The Peter Rose & Albert Gallichan Collection | Auction 30 November 2021

THE PETER ROSE & ALBERT GALLICHAN COLLECTION 30TH NOVEMBER 2021 LONDON

THE PETER ROSE & ALBERT GALLICHAN COLLECTION TUESDAY 30 NOVEMBER 2021 AT 10AM Sale Number LT665

BIDDING AT THIS SALE ONLINE, TELEPHONE & COMMISSION BIDDING ONLY Please see the guide to bidding on page 156

VIEWING at Noho Studios, 46 Great Titchfield Street London W1W 7QA: Saturday, 27th November 10.30am-4pm Sunday, 28th November 10.30am-4pm Monday, 29th November 10.30am-4pm

CONTACT

Front Cover Lot 12 [detail]

LONDON +44 (0) 207 930 9115 EDINBURGH +44 (0) 131 557 8844 info@lyonandturnbull.com

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BUYER'S GUIDE

This sale is subject to our Standard conditions of Sale (available at the back of every catalogue and on our website).

BUYER’S PREMIUM

BIDDING & PAYMENT

COLLECTION OF PURCHASED LOTS

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

For information on bidding options see our Guide to Bidding & Payment at the back of the catalogue. Please note no cash payments will be accepted for this auction.

Post sale, clients will be able to collect from The Noho Studios on Wednesday 1st December from 10am to 2pm. Please ensure payment has been made prior to collection. This can be done online, by cheque, bank transfer or in person at our London office - details will be shown on your invoice also. Please note we are unable to accept payments over the phone, and we are unable to take payments in cash.

25% up to £300,000 / 20% thereafter.

VAT will be charged on the premium at the rate imposed by law (see our Conditions of Sale at the back of this catalogue).

ADDITIONAL VAT †V AT at the standard rate payable on the hammer price

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.

‡R educed rate of 5% import VAT payable on the hammer price

CATALOGUE DESCRIPTIONS

ΩS tandard rate of import VAT on the hammer price

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.

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.

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.

REGISTRATION 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: 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.

(Particularly for bidding on lots marked by the high value lot symbol ) By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale (available at the back of every catalogue and on our website).

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 Great Britain. For more information visit http://www.defra.gov.uk/ ahvla-en/imports-exports/cites

After this time the works will be divided, with items belonging to Scottish buyers being stored at Lyon & Turnbull, 33 Broughton Place, Edinburgh, EH1 3RR. Works belonging to International buyers as well as those in the rest of the UK will move to Stephen Morris Shipping PLC, Unit 15, Ockham Drive, Greenford Park, Greenford, Middlesex UB6 0FD. Telephone +44(0)20 8832 2222. Open 9am-5pm by prior appointment only.

FOR INTERNATIONAL BUYERS & UK BUYERS IN ENGLAND, WALES & N.I. Items will be available to collect from 9am on Wednesday 8th December from Stephen Morris Shipping Ltd., 15 Ockham Drive, Greenford Park, Greenford, UB6 0FD. Telephone +44(0)20 8832 2222.

Please note items will be stored free of charge until Tuesday 21st December.

From Wednesday 22nd December you will be charged by our storage partners.

Insurance 0.25% (all items). Smalls (paintings and objects) - £2.50 admin fee then £1.00 per day. Furniture pieces £5.50 admin fee then £2.50 per day.

FOR BUYERS IN SCOTLAND Items for Scottish buyers will be transported to our Edinburgh saleroom at 33 Broughton Place, Edinburgh, EH1 3RR. Items will be available to collect from 9am on Monday 13th December.

Due to social distancing requirements all collections will be by appointment only (this applies to both carriers and personal collections).

To make an appointment please email info@lyonandturnbull.com or call us on +44 (0) 131 557 8844.

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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.

Joy McCall

John Mackie

Philip Smith

Head of Sale joy.mccall@lyonandturnbull.com

Design Senior Specialist john.mackie@lyonandturnbull.com

Design Senior Specialist philip.smith@lyonandturnbull.com

Carly Shearer

Olivia Ross

Matthew Yeats

Paintings Senior Specialist carly.shearer@lyonandturnbull.com

Design Junior Specialist olivia.ross@lyonandturnbull.com

Sale Administrator matthew.yeats@lyonandturnbull.com

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THE PETER ROSE & ALBERT GALLICHAN COLLECTION The destination of the collection of Peter Rose and Albert Gallichan

Their research into designers and makers lead to lectures and

was decided at the turn of the 20th century. It must have been

publications in Great Britain and America, early retirement allowing

a difficult decision to make but the establishment of the Albert

Peter to concentrate his research into the metalwork of W A S

Dawson Trust to support study and scholarship of 19th century fine

Benson and George Tinworth which resulted in authoritative

and decorative art, was a perfect recipient for the funds that would

volumes on both subjects.

be raised from the

Although the house

sale of the collection.

was furnished with

(The name is formed

pieces of museum

of Peter and Albert’s

quality they lived

middle names).

a perfectly normal

The collection

life surrounded

was begun in the

by their treasures,

1950’s when Peter

entertaining in style

and Albert were

with good wine

living together - as

chosen by Albert and

cousins - in an attic

delicious food cooked

flat over an antique

by Peter.

shop in Hampstead.

Their sense of

Friends who shared

humour was evident

their unfashionable

in the Nature Room

enthusiasm in those

that began life

early days are long

as the Bad Taste

dead and there is

Room! It over

no record of what sparked their interest.

Things Victorian were the butt of cartoonists jibes, the Festival of Britain was fresh in peoples memories and ‘contemporary’ was the watchword for interior decoration.

Antique shops were full of unwanted Victoriana; the BADA begrudgingly extended its date limit to allow Regency pieces to be exhibited at the Grosvenor House Fair but banned anything later.

Peter and Albert’s early acquisitions were chosen for their evocative quality rather than their intellectual conception. Papier mache chairs and bois claire drawing room furniture furnished their modest early abodes. A terrace house in Richmond followed the Hampstead flat and then, in 1965, they moved to 1 Montpelier Villas in Brighton and from then on their scholarship blossomed. Christopher Dresser, W A S Benson, the Martin Brothers and Willian de Morgan exercised their curiosity and soon began to dominate the increasingly crowded house along with furniture by named designers; and they were in the vanguard of collectors of French Studio pottery. Doulton pottery and its many decorators became an engaging subject with Mark Marshall’s sculptural pieces a particular favourite. Peter’s purchase of a portfolio of Hannah Barlow’s drawings lead to research into her and her fellow Doulton decorators.

flowed with things inspired by or actually made from natural things ranging from shell pictures to a door stop made from an ostrich leg. Pottery by Blanche Vuillamy became a slight obsession and sat happily alongside other grotesquerie.

Charles Handley Read emphasised the importance of keeping detailed records of their acquisitions and they obeyed. Every piece had an inventory card with a photograph of the object and details of where purchased and the price. Notes on provenance and subsequent research were added, with receipts and catalogues being filed separately. The archive is an important record of the collection and of the antique market in the second half of the 20th century. It is destined for the Brotherton Library in Leeds where it will eventually be available to students and a scholars. This permanent record of a remarkable collection together with the Albert Dawson Trust will ensure that the remarkable achievement of Peter Rose and Albert Gallichan will be preserved in perpetuity.

Peter Miall, 13 October 21

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1 DANTE GABRIEL ROSETTI (BRITISH 1828-1882) (ATTRIBUTED) FOR MORRIS & CO. ‘SUSSEX’ ARMCHAIR, CIRCA 1880 ebonised wood with rush seat and later horsehair seat pad, 52cm (28 3/4in) wide, 88cm (34 1/2in) high, 50cm (19 3/4in) deep; together with a MORRIS & CO. ‘SUSSEX’ ARMCHAIR, ebonised beech and elm with later rush seat, 55cm (21 3/4in) wide, 85cm (33 1/2in) high, 43cm (17in) deep (2) Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, former p. 254, latter p.

147 (illustrated).

£400-600

2 ENGLISH TWO AESTHETIC MOVEMENT CANTERBURY ÉTAGÈRES, CIRCA 1870 ebonised wood, with gilt highlights, brass handles and pot castors (2) 61cm (24in) wide, 88cm (33 ¾in) high, 40.5cm (16in) deep; the other 59cm (24 ¼in) wide, 86.5cm (34in) high, 40.5cm (16in) deep Provenance: Purchased from Haslam & Whiteway, March 1996.

Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, pp.11, 13 & 14 (illustrated).

