Design since 1860 | Auction 21 & 22 April 2021

21ST & 22ND APRIL 2021 LIVE ONLINE

WEDNESDAY 21 & THURSDAY 22 APRIL 2021 AT 10AM

Sale Number LT634

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

Front Cover Lot 374 [detail] Inside Front Cover Lot 135 [detail]

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BUYER'S GUIDE

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‡R educed rate of 5% import VAT payable on the hammer price ΩS tandard rate of import VAT on the hammer price Lots affixed with ‡ or [Ω] symbols may be subject to further regulations upon export /import, please see Conditions of Sale for Buyers Section D.2.

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.

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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).

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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.

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

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

Philip Smith Senior Specialist philip.smith@lyonandturnbull.com

Joy McCall Senior Specialist joy.mccall@lyonandturnbull.com

Olivia Ross Junior Specialist olivia.ross@lyonandturnbull.com

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1 ENGLISH SCHOOL, MANNER OF A.W.N. PUGIN FOR JOHN HARDMAN & CO. PAIR OF GOTHIC REVIVAL CHANDELIERS, CIRCA 1870 patinated brass, with four applied candle sconces, later chains (2) Ring support 52cm diameter; widest point 74cm wide, 25cm high

£500-800

2 A.W.N. PUGIN (1812-1852) FOR MINTON & CO. SIXTEEN-TILE PANEL, CIRCA 1860 glazed earthenware, later mounted and framed each tile 10cm square, total including frame 44.5cm square

£200-300

3 ATTRIBUTED TO JOHN HARDMAN & CO., BIRMINGHAM GOTHIC REVIVAL FENDER, CIRCA 1870 cast steel and brass 185.5 wide, 33cm high, 29.2cm deep Provenance: Leighton Hall, Lancashire Note: Leighton Hall, a mid-18th century mansion designed by John Hird was purchased by Richard Gillow in 1822. Gillow, the grandson of furniture manufacturer Robert Gillow, Gothicized the façade in 1822–25 using local white limestone. In 1870 his son, Richard Thomas Gillow, commissioned the Lancaster architects Paley and Austin to add a three-storey wing containing a billiard room below, and guest rooms above, when it is presumed this fender was purchased.

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

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4 ATTRIBUTED TO HART, SON, PEARD & CO. LARGE PAIR OF GOTHIC REVIVAL CANDLESTICKS, CIRCA 1880 cast brass, with applied red and green cabochon stones (2) 81cm high Provenance: Eastington Hall, Worcestershire

£800-1,200

5 LEWIS NOCKALLS COTTINGHAM (1787-1847) FOR SAMUEL PRATT PAIR OF GOTHIC REVIVAL SIDE CHAIRS, CIRCA 1840 oak with later upholstered backs and drop-in seats (2) 55.5cm wide, 105cm high, 55.5cm deep Provenance: From the set of twenty dining chairs supplied in 1844 to Lord Brougham at Brougham Hall, Westmorland Literature: Myles, Janet L.N. Cottingham 1787-1847 Architect of the Gothic Revival 1996, p.33, fig. 129

£2,000-3,000

Note: According to Myles (unpublished thesis), Cottingham delivered the twenty chairs to Lord Brougham on 2 August 1844. Other chairs form the set are in the collection of the Victoria and Albert Museum, London (W.2:1, 2-1992) and the Cooper Hewitt, New York.

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6 A.W.N. PUGIN (1812-1852) OR E.W. PUGIN (1834-1875) FOR THE NEW PALACE OF WESTMINSTER, RARE GOTHIC REVIVAL COAL BOX, BY BENHAM & FROUD, LONDON, CIRCA 1855 brass and copper, one hinge lid engraved with portcullis cypher 34.5cm wide 64cm long 33cm high (handle down) Provenance: Bearing the portcullis cypher to one side of the scuttle, this rare example was presumably supplied to the Houses of Parliament by Benham & Froud around 1855.

£1,000-1,500

7 ATTRIBUTED TO EDWIN OPPLER (1831-1880) GERMAN ARMCHAIR, CIRCA 1860 oak, with later upholstered back, seat and arm pads, with a pierced and carved crest centred by the initial ‘G’, inscribed with the mottos ‘ERNST IST DAS LEBEN’ and ‘HIETER DIE KUNST’ 58.5cm wide, 98.4cm high, 56cm deep Provenance: Possibly Georg V (1819–78) Note: The gothic letter ‘G’ in the shield on the chair’s top rail may indicate its provenance. Georg V was the son of Ernst August I, the eighth child of George III and Queen Charlotte.

In 1857 he commissioned Conrad Wilhelm Hase to build the gothic Schloss Marienburg, near Hildesheim, as a gift for his wife Queen Marie, and as a summer residence. In 1864, Hase was succeeded by his pupil Edwin Oppler. Oppler also designed ‘modern gothic’ chairs for Marienburg and these show the influence of Georg Gottlob Ungewitter, for example the designs in his Entwürfe zu Gotischen Möbel, Leipzig, 1851.

The projecting leaf carving on the present lot can be compared to that on a bookcase for Marienburg, and an unpublished desk chair, photographed at Schloss Marienburg, has features in common with the present example. The quotation ‘Ernst ist das Leben / Heiter die Kunst’ (life is serious, art is cheerful) is from Friedrich Schiller (1759–1805), Wallenstein, 1800.

£1,000-1,500

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

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8 ENGLISH SCHOOL, MANNER OF SHRIGLEY & HUNT STAINED GLASS PANEL, CIRCA 1880 stained, leaded and painted glass, depicting Mary, Joseph and Jesus in the carpentry shop 67cm x 68.5cm

£500-800

9 MANNER OF A. W. N. PUGIN FOR JOHN HARDMAN & CO. SUITE OF GOTHIC REVIVAL FITTINGS, CIRCA 1870 pierced steel, comprising TWO HINGED DOOR BRACKETS, 31cm x 26cm; a DOOR PLATE, 34cm long; a SET OF SIX DOOR PLATES, 26cm long; and a further SET OF SIX DOOR PLATES, 26cm long (15) £300-500

10 LOUIS AND SIEGFRIED LÖVINSON, RETAILED BY JULIUS YACOBY PAIR OF GERMAN RENAISSANCE REVIVAL SIDE CHAIRS, CIRCA 1860 oak (2) 53cm wide, 121cm high, 53 cm deep

£800-1,200

Literature: The Illustrated Catalogue of the Universal Exhibition, published with the Art Journal, London and New York, 1868, p. 62 Exhibited: Paris Exposition Universelle, 1867 (the same design) Note: Lövinson and Yacoby had workshops in Berlin and outlets in London and St Petersburg, as well as Berlin. In addition to the Paris Exposition Universelle, 1867, the firm had also shown at the London International Exhibition, 1862. For a related hall chair, stamped with the maker’s marks, see an example kept at the Victoria and Albert Museum, London (W.52–2005).

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11 HART, SON, PEARD & CO., LONDON AND BIRMINGHAM CIRCULAR WAFER BOX, LONDON, 1869 silver and enamel, decorated in the manner of William Burges, stamped maker’s marks and hallmarks for London 1869 4.5cm diameter Literature: The Strange Genius of William Burges ‘Art Architect’, a catalogue of a Centenary Exhibition, National Museum of Wales, Cardiff, 1981, p.117, no. C62 Note: In 1866/7 Hart & Son amalgamated with Peard & Jackson, manufacturers of medieval art metal works. Hart, Son, Peard & Co. were regularly represented at the international exhibitions including London, Dublin, Paris and Philadelphia where they exhibited artistic metalwork, chiefly for ecclesiastical purposes. They are thought to have been the manufacturers of a gilt dish with silver and niello decoration of 1875 designed by the architect William Burges (1827-1881).

£300-500

12 ENGLISH SCHOOL GOTHIC REVIVAL ADJUSTABLE ARMCHAIR, CIRCA 1870 oak with later button-upholstered slung seat with adjustable bar 67cm wide, 118cm high, 88cm deep

£600-800

13 ENGLISH SCHOOL VICTORIAN GOTHIC REVIVAL TERRARIUM, CIRCA 1860 cast iron, zinc and glazed earthenware, the tiles by A.W.N. PUGIN FOR MINTON & CO., painted and glazed frame 42cm wide, 68cm high

£300-500

14 MANNER OF A. W. N. PUGIN GOTHIC REVIVAL FENDER, CIRCA 1870 cast and wrought iron 156cm wide, 36cm high, 26cm deep

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

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

ENGLISH SCHOOL, ATTRIBUTED TO COX & SONS, LONDON

GOTHIC REVIVAL WALL MIRROR, CIRCA 1890 gilded and painted wooden frame enclosing a mirrored plate, bearing inscription TIDIMUS STELLAM EIUS IN ORIENTEN ET VENIMUS ADORARIE DOMINUM

GOTHIC REVIVAL SIDE CHAIR, CIRCA 1880 ebonised oak with incised and polychrome decoration, original velvet upholstered seat and back panel

58cm x 45cm

46cm wide, 93cm high, 44cm deep

£300-500

£500-800

17 JOHN HARDMAN POWELL (1827-1895) FOR HARDMAN & CO. COLLECTION OF ORIGINAL DESIGNS, CIRCA 1860 to include: ORIGINAL DRAWINGS FOR A TEAPOT AND SUGAR BOWL WITH TONGS, CIRCA 1860; also an ORIGINAL DRAWING BY THE SAME HAND; together with THREE SHEETS OF ORIGINAL DRAWINGS, ATTRIBUTED TO A.W.N. PUGIN FOR HARDMAN & CO. For full details please see www.lyonandturnbull.com Provenance: Hardman Archive Note: See V&A collection, museum number 8119-1863 for the realised teapot in silver dated 1861-2

£300-500

18 ENGLISH SCHOOL LARGE MUSCULAR GOTHIC CENTRE TABLE, CIRCA 1880 oak 153cm wide, 77cm high, 153cm deep

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

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19 WALFORD & DONKIN, LONDON GOTHIC REVIVAL ARMCHAIR, CIRCA 1870 carved mahogany with later velvet upholstered back panel 56cm wide, 79cm high, 41cm deep Literature: The Building News, December 24th 1868 where a similar chair is illustrated in an advertisement for ART FURNITURE/ WALFORD & DONKIN ARCHITECTS/ 3 QUEEN SQUARE S.W.

£400-600

20 WILLIAM WHITE (1825–1900) SET OF EIGHT GOTHIC REVIVAL DINING CHAIRS, CIRCA 1860 oak, with leather cloth fabric upholstery, three with cotton seat covers (8) 51cm wide, 91cm high, 47cm deep Provenance: An Irish country house

£600-800

21 ENGLISH SCHOOL GOTHIC REVIVAL REFECTORY TABLE, CIRCA 1870 pitch pine

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229cm long, 72cm high, 67cm deep

MINTON & CO GROUP OF GOTHIC REVIVAL TILES, CIRCA 1880

£1,200-1,800

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glazed earthenware, some with moulded maker’s marks, approx. 15cm square; together with TWO 8-INCH MINTON, HOLLINS & CO TILES, in the manner of E.W. Godwin, each moulded in relief, depicting ‘Summer’ and ‘Winter’, with moulded maker’s marks, 20.5cm square (24)

MANNER OF WILLIAM BUTTERFIELD

£200-300

GOTHIC REVIVAL STRUT MIRROR, CIRCA 1870

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25

brass with oval mirrored plate, 45cm high; and an AESTHETIC MOVEMENT WALL MIRROR, cast brass with bevelled mirrored plate, 47cm high (2)

ENGLISH SCHOOL

ENGLISH SCHOOL

GOTHIC REVIVAL HANGING SHELVES, CIRCA 1870

GOTHIC REVIVAL BEDSIDE CABINET, CIRCA 1880

carved oak

inlaid pitch pine, enclosing a single shelf

£200-300

£250-350

50cm wide, 82cm high, 23.5cm deep

43cm wide, 72cm high, 34cm deep

£200-300

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26 BRUCE J. TALBERT (1838-1881) OR H. W. BATLEY (1846-1932) FOR GILLOW & CO. PAIR OF GOTHIC REVIVAL SIDE CHAIRS. CIRCA 1880 oak, with incised and gilded embellishments, original velvet upholstery, each stamped GILLOWS (2) 47cm wide, 125cm high, 42cm deep Provenance: Garsowe Castle, Weobley, Herefordshire

£800-1,200

27 ENGLISH SCHOOL GOTHIC REVIVAL CENTRE TABLE, CIRCA 1870 oak, brass castors 147cm across, 80cm high, 150cm deep

£3,000-5,000

28 BRUCE J. TALBERT (1838-1881) FOR GILLOW & CO. AESTHETIC MOVEMENT DAVENPORT DESK, CIRCA 1880 oak with brass galleried top, with carved oak centre panel and green leather writing slope, enclosing a fitted interior, one side with fitted pen drawer and the other a writing slide, with keys 71cm wide, 90cm high, 67cm deep

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

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29 CREIL ET MONTEREAU, PARIS PAIR OF TILE PANELS, CIRCA 1880 glazed and enamelled earthenware, bearing inscriptions SYNAGOGA and ECCLESIA, within patinated timber frames (2) exterior 145cm x 65cm; Tile area 141cm x 61cm

£500-800

30 GEORGE EDMUND STREET (1824-1881) PAIR OF GOTHIC REVIVAL SIDE CHAIRS, CIRCA 1860 oak, with later velvet upholstered seats, branded mark VR, stamped BERTRAM & SON/ DEANS OXFORD STREET W (2) 41cm wide, 84.5cm high, 39cm deep Note: Street designed these chairs for the Law Courts (now the Royal Courts of Justice) which he also designed, and which were opened by Queen Victoria in 1882.

£500-800

31 CHARLES BEVAN (ACTIVE 1860-CIRCA 1882) FOR MARSH, JONES & CRIBB GOTHIC REVIVAL SIDE TABLE, CIRCA 1880 satin birch, marquetryinlaid with specimen woods, bears traces of maker’s label 123cm long, 72cm high, 61cm deep

£600-800

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32A AFTER R. W. WINFIELD & CO., BIRMINGHAM ROCKING CHAIR, CIRCA 1850 wrought steel, with wood slats and leather upholstery

GEORGE EDMUND STREET (1824-1881) GOTHIC REVIVAL SIDE CHAIR, CIRCA 1860 oak with later upholstered seat, branded mark GR to seat rail 46cm wide, 89cm high, 48cm deep

62cm wide, 107cm high, 96cm deep

Note: See lot 30 above.

£300-500

£300-500

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33 CHARLES EASTLAKE (1793-1865) OVERMANTEL MIRROR, CIRCA 1870 carved oak with three mirror plates, bearing gilded inscription VANITAS VANITATUM OMNIA VANITAS (vanity of vanities, all (is) vanity) 119.5cm wide, 91cm high, 16cm deep

£800-1,200

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35

36

37

38

ATTRIBUTED TO CHARLES EASTLAKE

ENGLISH SCHOOL

ENGLISH SCHOOL

ENGLISH SCHOOL,

ENGLISH SCHOOL

GOTHIC REVIVAL CHALICE, CIRCA 1890

PAIR OF GOTHIC REVIVAL CANDLESTICKS, CIRCA 1880

SET OF THREE GOTHIC REVIVAL FIRE TOOLS, CIRCA 1870

PAIR OF GOTHIC REVIVAL CANDLESTICKS, CIRCA 1880

brass, each with broad drip trays (2)

brass, with broad sconces, the candleholders in white metal (2)

22.5cm high

steel with cast brass handles, comprising a pair of COAL TONGS, 75cm long; a POKER, 74cm long; and an ASH SHOVEL, 76cm long (3)

£200-300

£200-300

PAIR OF GOTHIC REVIVAL CANDLESTICKS, CIRCA 1870 brass (2) 18.5cm high Literature: Eastlake, Charles Hints on Household Taste, Longmans, Green, & Co., London, 1868, p.155 where these candlesticks are illustrated.

plated metal with planished finish, set with enamelled panels, the bowl bearing inscription VULNERA QUINQUE DEI SUNT MEDICINA MIHI

28cm high

£300-500

24.5cm high

£300-500

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

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39 JAMES POWELL & SONS, WHITEFRIARS SET OF TEN DRINKING GLASSES, CIRCA 1900 green-coloured glass (10) 13cm high Provenance: Penkill Castle, Ayrshire, Christie’s Glasgow, 15th December 1992, lot 213

£300-500

40 SELWYN IMAGE (1949-1930) ‘AUTUMN’, AN AESTHETIC MOVEMENT EMBROIDERED PANEL, CIRCA 1880 silk threads on an unbleached linen ground, later framed 52cm x 21cm Literature: The Art Designer 1887–8, where a facsimile of this design for a needlework panel is illustrated.

£400-600

41 ATTRIBUTED TO LEWIS FOREMAN DAY FOR HOWELL, JAMES & CO., LONDON AESTHETIC MOVEMENT MANTEL CLOCK, CIRCA 1880 ebonised wood with twin-train movement and a painted porcelain dial 26.5cm wide, 48.5cm high, 18.5cm deep

£800-1,200

42 ATTRIBUTED TO JAMES POWELL & SONS, WHITEFRIARS MOUNTED VASE, CIRCA 1890 opalescent glass, with wrought iron stand

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vase 51cm high, with stand 59cm high

JAMES SHOOLBRED & CO., LONDON

Literature: Jackson, L. (edit.), Whitefriars Glass: The Art of James Powell & Sons, Richard Dennis, 1996, p.101, plate 21 (iii) where a photograph of a similar vase is pictured.

AESTHETIC MOVEMENT LAMP TABLE, CIRCA 1890 ebonised wood, bears maker’s label to underside 51cm square, 69cm high

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

£300-500

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44 ENGLISH SCHOOL PAIR OF AESTHETIC MOVEMENT WALL SCONCES, CIRCA 1890 brass, with repoussé decoration (2) 34.5cm high

£300-500

45 CHRISTOPHER DRESSER (1834-1904) FOR THE OLD HALL EARTHENWARE CO. LTD. ‘HAMPDEN’ DINNER SERVICE, CIRCA 1885 printed and glazed earthenware, comprising THREE GRADUATED PLATTERS, largest 45cm; THREE LARGE TUREENS & COVERS, 31.5cm across; TWO SMALL TUREENS, COVERS & STANDS; ONE LADLE; TWO GRAVY BOATS, each 20cm across; NINE DINNER PLATES, each 27cm across; TWELVE DESSERT PLATES; ELEVEN SIDE PLATES, each with printed maker’s marks (qty) £400-600

46 JAMES SHOOLBRED & CO., LONDON, ATTRIBUTED TO H. W. BATLEY PAIR OF AESTHETIC MOVEMENT SIDE CHAIRS, CIRCA 1890 mahogany, with original upholstery (2) 42cm wide, 85cm high, 34cm deep

£400-600

47 ROYAL WORCESTER TWO OF THE ‘FOUR SEASONS’ ALLEGORICAL WALL BRACKETS, LATE 19TH CENTURY glazed porcelain, with painted highlights, stamped maker’s marks (2) 18cm wide, 22.5cm high, 10.5cm deep Literature: Sandon, Henry ‘Royal Worcester Porcelain: from 1862 to the Present Day’ Barrie & Jenkins 1973, pl. 24 where two similar brackets are illustrated.

£200-300

48 MANNER OF JAMES POWELL AND SONS, WHITEFRIARS SET OF TWELVE CHAMPAGNE FLUTES, CIRCA 1900 glass, with applied black prunts (12) 21cm high

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

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49 ENGLISH SCHOOL AESTHETIC MOVEMENT WALL CABINET, CIRCA 1880 ebonised wood, enclosing bevelled glass cupboard doors, with embossed leather panels and a carved panel 106cm wide, 61cm high, 17.5cm deep

£500-800

50 CHRISTOPHER DRESSER (1834-1904) FOR MINTON & CO. ‘PERSIAN WARE’ VASE, CIRCA 1873 ceramic, in Royal Persian turquoise glaze, overprinted in black, impressed maker’s marks 24cm high

£300-500

51 ATTRIBUTED TO JAMES LAMB, MANCHESTER AESTHETIC MOVEMENT CENTRE TABLE, CIRCA 1870 calamander and ebonised wood 91cm across, 74.5cm high

£800-1,200

52 ATTRIBUTED TO CHRISTOPHER DRESSER FOR BENHAM & FROUD, LONDON PAIR OF ANDIRONS, CIRCA 1880 brass, stamped maker’s marks B&F (2) 25cm long, 15.5cm high

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

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53 ATTRIBUTED TO CHRISTOPHER DRESSER FOR COALBROOKDALE IRONWORK COMPANY PAIR OF AESTHETIC MOVEMENT SIDE CHAIRS, CIRCA 1870 cast iron, painted black with gilt embellishments (2) 44cm wide, 133.5cm high, 34cm deep Literature: Cooper, Jeremy Victorian and Edwardian Furniture and Interiors: From the Gothic Revival to Art Nouveau, Hong Kong 1998, p.34, pl. 70.

Note: Dresser was an adept and versatile designer who delighted in working in a broad spectrum of materials. He produced designs for The Coalbrookdale Ironwork Company between 1867 and 1872 and became their lead designer during this period.

The highly stylised foliate forms and Gothic details in the present lot relate to his interest and close study of botany and the wide array of styles that influenced his designs.

£4,000-6,000

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54 CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE ART POTTERY EWER, CIRCA 1880 glazed earthenware, impressed maker’s marks LINTHORPE/502 21.5cm high Literature: Whiteway, Michael Christopher Dresser 1834-1904 Skira Editore S.p.A., Milan, 2001, p. 124, plate 129 The Fine Art Society, London John Scott Collection, Vol. 5, No.116 for a similar example, now held by the Metropolitan Museum of Art in New York, accession number 2015.123

£600-800

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

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55 CHRISTOPHER DRESSER (1834-1904) FOR EDWARD HUTTON (WILLIAM HUTTON & SONS) CLARET JUG, LONDON 1890 glass with silver mounts, hallmarks for London 1890 23cm high

£400-700

56 CHRISTOPHER DRESSER (1868-1904) FOR LINTHORPE ART POTTERY TWO TWIN-HANDLED VASES, CIRCA 1880 glazed earthenware, each with impressed maker’s marks LINTHORPE/ 891/ HT (Henry Tooth), and LINTHORPE/ 957 (2) 13cm and 21.5cm high

£300-500

57 CHRISTOPHER DRESSER (1868-1904) FOR LINTHORPE ART POTTERY TWIN-HANDLED JARDINIÈRE, CIRCA 1880 glazed earthenware, impressed maker’s marks LINTHORPE/ 2296 20cm high

£300-500

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59

60

CHRISTOPHER DRESSER, OWEN JONES, LIBERTY & CO., LONDON ET AL: VICTORIAN AND EDWARDIAN DESIGN

MANNER OF CHRISTOPHER DRESSER FOR H.G. RICHARDSON & SONS

CHRISTOPHER DRESSER (1834-1904)

BOTTLE VASE, CIRCA 1878

published by Cassell, Petter & Galpin, London, c.1870s, containing lithographed title-page and sixty lithograph plates with captioned tissue guards, gilt decorated cloth binding, folio

GROUP OF BOOKS, PAMPHLETS AND EPHEMERA to include Printed card photograph frame, designed by Christopher Dresser; Owen Jones (ill): Thomas Moore: Paradise and the Peri. Day & Son, 1860; Laurence Weaver Houses and Gardens by Lutyens Country Life Library of Architectural Monographs, 1913; Lindsay P. Butterfield Floral forms in historic design, mainly from objects in the Victoria & Albert Museum, but including examples from designs

by William Morris and C.F.A. Voysey, B.T. Batsford, 1922 with Pilkington Tile & Pottery Co. stamp; T. Martin Wood Drawings of D.G. Rossetti George Newnes Ltd.; Two original invoices from Liberty & Co., dated 1886; Hand Blocked Coloured Prints of the Gay 90s, a group of printed cocktail napkins; and Catalogue illustré des dessins de l’artiste découpeur, A. Hanchar-Duthoit, Liege 1906 £300-500

opaline glass 30cm high Literature: Lyons, Harry Christopher Dresser: People’s Designer 1834-1904, Exhibition catalogue, New Century, London 2nd-19th June 1999, fig. 117 where this vase is illustrated

£200-300

STUDIES IN DESIGN

£200-300

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61 CHRISTOPHER DRESSER (1834-1904) FOR BENHAM & FROUD, LONDON AESTHETIC MOVEMENT TEA KETTLE & COVER, CIRCA 1880 copper and brass, with riveted decoration and pierced scrollwork base, stamped maker’s mark to base 20.5cm high

£2,000-3,000

Note: This tea kettle was probably produced by Benham & Froud for the Art Furnishers Alliance for which Dresser was the ‘Art Manager’. The design of the kettle was influenced by Dresser’s admiration of Japanese metalwork, evident in the exposed rivet decoration, the distinctive handle and the cut out ‘cloud’ base.

In his book of 1882 ‘Japan, its Architecture and Art Manufactures’ Dresser wrote; ‘No people but the Japanese have understood the value of colour in metal compositions….we have never fully realised the fact that by producing metal alloys, and combining these with pure metals, a world of colour is open to us’ In 1873 after visiting the Vienna Exhibition he wrote’ while the kettle is an object of use in every house in the land, we have to go to Japan to learn how to make one as it should be’

Literature: Whiteway, M. Christopher Dresser 18341904, Skira Editore S.p.A., Milan, 2001, plate 174 Christopher Dresser and Japan, ed. Koriyama City Museum of Art Brain Trust, ‘Christopher Dresser and Japan’ Catalogue Committee, Japan, 2002, plate 150 Whiteway M. ed Christopher Dresser: A Design Revolution, V & A Publications, London, 2004, plate 236

21

62 CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE ART POTTERY SAKE BOTTLE, CIRCA 1880 glazed earthenware, impressed maker’s marks LINTHORPE/ HT (Henry Tooth) and indistinct impressed facsimile signature 20.5cm high Literature: Whiteway, Michael Christopher Dresser 1834-1904 Skira Editore S.p.A., Milan, 2001, p. 119, plate 118

£3,000-5,000

63 CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE ART POTTERY SHOULDERED VASE, CIRCA 1880 glazed earthenware, pierced to the shoulder with floral roundels, incised and impressed marks WF/ 167/ indistinctly impressed LINTHORPE, with impressed facsimile signature Chr. Dresser 29.5cm high Literature: Whiteway, Michael (edit.) Shock of the Old: Christopher Dresser’s Design Revolution, London 2004, p.167, pl. 220 where a similar vase is illustrated

£500-800

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

22

64 MANNER OF CHRISTOPHER DRESSER AESTHETIC MOVEMENT FRAMED TEXTILE PANEL, CIRCA 1870 printed cotton, within a later frame 131cm x 40cm

£300-500

65 WILLIAM TONKS & SONS NINE AESTHETIC MOVEMENT FINGER PLATES, CIRCA 1880 cast brass, stamped maker’s marks verso WT (9) each 26cm x 8.5cm

£400-600

66 CHRISTOPHER DRESSER (1834-1904) FOR HUKIN & HEATH, LONDON SPIRIT KETTLE ON STAND, CIRCA 1884 silver-plated, the kettle with wicker handle, each engraved with monogram, spirit kettle with stamped maker’s marks H&H/ 2110/ registration number 18367 kettle12cm high (handle down); total height including stand 19cm high Literature: Halen, W. Christopher Dresser: A Pioneer of Modern Design, Phaidon Press Ltd, London, 1993, p. 156, plate 177

£300-500

67 CHRISTOPHER DRESSER (1834-1904) FOR BENHAM & FROUD, LONDON FLASK & COVER, CIRCA 1885 brass, with opposed repoussé decoration, maker’s mark to base, registration number to base 834464 (October 1885) 21cm high Literature: Whiteway, Michael Christopher Dresser 1834-1904 Skira Editore S.p.A., Milan, 2001, p. 148, plate 171 Lyons, H. Christopher Dresser: The People’s Designer, 1834-1904 Woodbridge, 2004, p.211, pl.416

£400-600

68 WILSON & BLESSLEY, LONDON, MANNER OF CHRISTOPHER DRESSER AESTHETIC MOVEMENT JUG, REGISTERED 1884 brass, embossed with crocodiles, stamped mark to base G. * 22cm high Literature: Halen, Widar Christopher Dresser: A Pioneer of Modern Design, Phaidon Press Ltd, London, 1993, plate 220 where a similar shaped jug to the current lot is illustrated.

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

69 AUBREY BEARDSLEY (1872-1898) TWO FRAMED PRINTS ‘A Suggested Reform in Ballet Costume’, framed, 19.5cm x 18.5cm; together with ‘Madame Rejane’, framed, 13.5cm x 16.5cm (2) £200-300

23

70 FRED ADLINGTON (1886-1931) THREE ORIGINAL ILLUSTRATIONS, EARLY 20TH CENTURY pen and ink, to include an ILLUSTRATION FOR ‘THE RUBAIYAT OF OMAR KHAYYAM’, signed FRED ADLINGTON/18, 30cm x 24.5cm; signed lower right FRED ADLINGTON 1919, an ILLUSTRATION BY FRED ADLINGTON, inscribed verso FRED ADLINGTON/ 142 ST HELENS AVENUE/SWANSEA, unframed, 31.5cm x 23cm; another ILLUSTRATION BY FRED ADLINGTON, signed lower right FRED ADLINGTON 1918, unframed; together with an AUBREY BEARDSLEY ILLUSTRATION FOR LE MORT D’ARTHUR, print, later framed, 21.5cm x 17.5cm (4) £300-500

71 ATTRIBUTED TO THOMAS JECKYLL FOR BARNARD, BISHOP AND BARNARDS (1826-1908) AESTHETIC MOVEMENT FIRE DOGS AND GRATE, CIRCA 1880 the grate raised on wrought-iron supports and enclosed by matching fire dogs with elaborate scrollwork uprights Grate 106.8cm wide, 58.5cm high, 30.5cm dee;Fire dogs 27cm wide, 83cm high, 84cm deep Literature: Soros, Susan Weber and Arbuthnott, Catherine Thomas Jeckyll Architect and Designer, 1827–1881, p. 61, n. 294.

£2,000-3,000

Note: Thomas Jeckyll’s collaborations with Barnard Bishop & Barnards first began around 1859 and flourished for several years until 1881. During this time Jeckyll produced many designs for the firm, most notably fireplaces, often in the popular Anglo-Japanese style.

