATED SHEET, CIRCA 1910 pen and ink, watercolour, gold paint on vellum, framed 17.5cm x 27.5cm Literature: The Studio Magazine, Arts & Crafts, Special Autumn Edition 1916, where this illuminated sheet is illustrated

£400-600

200 ENGLISH SCHOOL ARTS & CRAFTS STAINED, PAINTED AND LEADED GLASS PANELS, CIRCA 1910 each contained within original cast iron frames, and bearing inscriptions TIRED NATURE’S SWEET RESTORER, BALMY SLEEP; THAN TIRED EYELIDS UPON TIRED EYES; CAUSE TALL SHIPS TO BEAR LONG SAILS (3) 59cm x 70.5cm; 48.5cm 70.5cm and 49cm x 70.5cm

£400-600

201 JOHN SIDNEY REEVE (1875-1943) FOR DRYAD METAL WORKS ARTS & CRAFTS LARGE SILVER SUGAR BASIN AND CREAM JUG, BIRMINGHAM, 1925-35 with hammered finish and chased chevron pattern borders, the sugar basin with stamped maker’s mark DMW, hallmarked Birmingham, 1925, the cream jug stamped JSR, 1935, 18cm wide; weight 16 ozs. (497g.) £400-600

202 CARLO MANZONI (1855-1910) FOR MINERVA ART WARE MANUFACTURERS GOURD VASE, DATED 1897 painted with a frieze of stylised flowers and foliate motifs, painted inscription to base HAND DRAWN & PAINTED, painted artist’s monogram CM/ NO. 40/ 1897 25cm high Note: Carlo Manzoni had a short-lived career at Della Robbia pottery under Harold Rathbone and Conrad Dressler from 1893-1895 when he left the company in to form Minerva Art Ware Manufacturers, renting space in the Granville Pottery, Stoke-on-Trent. In 1898 he left the company in the hands of his workers and returned to Della Robbia where he continued to work until 1906.

£200-300

203

204

ENGLISH SCHOOL

ARTS & CRAFTS COPPER PHOTOGRAPH FRAME, CIRCA 1900

ARTS & CRAFTS COPPER AND BRASS LOG BOX, CIRCA 1900

with repoussé decoration and planished surface, with original copper backplate and strut support 27cm high

of tapering rectangular form, with beaten finish, the front cast with stylised plant forms, the domed lid opening to a void interior

£200-300

52cm wide, 31cm high, 38cm deep

£200-300

205 ATTRIBUTED TO THE ARTIFICERS’ GUILD LTD. WHITE METAL AND GEM SET PENDANT NECKLACE, CIRCA 1920 the central blue hardstone cabochon enclosed by floral openwork and set with four moonstone cabochons, with blue stone drop, fine links chain with spacers pendant 6.5cm long; total length 30cm long

£300-500

206 AMY SANDHEIM (FL. 1915-1939) WHITE METAL AND GEM‑SET BROOCH the cruciform panel set with coloured cabochons, cast with entwined Celtic knot work, 5cm across; together with a FURTHER BROOCH, of shaped oval form, the central hardstone enclosed by a series of garnets, amethysts and hardstone cabochons, with scrolling openwork, 8cm across (2)

207 ATTRIBUTED TO BERNARD INSTONE FOUR BROOCHES, EARLY 20TH CENTURY comprising a CIRCULAR BROOCH, cast with foliage and gold mounted berries, set with four backed cabochons, 4.5cm diameter; a FLORAL SPRAY BROOCH, cast as a bouquet of flowers with gold mounted flower heads, set with coloured stones, 6.5cm long; an OVAL BROOCH, cast with entwined leafy openwork and set with six coloured stones, with safety chain, 5cm across; and a SILVER BROOCH, the floral spray with scrolling openwork and set with an amethyst stone, stamped SILVER, 8.5cm long (4)

£250-350

£400-600

208 ATTRIBUTED TO BERNARD INSTONE SILVER AND GEM SET BRACELET, EARLY 20TH CENTURY the six amethyst coloured stones flanked by peridots and cast foliate panels, the locking clasp stamped SILVER, 19.5cm long; together with a WHITE METAL AND GEM SET BAR BROOCH, the central amethyst flanked by two green cabochons to each side, within rope twist and leafy openwork, 7cm long (2) £300-500

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

209 WILLIAM NICHOLSON (1872-1949) GROUP OF EIGHT WOODCUT PRINTS, CIRCA 1900 PORTRAIT OF A GENTLEMAN, 20cm x 18.5cm; SARAH BERNHARDT, 23cm x 22cm; WHISTLER, 24.5cm x 22cm; THE ARCHBISHOP OF CANTERBURY, 27cm x 24cm; SIR HENRY IRVING 27cm x 24.5cm; DECEMBER FROM THE ALMANAC OF SPORTS, 20cm x 19cm; SIR HENRY HAWKINS, 27cm x 24cm; and PRINCE BISMARCK, 25.5cm x 23.5cm (last two unframed); variously framed (8) £200-300

210 BIRMINGHAM GUILD OF HANDICRAFTS BRASS AND COPPER KETTLE ON STAND, CIRCA 1900 stamped to base of kettle BGH, total height 86cm; together with a CHRISTOPHER DRESSER SPIRIT KETTLE ON STAND BY BENHAM AND FROUD, brass and copper kettle on wrought iron stand, stamped marks to base and registration no. B163269, total height 79cm (2)

211 ENGLISH SCHOOL, MANNER OF LIBERTY & CO., LONDON ARTS & CRAFTS COPPER WALL MIRROR, CIRCA 1900

86cm high, 49cm wide and 79cm high, 42cm wide

the bevelled plate enclosed by frame repoussé-decorated with stylised plant forms

£300-500

46.5cm x 38cm

£350-450

212 ENGLISH SCHOOL ARTS & CRAFTS FENDER, CIRCA 1900 brass-plated copper, of shaped rectilinear outline and with repoussé panel of stylised plant forms 139.5cm long, 19.5cm high, 31.5cm deep

£300-500

213 ENGLISH SCHOOL ARTS & CRAFTS COPPER AND ENAMEL BOX, CIRCA 1900 with hammered finish and applied decorative hinges, the lid inset with enamel cabochon 22cm wide, 8cm high, 4cm deep

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

214 ENGLISH SCHOOL, MANNER OF WALTER CRANE FOR LIBERTY & CO., LONDON ARTS & CRAFTS COPPER PANEL, CIRCA 1900 copper, embossed with a relief scene of putti in a sailing ship, later framed 54cm x 114cm

£600-800

215 ENGLISH SCHOOL ARTS & CRAFTS OAK TABLE CABINET, CIRCA 1910 with single door, enclosing a shelf and set with fine repoussé brass panel, worked with entwined Celtic beasts, centred with the initial W 39cm wide, 51cm high, 24cm deep

£300-500

216 ENGLISH SCHOOL CUPID & PSYCHE bronzed plaster panel, framed 37.5cm x 27.5cm

£400-600

217 ENGLISH SCHOOL GROUP OF ARTS & CRAFTS BRASS DESK WARES, CIRCA 1900

218 SCOTTISH SCHOOL

219

ARTS & CRAFTS CANDLE SCONCE, CIRCA 1900

ATTRIBUTED TO JESSON, BIRKETT & CO., BIRMINGHAM

patinated copper, repoussé-decorated with a stylised plant form, 29.5cm high ; together with an ARTS & CRAFTS COPPER CHARGER, possibly J & F Pool, Hayle, decorated with swimming fish, 41cm diameter (2)

ARTS & CRAFTS COAL BUCKET & COVER, CIRCA 1900

£300-500

to include a JESSON, BIRKETT & CO. BRASS INKWELL, set with turquoise cabochon, stamped maker’s mark, 10cm high; TWO FURTHER BRASS INKWELLS, one with maker’s mark AH/ 200A, 7cm and 8cm high; and a COPPER & BRASS-MOUNTED LETTER RACK, 20.5cm across (4) £250-350

220 MANNER OF W. A. S. BENSON

of typical form with applied handles, the domed cover with applied cruciform handles

ARTS & CRAFTS BRASS TABLE LAMP, CIRCA 1900

35cm high, 31cm diameter

31.5cm high (excluding shade and fittings); total height 45cm high

£250-350

£150-250

with frilled glass shade, above a knopped stem, raised on a tripod base with pad feet, wired for electricity, stamped number 31285/ 31416

221 ENGLISH SCHOOL ARTS & CRAFTS PATINATED COPPER ALLOY MIRROR, CIRCA 1900 the oval mirror plate enclosed by a hammered and repoussé decorated frame, bearing inscription LOOK BUT LINGER NOT 62cm across

£400-600

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

£400-600

223 CELTIC REVIVAL ARTS & CRAFTS FOUR-FOLD DRAUGHT SCREEN, CIRCA 1900 mahogany frame enclosing embroidered panels of elaborated Celtic motifs, worked in coloured silks on an unbleached linen ground each fold 50cm x 164cm

£600-800

224 ENGLISH SCHOOL THREE ARTS & CRAFTS COPPER VESSELS, CIRCA 1900 each repoussé -decorated and comprising a TWIN- HANDLED SLEEVE VASE, decorated with foliate forms, 26.5cm across; another TWIN- HANDLED SLEEVE VASE, attributed to John Williams, decorated with opposed owls, 22.5cm high; and a LIDDED FLAGON, 19cm high (3) Exhibited: Hereford Museum & Art Gallery ‘Love and Labour are All: The Arts and Crafts Movement and Beyond’ 24th March – 16th May 2012, no.67 (twin-handled vase)

£200-300

225 BIRMINGHAM GUILD OF HANDICRAFT SET OF FOUR ARTS & CRAFTS BRASS WALL SCONCES, CIRCA 1900 brass, with frosted glass shades (4) 56cm wide, 30cm high

£1,000-1,500

226 ATTRIBUTED TO JOHN PEARSON AFTER WILLIAM DE MORGAN ARTS & CRAFTS COPPER CHARGER, CIRCA 1900 repoussé-decorated with a galleon in full sail, enclosed by a band of swimming fish 28.5cm diameter

£300-400

227 JOHN PEARSON (1859-1930) 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

£200-300

228 FIVEMILETOWN, COUNTY TYRONE ARTS & CRAFTS BRASS FENDER, CIRCA 1895 pierced and repoussé-decorated to three sides with panels of opposed squirrels with acorn branches 146cm wide, 31cm high, 47cm deep

£1,000-1,500

Literature: Larmour, Patrick The Arts & Crafts Movement in Ireland, Friar’s Bush Press 1992, pp.3944 and p. 42 where a similar example is illustrated on the Fivemiletown stand at the ‘Home Arts’ exhibition in London, 1897. Note: John Williams trained at C.R. Ashbee’s Guild of Handicraft. In 1892 he went on to teach at Hammersmith School of Arts and also Fivemiletown Art Metalwork classes in County Tyrone where he supplied most of the designs and where this fender was made. In 1899 The Studio said of John Williams:

“In designing for pewter and for somewhat heavier applications of brass and copper, John Williams is still the tutelary genius of Fivemiletown. The designs of so able and judicious an artist must be invaluable alike to the native and the more advanced craftsman, for they have a breadth and dignity of line which cannot fail to react well upon the growing style of the executant”.

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

229 ATTRIBUTED TO C. F. A. VOYSEY PAIR OF ARTS & CRAFTS 6-INCH TILES, CIRCA 1900 each depicting lilies, moulded factory marks verso A. M. LTD/ ENGLAND/ PATTERN NO.145, 15cm square; together with an ARTS & CRAFTS FRAMED TILE, depicting a galleon in full sail, later framed, 29.5cm x 13.5cm (3) £400-600

230 ATTRIBUTED TO C.F.A. VOYSEY FOR THOMAS ELSLEY & CO. GROUP OF ARTS & CRAFTS BRASS FITTINGS, CIRCA 1920 to include a BRASS FINGERPLATE, with pierced decoration of opposed beasts, stamped verso ELSLEY’S, 38cm tall; a PAIR OF DOOR HINGES, each stamped ELSLEY, 23cm tall; a DOUBLE LIGHT SWITCH AND PLATE, unmarked; and a SINGLE LIGHT SWITCH PLATE, unmarked, 14.5cm and 8cm across (5) £400-600

231 MANNER OF C.F.A. VOYSEY GROUP OF ARTS & CRAFTS DOOR HANDLES, CIRCA 1920 to include SET OF FOUR BRASS LATCH HANDLES, 26cm long; a PAIR OF CAST IRON LATCH HANDLES, 19cm long; TWO FURTHER BRASS LATCH HANDLES, 28cm and 23cm long; and a PAIR OF SILVERED BRASS DOOR HANDLES, with heart-shaped terminals, near registration number, 30.5cm tall (10) Exhibited: Hereford Museum & Art Gallery ‘Love and Labour are All: The Arts and Crafts Movement and Beyond’ 24th March – 16th May 2012, no. 48 (one example exhibited)

£300-400

232 C. F. A. VOYSEY (1857-1941) FOR THOMAS ELSLEY & CO. ARTS & CRAFTS BRASS FIRE IRON, CIRCA 1900 67cm long; an ARTS & CRAFTS FOLDING BRASS FENDER, in the manner of Voysey, 49cm wide, 9.5cm high, 39cm deep; and a BRASS TRIVET, with shaped legs and pad feet, 25.5cm square (3) Exhibited: Hereford Museum & Art Gallery ‘Love and Labour are All: The Arts and Crafts Movement and Beyond’ 24th March – 16th May 2012, no. 45 (fender) Literature: Livingstone, K. et al., C.F.A.Voysey: Arts and Crafts Designer, V&A Publishing, London, 2016, p. 260 Pl. 388 where an example of the fire tool is illustrated

£400-600

233 C.F.A. VOYSEY (1857-1941) FOR G.P. & J. BAKER LTD., SWAISLAND PRINT WORKS, ENGLAND ‘POPPIES’ PANEL, CIRCA 1895 block-printed cotton, backed on board 73cm x 139cm Literature: Livingstone, K. et al., C.F.A.Voysey: Arts and Crafts Designer, V&A Publishing, London, 2016, pl.147, p.118

£800-1,200

234 KESWICK SCHOOL OF INDUSTRIAL ARTS, THE DESIGN ATTRIBUTED TO C.F.A. VOYSEY ARTS & CRAFTS SILVER PEPPER POT, CHESTER, 1907 repoussé-decorated with a band of heart motifs, with pierced detachable cover, stamped maker’s mark K.S.I.A., hallmarked Chester, 1907 5.5cm high Literature: See Hitchmough, Wendy C.F.A. Voysey, Phaidon, 1995, p. 181, for a pepper pot of matching pattern attributed to Voysey

£200-300

235 MANNER OF C. F. A. VOYSEY ARTS & CRAFTS CARVED OAK TEXT PANEL, CIRCA 1900 The central oak panel carved with inscription I COME WITH SUMMER AND WITH SUMMER GLOW, within stained Grecian style frame Panel 31 x 27.5cm; whole 60.5 x 47.5cm

£200-300

236

237

ENGLISH SCHOOL, MANNER OF C.F.A. VOYSEY

MANNER OF C.F.A. VOYSEY FOR THOMAS ELSLEY & CO.

ARTS & CRAFTS STAINED OAK MANTEL CLOCK, CIRCA 1910

ARTS & CRAFTS BRASS TABLE LAMP, CIRCA 1905

with enamelled dial and tapered case, with winding key, 24cm high; an ARTS & CRAFTS INLAID TEA CADDY & COVER by ARTHUR W. SIMPSON, KENDAL, 14cm high; a COTSWOLD SCHOOL OAK BOX, with fitted interior, 19.5cm across; and a MAHOGANY TRINKET BOX, 16cm wide (4)

the frilled opaline shade supported on a baluster turned column with spreading base, total height 46cm; a SIMILAR EXAMPLE, with dished base and shade support, 45.5cm high; and an ARTS & CRAFTS OAK LAMP BASE, of faceted tapering form, 41cm high to fitting (3)

Literature: Wright, Hugh The Beautiful Furniture of The Simpsons of Kendal, Bookcase 2011, p. 121, pl.61 for an illustration of a similar tea caddy.

£250-350

Exhibited: Clock exhibited Hereford Museum & Art Gallery ‘Love and Labour are All: The Arts and Crafts Movement and Beyond’ 24th March – 16th May 2012, no. 46

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

238 C.F.A. VOYSEY (1857-1941) BOOK BINDINGS & AN AUTOGRAPHED LETTER comprising an AUTOGRAPH LETTER, from Voysey to G.F. Menzies esq. thanking him for a copy of ‘Edward Rigg’s Lecture’, June 24th 1918; together with a COLLECTION BOOK BINDINGS DESIGNED BY VOYSEY, including ‘Individuality’, first edition, Chapman & Hall, London 1915. Green cloth; ‘The Theistic Prayer Book’ by Rev Charles Voysey, 3rd Edition, 1892, green cloth; Ballads & Songs’ by John Davidson, Third Edition 1894, black cloth; Twenty-six ‘Little Library’ volumes (11 in red cloth, 12 in green cloth, 3 in red leather); together with ‘Essays: Carlyle’ with cover designed by TALWIN MORRIS, green cloth; and ‘Tom Finch’s Monkey’ with cover designed by CHARLES RENNIE MACKINTOSH (32) £200-300

239

240

COLLECTION OF BOOKS & PRIVATE PRESS PUBLICATIONS

OUTHWAITE (R.L.)

including Walter Crane, illustrator. The History of Reynard the Fox. London: David Nutt, 1897. 8vo; Moller, Muriel. Wood-carving designs, a portfolio of six sheets of facsimile drawings with a foreword by Walter Crane; Ashbee, C.R. Craftsmanship In Competitive Industry. Essex House Press, 1908, 8vo, original quarter cloth; Jameson (Anna). Legends of the Madonna, Unit Library Ltd. 1904; Walter Crane: ‘The Decorative Illustration of Books. London, 1905; Eric Gill. The Law the lawyers. Concerning dragons. both St Dominics Press, Ditchling; Sculpture and the living model. Sheed & Ward; and Unemployment. Faber & Faber; In Praise of Bishop Valentine. London, Chiswick Press, 1893, octavo, one of 125 copies printed on hand-made paper, title in red and black, engraved frontispiece of a pair of lovers, original vellum jacket with silk ties; Golden Cockerel Press. A Tale of Rosamund Gray and Old Blind Margaret by Charles Lamb, 1928, port. frontis., orig. vellum backed boards, small 8vo (ltd. ed. 137/500); Keats. Odes. De La More Press; The Essays of Sir Roger De Coverley. The Bibelots. J. Potter Briscoe, Ed. vellum covers, limited edition 14/60, published by Gay and Bird, 1901; The book of Ruth, private press, orig. vellum backed boards; Gregynog Press. Bones (Thomas Gwynn) Elphin Lloyd Jones, printed in red, blue and black, illustrations, original boards, 4to, Privately Printed, 1929; Virgil an address to the boys of Sevenoaks School Sir Arthur QuillerCouch. Cambridge University Press 1930; (15)

illustrated by Joseph Southall, original wrap, published National Labour Press, Manchester 1915; together with HOOD (THOMAS). MISS KILMANSEGG AND HER PRECIOUS LEG. A GOLDEN LEGEND, ESSEX HOUSE PRESS, 1904; limited to 200 copies, illustrations by Reginald Savage, original holland-backed boards, uncut, spine label a little chipped, 8vo; TOGETHER WITH a GREETINGS CARD from Mr & Mrs C.R. Ashbee, dated 1905 and with handwritten address to Mrs. R Catterson Smith, Edgbaston (3)

THE GHOSTS OF THE SLAIN

£200-300

241 THE STUDIO, AN ILLUSTRATED MAGAZINE OF FINE AND APPLIED ART FORTY-FOUR VOLUMES / NINE YEARBOOKS variously hard and soft-bound cloth bindings with gilt tooling, and comprising volumes 3-35; 37; 38-45; 48-49; 52; together with A FURTHER NINE STUDIO YEARBOOKS, hard cover, bound in blue half cloth and marbled boards, comprising 1906-1914 (53) £300-500

£300-500

242 ENGLISH SCHOOL SEVEN AGES OF MAN seven studies for stained glass, on a single sheet, pencil , watercolour and bodycolour on paper, framed each 6.5cm x 3.8cm

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

243 C.R. ASHBEE (1863-1942) FOR ESSEX HOUSE PRESS, CHIPPING CAMPDEN THE PRAYER BOOK OF KING EDWARD VII, 1903 number 278 of 400 copies on paper, printed in red and black in Endeavour and Prayer Book types, woodcut illustrations, initials and ornaments by W. Hooper and Clemence Housman after C.R.Ashbee, printed by Messrs. Eyre & Spottiswood, London, original calf-backed oak boards with woven leather straps and metal clasps, by the Guild of Handicraft under the direction of Miss A. Power, bears the Guild mark at the foot of rear turn-in, uncut, 4to; includes a KEY TO THE PRINCIPAL DECORATIONS IN THE PRAYER BOOK OF KING EDWARD VII., AS DESIGNED AND CARRIED OUT BY C.R. ASHBEE.; and a publicity leaflet for the book from The Cambridge Society 38cm x 29cm x 6.3cm £800-1,200

Note: The Prayer Book of Edward VII was largest book produced by the Essex House Press and Ashbee’s magnum opus, for which he designed the Prayer Book typeface.