£500-700

3 MORRIS & CO., AFTER E.W. GODWIN NEAR PAIR OF AESTHETIC MOVEMENT ARMCHAIRS, CIRCA 1890 ebonised wood, horsehair-upholstered seats (2) 53cm (21in) wide, 89cm (35in) high

£600-800

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

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8

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

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4 ENGLISH, MANNER OF E.W. GODWIN AESTHETIC MOVEMENT ‘CHINOISERIE’ OCCASIONAL TABLE, CIRCA 1890 mahogany 46.5cm (18 1/4in) wide, 68.5cm (27in) high, 34.5cm (13 5/8in) deep

£300-500

5 BRUCE J. TALBERT (1838-1881) (ATTRIBUTED) FOR GILLOW & CO. AESTHETIC MOVEMENT SIDE CABINET, CIRCA 1880 ebonised wood and amboyna with gilt highlighting, tooled leather panels 177.7cm (70in) wide, 155cm (61in) high, 43cm (17in) deep Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, pp. 160-161 (illustrated).

Note: For a labelled cabinet with similar characteristics see Lyon & Turnbull Decorative Arts & Design, 24th April 2001, Lot 346

£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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6 MANNER OF HARRY CLARKE PAIR OF ARTS & CRAFTS PANELS, CIRCA 1920 stained, leaded and painted glass (2) 18cm (7 1/8in) wide, 29cm (11 1/2in) high

£300-500

7 ENGLISH ‘ST. FRANCIS’ ARTS & CRAFTS PANEL, CIRCA 1900 stained, leaded and painted glass, inscribed ST FRANCIS 21cm (8 1/4in) wide, 51.5cm (20 1/4in) high

£500-800

8 SCOTTISH ANGELIC HARPIST ARTS & CRAFTS PANEL, CIRCA 1890 stained, leaded and painted glass 44.4cm (17 1/2in) wide, 60.5cm (23 3/4in) high

£700-900

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9 HENRY HOLIDAY (BRITISH 1839-1927) ARTS & CRAFTS ROUNDEL, CIRCA 1890 stained, leaded and painted glass 26cm (10 1/4in) diameter Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 163 (illustrated).

£400-600

10 ENGLISH ‘ADAM’ & ‘EVE’, PAIR OF ARTS & CRAFTS PANELS, CIRCA 1900 stained, leaded and painted glass, inscribed ADAM and EVE (2) 31cm (12 1/4in) wide, 63cm (23 3/4in) high

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

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11 MANNER OF MORRIS & CO. ARTS & CRAFTS PANEL, CIRCA 1900 leaded and painted glass 25.5cm (10in) wide, 56.5cm (22 1/4in) high Provenance: Purchased from Maas Gallery, October 1998.

£400-600

12 GEORGE EDWARD COOK (1844-1914) (ATTRIBUTED) PELICAN, FROG AND FISH ARTS & CRAFTS PANEL, LAST QUARTER 19TH CENTURY stained, leaded and painted glass; together with another SMALLER PANEL, stained, leaded and painted glass (2) 35cm (13 3/4in) wide, 57cm (22 1/2in) high and 33cm (13in) wide, 41.5cm (16 1/4in) high Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 163 (illustrated).

£600-800

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

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13 ENGLISH, AFTER E. W. GODWIN AESTHETIC MOVEMENT OCCASIONAL TABLE, CIRCA 1880 ebonised wood, labelled OETZMANN & CO./ HAMPSTEAD ROAD/ LONDON 42.5cm (16 3/4in) wide, 66cm (26in) high

£300-500

14 EDWARDS & ROBERTS, LONDON AESTHETIC MOVEMENT CORNER CABINET, CIRCA 1880 ebonised wood and amboyna, with gilt embellishments, top drawer stamped EDWARDS & ROBERTS 83cm (32 3/4in) wide, 141cm (55 1/2 in) high, 53cm (20 1/2in) deep Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, pp. 133 & 136 (illustrated).

£600-800

15 CARL ALMQUIST (1848-1924) FOR SHRIGLEY AND HUNT AESTHETIC MOVEMENT PANEL/ FIRESCREEN, CIRCA 1886 stained, leaded, and painted glass panel, ebonised wood frame 66.5cm (26 1/4in) wide, 101.5cm (40in) high, 33cm (13in) deep Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 129 (illustrated).

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

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16 CHRISTOPHER DRESSER (1834-1904) GROUP OF FIRE DOGS, CIRCA 1880 comprising a PAIR FOR COALBROOKDALE IRONWORK COMPANY, brass and cast iron, cast registration lozenge for 1872, 19cm (7 1/2in) high; another PAIR FOR COALBROOKDALE IRONWORK COMPANY, cast iron, cast registration lozenge for 1872, 20cm (7 3/4in) high; together with a CAST IRON DOORSTOP, indistinct registration lozenge, 28cm (11in) high; a PAIR OF A. KENDRICK & SONS FIRE DOGS, brass and cast iron, registered 1882, cast No. 265101/ 33 with registration lozenge for 1882, 18cm (7in) high; and a further PAIR OF CAST IRON FIRE DOGS, attributed to Christopher Dresser, cast registration lozenge for 1878, 22cm (8 1/2in) high (9)

17 CHARLES BEVAN (ATTRIBUTED) FOR JAMES LAMB, MANCHESTER AESTHETIC MOVEMENT SIDE CABINET, CIRCA 1870 ebonised wood and amboyna, gilt highlights, brass fittings and inlaid stringing, stamped LAMB MANCHESTER 26956

Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 13 (illustrated); John Scott Collection,The Fine Art Society, London, Vol. 5, Nos 37, 38, and 42.

183cm (72in) wide, 101cm (39 3/4 in) high, 43cm (17in) deep

£800-1,200

£1,500-2,000

Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 67 (illustrated).

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18 ARTS & CRAFTS DONEGAL CARPET, CIRCA 1910 hand-knotted wool 403cm x 297cm (158 1/2in x 117in)

£800-1,200

19 GEORGE WASHINGTON JACK (1855-1931) FOR MORRIS & CO. ‘SAVILLE’ ARTS & CRAFTS ARMCHAIR, CIRCA 1890 mahogany, Morris & Co. ‘Honeycomb’ wool upholstery 64cm (25 1/4in) wide, 92cm (36 1/2in) high, 71cm (28in) deep Literature: Anscombe, I. & Gere, C., Arts and Crafts in Britain & America, London, 1978, p. 39, pl. 37 (similar example illustrated); Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 195 (illustrated); Parry, L. William Morris Textiles, London, 2013, p. 211, pl.18 (similar example illustrated).

£1,200-1,800

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

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20 BRUCE JAMES TALBERT (1838-1881) FOR JAMES LAMB, MANCHESTER PAIR OF AESTHETIC MOVEMENT SIDE CHAIRS, CIRCA 1880 walnut, with ebonised detail and later plushupholstered seats (2) 44cm (17 3/8in) wide, 82.5cm (32.5in) high, 48cm (18 7/8in) deep

£300-500

21 H. W. BATLEY (1846-1932) FOR SHOOLBRED & CO. AESTHETIC MOVEMENT SIDE CABINET, CIRCA 1880 burr-walnut and ebony, gilt highlights and mahogany interior, brass fittings, bevelled glass mirror-plate 167cm (65 3/4in) wide, 212cm (83 1/2in) high, 47cm (18 1/2in) deep Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 254 (illustrated).

£800-1,200

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22 MANNER OF J. S. HENRY ART NOUVEAU CHAIR, CIRCA 1910 mahogany, later leather upholstery 53.5cm (21in) wide, 131cm (51 1/2in) high, 46.5cm (18 3/8in) deep Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 217 (illustrated).

£300-500

23 SHAPLAND & PETTER, BARNSTAPLE ARTS & CRAFTS DISPLAY CABINET, CIRCA 1900 mahogany, fruitwood inlay, twin-glazed doors, stamped R179*/ 130 119cm (46.5in) wide, 171.5cm (67 1/8in) high, 37cm (14 5/8in) deep Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 216 (illustrated).

£800-1,200

24 SHAPLAND & PETTER, BARNSTAPLE (ATTRIBUTED) ‘WINDSOR’ ARTS & CRAFTS ARMCHAIR, CIRCA 1900 mahogany and fruitwood, Morris & Co. ‘Millefleurs’ wool upholstery 62.5cm (24 5/8in) wide, 127cm (50in) high, 52cm (20.5in) deep Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 226 (illustrated); Parry, L. William Morris Textiles, London, 2013, p. 227, no. 134 (similar example illustrated).

£500-800

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25 HARRY POWELL (1853-1922) (ATTRIBUTED) FOR JAMES POWELL & SONS, WHITEFRIARS SIX-BRANCH ELECTRIC CEILING LIGHT, CIRCA 1900 wrought iron, opalescent glass 53.5cm (23in) wide, 112cm (44in) high (approx.)

Literature: The Fine Art Society, London The John Scott Collection Volume 4 James Powell & Sons.

Whitefriars Glass 1860-1960, pp. 62-63, no. 84 (illustrated).

Note: From around 1875 a Mr Edminstone, along with an assistant called Edmund Francis, were employed to make wrought iron lighting fixtures, stands for vases etc., as well as to maintain the equipment in the factory. It is likely that they made the metal elements of the current lot.

For more information about Harry Powell and James Powell & Sons, please see the note on page 21.