The present fire basket bears similarities to one frequently advertised by the firm in their catalogues. The sunflower motifs, in particular, are synonymous with Jeckyll’s work as are the ribbed and arched supports on the andirons which are almost identical to the examples manufactured by the Norwich-based company.

24

72 EUGÈNE GLUCK (1820-1898) FOR THÉODORE DECK (1823-1891) CIRCULAR PLAQUE, DATED 1871 painted earthenware, painted signature E. GLUCK/ 1871, stamped mark TH DECK 30cm diameter Literature: H. Blairman & Sons Théodore Deck Céramiste, exhibition catalogue, London, 2000, no. 6

£300-500

73 Y GABRIEL VIARDOT (1830-1906) FRENCH ‘JAPONISME’ FOLIO STAND, LATE 19TH CENTURY rosewood, with one hinged and one fixed side with relief carved panel, branded facsimile signature G. VIARDOT to the inside leg 77cm wide, 116cm high, 38cm deep

£1,000-1,500

Note: This Asian-inspired folio stand was created as part of the vogue for collecting Japanese prints that swept France (and elsewhere in the West) during the last quarter of the nineteenth century. As is well known, Japan exerted considerable influence on the European avant-garde at this period, both on painters and designers of decorative arts. The present stand would likely have been a special commission for a refined amateur. Viardot was a successful Parisian cabinet-maker whose Asianinspired, carved and often gilt-metal-mounted furniture inspired many followers. He exhibited at World’s fairs between 1867 and 1900.

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

25

74 Y HOWARD & SONS, LONDON AESTHETIC MOVEMENT SIDE CABINET, CIRCA 1875 rosewood, brass, lacquer and two ivory-inlaid drawer fronts, single drawer below with metal handle, stamped maker’s mark HOWARD & SONS/ BERNERS ST 65.5cm wide, 149cm high, 40.5m deep Note: Howard & Sons (1820-1947) were founded by John Howard in 1820 as a ‘Cabinet Manufacturer’, opening an upholstery workshop and showroom in 1832. They exhibited widely, from the Great Exhibition of 1851 to the Paris Exhibition of 1900 where they won one silver and two gold medals. Commissions included a bookcase designed by C.F. Hayward for John Jones, circa 1862, now in the collection of the Victoria & Albert Museum; sentry boxes at St. James’ Palace; the ballroom floor of the Savoy Hotel; and twentyfour pieces of furniture in the Royal Collection, as well as numerous pieces in the private collection of HM The Queen at Sandringham and Balmoral. This cabinet incorporates several Oriental elements, including drawer fronts made of Meiji lacquered ivory panels of samurai, an early Cinnabar lacquer panel as the cupboard front, and a drawer handle and key adapted from Japanese sword fittings.

£2,000-3,000

26

75 JOHN MOYR SMITH (1839-1912) FOR COLLINSON & LOCK, LONDON AESTHETIC MOVEMENT OCCASIONAL TABLE, CIRCA 1900 mahogany 71.5cm wide, 62cm high, 56cm deep Literature: Cooper, Jeremy Victorian & Edwardian Furniture & Interiors, Thames & Hudson 1998, pp.148, pl. 368, where the line drawing from the Collinson & Lock catalogue is illustrated.

£500-800

76 AFTER WILLIAM HOLMAN HUNT EGYPTIAN REVIVAL SIDE CHAIR, CIRCA 1880 mahogany, with later upholstered back and seat, 48cm wide, 92cm high, 55cm deep; together with an EGYPTIAN REVIVAL CORNER CHAIR, later overpainted, 43.5cm wide, 67cm high, 43.5cm deep (2) £400-600

77 JAMES LAMB, MANCHESTER, IN THE MANNER OF E.W. GODWIN AESTHETIC MOVEMENT BEDSIDE CABINET, CIRCA 1880 mahogany, the door stamped LAMB MANCHESTER 42cm square, 76cm high

£600-800

78 ATTRIBUTED TO E. W. GODWIN FOR GILLOW & CO., LANCASTER AESTHETIC MOVEMENT BEDSIDE CABINET, CIRCA 1880 mahogany, with scumbled door and drawer panel, drawer stamped GILLOW & CO./ LANCASTER 39cm wide, 92cm high, 35cm deep

£800-1,200

27

79 MINTON & CO. TILE PANEL, ‘LA REINE FLORE’, CIRCA 1880 hand-coloured and printed tiles, later framed 105.5cm x 45cm

£800-1,200

80 FALKIRK IRON COMPANY (1832-1982) AESTHETIC MOVEMENT HALLSTAND, CIRCA 1870 cast iron with mirrored plate and removable drip tray, cast marks verso FALKIRK PE261A NO6, with registration lozenge 65cm wide, 188cm high, 30cm deep Note: Workers from the nearby Carron Foundry in Falkirk established the Falkirk foundry in 1819. The company held a warehouse and showroom in Upper Thames Street in London, which ships containing their products could access via the river.

£800-1,200

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

28

81 ENGLISH SCHOOL AESTHETIC MOVEMENT FIRE BASKET, CIRCA 1880 cast-steel and brass 95cm wide, 60cm high, 50cm deep

£600-800

82

83

84

JOHN MOYR SMITH (1839-1912) AND THOMAS JECKYLL (1827-1881) FOR BARNARD, BISHOP AND BARNARDS

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

GEORGE HENRY BOUGHTON (1833–1905)

AESTHETIC MOVEMENT FIRE INSERT, CIRCA 1880

AT PRAYER

AESTHETIC MOVEMENT FIRE INSERT, CIRCA 1880

cast iron, indistinct registration lozenge and number verso

watercolour, signed and dated lower left G H BOUGHTON 64

cast iron frame enclosing a series of Minton tiles, inscribed POETRY/ MORT D’ARTHUR/ GERAINT VIVIAN/ ENID/ ISOLT/ CLAIRE/ GUINEVERE

40cm wide, 80cm high

16.5cm x 24.5cm

£200-300

£300-500

85

86

87

SIR EDWARD COLEY BURNE-JONES (1833-1898)

MINTON‘S CHINA WORKS AND MAW & CO.

ENGLISH SCHOOL

‘HONOR’S PRIZE’

GROUP OF SEVEN AESTHETIC MOVEMENT WALL TILES, CIRCA 1880

AESTHETIC MOVEMENT HALL LANTERN, CIRCA 1880

print from ‘The Flower Book’, published by the Fine Art Society in 1905, framed

in the Japanese taste, blue-printed and glazed earthenware, some moulded maker’s marks (7)

brass, with stained and leaded glass panels

16.5cm diameter

15.2cm square

£200-300

£300-500

total height 148cm, lantern 46cm high, 28cm diameter

89cm wide, 92cm high; internal measurement 45.5cm wide, 70.5cm high

£300-500

£250-350

29

88 MANNER OF COTTIER & CO. AESTHETIC MOVEMENT WALL CABINET, CIRCA 1890 mahogany with painted panelled doors, no key 76.5cm wide, 73cm high, 17cm deep

£300-500

89 THOMAS JECKYLL (1827-1881) FOR ROBBINS & CO. (ATTRIBUTED MAKER) AESTHETIC MOVEMENT TRAY, CIRCA 1880 brass, cast mark to base REGISTERED 30cm wide

£400-600

90

91

LINTHORPE ART POTTERY, ATTRIBUTED TO CHRISTOPHER DRESSER

WILLIAM IMPEY, THE HOPE FOUNDRY, LONGMORE ST., BIRMINGHAM

GROUP OF WARES, CIRCA 1880

AESTHETIC MOVEMENT WALL MIRROR, CIRCA 1870

comprising a DIMPLED VASE, unmarked, 15cm high; a PAIR OF OLIVE GREEN VASES, each impressed 174, 7cm high; a LARGER SIMILAR VASE, unmarked, 14.5cm high; and a further VASE, with crumpled rim, 9cm high; together with SEVEN LINTHORPE-STYLE VASES, including a PAIR OF BOTTLE VASES, 12.5cm high; a PAIR OF LUGGED VASES, 11cm high; TWO SIMILAR SHOULDERED VASES, 10cm high; and a TALL BOTTLE VASE, 24cm high, all unmarked (12)

cast iron with circular mirror plate, cast registration mark to base 34cm wide, 47cm high, 22cm deep Note: The manufacturer William Impey was based at the Hope Foundry, Longmore Street, Birmingham. A contemporary image of this pattern, no. 53742, is included in the design registration records in the National Archives, Kew

£200-300

£300-500

92

93

94

HUKIN & HEATH, LONDON

MANNER OF GEORGE FAULKNER ARMITAGE

TWO SIX-BRANCH CANDELABRA, CIRCA 1880

AESTHETIC MOVEMENT TABLE, CIRCA 1890

ATTRIBUTED TO JAMES POWELL & SONS, WHITEFRIARS

silver plate, each with stamped maker’s marks H&H/ 8826 and 8391 (2)

mahogany

TWO LIGHT SHADES, CIRCA 1890

60cm wide, 75cm high, 61cm deep

opalescent glass (2)

38.5cm high

£300-500

tallest 22.5cm high, the other 21cm high

£400-600

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

30

95 ENGLISH SCHOOL, MANNER OF DANIEL COTTIER AESTHETIC MOVEMENT PANEL, CIRCA 1890 stained, leaded and painted glass 62cm x 42cm

£300-500

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

31

96 MORRIS & COMPANY (MAKER), HERBERT HORNE (1864-1916) FOR THE CENTURY GUILD (ATTRIBUTED DESIGNER) ARTS & CRAFTS RUG, CIRCA 1884 hand-woven wool, with characteristic knotted fringe 83cm x 128cm Literature: Parry, L., Cathers D., et al., Arts and Crafts Rugs for Craftsman Interiors, New York and London, 2010, cat. no. 8, where a rug of the same pattern is illustrated.

Note: In 1875, Morris & Co. began large-scale production of floor coverings, rugs and carpets, designed to complement an ever-popular ‘Morris’ aesthetic in Victorian Britain. A triumph in craftsmanship on an impressive scale, these designs were hailed as some of the finest hand-knotted carpets ever produced in Britain at the time. Morris’ designs were largely inspired by his love of Eastern carpets from Persia Turkey and China, of which he amassed a great deal and used to furnish his own homes, including Red House. Featuring an array of stylised plants and flowers, carefully woven into fields of vibrant colours, the carpets were hugely popular but very expensive to the average customer. As a result, the firm began to manufacture a range of smaller and less costly alternatives to an eager market. Flowerpots were often a feature of these designs, with trailing flowers stemming out from the centre against a cream ground, and a dark blue border. These smaller rugs were frequently used as wall hangings and occasionally placed as bedside rugs in guest bedrooms.

In 1884, Morris & Co. also manufactured several designs for The Century Guild; a group of artists associated with the Arts & Crafts movement, who sought to preserve the integrity of the artistic trade and its craftsmen. These rugs were sold in the Morris & Co. shop and advertised in the Guild’s magazine Hobby Horse. Though Morris never had a hand in designing these, they look back to his earlier Hammersmith pieces, featuring simple patterns of flowers and flowerpots. This rug is thought to have been designed by Herbert Horne, one of the founding members of the Guild, alongside A. H. Mackmurdo and Selwyn Image. Linda Parry comments that of ‘the three designers associated with the Guild it is stylistically closest to the work of Herbert Horne’.

£3,000-5,000

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

32

97 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. RARE ‘ST. JAMES’ PATTERN WALLPAPER REPEAT, CIRCA 1881 block-printed paper, framed 118cm x 106cm Provenance: St. James Palace, London Literature: Clark, Fiona (editor) William Morris: Wallpapers and Chintzes, Academy Editions 1974, p. 15 and 36, no. 28 illus.

Note: Morris & Co. only undertook two public commissions, and this rare repeat fragment of wallpaper comes from one of them - St James’s Palace, London. It was removed during a renovation. The other commission was for the South Kensington Museum. The two are possibly connected “through the influence of Richard Redgrave, who was both on the staff at South Kensington and, in his capacity as Surveyor of the Queen’s Pictures, was reorganising the paintings at St. James’ from 1864 onwards.”

£1,000-1,500

98 WILLIAM MORRIS FOR MORRIS & CO. PAIR OF ‘TULIP & ROSE’ PATTERN CURTAINS, DESIGNED 1876 woven wool, possible

by Heckmondwike Manufacturing Company (2) 295cm drop x 164.5cm with an additional 27cm hem; and 305cm drop x 164cm wide with an additional 17cm hem Literature: Parry, Linda, William Morris Textiles, V&A, 2013, p.210, pl.18

£600-800

99 ATTRIBUTED TO RICHARD NORMAN SHAW FOR MORRIS & CO. ARTS & CRAFTS ‘TABARD’ ARMCHAIR, CIRCA 1900 mahogany, with later upholstered drop-in seat, bears retailer’s ivorine label under seat rail, P. E. GANE/ COLLEGE STREET/ BRISTOL 64cm wide, 116cm high, 44cm deep

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

33

100 ENGLISH SCHOOL GROUP OF FOUR ARTS & CRAFTS QUARRY PANELS, CIRCA 1880 stained, painted and leaded glass (4) each 27.5cm x 20cm

£400-600

101 MAY MORRIS (1862-1938) FOR MORRIS & CO. ‘ROSE BUSH’ EMBROIDERED PANEL, CIRCA 1890 coloured silks, later framed 31.5cm x 29cm

£400-600

102 WILLIAM MORRIS FOR MORRIS & CO. ‘APPLE TREE’ EMBROIDERED PANEL, CIRCA 1900 worked in coloured silks, within an oak framed fire screen, glazed bears label verso BEATRICE 1938 Panel 58cm square, screen 63.5cm wide, 82.5cm high, 26cm deep

£400-600

103 ATTRIBUTED TO RICHARD NORMAN SHAW FOR MORRIS & COMPANY ‘TABARD’ SETTEE, CIRCA 1890 mahogany, with later drop-in upholstered seat, in original Morris & Company ‘Trent’ pattern, printed linen fabric (designed 1888) 109cm long, 94cm high, 45cm deep Note: The original Morris & Company ‘Trent’ fabric on the seat is from Madresfield Court, Worcestershire, designed for the 7th Earl Beauchamp by C.R. Ashbee in 1902.

£800-1,200

34

104 NEWLYN SCHOOL ARTS & CRAFTS WALL MIRROR, CIRCA 1900 copper with repoussé-decoration and a bevelled mirror plate 71.5cm x 104cm

£1,000-1,500

105 PRE-RAPHAELITE SCHOOL, AFTER SIR EDWARD COLEY BURNE-JONES FULL-LENGTH PORTRAIT OF A WOMAN, CIRCA 1885 watercolour, later mounted and framed 51cm x 32.5cm Note: A copy of a detail from ‘The Mill’ by Sir Edward Coley Burne-Jones.

£800-1,200

106 STEWART CARMICHAEL (1867–1950) LOVE WOUNDED: STUDY watercolour, signed with initials, inscribed and dated 1915 Note: Stewart Carmichael was best known for his leading role in the Celtic Revival movement in Dundee, creating striking paintings of scenes from Celtic mythology and Scottish history. As a young man, he was inspired by the work of fellow Dundonian artists George Dutch Davidson and John Duncan, and his reputation was first established with his decorative murals for public buildings in the city.

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

54cm x 85cm Provenance: Campbell Wilson Fine Art Private Collection, Glasgow

£600-800

35

107 CIRCLE OF ROBERT ANNING BELL ARTS & CRAFTS FRAMED PANEL, CIRCA 1900 painted plaster within original stained softwood frame 45cm x 72.5cm

£800-1,200

108 MAY MORRIS (1862-1938) FOR MORRIS & CO. ‘TULIP’ EMBROIDERED PANEL, CIRCA 1890 coloured silks, later framed 29cm x 24cm

£400-600

109 WILLIAM SKULL, HIGH WYCOMBE, AFTER M. H. BAILLIE SCOTT PAIR OF ARTS & CRAFTS WING ARMCHAIRS, CIRCA 1900 inlaid oak frame, each with upholstered back and seat (2) 70cm wide, 110cm high, 54cm deep Literature: M. H. Baillie Scott ‘Houses and Gardens’, p. 298 and 299 for period pictures of a house Baillie Scott designed called The Garth containing an image of this chair model.

Lyon & Turnbull, Edinburgh Decorative Arts: Design since 1860, 11th April 2018, Lot 154 Note: This chair is often ascribed to the designer and architect M.H. Baillie Scott. Made by William Skull of High Wycombe, the chair was used by Baillie Scott in many of his houses (see illustration).

£2,500-3,500

36

110 JOHN PEARSON (1859-1930) LARGE ARTS & CRAFTS BOWL, CIRCA 1900 polychrome and metallic painted earthenware, painted monogram JP to base 26.5cm high

£2,000-3,000

111 ENGLISH SCHOOL PAIR OF ARTS & CRAFTS PANELS, CIRCA 1900 brass, with repoussé decoration (2) 46.5cm x 34cm

£300-500

111A ENGLISH SCHOOL ARTS & CRAFTS CEILING LIGHT, CIRCA 1900 copper and wrought iron, with two associated cased glass period shades 28.5cm high, 64cm wide

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

37

112 CHARLES PASSENGER FOR WILLIAM DE MORGAN (1839-1917) ‘MOONLIGHT AND SUNSET SUITE’ TRIPLE LUSTRE DISH, CIRCA 1890 glazed earthenware, painted artist’s initials C.P. 25cm diameter Literature: Greenwood, M. The Designs of William De Morgan, Richard Dennis 1989, p. 72, pl. 1365 where the drawing for this design is illustrated on a vase.

£4,000-6,000

38

113

114

ATTRIBUTED TO JOHN PEARSON (FL. 1885-1910)

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

ARTS & CRAFTS COPPER MIRROR, CIRCA 1900

brass, copper and cast iron with frilled opalescent glass shade, stamped maker’s mark W. A. S. BENSON

of square form, repoussé decorated with leaves 34cm square

ARTS & CRAFTS TABLE LAMP, CIRCA 1890

height including shade 63cm Literature: Hamerton, Ian (ed.)

W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, ACC, 2005, Appendix 1A, p. 248, pl. 34 where the design for this lamp is illustrated (no. 393)

£400-600

£600-800

115 ATTRIBUTED TO W. A. S. BENSON ARTS & CRAFTS DRESSING MIRROR, CIRCA 1900 oak, with incised and gilded decoration, enclosing a mirror plate 41cm wide, 77cm high, 24.5cm deep Note: The construction and mirror guide of this lot bears similarities to a dressing table mirror from Melsetter House, Orkney, designed by W.A.S. Benson and made by Morris & Co., London, 1898 - 1902, now held at the National Museum of Scotland (Museum reference K.2014.33)

£700-1,000

116 ALEXANDRE BIGOT (1862-1927) MEDALLION, CIRCA 1900 glazed stoneware, stamped maker’s marks, bears later paper label inscribed GRE DE BIGOT 31cm diameter

£300-500

117 NEWLYN SCHOOL ARTS & CRAFTS TWINHANDLED VASE, CIRCA 1900 copper with repoussé decoration, 30cm high; together with two KESWICK SCHOOL OF INDUSTRIAL ARTS VASES, copper and brass with repoussé decoration, both bear stamped maker’s marks, 14cm and 19cm high (3) £200-300

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

39

118 W.A.S. BENSON (1854-1924) AND JAMES POWELL & SONS, WHITEFRIARS ARTS & CRAFTS CEILING LIGHT, CIRCA 1900 copper, brass and cast metal, with flint glass shade 79cm high to top of fitting, 50cm wide Literature: Hamerton Ian (edt.), W.A.S. Benson: Arts & Crafts Luminary and Pioneer of Modern Design, ACC 2005, p. 258, pl. 11 where a similar example is illustrated.

£1,500-2,000

119 W.A.S. BENSON (1854-1924) TABLE LAMP, CIRCA 1910 brass with opalescent glass shade, stamped maker’s mark to base 29cm high Literature: Hamerton Ian (edt.), W.A.S. Benson: Arts & Crafts Luminary and Pioneer of Modern Design, ACC 2005, p.151, pl. 132 where a similar example is illustrated.

£500-800

120 C.R. ASHBEE (1863-1942) FOR THE GUILD OF HANDICRAFT ARTS & CRAFTS ARMCHAIR, CIRCA 1900 beech and cherry, with rush upholstery 55cm wide, 91cm high, 50cm deep Literature: Dekorative Kunst, illustrated magazine for applied arts, vol.3, Munich, 1899, p. 247 where this chair is illustrated Cooper, Jeremy Victorian and Edwardian Furniture and Interiors London 1987, p. 200, illus. 522 Whiteway, Michael and Gere, Charlotte NineteenthCentury Design London 1993, p. 253, plate 319 Note: These armchairs were originally designed

by Ashbee for the dining room of the house which he designed and built for his mother and sisters at 37 Cheyne Walk, London circa 1893-4. The house was built on the site of a 16th century Inn named the Magpie & Stump. Ashbee retained the name and accommodated his architectural practice and a studio for the Guild & School of Handicraft.

The watercolour illustration by Fleetwood Varley shows similar chairs in situ in the dining room.

£500-700

40

121 ENGLISH SCHOOL ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1900 coloured silks on a silk ground, with hand-coloured highlights, later framed and mounted panel30.5cm x 23.5cm

£300-500

122 DELLA ROBBIA POTTERY, BIRKENHEAD ALBARELLO VASE, CIRCA 1900 glazed terracotta, incised maker’s marks to base DR/ BIRKENHEAD/ JF/ 430 18.3cm high

£250-350

123 CARLO MANZONI (1855-1910) FOR MINERVA ART WARE MANUFACTURERS LARGE TWIN-HANDLED VASE, CIRCA 1897 glazed terracotta, with inscription to inside of rim FLORAL AGE’S/ ORIGINAL DESINE (SIC)/ BY G.C. MANZONI/ MINERVA WARE 51cm 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.

£600-800

124 ENGLISH SCHOOL ARTS & CRAFTS BEDSPREAD, CIRCA 1890 embroidered in coloured silks on a silk ground 210cm x 205 cm

£400-600

41

125 FLEETWOOD VARLEY (1863-1942) AND THE GUILD OF HANDICRAFT LTD. ARTS & CRAFTS CASKET, LONDON 1903 silver and enamel, the enamel plaque signed VARLEY and inscribed in gilt verso BLACK MOUNTAINS, MANUELS, CONCEPTION BAY NFL, the casket with stamped maker’s marks and hallmarks for London 1903 panel 12.3cm x 5.7cm; box 16cm wide, 6cm high, 9cm deep

£2,000-3,000 Note: Fleetwood Varley (1863-1942) worked at The Guild of Handicraft from 1899 and was a renowned artist and gifted enameller. He was a friend of C. R. Ashbee and collaborated on finely painted enamel works mounted in silver at Chipping Camden.

126 ATTRIBUTED TO FLEETWOOD VARLEY (1863-1942)

127 §

RARE ARTS & CRAFTS PLAQUE BROOCH, CIRCA 1900

GILBERT BAYES (1872-1953) MARRIAGE PLAQUE, DATED 1906

white metal and enamel

white metal, bearing initials GS (Gertrude Smith) and GB (Gilbert Bayes), and dated JULY 1906

5cm x 3.5cm Literature: Karlin, E.Z. Jewelry & Metalwork in the Arts & Crafts Tradition, p.97 for a similar enamel plaque brooch

by Varley in a pierced silver mount.

5.8cm x 3.9cm

£300-500

£800-1,200

Literature: Irvine, Louise and Atterbury, Paul, Gilbert Bayes: Sculptor 1872-1953, Richard Dennis 1988, p. 109 illus.

Note: It may be that the models for this plaque are Gertrude Smith and Bayes himself.

128 ENGLISH SCHOOL ARTS & CRAFTS CASKET, DATED 1907 copper and enamel with repoussé decoration, bearing inscription MAY 1907 23.5cm wide, 7.5cm high, 13cm deep

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

42

129 WILLIAM DE MORGAN (1839-1917) RUBY LUSTRE 6-INCH TILE PANEL, CIRCA 1890 glazed earthenware, within later frame (3) each tile approx 15cm square Literature: Greenwood, M. The Designs of William De Morgan, Richard Dennis, 2007, p.195, pl.14 where the design for this tile panel is illustrated

£300-500

130 WILLIAM DE MORGAN (1839-1917) ‘DOUBLE CARNATION’ 8-INCH TILE, SAND’S END PERIOD, CIRCA 1890 glazed earthenware, impressed Sand’s End mark; together with a further 8-INCH TILE, CIRCA 1885, impressed Merton Abbey mark (2) each tile approx 20cm square

£600-800

131 WILLIAM DE MORGAN (1839-1917) ‘CAVENDISH’ 6-INCH TILE, MERTON ABBEY PERIOD, CIRCA 1885 glazed earthenware, impressed Merton Abbey mark; together with a ‘KL ROSE’ 6-INCH TILE, glazed earthenware, impressed mark DM/98; and a further WILLIAM DE MORGAN 6-INCH TILE, later framed (3) each tile approx 15cm square

£300-500

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

43

132 WILLIAM DE MORGAN (1839-1917) 9-INCH ‘PERSIAN’ TILE, SAND’S END PERIOD, CIRCA 1890 glazed earthenware, impressed Sand’s End mark, later framed 23cm square

£300-500

133 WILLIAM DE MORGAN (1839-1917) RARE TWO-TILE PANEL, EARLY FULHAM PERIOD, CIRCA 1890 glazed earthenware, comprising two 9-inch tiles, impressed Sands End marks, framed 45cm x 22cm

£1,000-1,500

134 WILLIAM DE MORGAN (1839-1917) 9-INCH ‘INDIA FRIEZE’ TILE, CIRCA 1896 glazed earthenware, made for the P&O India Liner, impressed Sand’s End mark, 23cm square; together with a 9-INCH ‘PERSIAN’ TILE, Merton Abbey period, later framed, 23cm square (2) Note: The India Frieze tile was commissioned from de Morgan by the architect T.E. Colcutt for the P&O ship ‘India’, built at Greenock in 1896 by Caird & Co. De Morgan supplied eighty-eight of these tiles for the companionway frieze.

£600-800

44

135 ENGLISH SCHOOL ‘ST. GEORGE’ AND ‘ST. MICHAEL’: A PAIR OF ARTS & CRAFTS PANELS, CIRCA 1900 stained, leaded and painted glass (2) 44.5cm x 39cm

£800-1,200

136 MANNER OF THE CENTURY GUILD ART NOUVEAU WALL CABINET, CIRCA 1900 oak, with carved panels, includes key 60cm wide, 51cm high, 20cm deep

£400-600

137 ENGLISH SCHOOL, MANNER OF WILLIAM LETHABY ARTS & CRAFTS WALL CABINET, CIRCA 1900 oak with carved panelled cupboard door 83.5cm wide, 61.5cm high, 20cm deep

£400-600

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

45

138 EDGAR WOOD (1860-1935) ARTS & CRAFTS OAK SIDEBOARD, CIRCA 1896-8 oak, with patinated brass fittings 156cm wide, 134cm high, 49.5cm deep Provenance: Possibly designed for ‘Dunarden’, at Archer Park, Middleton, built 1897-98 for the Ashworth family Literature: Dekorative Kunst, illustrated magazine for applied arts, vol.3, Munich, 1899, p. 266 where the drawing for this sideboard is illustrated ‘Buffett aus eichenholz’ (oak sideboard) Academy Architecture and Architectural Review 1898: Vol 13, p.40 https://manchesterhistory.net/edgarwood/dunarden.html

£5,000-8,000 Note: Born in Middleton, near Manchester in 1860, the architect, artist and draftsman Edgar Wood was a prominent member of the Arts & Crafts Movement. He gained a national and international reputation, and his work was widely published in publications such as The British Architect, The Studio Magazine, Dekorative Kunst and Moderne Bauformen. Wood rejected large scale commercial practice and worked with a small number of assistants designing furniture, stained glass, sculpture, metal, and plasterwork as well as buildings. Many commissions were from friends and family Middleton, Huddersfield and Hale, Cheshire. Influenced by the artistic and socialist writings of William Morris, he saw himself as an artisan serving the people of these localities. He was a founder of the Northern Art Workers’ Guild, set up by Walter Crane in 1896, one of the major provincial societies within the Arts and Crafts Movement and was president of the Manchester Society of Architects from 1911–12.

46

139 ENGLISH SCHOOL FINE ARTS & CRAFTS TAPESTRY TRIPTYCH, CIRCA 1900 handwoven and hand-stitched wool (3) side panels 299cm x 148.5cm; central panel 297cm x 266cm Provenance: Removed from Westwood, Mayfield, East Sussex

£6,000-8,000

47

Note: These fine tapestry panels are believed to have been made for the dining room at Westwood, a large Arts & Crafts house in East Sussex, designed in 1902 by the celebrated Edwardian architect and interior decorator W.H. Romaine-Walker (1854–1940) for his own use. Romaine-Walker was born into a family of art dealers. He was educated at Lancing College, and then articled to the architect George Edmund Street.

He was elected an Associate of the Royal Institute of British Architects in 1881, and in the same year began working in a partnership with Augustus William Tanner, which lasted until 1896. During the same period, Walker produced illustrations for three children’s books published by John Lane. In 1911 Walker began a partnership with Gilbert H Jenkins, his chief assistant since 1901.

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

48

140 OMAR RAMSDEN (1873–1939) COVERED CUP, LONDON 1931 silver cover, with plated and possibly associated base, inscribed to the cover OMAR RAMSDEN ME FECIT, stamped maker’s marks, hallmarked London 1931, the base unmarked, cover weight 446g cover 15cm high, 15cm diameter, total height 53cm

£800-1,200

141 OMAR RAMSDEN (1873-1939) ART NOUVEAU NAPKIN RING, LONDON, 1921 silver, with embossed decoration, stamped maker’s marks and hallmarks for London 1921 5.5cm high

£200-300

142 OMAR RAMSDEN (1873–1939) AND ALWYN CARR (1872-1940) ARTS & CRAFTS BOWL, LONDON 1909 silver, set with oval chrysoprase cabochons, inscribed to base OMAR RAMSDEN ET ALWYN CARR ME FECERUNT MCMIX, stamped makers mark, hallmarked London 1909 16cm diameter

£1,000-1,500

143 Y OMAR RAMSDEN (1873-1939) TWIN-HANDLED SERVING TRAY, LONDON 1929 silver-mounted oak. with twin applied ivory handles, stamped maker’s mark, hallmarked London 1929 66cm long Provenance: Edwin and Maud Scott-Nicholson, Barn Close, near Carlisle and by descent to the present owner Literature: Whittaker, Esmé On the Border: Barn Close and the evolution of the Arts & Crafts interior, 1902-1931 The Decorative Arts Society, Journal 42, 2018, pp.90-108 Note: See note for lot 280.