244 ENGLISH SCHOOL ART NOUVEAU SYMBOLIST EMBROIDERED PANEL, CIRCA 1910 worked in coloured silks and metallic threads on a silk ground, depicting a winged angel, later framed and mounted 23.5cm x 55.5cm

£600-800

245

246

247

UNKNOWN MAKERS

ENGLISH ARTS & CRAFTS

GROUP OF SIX CUSHIONS

NEAR PAIR OF WOVEN HANGINGS, CIRCA 1900

ANNE GRISDALE STUBBS (1879-1975) FOR A. E. JONES

comprising a PLUSH CUSHION, with design of a St Bernard dog on a velvet ground, 60cm x 43cm; a REGIMENTAL EMBROIDERED CUSHION, with inscription ROYAL SCOTS, 33cm x 43cm; a CELTIC REVIVAL DOUBLE-SIDED PLUSH CUSHION, 50cm square; an EDWARDIAN PLUSH FLORAL CUSHION, single-sided, 50cm square; a NEEDLEWORK CUSHION, with a Zoo scene, 41cm x 61cm; and an ART DECO STYLE GEOMETRIC CUSHION, 38cm x 61cm (6)

the repeat design of flowering foliage on an indigo ground (2)

ARTS & CRAFTS COPPER AND SILVER PLATE BOX, CIRCA 1910

331cm x 140cm and 335cm x 139cm

with cedar-lined interior and applied foliate mounts

£200-300

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

248 ENGLISH SCHOOL, MANNER OF HEAL & SON, LONDON PAIR OF ARTS & CRAFTS OAK LADDERBACK CHAIRS, CIRCA 1920 each with slatted backs, the top rail with inlaid chequered design, above a rush seat, raised on tapering legs linked by stretchers (2) 39cm wide, 100cm high, 41cm deep

£400-600

249 § RICHARD GARBE (1876-1957) BUST OF A BOY, DATED 1907 patinated plaster, signed and dated in the plaster RICHARD GARBE/ 1907 58cm high

£200-300

250

251

ARTHUR W. SIMPSON (1857-1922), KENDAL

ENGLISH SCHOOL

ARTS & CRAFTS OAK STATIONARY RACK, CIRCA 1900 the divided rack with curved side supports on a plinth, maker’s number 4242A 89cm wide, 21.5cm high, 21.5cm deep

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

£400-600

£300-500

252

253

ENGLISH SCHOOL

GROUP OF ARTS & CRAFTS BRASS AND COPPER WARES, CIRCA 1910

GROUP OF ARTS & CRAFTS COPPER & BRASS WARES

to include a BRASS LAMP BASE, of square tapering form, repoussé-decorated with panels of sunflowers and flying birds, 23cm high to fitting; a CIRCULAR BRASS JARDINIÈRE, 25.5cm diameter; a BRASS TRIVET, 20cm square; a BRASS LANTERN, 29cm high; a COPPER LANTERN, 31cm high; together with FOUR AESTHETIC MOVEMENT BRASS FINGERPLATES, each 24.5cm x 7,5cm (9)

to include a POTTERIES CRIPPLES GUILD copper candlestick, 26cm high; a HUGH WALLIS COPPER BOX & COVER, stamped marks, 18cm across; TWO COPPER PITCHERS, one with wrythen brass handle, 18.5cm and 28cm high; and an ARTS & CRAFTS BRASS AND COPPER BOWL, 25cm across (5)

£250-350

254 ARTHUR W. SIMPSON (1857-1922), KENDAL ARTS & CRAFTS OAK TRIPTYCH FIRESCREEN, CIRCA 1900 carved with characteristic stylised foliage, the hinged sides with fabric filled side panels total width 71.5cm, 93cm high

£200-300

255 § RICHARD GARBE (1876-1957) BUST OF A BOY, DATED 1898 patinated plaster, signed and dated in the plaster RICHARD GARBE/ 1898 48cm high

£200-300

256 ARTHUR W. SIMPSON (1857-1922), 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

£1,000-1,500

257 J & F POOL, HAYLE ARTS & CRAFTS COPPER CIGAR BOX, of tapering rectangular form, bearing inscription CIGARS, the hinged lid opening to reveal an oak-lined interior 30cm wide, 8.5cm high, 20cm deep

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

258 ARTHUR W. SIMPSON (1857-1922), KENDAL ARTS & CRAFTS OAK CHEST OF DRAWERS, CIRCA 1900 the overhanging top above two short over three long drawers, each with characteristic bronze handles, the whole raised on a plinth, bears maker’s label and stamps ARTHUR W. SIMPSON/ THE HANDICRAFTS/ KENDAL 83.5cm wide, 92cm high, 51.5cm deep

£800-1,200

259 ARTHUR W. SIMPSON (1857-1922), KENDAL ARTS & CRAFTS OAK CHEST OF DRAWERS, CIRCA 1920 the overhanging top above two short over four long drawers, each with characteristic bronze handles, the whole raised on a plinth, bears maker’s label and stamps ARTHUR W. SIMPSON/ THE HANDICRAFTS/ KENDAL 105.5cm wide, 114cm high, 55.5cm deep

£1,000-1,500

260 ARTHUR W. SIMPSON (1857-1922), KENDAL ARTS & CRAFTS OAK DOUBLE BED, CIRCA 1900 the headboard carved in bas relief with a flowering foliate frieze, bears maker’s label and stamps ARTHUR W. SIMPSON/ THE HANDICRAFTS/ KENDAL 137cm wide, 191cm long, 110cm high

£1,000-1,500

261 ARTHUR W. SIMPSON (1857-1922), KENDAL ARTS & CRAFTS OAK BEDSIDE CABINET, CIRCA 1900 the moulded top above single panelled door enclosing a shelf, bears maker’s label and stamps ARTHUR W. SIMPSON/ THE HANDICRAFTS/ KENDAL 45.5cm wide, 77.5cm high, 36.5cm deep

£300-500

262 BRITISH ART POTTERY GROUP OF FIVE WARES, CIRCA 1900 comprising a COLDRUM VASE. designed by Reginald Wells, circa 1914, with applied lugs, stamped maker’s marks, 26.5cm high; an ELTON VASE, with silvered craquelure glaze, painted maker’s mark ELTON, 14cm high; a MINTON VASE, printed and painted with Dutch scenes, impressed maker’s mark, painted make B, 20cm high; a SALT-GLAZED SLEEVE VASE, PROBABLY FULHAM POTTERY, unmarked, 21cm high; and a H. BRANNAM BOWL, decorated with fish, incised maker’s marks, dated 1891, 21cm diameter

263 ARTHUR W. SIMPSON (1857-1922), KENDAL

Exhibited: Hereford Museum & Art Gallery ‘Love and Labour are All: The Arts and Crafts Movement and Beyond’ 24th March – 16th May 2012, no. 57 (Elton vase); no. 70 Coldrum vase

SET OF 6 ARTS & CRAFTS OAK DINING CHAIRS, CIRCA 1920 each with woven leather seats, with close-nail decoration (6)

£300-400

42.5cm wide, 98.5cm high, 38cm deep

£1,500-2,500

264 PHILIP TILDEN (1887-1956) AND AMBROSE HEAL (1872-1959) FOR HEAL & SON, LONDON ‘148’ OAK REFECTORY TABLE, 1920S the rectangular top raised on ring-turned columns with trestle base linked by a stretcher 212cm long 75cm high 91cm deep Literature: Goodden, S. At the Sign of the Four Poster: A History of Heal’s, London, 1984, p.48 Note: Philip Tilden was employed by Winston Churchill in the 1920s as chief architect to the renovation of Chartwell in Kent, Churchill’s weekend residence. He designed this table for the house with Ambrose Heal which then became a standard table ‘148’ in the Heals range.

£1,500-2,000

265

266

ARTHUR W. SIMPSON (1857-1922), KENDAL

ENGLISH SCHOOL

ARTS & CRAFTS OAK WALL MIRROR, CIRCA 1900

ARTS & CRAFTS GILTWOOD & GESSO BED CORONA, CIRCA 1900

with moulded dentil cornice

of oval form carved with a polychrome painted frieze of flowering foliage, with tasselled silk hangings

122cm x 52cm

giltwood frame 51cm wide, 11cm high, 43cm deep

£300-500

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

267 COTSWOLD SCHOOL WALNUT TABLE CABINET, CIRCA 1930 the twin cupboard doors above a long drawer, the whole raised on a plinth base with shaped bracket feet 45.5cm wide, 34.5cm high, 25cm deep

£200-300

268 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) OAK CHEVAL MIRROR CIRCA 1950 the carved frame supported on chamfered uprights, raised on trestle ends with carved mouse signature 61cm wide, 163.5cm high, 31cm deep

£500-700

269 COTSWOLD SCHOOL ARTS & CRAFTS OAK CENTRE TABLE, CIRCA 1920 the square top above crossed supports, raised on a chamfered quadruped base 91.5cm wide, 73cm high, 70.5cm deep

£400-600

270 COTSWOLD SCHOOL OAK LONG STOOL, CIRCA 1920 the rectangular upholstered seat raised on square canted supports linked by stretchers 123cm long, 44cm high, 40cm deep

£500-700 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

271 Y ATTRIBUTED TO HUGH BIRKETT LABURNUM BOX, CIRCA 1980 of octagonal outline with ivory finial, 12.5cm high; also TWO WALNUT HAND MIRRORS ATTRIBUTED TO HUGH BIRKETT, one with line inlay, each 25.5cm long; and an INLAID HAND MIRROR BY AUGUSTUS MASON, CIRCA 1913, stamped maker’s marks to interior H MASON AUGUSTUS 1904, 23.5cm long (4) Literature: Greensted, Mary and Carruthers, Annette Simplicity or Splendour, 1999, fig. 114, for examples in the Cheltenham Collections. Note: For a box of circa 1913 by Augustus Mason see V&A museum no. W.174-1919

£400-600

272 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) CIRCULAR OAK BOWL, 1930S-40S of circular form, with a carved mouse signature to the exterior 23.5cm diameter

£400-600

273 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) OAK BOOKRACK, 1950S-60S with curved ends uniting a slanted back panel and single shelf, with a carved mouse signature 46.5cm wide, 20.5cm high, 20.5cm deep

£250-350

274 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) LARGE KIDNEY-SHAPED OAK TRAY, CIRCA 1970S-80S with a carved mouse signature to each end 46cm wide

£250-350

275 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) EARLY OAK STOOL, CIRCA 1930 the rectangular dished burr seat on faceted baluster turned legs linked by stretchers, carved mouse signature 41cm wide, 45cm high, 32cm deep

£500-700

276 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) A GROUP OF OAK ASHTRAYS, CIRCA 1950S-60S each of canted rectangular form with dished circular centres and a carved mouse signature, 10.5cm across (4) £300-400

277 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) LARGE OAK TRINKET TRAY, 1980S of rectangular form with dished centre, with carved mouse signature 23cm across

£150-250

278 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) OAK CHEESE BOARD, 1940S-50S of oval form with adzed surface and carved mouse signature 38cm long

£300-400

279 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) EXTRA-SIZED OAK BOWL, 1970S-80S of shallow circular form, the centre with a carved mouse signature 32.5cm diameter Note: These bowls are normally around 28cm, so this bowl may be a special commission.

£200-300

280 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) LARGE OAK BOWL, 1970S-80S of shallow circular form, the centre with a carved mouse signature 30cm diameter

£200-300

281

282

COTSWOLD SCHOOL

OAK-FRAMED WALL MIRROR, CIRCA 1930

OAK HANGING CUPBOARD, CIRCA 1930

with exposed tenons, 39cm x 43cm; together with an ARTS & CRAFTS OAK TOILET MIRROR, branded stamp to base AM, with a Crown, 38.5cm wide, 55.5cm high (2)

the top with plate rack ridge, above three astragal glazed doors, enclosing a shelf

£200-300

150cm wide, 67cm high, 22cm deep

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

283 GORDON RUSSELL (1892-1980) ‘LYGON’ COPPER BOWL, CIRCA 1920 impressed maker’s mark LYGON, 21cm diameter; a NORMAN AND ERNEST SPITTLE BRASS & COPPER PHOTO FRAME, stamped maker’s marks, 21cm x 16.5cm; an ARTS & CRAFTS COPPER GLOVE BOX, 25cm across; and an ARTS & CRAFTS BRASS & COPPER TOBACCO BOX, 18.5cm high (4) £200-300

284 ENGLISH SCHOOL ARTS & CRAFTS OAK DRESSER, CIRCA 1900 the base with two drawers and shaped apron, raised on tapered legs 164.5cm wide, 176cm high, 40.5cm deep

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

285 FRANK HENRY MASON (1875-1965) ABERDEEN AND ROYAL DEESIDE lithograph, c.1915, condition A-, not backed 40 x 50 in. (102 x 127 cm.)

£300-500

286 BOWYER SOMERSET, BRITISH RAILWAYS offset lithograph, c.1955, condition A; not backed 40 x 50 in. (102 x 127 cm.)

£500-700

287 BOWYER DEVON, TRAVEL BY TRAIN offset lithograph, c.1955 condition A-; not backed 40 x 50 in. (102 x 127 cm.)

£500-700

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

288 EDWIN CALLIGAN GENERAL WADE’S BRIDGE, ABERFELDY, SHELL lithograph, 1933, condition A-, backed on linen 30 x 45 in. (76 x 114cm.)

£400-600

289 FRED TAYLOR (1875-1963) OXFORD lithograph, c.1950, condition A-; backed on linen 40 x 50 in. (102 x 127 cm.)

£800-1,200

290 FRED TAYLOR (1875-1963) THE COLLEGES OF CAMBRIDGE lithograph, c.1950, condition A-; backed on paper 40 x 50 in. (102 x 127 cm.)

£800-1,200

291 GORDON NICOLL (1988-1959) THE FELIX HOTEL, FELIXSTOWE lithograph, c.1930, condition A-; not backed 40 x 25 in. (102 x 64 cm.)

£1,000-1,500

292 LESLIE CARR KENWOOD AND HAMPSTEAD HEATH lithograph, c.1910, condition B+; not backed 30 x 20in. (76 x 51cm.)

£300-500

293 TOM ECKERSLEY (1914-1997) PAIGNTON, SOUTH DEVON lithograph, c.1960 condition A; not backed 40 x 25 in. (102 x 64 cm.)

£400-600

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

294 RENÉ GRUAU (RENATO DE ZAVAGLI, 1909-2004) RELAX... offset lithograph, c.1950, condition A; not backed 38½ x 24 1/2 in. (98 x 62 cm.)

£400-600

295 PIERRE ZENOBEL (1905-1996) A NEW BLUE TRAIN TO THE COTE D’AZUR lithograph, 1928, condition A; backed on linen 39 1/2 x 25 1/2 in. (100 x 65 cm.)

£2,000-3,000

296 AFTER HENRI MATISSE (1869-1954) NICE lithograph, 1947, printed by Mourlot, Paris, condition A; backed on linen 39 x 25 1/2 in. (99 x 65 cm.)

£700-900

297 ARTHUR PAGES CORSE offset lithograph, 1958, condition A; backed on linen £300-500

298 ROGER BEZCOMBES (1913-1994) CÔTE D’AZUR offset lithograph, 1956, condition A; backed on linen £300-500

299 JEAN JACQUELIN (1905-1989) PROVENCE lithograph, 1945, condition A; backed on linen 39 x 24 in. (99 x 61 cm.)

£300-500

301

300

301

302

303

AFTER RAOUL DUFY (1877-1953)

LEONID A.VORONOV AND MIKHAIL EVSTAFIEV

DAVID LEWIS FOR LONDON TRANSPORT

FRANK REYNOLDS (1876-1953)

PARIS

VODOROT

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

lithograph, c.1927, condition B+; backed on linen

POSTER; ROYAL LONDON; ST JAMES’S PALACE, DESIGNED 1953

POSTER: PUNCH SUMMER NUMBER 1931

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

49 x 37 in. (125 x 94 cm.)

£300-500

£1,500-2,000

lithograph, framed, published by Waterlow & Sons Ltd., London & Dunstable, 101cm x 62.5cm; together with A FURTHER POSTER: HAMPTON COURT, 1963 BY HANNA WEIL FOR LONDON TRANSPORT , lithograph, printed by Curwen Press, framed, 100.5cm x 62.5cm (2)

lithograph, 1931, printed by Bradbury Agnew & Co Ltd, not backed

£200-300

75cm x 100.5cm

£150-250

END OF DAY ONE

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

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

START OF DAY TWO

304

305

306

ENGLISH SCHOOL

MURRLE BENNETT & CO.