£1,500-2,500

26 AESTHETIC MOVEMENT WALL MIRROR, CIRCA 1880 ebonised and gilt wood, painted panels 60.5cm (23 3/4in) wide, 91cm (35 3/4 in) high Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 131 (illustrated).

£300-500

27 HARRY POWELL (1853-1922) (ATTRIBUTED) FOR JAMES POWELL & SONS, WHITEFRIARS PAIR OF FOOTED DISHES, CIRCA 1890 patinated metal stands, opalescent glass bowls (2) 13.3cm (5 1/4in) diameter, 12cm (4 3/4in) high Literature: Jackson, L. (ed.), Whitefriars Glass: The Art of James Powell & Sons, Ilminster, 1996, p. 101 pl. 21 (ii) and p. 155, fig. 250 (similar examples illustrated); Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 18 (illustrated).

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

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28

29

JAMES POWELL & SONS, WHITEFRIARS

W. A. S. BENSON (1854-1924) & JAMES POWELL & SONS

GROUP OF SHADES, CIRCA 1900

ARTS & CRAFTS HANGING LANTERN NO. 164A, CIRCA 1900

opalescent glass; together with OTHER OPALESCENT GLASS SHADES (12)

copper, brass, and opalescent glass

tallest 20cm (8in) high; smallest 12.5cm (5in) high

Provenance: Purchased from Michael Whiteway, May 1987.

£500-700

Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 229 (illustrated); Hamerton, I. (ed.), W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, Woodbridge, 2005, p. 130, pl. 107 (illustrated).

79cm (31in) high (approx.)

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

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Moving in similar artistic circles and almost direct contemporaries, HARRY POWELL OF JAMES POWELL & SONS AND W.A.S. BENSON shared the same commitment to progressive ideas in design and business and were natural collaborators.

Benson is today celebrated as a pioneer of Arts & Crafts lighting design, adept at using the reflective qualities of metal to enhance the light source. He had met William Morris through his friendship with Edward Burne-Jones and was encouraged by him to open a small workshop in Hammersmith, specialising in metalwork. In 1882 he moved to larger premises in Chiswick and in 1887 he opened showrooms on Bond Street.

Throughout the 1880s Benson was involved in designing wallpapers and furniture for Morris & Co. and, on Morris’ death in 1896, Benson took over the direction of the company until he retired in 1917.

Harry Powell took over as manager and chief designer of James Powell and Sons in 1875. The firm already had associations with Morris & Co. and the Pre-Raphaelite artists who were commissioned as designers on stained glass projects.

Philip Webb’s glass designs for William Morris were made by James Powell & Sons in 1859 and heralded a new direction for the firm which marked them out from other manufacturers.

From the 1860s, 16th and 17th century Venetian glass became very collectable, and Powells began to capitalise on this trend, producing hand-blown domestic glass, which were reinterpreted and adapted to suit the company’s style of simple, elegant forms. Another source of inspiration was ancient Roman glass and ceramics, and examples of both styles can be found in this collection.

Both Powell and Benson were members of the Art Workers Guild which encouraged interdisciplinary skills and so Powell for example became adept at designing metalwork, incorporating it into his products. Benson designed across the disciplines. They promoted their work through The Studio and other publications and through participation in international exhibitions and stood together at The Glasgow International Exhibition of 1901 and The Arts & Crafts Exhibition of 1903.

The opaline glass used for the shades on many of Benson’s lights, with several examples in this collection, were developed by the firm from 1862 and perfected by Powell, a chemist by training, by 1877.

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30 W. A. S. BENSON (1854-1924) ARTS & CRAFTS TABLE LAMP NO. 1132, CIRCA 1900 brass, glass shade, stamped BENSON 35cm (13 3/4in) high Literature: Hamerton, I. (ed.) W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, Woodbridge, 2005, appx 1B, p. 258, pl. 15 (design illustrated).

£600-800

31 W. A. S. BENSON (1854-1924) OIL TABLE LAMP, CIRCA 1900 silvered metal, shade with later pleated fabric, stamped hammer mark 58cm (22 3/4in) high Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, pp. 11 & 13 (illustrated).

Hamerton, I. (ed.), W. A S. Benson Arts and Crafts Luminary and Pioneer of Modern Design, Woodbridge, 2005, p. 128, pl. 105 (illustrated).

£400-600

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

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32 W. A. S. BENSON (1854-1924) TWO CANDLE-HOLDERS, CIRCA 1890S copper and brass (2) 22.5cm (8 3/4in) high Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 99 (illustrated); Hamerton, I. (ed.), W. A S. Benson Arts and Crafts Luminary and Pioneer of Modern Design, Woodbridge, 2005, p. 125, pls 101 and 101A (one similar illustrated).

£800-1,200

33 W. A. S. BENSON (BRITISH 1854-1924) ARTS & CRAFTS TABLE LAMP NO. 1132, CIRCA 1900 brass, patinated metal and mirrored glass, stamped twice BENSON 35cm (13 3/4in) high Literature: Hamerton, I. (ed.) W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, Woodbridge, 2005, appx 1B, p. 258, pl. 15 (design illustrated).

£800-1,200

34 W. A. S. BENSON (BRITISH 1854-1924) ARTS & CRAFTS TABLE LAMP NO. X427, CIRCA 1900 brass and copper 42cm (16 1/2in) high Literature: Hamerton, I. (ed.) W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, Woodbridge, 2005, p. 106, pl. 86, no. 393 (illustrated).

£600-800

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35 W. A. S. BENSON (1854-1924) & JAMES POWELL & SONS, WHITEFRIARS TWO ARTS & CRAFTS VASES, 1880S green glass, one copper and brass, the other silvered metal and brass, stamped BENSON and W A S BENSON respectively (2) 22cm (8 ¾ in) high Literature: Hamerton, I. (ed.) W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, Woodbridge, 2005, p. 90, pl. 65 (one illustrated).

£600-800

36 W. A. S. BENSON (1854-1924) ARTS & CRAFTS TABLE LAMP, CIRCA 1900 brass 28cm (11in) high Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 217 (illustrated); Hamerton, I. (ed.), W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, Woodbridge, 2005, p. 133, pl. 133 (illustrated).

£600-800

37 JAMES POWELL & SONS, WHITEFRIARS GROUP OF SEVEN SHADES, CIRCA 1900 green glass (7) 16cm (6 1/4in) high

£300-500

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38 W. A. S. BENSON (1854-1924) ARTS & CRAFTS TABLE LAMP, CIRCA 1890 patinated metal with clear, frosted and cut-glass shade 55cm (21 3/4in) high Literature: Hamerton, I. (ed.) W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, Woodbridge, 2005, appx 1B, p. 259, pl. 16, no. 1116 (similar design illustrated).

£400-600

39 W. A. S. BENSON (1854-1924) ARTS & CRAFTS TABLE LIGHT, CIRCA 1900 silvered metal, cut glass shade and beaded fringe 54cm (21 1/4in) high Provenance: Purchased from The Fine Art Society, 1985.

Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 223 (illustrated); Hamerton, I. (ed.), W. A S. Benson Arts and Crafts Luminary and Pioneer of Modern Design, Woodbridge, 2005, p. 144, pl. 122 (illustrated).

£1,000-1,500

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

26

40 HARRY POWELL (1853-1922) FOR JAMES POWELL & SONS, WHITEFRIARS COBWEB AND DEWDROP GOBLET, 1901 etched glass, gilt inclusions, air-twist stem 23cm (9in) high Exhibited: St Louis World’s Fair, 1904 (design exhibited).

Literature: Jackson, L. (ed.), Whitefriars Glass: The Art of James Powell & Sons, Ilminster, 1996, p. 105 pl. 35 I, (similar example illustrated).

Note: The technique of embedding gold and platinum foil in molten glass was first developed

by Powell in 1879.

41 JAMES POWELL & SONS, WHITEFRIARS PRESENTATION GOBLET, CIRCA 1890 glass, etched cypher JS

£600-800

27.5cm (10 3/4in) high

£300-500

42 JAMES POWELL & SONS, WHITEFRIARS DECANTER & STOPPER, CIRCA 1890 glass, with trailed decoration, hammered silver and cork stopper, 25.5cm (10in) high; together with a CARAFE, glass, with applied trailed decoration, 26cm (10 1/4in) high; and a WINE GLASS, 22cm (8 1/2in) high (3) £500-800

43 ENGLISH DECANTER AND STOPPER, CIRCA 1880 glass, etched decoration, 34.5cm (13 5/8in) high; together with a PITCHER, glass, etched, and applied bosses, registration mark, 25cm (9 7/8in) high (2) Provenance: Decanter purchased from Michael Whiteway, 1983.

£300-500

44 HARRY POWELL (1853-1922) (ATTRIBUTED) FOR JAMES POWELL & SONS, WHITEFRIARS CARAFE, CIRCA 1890 glass and wrought iron, 30.5cm (12in) high; together with a JAMES POWELL & SONS CARAFE, glass and brass, 27.5cm (11in) high (2) Literature: Jackson, L. (ed.), Whitefriars Glass: The Art of James Powell & Sons, Ilminster, 1996, p. 99, pl. 9 iii and iv (carafes illustrated).