£1,500-2,000

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

49

144 C. R. ASHBEE (1863-1942) FOR THE GUILD OF HANDICRAFT SOUP TUREEN & COVER, CIRCA 1905 silver plate, with planished finish, the base cast with a band of chased leaves, the cover with a flower finial and set with an amazonite cabochon 28cm diameter, 35cm high

£5,000-7,000 Literature: Ashbee, C. R. Modern English Silver, 1909 reprinted by B.Weinreb in 1974, plate 55 where the line drawing for a similar tureen is illustrated Kunst und Kunsthandwerk, Vienna 1901, Vol 4, p. 464 Note: A similar tureen can be seen in a photograph of the interior of the dining room at 37 Cheyne Walk, Chelsea, circa 1901, the family home and office of Ashbee’s architectural practice.

50

145 FARADAY & SON, LONDON ARTS & CRAFTS CHANDELIER, CIRCA 1900 brass, with Holophane type ribbed glass shades, stamped maker’s marks to frame F&S 66cm diameter, 100cm high

£800-1,200

146 ENGLISH SCHOOL, MANNER OF C.F.A. VOYSEY ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1910 coloured silk threads on an unbleached linen ground, later framed 49cm x 43.5cm

£300-500

147 ENGLISH SCHOOL ARTS & CRAFTS HALLSTAND, CIRCA 1900 oak with copper fittings and removable tin drip trays, with carved decoration 184cm wide, 206cm high, 37cm deep

£1,000-1,500

51

148 ENGLISH SCHOOL ARTS & CRAFTS EMBROIDERED & APPLIQUÉ HANGING, CIRCA 1900 coloured silk threads on a wool ground, lined, bears inscription GATHER YE ROSEBUDS WHILE YE MAY/ OLD TIME IS STILL A FLYING 61.5cm x 114cm

£1,500-2,000

149 ENGLISH SCHOOL ARTS & CRAFTS MANTEL CLOCK, CIRCA 1900

ENGLISH SCHOOL

copper with an enamelled dial and applied green pottery roundels, bearing inscription TEMPUS FUGIT

ARTS & CRAFTS FIRE SURROUND, CIRCA 1900

16cm wide, 19.5cm high, 6.5cm deep

copper, with applied Ruskin roundel and repoussé decoration

£400-600

150

110cm wide, 103.5cm high, 16cm deep (canopy); interior 46cm x 62cm high

£400-600

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

52

151 ENGLISH SCHOOL ARTS & CRAFTS ROUNDEL, CIRCA 1900 enamel, depicting a girl picking flowers 6.5cm diameter

£400-600

152 JESSON, BIRKETT & CO., BIRMINGHAM ARTS & CRAFTS CEILING LIGHT, CIRCA 1900 patinated copper, with three associated opalescent glass shades 72cm high to top of fitting, 37cm wide

£400-600

153 ENGLISH SCHOOL, MANNER OF BIRMINGHAM GUILD OF HANDICRAFT ARTS & CRAFTS TABLE LAMP, CIRCA 1900 brass, fitted with conical cased glass shade 67cm high

£800-1,200

154 MANNER OF MARY NEWILL ARTS & CRAFTS EMBROIDERED AND APPLIQUÉ PANEL, CIRCA 1900 mixed fabrics on a woven cotton ground with silk and wool threads, later framed 76cm x 63cm Literature: The Studio Yearbook 18991900, p. 186-188 and illustrated p.190

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

53

155 ATTRIBUTED TO ALEXANDER MORTON AND CO. PAIR OF ARTS & CRAFTS DONEGAL RUNNERS, CIRCA 1910 each with latticed design centred by tulip flowers (2) 92cm x 362cm and 93cm x 357.5cm Provenance: The Late Dr Helen E C Cargill Thompson

£800-1,200

156 ATTRIBUTED TO ALEXANDER MORTON AND CO. PAIR OF ARTS & CRAFTS DONEGAL RUNNERS, CIRCA 1910 each with latticed design centred by tulip flowers (2) 94cm x 367cm and 94cm x 355cm Provenance: The Late Dr Helen E C Cargill Thompson

£800-1,200

54

157 CHILD & CHILD, LONDON ARTS & CRAFTS BELT BUCKLE, LONDON 1898 silver-gilt and enamel, stamped makers marks and hallmarks for London 1898 7.5cm long

£400-600

158 ATTRIBUTED TO NELSON DAWSON ARTS & CRAFTS JEWELLERY BOX, CIRCA 1900 copper and enamel, set with four blue cabochons, with applied enamel demi-lune panels, 12cm wide, 4.5cm high, 8cm deep; together with a BOX & COVER, silver plate, set with an enamel panel, bearing initials F.C/ H.C, 5cm high (2) £400-600

159 MARSDEN TILE COMPANY, BURSLEM TRADE SAMPLES FOR GLAZES, CIRCA 1900 patinated copper, suspending five glaze samples of each with eight glaze examples, three samples stamped MARSDEN 33.5cm wide, 49.5cm tall

£300-500

160 RICHARD JOYCE (1873-1931) FOR PILKINGTON’S TILE & POTTERY CO. ROYAL LANCASTRIAN LUSTRE BOWL, DATED 1919 glazed earthenware, decorated with fish swimming though seaweed, painted artist’s cypher and date mark, impressed maker’s marks ROYAL LANCASTRIAN/ ENGLAND/ 3192 34cm diameter

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

55

161 WILLIAM DE MORGAN (1839-1917) ‘FLOWERS & FOLIAGE’ OR ‘HONEYSUCKLE’ 8-INCH TILE, CIRCA 1880 glazed earthenware, on a Craven Dunnill blank 20.5cm square Literature: Greenwood, M. The Designs of William De Morgan, Richard Dennis, 2007, p.195, pl.14 where the design for this tile panel is illustrated

£400-600

162 WILLIAM DE MORGAN (1839-1917) ‘FLOWERS & VASE’ FRAMED TWO-TILE PANEL, CIRCA 1880 glazed earthenware, on a Poole Pottery blank, later framed each tile approx. 15cm square Literature: Greenwood, M. The Designs of William De Morgan, Richard Dennis, 2007, p196, pl.26, where the design for this tile panel is illustrated.

£300-500

163 WILLIAM DE MORGAN (18391917) FOR MORRIS & COMPANY THREE RARE ‘BLUE ARTICHOKE’ WALL TILES, CIRCA 1880 tin-glazed earthenware, unmarked (3) 15.5cm square Literature: Greenwood, M. The Designs of William De Morgan, Richard Dennis 1989, p. 133, pl. 800 (design drawing illustrated)

£400-600

164 WILLIAM DE MORGAN (1839-1917) GROUP OF THREE 6-INCH TILES, CIRCA 1885-1900 glazed earthenware, two with impressed Merton Abbey marks; the later framed example with impressed Sand’s End mark (3) £300-500

56

165 ENGLISH SCHOOL, MANNER OF BIRMINGHAM GUILD ARTS & CRAFTS CHANDELIER, CIRCA 1910 brass, with five frosted glass shades, original hanging chain and rose Height including chain 121cm high; 59cm diameter

£1,000-1,500

166 ENGLISH SCHOOL ARTS & CRAFTS ‘CAMBRIDGE UNIVERSITY’ BOOKCASE, CIRCA 1910 oak, with applied university crest, stamped no. 504216 59.5cm wide, 116cm high, 30cm deep

£800-1,200

167 ATTRIBUTED TO FARADAY & SON, LONDON ARTS & CRAFTS TABLE LAMP, CIRCA 1900 brass, with later pleated shade 64cm high to top of fitting

£500-800

168 ENGLISH SCHOOL ARTS & CRAFTS FIRE SURROUND, CIRCA 1900 copper with repoussé decoration, with adjustable jambs Exterior 162cm wide 119.5cm high, 22cm deep; Interior 83cm-90cm wide, 97cm high

£500-800

169 ENGLISH SCHOOL ARTS & CRAFTS CONVEX WALL MIRROR, CIRCA 1930 oak, gilded gesso and polychrome decoration 40cm diameter Provenance: Edwin and Maud Scott-Nicholson, Barn Close, near Carlisle and by descent to the present owner Literature: Whittaker, Esmé On the Border: Barn Close and the evolution of the Arts & Crafts interior, 1902-1931 The Decorative Arts Society, Journal 42, 2018, pp.90-108 Note: See note for lot 280.

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

57

170 ATTRIBUTED TO TEMPLETON’S, GLASGOW ART NOUVEAU CARPET, CIRCA 1920 machine-woven wool 365cm x 267cm

£800-1,200

171 ENGLISH SCHOOL ARTS & CRAFTS BEDSPREAD, CIRCA 1900 woven mercerised cotton, with later linen backing and border 269cm x 194.5cm including later border

£800-1,200

172 ATTRIBUTED TO ALEXANDER MORTON & CO. ARTS & CRAFTS DONEGAL CARPET, CIRCA 1900 hand-knotted wool, of Ushak design 450cm x 372cm

£3,000-5,000

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

58

173 WILLIAM BUTLER YEATS (1865-1939) FOR CUALA PRESS FOUR HAND-COLOURED FRAMED PRINTS to include ‘The Lover tells of the Rose in his Heart’, 26cm x 22cm; ‘The Pity of Love’, 26cm x 22cm; ‘The Fiddler of Dooney’, 27cm x 27cm; and ‘The Lake of Innisfree’, 34.5cm x 21cm (4) £600-800

174

175

176

THE STUDIO, AN ILLUSTRATED MAGAZINE OF FINE AND APPLIED ART

ALBERT EDWARD JONES (1878-1954)

ENGLISH SCHOOL

CHRISTENING SET, BIRMINGHAM 1930

ONE VOLUME

silver, comprising a QUIACH, 16cm across; a SAUCER, 10cm diameter; and a SPOON, 13.5cm long, each with stamped maker’s marks AEJ and hallmarks for Birmingham 1930, the spoon hallmarked Birmingham 1929, in fitted case (3)

PAIR OF ARTS & CRAFTS BRASS WALL LIGHTS, CIRCA 1920

variously hard and soft-bound cloth bindings with gilt tooling, and comprising volume 122; together with TWENTY-ONE STUDIO YEARBOOKS, comprising 1906 (2)-1908; 1910-1912; 1914 (2)-1919; 1921-1922; 1924-1925; 1927-1928; 1932 (22)

£250-350

£200-300

each with circular plates supporting a pair of scrolled arms suspending associated modern shades, 32cm tall, 22cm wide, 24cm deep (fitting only); together with TWO FURTHER ARTS & CRAFTS WALL LIGHTS, 41cm and 31cm tall; and a CIRCULAR BRASS WALL SCONCE, 28.5cm diameter, 23cm deep (5) £250-350

177

178

179

MANNER OF CHARLES FLEETWOOD VARLEY

PILKINGTON’S TILE & POTTERY CO.

ENGLISH SCHOOL, MANNER OF ROMNEY GREEN

ARTS & CRAFTS PANEL, CIRCA 1905

glazed earthenware, framed 19.5cm square; and a MINTON HOLLINS & CO TILE, with inscription AIR, glazed earthenware, moulded maker’s marks verso, 19.5cm square (3)

enamel, within ebonised frame, 13cm x 8cm; together with an ENAMEL ON COPPER PANEL, framed, 15cm x 19cm; and THREE ENAMEL PLAQUES, 11cm, 5.5cm and 4.5cm across (5)

PAIR OF IZNIK TILES, CIRCA 1900

£200-300

£250-350

ARTS & CRAFTS PANELLED BOX, CIRCA 1920 stained oak, 36cm wide; together with another ARTS & CRAFTS PANELLED BOX, 30cm across; a CARVED CELTIC REVIVAL BOX, 24cm across; and a PAIR OF BOOKENDS, probably

by Hugh Birkett, each with gilded and incised letter ‘B’, 20.5cm high (5) £300-500

180

181

182

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

ENGLISH SCHOOL

ENGLISH SCHOOL

GROUP OF ARTS & CRAFTS FITTINGS, CIRCA 1920

PAIR OF ARTS & CRAFTS TUB ARMCHAIRS, CIRCA 1920

ARTS & CRAFTS WRITING TABLE, CIRCA 1900

oak, with later blue leather upholstered seats, one stamped 11501 and the other 11601 (2)

oak, 90cm wide, 73cm high, 44cm deep; together with a MATCHING STOOL, oak, 59cm wide, 47cm high, 30cm deep (2)

brass, to include a FINGERPLATE, 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) £200-300

57cm wide, 69cm high, 40cm deep

£300-500

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

59

183

184

ENGLISH SCHOOL

MANNER OF M.H. BAILLIE SCOTT

ARTS & CRAFTS HANGING COAT STAND, CIRCA 1900

ARTS & CRAFTS LOW CHAIR, CIRCA 1900

mahogany, supported by pierced and carved brackets, enclosing slats and turned pegs

stained oak

182cm wide, 81cm high, 22cm deep

£400-600

36cm wide, 78cm high, 43cm deep

£1,000-1,500

185 ENGLISH SCHOOL ARTS & CRAFTS ‘CAMBRIDGE UNIVERSITY’ BOOKCASE, CIRCA 1910

186 §

oak with applied university crest

oak, the top parquetry-inlaid with specimen woods, bears paper label to underside inscribed MADE BY H. DAVOLL/ CABINET MAKER/ LIVERPOOL 1895 TO 1896

58.5cm wide, 115.5cm high, 30cm deep

£800-1,200

HARRY DAVOLL (1876-1963) OCCASIONAL TABLE, CIRCA 1895

55.5cm wide, 71cm high

£800-1,200

60

187 BIRMINGHAM GUILD OF HANDICRAFT ARTS & CRAFTS BROOCH, CIRCA 1900 silver, with an oval spinach jade cabochon, stamped maker’s marks 2.6cm diameter

£300-500

188 MANNER OF GEORGE FREDERICK SHIELDS ARTS & CRAFTS PLAQUE, EARLY 20TH CENTURY enamel, within copper frame with wooden backplate plaque 10.8cm diameter

£800-1,200

189 ATTRIBUTED TO HEINRICH LEVINGER ART NOUVEAU PILL BOX, CIRCA 1900 Note: Heinrich Levinger was an important jeweller from Pforzheim, Germany specialising in fine enamel work in the Jugendstil style. A similar fully marked pill box decorated with Cornflowers

by Levinger was sold at Lyon & Turnbull, Decorative Arts: Design since 1860, 1st April 2020, lot 500

silver and enamel, maker’s mark to rim and stamped 800 4cm diameter

£300-500

190 ATTRIBUTED TO KATE HARRIS FOR WILLIAM HUTTON & SONS PAIR OF FIGURAL TEASPOONS, SHEFFIELD 1912 silver, stamped maker’s mark WH & S LD., and hallmarks for Sheffield, 1912 (indistinct), with fitted case (2) each 12cm long

£300-400

191 C. R. ASHBEE (1863-1942) FOR THE GUILD OF HANDICRAFT LTD. SALT WITH ORIGINAL SPOON, LONDON 1901 silver, set with chrysoprase cabochons, glass liner, each with makers marks GOHLTD, hallmarked London 1901 salt 48g, spoon 6.8g (2) salt 7cm diameter, 3.5cm high, spoon 7cm long Literature: Crawford, Alan C.R. Ashbee: Designer & Romantic Socialist Yale University Press 1985, p. 235, plate 162 (5), where a similar salt and spoon are illustrated

£1,500-2,000

61

192 ENGLISH SCHOOL ARTS & CRAFTS EMBROIDERED APPLIQUÉ PANEL, CIRCA 1890 coloured silk threads reserved on a silk ground later framed and mounted 39.5cm across

£300-500

193 WALTER CRANE OR KATE GREENAWAY WALLPAPER FRAGMENT, CIRCA 1880 later framed, bears registration lozenge to selvedge 70cm x 56cm

£300-500

194 PILKINGTON’S TILE & POTTERY CO. LUSTRE TILE, CIRCA 1920 glazed earthenware, painted with cypher HS, 15.5cm square; together with a PILKINGTON’S ART NOUVEAU TILE, 15cm square; and a TILE FRIEZE, by E. Smith & Co., Coalville, comprising five tiles, impressed maker’s marks, each 15cm square (7) £200-300

195

196

ENGLISH SCHOOL

ENGLISH SCHOOL

ARTS & CRAFTS LANTERN, CIRCA 1900

PAIR OF JARDINIÈRE STANDS, CIRCA 1900

weathered copper with glass panelled sides

ebonised wood (2)

38cm high

£300-500

30.5cm square, 91.5cm high

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

62

197 ENGLISH SCHOOL TWO ARTS & CRAFTS CHARGERS, CIRCA 1900 copper, each with repoussé decoration, 48.5cm diameter and 45cm diameter (2) £400-600

198 ATTRIBUTED TO JOHN DREW MACKENZIE (1861-1918) NEWLYN SCHOOL CHARGER, CIRCA 1897 copper with repoussé decoration 51cm diameter Literature: Pill, C Cornish Art Metalwork, Bristol, 2011, frontispiece and p. 40 (similar examples illustrated).

£800-1,200

199

200 Y

201

ENGLISH SCHOOL

ENGLISH SCHOOL

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

PAIR OF ARTS & CRAFTS EMBROIDERED PANELS, CIRCA 1900

ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1880

ARTS & CRAFTS SPIRIT KETTLE AND STAND, CIRCA 1900

coloured wools on a linen ground, each mounted within single later frame

coloured wools within rosewood fire screen frame

each 31cm x 26cm

panel 58cm x 48cm; frame 53.5cm wide, 76.5cm high

brass and copper, with wickerwrapped handle, 26.5cm high; and a MIXED METAL TRAY, brass and copper, 36.5cm diameter (2)

£300-500

£200-300

£300-500

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

63

202 ATTRIBUTED TO THE BIRMINGHAM GUILD OF HANDICRAFTS PAIR OF ARTS & CRAFTS TABLE LAMPS, CIRCA 1900 copper and wrought iron, raised on later oak bases (2) 55cm high

£3,000-5,000

64

203 CLEMENT HEATON (1861-1940) ARTS & CRAFTS RECTANGULAR PLAQUE, DATED 1898 copper cloisonné enamel, 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.

£300-500

204

205

206

HENRY RYLAND (1856-1924)

A. E. JONES (1878-1954)

PORTRAIT OF A YOUNG LADY

ARTS & CRAFTS MANTEL CLOCK, CIRCA 1900

FREDERICK HOLLYER (1838-1933) AFTER SIR EDWARD COLEY BURNE-JONES

lithograph, framed, 29cm x 25cm; together with a further PORTRAIT OF A YOUNG LADY, by the same hand, lithograph, framed, 39.5cm x 27cm (2) £200-300

copper with silver plate mounts, stamped maker’s marks 2515, 23cm wide, 13cm high; together with an ARTS & CRAFTS CIRCULAR WALL CLOCK, pierced decoration, 30.5cm diameter (2)

‘VESPERTINA QUIES’, CIRCA 1900 platinum print with photographer’s blind stamp lower right, initialled lower left in the print, EBJ 49cm x 28cm

£200-300

£200-300

207

208

209

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

ENGLISH SCHOOL

ENGLISH SCHOOL

DOUBLE INKSTAND, CIRCA 1900

ARTS & CRAFTS ROUNDEL, CIRCA 1920

brass and copper

LARGE ART NOUVEAU DOOR PLATE, CIRCA 1900

25.4cm across

copper, with repoussé decoration

87cm diameter

£200-300

70cm wide, 101.5cm tall

£150-250

oil on panel, highlighted with gilt

£150-250

210

211

212

ENGLISH SCHOOL

ENGLISH SCHOOL

MANNER OF MORRIS & CO.

ARTS & CRAFTS REFECTORY TABLE, CIRCA 1920

ARTS & CRAFTS ADJUSTABLE CANDELABRA, CIRCA 1900

ARTS & CRAFTS EMBROIDERED PHOTOGRAPH MOUNT, CIRCA 1900

oak

wrought iron, raised on adjustable column, 144cm high (closed); together with a GOTHIC REVIVAL HANGING LANTERN, with stained glass panels, 42cm high (2)

worked in coloured silk threads reserved on a fine linen ground, with an aperture for a photograph, framed

£200-300

£200-300

168cm wide, 71cm high, 75cm deep

£300-500

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

panel 25cm x 34cm

65

SELECT PROPERTY FROM CASTLE OF PARK, BANFF, ABERDEENSHIRE

66

CASTLE OF PARK has its origins in the 13th century on land that formed part of the Royal Forest of Banff. The present house comprises a 16th century tower house with extensions dating from the 17th, 18th, and 19th centuries, and remained in the same family for some four hundred years. It was eventually sold in the 1970s and passed through several owners, most recently having been purchased by Rebecca Campbell-Wilson and her late husband Neil, who died in 2014. They set about returning it to a family home and creating a more castle-like ambience in keeping with the architecture and history of the property. Neil had worked at Christie’s South Kensington for a decade in the mid-1980s and early 1990s. One of the highlights of his career there was the sale of Penkill Castle in Ayrshire, the home of the pre-Raphaelite painter William Bell Scott and his mistress Alice Boyd. The sale and the castle had a lasting effect on him and not only cemented his predilection for the art and design of the period but his dream of owning a castle in Scotland, eventually satisfied by the purchase of Castle of Park.

In 1996 he left Christie’s to become a dealer in Victorian art and developed a reputation for selling British pre-Raphaelite and Symbolist pictures, distinctively presented in bespoke gilt frames. Each exhibition was put together with scholarly and lavish catalogues. Many of the beautifully presented works offered here formed part of this stock, and the furniture and lighting were chosen especially for the castle, which has now been sold.

213 § HENRY J. HUNT (1867-1951) ST. GEORGE: CARTOON FOR STAINED GLASS, CIRCA 1920 pen, ink and watercolour, signed and inscribed H.J. HUNT/ ½ SIZE, 43.5cm x 8.5cm; and TWO OTHER STAINED GLASS CARTOONS (unframed), 16cm x 5cm and 13.5cm x 7cm; and a STAINED GLASS CARTOON BY H. M. DOYLE (1913–2001), pen and ink and watercolour, signed, 29cm x 16cm (4) £200-300

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

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214

215

ENGLISH SCHOOL

ENGLISH SCHOOL

GOTHIC REVIVAL HALL LANTERN, CIRCA 1890

‘SOLDIERS AT REST’ PANEL, CIRCA 1890

pressed gilt metal 77cm high, 21.5cm diameter

stained, painted and leaded glass

£300-500

70cm x 40cm

£250-350

216

217

ENGLISH SCHOOL

ENGLISH SCHOOL

PAIR OF GOTHIC REVIVAL ALTAR CANDLESTICKS, CIRCA 1900

GOTHIC REVIVAL SETTLE, CIRCA 1880

oak, with gilt embellishments and polychrome decoration (2) 58cm diameter, 157cm high

£400-600

218 ENGLISH SCHOOL GOTHIC REVIVAL HALL CHAIR, CIRCA 1890 limed oak, with later cushion pad 67cm wide, 74cm high, 44.5cm deep

£300-500

painted and gilded oak, with hinged seat 140cm wide, 247cm high, 62cm deep

£2,000-3,000

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219 HENRY JUSTICE FORD (1860–1941) HELEN OF KIRKONNELL oil on canvas, signed lower right H.J. FORD 69cm x 33cm Provenance: Bonhams Edinburgh ‘Hensol, The Property of a Gentleman’, Wednesday, October 24, 2012, Lot 556

£600-800

220 MANNER OF E. W. GODWIN AESTHETIC MOVEMENT OPEN BOOKCASE, CIRCA 1870 oak, with fixed top shelf and three adjustable shelves below, the base with single removable open shelf 70.5cm wide, 199cm high, 32cm deep

£300-500

221 ENGLISH SCHOOL GEORGE III REVIVAL SOFA, CIRCA 1900 mahogany frame, upholstered in Arts & Crafts wool fabric in the manner of Morris & Co. 125cm wide, 102cm high, 68cm deep

£400-600

222 MANNER OF CHARLES BEVAN GOTHIC REVIVAL CHEST OF DRAWERS, CIRCA 1880 inlaid oak 121cm wide, 122cm high, 55cm deep

£300-500

223 MANNER OF BRUCE TALBERT GOTHIC REVIVAL BUFFET, CIRCA 1880 oak, pierced and carved 136cm wide, 129cm high, 54cm deep

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

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224 MANNER OF HENRY STACY-MARKS COUNTRY PURSUITS, GROUP OF NINE AESTHETIC MOVEMENT PANELS, CIRCA 1880 each painted on panel with gilded ground, later framed (9) panel 11.5cm x 10.5cm

£200-300

225 GEORGE WALLIS (1811–1891) WAITING FOR THE DOLE: ST CROSS NEAR WINCHESTER oil on board, signed and dated lower right GEORGE WALLIS 1883, signed, inscribed and dated verso 30cm x 19.5cm Exhibited: Kaiser Friedrich Palais

£300-500

226 § ALEXANDER MUNRO (1825–1871) PORTRAIT OF A GENTLEMAN oil on board, signed with monogram 42cm across

Note: George Wallis was an art teacher and museum curator at the South Kensington Museum (later the V&A), and in 1863 was appointed senior keeper of the art collections, a post he retained until just before his death.

Note: Alexander Munro was a sculptor of the Pre-Raphaelite movement whose early talents were supported by financial assistance from his father’s employer, the Duchess of Sutherland.

From 1842 he assisted and trained in the Edinburgh studio of the sculptor Alexander Handyside Ritchie. He came to London in 1848 to study sculpture under Charles Barry. At this time he also worked as a mason on the new Palace of Westminster. He exhibited at the Royal Academy from 1849 to 1870, and at the Great Exhibition of 1851 where his Rossetti-influenced figure-group ‘Paolo and Francesca’ was first exhibited.

£300-500

227 JOHN POLLARD SEDDON (1827-1906) FOR C. SEDDON & CO., LONDON GOTHIC REVIVAL SIDEBOARD, CIRCA 1880 inlaid oak with mirrored back, the central drawer stamped SEDDON MANUFACTURERS 70 GROSVENOR STREET and with paper label G. SELBY/ 2468/ C. SEDDON & CO. 231cm wide, 187cm high, 61cm deep Literature: Cooper, Jeremy Victorian and Edwardian Furniture and Interiors, London, 1987, pp. 88-89, pl. 191 where a similar sideboard is illustrated.

£500-700

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228 ENGLISH SCHOOL: JAMES ABBOTT MCNEILL WHISTLER INTEREST AESTHETIC MOVEMENT ANGLO-JAPANESE FREESTANDING BOOKCASE, CIRCA 1880 ebonised wood with four bands of opposed adjustable bookshelves, with painted gilt embellishments, the ends composed of incised and applied panels, bears a label to interior 115cm long, 142.5cm high, 45.5cm deep Provenance: Theodore Watts-Dunton and Algernon Charles Swinburne, ‘The Pines’, Putney, circa 1880 David Croal Thomson Stanley J. Seeger Sotheby’s Olympia, Outtakes from the Collection of Stanley J. Seeger, 13th December 2002, Lot 211 Literature: Douglas, James Theodore Watts Dunton: Poet Novelist Critic, Hodder & Stoughton, 1904, pp. 266267. The bookcase in this lot is illustrated in one of the rooms at ‘The Pines’ on page 266.

£1,000-1,500

Note: This bookcase stood in the study of ‘The Pines’, a large Victorian villa in Putney, shared by the poet, playwright, novelist, and critic Algernon Swinburne (1837-1909) and his companion, the poet and critic Theodore Watts-Dunton (1832-1914). A label affixed to the interior of this bookcase reads: ‘These two bookcases which for thirty years were in Swinburne’s study at The Pines are of a special interest.

They were designed and executed by Whistler at the conclusion of the settlement of the quarrel of Leyland over the Peacock Room.

Watts-Dunton acted as solicitor in the affair & Whistler gave one each of the bookcases to the Housemates at The Pines. Both however find themselves in the study of the Poet. Whistler painted the insects and fr** etc himself’.

The bookcase, made up with Japanese lacquered panel ends, can be seen in situ at ‘The Pines’ in a photograph of circa 1904 and later gilt embellishments can also be made out on one of the end panels.

The author of the note is unknown but may have been a subsequent owner. The ‘pair’ of bookcases may allude to the fact that the bookcase is double-sided. Another piece of lacquer furniture in the room was a gift from the artist Dante Gabriel Rossetti (1828-1882), a friend of Watts-Dunton and it seems that quite several pieces of furniture at ‘The Pines’ were a gift of the artist.

“Mr. Watts-Dunton’s allusion to the Rossetti mementoes requires a word of explanation. Rossetti, it seems, was very fond of surprising his friends by un-expected tokens of generosity. I have heard Mr. WattsDunton say that during the week when he was moving into ‘ The Pines,’ he spent as usual Wednesday night at 16 Cheyne Walk, and he and Rossetti sat talking into the small hours. Next morning after breakfast he strolled across to Whistler’s house to have a talk with the ever-interesting painter, and this resulted in his getting home two hours later than usual. On reaching the new house he saw a waggon standing in front of it. He did not understand this, for the furniture from the previous residence had been all removed. He went up to the waggon and was surprised to find it full of furniture of a choice kind.

But there was no need for him to give much time to an examination of the furniture, for he found he was familiar with every piece of it. It had come straight from Rossetti’s house, having been secretly packed and sent off by Dunn on the previous day. Some of the choicest things at “The Pines” came in this way. Not a word had Rossetti said about this generous little trick on the night before. The superb Chinese cabinet, a photograph of which appears in this book, belonged to Rossetti.”