ART NOUVEAU SILVER AND ENAMEL, PENDANT, CIRCA 1910

ART NOUVEAU SILVER AND ENAMEL PENDANT, CIRCA 1900

ARTS & CRAFTS SILVER AND GEM-SET PENDANT, CIRCA 1906

worked as a stylised plant form, inset with teardrop enamel in blue, green and purple, with corresponding drop, fine link chain, stamped maker’s marks (indistinct)/950

designed as a stylised plant forms with whiplash foliage and set with blue and green enamels, with mother-of-pearl drop, fine link chain, stamped maker’s marks (indistinct) MBCo/ **5

the pierced and articulated pendant with planished finish set with a hardstone cabochon and mother-of-pearl drop, with link chain, stamped maker’s marks MBCo./ 950

5cm long; total length 27cm

4.5cm long; total length 29.5cm long

4cm long; total length 27cm

£400-600

307 SHAPLAND & PETTER, BARNSTAPLE ARTS & CRAFTS MAHOGANY PIANO STOOL, CIRCA 1900 the sides pierced with organic bud motifs, on tapering supports, the hinged seat later-upholstered in velvet, with lined interior and patented hinged prop 52cm wide, 56cm high, 56cm deep

£300-500

308 SHAPLAND & PETTER, BARNSTAPLE ARTS & CRAFTS OAK FRAMED LOG BOX, CIRCA 1900 set with repoussé-decorated copper panels with a hammered finish, and a removable liner to the interior 63.5cm wide, 45cm high, 64cm deep

£700-1,000

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

309 STUART & SONS, STOURBRIDGE SILVER MOUNTED GLASS DECANTER, CIRCA 1903 the pinched body with applied green glass decoration, silver mounted neck with glass stopper, stamped maker’s marks and hallmarks for Birmingham 1903 26cm high

£200-300

310 STUART & SONS, STOURBRIDGE GRADUATED SET OF THREE ART NOUVEAU ‘CAIRNGORM’ GLASS VASES, CIRCA 1910 with applied green peacock trailing decoration, largest 29.5cm high; 22cm high and 11.5cm high (3) £200-300

311 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) £200-300

312 313 JOHN WALSH WALSH, BIRMINGHAM TWO ENGLISH ART NOUVEAU OPALESCENT GLASS VASES, CIRCA 1910 each of squat form with wavy rims, 12cm and 11cm high; together with TWO FOOTED VASES, one with lobed body and wavy rim, raised on a spreading circular foot, 18cm high; the other of squat ovoid form with wide frilled rim, raised on a knopped stem with spreading foot, 18cm high (4) £400-600

JOHN WALSH WALSH, BIRMINGHAM GROUP OF THREE VASELINE GLASS ‘FISHNET’ VASES, CIRCA 1910 each with pinched square form bases and threaded fishnet decoration, largest 22cm high, middle 11.5cm high, smallest 8.5cm high (3) £250-350

314 MURRLE BENNETT & CO. ARTS & CRAFTS SILVER AND GEM-SET PENDANT, CIRCA 1906 the pierced and articulated pendant with planished finish set with faceted green stones and with original link chain, stamped maker’s marks MBCo./ 950 5.5cm long; total length 26cm

£600-800

315 ATTRIBUTED TO MURRLE BENNETT & CO. ART NOUVEAU PENDANT, CIRCA 1900 with planished finish, set with mother-of-pearl, unmarked, 4.5cm tall; together with a JENSEN & AKERLUND BROOCH, set with chrysoprase cabochons, stamped marks J&A/ 830S, 10cm long; and a CELTIC REVIVAL BROOCH, cast with Celtic knotwork and set with a lapiz lazuli cabochon stone, unmarked, converted from a buckle, 5.5cm across (3) £200-300

316 ATTRIBUTED TO THEODOR FAHRNER FOR MURRLE BENNETT & CO. ART NOUVEAU SILVER BROOCH, CIRCA 1900 openwork square form set with a tapered turquoise, stamped maker’s marks MBCo/ 950 3cm across

£400-600

317

318

319

ENGLISH SCHOOL

STUART & SONS, STOURBRIDGE

GROUP OF FOUR ART NOUVEAU VASELINE GLASS VESSELS, CIRCA 1900

GROUP OF THREE ART NOUVEAU ‘CAIRNGORM’ GLASS VASES, CIRCA 1910

ART NOUVEAU ‘CAIRNGORM’ GLASS POSY BOWL, CIRCA 1910

comprising a CHIMNEY VASE, with frilled rim, 29.5cm high; TWO SMALLER CHIMNEY VASES with frilled rims, one with ribbed spiral decoration, each 15.cm high; and a FOOTED OPALESCENT BOWL, with wide frilled rim, 18cm high (4)

comprising a FOOTED LOBED VASE, 16cm high; a TAPERING VASE, with frilled rim, 15.5cm high; and a TAPERING STEM VASE, with plated foot, stamped maker’s marks N&W EPNS 91880, 23cm high, all with applied green trailing decoration (3)

of tapering form with wide rim, with applied amethyst and clear glass trailing, 9cm high; and a FOOTED VASE, of similar decoration, 12cm high (2)

£200-300

320

321

322

STEVENS & WILLIAMS, STOURBRIDGE

STUART & SONS, STOURBRIDGE

JOHN WALSH WALSH, BIRMINGHAM

ART NOUVEAU GREEN GLASS DECANTER, CIRCA 1895

ART NOUVEAU IRIDESCENT ‘CAIRNGORM’ FROSTED AND VASELINE GLASS VASE, CIRCA 1910

ENGLISH ART NOUVEAU OPALESCENT GLASS VASE, CIRCA 1910

lobed base with pinched body, white metal mounted neck with green glass stopper

£150-250

with applied peacock trails

with frilled rim and twisted stem on a spreading base

27cm high

20cm high

41cm high

£200-300

£150-200

£150-250

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

323 SHAPLAND & PETTER, BARNSTAPLE PAIR OF ART NOUVEAU INLAID PANELS, CIRCA 1910 inlaid and painted specimen woods, each with a stylised foliate design, later framed (2) 19cm x 33cm

£300-400

324 SHAPLAND AND PETTER, BARNSTAPLE

325

ART NOUVEAU OAK SIDEBOARD, CIRCA 1910

SHAPLAND & PETTER, BARNSTAPLE

the foliate carved and arched mirror back between embossed copper panels, on twin turned uprights above a pair of frieze drawers and a central linen-fold door between pomegranate carved cupboard doors with embossed copper strap hinges and foliate stem incised uprights, on pierced apron and stem feet

ART NOUVEAU MAHOGANY WALL SHELF, CIRCA 1900

196cm wide, 186cm high, 61cm deep

55cm wide, 45.5cm high, 13.5cm deep

£800-1,200

£100-200

the shaped and moulded shelf supported by twin brackets on backplate with inset glazed watercolour study, stamped maker’s marks R2466/ 94

326 ENGLISH SCHOOL ARTS & CRAFTS MAHOGANY FRAMED FIRESCREEN, CIRCA 1900 with inset embroidered silkwork panel depicting poppies 72cm wide, 103cm high, 37cm deep

£400-600

327 ENGLISH SCHOOL ART NOUVEAU MAHOGANY FRAMED TUB ARMCHAIR, CIRCA 1900 the curved rope rail and arms above an inlaid splat and drop-in seat, the whole raised on turned lags linked by stretchers, bears retailer’s label DENBY & SPINKS/ LEEDS 52cm wide, 84cm high, 41cm deep

£300-500

328 ENGLISH SCHOOL ART NOUVEAU BRASS EXTENDING STANDARD LAMP, CIRCA 1910 with elaborate tripod base and later silk shade 118cm high to top of fitting (closed)

£250-350

329 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 £800-1,200

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

330 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

331 ARCHIBALD KNOX (1899-1933) FOR LIBERTY & CO., LONDON ‘TUDRIC’ PEWTER AND ENAMEL-SET ROSE BOWL, CIRCA 1900 with supporting handles forming the feet, embossed with stylised honesty seed pods and stems and with applied enamels, stamped maker’s marks, TUDRIC/ 0229 30cm wide, 15cm high

£400-600

332 LIBERTY & CO., LONDON SILVER QUAICH, BIRMINGHAM 1922 planished decoration, with maker’s marks and hallmarks for Birmingham 1922, stamped mark 5778 16.5cm long/ weight: 136g approx

£150-250

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

333 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON RARE ‘TUDRIC’ PEWTER CLOCK, CIRCA 1900 the single train British United Clock Co. movement, enclosed within case of bullet form, cast with shaped spreading base, stamped maker’s marks TUDRIC/ 0254 19.5cm high Literature: Martin, Stephen A. Archibald Knox, pub. Art Media Press, London, 2001, p.237

£4,000-6,000

334 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON PAIR OF ARTS & CRAFTS SILVER CANDLESTICKS, BIRMINGHAM, 1905-06 the circular bases set with three turquoise cabochons, with tapering stems and detachable sconces, stamped maker’s mark L & CO., hallmarked Birmingham, 1905-06, pattern no. 25 (2) 15.5cm high Literature: See Martin, Stephen ‘Archibald Knox’ Second Edition 2001, p.221, for a pair of candlesticks with enamel bosses of matching pattern no. 25 illustrated; and p.183 for a single similar candlestick of same pattern

£800-1,200

335

336

337

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

TUDRIC PEWTER COFFEE SERVICE, CIRCA 1905

ART NOUVEAU SILVER AND ENAMEL TEASPOON, BIRMINGHAM 1930

‘TUDRIC’ PEWTER TWIN-HANDLED BOWL, CIRCA 1900

comprising a coffee pot, milk jug and sugar bowl, each cast with whiplash foliage and entwined fruiting buds, the coffee pot with wicker-bound handle and wood thumbpiece, stamped marks TUDRIC PEWTER, 0231 (3)

with polychrome enamelled terminals, hallmarked Birmingham 1930; another LIBERTY & CO. ART NOUVEAU SILVER & ENAMEL TEASPOON, hallmarked Birmingham 1903; and TWO FURTHER LIBERTY & CO SILVER & ENAMEL TEASPOONS, hallmarked Birmingham 1909 and 1929, all with stamped maker’s marks (4)

the pierced bowl cast with stylised foliate decorations, with green glass liner, stamped maker’s marks TUDRIC 0320/ REG426935

coffee pot 21.5cm high Literature: a coffee service of matching pattern is in the collection of the British Museum, illustrated in Judy Rudoe, Decorative Arts 1850-1950, A Catalogue of the British Museum Collection, pl.74

£300-500

each approx. 11cm long

£200-300

20cm diameter

£200-300

338 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON RARE EXTRA-SIZE ‘TUDRIC’ PEWTER CLOCK, CIRCA 1900 the circular dial enclosed within tapered case inlaid with abalone shell tablets, stamped maker’s marks to base TUDRIC/ 0252 25cm high Literature: Liberty Pewter Sketch Book, Westminster City Archives, London, n.d., p. 57, no. 0252 Tilbrook, Adrian J. The Designs of Archibald Knox for Liberty & Co., London, 1995, p. 106, no. 88 Martin, Stephen A. Archibald Knox, Art Media Press, London, 2001 pp. 240 and 241

£20,000-30,000

Archibald Knox’s designs for Liberty & Co. are very well documented, especially his designs for their ‘Tudric’ and ‘Cymric’ ranges. At 25cm high, however, this clock is unusually larger than its smaller counterpart, which typically measures around 16cm high. Knox is known to have produced only a few extra-sized clocks during his Liberty period and it may be that this rare example was produced as a special commission. Knox’s work draws on the rich cultural heritage of his native Isle of Man. As with many of the larger clocks that are known to exist, their monumental and minimalist forms are

reminiscent of the standing Celtic stones which populate the island’s countryside and which Knox spent a lifetime exploring. The decoration on this example, stripped of superfluous ornament, incorporates abalone shell inlay as a series of narrow strips; a stark and striking visual effect that signals a modernist approach to the design. This impressive clock fulfils Knox’s desire to bring together two worlds which he valued deeply: the ancient Celtic tradition and the new, modern world of design, which was undergoing the development of a new and innovative aesthetic.

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

339 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON ‘TUDRIC’ PEWTER AND ENAMEL CARRIAGE CLOCK, CIRCA 1900 the rectangular case with cast foliate decoration, underside stamped 0721/ ENGLISH PEWTER MADE BY LIBERTY & CO 11.5cm high excluding handle

£800-1,200

340 W.H.HASELER FOR LIBERTY & CO. LONDON PEWTER & ENAMEL BOX, CIRCA 1907 with planished finish, the lid set with an enamel plaque with a design of a galleon in full sail, stamped maker’s marks 0544 12.5cm across, plaque 6.5cm x 8.5cm Exhibited: Hereford Museum & Art Gallery ‘Love and Labour are All: The Arts and Crafts Movement and Beyond’ 24th March – 16th May 2012, no. 76

£300-400

341 LIBERTY & CO., LONDON ARTS & CRAFTS SILVER AND ENAMEL BELT BUCKLE, 1902 formed of two sections, each cast with stylised plant motifs on a blue and green enamelled ground, stamped maker’s marks L&CO, hallmarked 1902

342

8cm across

LIBERTY & CO., LONDON

£300-500

‘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

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

343 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON ‘TUDRIC’ PEWTER AND ENAMEL MANTEL CLOCK, CIRCA 1900 of arched rectangular form, the dial with Roman numerals above two enamel cabochons, the front cast with symmetrical stylised plant forms, with a Lenzkirch movement, stamped marks to base TUDRIC/ 0370 20.5cm high Literature: Martin, Stephen A. (Edit.) Archibald Knox, London 2001, p. 239

£3,000-5,000

344 ATTRIBUTED TO DAVID VEASEY FOR LIBERTY & CO., LONDON ‘TUDRIC’ PEWTER AND COPPER MANTEL CLOCK, CIRCA 1910 of square section with a spreading base, decorated with cast panels of stylised honesty 16.5cm high Exhibited: Hereford Museum & Art Gallery ‘Love and Labour are All: The Arts and Crafts Movement and Beyond’ 24th March – 16th May 2012

£300-500

345 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 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

346

347

348

ATTRIBUTED TO LIBERTY AND CO., LONDON

LIBERTY & CO., LONDON

ATTRIBUTED TO LIBERTY & CO., LONDON

ANGLO-MORESQUE OCCASIONAL TABLE, CIRCA 1910 the tiled top raised on angled supports linked by a lower tier

ARTS & CRAFTS OAK FIRESCREEN, CIRCA 1910 the pierced frame inset with embossed polychrome panel

ART NOUVEAU BOOKCASE, CIRCA 1900 oak, with embossed copper

57cm wide, 77.4cm high

39.5cm wide, 90cm high, 21cm deep

£200-300

£250-350

92cm wide, 65cm high, 51cm deep

£250-350

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

349 ENGLISH SCHOOL, MANNER OF PILKINGTON’S TILE & POTTERY CO. FRAMED PERSIAN STYLE PAINTED TILE PANEL, 20TH CENTURY depicting a figural scene within elaborate design of stylised foliage, within corresponding frieze border, 45.5cm x 60cm; together with THREE IZNIK STYLE 8-INCH TILES, 20.5cm square (4) £200-300

350 ATTRIBUTED TO LIBERTY & CO., LONDON ANGLO-MORESQUE WALNUT OCCASIONAL TABLE, CIRCA 1900 the octagonal top above fretwork filled panels, raised on square tapering legs, linked by a lower tier, 67cm wide, 65cm high ; together with TWO FURTHER LIBERTY STYLE OAK OCCASIONAL TABLES, 46cm wide, 69cm high and 36cm wide and 51cm high (3) £200-300

351 ATTRIBUTED TO LIBERTY & CO., LONDON ANGLO-MORESQUE MAHOGANY OCCASIONAL TABLE, CIRCA 1910 the moulded top above pierced apron and galleried lower tier, stamped registration number 68.5cm wide, 69.5cm high, 43cm deep

£300-500

352 MANNER OF LIBERTY & CO., LONDON PAIR OF ANGLO-MORESQUE CORNER ARMCHAIRS, CIRCA 1910 stained and ebonised beech with later upholstered seats 44cm square, 62.5cm high

£200-300

353 LIBERTY & CO., LONDON

354

355

MANNER OF LIBERTY & CO., LONDON

mahogany, bears traces of original paper label verso, 45.5cm high; together with a SET OF ART NOUVEAU MAHOGANY WALL SHELVES, CIRCA 1910, with inlaid roundels, 53cm wide, 41.5cm high, 19cm deep (2)

STAINED BEECH ‘THEBES’ STOOL, EARLY 20TH CENTURY

ARTS & CRAFTS COPPER AND ENAMEL WALL MIRROR, CIRCA 1900

with dished ply top raised on turned legs and linked by spindle-filled stretchers

with strapwork decoration and set with later ceramic cabochons and hammered finish

43cm square, 35.5cm high

47cm x 69cm

£200-300

£120-180

£300-500

ANGLO-MORESQUE ‘ANGLE BRACKET’, CIRCA 1900

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

356 ATTRIBUTED TO GOODYERS, LONDON ARTS & CRAFTS OVERMANTEL MIRROR, CIRCA 1900 copper and enamel, with repoussé decoration and hammered finish 124.5cm wide, 78cm high, 11cm deep

£1,500-2,000

357 LIBERTY & CO., LONDON PAIR OF WALNUT ARTS & CRAFTS ‘ARGYLL’ SIDE CHAIRS, CIRCA 1890 each with turned cruciform backs above rush seats, on turned tapering legs linked by stretchers (2) 41cm wide, 77cm high, 39cm deep Literature: Bennett, D., Liberty’s Furniture 1875-1915: The Birth of Modern Interior Design, Antique Collector’s Club, 2012, p.101, pl. 4.26

£300-500

358 LEONARD WYBURD (1865-1958) FOR LIBERTY & CO., LONDON ‘ATHELSTAN’ ARTS & CRAFTS ARMCHAIR, CIRCA 1900 oak with leather drop-in seat, stamped to back seat rail EF 67.5cm wide, 90.5cm high, 63cm deep

£600-800

359 LIBERTY AND CO., LONDON ‘RALEIGH’ OAK SMOKER’S CABINET, CIRCA 1890 with single door and open shelf, the door with stencilled lion rampant decoration and bearing frieze with motto THE MAN WHO SMOKES THINKS LIKE A SAGE/ AND ACTS LIKE A SAMARITAN, retains original copper mixing bowls 71cm wide, 61cm high, 18cm deep Literature: Bennett, D., Liberty’s Furniture 1875-1915: The Birth of Modern Interior Design, Antique Collector’s Club, 2012, p.36, pl. 1.40

£200-300

360 LIBERTY & CO., LONDON ARTS & CRAFTS OAK SIDEBOARD, CIRCA 1900 the pierced superstructure with central cupboard door, above two short drawers and an open shelf flanked by two further cupboard doors, the whole raised on shaped bracket feet, with ivorine maker’s label 182cm wide, 200cm high, 65cm deep Literature: See Bennett, D., Liberty’s Furniture 1875-1915: The Birth of Modern Interior Design, ACC, 2012, pl.5.75-5.77, p.190, where a similar sideboard is illustrated

£1,000-1,500

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

361 FRANCES MACDONALD MCNAIR (1873-1921) DESIGN FOR A COVER FOR ‘DAS EIGENKLEID DER FRAU’, 1903 original cover design, pencil on brown tracing paper, laid on board, signed in pencil lower right FRANCES MCNAIR/ INV. DEL, inscribed ANNA MUTHESIUS and DAS EIGENKLEID 32cm x 25cm Provenance: Phillips, London, 17 November 1998, lot 287 Collection of Donald & Eleanor Taffner, New York Lyon & Turnbull, Edinburgh, The Taffner Collection, 7th September 2012, lot 64 Private Collection, London Literature: Burkhauser, Jude ‘Glasgow Girls: Women in Art and Design 18801920’, Edinburgh 1990, p. 54, fig. 53 for illustration of the printed book cover. Robertson, Pamela (Edit.) ‘Doves and Dreams: The Art of Frances Macdonald and J. Herbert MacNair’, Hampshire 2006, p. 170, exhib. ref. G17; G18, cat. ill. 16 for an image of the printed cover. Note: A member of the ‘Glasgow Four’, Frances Macdonald McNair’s collaborations with her sister Margaret, Charles Rennie Mackintosh and Herbert McNair are celebrated as pivotal works in the development of the Art Nouveau aesthetic in Scotland. Equally, her individual output as an artist was radical and challenged the fanciful and idealised depictions of the female form that were prevalent in Victorian Art of the late nineteenth century. This important early work by Frances, an original cover design for ‘Das Eigenkleid Der Frau’, epitomises the avant-garde movement and illustrates a bold feminist statement, depicting a fresh image of the emerging ‘New Woman’. Unlike some of her contemporaries, Frances’ early life was not one of hardship. Her father’s success as an engineer ensured the family was financially secure so that Margaret and Frances could enrol in Day Classes at the prestigious Glasgow School of Art in 1891, a privilege that, at the time, most young women did not enjoy. Indeed, the city of Glasgow in the 1890s was a highly prosperous one; quickly becoming one of the wealthiest cities in the United Kingdom, it was a model for innovative design and manufacturing processes within the shipbuilding and textile industries. In this vein, the School of Art’s main focus was to foster talented designers that would strengthen the city’s key trades in an age of rapid change and increasing industrialisation. Yet the School’s Director, Francis Newberry, equally valued the importance of nurturing individuality and actively encouraged students to explore their own interests in their work, creating unique avenues for artistic expression. Frances and Margaret immersed themselves in this stimulating and progressive environment and one in which women were able to pursue a career as an artist, as opposed to undertaking classes for merely recreational purposes.