£300-500

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

28

45 HARRY POWELL (1853-1922) (ATTRIBUTED) FOR JAMES POWELL & SONS, WHITEFRIARS INKWELL, CIRCA 1909 internally decorated blue glass with silver cover, the cover stamped with maker’s mark JP&Ss, hallmarked London 1909 9cm (3 1/2in) high

£500-800

46 JAMES COUPER & SONS, GLASGOW ‘CLUTHA’ SHALLOW BOWL, CIRCA 1900 glass, mica and aventurine inclusions 22.2cm (8 3/4in) wide (approx.)

£300-500

47

48

AMERICAN PAIR OF FOOTED VASES, CIRCA 1900

ROBERT ANNING BELL R.A. (BRITISH 1863-1933)

agate glass (2)

THE AMAZON GUARD

19cm (7.5in) wide, 15cm (6in) high (approx.)

Oil on canvas

£300-500

61cm x 34.3cm (24in x 13.5in) Provenance: With Abbott & Holder, London, 1980.

Exhibited: Rome, Fine Arts Exhibition, Oil Paintings by Living Masters, 1911, no. 129 (exh. Cat., illustrated p. 187)

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

30

49 PAUL FALCONER POOLE R.A., R.I. (BRITISH 1807-1879) MARINA SINGING TO HER FATHER, PERICLES, ETC. Signed and dated ‘PF Poole 1852’ (lower right), oil on canvas 81.3cm x 96.5cm (32in x 38in) Provenance: With Abbott & Holder, London, 1970.

Exhibited: London, Royal Academy, 1852, no. 411.

Literature: Art Journal, 1852, p. 112.

£2,000-3,000

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

31

50 ROBERT ANNING BELL R.A. (BRITISH 1863-1933) HORNS OF ELFLAND FAINTLY BLOWING Signed and dated ‘R Anning Bell 08’ (lower left), oil on canvas 34.3cm x 53.3cm (13.5in x 21in) Provenance: Sotheby’s, 14 July 1984, lot 170; With Abbott & Holder, London, 1984.

Exhibited: London, The New Gallery, Summer Exhibition, 1909; London, Barbican Centre, The Last Romantics, 1989, no. 241.

£2,000-3,000

32

51 ROBERT ANNING BELL R.A. (BRITISH 1863-1933) CUPID DISARMED Signed and dated 1908 (lower left), watercolour 53.3cm x 74.9cm (21in x 29.5in) Provenance: Sotheby’s, Belgravia, November 1976.

Exhibited: Japan-British Exhibition, 1910; London, Barbican Centre, The Last Romantics, 1989, no. 240.

Note: Label (i) ‘Cupid Disarmed RAB East Hagbourne Berks.; Label (ii) Japan-British Exhibition 1910; Label (iii) Repository ‘Mrs A Martin 29/7/31 112.’

£2,000-3,000

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

33

52 GEORGE HEMING MASON A.R.A. (BRITISH 1818-1872) PORTRAIT SKETCH Signed with initials, inscribed and dated ‘Rome June 1st 1848 . . . G M’, inscribed ‘By G H Mason, A.R.A.’ (to reverse), oil on paper 19cm x 13cm (7.5in x 5in) Provenance: Julian Hartnoll, Olympia Fair, June 1998.

£400-600

53 MARY PERRIN (IRISH FL.1872-1929) THE FLAMINGO FAN Signed, watercolour 21.6cm (8.5in) diameter Exhibited: Royal Academy, 1905

£500-700

34

54 GEORGE HEMING MASON A.R.A. (BRITISH 1818-1872) CHILDREN BY A POND – STUDY FOR ‘CHILDREN FISHING’ Oil on board 16.5cm x 25.4cm (6.5in x 10in) Provenance: With Thomas Agnew & Sons, Liverpool, 188(?); A. T. Squarey; With The Fine Art Society, December 1976.

Exhibited: Liverpool, Walker Art Gallery, Grand Loan Exhibition, 1886; London, The Fine Art Society, Etruscan School Exhibition 1976 (?), no. 41.

£500-700

55 GEORGE HEMING MASON A.R.A. (BRITISH 1818-1872) JACK POND, NEAR ESHER Signed and inscribed (to the reverse), oil on board 25.4cm x 34.3cm (10in x 13.5in) Provenance: The artist’s studio sale, circa 1875, where purchased by George Dunlop Leslie, RA, and by descent to his daughter, Mrs Lydia Leslie, and by descent to T L Tisdell; Anonymous sale, Philips, London, 30 January 1990, unknown lot.

Exhibited: Stoke on Trent, City Museum and Art Gallery, George Heming Mason, 1982, no. 59 (lent

by T. L. Tisdell).

£500-800

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

35

56

57

GEORGE HEMING MASON A.R.A. (BRITISH 1818-1872) UNDERCLIFF, NEAR VENTNOR, ISLE OF WIGHT

GEORGE HEMING MASON A.R.A. (BRITISH 1818-1872)

Signed and inscribed ‘Nr Ventnor George Mason ARA’ (on the reverse), oil on board

THRESHING IN THE CAMPAGNA

23.2cm x 32.7cm (9in x 13in)

Oil on canvas laid on panel, in original frame

Provenance: The artist’s studio sale, circa 1875, where purchased by George Dunlop Leslie, RA, and by descent to his daughter; Mrs Lydia Leslie, and by descent to T. J. Tisdell; Anonymous sale, Philips, London, 30 January 1990, lot 133.

7.6cm x 24.1cm (3in x 9.5in)

Exhibited: Stoke on Trent, City Museum and Art Gallery, George Heming Mason, 1982, no., 51. (lent by T L Tisdell).

Studio sale (85): ‘This is probably a study made in connection with ‘Girls Dancing’ In the catalogue to Lord Overstone’s collection, 1875, it is stated that the sketches for that painting were made on the Isle of Wight’ (illustrated in catalogue).

Exhibited: Exhibition of Birmingham Art, Past & Present (as ‘Threshing Corn in the Campagna’ lent by Thos. I Deoitt, Esq.).

£1,000-1,500

Provenance: Thomas L. Devitt; With Leggat Brothers, London; With Julian Hartnell, London, June 1997.

£600-800

36

58

59

60

GEORGE HEMING MASON A.R.A. (BRITISH 1818-1872)

GEORGE HEMING MASON A.R.A. (BRITISH 1818-1872)

ANTHONY FREDERICK AUGUSTUS SANDYS (BRITISH 1829-1904)

A COASTAL VIEW

A DERBYSHIRE FARM

PORTRAIT OF DAVID BROMILOW - 1876

Oil on board

Signed ‘G H Mason’ (lower right), oil on paper laid down on board

Signed, inscribed and dated ‘David Bromilow 1876 F. Sandys’ (upper right), chalk

24.8cm x 71.1cm (9.75in x 28in)

76.2cm x 54.6cm (30in x 21.5in)

Provenance: Christie’s, South Kensington, 13 November 2003, lot 161.

Provenance: Ex Collection M Wisehall; Sotheby’s, Belgravia, 1973 (bought Hartnoll & Eyre); with Abbot & Holder, London (ex Hartnoll & Eyre) May 1975.

19.7cm x 31.8cm (7.75in x 12.5in) Provenance: Possibly, Mr Sentores (?) by 1873; Given in replacement for breakage, January 1996.

£800-1,200

Exhibited: London, Arts Council of Great Britain, Landscapes in Britain 1850-1950, 1983, no. 13

£600-800

Exhibited: Hartnoll & Eyre, September 1973, catalogue 33, no. 19 (priced £650); Brighton Art Gallery, 1970, F. Sandys Exhibition, no. 119.

£8,000-12,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

38

61 A. W. N. PUGIN (1812-1852) ‘BOSSES OF SANCTUARY DRAWING’, 1837 pen, ink and wash, monogrammed and dated 1837, later oak frame 52.5cm x 74cm (20 3/4in x 29 1/8in) Exhibited: Pugin: A Gothic Passion Exhibition, V&A, London,1994.

£300-500

62 A. W. N. PUGIN (1812-1852) PELMET MEDALLION FROM CHIRK CASTLE, CIRCA 1845-1855 embroidered silk threads, reserved on velvet ground, later gilt frame 46cm (18 1/8in) sq.

Note: The ‘B’ stands for the surname of Robert Myddleton Biddulph, who commissioned Pugin to design curtains and pelmet for his Red Drawing Room and Saloon in Chirk Castle. It is believed that the work was undertaken by J. G. Crace. Christie’s London offered the contents of Chirk Castle, Wrexham, Wales in June 2004 and lots 153 and 154 relate to the commission.