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229 § JESSIE BAYES (1876-1970) I SING OF ENGLAND: ARTS & CRAFTS ILLUMINATED MANUSCRIPT, EARLY 20TH CENTURY watercolour, bodycolour, pen and ink on vellum with gold embellishments, inscribed to one page WRITTEN AND ILLUMINATED BY JESSIE BAYES, and comprising five illuminated pages on three folded sheets, unbound, each page approx. 27.5cm x 21cm, contained within card folder with applied label inscribed I SING OF ENGvLAND/ BY ROBERT OF GLOUCESTER/ JESSIE BAYES/82 FELLOWS ROAD/LONDON NW’ Note: Jessie Bayes, best known for her remarkable book illuminations, was born into a family of artists in 1876. Her father Alfred Walter Bayes was an etcher and book illustrator who regularly exhibited at the Royal Academy of Arts and encouraged his four children in the arts from an early age. She studied under her brother Walter Bayes, who was a well-known artist and critic at the time and was sister to the sculptor Gilbert Bayes and the painter Emmeline Bayes.

Bayes exhibited widely with the Arts & Crafts Exhibition Society, and at the Royal Academy and the Baillie Gallery in London. In 1922, Bayes exhibited some of her illuminated books, as well as paintings on vellum, fans, and panels, at the Art Center in New York. She gradually expanded her repertoire to include painted and gilded decoration on furniture as well as interior design and stained-glass work.

£600-800

230 ENGLISH SCHOOL AESTHETIC MOVEMENT MUSIC CABINET, CIRCA 1880 amboyna and ebonised wood, with twin-panelled doors inset with embroidered silk panels and enclosing sliding shelves 46.5cm wide, 119cm high, 35.5cm deep

£300-500

231 FRENCH SCHOOL FOUR AESTHETIC MOVEMENT PARLOUR CHAIRS, CIRCA 1880 each ebonised with gilded embellishments, 45cm wide, 97cm high 41cm deep; and an ASSOCIATED STOOL, with gilt and polychrome decoration, 39cm square, 46cm high (5) £400-600

232

233

ENGLISH SCHOOL

ENGLISH SCHOOL

AESTHETIC MOVEMENT BREAKFRONT OVERMANTEL MIRROR, CIRCA 1880

PAIR OF AESTHETIC MOVEMENT OCCASIONAL TABLES, CIRCA 1890

the dentil cornice above three mirrored plates in moulded frame with embossed leather panels

ebonised wood with incised gilded decoration (2)

162.5cm wide, 79cm high, 9cm deep

£300-500

36.5cm diameter, 54cm high

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

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234 BRITISH PRERAPHAELITE SCHOOL THE SUNDIAL pastel 22cm x 22cm

£400-600

235 ATTRIBUTED TO CECILE WALTON OUR LADY OF FATIMA carved stone, depicting the Virgin with the three shepherd children 66cm x 45cm Provenance: Originally sold by a descendent of Cecile Walton and, by family repute, by her hand and from her studio.

Note: This stone carving may have its inspiration from Our lady of Fatima, an apparition reported in 1917 by three shepherd children at the Cova da Iria, in Fátima, Portugal. On 13 May 1917, the children reported seeing a woman “brighter than the sun, shedding rays of light clearer and stronger than a crystal goblet filled with the most sparkling water and pierced by the burning rays of the sun.”

£300-500

236 WILLIAM JAMES NEATBY (BRITISH, 1860–1910) ‘MAVOURNEEN’ watercolour highlighted with gilt, signed and dated lower right W.J. NEATBY 1906, bears artist’s label and inscription verso, 24.5cm x 16.5cm; together with BRITISH SCHOOL, THE KNAVE OF DIAMONDS, pen and ink, signed and dated with initials W.S.G.N. ‘13, 10cm x 10cm (2)

237 § FRANK CADOGAN COWPER (1877-1958) A LADY AT HER DRESSING TABLE pencil

Exhibited: Walker Art Gallery, Liverpool

20cm x 19.5cm

Royal Society of Miniature Painters, London

Exhibited: Campbell Wilson ‘Frank Cadogan Cowper & Arthur Joseph Gaskin’ 2011, cat no.30

£300-500

£300-500

238

239

240

JOHN BYAM SHAW (1872–1919)

ATTRIBUTED TO DANTE GABRIEL ROSSETTI

ENGLISH SCHOOL

PORTRAIT OF A BOY

ARTIST’S DOUBLE-SIDED EASEL, CIRCA 1900

CUPID’S PLAN

pencil, pen and brown ink

pen and ink, signed upper left BYAM SHAW

15cm x 123cm

stained beech and pine with central wooden screw adjuster; together with a further ARTIST’S EASEL, oak (2)

7cm x 22.5cm

Provenance: Lucy Madox Brown and her husband William Michael Rossetti

£300-500

£300-500

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

57cm wide, 192cm high, 54.5cm deep

£400-600

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241 § FRANK O. SALISBURY (1874-1962) ONWARD CHRISTIAN SOLDIERS oil on canvas, signed and dated with monogram lower right 1911 63cm x 90cm

£1,000-1,500

242 HARRY MORLEY (1881–1943) DIANA tempera on canvas, signed and dated lower right HARRY MORLEY 1918 60cm x 60cm Exhibited: Campbell Wilson ‘20th Century Romance’, cat no.33

£800-1,200

243

244

245 §

246

SCHOOL OF NANCY

ITALIAN SCHOOL

SCOTTISH SCHOOL

ART NOUVEAU FOLIO CABINET, CIRCA 1900

PAIR OF TILE PANELS, 20TH CENTURY

GERTRUDE PARTINGTON ALBRIGHT (1883-1953)

oak, with single drawer and pull-down panelled door enclosing four oak dividers

one panel moulded with sunflowers, the other with olive branches, framed (2)

101cm wide, 129cm high, 42cm deep

39cm square excluding frame

£300-500

£200-300

PORTRAIT OF A LADY

NIGHT & DAY, PAIR OF ART NOUVEAU PANELS, CIRCA 1910

pencil, pen and ink

painted pokerwork on wood (2)

52cm x 42cm

67.5cm x 27.5cm

Exhibited: Campbell Wilson ‘20th Century Romance’ 2011, cat no.39

Exhibited: Campbell Wilson 2012, cat no.77

£300-500

£200-300

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247 DOROTHY MORGAN (BORN 1892) CELTIC REVIVAL: DESIGN FOR WALLPAPER watercolour heightened with white 60.5cm x 38cm Exhibited: Campbell Wilson, 2012, cat. No. 68

£300-500

248 DOROTHY MORGAN (BORN 1892) ART NOUVEAU: DESIGN FOR WALLPAPER watercolour and bodycolour 72cm x 52.5cm Exhibited: Campbell Wilson, 2012, cat. No. 68

£300-500

249 GEORGE BAIN (1881–1968) FOR QUAYLE AND TRANTER, KIDDERMINSTER PAIR OF RARE ‘HEBRIDEAN’ RUGS, CIRCA 1948 machine-woven wool, one with applied maker’s label (2) 121cm x 194cm

£600-800

Note: Originally from Scrabster in Caithness George Bain studied at the Royal College of Art and began his career as a book illustrator.

He studied Celtic art and in 1951 published Celtic Art, The Methods of Construction. He designed several carpets of Celtic influence for Quayle & Tranter of Kidderminster during the late 1940s. See V&A Museum collection T.579-1995 for a similar example.

250 MANNER OF THE DUN EMER GUILD TWO IRISH ARTS & CRAFTS RUGS, CIRCA 1900 hand-knotted wool, 192cm x 107cm and 222cm x 191cm (2) £300-500

75

251 AFTER FREDERIC, LORD LEIGHTON ‘THE SLUGGARD’ bronze, mid-brown patina 51.5cm high

£800-1,200

252 § FREDERICK W. GEORGE (1889-1971) ART NOUVEAU MAIDEN patinated plaster, signed on the base GEORGE, 57cm high; together with another ART NOUVEAU FIGURE, by the same hand, patinated plaster, signed on the base F.W. GEORGE, 51.5cm high; and a BUST OF A GIRL, also by the same hand, patinated plaster, signed and inscribed MISS PRIM, with initials GF, 21.5cm high (3)

255 §

£300-500

95cm high

253 § MARY NEWBERY STURROCK (1890-1955) PHILLIS pen and ink, inscribed, bears gallery label verso, 24cm x 20cm; together with EDMUND LUCCHESI (1871-1964) HEAD OF A GIRL, pen and ink, signed with initials and dated EL/ 1920, 34.5cm x 32cm; and a print by the same hand, signed and editioned in pencil 14/2, 30cm x 22cm (3) £200-300

254 SCOTTISH SCHOOL ART NOUVEAU WALL SCONCE, CIRCA 1900 brass, with repoussé decoration 75.5cm high

£250-350

MERYL WATTS (1910-1992) MERMAID patinated plaster, wood plinth Note: Meryl Watts was born in 1910 and lived for most of her life at 13, St Germans Place, Blackheath, London.

She attended Blackheath School of Art where she studied under John Edgar Platt, Charles Paine, James Woodford RA, William Clause and Reginald Brill. Watts work was exhibited at the Royal Academy and the British Council.

£300-500

256 § HAROLD HITCHCOCK (1914-2009) PASTORAL COMPOSITION wash drawing, signed and dated lower right with monogram 1967, 25cm x 23cm; together with an ORIGINAL DESIGN FOR “THE ROYAL OAK”, DIDCOT, BERKSHIRE, 1936

BY HUBERT WILLIAMS, 14.5cm x 15.5cm, watercolour and gold paint, signed with initials lower right, signed and inscribed on the mount, ‘Brewers’ Exhibition’ label verso (2) £200-300 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

76 Having initially established himself as a portraitist, Victor Hume Moody later enrolled at the Royal College of Art in London, and it was here, under the influence of William Rothenstein, that his career as an artist profoundly changed. Rothenstein encouraged him to focus on Classical themes and compositions, and Moody remained faithful to this throughout his career, using techniques from the Italian Renaissance as his source. His strong sense of form and a more sensual approach to figurative painting earned him critical acclaim and his works were widely exhibited across the UK. His fascination with the classical world had a lasting effect on his daughter Catherine, yet while her father tended to experiment with a variety of techniques such as tempera and gesso, Catherine’s works are predominantly executed in oil and pastel. She followed in her father’s footsteps later in life too, taking over his 27-year tenure as headmaster of the Malvern School of Art in 1962. Despite the growing popularity of Abstract and Conceptual art, she remained a passionate advocate of the arts and sought to keep the tradition of figurative painting alive, leaving a lasting legacy for the School and her students.

257 § VICTOR HUME MOODY (1896–1990) THE EDUCATION OF ACHILLES oil on canvas 60cm x 46cm Exhibited: Campbell Wilson ‘Father and Daughter: Victor Hume Moody Catherine Olive Moody’ 2011, cat no.8

£400-600

258 § VICTOR HUME MOODY (1896–1990) ARTEMIS AND THE BLACK DOG charcoal and chalk, signed lower right V.H. MOODY 70cm x 55cm Exhibited: Campbell Wilson ‘Father and Daughter: Victor Hume Moody Catherine Olive Moody’ 2011, cat no.7

£300-500

259 §

260 §

VICTOR HUME MOODY (1896–1990)

VICTOR HUME MOODY (1896–1990)

STRIDING GIRL

THREE NUDE STUDIES

oil on canvas board, signed, inscribed and dated verso c.1957 on the reverse

to include STUDY OF A RUNNING MAN, pencil, 45cm x 28cm; STUDY OF A STANDING MALE NUDE, charcoal, 48cm x 20cm; and STUDY OF A NAKED FEMALE TORSO, pencil, 29cm x 13cm (3)

38cm x 28cm Exhibited: Campbell Wilson ‘Father and Daughter: Victor Hume Moody Catherine Olive Moody’ 2011, cat no.29

£200-300

Exhibited: Campbell Wilson ‘Father and Daughter: Victor Hume Moody Catherine Olive Moody’ 2011, cat no. 43, 39 & 40

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

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261 § CATHERINE OLIVE MOODY (1920-2009) COMPOSITION ON A CLASSICAL THEME CONSTRUCTED ACCORDING TO THE DIRECTIONS OF CENNINO CENNINI egg tempera on gesso on panel, signed and inscribed on the reverse, 25cm x 41cm; together with COMPOSITION ON A CLASSICAL THEME – VENUS & ADONIS, BY VICTOR HUME MOODY, pencil and charcoal, 26cm x 42cm (2) Exhibited: Campbell Wilson ‘Father and Daughter: Victor Hume Moody Catherine Olive Moody’ 2011, cat no.23 Note: This work was painted as part of an exam that Catherine Moody took in 1940

£400-600

262 § VICTOR HUME MOODY (1896–1990) VENUS CHASING CUPID oil on canvas 40.5cm x 50cm Exhibited: Campbell Wilson ‘Father and Daughter: Victor Hume Moody Catherine Olive Moody’ 2011, cat no.31

£300-500

263 § VICTOR HUME MOODY (1896–1990) STUDY FOR JASON AND MEDEA ON THE SHIP ARGO oil on canvas, signed and inscribed on the reverse 46cm x 36cm Exhibited: Campbell Wilson ‘Father and Daughter: Victor Hume Moody Catherine Olive Moody’ 2011, cat no.31

£300-500

78

264 § VICTOR HUME MOODY (1896–1990) PORTRAIT OF A GIRL oil on canvas, signed on the reverse 36cm x 35cm Exhibited: Campbell Wilson ‘Father and Daughter: Victor Hume Moody Catherine Olive Moody’ 2011, cat no.13

£200-300

265 § ELIZABETH N. SMITH ‘RUMBA’ EMBROIDERED PANEL, CIRCA 1925 appliquéfabrics, coloured wools, sequins reserved on an unbleached linen ground, bears exhibition label verso 77cm x 56cm

£200-300

266 § SIR WALTER THOMAS MONNINGTON (1903-1976) MONTANA oil on canvas, unframed 91.5cm x 131cm Provenance: with Liss Fine Art, Saint Siffret, France Exhibited: London, Royal Academy, 1963, no. 309

£300-500

267 §

268 §

269 §

270

SCOTT SUTHERLAND (1910-1984)

SCOTT MYERS (B. 1958)

SCOTT MYERS (B. 1958)

‘DIANA’

MOONLIGHT SONATA

THE SPIRIT OF JAZZ

carved teak, signed. dated and inscribed verso SCOTT SUTHERLAND R.S.A. 1979/ ‘DIANA’, 34cm high; ‘MOTHER & CHILD’, by the same hand, carved teak, indistinctly signed, inscribed and dated 1982, 33cm high; and a MODERNIST CARVED HARDWOOD SCULPTURE, printed label to base MICHAEL SIMPSON, 37cm high (3)

bronze on a black slate plinth, signed, editioned and dated in the bronze MYERS/ ‘94/ 4/19, with applied foundry mark FONDERIA D’ARTE DEL CHIARO PIETRASANTA/ LUCCA/ ITALY

bronze, on a marble and hardwood stepped plinth signed and dated in the bronze MYERS/ 94, editioned 5/19

SCOTTISH SCHOOL, ATTRIBUTED TO VINCENT BUTLER

£200-300

£300-500

60cm high

TWO FIGURES bronze, on a marble plinth, indistinctly signed

total height 63cm

total height 28cm

£300-500

£200-300

79

271 § ANTHONY BAYNES (1921-2003) THE FOLLY oil on board, signed lower right ANTHONY BAYNES, 75cm x 38cm; together with ANOTHER OIL

BY THE SAME HAND, ‘Legend’, on board, signed lower left with initials AEGB, 39cm x 48cm (2) Exhibited: Campbell Wilson ‘Anthony Baynes 1921-2003), cat no.48

£400-600

272 § PATIENCE ARNOLD (1901-1992) ‘NURSERY TALES’ watercolour and gouache; and two others by the same hand ‘GIRLS & BOYS COME OUT TO PLAY’ and ‘THE PICNIC’, each signed lower right PATIENCE ARNOLD, each 34cm x 44cm; together with THREE BRITISH SCHOOL BOOK ILLUSTRATIONS, each of popular fairy stories, pen and ink and watercolour, each 15cm square (6) £300-500

273 §

274 §

DORA MITCHELL (EARLY 20TH CENTURY)

STANISLAUS SOUTTEN LONGLEY (1894-1966)

AUTUMN

CENTAUR

pencil and watercolour, signed DORA MITCHELL

pencil and watercolour, signed lower left LONGLEY

36cm diameter

20cm x 25cm

Exhibited: Campbell Wilson 2012, cat no.94

Exhibited: Campbell Wilson ‘20th Century Romance’, cat no.63

£300-500

£200-300

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

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275 FRENCH SCHOOL

276 § ARNOLD WATHEN ROBINSON (1888–1955)

SET OF FOUR WALL APPLIQUÉS, CIRCA 1935

DESIGN FOR STAINED GLASS

patinated wrought iron (4)

watercolour, 62cm x 60cm; together with FIVE STAINED GLASS CARTOONS, pen and ink and watercolour, 27.5cm x 10.5cm (6)

56.5cm wide, 80cm high, 27cm deep

£300-500

£400-600

277 LEONARD WYBURD FOR LIBERTY & CO., LONDON ARTS & CRAFTS WRITING TABLE, CIRCA 1900

278

oak

GLASGOW SCHOOL

72.5cm wide, 82cm high, 33cm deep

PAIR OF ART NOUVEAU MAGAZINE RACKS, CIRCA 1910

£300-500

mahogany, each with three open racks (2) 36cm wide, 98cm high, 24cm deep

£400-600

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

END OF DAY ONE

81

START OF DAY TWO THURSDAY 22 APRIL 2021 AT 10AM

OTHER PROPERTIES

279 ERNEST GIMSON (1864-1919) ARTS & CRAFTS SIDE TABLE, CIRCA 1900 chestnut 122cm long, 75cm high, 54.5cm deep Note: This model similar to a table supplied to Rodmarton Manor, Gloucestershire

£4,000-6,000

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

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280 ATTRIBUTED TO STANLEY WEBB DAVIES ARTS & CRAFTS BOOKCASE/BEDSIDE CABINET, CIRCA 1928 oak, with two open shelves 49.5cm wide, 72cm high, 35.5cm deep Provenance: Edwin and Maud Scott-Nicholson, Barn Close, near Carlisle and by descent to the present owner Literature: Whittaker, Esmé On the Border: Barn Close and the evolution of the Arts & Crafts interior, 19021931 The Decorative Arts Society, Journal 42, 2018, pp.90-108

£300-500 Note: Barn Close was designed by Norman Evill (1873-1958) in 1902 for Edwin and Maud ScottNicholson. Edwin Scott-Nicholson was an architect turned industrialist. Born Edwin Nicholson, he had trained in the Arts and Crafts tradition, working as an assistant to Robert Weir Schultz in London, but gave up his architectural practice when he married the daughter of Sir Benjamin Scott and joined the rapidly expanding firm, Hudson Scott and Sons Ltd. The house evolved to reflect the multi-layered taste of its owners, with their allegiance to the Design and Industries Association (D.I.A.), founded in 1915 and of which Edwin was an active supporter. He was encouraged to join by his neighbour James Morton and friend and fellow member Sir Robert Lorimer, who had been an important member from the start. Barn Close was built according to Arts and Crafts principles, using local materials and with decorative details by leading craftsmen such as William De Morgan and George Percy Bankart. Furniture in the house included work by Ambrose Heal, Gordon Russell and Ernest Gimson as well as furniture designed by Edwin himself.

281 COTSWOLD SCHOOL DROP-LEAF OCCASIONAL TABLE, CIRCA 1920 oak Open 91cm wide, 62cm high 74cm deep (closed 27cm deep)

£600-800

282 GORDON RUSSELL (1892-1980) PAIR OF ARTS & CRAFTS TOWEL RAILS, CIRCA 1930 oak (2) 66cm long, 76cm high, 26cm deep

£500-800

283 GORDON RUSSELL (1892-1980) FOR RUSSELL & SONS BROADWAY STOOL, CIRCA 1919 oak, bears embossed metal label, RUSSELL AND SONS BROADWAY WORCESTERSHIRE, bears paper label GR EXHIBITION 1919 30-32 ONE OF THREE STOOLS LENT BY LADY RUSSELL, DATED 1919.

37.5cm square, 32cm high Provenance: Sir Gordon and Lady Russell, and by descent with David Pickup Private collection Note: This early example of Russell furniture shows the designers familiarity with seventeenth-century joint stools of a type that he probably restored for his father’s hotel, the Lygon Arms.

£300-500

284 ATTRIBUTED TO ARTHUR W. SIMPSON, KENDAL ARTS & CRAFTS BOOK REST, CIRCA 1920 oak 44cm wide, 26cm high, 41cm deep

£300-500

285 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) BEDSIDE CABINET, 1970S oak, with carved mouse signature 48cm wide, 70cm high, 38cm deep

£1,200-1,800

286 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) BEDSIDE CABINET, 1970S oak, with carved mouse signature 48cm wide, 70cm high, 38cm deep

£1,200-1,800

287 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) PAIR OF STOOLS, CIRCA 1970 oak, each with carved mouse signature (2) 41cm wide, 46cm high, 37cm deep

£800-1,200

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

288 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) CIRCULAR BOWL, 1930S-40S oak, the centre with a carved mouse signature 25cm diameter

£300-400

289 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) CHEESEBOARD, 1950S-60S oak, with a carved mouse signature 37cm long

£200-300

290 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) KIDNEY SHAPED STOOL, 1950S oak, with carved mouse signature 30.5cm wide, 35.5cm high, 27cm deep

£200-300

291 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) STOOL, CIRCA 1940S oak, with rectangular dished burr seat and carved mouse signature 41.5cm wide, 37.5cm high, 28cm deep

£700-1,000

292 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) TABLE, 1930S oak, with carved mouse signature 59cm across, 49.5cm high

£2,000-3,000

86

293 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) GROUP OF THREE ASHTRAYS, CIRCA 1930S-40S oak, each with a carved mouse signature, 10cm across (3) £200-300

294 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) CIRCULAR BOWL, 1940S-50S oak, with a carved mouse signature to the exterior 23cm diameter

£300-400

295 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) CHEESEBOARD, 1960S oak, with a carved mouse signature 37cm long

£200-300

296 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) BREAD BOARD, 1940S oak, with moulded rim and fully carved mouse signature 30.5cm across

£200-300

297 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) BOOKRACK, 1950S oak, with carved mouse signature 46cm wide, 19cm high, 20.5cm deep

£250-350

298 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) LARGE KIDNEY-SHAPED TRAY, CIRCA 1970 oak, with a carved mouse signature to each end, 46.5cm across; together with an ASHTRAY, oak, with carved mouse signature, 10.5cm across (2) £250-300 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

87

299 LYNDON HAMMELL (‘CAT & MOUSEMAN’) DINING SUITE, CIRCA 1970 oak, comprising a DINING TABLE, 213cm long, 75cm high, 91cm deep; a SET OF SIX DINING CHAIRS, 45cm wide, 90cm high, 35cm deep; and TWO CARVERS, 56cm wide, 95cm high, 49cm deep, the chairs and carvers with later-upholstered drop-in seats, all with incised cat and mouse signature (9) £4,000-6,000

89

300 MANNER OF CHARLES DE SOUSY RICKETTS

301 § WILLIAM REID DICK (1879-1961)

ANDROMEDA

FIGURE OF A SEATED GIRL, DATED 1924

bronze, unsigned

painted plaster, signed and dated 1924

17cm high

32cm high

£300-500

£500-800

302 SHAPLAND & PETTER, BARNSTAPLE ARTS & CRAFTS HALL TABLE, CIRCA 1900 oak with embossed copper backplate, stamped makers number verso R1407/109 112cm wide, 128cm high, 43cm deep Literature: Bennett, Daryl Shapland & Petter Ltd. of Barnstaple: Arts & Crafts Furniture, 2005, p. 29, fig. 3.12, where the original drawing for this table is illustrated.

£1,000-1,500

303 ENGLISH SCHOOL FOUR PAIRS OF ART NOUVEAU DOOR HANDLES, CIRCA 1910 brass 46cm long

£300-500

304 ENGLISH SCHOOL BELL PUSH, DATED 1896 cast and patinated bronze, bearing initials SP/ 1896 18cm high, 5.5cm wide

£200-300

305 ENGLISH SCHOOL PAIR OF ART NOUVEAU BRASS DOOR HANDLES, CIRCA 1900 brass, 31cm long; together with a SET OF FOUR MATCHING BRASS DOORPLATES, 31cm long (6) £300-500

306 MINTONS LTD. SECESSIONIST JARDINIÈRE ON STAND, CIRCA 1910

307

glazed earthenware, printed maker’s marks MINTONS LTD, registered pattern number ‘RD.NO.616446’ to base (2)

ART NOUVEAU THREE-FOLD DRAUGHT SCREEN, CIRCA 1900

35cm diameter, 102cm high

£300-500

AFTER ALPHONSE MUCHA oak, with embroidered panels 176cm wide, 139cm high (at highest point)

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

90

308 J.S. HENRY, LONDON PAIR OF ART NOUVEAU ARMCHAIRS, CIRCA 1900 mahogany, each with upholstered back and seats, covered in original Morris and Company ‘Bird’ pattern woven wool fabric (2) 42cm wide, 137.5cm high, 50cm deep

£800-1,200

309 § MAXWELL ASHBY ARMFIELD (1881-1972) ‘REVIRESCO’ HANGING painted silk, linen and cotton gauze, bears inscription REVIRESCO/ NA ME SO ATTĀ/ NOSTER DEUS IGNIS CONSUMENS EST/ HE WHO SEES THE WORD SEES ME 78.5cm x 31.5cm Provenance: L’Equipement des Arts The Fine Art Society, London A. A. Ballard, Esq Exhibited: Southampton Art Gallery, June 1978, cat.45 The Fine Art Society, London, April 1970 and May 1982

£600-800

310 ATTRIBUTED TO J. S. HENRY, LONDON ART NOUVEAU PARLOUR SUITE, CIRCA 1900 mahogany, comprising a SETTEE, 133cm wide, 112cm high, 67cm deep; and A PAIR OF MATCHING ARMCHAIRS, each with broad backs inlaid with stylised flowering rose trees, 61cm wide, 113cm high, 57cm deep (3) £1,500-2,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

91

311 ENGLISH SCHOOL ART NOUVEAU TEXTILE HANGING, CIRCA 1900 woven cotton, with later linen backing and border including later border 254cm x 129cm

£500-800

312 J. S. HENRY, LONDON ART NOUVEAU ARMCHAIR, CIRCA 1910 carved oak with velvet upholstered seat and arm rests 64cm wide, 121cm high, 49deep

£800-1,200 Note: This celebrated chair shows distinct characteristics of the designs of the Century Guild with its linear Art Nouveau lines and swollen square section uprights.

J.S. Henry were wholesale manufacturers of Art Furniture based in Old Street, London and were established circa 1880. Most of their furniture output was Art Nouveau in mahogany and satinwood with decorative inlay. At the Arts & Crafts Exhibition Society in 1903 the company showed designs by George Walton and W.A.S. Benson. G.M. Ellwood was their most prolific designer, and although they used designs by C.F.A. Voysey, E.G. Punnett and W.J. Neatby, few designers were named. Examples of this chair are held at the Kelvingrove Museum and Art Gallery in Glasgow and MAK Applied Arts Museum, Vienna.

313 ENGLISH SCHOOL ART NOUVEAU COMBINATION FIRE SURROUND, CIRCA 1910 cast iron, overpainted in white, with ceramic tile insert, stamped registration number 388590 Exterior 147.5cm wide, 140cm high,29cm deep; Interior 46cm wide, total height (inc. hood) 81cm

£400-600

314

315

ENZO PLAZZOTTA (1921-1981)

ENGLISH SCHOOL

GROUP OF FOUR PLAQUES, CIRCA 1980

PAIR OF ART NOUVEAU ARMCHAIRS, CIRCA 1910

bronze, depicting JANE; 6cm diameter; CROUCHING GIRL, 7.5cm across; ‘LEONARDO’, 6cm x 6.5cm; and ‘REARING STALLION’, 6cm diameter, together with A FURTHER PLAQUE ATTRIBUTED TO MAX KLINGER, bronze, incised artist’s initials MK, 16.5cm x 8.5cm (5)

carved oak, with original upholstery (2)

£200-300

49cm wide, 105cm high, 44cm deep

£300-500

92

316 MURRLE BENNETT & CO., LONDON ART NOUVEAU PENDANT NECKLACE, CIRCA 1910 silver, set with amethyst stones, stamped marks MBCo/ 950 total length 42.5cm long

£1,000-1,500

317 MURRLE BENNETT & CO. ART NOUVEAU BROOCH, CIRCA 1910 15 carat gold, set with opals and pearls, stamped marks MB / 15CT 2.6cm wide

£600-800

318 SIBYL DUNLOP (1889-1968) CELTIC REVIVAL NECKLACE silver, stamped maker’s marks SD/ S. DUNLOP, and London hallmarks (indistinct) 42cm long

£400-600

319 MURRLE BENNETT & CO. ART NOUVEAU BROOCH, CIRCA 1900 9 carat gold, stamped maker’s marks MBC0/ 9CT/ PATENT 2.5cm across

£250-350

93

320 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON ‘CYMRIC’ CORONATION SPOON, 1901 silver and enamel with cast inscription AC/ ER VII, stamped maker’s marks L&Co/ CYMRIC, hallmarked Birmingham 1901, with associated stand 12.2cm long

£800-1,200

321 Y ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON ART NOUVEAU NECKLACE, CIRCA 1902 model 8009, gold with turquoise cabochons and mother-of-pearls, with original Liberty case 46cm long Literature: Martin, Stephen, Archibald Knox, ArtMedia 2001, p. 249 where a similar necklace is illustrated.