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

This unique approach to art and design was critical in Frances’ formative years as an artist. In her early work, we see a distinct departure from the academic tradition, in favour of experimentation with stylised human forms and decorative linear patterns. This is confidently executed in her design for the cover of ’Das Eigenkleid Der Frau’ (Women’s Own Dress). The design is steeped in lyrical symmetry as the eye traces around the abstracted curvilinear forms, dancing from figure to figure. Frances’ links to the ‘Glasgow Four’ and the Art Nouveau aesthetic are also apparent; from the idiosyncratic lettering to preoccupations with botanical forms, in particular stylised roses. The book itself, authored by Anna Muthesius, is considered a seminal text in the development of early twentieth-century women’s fashion. Muthesius and her husband Hermann, the architectural writer, became close friends with the ‘The Four’ after several trips to Glasgow and the Willow Tearooms. Anna believed women should have the freedom to choose their own clothes, styling and fabrics. Her book celebrates artistic dress and represents an outlet for radical expression for women, aligning itself well to Frances’ artistic representation of the female form. The dresses were usually made by their designers and the book includes plates showing the Macdonald sisters wearing such dresses along with similar examples designed by Jessie Newbery and worn by her daughters, Mary and Elsie. The turn of the century was characterised by great social and political upheaval. At the centre of this was the idea of the ‘New Woman’; a financially independent woman who was able to engage more actively as a member of society. More women attained an education and joined the workforce to earn a living for themselves; they were able to engage in more sporting activities such as cycling, and they could freely express themselves through fashion. Taking a closer look at the design, one is immediately drawn to the enchanting linearity of the figures, deviating from the constraints of traditional Victorian representations of women as objects of purity and beauty. Here, the figures are imbued with an almost mystical quality, as they appear floating in a newly imagined world of femininity. Each woman is depicted in an elaborate shoulder-less dress which accentuates their feminine features; a mass of flowing hair carries the eye down the image until it catches the scattering of roses and every intricate detail of clothing, so as not to miss a single thread. These women refuse to prescribe to a rigid Victorian society of the past. Instead, they represent a promise of change, towards greater independence and individuality. Frances’ work was heavily criticised at the time and much of it was destroyed by her husband following her death, yet she was a pivotal artist in the development of the Glasgow Style and Art Nouveau aesthetic in Scotland. ’Das Eigenkleid Der Frau’ is a stunning example of her early designs that are confrontational, unapologetic, and defiant in illustrating a refreshing image of the ‘New Woman’ in a post-Victorian avant-garde era.

£10,000-15,000

362 CHARLES RENNIE MACKINTOSH (1868-1928) GATE-LEG TABLE, CIRCA 1910 decorated oak, with rectangular top and single drop leaf above square tapered legs linked by stretchers and terminating in brass caps and castors, the whole with stencilled chequer decoration 122cm long, 58.5cm deep (closed), 86cm deep (open), 76cm high Provenance: William Douglas Esq. Collection of Angus and Alison Hill, Glasgow Literature: Billcliffe, Roger Charles Rennie Mackintosh, The Complete Furniture, Furniture Drawings and Interior Designs, Cameron & Hollis 2009, p.262, Cat. No. 1910.21 where the companion table is illustrated. Note: In 1911 Mackintosh was in the last phase of creativity as an architect and designer in Glasgow before he and his wife Margaret Macdonald Mackintosh moved to Walberswick in Suffolk three years later. During that year he was commissioned by Miss Cranston to provide designs for the temporary White Cockade tearoom at the Glasgow Exhibition. He also produced redesigns of furniture and interior decorations for The Chinese Room and designed a new room, The Cloister Room, both for Miss Cranston’s Ingram Street Tearooms. At the same time, he worked on a series of furniture designs for his friend, the decorator William Douglas, who worked from premises in West George Street and was employed on various projects by Mackintosh including Hous’hill, Miss Cranston’s home, in 1904. Amongst the furniture designed for Douglas was the current lot, a previously unrecorded gate-leg table in oak with distinctive and characteristic chequer decoration which extends around the piece. In keeping with other furniture in this group the table’s design has its origins in earlier furniture styles. It is unusual to see the painted design applied directly to the furniture although the design is a frequently used motif. Mackintosh did use this stencilled technique in a later scheme for W.J. Bassett-Lowke at 78 Derngate, Northampton from 1916-19. A companion Pembroke table, also made for William Douglas, but with two drop leaves and the gate legs to opposing sides, has identical decoration.

£8,000-12,000

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

100

363 TALWIN MORRIS (1865-1911) GLASGOW SCHOOL SYMBOLIST PANEL, CIRCA 1900 repoussé brass, framed 18.5cm x 17cm Note: After spending part of his early career working as an art editor in London, Talwin Morris took up a post as Arts Manager for Glasgow publisher Blackie & Son in 1898, a position he held until his death in 1911. He quickly became acquainted with Charles Rennie Mackintosh and the circle of artists associated with Blackie and the Glasgow School of Art, which had a significant influence on his work. Perhaps best known for his book designs, Morris also produced pieces of furniture, textiles and metal work, which were incorporated into many of his decorative schemes, including his own home at Dunglass Castle. Here, the influence from the Glasgow School is most evident in the heavily stylised features of the figure as well as a concerted effort to express the linear and abstract.

£2,000-3,000

364 GLASGOW SCHOOL ART NOUVEAU WALL MIRROR, CIRCA 1900 repoussé-decorated with opposed peacocks and eye motifs, signature mark lower right M. DARE 77.5cm x 53cm

£1,500-2,500

365 SCOTTISH SCHOOL ARTS & CRAFTS WALL MIRROR, CIRCA 1920 patinated copper, of rectangular form, repousse-decorated with thistles 47cm x 59cm

£300-500

366 SCOTTISH SCHOOL ARTS & CRAFTS BRASS WALL MIRROR, CIRCA 1920 repoussé-decorated with stylised foliate forms 48cm diameter

£200-300

367 SCOTTISH SCHOOL ARTS AND CRAFTS WALL CLOCK, CIRCA 1900 brass and pewter, repoussé-decorated and bearing inscription I MARK TIME/ DOST THOU? dial 39cm x 33cm

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

101

368 CHARLES RENNIE MACKINTOSH (1868-1928) INLAID MAHOGANY BEDSIDE CABINET, 1916 with ebonised plinth and shell-inlaid handles, the upper section with two doors flanked by uprights pierced by squares, the base with single panelled door enclosing a single drawer and a shelf 36cm wide, 122cm high, 35.5cm deep Provenance: W.J. Bassett-Lowke, 78 Derngate, Northampton Mr Cave, Northampton, thence by descent Sotheby’s Applied Arts from 1880, 21st October 1988, Lot 101 Private Collection, London Literature: Billcliffe, Roger Charles Rennie Mackintosh, The Complete Furniture, Furniture Drawings and Interior Designs, New York, 1979, p.232, Cat. No. 1917.16 illustrated. Victoria & Albert Museum, Museum no. CIRC.594:1,2-1966 http://collections.vam. ac.uk/item/O129986/cabinet-mackintosh-charles-rennie/ where the pair to this cabinet is illustrated.

£10,000-15,000 Note: Following the success of his designs for Miss Cranston’s Ingram Street Tearooms in 1911, Mackintosh spent the next few years struggling to find work, and by 1914 he and his wife Margaret had moved to Walberswick in Suffolk. They remained in close contact with Francis Newberry and his family, who spent their summer holidays in cottages nearby. Mackintosh’s main client during this period was W. J. Bassett Lowke, of 78 Derngate, Northampton. Bassett Lowke had fostered early connections with those involved in the Deutscher Werkbund movement, which played a central role in the development of modern architecture and industrial design. Having not heard of Mackintosh prior to 1914, Bassett Lowke hired him for a project following the recommendation of a close friend. After leaving Glasgow, Mackintosh was keen to explore the inspirations he found during his visit to Vienna in 1900, and this married well with Bassett Lowke’s open-minded approach to the design and manufacturing process. In the current lot, Mackintosh places a clear emphasis on angular lines, minimal decoration and a far more solid sense of form; a departure from the curvilinear and stylised decorative motifs which dominated much of his earlier work. Typically, Mackintosh would have personally advised the furniture maker, amending his designs as the piece was in the midst of construction. However, under Basset-Lowke, Mackintosh had to rely on his drawings to communicate his wishes to the company’s craftsmen, many of whom were German immigrants working on the Isle of Man. Designs focussed on broad planes of timber, polished and waxed rather than stained, enhanced by details of abalone inlay. The result is an array of visually striking furniture with an elegant decorative effect that defines his work in Northampton.

102

369 CHARLES RENNIE MACKINTOSH (1868-1928) FOR MISS CRANSTON’S TEAROOMS, GLASGOW GROUP OF TEA WARES, CIRCA 1900 comprising TWO PLATED TEASPOONS, one with stamped mark MISS CRANSTON’S, 15.2cm long; a PLATED PRESERVE OR SUNDAE SPOON, with scratched out mark, 12.8cm long; and a PLATED CAKE FORK, with stamped mark MISS CRANSTON’S, 12.2cm long; together with A PAIR OF EARTHENWARE CUPS AND SAUCERS, each printed blue on white with the Willow Pattern and with printed marks under base MISS CRANSTON’S, cup 6.3cm high, saucer 13.8cm diameter (6) Literature: Rudoe, Judy, Decorative Arts 1850-1950: A Catalogue of the British Museum Collection, p. 211, pl. 66, for an illustration of similar spoons Howarth, Thomas, Charles Rennie Mackintosh and the Modern Movement, London, 1952, pl. 51

£800-1,200

370 ATTRIBUTED TO GEORGE WALTON FOR GOODYERS, LONDON ARTS & CRAFTS MANTEL CLOCK, CIRCA 1900 copper and enamel, stamped maker’s marks to rear GOODYERS/ REGENT STREET/ LONDON W 41cm wide, 24.5cm high

£1,000-1,500

371 CHARLES RENNIE MACKINTOSH (1868-1928) HIGH STOOL, CIRCA 1894 beech, the circular seat raised above three turned legs linked by stretchers 68cm high Literature: Billcliffe, Roger, Charles Rennie Mackintosh: The Complete Furniture Drawings & Interior Designs, Moffatt 2009, page 32, illus. D1894-96.1 Note: Made for Queen Margaret Medical College, Glasgow, the treatment of the stretchers appear to echo those of the domino table designed by Mackintosh in 1898 for the Argyle Street Tea Rooms.

£800-1,200

372 GEORGE WALTON (1867-1933) WALNUT ‘PHILLIPPINES’ SIDE CHAIR, CIRCA 1902 with gilt details, the arched and pierced crest rails above a caned panel back and seat on turned and tapering front legs with outturned feet 52.5cm wide, 124cm high, 48cm deep Provenance: The Phillippines, Brasted Chart, Kent Literature: Moon, Karen ‘George Walton; Designer and Architect’, White Cockade 1993, page 120, plate 157 Note: Walton decorated the drawing-room at The Phillippines from 1902, and the scheme marked a change of direction for his work to a more formal, classical style.

£1,500-2,000

373 SCOTTISH SCHOOL, MANNER OF JOHN EDNIE ARTS & CRAFTS OAK TALL CHAIR, CIRCA 1900 the tall slatted back above solid seat on square legs 44.5cm wide, 131cm high, 41cm deep

£200-300

103

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

£2,000-3,000

375 § MARY NEWBERRY STURROCK (1892-1985) IPOMOEA, AGAPANTHUS, G. ASCLEPIADA watercolour, signed and inscribed MARY STURROCK, 60cm x 41cm; together with another by the same hand, FRITILLARY, GRAPE HYACINTHS, CAMPANULA, watercolour, signed in pencil lower right M.N. STURROCK, 44cm x 28cm (2) £500-800

376 § 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: Collection of Donald & Eleanor Taffner, New York Lyon & Turnbull, Edinburgh, The Taffner Collection, 7th September 2012, lot 3

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

104

377 AFTER W.G. MORTON ART NOUVEAU STYLE STAINED AND LEADED GLASS PANEL, LATE 20TH CENTURY the design depicting a water sprite 53cm x 45cm Literature: Donnelly, Michael Glasgow Stained Glass Glasgow Museums 1981, front cover illustration

£600-800

378 GLASGOW SCHOOL PAIR OF STAINED GLASS WINDOW PANELS, CIRCA 1900 frosted, coloured and opalescent glass, each of oval form with hanging loops, the design depicting stylised roses (2) 38cm x 30cm

379 SCOTTISH SCHOOL ARTS & CRAFTS MIRROR, CIRCA 1910 brass, repoussé-decorated with stylised foliage 49cm square

£300-500

380 MARGARET GILMOUR (1860-1942) GLASGOW SCHOOL BRASS WALL SCONCE, CIRCA 1910 repoussé-decorated with a panel of flowering foliage, chased monogram MG 66.5cm tall

£600-800

381

382 §

REGINALD FAIRFAX WELLS (1877-1933)

SIR CHARLES THOMAS WHEELER (1892-1974)

‘BABY TRYING TO WALK’, CIRCA 1900 bronze, mid-brown patina, signed in the bronze, applied Valsuani foundry mark

‘EMBRACING COUPLE’

11cm high

bronze, mid-brown patina, signed in the bronze C. WHEELER/ 1916, raised on a marble plinth

Note: Illustrated in the Studio Yearbook 1903, p.20

bronze 14cm high; overall height 16.5cm high

£200-300

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

£300-500

105

383

384

SCOTTISH CELTIC REVIVAL

SCOTTISH SCHOOL, MANNER OF MARION HENDERSON WILSON

ARTS & CRAFTS STANDING CLOCK, CIRCA 1920 brass and oak, with repoussé-decorated dial and pendulum and weights with corresponding decoration, supported on a tapering frame

ARTS & CRAFTS MIRROR, CIRCA 1910

47cm wide, 189cm high, 32cm deep

brass, repoussé-decorated with entwined roses

£800-1,200

40.5cm x 69.5cm

£800-1,200

385 NORAH NEILSON-GRAY (1882-1931) HARVEST FIELD watercolour, signed lower right NORAH NEILSON-GRAY 34cm x 28.5cm

£1,500-2,000

106

386 SCOTTISH SCHOOL ARTS & CRAFTS BRASS WALL CLOCK, CIRCA 1900 the dial of shaped rectangular outline, repoussé decorated with stylised rose and thistles, with decorated weights and pendulum dial 38cm high, 29cm wide

£200-300

387 JAMES WRIGHT (1885-1947) CARPE DIEMS oil on board, signed lower right JAS WRIGHT 120cm x 96cm

£400-600

388 JESSIE MARION KING (1875-1949) GROUP OF HAND-PAINTED CERAMICS, CIRCA 1940 comprising a LARGE CUP AND SAUCER, cup 7.5cm high; saucer 15cm diameter; THREE SMALLER CUPS AND SAUCERS, cup 5cm high; saucer 13cm diameter; TWO SMALL SAUCERS, 8.5cm diameter; a LARGE SAUCER, 14cm diameter; together with a FURTHER SAUCER, 8.5cm diameter, each with painted artist’s marks (12) Provenance: Collection of Dugald McTaggart Lindsay

£300-500

389 JESSIE MARION KING (1875-1949) TEAPOT AND COVER, CIRCA 1940 glazed earthenware, decorated with geometric florets, painted makers marks and inscription to base ANNA 13cm high

£250-400

390 JESSIE MARION KING (1875 – 1949) (ILLUS.) FOR T.N. FOULIS, GOWANS & GRAY, GEO. ROUTLEDGE (PUB.) COLLECTION OF BOOKS to include A BUNDLE OF YARNS; and OUR TREES AND HOW TO KNOW THEM, pub. Gowans & Gray; CORNERS OF GREY OLD GARDENS; A BOOK OF SUNDIALS; and WILD FLOWERS, pub. T.N. Foulis; THE BOYS OWN BOOK OF NATURAL HISTORY; and HANS ANDERSEN’S FAIRY TALES, pub. George Routledge (7) £250-400 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

107

391 JESSIE MARION KING (1875-1949) HIGH CORRIE, ARRAN watercolour, signed lower right JESSIE M. KING 22cm x 28cm Provenance: Sothebys, ‘Jessie M. King and E.A. Taylor’, Queen’s Cross Church, Glasgow, 21st June 1977 The Scottish Gallery, Edinburgh

£800-1,200

392 JESSIE MARION KING (1875-1949) DESIGN FOR A TILE watercolour, unsigned, framed 12cm x 14.5cm Provenance: Collection of Dugald McTaggart Lindsay

393 JESSIE MARION KING (1875 – 1949) AND ERNEST ARCHIBALD TAYLOR (1874-1951)

Note: Bears inscription verso “ Tile Design - Pen & Ink drawing by Jessie M King/ enscribed (sic) To Jean M A (my admirer)”

£300-500

ARCHIVE OF CORRESPONDENCE folder correspondence from Jessie M. King, E A Taylor, Adam Bruce Thomson, Mrs Morris Henderson, Charles Oppenheimer, Sir James Caw and Annie Caw to Mr and Mrs Dugald MacTaggart Lindsay and their daughter Miss Jean Lindsay; including TWO SIGNED CHRISTMAS CARDS, a signed print by Jessie M. King; cuttings, photographs, negatives and catalogues relating to Jessie M. King and E.A. Taylor Provenance: Collection of Dugald McTaggart Lindsay