£300-500

63 POSSIBLY A. W. N. PUGIN (1812- 1852) FOR MINTON & CO. SET OF FOUR GOTHIC REVIVAL TILES glazed earthenware, impressed MINTON & CO PATENT STOKE UPON TRENT; together with a SET OF FOUR RAVEN TILES, glazed ceramic, impressed MINTONS CHINAWORKS STOKE ON TRENT (8) 15cm (6in) sq.

£300-500

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

39

64 A. W. N. PUGIN (1812-1852) TEN TILES, CIRCA 1860 comprising a TWO-TILE PANEL, each tile 20cm (7 7/8in) sq.; a FRAMED ENCAUSTIC TILE, tile 15cm (5 7/8in) sq.; TWO FRAMED TILES, each 20cm (7 7/8in) sq.; and a further TWO-TILE PANEL, each tile 20cm (7 7/8in) sq.; and a FOUR TILE PANEL, each tile 15cm (5 7/8in) sq.; a SINGLE FRAMED TILE 15cm (5 7/8in) sq.; and TWO GODIN OF HEREFORD ENCAUSTIC TILES, including

by C.F.A. Voysey, each 10.5cm (4 1/8in) sq.; and a MINTONS ENCAUSTIC ROUNDEL, inscribed ST MATTHEW, with impressed marks MINTON & CO, 16cm (6 1/4in) diameter (10) Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 235 (illustrated).

£700-1,000

65 CHRISTOPHER DRESSER (1834-1904) FOR MINTON & CO. THREE TILES, CIRCA 1867 comprising an ENCAUSTIC TILE, later framed, 20cm (7 7/8in) sq., impressed MINTON & CO./ PATENT/ STOKE-UPON-TRENT; and TWO ENCAUSTIC TILES, later framed, impressed MINTON & CO./ PATENT/ STOKE-UPON-TRENT each 15cm (5 7/8in) sq. (3) Provenance: Single tile purchased from Michael Whiteway, July 1994.

Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 232 (illustrated).

£300-500

40

66

67

JOHN MOYR SMITH (1839-1912) FOR MINTONS CHINAWORKS

HENRY RYLAND (1856-1924) FOR HOWELL & JAMES, LONDON

GROUP OF FRAMED TILES, CIRCA 1880

TILE, CIRCA 1870

printed and glazed earthenware, comprising FOUR GRECIAN MUSICAL INSTRUMENTS TILES, signed MOYR SMITH, moulded marks, 20cm (8in) sq.; together with FOUR KNIGHTS OF THE ROUND TABLE TILES, for Mintons China works, signed MOYR SMITH, moulded marks, 15cm (6in) sq.; a GROUP OF FOUR WALTER SCOTT SERIES TILES, each 20cm (8in) sq., signed and dated MOYR SMITH; and FOUR ‘SEASONS’ TILES, all signed and moulded, 15cm (6in) sq.; also WALTER SCOTT – HEART OF MIDLOTHIAN GENIE & THE QUEEN, 20cm (8in) sq.; and KENILWORTH AMY ROBSART & LEICESTER 20cm (8in) sq. (6)

painted and glazed earthenware, painted Designed Etc By H.Ryland for Messr. Howell & James, Regent Street, later wood frame, 13.5cm (5 1/2in) wide, 22cm (8 3/4in) high; together with a CRAVEN AND DUNNILL & CO. TILE PANEL, CIRCA 1890, painted, printed and glazed earthenware, moulded marks, later framed, each tile 15cm (6in) sq. (2) £300-500

Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 237 (The Seasons illustrated).

£300-500

68 COPELAND & SONS GROUPS OF SEVEN MEDIEVAL PURSUITS TILES, CIRCA 1880 printed and painted earthenware, impressed COPELAND, 15cm (6in) sq. each; together with a LARGE COPELAND SINGLE FRAMED TILE, depicting AGE & YOUTH, 30.5cm (12in) sq. (3) Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 231 (illustrated).

£300-500

41

69 JOHN MOYR SMITH (1839-1912) TRISTRAM AND ISOLDE, CIRCA 1870 oil on canvas with gilt highlights, mounted on board, framed, frame printed MOYR SMITH/ TRISTRAM & ISOLDE 40.5cm (16in) wide, 39cm (15 3/8in) high framed

£300-500

70 JOHN MOYR SMITH ( 1839-1912) FOR MINTON, HOLLINS & CO. GROUP OF FOUR AESOP’S FABLES SERIES TILES, CIRCA 1878 printed earthenware, printed MOYR SMITH, moulded maker’s mark, later frames, 20cm (8in) square; together with WALPURGIS NIGHT FRAMED TILE PANEL, Printed earthenware, printed MOYR SMITH, moulded maker’s mark, later frames; and FOUR AESOP’S FABLES TILE PANEL, later framed, 15cm (6in) sq.; and TWO KNIGHT’S OF THE ROUND TABLE TILES, mounted and later framed, signed MOYR SMITH, 20cm (8in) sq. (5) £300-500

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

42

71 MINTONS CHINA WORKS, STOKE-ON-TRENT ‘MORNING’ & ‘NIGHT’, PAIR OF TILES, CIRCA 1880 glazed earthenware, relief moulded MINTONS CHINA WORKS STOKEON-TRENT, later framed (2) 32cm (12 5/8in) sq. framed Exhibited: Fired Earth: 1000 Years of Tiles in Europe 1991-1993, Scarborough Art Gallery Touring Exhibition, no. 190

£300-500

72

73

MINTON HOLLINS & CO,

ALBERT MOORE (1841-1893) FOR MAW & CO.

FOUR AESTHETIC MOVEMENT ALLEGORICAL TILES, CIRCA 1880

FOUR ‘TIMES OF DAY & SEASONS’ TILE PANELS, CIRCA 1878

painted and glazed earthenware, moulded marks

printed and painted ceramic, depicting the four Seasons and four times of day, tile border, printed AM, later frames (4)

15cm (6in) sq.

30cm (11 3/4in) wide, 50.5cm (19 3/4in) high

£300-500

Literature: British Museum MLA 1980, 3-7, 165.

Note: These tiles were created for the Paris Exhibition of 1878.

£300-500

43

74 WILLIAM STEPHEN COLEMAN (1829-1904) PROBABLY FOR MINTON THREE ARTS & CRAFTS TILE PANELS depicting emblematic fishing, hunting and birding (3) 29.2cm (11 1/2in) wide, 109.2cm (43in) high

£2,000-3,000

75 ARTS & CRAFTS, POSSIBLY MANUFACTURED BY J. M. W. WADE CHANCE, 1901 after a drawing by Eleanor Fortisque-Breckdale, monogrammed M H and dated 30.5cm (12in) wide, 96cm (37 3/4in) high overall Exhibited: Fired Earth: 1000 Years of Tiles in Europe, Scarborough Art Gallery touring exhibition 1991-1994 (illustrated on the front cover of the catalogue by Richard Dennis Publications, Ilminster) Note: The design Chance is based on a watercolour by Eleanor Fortisque-Breckdale which appeared in The Studio, Vol. 23, 1901.

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

44

76 ALFRED GEORGE STEVENS (1817-1875) JUDITH AND DAVID, CIRCA 1862 patinated bronze (2) Judith 22.5cm (9in) high; David 23 (9in) high Provenance: Purchased from Fine Art Society, February 1979. Formerly in the Handley-Read Collection.

Note: Alfred Stevens worked on designing these figures between about 1862 and 1865 for a proposed re-decoration St Paul’s Cathedral, but the project was never realised. The other figures for the project were St Mark, St John and Jael, all of whom were to be positioned within the dome. The sketches for Judith and David are in the V & A museum (their respective acquisition numbers being A.84-1911 and A.86-1911).

£1,000-1,500

77 ALBERT TOFT (1862-1949) THE MOTHER, 1903 patinated bronze, signed in the cast ALBERT TOFT, ebonised wood base 42cm (16 ½in) high Provenance: Purchased from Danny Katz, 1975.

Literature: Toft, A., Modelling and Sculpture: A Full Account of the Various Methods and Processes Employed in these Arts, J. R. Lippincott Company, 1915, fig. XLV (similar example illustrated); Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 240 (illustrated).

Exhibited: Royal Academy, 1903, no. 1878. Illustrated in Academy Illustrated, page 65.

£1,000-1,500

78 SIR GEORGE FRAMPTON (1860-1928) ‘VICTORIA’, AND ANOTHER, POSSIBLY ‘ST GEORGE’, CIRCA 1922 patinated bronze on painted stained wood base, each monogrammed, the latter dated 1922 (2) 25.5cm (10 in) and 27cm (10.5 in) high respectively Provenance: Purchased from Richard Dennis. Formerly in the Handley-Read Collection but not shown in the 1972 Royal Academy exhibition.

Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 241 (illustrated).

Note: These figures were designed as finials for the parapet of Queen Mary’s Dolls House, designed by Sir Edwin Lutyens (1869-1944) in the early 1920s and the original works being currently housed in the Royal Collection at Windsor Castle.