£1,200-1,800

322 LIBERTY & CO., LONDON TWO DESIGNS FOR LIBERTY FABRICS PUBLICITY, CIRCA 1920 pen, ink and gouache, later framed and mounted (2) 27.5cm x 12cm and 23cm x 15cm

£300-500

323 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON ‘CYMRIC’ CIGARETTE CASE, BIRMINGHAM 1909 silver and enamel, stamped maker’s marks L & CO., hallmarks for Birmingham 1909 8.5cm x 7.5cm

£400-600

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

94

324 MANNER OF LIBERTY & CO., LARGE ARTS & CRAFTS OVERMANTEL MIRROR, CIRCA 1900 copper with beaten finish, repoussédecorated and set with Ruskin panels 70cm x 176cm

£1,200-1,800

325 LIBERTY & CO., LONDON ARTS & CRAFTS BUREAU, CIRCA 1900 oak, with copper handles, includes key 67.5cm wide 122.5cm high 40cm deep

£300-500

326 ENGLISH SCHOOL ART NOUVEAU ALTAR TABLE, CIRCA 1910 oak 138cm long, 76cm high, 67deep

£800-1,200

327

328

329 Y

330

LIBERTY & CO., LONDON

MANNER OF LIBERTY & CO., LONDON

LIBERTY & CO., LONDON

MANNER OF LIBERTY & CO., LONDON

ARTS & CRAFTS LAMP TABLE, CIRCA, 1900 inlaid oak 50.5cm diameter, 70.5cm diameter

£300-500

TWO ANGLO-MORESQUE OCCASIONAL TABLES, CIRCA 1900

ANGLO-MORESQUE OCCASIONAL TABLE, CIRCA 1910

ARTS & CRAFTS EMBROIDERED SQUARE, CIRCA 1900

mahogany (2)

inlaid hardwood and mother-of-pearl

coloured silks on a cream silk ground, with rolled edges

each 45cm across, 64cm high

47cm across, 65cm high

148cm x 151cm

£300-500

£300-500

£250-400

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

95

331 ATTRIBUTED TO ARCHIBALD KNOX FOR LIBERTY & CO., LONDON PAIR OF ART NOUVEAU WALL CHARGERS, CIRCA 1905 copper, with repoussé decoration, set with enamelled roundels (2) 45cm diameter

£800-1,200

332 ATTRIBUTED TO LIBERTY & CO., LONDON, IN THE MANNER OF C.F.A. VOYSEY ARTS & CRAFTS WALL MIRROR, CIRCA 1900 oak, with marquetry-inlaid decoration, enclosing bevelled mirror plate

333 LIBERTY & CO., LONDON

69cm high, 35cm wide

ARTS & CRAFTS CENTRE TABLE, CIRCA 1924

£300-400

oak, with sliding shelf 123cm wide, 76cm high, 69cm deep Provenance: Liberty & Co. London Note: This lot formed part of a collection of Arts & Crafts furniture made in the early 1920s for Liberty & Co’s magnificent Tudor building in Great Marlborough Street. The building was completed in 1924 and was built so that trading could continue while renovations were being completed on their adjacent premises in Regent Street. It was designed by Edwin Thomas Hall and his son Edwin Stanley Hall at the height of the 1920s fashion for the Tudor revival and constructed from the timbers of two 19th century men-of-war battleships.

The new building demonstrated craft of the highest quality and attention to detail and would be a reflection of the Arts & Crafts values of “truth to material” which had played such an important part in the foundation of the company and the goods that it sold. Under the supervision of the architects, a collection of furniture was commissioned for the rooms and galleries to display the textiles, clothes and luxury goods the shop was so famous for, including the example here which retains its inset brass rule for measuring fabrics.

£3,000-5,000

334

335

336

337

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

LIBERTY & CO., LONDON

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

LIBERTY & CO., LONDON

MANTEL CLOCK, CIRCA 1920

29cm wide, 16cm high

hammered pewter with copper and enamel dial and oak pilasters, fitted with later electric movement, stamped to base TUDRIC PEWTER, 01126B

£250-350

32.5cm wide, 17cm high

11cm wide, 11.5cm high

£300-500

£250-350

‘TUDRIC’ ROSE BOWL, CIRCA 1905 pewter, stamped maker’s marks, ENGLISH PEWTER/ 0229/ RD 414420/ MADE IN ENGLAND

‘TUDRIC’ TEA CADDY AND COVER, CIRCA 1905 pewter, stamped maker’s marks TUDRIC/ ENGLISH PEWTER/ LIBERTY & CO./ 0194

STRUT CLOCK, CIRCA 1910 pewter frame with copper and enamel dial, stamped maker’s mark verso TUDRIC PEWTER/ 01693/ MADE IN ENGLAND 10cm wide, 10.8cm high

£200-300

96

338 JESSIE MARION KING (1875-1949) FOR LIBERTY & CO., LONDON CARD CASE, BIRMINGHAM 1909 silver and enamel, stamped maker’s marks and hallmarks for Birmingham 1909 8.5cm across

£300-500

339 ARCHIBALD KNOX (1899-1933) ‘TUDRIC’ BULLET VASE, CIRCA 1900 pewter, stamped maker’s marks TUDRIC 0927 28.8cm high

£600-800

340 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON ‘TUDRIC’ CLOCK, CIRCA 1905 polished pewter, stamped maker’s marks TUDRIC/ 0384, with winding key 17cm high

£800-1,200

341 LIBERTY & CO., LONDON MANTEL CLOCK, CIRCA 1920 hammered pewter with copper and enamel dial, stamped to base ENGLISH PEWTER/ MADE BY/ LIBERTY & CO./ 01126 30.5cm wide, 20cm high

£400-600

342

343

LIBERTY & CO., LONDON

LIBERTY & CO., LONDON

ART NOUVEAU PILL BOX, BIRMINGHAM 1919

ARTS & CRAFTS SPOON, BIRMINGHAM 1936

silver, stamped maker’s marks and hallmarks for Birmingham 1919

cast silver, stamped maker’s marks and hallmarks for Birmingham 1936

3.5cm diameter

19.5cm long

£200-300

£250-350

97

344 ATTRIBUTED TO OLIVER BAKER (1856-1939) FOR LIBERTY & CO., LONDON RARE PAIR OF SPOONS, BIRMINGHAM 1903 silver and enamel, stamped maker’s marks and hallmarks for Birmingham, 1903, with fitted case (2) 21cm long

£1,000-1,500

345 LIBERTY & CO., LONDON ‘TUDRIC’ MANTEL CLOCK, CIRCA 1905 pewter, with copper and enamel dial, stamped maker’s marks TUDRIC/ 01032/ MADE IN ENGLAND, with original key

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

20cm high

£800-1,200

‘CYMRIC’ PAPER KNIFE, BIRMINGHAM 1904 silver, enamel and ivory, set with a turquoise cabochon stone, stamped maker’s marks L&Co/ CYMRIC, hallmarked Birmingham 1904 22.5cm long

£300-500

347 LIBERTY & CO., LONDON, IN THE MANNER OF C. R. ASHBEE ‘TUDRIC’ BOX AND COVER, CIRCA 1905 pewter, with applied relief panels depicting stylised peacocks, stamped maker’s marks 0103 8.3cm high; 10.2cm diameter

£400-600

348 LIBERTY & CO., LONDON ‘CYMRIC SILVER’ TRADE CATALOGUE, CIRCA 1901 cloth boards with silver tooling, including black and white and coloured plates of the range with prices, printed by Ballantyne, Hanson & Co., London & Edinburgh £300-500

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

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

99

349

350

ATTRIBUTED TO CHRISTOPHER DRESSER (1834-1904) FOR HEATH & MIDDLETON, LONDON

CHRISTOPHER DRESSER (1834-1904) FOR JAMES COUPAR & SON, GLASGOW

‘WATERING CAN’ HOT WATER KETTLE, LONDON 1896

‘CLUTHA’ VASE, CIRCA 1880

silver, with wicker-covered handle, stamped maker’s marks, hallmarked London 1896

24cm high

16cm high Literature: Halén, Widar Christopher Dresser: A Pioneer of Modern Design London 1990, p.180, pl. 203

351

green glass with trailing milky and aventurine inclusions Literature: Halén, Widar Christopher Dresser: a Pioneer of Modern Design London 1990, pp. 174 and 175, figs. 194 and 195 where similar vases are illustrated.

£800-1,200

£200-300

CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE ART POTTERY TWO FREEFORM DISHES, CIRCA 1879 glazed earthenware, one glazed in green, brown and white, impressed maker’s marks LINTHORPE/ HT/ 276 (Henry Tooth) and indistinct impressed facsimile signature, 21.5cm across; the other with yellow, orange and white glazes, impressed maker’s marks 273, 22cm across (2) Literature: Whiteway, Michael Christopher Dresser 1834-1904, Skira 2001, p. 122, pl. 123

£200-300

352 CHRISTOPHER DRESSER (1834-1904) FOR THE OLD HALL EARTHENWARE CO. LTD. ‘SHANGHAI’ PATTERN SERVING PLATTER, CIRCA 1884 decorated with stylised flowers and foliage, impressed and printed maker’s and retailer’s marks with facsimile signature CHR. DRESSER, 38cm x 51.5cm; in Egyptian style; together with a PAIR OF OLD HALL POTTERY PITCHERS, CIRCA 1870, 16.5cm high (3) £300-500

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

100

353 EDWARD WILLIAM GODWIN (1833-1886), PROBABLY FOR WILLIAM WATT HANGING WALL CABINET, CIRCA 1870 ebonised wood, cloisonné panels, mirrored glass 106cm wide, 65.5cm high, 21.5cm deep Literature: Soros, Susan The Secular Furniture of E. W. Godwin, Yale 1999, p. 200, no. 320-b, where this cabinet is illustrated.

Provenance: Paul Reeves, London Note: William Watt (1834-1885) established his upholstery business in 1857; it appears in the directories as William Watt & Co., art furniture manufacturers, 21 Grafton Street, London in 1860. The firm produced and sold some of the finest furniture of the Aesthetic Movement, including cabinets designed by Edward William Godwin like the present example.

The cabinet is typical of the Anglo-Japanese style associated with Godwin’s designs. He often incorporated real Japanese artefacts into his work, shopping regularly in the 1870s at Liberty’s East Indian Art Warehouse on Regent Street, which stocked such items. This is possibly where the Japanese cloisonné enamel panels on the cabinet doors came from.

£5,000-8,000

101

354 ATTRIBUTED TO E. W. GODWIN (1833-1886), PROBABLY MADE BY WILLIAM WATT ARMCHAIR, CIRCA 1880 ebonised wood, with caned seat, back and arm panels, and with later cushions upholstered in period fabric circa 1880 90cm wide, 60cm high, 67cm deep Literature: Soros, Susan The Secular Furniture of E. W. Godwin, Yale 1999, p. 96, no. 116 and p. 88, no. 107, where this armchair is illustrated.

Provenance: Paul Reeves, London Note: An easy chair version of the wicker chair that Godwin designed for his own use in 1867, and later for Dromore Castle.

£3,000-5,000

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

103

355 CASSANDIA ANNIE WALKER (1875-1957) FOR DELLA ROBBIA POTTERY, BIRKENHEAD CYLINDRICAL VASE, DATED 1903 glazed earthenware, incised maker’s marks DR/ 1903/ C.A.W./ 294 40cm high

£600-800

356 DELLA ROBBIA POTTERY, BIRKENHEAD BALUSTER VASE, DATED 1894 glazed earthenware, incised and painted maker’s marks J.B./ 1894 22.5cm high

£200-300

357 CHARLES COLLIS FOR DELLA ROBBIA POTTERY, BIRKENHEAD CIRCULAR CHARGER, DATED 1903 glazed earthenware, incised maker’s marks DR / 1903/ C 35cm diameter

£800-1,200

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

104

358 C.R. ASHBEE (1863-1942) FOR THE GUILD OF HANDICRAFT MUFFIN DISH & COVER, CIRCA 1910 silver plate with enamel set openwork finial, bears an inscription to rim TO RUTH SPENCE GOWER 1912 D.D. T.H. & T.W. MINSHALL 22cm diameter Literature: See Crawford, A. C.R. Ashbee’s English Silverwork, B. Weinreb, 1974, p. 345, pl. XIII where a similar dish in silver is illustrated.

£700-1,000

359 ENGLISH SCHOOL, MANNER OF C.R. ASHBEE ARTS & CRAFTS FLOWER VASE, CIRCA 1890 repoussé-decorated copper, patinated wrought brass and cast metal, painted mark 2140 39cm high

£400-600

360 BURMANTOFTS POTTERY, LEEDS ANGLO-PERSIAN FAIENCE VASE, CIRCA 1890 glazed and painted earthenware, decorated by Leonard King, bears impressed and painted maker’s marks 463/ DESIGN 80/ 21/ BURMANTOFTS FAIENCE/ 21 41cm high Note: All Burmantofts ‘Anglo-Persian’ wares bear the initials of the decorator Leonard King. These wares made their first documented appearance at the Saltaire Exhibition in 1887 and were inspired by the ‘Persian’ wares of William de Morgan. Large pieces such as the present lot were expensive to produce and are rare examples.

£1,500-2,000

105

361 ATTRIBUTED TO C. R. ASHBEE FOR THE GUILD OF HANDICRAFT LARGE ARTS & CRAFTS SEVEN-LIGHT ELECTROLIER, CIRCA 1910 patinated wrought iron with hammered and patinated copper shades and brass ceiling hook 100cm diameter, 175cm high Provenance: Property from an Important Private Collection Literature: Ashbee, C.R. Suggestions for Light Fittings Art Journal, 1895 V&A Accession number M.60-2000 See Guild of Handicraft Trade Catalogue, circa 1900, p.58, where a similar wrought-iron ceiling light is illustrated

£5,000-8,000

Note: The openwork construction of this impressive light, the pendant fittings and the distinctive arrangement of electric wires are characteristic of Ashbee’s work in the then relatively new medium of lighting for electricity.

Ashbee, in his paper Suggestions for Light Fittings of 1895 was particularly interested to note that light from electricity fell instead of rose, as with candles and gas lighting. Many of his fittings employ the use of cowled reflectors which further direct the light downwards. He went on to state that “I prefer rest in a design and feel disturbed when three naked bronze children come rushing over the table with fortyeight candle-power hands full”.

In the Art Journal article, Ashbee described a chandelier which he designed for the drawingroom of his house, the Magpie and Stump at 37 Cheyne Walk, as “a rather elaborate arrangement of a nine-pendant rose.... Here, almost the whole effect of the design is got in the manipulation of the cords, and - a little detail in light designing that is so often forgotten - their arrangement is such as to cast pleasing and broken shadows on the ceiling. The nine-pendant circular rose in question spins a sort of grand spider-web upon white plaster.”

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

106

362 ETHELREDA BROWN TWO ARTS & CRAFTS MOSAIC PANELS, CIRCA 1900 coloured glass within original frames, ‘ST GEORGE’, mosaic 38cm x 16cm frame 52cm x 25cm; and ‘ST ELIZABETH OF HUNGARY’, mosaic 27cm x 20cm frame 36cm x 28cm, each with artist’s label verso (2) £400-600

363 ENGLISH SCHOOL TWO ARTS & CRAFTS BELLOWS, CIRCA 1900 brass and wood, repoussé-decorated to one with pomegranates and sunflowers, and to the other with birds in leafy branches (2) each 40cm long

£150-250

364 ENGLISH SCHOOL ARTS & CRAFTS COAL BOX & COVER, CIRCA 1885 repoussé-decorated brass, with wrought steel mounts

365

40cm across, 43cm high

ARTS & CRAFTS FIRESCREEN, CIRCA 1900

£200-300

ENGLISH SCHOOL

repoussé-decorated copper, brass, unmarked 67cm x 58cm

£400-600

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

107

366 ENGLISH SCHOOL ARTS & CRAFTS HANGING LIGHT, CIRCA 1900 repoussé-decorated copper, with green glass shade 25cm diameter, 68cm high

£400-600

367 § ANNIE FRENCH (1872-1965) ILLUSTRATIONS FOR A BOOK, CIRCA 1920 ink and watercolour, framed, 21cm x 26cm; together with a FRAMED PRINT BY JESSIE MARION KING (1875-1949), signed in the print JESSIE M. KING INV ET DEL 1899, 25.5cm x 27.5cm (2) £400-600

368 MANNER OF C.F.A. VOYSEY ARTS & CRAFTS CASKET, CIRCA 1900 beechwood, with pokerwork decoration after C.F.A. Voysey, later printed linen lining, with key 40cm wide, 36cm high, 25.5cm deep

£400-600

108

369 WALTER CRANE (1845-1915, DESIGNER) AND WILLIAM S. MYCOCK (1872-1950, ARTIST) FOR PILKINGTON’S TILE & POTTERY CO. LANCASTRIAN ‘SWAN’ LUSTRE VASE, DATED 1906 decorated with classical figures in sailing ships, painted artist’s, designer’s and date cyphers to the base, painted artist’s marks and designer’s monogram, impressed maker’s marks 2472/ ENGLAND/ VI, applied paper label ROYAL LANCASTRIAN 26.5cm high Literature: Cross, Anthony Pilkington’s Royal Lancastrian Pottery and Tiles, Richard Dennis, 1980, page 9, plate V, where similar examples are illustrated.

£3,000-5,000

370 RICHARD JOYCE (1873-1931) FOR PILKINGTON’S TILE & POTTERY CO. LUSTRE VASE, DATED 1910 glazed, painted and moulded earthenware, painted artist’s marks and date cypher for 1910, impressed maker’s marks 1264 England 29cm high Literature: Cross, Anthony Pilkington’s Royal Lancastrian Pottery and Tiles, Richard Dennis, 1980, page 34, plate XX where a similar example is illustrated.

£500-800

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

109

371 JOHN HENRY DEARLE (1859-1932) ANGELS APPEARING TO THE SHEPHERD watercolour, original mount and frame, signed and dated lower right J. H. DEARLE 1917 41cm x 30.5cm Note: John Henry Dearle is best known for his superlative work as head of design at Morris & Company. Dearle began his career with the firm as a shop assistant at 449 Oxford Street in 1878.

Morris recognized Dearle’s talents as a draftsman and took him on as his tapestry apprentice, eventually allowing him to create fabric details and floral backgrounds for many of his designs.

They opened a tapestry workshop at Queen Square shortly after and by 1890, at the age of 31, Dearle was appointed Head Textile Designer of the firm, responsible for handling the company’s commissions for house decorative schemes. After Morris’s death in 1896, Dearle became art director of Morris & Co. and produced many of the firms most celebrated works.

£3,000-5,000

372 GORDON RUSSELL (1892-1980) ARTS & CRAFTS TABLE, CIRCA 1930 oak, with oval top 122cm long, 75.5cm high, 90cm deep

£1,000-1,500

110

373 GEORGE LOGAN (1866-1939) FOR WALTER SCHERF & CO., NUREMBERG GLASGOW STYLE TOILET SET, CIRCA 1901 pewter with inset turquoise and garnet-coloured cabochon stones, comprising a EWER, stamped maker’s marks OSIRIS 656, 37.5cm high; a BASIN, unmarked, 43cm diameter; and a SOAP DISH & COVER, stamped maker’s mark 731, 14.2cm diameter (3) Literature: Kinchin, Juliet The Wylie & Lochhead Style, The Journal of the Decorative Arts Society 1850 - the Present, No. 9, Aspects of British Design 1870 - 1930 (1985), pp. 4-16 E. Cumming (ed.) Glasgow 1900: Art and Design, Van Gogh Museum 1993

£2,000-3,000

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

Note: A similar toilet set, designed by George Logan for Wylie & Lochhead, was exhibited by them at the Glasgow International exhibition of 1901, and at the pioneering Turin exhibition in 1902, marking the first and only time Logan’s work was exhibited alongside the designs of Charles Rennie Mackintosh. There are only two other known examples of this set, and both are currently in public collections, one belonging to The National Trust, Standen and the other to Glasgow Museums and Galleries.

Wylie & Lochhead collaborated with many designers in the Glasgow Style, such as John Ednie and E. A. Taylor, however it was Logan who had the earliest and longest partnership with the company.

For the 1901 exhibition, Logan designed

the library and bedroom, and the ewer and basin would have been displayed on the washstand which formed part of the interior scheme. The full extent of Wylie & Lochhead’s involvement in the production of the set is not yet known. However, the stamped marks to the ewer indicate the set was sub-contacted out to Walter Scherf’s company. Indeed, the company would have been familiar to UK firms and retailers; following the prominence of the Art Nouveau aesthetic in 1899, Liberty’s began trading a range of pewter-wares manufactured by German firms, including Scherf’s ‘Osiris’ brand. The ewer at Standen is similarly marked and decorated with turquoise cabochon stones, which are lacking from the Glasgow example.

Uniquely, the present lot has also survived with its matching soap dish.

111

374 ERNEST ARCHIBALD TAYLOR (1874-1951) FOR WYLIE & LOCHHEAD, GLASGOW DESK, CIRCA 1905 oak, stained and leaded glass panels, with nickel drop handles backed with green leather 75cm wide, 122cm high, 50cm deep Literature: Kinchin, Juliet The Wylie & Lochhead Style, The Journal of the Decorative Arts Society 1850 - the Present, No. 9, Aspects of British Design 1870 - 1930 (1985), pp. 4-16

£8,000-12,000

Note: Initially apprenticed in the Glasgow shipbuilding industry, E. A. Taylor trained as an artist at the Glasgow School of Art, where he met Jessie M. King around 1898. Taylor joined the Glasgow cabinetmakers and retailers Wylie and Lochhead as trainee designer in 1893. His furniture designs for the firm brought him great acclaim with exhibitions at the 1901 Glasgow International Exhibition and, with his fiancée Jessie King, a series of stained-glass panels for the Turin International Exhibition of Modern Decorative Art in 1902.

Taylor went on to lecture in furniture design at Glasgow School of Art from 1903 to 1905.

In 1908 he married Jessie King and moved to Manchester to manage and design for George Wragge Ltd where he produced many designs for stained glass. Between 1911 and 1914 the Taylor’s lived in Paris where they established an art school – the Shealing Atelier. This rare cabinet by Taylor combines his skills as a furniture maker and stained-glass designer and was available to buy in mahogany or, in this rarer version, in oak.

112

OTHER PROPERTIES

375 CHARLES RENNIE MACKINTOSH (1868-1928) PAIR OF DINING CHAIRS, 1910 stained oak, with drop-in seats upholstered in horsehair fabric (2) 46.6cm wide, 101cm high, 45cm deep Provenance: William Douglas Esq., Glasgow Benno Schotz Esq., Glasgow Jack Coia Esq., Glasgow and by descent Literature: Billcliffe, Roger Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings and Interior Designs, Moffatt 2009, p. 213, see footnote to no.

1910.12.25 Cotton, Bernard D. Scottish Vernacular Furniture London 2008, pp. 172-177, plates 296-298 For the third pair in this set see Lyon & Turnbull auction Decorative Arts: Design since 1860, 25th March 2015, Lot 291

£15,000-20,000

By 1910 Charles Rennie Mackintosh was in the last phase

The chairs are oak, stained dark and designed in the ‘brander’

of creativity as an architect and designer in Glasgow. He had

back style, so-called in Scotland because of their backs’

completed the second phase of the Glasgow School of Art the

resemblance to the brander iron or gridiron used over the

previous year, perhaps his greatest work. Further furniture

fire to cook meat or to toast oatcakes. The origins of the

orders were commissioned and delivered to the School in

brander back date to the late 18th century or earlier. The

1910. Other work included designs for the temporary White

simple concept of vertical back slats was used on chairs

Cockade tearoom at the Glasgow Exhibition and redesigns

in one interpretation or another for all levels of society

of furniture and interior decorations for The Chinese Room

throughout Scotland until the second half of the 19th

and a new room, The Cloister Room, both for Miss Cranston’s

century when it fell out of fashion.

Ingram Street Tearooms.

In common with, for example, his interpretations of ladder

At the same time, he worked on a series of furniture designs

back chairs in various manifestations, Mackintosh has

for his friend, the decorator William Douglas, who worked

designed his own version of this vernacular chair. The back,

from premises in West George Street. Douglas was employed

typically squat, has been elongated, and the number of slats

on various projects by Mackintosh including Hous’hill, Miss

doubled from a characteristic four to eight. He has further

Cranston’s home, in 1904. Amongst the furniture designed

accentuated the vertical character of the chair by omitting

for Douglas was a set of six oak dining chairs, of which two

the cross-stretchers, normally found to the front and rear.

pairs are offered here.

113

114

376 CHARLES RENNIE MACKINTOSH (1868-1928) PAIR OF DINING CHAIRS, CIRCA 1911 stained oak, with drop-in seats upholstered in horsehair fabric (2) 46.6cm wide, 101cm high, 45cm deep Literature: Billcliffe, Roger ‘Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings and Interior Designs’, Moffatt 2009, p. 213, see footnote to no. 1910.12.25 Cotton, Bernard D. ‘Scottish Vernacular Furniture’, London 2008, pp.

172-177, plates 296-298

£15,000-20,000

115

377 MANNER OF TALWIN MORRIS GLASGOW SCHOOL MIRROR, CIRCA 1900 brass with repoussé decoration and applied turquoise pottery heart motifs 51cm x 36cm

£1,500-2,000

378 AFTER CHARLES RENNIE MACKINTOSH PAIR OF DINING CHAIRS, CIRCA 1970 stained oak (2) 46.5cm wide, 101cm high, 45.5cm deep Literature: Billcliffe, Roger Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings and Interior Designs, Moffatt 2009, p. 213, see footnote to no. 1910.12.25 Note: These chairs are reproductions of chairs made for William Douglas, and were made to match the previous two lots, and were made at Glasgow School of Art circa 1970.

£600-800

379 AFTER CHARLES RENNIE MACKINTOSH REFECTORY TABLE, CIRCA 1970 stained oak 206.5cm long 77cm high, 77.5cm deep Literature: Billcliffe, Roger Charles Rennie Mackintosh, The Complete Furniture, Furniture Drawings and Interior Designs, Cameron & Hollis 2009, p.122-3, Cat. No. 1901.26 where the original table is illustrated.

Note: This is a reproduction of the hall table made for Windyhill, Kilmacolm in 1901, made at Glasgow School of Art circa 1970.

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

116

380 GLASGOW SCHOOL, ATTRIBUTED TO AGNES BANKIER HARVEY ART NOUVEAU WALL MIRROR, CIRCA 1900 brass, with repoussé decoration, enclosing a mirrored plate 51cm x 59cm Literature: The Studio Volume 19, p.240 where fingerplates by Agnes Bankier Harvey of a similar design are illustrated.

£800-1,200

381 Y GLASGOW SCHOOL ART NOUVEAU CABINET, CIRCA 1910 stained oak, with glazed and leaded green glass and abalone shell panels 137cm wide, 137cm high, 47cm deep Note: This cabinet belonged to Mrs J. Blewes of Charing Cross in Glasgow. Mrs Blewes was the manageress at one of Miss Cranston’s Tearooms in the late 1950s.

£2,000-3,000

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

117

382 § ANNIE FRENCH (1872-1965) PIERCED BY AN ARROW ink, watercolour, gold ink on paper, signed lower right ANNIE FRENCH 16cm square

£1,000-1,500

383 GLASGOW SCHOOL EMBROIDERED PANEL, CIRCA 1900 coloured silks on a fine silk ground, within mahogany frame 56cm x 51cm

£400-600

384 385 SABATTINI, AFTER CHARLES RENNIE MACKINTOSH

GLASGOW SCHOOL EMBROIDERED PANEL, CIRCA 1900

‘NEWBERY’ FORK AND KNIFE, DATED 1989

coloured silks on a fine silk ground, within later frame

silver plate, in original box with leaflet, stamped maker’s marks (2)

65cm x 44cm

spoon 27cm long, fork 25cm long

£200-300

£300-500

118

386 OLIVE CARLETON SMYTH (1882-1949) PLAYTIME watercolour and bodycolour, signed lower right O.C. SMYTH 20cm x 30cm

£1,000-2,000

387 § ELIZABETH MARY WATT (1886-1954) TREE OF KNOWLEDGE watercolour and pencil, signed with initials lower right EMW 20cm x 15.5cm

£300-500

388 MANNER OF DE COURCY LEWTHWAITE DEWAR SCOTTISH SCHOOL ENAMEL PLAQUE, EARLY 20TH CENTURY enamelled metal within a repoussé metal frame plaque 6.5cm square

£600-800

389

390

391

392

ATTRIBUTED TO AGNES BANKIER HARVEY

J. A. K. BROWN

GLASGOW SCHOOL

SCOTTISH SCHOOL

SCOTTISH SCHOOL ARTS & CRAFTS CHARGER, CIRCA 1910

CELTIC REVIVAL WALL MIRROR, CIRCA 1910

WALL MIRROR, CIRCA 1910

brass, with repoussé decoration

brass with embossed decoration, signed J. A. K. BROWN

brass, with repoussé decoration, enclosing a mirrored plate

carved and gilded wood with bevelled plate, bears Aitken Dott & Son paper label verso

16cm wide, 32cm high, 4.5cm deep

46cm diameter

41cm x 86cm

68cm x 46cm

£250-350

£200-300

£300-500

£250-350

SCOTTISH ART NOUVEAU CANDLE SCONCE, CIRCA 1900

119

393 TALWIN MORRIS (1865-1911) PAIR OF RARE GLASGOW SCHOOL PANELS, CIRCA 1893 brass with repoussé decoration, later framed (2) each 26.5cm x 11cm Provenance: Walter W. Blackie, Glasgow Christie’s, Glasgow

£4,000-6,000

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 metalwork, which were incorporated into many of his decorative schemes, including his own home at Dunglass Castle and the refurbishment of W.W. Blackie’s Printing Works where these panels formed part of an entrance screen. The panels demonstrate the key characteristics of the ‘Glasgow Style’, with their heavily stylised and linear plant forms and Glasgow roses.

394 DE COURCY LEWTHWAITE DEWAR (1878 – 1959) GLASGOW SCHOOL TEA CADDY, CIRCA 1900 pewter and tin, with repoussé decoration 13.5cm square, 14cm high Literature: The Studio, vol. 19, 1900, p. 238, where a similar metal casket

by Dewar is illustrated.

Larner, Gerald and Celia The Glasgow Style, 1979, pl. 181 Burkhauser, Jude Glasgow Girls Women in Art and Design 1880-1920, Glasgow, 1990, p. 160, fig. 208.