£400-600

394 JESSIE MARION KING (1875 – 1949) (ILLUS.) FOR GOWANS & GRAY AND T.N. FOULIS (PUB.) COLLECTION OF BOOKS to include KIRKCUDBRIGHT: A ROYAL BURGH, signed and inscribed by the artist; BUDDING LIFE; GLASGOW: THE CITY OF THE WEST; MEMORIES: ROBERT LOUIS STEVENSON; two copies of BUDDING LIFE, DELUXE EDITION, one signed and inscribed by the artist TO MR & MRS LINDSAY- A REMEMBRANCE OF THEIR VISIT TO THE (GREENGATE) (7) Provenance: Collection of Dugald McTaggart Lindsay

£200-300

108

395 JESSIE MARION KING (1875-1949) FISHER’S CLOSE pencil and pen and ink, inscribed (I) WAS A GRUBBY..., signed with initials lower right J.M.K. 13cm x 18cm Provenance: Abbott & Holder, London

£300-500

396 § 397 SCOTTISH SCHOOL, ATTRIBUTED TO MARGARET GILMOUR ARTS & CRAFTS BRASS WALL SCONCE, CIRCA 1900 repoussé-decorated with the figure of an angel 52cm tall

£300-500

398 ATTRIBUTED TO E.A. TAYLOR FOR WYLIE & LOCHHEAD, GLASGOW ARTS & CRAFTS OAK TUB CHAIR, CIRCA 1910 with a pierced splat and drop-in rush seat 58cm wide, 73cm high, 44cm deep

£300-500

399

400

MANNER OF ANNIE FRENCH

GLASGOW SCHOOL

‘WHEN I CAME BACK FROM LYONESSE WITH MAGIC IN MY EYES...’ pen and ink, bears pencil inscription, stuck down on card, unsigned

ARTS & CRAFTS POTTERY BOWL, DATED 1915 hand-painted earthenware, signed and dated with monogram verso AMA/G.15 32cm diameter

£200-300

26.5cm x 17.5cm

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

KATE CAMERON (1874-1965) FLOWERS OF APRIL & MAY pencil and watercolour, signed lower right K CAMERON, bears artist’s label verso 28.5cm x 23.5cm

£400-600

109

401 § NOEL LAURA NISBET (1887-1956) MEDIEVAL SCENE watercolour and bodycolour, unfinished work 53.5cm x 70.5cm Provenance: The Artist’s Studio Sale; Christie’s, 28 Sept. 1984

£1,000-1,500

402 § NOEL LAURA NISBET (1887-1956) THE NEW ARRIVAL oil on canvas, signed lower right NOEL L. NISBET 60cm x 40cm Provenance: The Artist’s Studio Sale; Christie’s, 28 Sept. 1984

£800-1,200

403 GLASGOW SCHOOL ARTS & CRAFTS COPPER WALL MIRROR, CIRCA 1900 repoussé-decorated with stylised plant forms on a hammered ground 71.5cm x 60cm

£600-800

110

404 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

£400-600

405 SIR ROBERT LORIMER (DESIGNER), THOMAS HADDEN (MAKER) ARTS & CRAFTS STEEL FIRETOOL SET, CIRCA 1920 comprising a STAND, 45cm high; POKER, 53cm long; and COAL NIPPERS, 30cm long; and BRUSH; together with associated COAL SHOVEL (5) £300-500

406 MANNER OF SIR ROBERT LORIMER ARTS & CRAFTS OAK CENTRE TABLE, CIRCA 1910 the rectangular planked top above cut out scrolling supports linked by a shaped stretcher with peg fixings 121cm wide, 67cm high, 58cm deep

£400-600

407 WILLIAM MILES JOHNSTON (1893-1974) PAIR OF BOOKENDS, CIRCA 1940 painted wood with metal bases, 16.4cm high; (2) £150-250 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

111

408 ALEXANDER RITCHIE (1856-1941), IONA CELTIC REVIVAL BRASS WALL MIRROR, CIRCA 1900 of oval outline, the frame repoussé-decorated with stylised foliate design 48cm x 59cm Literature: E. Mairi MacArthur Iona Celtic Art: The Work of Alexander and Euphemia Ritchie, Iona 2003, p. 36, pl. 6b

£600-800

409 SCOTTISH SCHOOL CELTIC REVIVAL STYLE BRASS MIRROR, CIRCA 1920 the frame with repoussé entwined knotwork, enclosing a bevelled mirror plate 46cm x 61.5cm

£300-500

410 ATTRIBUTED TO WILLIAM SCOTT MORTON & CO., EDINBURGH ARTS & CRAFTS ‘TYNECASTLE TAPESTRY’ MOSAIC PANEL, CIRCA 1900 plaster, mosaic and patinated canvas, the central panel depicting hearts and fleur-de-lys, within a series of friezes 91cm square

£300-500

Literature: The Art Journal, 1896, pp. 81-85 where the technique of production of these panels is explained.

411

412

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

WEMYSS WARE

SMALL CELTIC ‘HUNTING’ WOOL RUG, CIRCA 1948 the machine woven ivory field with central red octagonal Celtic knotwork medallion surrounded by huntsmen with dogs, deer, boar and horses within red and polychrome strapwork border 192cm x 121cm

£300-500

A PAIR OF TALL SQUARE CANDLESTICKS, ‘CABBAGE ROSES’ PATTERN, CIRCA 1900 each with impressed maker’s marks WEMYSS WARE/ R. H.& S. and printed retailer’s mark T. GOODE & CO., 30cm high; together with a WEMYSS WARE ‘BROWN COCKERELS AND HENS’ DOUBLE INKWELL, with associated glass liners and domed covers, impressed maker’s marks WEMYSS WARE/ R. H.& S., 26cm across (3) Provenance: Rogers de Rin, London

£200-300

112

414 JAMES CROMAR WATT (1862-1940) GOLD & ENAMEL PENDANT, CIRCA 1905 the bow-shaped enamel panel in iridescent shades of green/ yellow with further enamel heart-shaped drop set with a freshwater pearl within gold mounts, on later chain 2.8cm high

£400-600

413 AFTER PETER WYLIE DAVIDSON GLASGOW STYLE SILVER ‘SWALLOWS’ NECKLACE, 1975

Note: James Cromar Watt was born in Aberdeen. He worked in precious metals, developed particular skills in the ancient techniques of gold granulation and translucent foiled enamelling. His work was exhibited in Turin in 1902 and was illustrated in the Art Journal periodical of the time. Some of his pieces were strongly influenced by the enamel work of Phoebe Traquair and some of it was designed in association with the painter and stained glass artist, Douglas Strachan. His work is predominantly in the collection of the Aberdeen Art Gallery & Museum.

cast with a design of flying swallows, maker’s marks C.A. hallmarked Edinburgh 1975

415

14cm wide

JAMES CROMAR WATT (1862-1940)

Literature: See Larner, Gerald and Celia The Glasgow Style, pub. Edinburgh 1979, plate 188 where a similar design is illustrated

MOONSTONE, ENAMEL & GOLD BROOCH, CIRCA 1905

£250-350

set with two cabochon moonstones and further oval moonstone drop, with enamelled central panel in iridescent shades of turquoise and blue, with silver foiled backing, within delicate gold wirework scroll borders 3.4cm wide

£600-800

416 SCOTTISH SCHOOL CELTIC REVIVAL COPPER WALL MIRROR, CIRCA 1920 the bevelled plate within repoussé-decorated frame set with opaline cabochon stone 43cm x 37cm

£300-500

417 SCOTTISH SCHOOL CELTIC REVIVAL STYLE WHITE METAL & ROSE QUARTZ BRACELET, CIRCA 1910 six circular bosses each set with a rose quartz cabochon , within applied corded wirework mounts and beaded borders and chased silver entwined Celtic knotwork links, unmarked 19.5cm long

£200-300

418 § CECILE WALTON (1891-1956) THE FAIRY MOTHER pencil, signed and inscribed 27.5cm x 21cm Provenance: Forrest Mackay, Edinburgh

£400-600

113

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

114

419 PETER TERESZCZUK (1875-1963) ART NOUVEAU GILT BRONZE TABLE LAMP, CIRCA 1925 modelled as the figure of the dancer Loie Fuller, signed in the bronze TERESZCZUK, raised on a turned marble base and wired for electricity lamp 31cm high, including plinth base 51cm high

Â£3,000-5,000

115

420 ALEXANDRE CLERGET (1856-1931) PAIR OF ART NOUVEAU GILT BRONZE CANDLESTICKS, CIRCA 1900 each cast as a maiden holding a flower raised on a lilypad base, signed in the bronze A. CLERGET and with foundry stamp mark SIOT-DECAUVILLE, PARIS. FONDEUR (2) 23.5cm and 24.5cm Note: Trained by fellow the renowned French sculptor Alexandre Falguiére, Alexandre Clerget achieved critical acclaim after exhibiting at the Salon from 1899 to 1924. Many of Clerget’s works were cast by SiotDecauville, one of the most prolific founders and retailers of Art Nouveau bronzes.

£2,000-3,000

421 MAURICE BOUVAL (1863-1916) GILT BRONZE FIGURAL VASE, CIRCA 1890 cast with a nude figure entwined in ivy, incised signature M. BOUVAL and foundry mark 27.5cm high

£500-700

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

116

422 AUGUSTE MOREAU (1834-1917) L’AURORE bronze, signed in the bronze AUGTE MOREAU, bears inscribed plaque ‘L’AURORE/ PAR AUG. MOREAU/ MEDAILLE AU SALON 48.5cm high

£800-1,200

423 EMMANUEL VILLANIS (1858-1914) LUCRECE bronze bust, raised on an onyx plinth, signed in the bronze E. VILLANUS, cast inscription to socle LUCRECE, Société des Bronzes de Paris cast mark verso 22.5cm high

£300-500

424 Y AGATHON LÉONARD (1841-1923) BUST OF CUPID, CIRCA 1900 ivory and gilt bronze, signed in the bronze LEONARD 23.5cm high

£400-600

425 426 UNKNOWN MAKER

FRENCH SCHOOL, MANNER OF EMMANUEL VILLANIS

CARYATID JARDINIÈRE STAND, CIRCA 1900

ART NOUVEAU BUST OF A GIRL, CIRCA 1900

glazed earthenware raised on four hoof feet on a plinth base, unmarked

44cm high

bronzed and patinated spelter, unsigned £300-500

97cm high

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

117

427 ALPHONSE MUCHA (1860-1939) FOR MÖET & CHANDON FOUR ORIGINAL ART NOUVEAU LITHOGRAPHIC PLATES, CIRCA 1897 published and printed by F. Champenois, Paris, signed in the stone MUCHA and bearing publishers mark, mounted and framed (4) each 21.5cm x 5cm Note: The menu was one of several, done for the firm of Möet & Chandon, a wine distributor famous for fine grades of champagne. Mucha executed a number of designs which were used on menus, postcards and other publicity connected with this company.

£300-500

428 ATTRIBUTED TO LOUIS MAJORELLE FRENCH ART NOUVEAU MARQUETRY INLAID ÉTAGÈRE, CIRCA 1900 with two graduated tiers, each marquetry-inlaid with flowering plants and raised on moulded cabriole legs, brass carrying handles 95cm wide, 82cm high, 57cm deep

£800-1,200

429 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; together with a GEORGES-ERNEST NOWAK DINING TABLE AND SIX MATCHING CHAIRS, 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 (8) 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 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

118

430 FRENCH SCHOOL FRENCH CUT PAPER PICTURE, OF FOOTBALL INTEREST, DATED 1938 worked in cut paper, ink, watercolour, and wool, depicting a passenger steam train with various figures in football gear, a French flag, and a dog and cows in the foreground, signed Alan Gregory ‘38, framed 42cm x 56.5cm

£400-600

431 ADRIEN DALPAYRAT (1844-1910) HIGH-FIRED CERAMIC INKWELL, CIRCA 1900 of circular form with moulded decoration, covered in a Sang de Boeuf and turquoise glaze, inscribed numerals 696/ 30 14.5cm diameter, 9cm high Literature: Makus H., Bieri H., Dapayrat A. et al Adrien Dalpayrat, 1844-1910: Ceramique Francaise De L’ Art Nouveau, Arnoldsche 1999, p.168, no. 136 where a similar inkwell is illustrated

£200-300

432 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 £800-1,200

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

433

434

ÉMILE GALLÉ (1846-1904)

FRENCH SCHOOL

FAÏENCE FIGURE OF A PEACOCK, CIRCA 1890

THE WRESTLERS

decorated with coloured enamels, painted signature E. GALLE/ NANCY?

patinated bronze, raised on a marble plinth

17.5cm high

21cm high

£300-500

120

435 MEYLE & MAYER JUGENDSTIL PLIQUE A JOUR ENAMELLED BROOCH, CIRCA 1900 worked as an Art Nouveau maiden with flowing hair, stamped maker’s marks DEPOSE/ 900 3.5cm across

£400-600

436

437

WMF (WÜRTTEMBERGISCHE METALLWARENFABRIK)

ELKINGTON & CO. (RETAILERS)

PAIR OF JUGENDSTIL SILVER-PLATED CANDLESTICKS, CIRCA 1900 decorated with pierced foliate details, stamped WMF marks to underside (2) 28cm high Literature: Wolf, Uecker Art Nouveau and Art Deco Lamps and Candlesticks Thames and Hudson, London, 1986, p.1

JUGENDSTIL SILVER WINE COOLER, LONDON IMPORT HALLMARKS, 1902 London import hallmarks for 1902 and importer’s mark GB for George Bedingham, inscribed under base ELKINGTON & CO. LTD. 22 REGENT STREET/ LONDON 20 cm high, weight 34 ozs. (1057g.)

£800-1,200

£300-500

438

439

WMF (WURTTEMBERGISCHE METALLWARENFABRIK)

GERMAN SCHOOL

SILVER PLATED AND GLASS CLARET JUG, CIRCA 1900

MEDIEVAL FEAST

of tall tapering form, the painted clear glass body with single handle and pierced stopper cast with whiplash foliage, stamped maker’s marks, 40cm high; together with a WMF SILVER PLATED LIDDED FLAGON, cast in the secessionist style, stamped maker’s marks, 34cm high; a JUGENDSTIL GLASS & SILVER PLATE TANKARD, with etched glass liner and later etched inscription to cover, apparently unmarked, 19cm high; and a LATE VICTORIAN SILVER-MOUNTED CLEAR AND COLOURED GLASS DECANTER BOTTLE, with spirally-moulded tear drop stopper and tapering body, hallmarked Sheffield 1900, sponsors Fenton Brothers Ltd, 43cm high (4)

pen and ink and watercolour, signed and dated with initials lower right, 8:1901

£400-600

16cm x 86cm

£200-300

121

440 MORITZ HACKER (1849-1932) JUGENDSTIL SHELL TABLE LAMP, CIRCA 1900 silvered pewter with shell shade 24cm high

£1,000-1,500

441 THEOPHILE ALEXANDRE STEINLEN (1859-1923) POSTER: ‘FRANZÖSISCHE KUNSTAUSSTELLUNG ZU KREFELD’ 1907 Lithograph, printed in France by Imp. Eugene Verneau, Paris, framed 86cm x 53.5cm

£400-600

442 ATTRIBUTED TO PAUL DACHSEL FOR RIESSNER, STELLMACHER & KESSEL ART NOUVEAU ‘AMPHORA’ VASE, CIRCA 1900 ceramic, moulded as a stylised plant form, impressed RSK mark 3541 41cm high

£300-500

443 J. STAEHLE ARTS & CRAFTS WHITE METAL COVERED CUP, CIRCA 1900 repoussé and chased decoration, planished finish, stamped maker’s marks J. STAEHLE/800 33.5cm high

£300-500

444

445

J. & L. LOBMEYR, VIENNA

MANNER OF J. & L. LOBMEYR

ENAMELLED IRIDESCENT GLASS VASE AND FRAME, CIRCA 1880

GLASS GOBLET, LATE 19TH CENTURY

of tapered bulbous form with twin handles, decorated with a foliate frieze to rim in gilt and white enamel, within a scrolling wrought iron frame vase 40cm high; with frame 55cm high

the ovoid bowl enamelled, etched and gilded with bands of foliate motifs, on a knopped stem and swept circular foot with corresponding decoration 29cm high

£200-300

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

122

446 ATTRIBUTED TO KAYSERZINN JUGENDSTIL PEWTER INKWELL, CIRCA 1900 cast as a grotesque bird, with hinged lid enclosing ceramic liner, the body of green glazed earthenware

447 Y § PETER TERESZCZUK (1875-1963) BRONZE & IVORY FIGURE, CIRCA 1910

11cm high

£300-500

depicting a Neoclassical female figure, raised on a turned marble plinth, signed in the bronze £600-800

448 WALTER SCHERF & CO., NUREMBERG ‘OSIRIS’ FLOWER VASE, CIRCA 1900 pewter, with green glass liner, cast maker’s marks OSIRIS/ 1037/ ISIS/ and with the mark of the Nürnberger Handwerkunst, Bayerisches Gewerbemuseum, 21.5cm high; together with a WMF (WURTTEMBERGISCHE METALLWARENFABRIK) PLATER INKSTAND, cast and stamped maker’s marks 331, 31cm across (2) £250-350

449 THERESIENTHAL PAIR OF JUGENDSTIL ‘FLOWER FORM’ LIQUEUR GLASSES, CIRCA 1900 each with clear bowls painted with a flower head in gilt and coloured enamel, the clear stems and spreading feet decorated with gilt rims (2) 17cm high

£300-500

450 JOSEPH MARIA OLBRICH (1867-1908) FOR EDUARD HUECK, LÜDENSCHEID PEWTER HEXAGONAL PLATE, CIRCA 1902 embellished small stylised motifs, , raised artists monogram, and maker’s marks SILBERZINN/ 1820/ E. HUECK 29.5cm across at widest point Exhibited: This model was exhibited at the Esposizione Internationale d’Arte Decorativa Moderna, Turin, 1902, the World’s Fair, St. Louis, 1904; and the Exhibition of the Künstlerkolonie, Mathildenhöhe, Darmstadt, 1904

£300-500

451

452

LOETZ, AUSTRIA

ZSOLNAY, PECS

GROUP OF THREE IRIDESCENT GLASS VESSELS, CIRCA 1900

ART NOUVEAU TILE, CIRCA 1905

comprising a SMALL BALUSTER VASE, with pinched shoulder, 11.5cm high; a MILK JUG, 9cm high; and a BULBOUS VASE, 17.5cm high (3) £300-500

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.

£200-300

123

453 CONTINENTAL SCHOOL ART NOUVEAU BRONZE AND PATINATED SPELTER TABLE LAMP, CIRCA 1910 the three fittings cast with leafy foliage, above a glazed pottery base mounted with stylised plant forms, raised on a pierced base with fleurde-lis and scrolling motifs

454 HENRY VAN DE VELDE (1863-1957) ART NOUVEAU FURNISHING FABRIC, CIRCA 1902

76cm high

cotton panel, depicting repeating organic pattern

£400-600

38cm x 39cm (15in x 15.3in), mounted but unframed

455 PALLME-KÖNIG ART NOUVEAU IRIDESCENT GLASS VASE, CIRCA 1900 of tapering form with whiplash twin-handled metal mounts 37cm high

£200-250

Literature: Stoffe um 1900 published Das Textilmuseum, Krefeld, 1977, No. 52, illustrated. Note: Although starting his career as a painter, Henry Van de Velde soon abandoned the practice to focus on architecture and interior design, becoming one of the founders of the Art Nouveau style in Belgium and Germany. Van de Velde was inspired by the Arts and Crafts movement in Britain and started designing buildings and textiles inspired by natural forms and sinuous lines. He was one of the first architects to work to the premise that ‘form follows function’, trying to ensure that all objects were beautiful and also functional.