£500-700

45

79 FREDERICK ROGERS (1862-1928) TRÄUMEREI, 1897 carved mahogany, ebonised base, signed and dated F. ROGERS 97 67cm (26 3/8in) high, 47cm (18 1/2in) wide, 28cm (11in) deep Exhibited: Royal Academy, 1898, no. 1920.

Arts and Crafts Exhibition Society: Sixth Exhibition, 1899 (example shown) p. 76 (no. 189)

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

46

80 REGINALD FAIRFAX WELLS (1877-1951) GIRL GATHERING WOOD, CIRCA 1907 patinated bronze, signed 34cm (13.5 in) high Note: An example of this model was exhibited at Cartwright’s Memorial Hall, Bradford by the International Society, 1905. Art Journal, 354/6 (illustrated) and one is currently held in the Fitzwilliam Museum, Cambridge (accession no. M.14-2015)

£800-1,200

81 REGINALD FAIRFAX WELLS (1877-1951) PUTTING THE SHOT, CIRCA 1910 patinated bronze 32.3cm (12 3/4in) high Note: A similar example of this bronze sold in these rooms, 23rd October 2019, Lot 456 for £3000.

£1,200-1,800

82 REGINALD FAIRFAX WELLS (1877-1951) SKETCH FOR A WOOD GATHERER, CIRCA 1922 patinated bronze, marble base, signed R F WELLS 22 1, SKETCH FOR A WOOD GATHERER 34.3cm (13.5 in) high

£800-1,200

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

47

83 LUCY GWENDOLIN WILLIAMS (1870-1955) THE STICK, CIRCA 1907 patinated bronze, marble base, monogram LGW 23cm (9 in) high Note: An example of this model is held in the National Museum of Wales, Cardiff (accession no. A 292).

£500-700

84 FREDERICK WILLIAM POMEROY RA (1856-1924) PAN, 1888 patinated metal, signed and dated F.W. POMEROY/ 1888 55cm (21 3/4in) high Exhibited: An example of this model was exhibited at the Royal Academy, London, 1888, no. 1983.

£1,500-2,000

85 JOSEPH DURHAM (1814-1877) THE ROWERS, 1863 patinated bronze, signed J. Durhams 1863 42.5cm (16 1/2in) high Provenance: Contents of Harrington House Leamington Spa, Christie’s, South Kensington, 4 May 2000, lot 407.

Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 14 (illustrated).

£600-800

Note: Joseph Durham is perhaps best remembered for his sculpture of Prince Albert on the Albert Memorial of 1863 situated outside the Royal Albert Hall in South Kensington, London One of six in the series British Sports all exhibited at Royal Academy in 1864.

48

86 CONSTANTIN MEUNIER (1831-1905) DE PUDDELER, 1887-88 patinated bronze, signed C. Meunier 38cm (15in) high Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 242 (illustrated); Weisberg, G. P., Becker, E. and Possémé, E. (eds), The Orgins of L’Art Nouveau The Bing Empire, (exhib. cat.) Amsterdam, Paris and Antwerp, 2004, p. 240, fig.

284 (period photograph from Kunstbibliothek, Dresden, illustrating a similar example displayed at the International Art Exhibition, Dresden, 1897).

£1,000-1,500

87 ALBERT TOFT (1862-1949) METAL POURING, 1913 patinated bronze, marble base, signed and dated 36.5cm (14.5 in) high Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 242 (illustrated).

£500-700

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

49

88 CONSTANTIN MEUNIER (1831-1905) DEBARDEUR DU PORT D’ANVERS, 1893 patinated bronze, signed C. Meunier, J. BETERMANN/ FONDEUR/ BRUXELLES 48.5cm (19 1/8 in) high Provenance: Purchased from Jeremy Cooper, 1981.

Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 240 (illustrated); Weisberg, G. P., Becker, E. and Possémé, E. (eds), The Orgins of L’Art Nouveau The Bing Empire, (exhib. cat.) Amsterdam, Paris and Antwerp, 2004, p. 240, fig. 284 (period photograph from Kunstbibliothek, Dresden, illustrating a similar example displayed at the International Art Exhibition, Dresden, 1897).

£2,000-3,000

Note: An initial wax version of this model of a dock worker was exhibited at the Salon De XX in Brussels in 1885, before a larger plaster was shown at the National Society of Fine Arts in Paris in 1889 to much acclaim: ‘never had one, with such intensity, put in a figure so tragic expression and touching, energy, suffering and resignation’. In 1890 the French State bought a version in bronze, which now resides at the Musée d’Orsay and a life-size copy resides in the main square in Antwerp, to the point of almost being a symbol of the city.

50

51

89 L. ARNOLD FOR MINTON AESTHETIC MOVEMENT PLAQUE, CIRCA 1880 painted porcelain, framed, impressed MINTON 41cm (16 1/8in) sq. framed

£300-500

90 WILLIAM STEPHEN COLEMAN (1829-1904) FOR MINTON ART POTTERY STUDIO CHARGER, CIRCA 1875 painted earthenware, ebonized wood and gilt frame, signed W. S. COLEMAN 49cm (19 1/4in) diameter Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 129 (illustrated).

£500-700

91 WILLIAM STEPHEN COLEMAN (1829-1904) FOR MINTONS ART POTTERY STUDIO WALL PLATE, CIRCA 1870 painted earthenware, printed MINTONS Art Pottery STUDIO Kensington Gore, painted W G. N. 24, impressed MINTON 30cm (11 ¾ in) diameter Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 137 (illustrated).

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

52

CHRISTOPHER DRESSER founder Linthorpe Art Pottery in Middlesbrough in 1879 with a local entrepreneur John Harrison. Harrison had met Dresser at a lecture on Japanese Art he had given locally, and Dresser had been affected by the deprivation caused by high unemployment in the area. and together they did something about it.

Harrison owned a brickworks near Middlesbrough and it is from this red clay that most of the output was made. They aimed to create a model working environment with a highly trained workforce and fair pay regardless of gender. Eventually the firm would go on to employ over 100 people, including skilled workers from the Staffordshire Potteries and artists trained at the Schools of Art, South Kensington.

Dresser persuaded master potter Henry Tooth to oversee the production of ware and for three years Dresser himself was ‘Art Superintendent’ of the firm.

Although the work Dresser produced for Linthorpe was broadly inspired by his study of Japanese ceramics during his ground-breaking visit to Japan in 1876, characteristically he also drew from many other historicist sources including Roman glass and Peruvian and Fujian pottery, which he had studied in the British Museum. The wares at Linthorpe represent Dresser’s belief that the commonest materials can be transformed into things of beauty.

Rich glazes & sculptural qualities revealed his skill in creating interesting and exciting shapes.

Although critically acclaimed and reasonably priced the pottery ran into difficulties in the late 1880s, due in part to the rising cost of materials and saturation of the market by similar products produced by the Bretby pottery formed by a partnership between potter William Ault and Henry Tooth, who had left Linthorpe in 1882, and eventually the pottery closed in 1889-91. Many of the Dresser moulds were bought by Ault Pottery, which had been set up by William Ault in 1887.

Christopher Dresser himself was later employed by the firm. His contract, signed in May 1893, paid £400 over three years. It specified he should travel to the factory twice a year, with first-class train expenses and a guinea a day for hotel costs for up to three days. On his visit he was to “inspect the production of objects”, “instruct the workmen” and “criticise objects already made”. The Ault Pottery was the last of three ceramic firms in the north of England with which Dresser was associated.

53

92 CHRISTOPHER DRESSER (1834-1904) FOR AULT POTTERY ‘OWL’ VASE, CIRCA 1896 glazed earthenware, impressed ENGLAND/ 365 38cm (15in) high Literature: Lyons, H., Christopher Dresser: The People’s Designer: 1834-1904, Woodbridge, 2005, pp.80-4 (similar example illustrated) Note: Ault Faience was founded in 1887 by William Ault and became Ault’s English Art Pottery in 1910. Dresser’s connection with the pottery ran from 1891-1896.

Although this shape was produced after the termination of Dresser’s contract it is believed that the design is Dresser’s and was with Ault before March 1896.

A similar example of this vase was sold in these rooms on 23rd October 2019, lot 142, for £4000.

£2,000-3,000

93 CHRISTOPHER DRESSER (1834-1904) FOR AULT POTTERY PEACOCK VASE, CIRCA 1880 glazed earthenware, impressed ENGLAND, registration no. and applied maker’s mark 41cm (16in) high

£400-600

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

54

94 CHRISTOPHER DRESSER (1834- 1904) FOR MINTON TEAPOT, CIRCA 1860 glazed earthenware with gilding, impressed MINTONS 18.5cm (7 1/4in) high

£400-600

95 CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE ART POTTERY FOUR VESSELS, CIRCA 1870 glazed earthenware, comprising a PROPELLOR VASE, unmarked, 21.5cm (8 1/2in) high; a TWIN-HANDLED VASE, impressed LINTHORPE/ 337 with facsimile signature, 21cm (8 1/4in) high; a TWIN-HANDLED VASE for Henry Tooth, impressed LINTHORPE/ 957/ HT, 14cm (5 1/2in) high; and a JUG for Henry Tooth, impressed LINTHORPE/ HT with facsimile signature, 7cm (2 3/4in) high (4) £500-700

55

96 CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE ART POTTERY SAKE BOTTLE, CIRCA 1880 glazed earthenware, impressed LINTHORPE/ 326 with facsimile signature 20.2cm (8in) high Literature: Durant, S., Christopher Dresser, London, 1993, p.121 (similar example illustrated); Whiteway, M., Christopher Dresser; 1834-1904, Milan 2001, p.145 (similar example illustrated); Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 32 (illustrated).