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

120

395 § JAMES HERBERT MACNAIR (1868-1955) RARE POSTCARD WITH HAND-WRITTEN INSCRIPTION, 1905 with Glasgow style script, inscribed ECCO LA BEFFANA, signed lower right J HERBERT MACNAIR 1905, bearing inscription verso TWELFTH NIGHT 1905, WITH BEST WISHES/ FROM HERBERT & FRANCES MACNAIR 14cm x 9cm Note: In Italian folklore, Befana is an elderly woman who delivers gifts to children throughout Italy on Epiphany Eve in a similar way to St. Nicholas or Santa Claus. A popular belief is that her name derives from the Feast of Epiphany

£1,000-1,500

396 JESSIE MARION KING (1875-1949) ‘ALL THE YEAR ROUND’ pen and coloured inks, mounted and framed 13.5cm x 8.5cm Provenance; Jessie M. King and E.A. Taylor: The Collection of Miss Merle Taylor, sold Sotheby’s, Glasgow, June 21st, 1977, Lot 138 Note: The cover art for a book published by Collins, 1923

£500-800

397 JESSIE MARION KING (1875-1949) PUFFER AT CORRIE watercolour 24cm x 30cm

£300-500

398 JESSIE MARION KING (1875-1949) THE DOVECOT watercolour, 24cm x 19cm; together with ARRAN COTTAGE, 27cm x 19.5cm (2) Provenance; Jessie M. King and E.A. Taylor: The Collection of Miss Merle Taylor, sold Sotheby’s, Glasgow, June 21st 1977

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

121

399 JESSIE MARION KING (1875-1949) YOUTHE watercolour on vellum, signed lower right JESSIE M. KING, inscribed lower left YOUTHE 33cm x 43cm Provenance: Collection of Dugald McTaggart Lindsay, acquired directly from the Artist and thence by descent Exhibited: Edinburgh, The Scottish Arts Council, Jessie M. King, 1975-1949, March 1971 - January 1972, no. 80

£3,000-5,000

400 JESSIE MARION KING (1875-1949)

BY THE RIVER BANK watercolour and pencil, 17.5cm x 25cm; together with IN THE BIRCH WOOD, pen & ink and wash, 15.5cm x 27cm (2) Provenance; Jessie M. King and E.A. Taylor: The Collection of Miss Merle Taylor, sold Sotheby’s, Glasgow, June 21st 1977

£300-500

122

401 WYLIE & LOCHHEAD, GLASGOW ART NOUVEAU ‘QUAINT’ BEDROOM SUITE, CIRCA 1900 green stained ash with copper mounts, comprising a WARDROBE, with three doors enclosing hanging space, 192cm wide, 211cm high, 53.5cm deep; a WASHSTAND, with tiled splashback and top, 107cm wide, 131cm high, 53cm deep; and a DRESSING CHEST, 108cm wide, 155cm high, 50.5cm deep (3) £2,000-3,000

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

123

402 GLASGOW SCHOOL ARTS & CRAFTS WRITING CABINET, CIRCA 1910 oak, with leaded glass panelled doors, with key 82cm wide, 162cm high, 31cm deep

£400-600

403 GLASGOW SCHOOL ARTS & CRAFTS MIRROR, CIRCA 1910 brass, with repoussé decoration, enclosing an oval mirror plate 60cm x 80cm

£600-800

404 SCOTTISH SCHOOL PAIR OF ARTS & CRAFTS CANDLE SCONCES, CIRCA 1910 brass with repoussé decoration, bearing initials BH (2) 29cm wide, 55cm high, 12cm deep

£500-700

405 MANNER OF E. A. TAYLOR FOR WYLIE & LOCHHEAD GLASGOW SCHOOL FIRE SURROUND AND OVERMANTEL, CIRCA 1900 mahogany, with mirrored plate, the whole carved in bas-relief 173cm wide, 214cm high, 26cm deep Provenance: Lyon & Turnbull, Edinburgh, April 2004 Private Collection

£600-800

406 GLASGOW SCHOOL ARTS & CRAFTS WALL MIRROR, CIRCA 1910 brass, with repoussé decoration 57cm x 76cm

£300-500

124

407 § ERNEST ARCHIBALD TAYLOR (1874-1951) HAYSTACKS watercolour and gouache, unsigned 19.5cm x 24cm Provenance: Bourne Fine Art, Edinburgh

£400-600

408 JESSIE MARION KING (1875-1949) THE BRIDGE watercolour, unsigned 18.5cm x 21cm; together with SKETCH OF A HOUSE, watercolour and pencil, by the same hand, 18.5cm x 24.5cm (2) Provenance; Jessie M. King and E.A. Taylor: The Collection of Miss Merle Taylor, sold Sotheby’s, Glasgow, June 21st 1977

£300-500

409 JESSIE MARION KING (1875-1949) (ILLUS.) ‘THE BOOK OF BRIDGES’ published by Gowans & Gray, London & Glasgow, 1911, large 8vo, one of 1000 copies, 18 colour plates, original green cloth with illustrated paper label to upper cover; together with ‘BUDDING LIFE, A BOOK OF DRAWINGS BY JESSIE M. KING’, published by Gowans & Gray Ltd. London & Glasgow, 1907 (2) £250-350

410 PHOEBE ANNA TRAQUAIR (1852-1936) INTEREST DANTE - ILLUSTRATIONS AND NOTES

411 SCOTTISH SCHOOL PAIR OF ARTS & CRAFTS EMBROIDERED PANELS, CIRCA 1920 silk and metal threads with painted decoration, reserved on a satin ground (2) 73cm x 29cm

£300-500

412

Illustrations and Notes, by John Sutherland Black, published by T. & A. Constable, Illustrations by Phoebe Anna Traquair, Private Printing, Edinburgh, 1890, Hardcover, 1st Edition, full leather with panel illustration on front cover and gilt design endpapers, tissue-guarded frontispiece & diagrammatic illustrations throughout, inscribed by Phoebe Traquair to contents page TO C. M. PEARSON, A SOUVENIR OF GREAT KINDNESS FROM A GRATEFUL FRIEND 1931, with accompanying handwritten note from Traquair on note paper headed ‘The Bush, Colinton’

dial 39cm x 33cm

Note: The accompanying note, hand-written by Traquair, reads: Dear Dr. Pearson, I have found an untouched copy of the Dante Illustrations in which I have written your name. This is better than the one I gave you. You mentioned that one of your daughters liked these things, I wonder if I could show her anything would interest her, yours very sincerely, Phoebe A Traquair.

£200-300

£400-600

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

125

413

414

415

416

JESSIE MARION KING (1875-1949)

CHARLES RENNIE MACKINTOSH (1868-1928)

JESSIE MARION KING (1875-1949)

TALWIN MORRIS (1865-1911)

COLLECTION OF ILLUSTRATED SOFTBACK BOOKS, EARLY 20TH CENTURY

COLLECTION OF TWENTY-TWO GLASGOW SCHOOL BOOK BINDINGS

COLLECTION OF ILLUSTRATED HARDBACK BOOKS, EARLY 20TH CENTURY

various titles and publishers, to include A BUNDLE OF YARNS, CITY OF THE WEST, KIRKCUDBRIGHT A ROYAL BURGH, OUR FLOWERING SHRUBS AND HOW TO KNOW THEM and THE INTRUDER (qty)

various titles, pub. Blackie & Son Ltd, London and Glasgow; and EIGHT BINDINGS BY JESSIE MARION KING, various titles and publishers; THREE FURTHER BINDINGS BY ETHEL LARCOMBE, pub. Blackie & Son Ltd, London and Glasgow; together with THIRTY-SIX GLASGOW STYLE BINDINGS (qty)

various titles and publishers, to include A BOOK OF OLD SUNDIALS, CORNERS OF GREY OLD GARDENS, WHAT KATY DID, DANESBURY HOUSE and ALBUM VON BERLIN (qty)

For full details please see www.lyonandturnbull.com £300-500

For full details please see www.lyonandturnbull.com

For full details please see www.lyonandturnbull.com £300-500

LARGE COLLECTION OF GLASGOW SCHOOL ART NOUVEAU BOOK BINDINGS various titles and publishers, to include MODERN POWER GENERATIONS, Vols. 1-2, MODERN CARPENTER, JOINER AND CABINET MAKER, Vols. 1-8, THE RED LETTER SHAKESPEARE, 4 volumes; PRINCIPLES AND PRACTICE OF MODERN HOUSE CONSTRUCTION, Vols. 1-6, and BLACKIE’S SHAKESPEARE PLAYS, 8 volumes (qty) For full details please see www.lyonandturnbull.com £300-500

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

126

417 JAMES GRAY (FL. 1893-1925) FIGURE OF A GIRL

418

bronze, mid-brown patina, signed to base J. GRAY

ATTRIBUTED TO GEORGE HENRY WALTON (1867-1933)

53cm high

inlaid oak, with later upholstered seats in geometric gold and black fabric (2)

£600-800

71cm wide, 118cm high, 51cm deep

PAIR OF ARTS & CRAFTS UPHOLSTERED ARMCHAIRS, CIRCA 1900

£800-1,200

419 ATTRIBUTED TO GEORGE HENRY WALTON ARTS & CRAFTS EXTENDING DINING TABLE, CIRCA 1900 oak, opening with concertina action and including an additional leaf, hinges marked KLDW/ 5848 120cm diameter (closed), 182cm long (extended), 71cm high, 122cm deep

£600-800

420 SIR ROBERT LORIMER (1864-1929) (DESIGNER), THOMAS HADDEN (1871-1940) (MAKER) ARTS & CRAFTS COMPANION SET, CIRCA 1920 wrought steel, comprising an ASH SHOVEL; a POKER; a PAIR OF COAL NIPPERS; and a BRUSH, on a characteristic STAND (5) Stand 51cm high

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

127

421 ATTRIBUTED TO SIR ROBERT LORIMER FOR SCOTT MORTON & MORTON & CO., EDINBURGH ARTS & CRAFTS THRONE CHAIR, CIRCA 1910 oak, carved to the rear with a flowering foliate panel and surmounted with winged angels holding a crest with the Scottish saltire and lion rampant, probably carved by W. & A. Clow, the open arms with carved hound terminals 70cm wide, 140.5cm high, 60cm deep

£2,500-3,500

422 ATTRIBUTED TO SIR ROBERT LORIMER FOR SCOTT MORTON & CO., EDINBURGH ARTS & CRAFTS THRONE CHAIR, CIRCA 1910 oak, carved with a design of the burning bush, bears makers label under seat rail SCOTT MORTON AND TYNCASTLE CO. LTD, MUIRIESTON ROAD EDINBURGH 65cm wide, 118cm high, 47.5cm deep

£500-700

423 ATTRIBUTED TO SIR ROBERT LORIMER ARTS & CRAFTS REFECTORY TABLE, CIRCA 1910 oak 183cm long, 72.5cm high, 80cm deep

£400-600

424 WHYTOCK & REID, EDINBURGH DRESSING CHEST, CIRCA 1930 figured walnut, stained walnut and gilt embellishments, drawer stamped WHYTOCK & REID EDINBURGH 122cm wide, 164cm high ,60cm deep

£400-600

128

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

129

425 ÉMILE GALLÉ (1864-1904) RARE COROLLA LAMP, 1902-1903 overlaid, acid-etched and fire-polished glass, traces of original gilding to the base, bears maker’s marks to shade and base GALLÉ shade 35cm high, base 32cm high, approx. total height 64cm Literature: Charpentier, Françoise-Thérèse Le Théâtre du peuple a eu 100 ans cet été 1995, Arts Nouveaux, Bulletin de l’Association des Amis du Musée de l’Ecole de Nancy, 1996, n° 12, pages 3 - 10 where a line drawing of this lamp is illustrated (see illustration) Note: For Émile Gallé, light was a source of justice, truth, and hope. Gallé was inspired by the symbolism of the lamp at a very young age and later he discovered that light also gives other nuances to glass. The arrival of electricity multiplied the decorative possibilities. At the Exposition Universelle of 1889 he created a large ornamental glasswork lamp in the form of a mosque, ‘an immense night-light as if veiled in black silk’. At the Salon du Champde-Mars of 1892, he exhibited a ‘violet-aubergine crystal lamp’ inscribed as Twilight with flowers mingled with amethysts and described by the French poet and essayist Sully-Prudhomme at the time; “A large piece of a sumptuous, clouded bloodred purple with ruby shards. Purpurine and livid vegetation is chiselled in relief. The edges are coloured in an opaque dark red to the opening. The frame is made of an inverted corolla in a sculptured palustrine oak.”

Gallé really began his interest in electric lighting from 1899, and it is only after the Exposition Universelle of 1900 that he really began to focus his attention on it. He created numerous models in 1902 and in fact supplied examples to the house of his eldest daughter Therese on the occasion of her marriage.

He exhibited several lamps at the Marsan Pavilion at the Exposition de l’Ecole de Nancy in 1903 in Paris, which are very similar to the lamp offered here.

Electric lighting created by Gallé is characterised by a very pronounced naturalism: hazelwood sconces, iris night-lights, squash girandoles, umbel or flower cluster pendant lamps, columbine suspension lights etc. They are rare and easy to identify - they cannot be confused with the models created in the factory after his death.

The lamp presented here is inspired by the snowdrop (Galanthus nivalis). The lampshade and the feet, blown separately, are made of double- glass, the internal layer milky white and the external layer violet-aubergine. The piece is engraved with vegetable acid. Moreover, the feet are engraved in intaglio with stylised snow crystals and a vertical signature Gallé. This lamp is very rare.

There is a less rare version with a wrought iron mount that has appeared at auction several times.

The interest in these lamps, which date from 1902-03, rests in the fact that they were created by Émile Gallé himself. The majority of lamps that we more commonly find on the market were actually produced by the Etablissements Gallé, twenty years after Gallé’s death in 1904.

Lyon & Turnbull would like to thank François Le Tacon for his work in compiling this note.

£10,000-15,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

130

426 CONTINENTAL SCHOOL ART NOUVEAU MIRROR, CIRCA 1910 carved and gilded wood enclosing a mirrored plate 74.5cm x 73cm

£1,000-1,500

427 AIMÉ-JULES DALOU (1838-1902) ‘TERRASSIER’ bronze, signed in the bronze DALOU 13.8cm high

£400-600

428 CONTINENTAL SCHOOL ART NOUVEAU FLOOR LAMP, CIRCA 1900 patinated and pierced brass, repoussédecorated with irises and stylised plant forms, the shade with silk lining

429 ATTRIBUTED TO LOUIS MAJORELLE FRENCH ART NOUVEAU ÉTAGÈRE, CIRCA 1900

172cm high

£500-800

inlaid mahogany, with brass carrying handles 95cm wide, 82cm high, 57cm deep

£500-800

430 FRENCH SCHOOL, ATTRIBUTED TO CLEMENT MASSIER

431

432

ART NOUVEAU TWIN-HANDLED JARDINIÈRE, CIRCA 1910

ANDRÉ VILLIEN (ACTIVE 1905-1924)

EDMOND LACHENAL (1855-1948)

FRENCH ART NOUVEAU VASE, CIRCA 1910

ART NOUVEAU VASE, CIRCA 1900

lustre-glazed earthenware, unmarked

brass and opalescent glass, stamped maker’s marks CUIVRE FRANCAIS/ A.V. PARIS/ DEPOSE

converted to a lamp, painted signature LACHENAL, raised on a later wooden base and with later pleated shade (2)

18.5cm high

73cm high

4cm high excluding fittings; 70cm high including fittings

£300-500

£300-500

£350-450

131

433 DAUM FRÈRES, NANCY PAINTED CAMEO GLASS VASE, CIRCA 1900

434 DAUM FRÈRES, NANCY PAINTED CAMEO GLASS VASE, CIRCA 1900 decorated with fruiting foliage, signed to the body DAUM/ NANCY with Cross of Lorraine

painted with a winter scene, painted maker’s mark to base DAUM/ NANCY with Cross of Lorraine 8.2cm high

£1,000-1,500

8.6cm high

£400-600

435 CRISTALLERIE DE GALLÉ, NANCY GLASS VASE, CIRCA 1900 etched with a design of flowering plants, relief carved cameo signature GALLÉ 20cm high

£600-800

436 SCHOOL OF NANCY, MANNER OF ÉMILE GALLÉ ART NOUVEAU TWO-TIER OCCASIONAL TABLE, CIRCA 1900 carved and marquetry-inlaid specimen woods 60cm wide, 74cm high, 46cm deep

£500-800

437

438

DAUM FRÈRES, NANCY

LEGRAS

JAR & COVER, CIRCA 1920

PAIR OF VASES, CIRCA 1920

painted and frosted glass, painted maker’s mark to base DAUM/ NANCY with Cross of Lorraine

enamelled cameo glass, each signed LEGRAS (2)

13.5cm high

£250-350

15.5cm high

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

132

ALESSANDRO MAZZUCOTELLI Alessandro Mazzucotelli was born into a wealthy family of blacksmiths who founded their wealth on the need for iron during the wars of the 18th and 19th centuries. When he was eighteen the company fell on hard times and he moved to the Milan to complete his apprenticeship at Defendente Oriani. In 1891, six years later, he left the company and began to focus on his own work.

Most of his designs were for decorative features for buildings and his work took him from Italy to Germany and even to Thailand, where he provided ironwork for the buildings of the architect Annibale Rigotti in Bangkok.

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

His style was initially influenced by the Stile Liberty, which he explored during his travels through Europe with the Italian furniture maker Eugenio Quarti. He took inspiration from the ideas of artists such as Burne-Jones, William Morris and Walter Crane in England and Émile Gallé in France.

Mazzucotelli made his name at the International Exhibitions starting in Turin in 1902, Brussels in 1910, Paris 1925 and many others. He also became a regular lecturer at the crafts school of the Società Umanitaria. Examples of his work can be seen today, particularly in Milan, and include the balustrades and handrails of the Palazzo della Borsa (1907) and the street lights in the Piazza del Duomo (1927-28).

133

439

440

ALESSANDRO MAZZUCOTELLI (1865-1938)

ALESSANDRO MAZZUCOTELLI (1865-1938)

PAIR OF CEILING LIGHTS, CIRCA 1910

LARGE CEILING LIGHT, CIRCA 1910

wrought iron, each with stamped makers mark to frame MAZZUCOTELLI (2)

wrought iron, stamped maker’s mark to the frame MAZZUCOTELLI

66cm diameter, 130cm high

68cm diameter, 160cm high

Provenance: A Private European Collection of Design

Provenance: A Private European Collection of Design

£2,000-3,000

£1,000-1,500

441 ALESSANDRO MAZZUCOTELLI (1865-1938) WALL LIGHT, CIRCA 1910 wrought iron, stamped maker’s mark to backplate MAZZUCOTELLI 122cm high, 33cm deep Provenance: A Private European Collection of Design

£1,000-1,500

442 ALESSANDRO MAZZUCOTELLI (1865-1938) TABLE LAMP, CIRCA 1910 wrought iron, stamped maker’s mark to base MAZZUCOTELLI 75cm high Provenance: A Private European Collection of Design

£2,000-3,000

134

443 Y ITALIAN SCHOOL CENTREPIECE, CIRCA 1910 silver, ivory and lapis lazuli, stamped ‘800’ 30cm wide, 17cm high Provenance: A Private European Collection of Design

£400-600

444 GALILEO CHINI (1873-1956) LARGE FOOTED LUSTRE BOWL, CIRCA 1920 the exterior decorated with a band of swimming fish, the interior bowl with bands of roses, signed MUGELLO/ 2031 M 24cm high Provenance: A Private European Collection of Design

£600-900

445 Y ITALIAN SCHOOL TUREEN & COVER, CIRCA 1910 silver and ivory, stamped ‘800’ with column cyphers, cover unmarked 35cm wide, 25cm high Provenance: A Private European Collection of Design

£600-900

446

447

JAN W. EISENLOEFFEL (1876-1957)

PURMEREND, HOLLAND

AMSTERDAM SCHOOL SPIRIT KETTLE ON STAND CIRCA 1910

BALUSTER VASE, CIRCA 1900

the kettle with swing handle above stand with strapwork supports and associated burner, stamped makers mark to base

faience earthenware, painted makers marks FAIENCE DE PURMEREND HOLLANDE/ TB/ NB/ 1067

Total height with handle up 87cm; kettle height handle up 21.5cm

26.7cm high

£200-300

Provenance: The Late Dr Helen E C Cargill Thompson

£200-300

448

449

450

PETER BEHRENS (1868-1940) FOR SIMON GERZ

JOHANNA MEIER-MICHEL FOR WIENER KUNSTKERAMISCHE WERKSTÄTTE

VILLEROY & BOCH

JUGENDSTIL PITCHER, CIRCA 1900

FIGURE OF A WOMAN, CIRCA 1910

ART NOUVEAU MAJOLICA TWIN-HANDLED VASE, CIRCA 1904

salt-glazed stoneware, impressed makers mark 1146

glazed porcelain, impressed maker’s marks, 1372/ 953/ 3/ AUSTRIA

glazed earthenware, printed and impressed maker’s marks 2733/ 03

32.5cm high

26.5cm high

40m high

£200-300

£200-300

Provenance: The Late Dr Helen E C Cargill Thompson

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

135

451 J. & L. LOBMEYR, VIENNA, AFTER JOSEF HOFFMANN PAIR OF WALL LIGHTS, CIRCA 1982 plated metal, copper and cut glass, stamped maker’s marks J & L LOBMEYR/ MADE IN AUSTRIA (2) 25.5cm wide, 28cm high, 15cm deep Note: These scarce lights were commissioned from and designed by Lobmeyrs based on a chandelier by Josef Hoffmann designed for the 1914 Werkbund Exhibition in Cologne.

£1,000-1,500

452 § ANNEMARIE VON MATT (BORN GUNZ) (1905-1967) EMBROIDERED PANEL, DATED 1930 coloured wools on a woollen ground with covered board backing, embroidered signature and date ANNEMARIE GUNZ/ 1930 107cm x 56cm Note: Annemarie von Matt (née Gunz) was a Swiss painter, graphic artist and writer.

In her early years, she mainly designed textile works, as in this example. She became part of a circle of artists in Lucerne in the 1920s and was a member of the Werkbund SWB and the Swiss Society of Women Painters, Sculptors and Decorators. In 1931, she received the Swiss Federal Applied Arts Grant and in 1935 she married the artist Hans von Matt (1899-1985) and moved to live with him in Stans.

£500-800

453 MANNER OF J. & L. LOBMEYR MORESQUE VASE, LATE 19TH CENTURY opalescent glass with enamelled and gilded embellishments, the rim with an applied pulled band 21.5cm high

£300-500

454 LOETZ, AUSTRIA VASE, CIRCA 1900

455

456

DAGOBERT PECHE (18871923) FOR LOETZ

LOETZ, AUSTRIA

COUPE, CIRCA 1918 painted and cased glass

green/blue iridescent glass, the tapering body with broad frilled rim

13cm diameter, 11.5cm high

21cm high

£200-300

£200-300

VASE, CIRCA 1900

iridescent glass, the twisted body with triangular rim 18.5cm high

£400-600

136

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

137

457 AUSTRIAN SCHOOL SECESSIONIST TABLE RUNNER, CIRCA 1910 coloured threads on an unbleached linen ground, with tassel fringe

458 Y

154cm long (excluding tassels), 42.5cm wide

SECESSIONIST CHESS SET AND BOARD, CIRCA 1920

£200-300

UNKNOWN MAKER silver-plated metal, ivory, hardwood, comprising 32 boxed playing pieces and board, stamped marks to board (33) board, 49.8cm square, king 8cm high, pawn 4cm high

£3,000-5,000

459 ATTRIBUTED TO JOSEF HOFFMANN (1870- 1956) FOR J. & J. KOHN CHAIR, DESIGNED CIRCA 1908 stained and bent beechwood, bears branded makers mark J&J KOHN under seat rail 57.5cm wide, 90cm high, 56cm deep Provenance: A Private European Collection of Design

£1,000-1,500

460 JOSEF HOFFMANN (1870- 1956) FOR J. & J. KOHN PAIR OF SECESSIONIST ‘FLEDERMAUS’ DRAWING ROOM CHAIRS, CIRCA 1905 stained and bent beechwood, with original upholstered seats with later Backhausen covers to a Hoffmann design (2) 44cm wide, 76cm high, 35cm deep

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

138

461 MARC AURÈLE DE FOY SUZOR-CÔTÉ (1869–1937) L’ESSOUCHEUR bronze, signed and inscribed in the cast M. A. SUZOR-COTE’/ L’ESSOUCHEUR 53.3cm wide, 40.6cm high

£8,000-12,000

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

139

After studying at the prestigious École des Beaux Arts

In L’Essoucher, or ‘The Washer’, idealised Classical subjects

in Paris, Suzor-Côté returned to his native Canada and

have been abandoned as he sought to produce character

sought to capture the mesmerising mountainscapes of his

studies of rural settlers to depict the essence of country life

homeland. Here, he quickly gained critical acclaim as an

in Canada. Here, one is immediately drawn to the figure’s

artist; breaking away from the rigid academic tradition of

body language: his back growing tired and beginning to

studio painting, in favour of Canada’s iconic and breath-

hunch over; his hands, larger than life, desperately grip onto

taking scenery. Heavily influenced by French Impressionism,

his tools as he appears visibly exhausted by the hard manual

his works demonstrate a fascination with colour theory and

labour he must undertake. Equally, there is a clear attempt

the play of light on snowy mountain tops and icy lakes.

to depart from the smooth and balanced surfaces of the

In 1907, Suzor-Côté began to develop his talents in sculpting, and by 1919 he had excelled in the medium. His works in bronze are quite rare, as he is thought to have only produced around fifty in his career. As with his painterly approach, the influence of Impressionism remained dominant throughout his experimentation with sculpture.

academic sculptures of his contemporaries, which strive for perfection and beauty. In the present example, SuzorCôté has sculpted a richly textured surface which is both evocative and captivating. The eye is swiftly carried across every fold and crevasse to help inject a movement and again draw our attention to the physicality of the labourer’s task at hand. L’Essoucher typifies Suzor-Côté’s move away from idealism, towards more authentic subjects which celebrate the individual and, above all, capture the essence of rural Canadian life which he loved and cherished.

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

462 CONTINENTAL SCHOOL PAIR OF ART NOUVEAU EMBROIDERED CURTAINS, CIRCA 1890 russet velvet panels with applied embroidery, lined and with fringed edges (2) each 219cm x 122cm

£600-800

463 Y ERHARD & SÖHNE ART NOUVEAU JEWELLERY CASKET, CIRCA 1900 brass-inlaid rosewood, the interior with velvet lining, with original key 28cm wide including handles Provenance: The Late Dr Helen E C Cargill Thompson

£300-500

464 Y AMSTERDAM SCHOOL MANTEL CLOCK, CIRCA 1920

465 CONTINENTAL SCHOOL ART NOUVEAU TABLE LAMP, CIRCA 1910

burr and specimen woods, with mother-of-pearl inlaid decoration 32cm wide, 36.5cm high, 17cm deep

£400-600

bronze and patinated spelter, with a glazed pottery base mounted base 76cm high

£250-350

466 §

467

468

JEAN- PAUL LE VERRIER (1922-1996)

GOLDSCHEIDER, AUSTRIA

J. STAEHLE

LE CAF’ CONC’: DESIGN FOR A POSTER

WALL MASK

pencil and bodycolour, signed and dated 1945, unframed

ARTS & CRAFTS WHITE METAL COVERED CUP, CIRCA 1900

52 cm x 35.5cm

painted and glazed terracotta, printed and incised maker’s marks GOLDSCHEIDER/ WIEN/ 7813/ 23/ 74

£200-300

33cm long

33.5cm high

£200-300

£200-300

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

repoussé and chased decoration, planished finish, stamped maker’s marks J. STAEHLE/800

141

469 CONTINENTAL SET OF FOUR PENDANT LIGHTS, 20TH CENTURY dipped and cut glass, chromium plated metal (4) 16cm high, 9cm diameter, approx. height with chain 70cm

£800-1,200

470 MANNER OF ERIK TIDSTRAND PAIR OF ART DECO WALL APPLIQUÉS, CIRCA 1930

471

plated metal and mirrored glass (2)

GERMAN

46cm high, 13cm wide

TANTALUS, CIRCA 1920

£600-800

plated metal and cut glass, stamped to frame GESETZL GESCHÜTZT, with key (4) 33cm wide, 39cm high

£400-600

472

473

CONTINENTAL SCHOOL

HANS CHRISTIANSEN (1866-1945) FOR THERESIENTHAL

TWO SETS OF SECESSIONIST DRINKING GLASSES, CIRCA 1910

GROUP OF JUGENDSTIL ‘LIANE’ WINE GLASSES, CIRCA 1902

comprising a SET OF SIX WINE GLASSES, clear glass with stylised cut decoration, 18.2cm high; together with a SET OF SIX TUMBLERS, clear glass with stylised cut decoration, 10.6cm high (12)

clear glass with green trailed decoration, three 19.8cm high, one 20.5cm high; together with FOUR THERESIENTHAL WINE GLASSES, clear and green glass, with gilt rims, 23.5cm high (8)

£300-500

£300-500

142

474 TIFFANY STUDIOS., NEW YORK TWO ART NOUVEAU CANDLESTICKS, CIRCA 1900 patinated bronze, one with blown green glass, example with blown glass stamped TIFFANY STUDIOS 1222, the other unmarked (2) 24.2cm high and smaller Literature: Duncan, Alastair, Tiffany: Lamps & Metalware, ACC 2007, p.377 pl.1543 where the base of these candlesticks is illustrated

£800-1,200

475 TIFFANY STUDIOS, NEW YORK TABLE LAMP, CIRCA 1920 patinated bronze, stamped maker’s marks to base TIFFANY STUDIOS/ NEW YORK/ 424 44.5cm high Literature: Duncan, Alastair Tiffany Lamps and Metalware, ACC 2007, p.88, pl. 351

£700-900

476 DOMINICK & HAFF, NEW YORK ART NOUVEAU DRESSING TABLE MIRROR, CIRCA 1905 sterling silver, embossed with a poppies design with velvet-covered backboard and strut, stamped marks STERLING/ 262 49cm high, 33cm wide

£400-600

477 REED & BARTON, MASSACHUSETTS ART DECO COCKTAIL SHAKER, CIRCA 1930 chromium-plated metal, In the form of an oil/ watering can, stamped to the underside REED & BARTON 25/640Z 26.5cm high

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

143

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

144

478 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. ‘FLORIAN WARE’ BALUSTER VASE, CIRCA 1899 glazed earthenware, signed W. MOORCROFT/ DES., printed maker’s mark 23.5cm high

£300-500

479 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘LATE FLORIAN’ FOOTED BOWL, CIRCA 1920 glazed earthenware, painted signature W. MOORCROFT, impressed maker’s marks MOORCROFT/ BURSLEM/ ENGLAND/ M80 22.5cm diameter