£500-700

456 J.W. MIJNLIEFF (1862-1937) FOR FAYENCE EN TEGELFABRIEK, UTRECHT ART NOUVEAU TWIN-HANDLED JARDINIÈRE, CIRCA 1900 painted and glazed earthenware, painted factory marks and artist’s monogram 41cm across

£250-350

457 INNEN-DEKORATION: DIE GESAMTE WOHNUNGSKUNST IN BILD UND WORT HERAUSGEBER TWELVE YEARBOOKS each hardback bound, edited by Alexander Koch and comprising 1894; 1899; 1900; 1901 1903; 1904; 1905; 1907; 1913; 1917; 1919; 1930, to include articles on M. H. Baillie Scott and C. R. Ashbee; and ONE YEARBOOK OF MODERNE MÖBEL UND INNENRÄUME, hardback bound, edited by Alexander Koch, 1899 (13) £150-250 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

124

458 CONTINENTAL SCHOOL ART NOUVEAU PATINATED BRASS AND ENAMEL MANTEL CLOCK, CIRCA 1910 the twin-train movement striking on a bell, the textured case with enamelled panels depicting irises 41.5cm high

£700-900

459 AUSTRIAN SECESSION TRINKET BOX, CIRCA 1920 ebonised wood with pictorial enamelled panel inset to the lid 13cm wide, 6cm high, 10cm deep

£300-500

460 SECESSIONIST STYLE BRASS TABLE LAMP, 20TH CENTURY with conical silk-lined shade 46cm high

£200-300

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

£300-500

462 MICHAEL POWOLNY (1871-1854) FOR J & L LOBMEYR, VIENNA SECESSIONIST ENGRAVED GLASS TUMBLER, CIRCA 1914 of tapered form, engraved with a putto and bird within a scalloped border corresponding to the rim, engraved factory monogram to base 9cm high Literature: J. Rudoe, J. Decorative Arts 1850-1950. A catalogue of the British Museum collection, 2nd ed., p. 251, no.244 Pazaurek, G.E. Kunstglaser der Gegenwart, Leipzig 1925, pp.162-4, plates 174-5 Note: See detail page 119. Powolny trained as a sculptor and ceramic artist at the Fachschule fur Tonindustrie in Znaim, then at the Kunstgewerbeschule in Vienna, where he taught from 1909. He made several designs for engraved glass for Lobmeyr between about 1914 and 1925, including a series of similar tumblers. The starting point for these tumblers was a goblet designed in 1914 and ornamented with allegorical motifs. The same motifs of putti were then used on the tumblers. For a similar tumbler see British Museum collection (museum number1981,1206.1)

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

125

463 ARNOLD BÖCKLIN (1827–1901) ISLE OF THE DEAD print, within Secessionist mahogany and gilded gesso frame, bears gallery label verso R. WAGNER, MUNICH with frame 68.5cm x 108cm

£300-500

464

465

AUSTRIAN SCHOOL

LOETZ, AUSTRIA

SECESSIONIST WALL CABINET, CIRCA 1900 mahogany with brass inlay, single panelled door with drawer below 70cm x 40cm approx.

£200-300

SHELL FORM VASE, CIRCA 1900 with green/blue iridescence 12cm high

£200-300

466 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

£1,500-2,000

467

468

LOETZ, AUSTRIA

CONTINENTAL SCHOOL

JUGENDSTIL SILVEROVERLAID VASE, CIRCA 1900

MATCHED PAIR OF ART NOUVEAU PANELS, EARLY 20TH CENTURY

iridescent glass with silver overlay, 15cm high; together with a LOETZ STYLE IRIDESCENT GLASS VASE, with green trailing decoration, 24cm diameter (2) £200-300

painted glass, one depicting stylised flowering sunflowers, the other with daffodils, later framed (2) 76cm x 14cm

£300-500

126

469 BERNHARD BLOCH (1836-1909) AND OTHERS GROUP OF TERRACOTTA COVERED TOBACCO JARS, CIRCA 1900 Woodsman, JME/3324/A, 15cm high; Deer stalker, Dep/335, 15cm high; Fortune teller, 385/235, 15cm high; Black girl with shawl, 8942, 14cm high; Black man red bow tie, 28, 16cm high; Man with flat cap, inscribed LATHAM, 8329, 15cm high; Woodsman, 3646/62, 15cm high; Straw boater, Dep/BB/338, 15cm high; Air pilot, 12/8460/45, 14cm high; Skull cap, 8093, 14cm high (10) £250-350

470 JOHANN MARESCH (1821-1914), BERNHARD BLOCH (1836-1909) AND OTHERS GROUP OF TERRACOTTA FIGURES, CIRCA 1900 to include a PAIR OF GOLDSCHEIDER FIGURES; a BANJO PLAYER, 3406/60, indistinct, 21cm high; a FIGURE WITH TOP HAT, JM/6783, 17cm long; a FIGURE WITH BERET, 4915/BB, 19cm long; a BOY, SMOKING, 4914/BB, 21cm long; and a BOY SEATED AND SMOKING, 1345/18, 15cm high (7)

471 JOHANN MARESCH (1821-1914) AND OTHERS GROUP OF AUSTRIAN TERRACOTTA TOBACCO JARS, CIRCA 1900

£600-800

modelled as various figural characters, comprising a SKULL, with a spider, unmarked, 20.5cm high; a SMALL SKULL, impressed marks ‘JM/ 3336’, 11cm high; a figure of a CHIEFTAIN, unmarked, 18.5cm high; a CLOWN, impressed marks ‘JM/ 3586’, 23cm high; a jar modelled as a TENT, impressed mark ‘Austria’, 22cm high (approx. excluding twigs); a figure of a MAN IN A WHEELBARROW, unmarked, 22cm high; a MONK, impressed marks ‘JM/ 147’, 25cm high; a MAN READING, impressed marks ‘EE/107’, 23cm high; and a plaster BOY IN A FEZ, unmarked, 25.5cm high (9) £400-600

472

473

474

475

BERNHARD BLOCH (1836-1909) AND OTHERS

AUSTRIAN SCHOOL

BERNHARD BLOCH (1836-1909) AND OTHERS

GROUP OF TERRACOTTA COVERED TOBACCO JARS, CIRCA 1900

GROUP OF AUSTRIAN TERRACOTTA TOBACCO JARS, CIRCA 1900

GROUP OF TERRACOTTA COVERED TOBACCO JARS, CIRCA 1900

GROUP OF TERRACOTTA TOBACCO JARS, CIRCA 1900

moulded as character heads and comprising a Sailor, unmarked, 14.5cm high; Black Mary Queen of Scots, HB391, 13cm high; Man with top hat, BB349/Dep, 17cm high; Japanese mask, unmarked, 17cm high; Edward VII, 278, 14cm high; Post boy, 2306/3, 13cm high; Lady with headdress, 8193, 15.5cm high; Monk, 1197, 16cm high; Welsh girl, P, 15cm high; Deer stalker, BB/355, 14.5cm high; and a Straw boater, BB/43, 14cm high (11)

all modelled as character heads, comprising MAN WITH EARRINGS, with impressed marks ‘HN/ 388’, 12cm high; MAN WITH HEADDRESS, with impressed marks ‘HJ/ 71’, 13cm high; MAN WITH UPTURNED COLLAR, with impressed marks ‘C&St/ 2336’, 16cm high; TWO FURTHER JARS, each with impressed marks ‘W&C’, 14cm high; and ‘**/ 446’, 14cm high; together with a CARVED WOOD INKWELL, set with glass eyes, unmarked, 11.5cm high (6)

£250-350

£200-300

all modelled as character heads, comprising a MAN WITH A FEATHER HEADDRESS, impressed marks ‘HB/ 389’, 19cm high; a MAN WITH A RED HAT, with impressed marks ‘L&M/ 389’, 15cm high; a SMOKING MAN, with impressed marks ‘BB/ *07’, 15cm high; LARGE HEAD OF A MAN, with impressed marks, ‘C&ST/ 2162’, 24cm high; and a MAN WITH A LEAFY HEADDRESS, unmarked, 25cm high (5) £200-300

modelled as character figures, comprising an OLD LADY, in a blue dress, with impressed marks ‘BB/ 126’, 25cm high; a GIRL WITH A MUFF, with impressed marks ‘BB/ 400’, 25cm high; a CAVALIER, with impressed marks ‘BB/ 149’, 25cm high; a MAN IN A ‘FUR’-LINED COAT, with impressed marks ‘BB/ (XX)/ 8203, 21cm high; a BEARDED MAN wearing a beret, with impressed marks ‘Austria/ 850/ 6’, 31.5cm high; a VICTORIAN LADY holding a fan, with impressed marks ‘Moynet à Vendeuvre’, 31.5cm high; a VEGETABLE SELLER, with impressed marks ‘BU/ 519/ P’, 28cm high; a LADY WITH SNUFF, the base reading ‘ECHT SCHMALZLER’, otherwise unmarked, 26cm high; and a BOY RIDING A DOG, unmarked, 24cm high (9) £250-350

127

476 BERNHARD BLOCH (1836-1909) AND OTHERS GROUP OF FIGURAL TERRACOTTA TOBACCO JARS, CIRCA 1900 comprising a group of characters to include a SOLDIER ON A BOOK, BB/77, 21cm high; a PURITAN DRAWING, BB/124, 26cm high; a MAN IN A CLOAK, 34, 23cm high; a LARGER MAN IN A CLOAK, FC/49, 27cm high; a MAN DRINKING BEER, BB/WJ/151, 26cm high; and a MAN ON A BARREL, FK/101, 29cm high (6) £400-600

477 J. UFFRECHT & CO., GERMANY GERMAN TERRACOTTA FIGURE, CIRCA 1900 the figure modelled leaning on cigar boxes incised ‘HABANA REGALIA FIN CUBA HABANA’, and with impressed marks ‘U&C 791/’GES/’TRUT2T’ 66cm high

£400-600

478 JOHANN MARESCH (1821-1914), BERNHARD BLOCH (1836-1909) AND OTHERS GROUP OF AUSTRIAN TERRACOTTA TOBACCO JARS, CIRCA 1890-1900 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; and a SPILL VASE, modelled as a man with a flute, with impressed marks ‘1145’, 28cm high; together with 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 (9) £400-600

479

480

481

482

WILHELM SCHILLER & SONS AND OTHERS

BERNHARD BLOCH (1836-1909) AND OTHERS

AUSTRIAN SCHOOL

FIVE TERRACOTTA TOBACCO JARS, CIRCA 1900

GROUP OF AUSTRIAN TERRACOTTA TOBACCO JARS AND FIGURES, CIRCA 1900

JOHANN MARESCH (1821-1914), BERNHARD BLOCH (1836-1909) AND OTHERS

comprising an example by Wilhelm Schiller & Sons, modelled as a BEGGING DOG in a red collar with tag, impressed marks ‘WS&S/ (?)/ 94’, 28cm high; a jar modelled as a POODLE’S HEAD, impressed marks ‘HB/ 387’, 13cm high; one modelled as a light brown DOG’S HEAD, impressed marks ‘(NN or HN)/ 15’, 14cm high; an example modelled as a DOG’S HEAD with gold collar, unmarked, 16cm high; and a BLACK AND WHITE DOG, modelled begging, also unmarked, 25cm high (5) £250-350

all modelled as dogs, comprising a DOG WITH FIREMAN’S HELMET, ‘BB / 5003’, 17cm high; a DOG WITH RED CAP AND GLASSES, marked ‘26’, 19cm high; a DOG WITH STRAW BOATER, 15cm high; a DOG IN A CAP, 17.5cm high; two figures of PUGS WEARING A FEZ, 13cm and 11.5cm high; and a figure of a BEGGING DOG, 10cm high (7) £250-350

GROUP OF CHARACTER WARES, CIRCA 1900 to include a PAIR OF MUSICIANS, each modelled on chairs, comprising a lady, with impressed marks ‘4907A / 39’, 32cm high (with chair); and a man, with impressed marks ‘4907 / 39’, 29cm high (with chair); together with a COVERED TOBACCO JAR, of a man, unmarked, 27cm high; a FURTHER TWO TOBACCO JARS AND A WALL MASK, to include, BOY WITH FEZ, H1607, 15.5cm high; MASK, impressed 2000/19/37, 29cm long (poss. GOLDSCHEIDER); and another MAN WITH FEZ, Jean Pecuet, 26cm high (6)

EIGHT TERRACOTTA TOBACCO JARS, CIRCA 1900 all of figural form, comprising a caricature of a MAN WITH A VIOLIN, indistinct impressed marks ‘JM/ 3331’, 28cm high; a smaller caricature of a MAN IN A TOP HAT, impressed marks ‘JM/ 3326’, 18cm high; a MAN DRINKING BEER, modelled in a barrel, impressed marks ‘CZECHOSLAV./ JM /3624’, 22cm high; a BOY , impressed marks ‘JM/ 3698/ Austria’, 22cm high; a MAN SMOKING A PIPE, with a flag, impressed marks ‘ JM/ 3570’, 21cm high; a BOY ON A TREE STUMP, impressed marks ‘BB/ 136’, 25cm high; a POSTMAN, impressed marks ‘BUXO / ***’, 24cm high; and a MAN IN A WAISTCOAT (8) £200-300

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

128

483 ENGLISH SCHOOL ART DECO WALNUT DINING SUITE, CIRCA 1930 comprising an EXTENDING DINING TABLE, the lobed top raised on reeded tapering legs with carved capitals, 211cm long (extended), 77cm high, 98cm deep; SIX DINING CHAIRS, including two carver chairs, 56cm wide, 103cm high, 45cm deep; a BOWFRONT SIDEBOARD, with three drawers over four cupboards, 160cm wide, 95cm high, 54cm deep; and an ASSISTANT SIDEBOARD, 114cm long (extended), 84cm high, 52cm deep (9) £500-800

484

485

WYLIE & LOCHHEAD, GLASGOW

ART DECO MAHOGANY OCCASIONAL TABLE, CIRCA 1920

WALNUT COCKTAIL CABINET, CIRCA 1920

the canted top above four sliding shelves, on reeded supports, linked by a lower tier, stamped marks 35529/34 and D549, with maker’s label 51cm wide, 51cm high

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

£200-300

£300-500

129

486 § JOYCE BIDDER (1906-1999) ‘ZEPHYR’, CIRCA 1935 Glazed earthenware, depicting a winged young man playing a musical instrument, on ebonised wood plinth, impressed mark: M. JOYCE BIDDER 26cm high overall Exhibited: a similar example exhibited at The Fine Art Society, Joyce Bidder and Daisy Borne, 1987, No. 36. Note: In Greek mythology Zephyr was the gentle Spring wind of the West

£400-600

487

488

ROWLEY GALLERY, LONDON

HILLE, LONDON

ART DECO PLASTER RELIEF PANEL, CIRCA 1930

ART DECO COCKTAIL CABINET, CIRCA 1930

depicting Pan in a landscape, later framed, bears maker’s label verso

walnut and etched mirrored glass with a birch and glass fitted interior

81cm x 55cm

92cm wide, 159.5cm high, 40.5cm deep

£400-600

£600-800

489

490

ROWLEY GALLERY, LONDON

ATTRIBUTED TO WILLIAM CHASE FOR ROWLEY GALLERY, LONDON

GROUP OF 5 MARQUETRY PANELS, CIRCA 1930 comprising ‘SOWING’, stamped mark ROWLEY KENSINGTON, paper label verso, 14.5cm square, within oak frame; LUNETTE COURTSHIP SCENE, 33cm x 66cm; BRIDGE OVER THE RIVER, 21cm x 15cm, within frame; ‘THE TREASURE SHIP’, mirror with marquetry panel above and silver frame, total height 50cm, total width 15cm, bears paper labels verso; and AN ASSOCIATED MARQUETRY PANEL DEPICTING SWANS ON A RIVER, with inscription verso DESIGN AND CRAFTWORK BY ASHWORTH (5)

FRAMED MARQUETRY PANEL, CIRCA 1920

£300-500

depicting a courting scene, original maker’s label verso 75cm x 49.5cm

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

130

491 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘DAWN LANDSCAPE’ BOTTLE VASE, CIRCA 1930 of squat baluster form, decorated with trees in a landscape, within chevron geometric bands in blue and yellow, painted maker’s signature W. MOORCROFT, and impressed marks MOORCROFT/ MADE IN ENGLAND/ 53 22cm high

£500-700

492 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘PANSIES’ TALL VASE, CIRCA 1917 decorated with pansies on a white ground, signed in green W. MOORCROFT, impressed maker’s marks MOORCROFT/ BURSLEM/ ENGLAND/ 21 37cm high

£600-800

493 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘PANSIES’ BOWL, CIRCA 1917 of tapering form, decorated with pansies on a white ground, signed in green W. MOORCROFT, impressed maker’s marks MOORCROFT/ BURSLEM/ 276 C, 12cm high; together with a MOORCROFT ‘PANSIES’ DISH, signed in green WM, impressed maker’s marks MOORCROFT/ BURSLEM/ ENGLAND/ 1410 £300-500

494

495

496

DAISY MAKEIG-JONES (1881–1945) FOR WEDGWOOD

WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY

LUSTRE BOTTLE VASE, CIRCA 1920

‘POMEGRANATE’ BALUSTER VASE, CIRCA 1930

‘POMEGRANATE’ BALUSTER VASE, LATE 1930S

decorated with pomegranates on a blue ground, 18cm high; together with another MOORCROFT ‘POMEGRANATE’ PATTERN VASE, 23cm high, both with impressed maker’s marks and signed W. MOORCROFT (2)

decorated with pomegranates on a blue ground, impressed marks and facsimile signature in blue W. MOORCROFT/ POTTER TO H.M. THE QUEEN/ MADE IN ENGLAND

£300-400

£200-300

497

498

499

MOORCROFT POTTERY

BOURNE DENBY POTTERY, DERBY

MARY UTIN

‘LEAF & BERRY’ FLAMBÉ TABLE LAMP, LATE 20TH CENTURY

STONEWARE VASE, 20TH CENTURY

CROWDED HOUSE OF GLORIOUS LIFE

raised on a turned wood base

with scroll handles, covered with purple, blue and buff glazes, printed factory marks

31cm high to fitting

8cm high

pencil and watercolour, inscribed in pencil lower right CROWDED HOUSE OF GLORIOUS LIFE

£300-500

£200-300

28.5cm x 22cm

printed and painted in gilt and coloured enamels, decorated with butterflies on a mottled ground, printed maker’s marks, painted number Z4832, 13cm high; together with a SMALL ‘FAIRYLAND LUSTRE’ FOOTED DISH, similarly decorated, printed maker’s marks and painted number Z4827/ F, 9.5cm diameter (2)

25.5cm high

£200-300

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

131

500 § BENNO SCHOTZ (1891-1984) RECLINING NUDE bronze, signed and editioned in the bronze BENNO SCHOTZ/ 3/10 and dated 1925, raised on a plinth base 30cm wide, 29cm high

£1,200-1,800

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

£500-800

502 Y ALBERT JOHN WATTS ART DECO SILVER THREE-PIECE TEA SERVICE, LONDON 1932-1939 comprising a TEAPOT, with ivory mounts, 12cm high; a MILK JUG, 7cm high; and a SUGAR BOWL, 6cm high, each of planished form with pierced and angled handles (3) £400-600

503 §

504 §

505

BENNO SCHOTZ (1891-1984)

ELYSE ASHE LORD (1900-1971)

RECLINING NUDE

THE DISCUSSION

ATTRIBUTED TO MABEL ROYDS

terracotta, unsigned

drypoint with hand-colouring, signed and numbered in pencil 2/50

FOUR FIGURAL STUDIES

87cm long, 70cm high

£400-600

9cm x 13cm

11.5cm x 14cm

£250-350

£300-500

gouache, unsigned, framed (4)

132

506 ENGLISH SCHOOL, ATTRIBUTED TO HARRODS LTD., LONDON PAIR OF CHROMIUM AND GLASS ART DECO PHOTOGRAPH FRAMES, CIRCA 1930 of curved rectangular outline, the central frame enclosed by green glass rods held by chromium plated curved brackets (2) 28cm x 22cm Note: For a similar photograph frame, labelled ‘Harrod’s, London’, see Lyon & Turnbull, Decorative Arts: Design since 1860, Lot 203, April 2014

£300-500

507 JOHN MONCRIEFF LTD., PERTH RARE ‘MONART’ CAMEO GLASS LAMP, CIRCA 1930 the domed shade above a baluster shaped body, the mottled orange glass overlaid with green and brown glass and acid etched with a frieze of trees, bears original paper label inscribed ‘special etched’ 35.5cm high Literature: Andrews, F.E, Turner, Ian et al Ysart Glass, London 1990, p.99, pl.93, for a vase of similar design also bearing a label marked ‘Special’.