£600-800

97 CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE ART POTTERY SAKE BOTTLE, CIRCA 1880 glazed earthenware, impressed LINTHORPE/ 174 with facsimile signature 13.5cm (5 1/4in) high Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 29 (illustrated); Whiteway, M. (ed), Christopher Dresser, A Design Revolution, London, 2004, p.172 pl. 232 (similar example illustrated).

£300-500

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

56

98 RICHARD REDGRAVE (1804-1888) FOR FELIX SUMMERLEY’S ART MANUFACTURES SHAVING MUG, DESIGNED 1848 made by Josiah Wedgwood & Sons, glazed earthenware, pewter mounts, printed inscription

BY THE LENGTH OF HIS BEARD CAN YOU MEASURE A MAN?/ POET OF HERO? – I DOUBT IF YOU CAN./ BEARDED OR SHAVEN – WITH COMES FROM HEAVEN 20.2cm (8in) high Note: Henry Cole founded Felix Summerly’s Art Manufactures in 1847, hoping that if well-known painters and sculptors could be persuaded to produce designs for functional objects the firm could ‘promote public taste’.

This shaving mug by the painter and writer Richard Redgrave was an early design for the firm.

£300-500

99 MARC-LOUIS SOLON (1835-1913) FOR MINTON ‘CAVE’ VASE, 1873 porcelain, pâte-sur-pâte and gilt decorated, impressed and gilt printed ‘MINTONS’, monogrammed ‘MLS’, titled ‘CAVE’ 14.5cm (5 3/4in) high Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 75 (illustrated).

£300-500

100 MARC-LOUIS SOLON (1835-1913) FOR FRANÇOIS-EUGÈNE ROUSSEAU (1827-1913) ‘VENUS AND CUPID’ VASE, CIRCA 1880 porcelain, pâte-sur-pâte and gilt decorated, painted Rousseau rue Coquilliere 41, pâte-sur-pâte ‘Miles’ 21.5cm (8 1/2in) high Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, pp. 72 & 90 (illustrated).

Note: Miles was a pseudonym used by Solon when signing works (see Jones, J., Minton, The First 200 Years of Design and Production, Shrewsbury, 1993, p. 188).

£600-800

57

101 MARC-LOUIS SOLON (1835-1913) (ATTRIBUTED) FOR FRANÇOIS-EUGÈNE ROUSSEAU (1827-1913), PARIS PAIR OF PLAQUES, CIRCA 1865 porcelain, pâte-sur-pâte and gilt decorated, depicting Morning and Evening, white metal mount, impressed on reverse E. ROUSSEAU A PARIS, 41 RUE COQUILLIERE, stamped PHILLIPS & PEARCE,155 NEW BOND STREET (2) 11.7cm (4 5/8in) wide, 17cm (6 5/8in) high Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, pp. 72 & 90 (illustrated).

Bumpus, B., Pâte-sur-Pâte: The Art of Ceramic Relief Decoration, 1849-1992, London, 1992, p. 62, pl. 36, (similar examples illustrated).

Note: These panels perhaps related to a visit Solon made to Venice in 1867. There are several designs in the Stoke-onTrent Museum that relate to his visit including the sketches for a pair of plaques titled ‘Morning’ and ‘Evening’. Neither are signed by Solon but both carry Rousseau’s marks.

£1,000-1,500

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

58

102 HENRY HOLIDAY (BRITISH 1839-1927) DESIGN FROM REREDOS IN ENAMELS FOR HOLY TRINITY, EDINBURGH - 1900 Pencil and watercolour 23.5cm x 8.3cm (9.25in x 3.25in) Provenance: With Abbott & Holder, London, 1975; Studio, Vol. 34, pp.304-309, “Enamelling in relief Mr Henry Holiday’s interesting invention”

by H Murray, illustration of central panel of reredos on p.309.

£500-800

103 THOMAS MATTHEWS ROOKE (BRITISH 1842-1942) CASTITAS Inscribed ‘CASTITAS’ (lower centre), pencil and watercolour heightened with bodycolour 36.2cm x 15.2cm (14.25in x 6in) Provenance: Ted Few, April 2000 (remaining works from A Heleu collection); Label on reverse: Julian Hartnoll.

£400-600

104 HENRY HOLIDAY (BRITISH 1839-1927) SKETCH FOR ‘SAINT JOHN AND THE VIRGIN AT THE FOOT OF THE CROSS’ Black chalk on buff card 82.6cm x 58.4cm (32.5in x 23in) Provenance: Sotheby’s Belgravia, 10 April 1973, lot 333; Abbott & Holder, London, 1973.

Exhibited: Walker’s Galleries, Exhibition of Contents of Studio, 1930, no. 87

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

105 HENRY HOLIDAY (BRITISH 1839-1927) THE CRUCIFIXION (DESIGN FOR STAINED GLASS), 1866 signed and dated Henry Holiday Jan 1866 (lower right), pencil and watercolour on buff paper 120.7cm x 58.4cm (47 1/2in x 23in) Provenance: With Abbott & Holder, London, March 1976.

£1,500-2,000

60

106 WILLIAM WALCOT R.E. (SCOTTISH 1874-1943) SPANISH GOTHIC Signed and dated 1951, pencil 41cm x 53.5cm (16in x 21in)

£600-800

107 WILLIAM RIMER (BRITISH 1825-1892) IDYLLS OF THE KING Signed ‘Wm Rimer’ (lower left), pencil, pen and brown ink 21.6cm x 26.7cm (8.5in x 10.5in)

£500-700

108 FREDERICK WALKER A.R.A., R.W.S. (BRITISH 1840-1875) RIENZI Pen and ink 11.4cm x 10.2cm (4.5in x 4in)

£400-600

61

109 FREDERICK WALKER A.R.A., R.W.S. (BRITISH 1840-1875) THE EVENING MAIL, HALSWAY COURT Inscribed ‘The evening’s excitement at Halsway ‘Yes – No – can it be – Yes it is the Mail cart!’, pen and black ink; and another ‘Cookham Passengers’ Luggage’, within page of hand-written letter dated ‘June 30 66’ and signed ‘F Walker,’ pen and ink (2) 9.8cm x 9.8cm (3.75in x 3.75in) and 17.8cm x 11.4cm (7in x 4.5in) Provenance: Cookham: with Abbot & Holder, London, September 2000.

Literature: Cookham: J G Marks, The Life and Letters of Frederick Walker, p.81

£500-800

110 HENRY HOLIDAY (BRITISH 1839-1927) THE LOWEST FEATURE OF THE TABULAR SYSTEM Signed with initials and inscribed as title (lower centre), pencil, pen and ink 18.4cm x 25.4cm (7.25in x 10in)

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

62

111 E. R. PICKERSGILL (BRITISH SCHOOL) PAN Pencil 20cm x 14.9cm (8in x 5.75in)

£300-500

112 FREDERICK WALKER A.R.A., R.W.S. (BRITISH 1840-1875) STUDY FOR THE WAYFARERS Inscribed to the reverse ‘A study for the old soldier in the ‘wayfarers’ etc, etc / The model was an Oxford St Hawker / Exh Eton College 1948,’ pencil and watercolour 20.3cm x 16.5cm (8in x 6.5in) Provenance: Leonard G Duke Collection; With Abbott & Holder, London, May 1985.

Note: ‘The Wayfarers’ was exhibited in Gambarts Gallery, November 1866; also Deschamps Gallery, 1876, no. 1.

£300-500

113 WALTER PAGET (BRITISH 1862-1935) ROBINSON CRUSOE - HOW LIKE A KING I DINED Signed, grisaille 12.5cm x 12.5cm (4.75in x 4.75in)

£300-500

63

114 JOSEPH ARTHUR PALLISER SEVERN (BRITISH 1842-1931) SEASCAPE Signed ‘J. A. P. Severn / 1866’ (lower left), watercolour 61cm x 88.9cm (24in x 35in)

£1,000-1,500

115 WILLIAM JOHN MONTAIGNE (BRITISH 1839-1902) SEA RUST AT SOUTHWOLD ON THE BANKS OF THE BLYTHE Signed with monogram ‘Montaigne,’ watercolour 21.6cm x 33cm (8.5in x 13in) Provenance: Portobello Road, 1971 with artist’s label on reverse with title and address.