£300-500

480 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘CORNFLOWER’ PATTERN VASE, CIRCA 1930 glazed earthenware, with powder blue ground, signed W. MOORCROFT, impressed maker’s mark MOORCROFT/ MADE IN ENGLAND 17cm high

£300-500

481 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. RARE ‘HAREBELL’ PATTERN TWINHANDLED JARDINIÈRE, CIRCA 1900 glazed earthenware, signed W. MOORCROFT, printed maker’s and retailer’s marks STONIER & CO./ 78 LORD ST/ LIVERPOOL 10.5cm high

£500-800

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

145

482 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. ‘PANSIES’ PATTERN VASE, CIRCA 1910 glazed earthenware, signed W. MOORCROFT, printed maker’s mark 20cm high

£400-600

483 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. ‘FLORIAN WARE’ VASE, CIRCA 1900 glazed earthenware, decorated with tulips, signed W. MOORCROFT/ DES., printed maker’s mark 33.5cm high

£1,000-1,500

484 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. RARE ‘HAREBELL’ PATTERN VASE, CIRCA 1900 glazed earthenware, signed W. MOORCROFT, printed maker’s marks 12.5cm high

£500-800

485 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. ‘FLORIAN WARE’ JARDINIÈRE, CIRCA 1899 glazed earthenware, painted marks W.M. DES., printed maker’s marks 21cm high

£300-500

486 WILLIAM MOORCROFT (18721945) FOR J. MACINTYRE & CO. ‘PANSIES’ PATTERN VASE, CIRCA 1910 glazed earthenware, signed W. MOORCROFT, printed maker’s and retailer’s marks MADE FOR W. COUPE, ST. ANNES-ON-THE-SEA 10cm high

£200-300

146

487 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. LARGE ‘FLORIAN WARE’ JARDINIÈRE, CIRCA 1900 decorated with peacock feathers, signed with initials W.M./ DES., printed maker’s marks 26cm diameter, 18cm high

£500-800

488

489

RACHEL BISHOP FOR MOORCROFT POTTERY

SALLY TUFFIN (BORN 1930) FOR DENNIS CHINAWORKS

‘VERLEY’ PATTERN VASE, DATED 1997

‘KLIMT KISS’ VASE, DATED 2007

glazed earthenware, painted and stamped maker’s marks

glazed earthenware, painted and impressed maker’s marks, numbered 36 from an edition of 40, 25cm high; together with a HEAD VASE & COVER, by SALLY TUFFIN FOR DENNIS CHINAWORKS, dated 2008, painted and impressed maker’s marks, numbered 2 from an edition of 10, 20cm high (2)

26.5cm high

£250-350

£300-500

490

491

SALLY TUFFIN (BORN 1938) FOR DENNIS CHINAWORKS

SALLY TUFFIN (BORN 1938) FOR DENNIS CHINAWORKS

EXTRA LARGE CANDLESTICK, DATED 2009

‘GREEN OAK OWL’ ETRUSCAN VASE ON BASE, 20TH CENTURY

glazed earthenware, bearing impressed inscription THEN WILL YOU SOMETIMES DREAM OF ME; HERE IS THE FLOWER OF DREAMS FOR THEE, painted and impressed maker’s marks, numbered 4 from an edition of 15 39cm high

glazed earthenware, painted and impressed maker’s marks, numbered 8 from an edition of 20, 23.5cm high; together with a ‘HARE MOONLIT’ VASE by SALLY TUFFIN FOR DENNIS CHINAWORKS, glazed earthenware, painted and impressed maker’s marks, no. 24, dated 2005, 20cm high (2)

£300-400

£400-600

492 NO LOT Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

147

493 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY LARGE ‘SPANISH’ PATTERN VASE, CIRCA 1915 glazed earthenware, signed W. MOORCROFT, impressed maker’s marks MOORCROFT/ BURSLEM 17.3cm high

£700-1,000

494 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY LARGE ‘EVENTIDE’ LANDSCAPE FOOTED BOWL, CIRCA 1925 glazed earthenware, signed W. MOORCROFT, impressed maker’s marks MOORCROFT/ MADE IN ENGLAND 29.3cm diameter, 17cm high

£400-600

495 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘POMEGRANATE’ PATTERN, THREE PIECE COFFEE SET, glazed earthenware, comprising a COFFEE POT & COVER, 27cm high, a MILK JUG, 6cm high; and SUGAR BOWL, 14cm across, 7.6cm high, each signed W. MOORCROFT, impressed maker’s marks MOORCROFT/ BURSLEM (3) £800-1,200

148

496

497

498

ENGLISH

ENGLISH

ENGLISH

“MASTER INCOLOR” ART DECO COCKTAIL SHAKER, CIRCA 1930

“MASTER INCOLOR” ART DECO COCKTAIL SHAKER, CIRCA 1930

“MASTER INCOLOR” ART DECO COCKTAIL SHAKER, CIRCA 1930

green Bakelite and chrome-plated metal, the collar with a swivel panel with eight different classic cocktail recipes, bears maker’s marks to base THE MASTER INCOLOR COCKTAIL SHAKER / MADE IN ENGLAND / PATENT PENDING

black Bakelite and chrome-plated metal, the collar with a swivel panel with eight different classic cocktail recipes, bears maker’s marks to base THE MASTER INCOLOR COCKTAIL SHAKER / MADE IN ENGLAND / PATENT PENDING

orange Bakelite and chrome-plated metal, the collar with a swivel panel with eight different classic cocktail recipes, bears maker’s marks to base THE MASTER INCOLOR COCKTAIL SHAKER / MADE IN ENGLAND / PATENT PENDING

28cm high

28cm high

28cm high

£800-1,200

£800-1,200

£800-1,200

149

499 AUTOMOBILIA INTEREST NOVELTY “WHEN TYRED, SCOTCH” CUT GLASS WHISKY DECANTER, CIRCA 1920 etched and cut glass, with silver coloured metal ‘wheel’ stopper, etched inscription WHEN TYRED, SCOTCH” 25.5cm high

£1,000-1,500

500 AUTOMOBILIA INTEREST ‘BENTLEY’ NOVELTY SPIRIT DECANTER, CIRCA 1965 chromium-plated metal, glass, stamped makers marks RUDDSPEED LTD (ENGLAND) REG. DESIGN, boxed, inscribed to the box CLASSIC RADIATOR SERIES “BENTLEY” DECANTER decanter 19.5cm high

£500-800

501 AUTOMOBILIA INTEREST ROLLS ROYCE NOVELTY SPIRIT DECANTER, CIRCA 1965 chromium-plated metal, glass, stamped makers marks RUDDSPEED LTD (ENGLAND) REG. DESIGN, boxed decanter, 20cm high

£500-800

502 ENGLISH SCHOOL ART DECO COCKTAIL SET, CIRCA 1930 electroplated metal, walnut and frosted glass, comprising a cocktail shaker, 20cm high; bottle opener, corkscrew, measure; funnel; mixing spoon; six glasses, 10.5cm high; serving tray, and stand, 44cm wide; together with a copy of THE COCKTAIL KEY, by Herbert Jenkins Ltd £300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

150

503 § STEPHEN TENNANT (1906-1987) DESIGN FOR ‘LASCAR: A STORY OF THE MARITIME BOULEVARD’ pen and ink on paper, later mounted and framed 53cm x 36.5cm

£1,000-1,500

503A ENGLISH SCHOOL ART DECO FLOOR LAMP, CIRCA 1930 chromium-plated steel, wood base 150cm high

£200-300

504 PHYLLIS BARRON (1890-1964) FOR TURNBULL & STOCKDALE LTD - ROSEBANK FABRICS THREE HAND-BLOCKED PANELS, CIRCA 1935 printed linen, stripe and scroll design, in the yellow colourway (3) 115cm x 61cm; 102cm x 75cm; 113cm x 80.5cm

£300-500

Note: Phyllis Barron, who had trained at the Slade, first became interested in printing fabrics on the discovery of some printing blocks whilst on holiday in France. She researched dying at the British Museum and the V&A libraries. As a member of the London Group from 1916 until 1921 she would have been in contact with the leading artists of the day, and very quickly she came to the attention of Roger Fry who asked her to exhibit at the Omega Workshop. Dorothy Larcher meanwhile had been working in India and on her return met Barron through the embroideress Eve Simmonds. She joined Barron in 1923 and together they moved to a workshop in Hampstead. Through Detmar Blow they secured a commission to furnish the comingout dance of the Duke of Westminster, and another commission through the Duke led to a commission for cushions for Coco Chanel’s garden in Paris. They moved to the Cotswolds in 1930 where the local water was particularly suitable for madder dying. From there they secured commissions from Girton College Cambridge, the furniture maker Eric Sharpe and many others. The impossibility of obtaining good quality fabrics during the Second World War forced them to give up their business.

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

151

505 CHARLES NOKE (1858-1941) AND HARRY NIXON (1886-1955) FOR ROYAL DOULTON LARGE ‘CHANG’ SHOULDERED VASE & COVER, CIRCA 1925 glazed earthenware, covered in a volcanic running glaze with splashes of greens, reds, yellows and turquoise over a flambé ground, signed NOKE/HN, painted inscription CHANG, printed maker’s marks 21.5cm high

£1,000-1,500

506 Y AMBROSE HEAL (1872-1959) FOR HEAL & SON, LONDON ARTS & CRAFTS ARMCHAIR, CIRCA 1930 black walnut inlaid with mother of pearl 62.5cm wide, 99.5cm high, 45.5cm deep

£2,000-3,000

507 HEAL & SON, LONDON TALL BOY, CIRCA 1930 oak, enclosing a single shelf above three drawers, bears makers label to top drawer HEAL AND SON LTD LONDON W 79cm wide, 129cm high, 47cm deep

£400-600

152

508 ENGLISH SCHOOL PAIR OF MODERNIST WALL APPLIQUÉS, CIRCA 1930 chromium-plated metal and frosted glass (2) 37cm high, 17cm deep

£400-600

509 ENGLISH SCHOOL ART DECO TABLE LAMP, CIRCA 1930 cast and patinated spelter with glass shade and turned marble plinth 69.5cm high

£800-1,200

510 JOHN MONCRIEFF LTD., PERTH ‘MONART’ TABLE LAMP AND SHADE, CIRCA 1930 mottled pink and blue glass with aventurine inclusions, bears paper maker’s label inscribed VII.P/23.455 35cm high Provenance: The Late Dr Helen E C Cargill Thompson

£500-700

511

512

513

514

ATTRIBUTED TO WILLIAM CHASE FOR ROWLEY GALLERY, LONDON

SCOTTISH SCHOOL

CLARICE CLIFF (1899-1972)

FIGURE OF EVE, CIRCA 1938

COLLECTION OF WARES, CIRCA 1930

LESLIE HARRADINE (1887– 1965) FOR ROYAL DOULTON

FRAMED MARQUETRY PANEL, CIRCA 1920

patinated plaster, raised on a wooden plinth

specimen woods, original maker’s label verso

37cm high

£250-350

75cm x 49.5cm

£250-350

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

glazed earthenware, to include a ‘FOREST GLEN’ PATTERN PLATE, 25cm diameter; a ‘FOREST GLEN’ PATTERN HONEYPOT & COVER, 11cm high (cover matched); a ‘MOONLIGHT’ PATTERN BONJOUR PRESERVE POT & COVER, 10cm high (cover matched); together with a NURSERY MUG, with pixie handle, 9.5cm high, each with printed maker’s marks (4)

‘BUTTERFLY’ FIGURE, ISSUED 1925-1940

£300-500

£300-500

painted porcelain, printed and painted maker’s marks BUTTERFLY/ POTTED BY DOULTON & CO./ B.C./ HN.720 16.3cm high Provenance: The Late Dr Helen E C Cargill Thompson

153

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

154

515 ETIENNE DAVID, FRANCE ART DECO PENDANT NECKLACE, CIRCA 1925 white metal and green enamel, stamped maker’s monogram ED pendant 5cm long; chain 27cm long

£2,000-3,000

516 ATTRIBUTED TO MAISON BAGUÈS PAIR OF URNS/ CANDELABRA ON STANDS, CIRCA 1935 cut glass and coloured beads on a wire frame, the urn covers each turning to reveal three candle nozzles (2) 34cm high

£1,200-1,800

517 PIERREFONDS, FRANCE LARGE CRYSTALLINE VASE, CIRCA 1900 glazed earthenware, impressed maker’s mark PIERREFONDS/ 395, painted mark P 40.5cm high

£300-500

518 ATTRIBUTED TO MAURICE DUFRÊNE AT THE MAÎTRISE WORKSHOP, GALERIES LAFAYETTE, PARIS NEST OF THREE ART DECO OCCASIONAL TABLES, CIRCA 1920 walnut with marquetry-inlaid decoration (3) 60cmwide, 66.5cm high, 37.5cm deep; 52cm wide, 64cm high, 37.5cm deep; and 46cm wide 62cm high, 37.5cm deep Note: The Galeries Lafayette launched the Maîtrise workshop under Dufrêne’s direction in 1921. This workshop followed the Primavera of the Printemps store founded in 1912 by René Guilleré and competed with Paul Follot’s Pomone at Le Bon Marché, and the Studium of the Grands Magasins du Louvre.

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

155

519 ATTRIBUTED TO HENRI PETITOT ART DECO FLOOR LAMP, CIRCA 1930 stained walnut, copper with etched glass 179cm high (including shade), shade 46cm wide

£600-800

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

£2,000-3,000

521 § JEAN PERZEL (1892- 1986) WALL APPLIQUÉ, DESIGNED CIRCA 1925 metal and textured glass 34.5cm wide, 53cm high, 17.5cm deep Provenance: A Private European Collection of Design

£600-900

522 ATTRIBUTED TO MAISON BAGUÈS TABLE LAMP, CIRCA 1950 gilt metal, simulated bamboo supports the stand 40.5cm high (16in high)

£300-500

156

523 LA MAISON DESNY, PARIS ART DECO BOX, CIRCA 1930 silver-plated metal, coromandel wood, stamped maker’s marks DESNY PARIS/ MADE IN FRANCE/ DÉPOSÉ 20.5cm wide, 4.5cm high, 12.5cm deep

£500-800

524 CHRISTOFLE, PARIS CENTREPIECE, CIRCA 1930 electroplated metal with wooden sphere within the stem, stamped maker’s marks 35cm wide, 10cm high Provenance: A Private European Collection of Design

£300-500

525 DAUM FRÈRES, NANCY, MANNER OF EDGAR BRANDT ART NOUVEAU TABLE LAMP, CIRCA 1925 cast iron, with mottled red glass shades, the shades with etched maker’s mark and Cross of Lorraine 43.5cm high

£600-800

526 INDIAN ART DECO TEA SERVICE, CIRCA 1930 of architectonic form, comprising TEAPOT, CREAM JUG, AND SUGAR BOWL, each engraved with a vacant cartouche, the teapot with green Lucite handles and finials, inscribed under teapot WITH BEST WISHES FROM M. LANDER (3) teapot 12cm high

£1,200-1,800

157

527 GEORG JENSEN (1866-1935) NECKLACE, CIRCA 1915-1930 sterling silver, stamped maker’s marks GJ/ 830/ 35 42cm long

£800-1,200

528 GEORG JENSEN (1866-1935) BROOCH, DESIGNED 1905, MARKS FOR 1933-44 sterling silver, set with five amber stones and chrysoprase cabochons, stamped maker’s marks GJ/ STERLING COPENHAGEN/ GJ/ 925S/ 96 9.5cm long, 6cm across

£3,000-5,000

529 GEORG JENSEN (1866-1935) NECKLACE, CIRCA 1933-1944

530 GEORG JENSEN (1866-1935) BROOCH PENDANT, CIRCA 1909-1914

sterling silver, set with amethyst cabochons, stamped maker’s marks GJ/ STERLING/ DENMARK/ 925/ 3 46cm long

£1,000-1,500

sterling silver, set with lapis lazuli cabochons, stamped maker’s marks GEORG JENSEN/ 830/ 2 8.5cm tall

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

158

531 GEORG JENSEN (1866-1935) BROOCH, CIRCA 1910-1925 sterling silver and labradorite, stamped maker’s marks GEORG JENSEN/ IMPORTE DE DANEMARK/ GJ/ GJ 830 S/ 146 5cm across

£500-800

532 GEORG JENSEN (1866-1935) ‘BLOSSOM’ PATTERN DISH, CIRCA 1930 sterling silver, stamped maker’s mark GEORG JENSEN/ DENMARK/ SILVER/ 2A 20cm across

£400-600

533 HENNING KOPPEL (1918-1981) FOR GEORG JENSEN AMORPHIC BROOCH, DESIGNED 1956 sterling silver and black enamel, stamped marks GEORG JENSEN/ STERLING DENMARK/ HK/ 323 7cm across

£200-300

534 GEORG JENSEN (1866-1935) ‘BLOSSOM’ PATTERN DISH, CIRCA 1930 sterling silver, stamped maker’s mark GEORG JENSEN/ DENMARK/ STERLING/ 925S/ 2A/ S10/ 30cm across

£500-800

535

536

ARNO MALINOWSKI (1899-1976) FOR GEORG JENSEN

GEORG JENSEN (1866-1935)

BROOCH, CIRCA 1915-1927

PAIR OF BOWLS, CIRCA 1930

sterling silver, stamped maker’s marks GJ/ GEORG JENSEN/ STERLING DENMARK/ 134/ 925, 2.8cm diameter; together with a GEORG JENSEN STERLING SILVER ‘TULIP’ BROOCH, POST 1945, sterling silver, set with a moonstone, stamped maker’s marks GEORG JENSEN, STERLING DENMARK/ 100A, 3.5cm across; a further STERLING SILVER ‘TULIP’ BROOCH, sterling silver, of similar design, stamped maker’s marks GJ/ 925/ STERLING DENMARK/ 100 B, 4.3cm across; and a GEORG JENSEN BROOCH, sterling silver, pattern 159, set with three silver balls, stamped maker’s marks GEORG JENSEN/ 925/ STERLING DENMARK/ GJ/ 459, 4.5cm diameter (4)

silver, pattern number 180, stamped maker’s marks, 4cm high; together with a MATCHING PAIR OF SALT AND PEPPER POTS, of similar design, stamped maker’s marks, 9cm high; and a PAIR OF CANDLESTICKS, silver, designed

by Jorgen Jensen, Georg Jensen and Wendel, A/S, each engraved JULEN 1941, both with maker’s marks 925S / STERLING / DENMARK, each 4.8cm high (6)

£200-300

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

£250-350

159

537 HARALD NIELSEN (1892 - 1977) FOR GEORG JENSEN PENDANT NECKLACE, CIRCA 1940 silver-inlaid iron pendant, with fine link chain, stamped maker’s marks HN/ GEORG JENSEN/ 5014, 4cm diameter, total length 34cm; together with a GUNDORPH ALBERTUS BAR BROOCH, iron with applied white metal, pattern number 5018, stamped marks AG/ GEORG JENSEN/ 5018, 6.5cm long (2) £200-300

538 ARNO MALINOWSKI (DANISH 1899-1976) FOR GEORG JENSEN BROOCH, POST 1945 sterling silver and enamel, stamped marks GEORGE JENSEN/ 925S/ STERLING SILVER/ 284 3.5cm across Provenance: Jeremy Sniders, Glasgow

£250-350

539 GEORG JENSEN (1866-1935) ‘EAGLE’ BROOCH, MARKS FOR 1933-44 sterling silver, stamped maker’s marks GJ/ STERLING DENMARK/ 925/ 166, 5.8cm across; together with a further GEORG JENSEN BROOCH, sterling silver, pattern number 213, stamped maker’s marks GEORG JENSEN/ 213/ 830, 3cm across (2) £200-300

540 ARNO MALINOWSKI (1899-1976) FOR GEORG JENSEN BELT BUCKLE, MARKS FOR 1933-1944 sterling silver, stamped maker’s marks GJ (twice)/ STERLING DENMARK/ 925/ 68 4.8cm across

£150-250

541

542

543

ARNO MALINOWSKI (1899-1976) FOR GEORG JENSEN

ARNO MALINOWSKI (1899-1976) FOR GEORG JENSEN

GEORG JENSEN (1866-1935)

BROOCH, CIRCA 1935

BROOCH, POST 1945

sterling silver, stamped maker’s marks GEORG JENSEN/ STERLING / 256, with London import hallmarks, 4.5cm across; together with an ARNO MALINOWSKI BROOCH, sterling silver, stamped maker’s marks, GEORG JENSEN/ GJ/ 925/ STERLING DENMARK/ 239, 4cm long (2)

sterling silver, stamped maker’s marks, GEORG JENSEN/ STERLING DENMARK/ 320, 4cm across; together with a GEORG JENSEN BROOCH, sterling silver, pattern 242B, marks for 1933-44, stamped maker’s marks 925/ STERLING/ GJ/ DENMARK. 242B, 3cm across; and a PAIR OF GUNDORPH ALBERTUS EARRINGS, sterling silver, pattern number 110, impressed maker’s marks GEORG JENSEN/ STERLING DENMARK/ 110, 1.5cm long (4)

sterling silver and amethyst, stamped maker’s marks GJ/ 830/ DENMARK/ 830/ 59; together with a further GEORG JENSEN RING, sterling silver, set with a moonstone; and a GEORG JENSEN TIE PIN, sterling silver and moonstone, pattern number 13, stamped maker’s marks GJ/ 830/ S/ GEORG JENSEN/ 13, 6.5cm long (3)

£200-300

£200-300

RING, MARKS FOR 1933-44

£200-300

161

544 AFTER MIES VAN DER ROHE FOR KNOLL ASSOCIATES PAIR OF ‘BARCELONA’ CHAIRS, CIRCA 1929, MODERN leather upholstery with chromed steel frame, woven maker’s mark on the cushion (2) 74cm wide, 77.5cm high, 80cm deep

£1,000-1,500

545 LE CORBUSIER, PIERRE JEANNERET & CHARLOTTE PERRIAND LC4 LOUNGER, DESIGNED 1929, MODERN chromium-plated steel frame, leather upholstery, made by Cassina, Italy 162cm long, 65cm high, 58cm deep

£500-800

546 LE CORBUSIER (1887-1965) TWO LC2 SOFAS, DESIGNED 1928, MODERN chromium-plated tubular frame and later sky-blue leather upholstery, comprising a TWO-SEATER, 142cm wide, 69cm high, 80cm deep; and a THREE-SEATER, 194cm wide, 71cm high, 80cm deep (2) £1,000-1,500

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

162

547 Y ARNE JACOBSEN (1902-1971) FOR FRITZ HANSEN, DENMARK 3501 COFFEE TABLE, CIRCA 1960 rosewood with polished steel frame, bears maker’s label 150cm wide, 48cm high, 64cm deep Note: The 3501 model was believed to have been produced

by Fritz Hansen for only 5-7 years from around 1956-1963.

Sold in compliance with CITES regulations, with (nontransferable) Transaction Specific Certificate no.

594577/01.

£400-600

548 ARNE JACOBSEN (1902-1971) & PIET HEIN (1905-1996) FOR FRITZ HANSEN SERIES 7 DINING TABLE, DESIGNED CIRCA 1960, MANUFACTURED EARLY 1980S aluminium, laminate, bears maker’s label, 120cm diameter; 73cm high; together with a SET OF SIX SERIES 7 CHAIRS, designed

by ARNE JACOBSEN FOR FRITZ HANSEN, patinated ply, chromed steel frame, bears makers’ mark (7) £400-600

549 ARNE JACOBSEN (1902-1971) & PIET HEIN (1905-1996) FOR FRITZ HANSEN SERIES 7 DINING TABLE, DESIGNED CIRCA 1960, MANUFACTURED EARLY 1980S aluminium, laminate, bears maker’s label, 120cm diameter; 73cm high; together with a SET OF SIX SERIES 7 CHAIRS, designed by ARNE JACOBSEN FOR FRITZ HANSEN, patinated ply, chromed steel frame, bears makers’ mark (7) £400-600

550 DANISH DESIGN SOFA AND MATCHING ARMCHAIR, CIRCA 1970 teak frame, black leather upholstery, sofa 195cm long, 70cm high, 49cm deep; armchair, 83.5cm wide, 71cm high, 47cm deep (2) £500-700 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

163

551 AFTER MIES VAN DER ROHE FOR KNOLL ASSOCIATES PAIR OF ‘BARCELONA’ CHAIRS, DESIGN CIRCA 1929, MODERN leather upholstery with chromed steel frame, woven maker’s mark on the cushion (2) 74cm wide, 77.5cm high, 80cm deep

£1,000-1,500

552 ITALIAN SCHOOL TILE PANEL, MID-20TH CENTURY chromed metal surround, inset with a painted tile, depicting an archer and two hounds, indistinct maker’s mark verso **OU**T**/ ITALY Tile 14.5cm square; the whole 29.5cm wide, 5cm high, 21cm deep Provenance: A Private European Collection of Design

£300-500

553 AFTER MIES VAN DER ROHE PAIR OF ‘BARCELONA’ COUCHES, DESIGNED 1930, MODERN leather upholstery, stained wood and chromed steel (2) 180cm long, 39cm high, 50cm deep

£800-1,200

164

554 § RONALD CRUICKSHANK (1898–1969) AT THE GOLDEN TARGE STUDIOS, EDINBURGH UNTITLED (BLUE ANGELS), 1950S wool wall-hanging/tapestry 155cm x 78.7cm

£800-1,200

555 § RONALD CRUICKSHANK (1898–1969) AT THE GOLDEN TARGE STUDIOS, EDINBURGH UNTITLED (SMALL BLUE), 1950S wool wall-hanging/tapestry 48.2cm x 61cm

£400-600

165

556 ATTRIBUTED TO PICART LE DOUX ‘PAYSAGE AVEC TOURNESOLS ET POISSONS’ (‘COUNTRYSIDE WITH SUNFLOWERS AND FISH’), FRANCE, CIRCA 1970 embroidered needlework, framed & mounted overall size 137cm x 71cm

£400-600

557 § RONALD CRUICKSHANK (1898–1969) AT THE GOLDEN TARGE STUDIOS, EDINBURGH UNTITLED (YELLOW & RED), 1950S wool wall-hanging/tapestry 177.8cm x 73.6cm

£700-1,000

558 OSVALDO BORSANI (ITALIAN 1911-1985) FOR STUDIO VAREDO FOR ARREDMENTO BORSANI SIDE CABINET, CIRCA 1940-45 mahogany, parchment with maple interior and marble 141cm high, 299cm wide, 44cm deep Provenance: From a villa in Genoa, Italy.

£8,000-12,000

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

166

559 § MARCELLE QUINTON (1930–2017) HEAD OF A WOMAN bronze, raised on a slate plinth base, signed inside on the mount QUINTON bronze 24cm high, overall height 34.5cm high Note: Lady Marcelle Quinton was a British artist whose work has been exhibited in Europe and America. Her sculptures are mainly in bronze and include the bust of Bertrand Russell which is on his monument in Red Lion Square, London. Other works for which she is known include the busts of Cardinal Newman in the Brompton Oratory, Harold MacMillan in the Houses of Parliament, and Lord Carrington at the Victoria and Albert Museum.

£600-800

560 PLATEEL NOORD-HOLLAND VELSEN, NETHERLANDS PAIR OF BOOKENDS, CIRCA 1935 glazed earthenware, model number 535, painted factory marks, 16.5.cm high (2) £500-800

561

562 §

20TH CENTURY BRITISH SCHOOL

TIM STEAD (1952-2000)

HEAD OF A WOMAN

TWO SCULPTURES

patinated bronze, raised on an ebonised base, indistinctly signed in the bronze 37cm high; 46cm high including base

‘SETTLEMENT’, burr elm with gold filler, puzzle sculpture, signed, inscribed and dated 1993, 36cm long; ‘ANGUS PARK’, burr elm with gold filler, unsigned, 20cm high; together with STANDING FORMS, yew, 60.5cm high; and CHEST, yew, 26cm high (4)

£200-300

Provenance: The Late Dr Helen E C Cargill Thompson

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

167

563 § HANNAH FRANK (1908-2008) ‘STANDING FIGURE 2’ bronze 57cm high Literature: Frank, Fiona (edit.)

Hanna Frank: A Glasgow Artist Glasgow 2004, ill. p. 121

£800-1,200

564 § BENNO SCHOTZ (1891-1984) MOTHER AND CHILD patinated plaster, signed and dated on the base BENNO SCHOTZ, 1934 122cm high

£700-1,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

168

565 TAPIO WIRKKALA (1915-1985) VASE glass, engraved marks, 18cm high; together with a Timo Sarpaneva ‘Pullo’ carafe/decanter, 15.5cm high; and a Bertil Vallien for Kosta Boda vase, 23cm high (3) £200-300

566 BAROVIER TWIN-HANDLED VASE iridescent glass, indistinctly signed BAROVIER...

35cm high (13.75in)

£300-500

567 ALDO TURA (1909-1963) ITALIAN SCHOOL TABLE LAMP, CIRCA 1950 patinated parchment, brass, raised on a hardwood base 80.5cm high

£500-700

Note: Aldo Tura was one of Italy’s most prominent mid-century designers. His unique designs were typified by rich materials and highly-sculptural forms that featured more unusual and exotic materials such as eggshell, goatskin and parchment. A stylistic fusion of Art Deco and Modernism, Tura’s decorative works favoured the use of coloured and lacquered parchment, richly coloured with hues of red, green and yellow. Whilst many of his contemporaries turned towards industrial machinery and methods of mass-production, throughout his career Tura remained faithful to traditional hand-craftsmanship, choosing intricate forms and labour-intensive processes that celebrated the skill of both the designer and craftsman.