£1,000-1,500

508 DAISY MAKEIG-JONES (1881–1945) FOR WEDGWOOD ‘FAIRYLAND LUSTRE’ IMPERIAL BOWL, CIRCA 1925 printed and painted in gilt and coloured enamels with ‘Jumping Faun’ and Woodland Elves III’ patterns, printed maker’s marks 25.5cm diameter

£1,000-1,500

509 ENGLISH SCHOOL ART DECO WALNUT DISPLAY CASE, CIRCA 1920 of circular outline with twin astragalglazed doors, enclosing glass shelves, paper label A RECORD PRODUCT 135cm wide, 126.5cm high, 33.5cm deep

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

133

510 § ANDRÉ BIZETTE-LINDET (1906-1988) CERES gilt bronze, signed A. BIZETTE-LINDET/ SUSSE FES EDRS PARIS/ CIRE PERDURE, stamped marks SUSSE FRERES EDITEURS PARIS/ 2, stamped foundry mark 87.5cm high

£3,000-5,000

511 ROOKWOOD POTTERY SHOULDERED VASE, EARLY 20TH CENTURY glazed ceramic, decorated with white peonies on a gradated grey/olive ground, with incised artist’s monogram and factory mark 21cm high

£300-500

512 § ABEL-RENÉ PHILIPPE (1898-1978) ‘MOTHER & CHILD’, CIRCA 1930 glazed ceramic, moulded signature A-R PHILIPPE 40cm high

£300-500

513 ATTRIBUTED TO JEAN DUBUFFET UNUSUAL WHITE METAL & ENAMEL SERVING FORK the finial set with an enamel plaque depicting a stylised woman’s head in shades of ochre, blue, turquoise and red enamel, the fork with four tines and stem with applied corded wirework 16.5cm long Provenance: By family repute, given as a gift by Jean Dubuffet in the early 1960’s. The recipient’s mother knew a number of artists at the time including Salvador Dali. Note: Jean Dubuffet (1901-1985) was one of Europe’s most important and influential post-war artists. He experimented with different materials and forms in his painting drawing and sculpture and eschewed traditional standards of beauty in favour of what he believed to be a more authentic and humanistic approach to image-making

£400-600

134

514 RENÉ LALIQUE (1860-1945) ‘CHEVALIER D’ORSAY’ OPALESCENT GLASS POWDER BOX, DESIGNED 1920 with card base, printed on base POUDRE MERVEILLEUSE/ LE PARFUM/ CHAIR/ D’ORSAY PARFUMEUR/ PARIS, the glass with moulded marks D’ORSAY/ R. LALIQUE 8.5cm diameter, 3cm high

£250-400

515 RENÉ LALIQUE (1860-1945) ‘PRIMEVERES’ NO.77 OPALESCENT GLASS COVERED BOWL, DESIGNED 1927 the exterior moulded with flower heads, impressed and etched maker’s mark R. LALIQUE/ FRANCE 14.5cm diameter

£300-500

516 RENÉ LALIQUE (1860-1945) ‘LYS’ NO.382 OPALESCENT GLASS BOWL, DESIGNED 1924 wheel-etched mark R. LALIQUE/ FRANCE and numbered 23.8cm diameter

£300-500

517 RENÉ LALIQUE (1860-1945) ‘GUI NO.1’ NO.3223 OPALESCENT GLASS BOWL, DESIGNED 1921 the exterior moulded with mistletoe, etched maker’s marks R. LALIQUE/ FRANCE 23cm diameter

£200-300

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

135

518 RENÉ LALIQUE (1860-1945) ‘BEAUTREILLIS’ NO.989 OPALESCENT GLASS VASE, DESIGNED 1927 the circular clear glass bowl above a cylindrical neck with applied prunts, moulded marks R.LALIQUE, wheel etched mark FRANCE 14.5cm high

£600-800

519 SABINO, PARIS ART DECO OPALESCENT GLASS VASE, CIRCA 1925 moulded with swimming fish, 21.5cm high; together with a SABINO OPALESCENT GLASS PERFUME BOTTLE & STOPPER, 16cm high, each with etched script maker’s marks SABINO/ PARIS (2) £300-500

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

£2,000-3,000

136

521 DAUM FRÈRES, NANCY PAINTED CAMEO GLASS VASE, CIRCA 1900 of tapering form, decorated with campanula on a mottled blue, green and white ground, signed to the body DAUM/ NANCY with Cross of Lorraine 10cm high

£800-1,200

522 ÉMILE GALLÉ (1846-1904) ART NOUVEAU DECANTER & STOPPER, CIRCA 1900 fire-polished cameo glass, acidetched with vines, incised and embellished with gilt, white metal mounts, signed in the glass GALLÉ/ NANCY, mounts with hallmarks 800 31.5cm high

£800-1,200

523 ANDRÉ GROULT (1884-1966) PAINTED SIDE CHAIR, CIRCA 1911 pearwood, later-painted white, the moulded openwork back carved with a stylised basket of flowering roses above an upholstered seat on tapering legs 47cm wide, 87cm high, 42cm deep Literature: Marcilhac, Félix André Groult: DécorateurEnsemblier du XXème Siècle, L’Amateur (French Edition) 1997, pp. 23 (illus. no.2); 26 (illus. no.1) and 40 (illus. no.1) Note: The stylised basket of flowers or fruit used on this piece became a characteristic motif in Groult’s iconography.

£2,000-3,000

524 FRENCH SCHOOL, MANNER OF DAUM, NANCY CAMEO GLASS VASE, 20TH CENTURY of tapering form, acid-etched and enamelled with a winter forest scene 23cm high

£300-500

137

525 Y FERDINAND PREISS (1882-1943) ‘BAT GIRL’ ART DECO FIGURE, CIRCA 1925 patinated bronze and ivory, raised on a stepped onyx plinth base, signed on the base F. PREISS total height 24cm, figure 18.5cm high Literature: Catley, Bryan Art Deco and other Figures, ACC 2003, p.284 Shayo, Alberto Ferdinand Preiss: Art Deco Sculptor The Fire and the Flame, ACC 2005, p.177

£4,000-6,000

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

138

526 STEFAN DAKON (1904–1992) FOR GOLDSCHEIDER, AUSTRIA ART DECO CERAMIC FIGURE OF A DANCER, CIRCA 1925 modelled as a dancer in a flowing green skirt, impressed and printed marks DAKON/ GOLDSCHEIDER/ WIEN/MADE IN AUSTRIA/ 7195/ 325/ 16 36cm high

£800-1,200

527 CLAIRE WEISS (1906-1997) FOR GOLDSCHEIDER, AUSTRIA ART DECO CERAMIC FIGURE OF A WOMAN, CIRCA 1925 modelled as a woman in a pink dress and hat with a Borzoi, stamped and incised marks CLAIRE WEISS/ GOLDSCHEIDER/ WIEN/ MADE IN AUSTRIA/ 7367/ 142 43cm high

£1,200-1,800

528 GOLDSCHEIDER, AUSTRIA ART DECO CERAMIC FIGURE OF A LADY, CIRCA 1925 modelled in a blue dress and large hat, printed and incised maker’s marks GOLDSCHEIDER/ WIEN/ MADE IN AUSTRIA/ 7279/ 32/ 16 38cm high

£1,000-1,500

529 LOETZ, AUSTRIA ‘RICHARD’ CAMEO GLASS TABLE LAMP, CIRCA 1920 pink glass overlaid in purple with an allover etched design of a house on a lake within a mountain landscape, raised on a spreading foot, with brass fittings, etched signature RICHARD (2) overall height 38.5cm Note: Loetz produced cameo glass under the name Richard in the 1920s to satisfy the demand for French cameo glass in the Parisian market. The French company Etling sold Richard cameo glass in Paris in the 1920s through their retail outlet.

£300-500

139

530 C.J.R. COLINET (1885-1948) THE JUGGLER gilt-bronze, raised on a marble base, signed to base CJR COLINET 23cm high (excluding base); overall height 26cm high

£400-600

531 JOSEF LORENZL (1892-1950) ART DECO FIGURE, CIRCA 1925 patinated bronze raised on a green onyx base, signed in the bronze LORENZL/ AUSTRIA 23cm high

£300-500

532

533

J. A. HENCKELS, GERMANY

KATZHÜTTE (PORZELLANFABRIK HERTWIG & CO.)

CHROMIUM PLATED ‘AEROPLANE’ COCKTAIL SHAKER AND BAR, CIRCA 1930 the fuselage containing a screw top flask, cocktail shaker with strainer, four ‘tot’ cups, and funnel, the undercarriage containing four stirring spoons, the ‘wings’ formed as removable hip flasks and the tail containing a corkscrew, stamped manufacturer’s marks to juicer DRGM 89438/ GERMANY 32.5cm long

£3,000-5,000

ART DECO FIGURAL LAMP, CIRCA 1925 with frosted glass shade on an ebonised plinth, surmounted by a porcelain figure of a dancer figure 21cm high, total height 31cm

£200-300

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

140

534 § JOSEF CANTRE (1890 - 1957) BRONZE VESTA, 20TH CENTURY mid-brown patina, cast as a boy walking, raised on a bronze tray, signed in bronze JOSEF CANTRE 14.5cm wide, 21.5cm high

£600-800

535 § Y SOLANGE BERTRAND (1913-2011) ‘ELÉGANTE AU LEVRIER’, ART DECO BRONZE AND IVORY FIGURE, CIRCA 1925 modelled as the figure of a lady with her Borzoi hound, signed on the base S. BERTRAND 29.5cm high Literature: Arwas, V. Art Deco, Academy Editions 1980, p.156 where an example of this model is illustrated

£1,500-2,000

536 FRENCH SCHOOL ART DECO FRUITWOOD OCCASIONAL TABLE, CIRCA 1930 the circular frosted glass top raised on three plank supports linked by a lower tier 79cm diameter, 55cm high

£300-500

537 MANNER OF GRETA MAGNUSSON-GROSSMAN 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.

£300-500

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

141

538 TIFFANY STUDIOS, NEW YORK IRIDESCENT ‘FAVRILE’ GLASS BOTTLE VASE, CIRCA 1910 of tapering form, with gold and green iridescent glass, engraved maker’s marks L. C. TIFFANY/ FAVRILE/ 7998 H 26cm high

£500-800

539 TIFFANY STUDIOS, NEW YORK THREE-LIGHT ‘LILY’ PIANO LAMP, CIRCA 1910

540 TIFFANY STUDIOS, NEW YORK

patinated bronze and favrile glass, base stamped TIFFANY STUDIOS/NEW YORK/320 each shade engraved L.C.T

TWO ‘FAVRILE’ IRIDESCENT GLASS POSY VASES, CIRCA 1920 the amber glass covered in blue and gold iridescence, etched maker’s mark L C TIFFANY FAVRILLE/ 9603B (2)

21.5cm high Literature: Duncan, Alastair Tiffany Lamps and Metalware, ACC 2007, p.59, plates 212 and 213

11.5cm high

£1,500-2,500

Literature: Steeg, M.S. Tiffany Favrile Art Glass, Schiffer 1998, p.84 illus.

£500-800

541 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, AAC 2004, p.397 where similar vases are illustrated

£600-800

542 TIFFANY STUDIOS, NEW YORK PAIR OF BRONZE ‘ZODIAC’ BOOKENDS, CIRCA 1920 cast with twelve Zodiac medallions interlaced with an ornamental design, stamped maker’s marks TIFFANY STUDIOS/ NEW YORK/ 1091 (2) 15cm high

£200-300

543 TIFFANY STUDIOS, NEW YORK IRIDESCENT ‘FAVRILE’ GLASS CANDLE LAMP & SHADE, CIRCA 1910 the lamp of tapering form with raised spiral decoration, with associated and later candle support and with original frilled glass shade, shade with etched maker’s mark LCT 5-12281 45cm high

£400-600

142

544 AMERICAN SCHOOL PAIR OF PATINATED BRASS TABLE LAMPS, 20TH CENTURY each cast as fishing nets with trapped octopuses around the base, surmounted by associated domed stained and leaded glass shades (2) 88cm high

£500-800

545 § MICHELE VEDANI (1874-1969) FIGURE OF A GIRL bronze, signed in the bronze M. VEDANI 44.5cm high

£1,200-1,800

546 § CHRISTIAN AECKERLIN (1884–1943) LEOPARD, CIRCA 1930 bronze, mid-brown patina, signed to base CH AECKERLIN/ DUSSELDORF BRONZEBILDGIESSEREI GMBH 62cm long

£800-1,200

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

143

547 § CARL MILLES (1875-1955) STRUGGLE FOR EXISTENCE patinated bronze, signed CARL MILL*, later drilled bronze 21cm high, overall height 25cm high

£800-1,200

548 MAX LE VERRIER (1891-1973) ART DECO PATINATED BRONZE FIGURAL TABLE LAMP, CIRCA 1930 cast as a nude holding aloft a light fitting, on a stepped circular base, raised on a green marble plinth, signed in bronze LE VERRIER, with later glass shade figure 27.5cm high (excluding base and light); total height 44cm high

£400-600

549 AMERICAN SCHOOL, MANNER OF HANDEL LAMP COMPANY TABLE LAMP, CIRCA 1910 the bronzed strapwork base surmounted by domed shade with slag glass panels 60cm high, 38.5cm wide

£400-600

550 AMSTERDAM SCHOOL INLAID OAK GAMES TABLE, CIRCA 1910 the circular reversible top inlaid with a chequer board, above a lower tier, the whole raised on tapering legs linked by an X-form stretcher 62cm diameter, 73cm high

£300-500

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

144

551 MURANO, ITALY WALL MIRROR, CIRCA 1935 etched mirrored glass embellished with applied lattice and rosette border with aventurine inclusions 223cm x 182cm

£1,200-1,800

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

145

552 IGNI, TORINO ART DECO CERAMIC FIGURE OF A WOMAN, CIRCA 1930 modelled as a woman standing over a basket of flowers, signed to basket, painted marks to base IGNI/ TORINO/ LV/ N. 49 32.5cm high

£200-300

553 FRANCESCO NONNI (1885-1976) FOR MELANDRI E FOCACCIA, FAENZA LADY WITH FAN, CIRCA 1920 glazed ceramic with gilt embellishments, painted manufacturer’s marks 30.5cm high

£800-1,200

554 ITALIAN SCHOOL TWIN-HANDLED TABLE LAMP, MID-20TH CENTURY frosted glass with aventurine inclusions, brass fittings 30.5cm high to fitting

£300-500

555 RONZAN, ITALY CERAMIC FIGURE, 20TH CENTURY depicting a girl in a blue polka-dot dress, painted marks ORIGINALE/ GIO RONZAN/ MADE IN ITALY/ 167 34cm high

£200-300

146

556 HEINRICH JOHANNES MÖLLER (1905-1983) FOR KIENZLE, GERMANY ZODIAC WALL CLOCK the glass dial with applied brass chapter ring with all twelve signs of the zodiac, enclosing an 8-day movement, printed maker’s mark KIENZLE/ SUPERIA 36cm diameter

£800-1,200

557 VICKE LINDSTRAND (1904-1983) FOR ORREFORS, SWEDEN ENGRAVED GLASS VASE, MID-20TH CENTURY of tall ovoid form, etched with a nude female, with acid etched maker’s marks, ORREFORS/ LINDSTRAND/ 1718 7G SC 35.5cm high

558

£400-600

AXEL SALTO (1889-1961) FOR ROYAL COPENHAGEN RIBBED BOWL, CIRCA 1975 glazed stoneware, printed marks ROYAL COPENHAGEN/ DENMARK, painted no. 20717 19.5cm diameter

£300-500

559

560

HANS BUNDE (1919–1996) FOR COHR, DENMARK

ERNEST A. BLYTH FOR GEORGE TARRATT LTD

SILVER PLATE TEA AND COFFEE SERVICE, 1950S

‘VEGA’ 9CT GOLD BROOCH, DATED 1992

comprising a COFFEE POT, 19.5cm high; HOT WATER JUG, 20cm high; TEAPOT, 16cm high; MILK JUG, 10cm high; SUGAR BOWL & COVER, 6cm high; and a SERVING TRAY, 63cm across, all with stamped maker’s marks; together with TWO ART DECO SILVER-PLATED AND ENAMEL BOWLS & COVERS BY JEAN PUIFORCAT, circa 1930 impressed maker’s marks PUIFORCAT/ FRANCE, 12cm high (8)

with domed centre and four squared points, stamped GT Ltd/ IVAN TARRATT ENG/ Ernest A. Blyth, hallmarked Birmingham 1991; together with a SILVER BROOCH BY HANS HANSEN, 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 (4)

£200-300

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

3.5cm wide

147

561 ARNO MALINOWSKI (1899-1976) FOR GEORG JENSEN STERLING SILVER BROOCH, MARKS FOR 1933-1944 stamped maker’s marks GJ/ 925 (twice)/ STERLING DENMARK/ 250, 3.6cm across; together with a STERLING SILVER PENDANT NECKLACE, MARKS FOR 1933-1944, designed with opposed birds and barley head, within a square frame, with fine link chain, stamped maker’s marks GJ/ 925/ STERLING DENMARK/ 93, pendant 3.5cm across; length of chain 28.5cm approx; and a STERLING SILVER BROOCH, CIRCA 1942, of circular outline, depicting two butterflies amongst flowers, stamped marks GJ/952 S/ DENMARK/283, 5.5cm diameter (3) £400-600