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

169

568 § JEAN-GABRIEL DOMERGUE (1889–1962) AT THE BAR oil on canvas, signed lower right JEAN-GABRIEL DOMERGUE 59cm x 48cm

£1,000-1,500

569 § *POMEROY, CONTEMPORARY PUGILIST bronze, signed and dated in the bronze POMEROY 2001 A/P 31.5cm high

£400-600

570 ERNST BARLACH (1870-1938) FOR MEISSEN ‘SCHWEBENDER GOTTVATER’ (FLOATING GODFATHER), DESIGNED 1924, ISSUED 1954 Boettger Stoneware, impressed cross swords mark and signature to the base E. BARLACH, impressed and incised marks under base BOTTGER STEINZEUG 1070/ 130 51cm high

£800-1,200

571

572 §

FRENCH SCHOOL

VINCENT BUTLER (BORN 1933)

DRAPED FIGURE

FAMILY GROUP

bronze, raised on a marble plinth

bronze, raised on an onyx plinth, unsigned, dated 1975 under plinth

total height 26.5cm

total height, 22cm

£200-300

Provenance: The Late Dr Helen E C Cargill Thompson

£300-500

170

573 PORTHIA PRINTS, ST. IVES GROUP OF TABLE LINENS, CIRCA 1955-60 screen-printed and painted linen, to include FOURTEEN TEST/ UNFINISHED TABLE LINENS, designed by Roger Hilton; Denis Mitchell; Michael Snow; John Forrester; Robert Adams; Roger Leigh (three hemmed and unsigned, 29.5cm x 44cm, and eleven unhemmed, approx.

32cm x 47cm) (11) Provenance: From the Estate of an important St. Ives artist

£400-600

Note: In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints.

They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976, Antique Collectors’ Club Ltd., 2014, p.92).

At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team.

The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery.

In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get anyone to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960.

Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. This collection, from an important St. Ives artist’s estate, includes a number of original designs and represents an important moment in the St. Ives artistic movement; a rare and unique collaboration of artists associated with St. Ives in the Post-War years.

171

574 PORTHIA PRINTS, ST. IVES GROUP OF TABLE LINENS, CIRCA 1955-60 screen-printed linen, to include FIFTEEN TABLE LINENS, designed by Roger Hilton (six unhemmed and unsigned, approx 32cm x 44cm, Denis Mitchell (one hemmed and with printed signature, 32cm x 44cm), Michael Snow (two hemmed and unsigned, 29cm x 44cm), Barbara Hepworth (one hemmed and with printed initials, 31cm x 42.5cm), Stanley Dorfman (two unhemmed and with printed signatures, approx. 32cm x 46.5cm) and John Forrester (three hemmed and with printed signatures, 28cm x 42cm) (15) Provenance: From the Estate of an important St. Ives artist

£400-600

575 PORTHIA PRINTS, ST. IVES GROUP OF TABLE LINENS, CIRCA 1955-60 screen-printed linen, to include SIXTEEN TABLE LINENS, designed by Roger Hilton (four unhemmed and unsigned, approx 32cm x 45cm, Denis Mitchell (one hemmed and with printed signature, (29.5cm x 42cm), Michael Snow (one hemmed and unsigned, 29.5cm x 43.5cm), Barbara Hepworth (two hemmed and with printed initials, 29.5cm x 42.5cm), Stanley Dorfman (four unhemmed and with printed signatures, approx. 32cm x 47cm) and John Forrester (three hemmed and with printed signatures, 30cm x 41.5cm, and one unhemmed and with printed signature, 33cm x 45cm) (16) Provenance: From the Estate of an important St. Ives artist

£400-600

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

172

576 § KEITH TYSSEN (BORN 1934) BOX & COVER, SHEFFIELD 2007 silver, stamped maker’s marks ‘KT/999’, hallmarked Sheffield 2007 18cm high (7in high), 1816 grams

£600-800

577 BRITISH SCHOOL WALL MIRROR, DATED 1981 five bevelled circular mirror plates, linked by a carved and painted pine lightning bolt, inscribed and stamped initials HJSR/ 81

578 UNKNOWN MAKER

154cm long

MATCHED PAIR OF OCCASIONAL TABLES, CONTEMPORARY

£300-500

wood and ceramic, incised marks A88 and A8* to the other (2) 45cm diameter, 46 and 47cm high Provenance: The Late Dr Helen E C Cargill Thompson

£300-500

579 § LISA HAMMOND (BORN 1956) VASE poured white shino glaze, impressed potter’s mark 26cm high

£150-250

580 ALLAN JARVIS FOR EDINBURGH WEAVERS ‘CENTAUR’ PATTERN TEXTILES, CIRCA 1961 jacquard woven rayon, cotton and linen, 270cm x 122cm and 270cm x 122cm; together with TWO FURTHER EDINBURGH TEXTILES FOR EDINBURGH WEAVERS, woven cotton, maker’s monogram to selvedge, 262cm x 124cm; 275cm x 124cm; (4) Literature: Jackson, Lesley, Alastair Morton and Edinburgh Weavers: Visionary Textiles and Modern Art, V&A, 2015, p.260, pl.457

£200-300

581

582 §

583

ENGLISH SCHOOL

WILLIAM PLUMPTRE (BORN 1959)

EUROPEAN SCHOOL

CHARGER

chromed metal, together with a parchment shade

ARTS & CRAFTS EMBROIDERED APPLIQUÉ PANEL, CIRCA 1950

TABLE LAMP, CIRCA 1930

coloured fabrics and threads, reserved on a later linen backing with hanging rings

stoneware, Tenmoku, cobalt and wood ash glazes, maker’s mark to base WP (with wooden stand)

183cm x 115cm

40cm diameter

Provenance: A Private European Collection of Design

£300-500

£200-300

£300-500

58cm high

173

584 LINLEY CENTRE TABLE, CONTEMPORARY inlaid sycamore 120cm across, 75cm high

£800-1,200

585

586 §

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

GORDON MACWHIRTER WEBSTER (1908-1987)

DECORATIVE ARTS

STAINED, PAINTED AND LEADED GLASS PANEL, CIRCA 1950

Hiroshi Unno Harry Clarke: An Imaginative Genius in Illustrations and Stained-Glass, Pie Books; Bilingual edition, 2014; Jenny Uglow Walter Crane: The Illustrators Thames and Hudson Ltd, 2019; August Sarnitz Otto Wagner, Taschen 2018; Jugendstil: 1880 bis 1915, Badisches Landesmuseum, Karlsruhe 1987; Ernst Riegel Goldschmied zwischen historismus und werkbund Kehrer Verlag, 1996; Hellmut Th. Seemann (Editor), Thorsten Valk (Editor) Prophet des Neuen Stil Wallstein, 2013; Jeannine Fiedler Bauhaus Ullmann, 2013; Hans Maria Wingler The Bauhaus: Weimar, Dessau, Berlin, Chicago, The MIT Press, 1969; Janis Staggs, Renée Price, Ronald S. Lauder Wiener Werkstätte Jewelry Hatje Cantz Verlag, 2017; Thirties, British Art and Design before the War, Arts Council, 1979; William Buchanan Mackintosh’s Masterwork: Glasgow School of Art, Chambers 1995; Ina Bahnschulte-Friebe Die Künstlerkolonie Mathildenhöhe Darmstadt 1899-1914, 1995; Karen Livingstone, Linda Parry International Arts and Crafts V&A, 2005; Randell L. Makinson Greene and Greene: Architecture as a Fine Art, 1979; and Greene and Greene: Furniture and Related Designs, 1982 (qty)

pendant for BRING ME UNTO THY HOLY HILL, framed

£200-300

£300-500

64cm x 77cm Provenance: Broomhill Trinity Church, Glasgow Literature: Donnelly, Michael, Scotland’s Stained Glass, pub.

The Stationery Office, 1997, page 96.

Note: Gordon McWhirter Webster’s father Alfred A. Webster, was also a stained glass artist between 1884 and 1915. On his death, his widow continued to operate her husband’s firm and in 1929 it finally passed to Gordon. Mrs Webster had managed to keep the studio solvent by placing the practical management of the glass shop in the hands of the firm’s former apprentice and assistant, Douglas Hamilton who trained Gordon. Consequently, his early work is strongly influenced by his late father but by the mid-1930s he had discovered his own voice.

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

174

587 § SHONA KINLOCH (BORN 1962) DOG bronze, signed with cypher 37cm high Provenance: The Late Dr Helen E C Cargill Thompson

£400-600

588 § SHONA KINLOCH (BORN 1962) WALKING PIGEON bronze, raised on a steel plinth 30cm high Provenance: The Late Dr Helen E C Cargill Thompson

£400-600

589 § BELINDA RUSHJANSEN (BORN 1960) OTTER bronze, signed and dated ‘81 64cm wide Provenance: The Late Dr Helen E C Cargill Thompson

£300-500

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

175

590 § DAVID MEREDITH (BORN 1973) GROUSE patinated bronze, signed and editioned 3/8 25cm high Provenance: The Late Dr Helen E C Cargill Thompson

£300-500

591 § SHONA KINLOCH (BORN 1962) DANDELION SQUIRREL bronze 54cm high Provenance: The Late Dr Helen E C Cargill Thompson

£800-1,200

592 § DAVID MEREDITH (BORN 1973) STAR GAZER bronze, signed and editioned 2/75 31.5cm high Provenance: The Late Dr Helen E C Cargill Thompson

£400-600

176

593 BRITISH SCHOOL HEAD marble 28cm high

£300-500

594 § GAE AULENTI (1927-2012) FOR HARVEY GUZZINI ‘QUADRIFOGLIO’ STANDING LAMP chrome, Perspex 164.5cm high

£600-800

595 AFTER MARCEL BREUER SET OF SIX CESCA B32 DINING CHAIRS, CIRCA 1990 ebonised wood, cane with chromium frame, bears label MADE IN ITALY, includes two armchairs (6) armchair 61cm wide, 78cm high, 48cm deep

£250-350

596 CHARLES EAMES (1907-1978) AND RAY EAMES (1912-1988) FOR HERMAN MILLER EA 124 HIGH BACK CHAIR, CIRCA 1960 aluminium, faux leather, bears maker’s label to frame 64.5cm wide, 149cm high, 65cm deep

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

AUCTION 29 & 30 APRIL MALL GALLERIES LONDON

MODERN BRITISH ART & POST-WAR DESIGN FEATURING DESIGN ON THE MOVE: POSTERS FROM THE SHELL HERITAGE ART COLLECTION For further information please contact our head of sale: PHILIP SMITH | 0207 930 9115 philip.smith@lyonandturnbull.com

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AUCTION 29 APRIL MALL GALLERIES LONDON

For further information please contact our head of sale: JOY MCCALL | 0207 930 9115 joy.mccall@lyonandturnbull.com Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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FURNITURE, PAINTINGS & WORKS OF ART AUCTION 19 MAY For further information please contact our heads of sale: NICK CURNOW | Paintings | nick.curnow@lyonandturnbull.com | 0131 557 8844 DOUGLAS GIRTON | Furniture & Works of Art | douglas.girton@lyonandturnbull.com | 0131 557 8844 JOHN WILLIAM GODWARD (BRITISH 1861-1922) POPPIES | Oil on canvas | 76cm x 61cm Estimate £100,000-150,000 + fees Provenance: The Late Dr. Helen E. C. Cargill Thompson Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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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 extent provided below. (a) Condition Reports: Condition Reports are provided on our Website

21.2

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.

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. F AILURE 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

181 and/or anti-terrorism financing checks we may require to our satisfaction, we may refuse to register You to bid, and if You make a successful bid, we may cancel the contract between You and the Seller.

4. BIDDING ON BEHALF OF ANOTHER PERSON (a) As an authorised Bidder: If You are bidding on behalf of another person, that person will need to complete the registration requirements above before You can bid, and supply a signed letter authorising You to bid for him/her. (b) As agent for an undisclosed principal: If You are bidding as an agent for an undisclosed principle (the ultimate Buyer(s)) You accept personal liability to pay the Purchase Price and all other sums due, unless it has been agreed in writing with us before commencement of the auction that the Bidder is acting as an agent on behalf of a named third party acceptable to us and we will seek payment from the named third party.

5. BIDDING IN PERSON If You wish to bid in the saleroom You must register for a numbered bidding paddle before You begin bidding. Please ensure You bring photo identification with You to allow us to verify Your registration.

6. BIDDING SERVICES The bidding services described below are a free service offered as a convenience to our clients and we are not responsible for any error (human or otherwise), omission or breakdown in providing these services. (a) Phone bids Your request for this service must be made no later than 12 hours prior to the auction. We will accept bids by telephone for Lots only if our staff are available to take the bids. If You need to bid in a language other than English You should arrange this Well before the auction. We do not accept liability for failure to do so or for errors and omissions in connections. (b) Internet Bids For certain auctions we will accept bids over the internet. For more information please visit our Website. We will use reasonable efforts to carry out online bids and do not accept liability for equipment failure, inability to access the internet or software malfunctions related to execution of online bids/ live bidding. (c) Written Bids While prospective Buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular Lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we shall, if so instructed, clearly and in writing execute bids on their behalf. Neither the Auctioneer nor our employees nor agents shall be responsible for any failure to do so. Where two or more commission bids at the same level are recorded we Reserve the right in our absolute discretion to prefer the first bid so

made. Bids must be expressed in the currency of the saleroom. The Auctioneer will take reasonable steps to carry out written bids at the lowest possible price, taking into account the Reserve. If You make a written bid on a Lot which does not have a Reserve and there is no higher bid than Yours, we will bid on Your behalf at around 50% of the lower Estimate or, if lower, the amount of Your bid.

C. DURING THE SALE 1. ADMISSION TO OUR AUCTIONS We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. We may refuse admission at any time before, during or after the auction.

2. RESERVES Unless indicated by an insert symbol (∆), all Lots in this Catalogue are offered subject to a Reserve. A Reserve is the confidential Hammer Price established between us and the Seller. The Reserve is generally set at a percentage of the low Estimate and will not exceed the low Estimate for the Lot. 3. AUCTIONEER’S DISCRETION The maker of the highest bid accepted by the Auctioneer conducting the sale shall be the Buyer and any dispute shall be settled at the Auctioneer’s absolute discretion. The Auctioneer may move the bidding backwards of forwards in any way he or she may decide or change the order of the Lots. The Auctioneer may also; refuse any bid, withdraw any Lot, divide any Lot or combine any two or more Lots, reopen or continuing bidding even after the hammer has fallen.

4. BIDDING The Auctioneer accepts bids from: (a) Bidders in the saleroom; (b) Telephone Bidders, and internet Bidders through Lyon & Turnbull Live or any other online bidding platform we have chosen to list on and; (c) Written bids (also known as absentee bids or commission bids) left with us by a Bidder before the auction.

5. BIDDING INCREMENTS Bidding increments shall be at the Auctioneer’s sole discretion.

6. CURRENCY CONVERTER The saleroom video screens and bidding platforms may show bids in some other major currencies as Well as sterling. Any conversion is for guidance only and we cannot be bound be any rate of exchange used. We are not responsible for any error (human or otherwise) omission or breakdown in providing these services.

7. SUCCESSFUL BIDS Unless the Auctioneer decides to use their discretion as set out above, when the Auctioneer’s hammer falls, we have accepted the last bid. This means a contract for sale has been formed between the Seller and the successful Bidder. We will issue an invoice only to the registered Bidder who made the successful bid. While we send out

invoices by post/or email after the auction, we do not accept responsibility for telling You whether or not Your bid was successful. If You have bid by written bid, You should contact us by telephone or in person as soon as possible after the auction to get details of the outcome of our bid to avoid having to pay unnecessary storage charges.

8. RELEVANT LEGISLATION You agree that when bidding in any of our sales that You will strictly comply with all relevant legislation including local laws and regulations in force at the time of the sale for the relevant saleroom location.

D. THE BUYER’S PREMIUM, TAXES AND ARTIST’S RESALE ROYALTY 1. THE PURCHASE PRICE 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.

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. Please see D.2(e) for the conditions to be fulfilled before the VAT charged on the Hammer Price may be cancelled or refunded upon exporting from the UK. (a) Lots affixed with (†): Value Added Tax on the Hammer Price and Buyer’s Premium 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 UK and is not operating under a Margin Scheme. (b) Lots affixed with (‡): A reduced rate of Import Value Added Tax on the Hammer Price of 5% is payable. This indicates that a Lot has been imported from outwit the UK. (c) Lots affixed with [Ω]: Standard rate of 20% of Import Value Added Tax on the Hammer Price and premium is payable. This applies to items that have been imported from outwit the UK and do not fall within the reduced rate category. (d) Lots affixed with [Ω] or ‡ when these lots are released to buyers in the UK, the buyer will become the importer and must pay us Lyon & Turnbull Ltd. the import VAT at the rates noted above on the hammer price. The buyer should also note that the appropriate rate will be that in force on the date of our release and not that in force at the date of auction or payment. (e) Export from the UK: For lots offered

under the VAT Margin Scheme and lots with [Ω] or ‡ symbols attached; you may be eligible to have a VAT refund in certain circumstances if the lot is exported. Should you show us proof of export within three months of collection a VAT refund may be arranged. No VAT amounts will be refunded where the total refund is under £100. Bank/transfer charges relating to any refund will be borne by the buyer and will not be reimbursed.

Please also note that all customs formalities of the destination country are the responsibility of the buyer.

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. SELLER’S WARRANTIES 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

182 may be added to this agreement by law, are excluded.

2. AUTHENTICITY GUARANTEE We guarantee that the authorship, period, or origin (collectively, “Authorship”) of each Lot in this Catalogue is as stated in the BOLD or CAPITALISED type heading in the Catalogue description of the Lot, as amended by oral or written saleroom notes or announcements. We make no warranties whatsoever, whether express or implied, with respect to any material in the Catalogue other than that appearing in the Bold or Capitalised heading and subject to the exclusions below.

In the event we, in our reasonable opinion, deem that the conditions of the authenticity guarantee have been satisfied, it shall refund to the original purchaser of the Lot the Hammer Price and applicable Buyer’s Premium paid for the Lot by the original purchaser.

This Guarantee does not apply if: (a) The Catalogue description was in accordance with the opinion(s) of generally accepted scholar(s) and expert(s) at the date of the sale, or the Catalogue description indicated that there was a conflict of such opinions; or (b) the only method of establishing that the Authorship was not as described in the Bold or Capitalised heading at the date of the sale would have been by means or processes not then generally available or accepted; unreasonably expensive or impractical to use; or likely (in our reasonable opinion) to have caused damage to the Lot or likely to have caused loss of value to the Lot; or (c) There has been no material loss in value of the Lot from its value had it been in accordance with its description in the Bold or Capitalised type heading.

This Guarantee is provided for a period of one year from the date of the relevant auction, is solely for the benefit of the original purchaser of the Lot at the auction and may not be transferred to any third party. To be able to claim under this Authenticity Guarantee, the original purchaser of the Lot must: (a) notify us in writing within one month of receiving any information that causes the original purchaser of record to dispute the accuracy of the Bold or Capitalised type heading, specifying the Lot number, date of the auction at which it was purchased and the reasons for such dispute; and (b) return the Lot to our registered office in the same condition as at the date of sale to the original purchaser of record and be able to transfer good title to the Lot, free from any third party claims arising after the date of such sale.

We have discretion to waive any of the above requirements. We may require the original purchaser of the Lot to obtain, at the original purchaser of Lot’s cost, the reports of two independent and recognised experts in the field. The reports must be mutually acceptable to us and the original purchaser of the Lot. We shall not be bound by

any reports produced by the original purchaser of the Lot, and Reserves the right to seek additional expert advice at its own expense. It is specifically understood and agreed that the rescission of a sale and the refund of the original Purchase Price paid (the successful Hammer Price, plus the Buyer’s Premium) is exclusive and in lieu of any other remedy which might otherwise be available as a matter of law. Lyon & Turnbull and the Seller shall not be liable for any incidental or consequential damages incurred or claimed, including without limitation, loss of profits or interest.

3. YOUR WARRANTIES (a) You warrant that the funds used for settlement are not connected with any criminal activities, including tax evasion and You are neither; under investigation, have been charged with or convicted of money laundering, terrorist activities or other crimes. (b) Where You are bidding on behalf of another person You warrant that: (i) You have conducted appropriate customer due diligence on the ultimate Buyer(s) of the Lot(s) in accordance with all relevant anti-money laundering legislation, consent to us relying on this due diligence, and You will retain for a period of not less than five years the documentation evidencing the due diligence. You will make such documentation promptly available for immediate inspection by a third party auditor upon our written request to do so; (ii) The arrangements between You and the ultimate Buyer(s) in relation to the Lot or otherwise do not, in whole or in part, facilitate tax crimes, and; (iii) You do not know, and have no reason to suspect that the funds used for settlement are connected with the proceeds of any criminal activity, including tax evasion, or that the ultimate Buyer(s) are under investigation or have been charged with or convicted of money-laundering, terrorist activities, or other crimes.

F. PAYMENT 1. MAKING PAYMENT (a) Within 7 days of a Lot being sold You will pay to us the Total Amount Due in cash or by such other method as is agreed by us. We accept cash, bank transfer (details on request), debit cards and Visa or MasterCard credit cards. Please note that we do not accept cash payments over £5,000 per Buyer per year. (b) Any payments by You to us can be applied by us towards any sums owing

by You to us howsoever incurred and without agreement by You or Your agent, whether express or implied. (c) We will only accept payment from the registered Bidder. Once issued, we cannot change the Buyer’s name on an invoice or re-issue the invoice in a different name. (d) The ownership of any Lots purchased shall not pass to You until You have made payment in full to us

of the Total Amount Due. The risk in and the responsibility for the Lot will transfer to You from whichever is the earlier of the following: (i) When You collect the Lot; or (ii) At the end of the 30th day following the date of the auction, or, if earlier, the date the Lot is taken into care by a third party unless we have agreed otherwise with You in writing. (e) You shall at Your own risk and expense take away any Lots that You have purchased and paid for not later than 7 working days following the day of the auction or upon the clearance of any cheque used for payment whichever is later. We can provide You with a list of shippers. However, we will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us. (f) No purchase can be claimed or removed until it has been paid for. (g) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time. (h) If you agree to our pack and send service (if applicable) payment of shipping fees must be made prior to us posting. Any shipping fee will be inclusive of VAT. 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 (a) 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. (b) We offer a limited pack and send service using Royal Mail on small jewellery items. When items leave our premises and are in transit via postal service We are not responsible for any damage or loss incurred. We are also not responsible for making any claim regarding loss or damage to items. A tracking reference number will be issued which can be used to raise a claim with the relevant shipping provider.

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

183 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.

I. OUR LIABILITY TO YOU (a) We give no warranty in relation to any statement made, or information give, by us, our representatives or employees about any Lot other than as set out in the authenticity warranty and as far as we are allowed by law, all warranties and other terms which may be added to this agreement by law are exclude. The Seller’s warranties contained in paragraph E.1 are their own and we do not have a liability in relation to those warranties. (b) (i) We are not responsible to You for any reason whether for breaking this agreement or any other matter relating to Your purchase of, or bid for, any Lot other than in the event of fraud or fraudulent misrepresentation by us other than as expressly set out in these conditions of sale; or (ii) We do not give any representation, warranty or guarantee or assume any liability for a kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium,Provenance, exhibition history, literature or historical relevance, except as required by local law, any warranty of any kind is excluded by this paragraph. (c) in particular, please be aware that our written and telephone bidding services, Lyon & Turnbull Live, Condition Reports, currency converter and saleroom video screens are free services and we are not responsible for any error (human or otherwise) omission or breakdown in these services. (d) We have no responsibility to any person other than a Buyer in connection with the purchase of any Lot (e) If in spite of the terms of this paragraph we are found to be liable to You for any reason, we shall not have to pay more than the Purchase Price paid

by You to us. We will not be responsible for any reason for loss of profits, business, loss of opportunity or value, expected savings or interest, costs damages or expenses.

J. OTHER TERMS 1. OUR ABILITY TO CANCEL In addition to the other rights of cancellation contained in this agreement, we can cancel the sale of a Lot if; (i) Any of our warranties are not

correct, as set out in paragraph E3, (ii) We reasonably believe that completing the transaction is or may be unlawful; or (iii) We reasonably believe that the sale places us or the Seller under any liability to anyone else or may damage our reputation.

2. RECORDINGS We may videotape and record proceedings at any auction. We will keep any personal information confidential, except to the extent disclosure is required by law if You do not wish to be videotaped, You may make arrangements to bit by telephone or a written bid or bid on Lyon & Turnbull Live instead. Unless we agree otherwise in writing, You may not videotape or record proceedings at any auction.

3. COPYRIGHT We own the copyright in respect of all images, illustrations and written material produced by or for us relating to a Lot. (Including Catalogue entries unless otherwise noted in the Catalogue) You cannot use them without our prior written permission.

We do not offer any guarantee that You will gain any copyright or other reproductions to the Lot. 4. ENFORCING THIS AGREEMENT If a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as deleted and the rest of this agreement will remain in force.

5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES You may not grant a security over or transfer Your rights of responsibilities under these terms on the contract of sale with the Buyer unless we have given our written permission. This agreement will be binding on Your successors or estate and anyone who takes over Your rights and responsibilities.

6. REPORTING ON WWW.LYONANDTURNBULL.COM Details of all Lots sold by us, including Catalogue disruptions and prices, may be reported on www.lyonandturnbull. com. Sales totals are Hammer Price plus Buyer’s Premium and do not reflect any additional fees that may have been incurred. We regret we cannot agree to requests to remove these details from our Website.

7. SALE BY PRIVATE TREATY (a) The same Conditions of Sale (Buyers) shall apply to sales by private treaty. (b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers. (c) We undertake to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids. (d) For the purposes of a private treaty sale, if a Lot is sold in any other

currency than Sterling, the exchange rate is to be taken on the date of sale.

8. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the premises, safety and security arrangements.

Accordingly, neither the Auctioneer nor our employees or agents shall incur liability for death or personal injury or similarly for the safety of the property of persons visiting prior to, during or after a sale.

9. DATA PROTECTION Where we obtain any personal information about You, we shall use it in accordance with the terms of our Privacy Policy (subject to any additional specific consent(s) You may have given at the time Your information was disclosed). A copy of our Privacy Policy can be found on our Website www. lyonandturnbull.com or requested from Client Services, 33 Broughton Place, Edinburgh, EH1 3RR or by email from data enquiries@lyonandturnbull.com.

10. FORCE MAJEURE We shall be under no liability if they shall be unable to carry out any provision of the Contract of Sale for any reason beyond their control including (without limiting the foregoing) an act of God, legislation, war, fire, flood, drought, failure of power supply, lock-out, strike or other action taken by employees in contemplation or furtherance of a dispute or owing to any inability to procure materials required for the performance of the contract.

11. LAW AND JURISDICTION (a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law (b) Jurisdiction: The Buyer agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply.

K. DEFINITIONS & GLOSSARY The following words and phrases used have (unless the context otherwise requires) the meaning to given to them below. The go Glossary is to assist You to understand words and phrases which have a specific legal meaning which You may not be familiar with.

1. DEFINITIONS “Auctioneer” Lyon & Turnbull Ltd (Registered in Scotland No: 191166 | Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) or it’s authorised representative conducting the sale, as appropriate; “Bidder” a person who has completed a Bidding Form “Bidding Form” our Bidding Registration Form our Absentee Bidding Form or our Telephone Bidding Form.

“Buyer” the person to whom a Lot is knocked down by the Auctioneer. The

Buyer is also referred to by the words “You” and “Your” “Buyer’s Premium” the sum calculated on the Hammer Price at the rates stated in Catalogue.

“Catalogue” the Catalogue relating to the relevant Sale, including any representation on our Website “Condition Report” the report on the physical condition of a Lot provided to a Bidder or potential Bidder by us on behalf of the Seller.

“Estimate” a statement of our opinion of the range within the hammer is likely to fall.

“Hammer Price” the level of bidding reached (at or above any Reserve) when the Auctioneer brings down the hammer; “High Cumulative Value of Lot” several Lots with a total lower Estimate value of £30,000 or above; “High Value Lot” a Lot with a lower Estimate of £30,000 or above; “Lot” each Item offered for sale by Lyon & Turnbull; “Purchase Price” is the aggregate of Hammer Price and any applicable Buyer’s Premium, VAT on the Hammer Price (where applicable), VAT on the Buyer’s Premium and any other applicable expenses; “Reserve” the lowest price below which an item cannot be sold whether at auction or by private treaty; “Sale” the auction sale at which a Lot is to be offered for sale by us.

“Seller” the person who offers the Lot for Sale. We act as agent for the Seller.

“Total Amount Due” the Hammer Price in respect of the Lot sold together with any premium, Value Added Tax or other taxes chargeable and any additional charges payable by a defaulting Buyer under these Conditions; “VAT” value added tax at the prevailing rate at the date of the sale in the United Kingdom.

“Website” Lyon & Turnbull’s Website at www.lyonandturnbull.com 2. GLOSSARY The following have specific legal meaning which You may not be familiar with. The following glossary is intended to give You an understanding of those expressions but is not intended to restrict their legal meanings: “Artist’s Resale Right” the right of the creator of a work of art to receive a payment on Sales of that work subsequent to “Knocked Down” when a Lot is sold to a Bidder, indicated by the fall of the hammer at the Sale.

“Lien” a right for the person who has possession of the Lot to retain possession of it.

“Risk” the possibility that a Lot may be lost, damaged, destroyed, stolen, or deteriorate in condition or value.

“Title” the legal and equitable right to the ownership of a Lot.

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GUIDE TO BIDDING & PAYMENT REGISTRATION

HOW TO BID

PAYMENT

All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, or on our website. Please note that first-time bidders, and those returning after an extended period, will be asked to supply the following documents in order to facilitate registration:

BY PHONE

Our accounts teams will continue to be available to process payments and answer queries. We will be able to accept online payments through our website and bank transfer. There will be no on-site payment facilities and no cash accepted as all our venues are closed to the public.

1–G overnment issued photo ID (Passport/Driving licence) 2–P roof of address (utility bill/bank statement).

We may, at our option, also ask you to provide a bank reference and/or deposit.

By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale.

BIDDING Due to governmental restrictions, in-room bidding will not be permitted at this auction.

Registered bidders will be assigned a non-transferable 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 during your registration.

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.

ON THE INTERNET - ABSENTEE BIDDING Leave a bid online through our website, call us on 0131 557 8844 or email info@lyonandturnbull.com - 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.

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

ONLINE CREDIT OR DEBIT CARD PAYMENTS We no longer accept card payments by phone. Please use our online payment service (provided by Opayo).

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

CASH No cash payments will be accepted for this auction.

COLLECTION OF PURCHASED LOTS Please refer to page 2 of this catalogue.

Inside Back Cover: Lot 135 [detail]

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