562 GEORG JENSEN (1866-1935) SILVER AND AMBER BROOCH, MARKS FOR 1933-44 stamped marks GJ/ 925/ STERLING DENMARK/ 19, 6.5cm across; together with a GEORG JENSEN BROOCH, of shaped oval form, embossed with a snail amongst flower heads and foliage, stamped marks GEORG JENSEN/ STERLING DENMARK/ 279, 5.5cm across (2) £250-350

563 GEORG JENSEN (1866-1935)

564 ARNO MALINOWSKI (1899-1976) FOR GEORG JENSEN SILVER AND ENAMEL BROOCH, MARKS FOR 1933-44

SILVER PENDANT NECKLACE, POST 1945 set with a red cabochon stone, with fine link chain, stamped marks GEORG JENSEN/ STERLING DENMARK/ 28 pendant, 3cm long; length of chain 28cm approx

stamped marks 925/ GJ/ STERLING DENMARK/ GJ/ 284J

£200-300

3.5cm across

£200-300

565 Y GEORG JENSEN (1866-1935) SILVER & IVORY MOUNTED ‘MAGNOLIA BLOSSOM’ HOT MILK POT AND COVER, DESIGNED 1905

566

567

HENNING KOPPEL (1918-1981) FOR GEORG JENSEN

AMORPHIC STERLING AND ENAMELLED BROOCH, DESIGNED 1956 black enamel, stamped marks GEORG JENSEN/ STERLING DENMARK/ HK/ 323 6cm across

AMORPHIC STERLING AND ENAMELLED BROOCH, NO. 314, CIRCA 1964 stamped maker’s marks GEORG JENSEN/ HK/ 314/ STERLING DENMARK

£200-300

with ivory handle, bears maker’s marks GEORG JENSEN/ DENMARK/ STERLING/ 2E (1915-1930)

7cm across

£250-400

13.5cm high

£800-1,200

568 CONTEMPORARY BRITISH SCHOOL SILVER GILT CHALICE & COVER, LONDON 1965 the bowl with gilded interior, the tapering base with feldspar knop, stamped maker’s marks DMR, hallmarked London 1965 chalice 19cm high, cover 15.5cm diameter

£300-500

148

569 HAGENAUER, VIENNA BRONZE BUST, CIRCA 1950 stamped factory marks HAGENAUER/ WIEN/ MADE IN VIENNA AUSTRIA 23.5cm high

£400-600

570 ATTRIBUTED TO FONTANA ARTE WALL MIRROR, MID-20TH CENTURY the elliptical organic form, the mirrored plate enclosed by a grey frame 58cm x 42cm

£300-500

571 HAGENAUER, AUSTRIA BRONZE BUST, CIRCA 1920 cast as an African female with copper necklace, stamped monogram and maker’s marks to base HAGENAUER/ WEIN/ HANDMADE/ MADE IN AUSTRIA 9cm high

£250-350

572

573

574 §

CONTEMPORARY

ENGLISH SCHOOL

BRONZE FIGURE GROUP OF PENGUINS, DATED 1973

STONE SCULPTURE OF A HEAD, 20TH CENTURY

STEPHEN CLUTTERBUCK (B. 1932)

mid-brown patina, stamped mark to base A1973, applied foundry seal mark J. B. DEPOSE, raised on a black slate plinth

raised on a stepped red sandstone base

36cm high (excluding base); total height 39cm high

£300-500

24cm high

£200-300

FLAT FIGURE II, 1993 carved stone on a slate plinth, IV/VIII, signed, titled, numbered and dated 26.5cm high (including base) (10.5in high)

£150-250

575 ERNEST RACE (1913-1964) FOR ISOKON FURNITURE `PENGUIN DONKEY` MARK II OPEN BOOKCASE, 1960S with white painted open shelves on teak supports 54cm long, 41cm high, 40.5cm deep

£250-350

576 NEIL MORRIS FOR H. MORRIS & CO., GLASGOW RARE TEAK ‘COIN TABLE’, CIRCA 1953 the bowed rectangular ply top inset with coins, raised on tapering legs, bears inset maker’s label and plaque inscribed ‘Coin Table/ Designed by Neil Morris/ 1st set of minted coins 1953/ restricted issue’ 89cm wide, 48cm high, 43cm deep

£200-300

149

577 § RENÉ GRUAU (1909-2004) SEATED CAT Pen and ink, signed with monogram, framed, 39cm x 56cm; and another by the same hand FIGURE OF A CLOWN, pen, ink and bodycolour, framed, 64cm x 48cm (2) £400-600

578 PIERO FORNASETTI (1913-1988) PAIR OF ENAMELLED METAL BOOKENDS, CIRCA 1950 each printed with various musical instruments, printed maker’s marks to bases (2) 20cm high

579

£200-300

PIERO FORNASETTI (1913-1988) ‘GATTO SIAMESE SU LIBRI’ UMBRELLA STAND, CONTEMPORARY trompe l’oeil lithography on metal. hand-coloured, bears maker’s marks FORNASETTI MILANO/ NO.13/87/ E.S. 73cm high

£800-1,200

580 ATTRIBUTED TO VENINI, MURANO PAIR OF ‘ASTRA QUADRILOBO’ CRYSTAL CHANDELIERS, CIRCA 1960 cut glass with lacquered brass frame, 101cm diameter, 76cm high; and a MATCHING PAIR OF WALL LIGHTS (4) £300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

150

581 § PORTHIA PRINTS, ST. IVES GROUP OF TABLE LINENS, CIRCA 1955-60 screenprinted linen, to include THIRTEEN TABLE LINENS, some unhemmed, by Denis Mitchell, Michael Snow, Barbara Hepworth, Stanley Dorfman and John Forrester, 30cm-32cm x 43cm-45cm; together with a LINEN TABLE CLOTH DESIGNED BY DENIS MITCHELL, with printed seafood and seabird decoration, 80cm square (14) Provenance: From the Estate of an important St. Ives artist

£300-500

582 § PORTHIA PRINTS, ST. IVES GROUP OF TABLE LINENS, CIRCA 1955-60 screenprinted linen, to include FIFTEEN TABLE LINENS, some un-hemmed, by Denis Mitchell, Michael Snow, Barbara Hepworth, Stanley Dorfman and John Forrester, 30cm-32cm x 43cm-45cm (15) Provenance: From the Estate of an important St. Ives artist

£300-500

151

583 § DENIS MITCHELL (1912-1993) FOR PORTHIA PRINTS, ST. IVES FOLIO OF DESIGNS FOR TABLE MATS, MID-1950S comprising SIXTEEN DESIGNS, watercolour, unframed, pencil and gouache, some with inscriptions in ballpoint pen and pencil (16) approx. 30cm x 38cm with variations Provenance: From the Estate of an important St. Ives artist

£300-500

584 § DENIS MITCHELL (1912-1993) FOR PORTHIA PRINTS, ST. IVES FOUR FRAMED TABLE LINEN PANELS, CIRCA 1955-60 Screenprinted linen (4) 28.5cm x 36cm Provenance: From the Estate of an important St. Ives artist

£200-300

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

152

585 MANNER OF LUCIENNE DAY (FABRIC DESIGN) THREE-FOLD SCREEN, 1950S fabric covered panels with brass hinges each fold 244cm x 61cm

£300-500

586 § RICHARD PARKINSON (1927-1985) AND SUSAN PARKINSON (1925-2012) SHEEP, MERMAID AND BEAR moulded porcelain, the sheep numbered 24/75, the mermaid and bear impressed maker’s marks (3) the sheep 28cm long, the mermaid 10cm high and the bear 15cm long

£250-350

587 § RICHARD PARKINSON (1927-1985) AND SUSAN PARKINSON (1925-2012) ‘BEETLE’ FRENCH BULL DOG moulded porcelain, model no.19 16cm long (6.25in long) Literature: Cashmore, Carol and Smith-Vincent, Tim Susan Parkinson and the Richard Parkinson Pottery, Private Press, p. 34 for a similar example.

£200-300

588 LUCIENNE DAY (1917-2010) (PATTERN DESIGNER) HEAL & SON (ATTRIBUTED MAKER) COFFEE TABLE, 1950S patinated steel, brass and ‘Linear’ Formica 122cm long, 37cm high, 46cm deep Literature: Casey, A. Lucienne Day AAC 2014, pp.138-9 illus.

£300-500

589

590 §

591 §

CONTEMPORARY SCHOOL

JOHN LEACH (B. 1939) FOR MUCHELNEY POTTERY

BERNARD LEACH (1887-1979)

PITCHER

painted initials and St. Ives mark, impressed St Ives marks verso, 10cm square; a MARTIN BROTHERS STONEWARE TILE, moulded maker’s marks verso; 14.7cm square; and TWO FURTHER POTTERY TILES, one painted with a colt, the other with a squirrel, 15cm and 14cm square (4)

GROUP OF STUDIO POTTERY to include a group of FIVE VESSELS BY MARY RICH (B.1940), 15cm high; and ORGANIC FORM VESSEL BY DEIRDRE BURNETT (B. 1939), 11cm high; and TWO FURTHER VESSELS, 28cm and 15cm (8)

glazed stoneware, impressed maker’s mark and seal mark, signed potter’s label JOHN LEACH 42cm high

£150-250

£200-300

ST IVES POTTERY STONEWARE TILE, MID 20TH CENTURY

Exhibited: Hereford Museum & Art Gallery ‘Love and Labour are All: The Arts and Crafts Movement and Beyond’ 24th March – 16th May 2012, no.94

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

153

592

593

J. & J. CASH LTD. FOR COVENTRY CATHEDRAL

ALFRED DUNHILL, LONDON

RARE JACQUARD-WOVEN SILK PANEL, CIRCA 1960

‘AQUARIUM’ CIGARETTE LIGHTER, CIRCA 1950

embroidered inscription, COVENTRY CATHEDRAL/ CONSECRATED 25 MAY, 1962, with printed label verso, framed and glazed, 7cm x 10.5cm; together with a FURTHER JACQUARD-WOVEN SILK PANEL BY W. H. GRANT & CO., COVENTRY, depicting Lady Godiva, embroidered inscription REPRODUCED BY KIND PERMISSION OF THE CORPORATION OF COVENTRY, framed and glazed, 11.3 x 6.5cm (2)

the lucite panels decorated with an underwater scene, silvered brass mounts, cast maker’s mark to base DUNHILL/ LIGHTER and to mount DUNHILL 10cm wide, 7.8cm high, 5cm deep

£800-1,200

£400-600

594 J. & J. CASH LTD. FOR COVENTRY CATHEDRAL RARE JACQUARD-WOVEN SILK PANEL, CIRCA 1960 with printed label verso inscribed SUTHERLAND TAPESTRY, framed and glazed, 13cm x 7cm; together with a FURTHER JACQUARD-WOVEN SILK PANEL BY J &J CASH LTD, with printed label verso inscribed BETHLEHEM FONT AND BAPTISTERY WINDOW, framed and glazed, 12.5cm x 7cm (2) £400-600

595 SALLY TUFFIN (B. 1938) FOR DENNIS CHINA WORKS GROUP OF CERAMIC WARES comprising TWO ‘TOUCAN’ CERAMIC VASES, DATED 2000 the tall shouldered vase decorated with three toucans perching on a branch, on a gradated teal ground, impressed factory marks and painted marks S.T./ DES/ TB/ NO. 21, 33cm high; the squat ovoid vase of identical decoration, impressed factory marks and painted marks S.T./ DES/ TB/ NO. 46, 16.5cm high; and a SMALL PLATE, decorated with a single toucan, printed factory marks and painted marks S.T. DES/ TP/ NO. 23, 16cm diameter; a ‘SUNFLOWER’ CERAMIC CHARGER, 1990S, depicting a sunflower head on a teal ground, impressed factory marks and painted marks S.T. DES/ VMW/ NO.9, 31cm diameter; and a TAPERING CYLINDRICAL VASE after a design by William Morris, depicting a female in a walled garden, bearing inscription, IMAGO THE/ BES/ BABYLIONS REGINAE MAH/ RIS, impressed factory marks and painted marks AFTER WM/ VMW/ NO. 10, 24cm high (5) £300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

154

596 ALASTAIR MORTON (1910-1963) FOR EDINBURGH WEAVERS LTD. ‘FLORIAN’ FURNISHING FABRIC, CIRCA 1964 Cotton and rayon 282cm x 112.5cm Literature: V&A Museum number:T.224:1, 2-2009 for a sample in a different colourway Note: Edinburgh Weavers was founded in 1928 by the textile manufacturer James Morton (1867-1943) as an experimental design and marketing unit of Morton Sundour Fabrics. Originally based in Edinburgh, the firm merged with Morton Sundour Fabrics’ weaving factory in Carlisle in 1931. Under the directorship of Alastair Morton the firm commissioned freelance designers and artists to produce work for interpretation as printed and woven fabrics. Following Alastair Morton’s death in 1963, Edinburgh Weavers was taken over by Courtaulds. This scarce fabric, designed by Alastair Morton, was produced after his death for the Savoy Hotel, London circa 1964.

£400-600

597 ALAN REYNOLDS (1926-2014) FOR EDINBURGH WEAVERS LTD. ‘CRYSTALLINE IMAGE’ PANEL, CIRCA 1960 woven cotton and rayon 223cm x 118.5cm Literature: Fine Art Society Austerity to Affluence: British art and design 1945-1962, 1977 p.47, pl. T37 Jackson, Leslie Alastair Morton and Edinburgh Weavers: Visionary Textiles and Modern Art V&A 2012, pl. 404

£1,000-1,500

598

599

KIRSTY MCFARLANE (SCOTTISH CONTEMPORARY)

CONTEMPORARY MAKER

‘THE EYE’

LARGE MULTI-STEMMED VESSEL

printed fabric, embroidery and appliqué, framed

glazed ceramic

65cm x 99cm

£200-300

58cm high

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

155

600 ENGLISH SCHOOL ARTS & CRAFTS EMBROIDERED APPLIQUÉ PANEL, CIRCA 1950 coloured fabrics and threads, the design depicting the signs of the zodiac reserved on a later linen backing with hanging rings 183cm x 115cm

£400-600

601 ENGLISH SCHOOL CALAMANDER AND CHROME PLATED DISPLAY CABINET, MID-20TH CENTURY the stepped top above twin glass doors with four adjustable shelves, the base with horizontal reeded feet, mirrored back, with key 104.5cm wide, 166.5cm high, 39cm deep Provenance: Christies: The Fleur Cowles Collection, London, 23 November 2016, lot 221.

£2,000-3,000

602 ENGLISH SCHOOL DESK, CONTEMPORARY steel and hardwood 166cm wide, 74cm high, 66cm deep

£400-600

156

603 § SCOTTIE WILSON (1890-1972) UNTITLED - SW40 pastel and gouache, signed lower right SCOTTIE 63.5cm x 50.5cm Exhibited: Paris, Halle Saint Pierre Gallery Provenance: Gimpel Fils Gallery, London

£800-1,200

604 § SCOTTIE WILSON (1888-1972) PAINTED PLATE, CIRCA 1960 of oval form, painted in black and beige on a cream ground with stylised trees and birds, signed SCOTTIE, printed factory mark to reverse 35.5cm across

£300-500

605 § SCOTTIE WILSON (1890-1972) COMPOSITION SW88 pen & ink, watercolour and gouache, signed lower right SCOTTIE 37.5cm x 27.5cm Provenance: Gimpel Fils Gallery, London

£500-700

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

157

606 THE EDWARD BARNSLEY WORKSHOP PARTNER’S DESK, CONTEMPORARY Macassar ebony and bog oak, designed by James Ryan and made by James Ryan and Phillip Brown, with three drawers to each side and with cable management system 209cm wide, 75cm high, 163cm deep

£4,000-6,000

SIR JOHN LAVERY R.A.,R.S.A.,R.H.A.,P.R.P.,H.R.O.I.,L.L.B. (IRISH 1856-1941) MARIANA bears signature and date, oil on canvas 36cm x 46cm (14in x 18in)

Â£6,000-8,000

SCOTTISH PAINTINGS & SCULPTURE AUCTION 03 DECEMBER 2020 AT 6PM IN EDINBURGH To enquire please contact NICK CURNOW +44 (0) 131 557 8844 nick.curnow@lyonandturnbull.com

GREEN JADE CONG NEOLITHIC PERIOD, LIANGZHU CULTURE 新石器時代良渚文化玉琮

£35,000-45,000

DOUCAI ‘CHICKEN’ CUP CHENGHUA MARK, PROBABLY KANGXI PERIOD 成化款鬥彩雞缸杯

£18,000-22,000

RARE CINNABAR LACQUER ‘RUYI CLOUD’ CIRCULAR BOX

FINE ASIAN WORKS OF ART AUCTION 05 NOVEMBER 2020 AT 2PM IN LONDON To enquire please contact GRACE TU +44 (0) 207 930 9115 grace.tu@lyonandturnbull.com

QING DYNASTY, QIANLONG MARK AND OF THE PERIOD

清乾隆《大清乾隆年製》《蟠雲寶盒》填金楷書刻款剔紅雕漆蟠雲寶盒

£6,000-8,000

160

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.

161 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.

6. CURRENCY CONVERTER

C. DURING THE SALE

8. RELEVANT LEGISLATION

1. ADMISSION TO OUR AUCTIONS

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.

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.

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.

D. THE BUYER’S PREMIUM, TAXES AND ARTIST’S RESALE ROYALTY

(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 outwit the European Union. This reduced rate is applicable to Antique items.

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

162 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 which may be subject to CITES but have not be identified as such.

163

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.

19.2

164

GUIDE TO BIDDING & PAYMENT REGISTRATION

HOW TO BID

PAYMENT

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

BY COMMISSION/ ABSENTEE BID Leave a bid online through our website, call us on 0131 557 8844 or email info@lyonandturnbull.com

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:

BY PHONE

BANK TRANSFER

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.

Account details are included on any invoices we issue or upon request from our accounts department.

1 – Government issued photo ID (Passport/Driving licence) 2 – Proof of address (utility bill/bank statement). We may, at our option, also ask you to provide a bank reference and/or deposit. By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale. BIDDING At the Sale Registered bidders will be assigned a bidder number. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. All lots will be invoiced to the name and address given on your registration form, which is non-transferable.

BID LIVE ONLINE Bid live online, for free, with Lyon & Turnbull Live. Just click the button from the auction calendar, sale page or any lot page online to register.

ONLINE CREDIT OR DEBIT CARD PAYMENTS Payment can be made by Visa Debit, Maestro, Mastercard or Visa Credit cards. We do not accept card payments by phone. Please use our online payment service (provided by Sage Pay). You will find a link to this service in the email invoice issued after the sale or you can visit the payments section of our website. CASH No cash payments will be accepted for this auction. COLLECTION & STORAGE Please refer to our guide to collection & storage on page 2 of this catalogue.

Inside Cover Lot 67 (detail)

LO NDO N | E D IN BURGH | GLA S GO W LYON AN DTURN BULL .C OM