£800-1,200

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

64

116 WILLIAM A. SHACKLETON (BRITISH 1872-1933) HAULING THE BARGE Signed and dated ‘W Shackleton / 19’ (lower left), watercolour and bodycolour 20.5cm x 27.5cm (8in x 10.75in) Provenance: Julian Hartnoll, February 1997.

£500-700

117 NICOLAUS WILHELM JUNGMANN (DUTCH 1872-1935) PORTRAIT OF AN OLD LADY IN A BONNET Signed with monogram (lower right), ink and watercolour 21cm x 17.1cm (8.25in x 6.75in) Provenance: With Abbot & Holder, London, May 1976.

£400-600

118 CHARLES MARCH GERE R.A., R.W.S. (BRITISH 1869-1957) THE OX CART Signed with monogram and dated ‘1923’ (lower left), watercolour 33.7cm x 49.5cm (13.25in x 19.5in) Provenance: Abbott & Holder, London, October 1975.

£500-700

65

119 EDMUND THORNTON CRAWFORD R.S.A. (SCOTTISH 1806-1885) CLIFFS, AUCHMITHIE Signed and dated ‘Edmund T Crawford 1852’ (lower right), oil on board 21.5cm x 31.8cm Provenance: Private Collection, 1961.

£800-1,200

120 ROBERT WALKER MACBETH R.A. (SCOTTISH 1848-1910) SWEETHEARTS AND WIVES Signed with initials and dated ‘1896’ (lower right), watercolour 17.1cm x 29.2cm (6.75in x 11.5in) Provenance: Graves, Son & Pilcher Auction Room, 1972.

Exhibited: London, Royal Academy, 1896, no. 1025

£700-1,000

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

66

121 FREDERICK SMALLFIELD A.R.W.S. (BRITISH 1829-1915) SHILLY-SHALLY - 1863 Signed, inscribed and dated ‘F. Smallfield 1863’ (lower right), watercolour 35.6cm x 25.4cm (14in x 10in) Provenance: Peter Nahum, Leicester Galleries, August 1997.

Exhibited: London, Peter Nahum Ltd, A Century of Master Drawings, Watercolours and Works in Egg Tempera, 1995, np. 40 Literature: Burlington Magazine, March 1996, pp. 209-11 (illustrated) (review ‘London & Copenhagen, etc’

by Judith Bronthurst)

£800-1,200

122 HENRY WALLIS R.W.S. (BRITISH 1830-1916) THE MUSIC LESSON Watercolour 22.2cm x 34.3cm (8.75in x 13.5in) Provenance: Sotheby’s, Belgravia, 10 April 1973 (to Upper Chenil Gallery); April 1979.

Exhibited: Cockermouth, Norham House Gallery, The Pre-Raphaelite Fringe Exhibition, November 1973, no. 21 (as ‘The Music Master’, lent by B Waters), not illustrated.

£500-700

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

67

123 VALENTINE WALTER BROMLEY (BRITISH 1848-1877) THE FALSE KNIGHT Watercolour 25.4cm x 30.5cm (10in x 12in) Provenance: With Abbot & Holder, London, July 1979.

£600-800

124 JOHN ABSOLON (BRITISH 1815-1895) RED COSTUMED MALE FIGURE Signed ‘John Absolon’ (lower left), pencil and watercolour with scratching out 31.8cm x 23.5cm (12.5in x 9.25in) Provenance: With Abbott & Holder, London, mid-1960s?; Bequeathed by Charles Monteith, May 1995.

£300-500

125 PHILIP HERMONGENES CALDERON R.A. (BRITISH 1833-1898) WOMAN SEATED AGAINST TREE TRUNK IN A WOOD Signed with initials ‘PHC’ (lower left), watercolour 20.3cm x 15.2cm (8in x 6in) Provenance: With Abbott & Holder, London, December 1974.

£400-600

68

126 EDMUND JOSEPH SULLIVAN (BRITISH 1869-1933) WOMAN IN WHITE ON GRASS IN WALLED GARDEN Signed and dated ‘E. Sullivan 93’ (lower left), pencil and watercolour heightened with white 20.3cm x 17.8cm (8in x 7in) Provenance: With Abbott & Holder, London, 1970.

£500-800

127

§

LEON-VICTOR SOLON (BRITISH 1872-1957) GIRL SPINNING PLATE Pencil and watercolour heightened with bodycolour 33.7cm x 19.7cm (13.25in x 7.75in) Provenance: With Abbott & Holder, London, September 1988.

Exhibited: Abbott & Holder, Exhibition of work by Leon Victor Solon, Sept 1988

£400-600

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

69

TAXILE DOAT worked at Manufacture de Sevres 1877 to 1905 and then again from 1914. He was as free-spirit who pursued his own experiments inspired by Japanese and Chinese tradition.

The porcelain forms were decorated with pâte-sur-pâte decoration. The layering of coloured paste and white paste was used to created cameos like reliefs with a translucent quality.

128 TAXILE MAXIMIN DOAT (1851-1939) DOUBLE-FRONTED FREE-STANDING PLAQUE, CIRCA 1928 porcelain and grès, painted TDOAT/ 1928/ Sèvres 19cm (7 1/2in) high Provenance: Decorative Arts, Christie’s, London, 2 May 1996, lot 54.

£800-1,200

70

129 TAXILE MAXIMIN DOAT (1851-1939) WALL PLAQUE, CIRCA 1905 porcelain and grès, painted DOAT/ Sèvres 21.4cm (8 3/8in) diameter Literature: La Societe National des Beaux-Arts, 1906 (illustrated); Duncan, A., The Paris Salons 1895-1914, Vol IV: Ceramics & Glass, Woodbridge, 1998, p.116 (appears to be this example illustrated).

£600-900

130 TAXILE MAXIMIN DOAT (1851-1939) WALL PLAQUE, CIRCA 1902 porcelain and grès, painted DOAT/ Sevres, incised AF 14.5cm (5 3/4in) diameter Literature: La Societe National des Beaux-Arts, 1902 and 1904 (illustrated); Duncan, A.,The Paris Salons 1895-1914, Vol IV: Ceramics & Glass, Woodbridge, 1998, pp.180 & 183 (appears to be this example illustrated).

£1,000-1,500

71

131 TAXILE MAXIMIN DOAT (1851-1939) VASE, CIRCA 1910 porcelain and grès, painted TDOAT/ Sèvres 26cm (10 1/4in) high Provenance: Purchased from Richard Dennis August 1990; Applied Arts, Sotheby’s, London, 21 October 1988, lot 71.

£1,000-1,500

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

72

132 BURMANTOFTS FAIENCE POTTERY, LEEDS PLATE, CIRCA 1890 lustre-glazed ceramic, impressed BURMANTOFTS/ FAIENCE/ THE LEEDS FIRECLAY CO LTD/ ENGLAND, lustre monogram JW, painted TL 26cm (10 ¼in) diameter

£300-500

133 RICHARD JOYCE (1873-1931) FOR PILKINGTON’S TILE AND POTTERY CO. WALL CHARGER, DATED 1924 lustre-glazed earthenware, incised R JOYCE/ 1924, impressed with factory backstamp, lustre monogram 30cm (11 3/4in) diameter

£400-600

134 LOUISE POWELL (1865-1956) FOR WEDGWOOD SHALLOW BOWL, CIRCA silver-lustre and painted ceramic, impressed WEDGWOOD/ M/ 3VY/ C, painted marks and number 2425 24cm (9 1/2in) diameter Exhibited: Wedgwood Exhibition, Richard Dennis, 1982. P36.

£300-500

73

135 AFTER A DESIGN BY WILLIAM STEPHEN COLEMAN PAIR OF VASES, CIRCA 1880 porcelain, painted, with gilt highlights (2) 14cm (5 1/2in) high Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p.143 (illustrated).

£300-500

136 ROYAL WORCESTER VASE, 1889 porcelain, painted with gilt highlights, date cypher O, painted monogram B, incised 852; together with A CROWN DERBY VASE, decorated with peacock feathers and gilt highlights, red printed marks (2) 32cm (12 5/8in) and 21.5cm (8 1/2in) high respectively Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 146 (former), p. 133 (latter) (illustrated).

£300-500

137 MANNER OF CHRISTOPHER DRESSER FOR MINTON PAIR OF VASES, CIRCA 1870 porcelain, cloisonné decoration with gilt highlights, one impressed MINTON 1394 (2) 25.5cm (10in) high Purchased from Michael Whiteway, January 1992.

Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, pp. 90, 91 & 93 (illustrated).

£700-900 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

138 FELIX BRACQUEMOND (1833-1914) FOR FRANÇOIS-EUGÈNE ROUSSEAU (1827-1913) TWO PLATES, CIRCA 1866-1875 printed and painted earthenware, one printed CREIL, L. M. & CIE, MONTEREAU MODÈLE E. ROUSSEAU, À PARIS, the other E. LEVEILLE PARIS ROUSSEAU, 24.5cm (9 5/8in) diameter; together with FOUR OTHER PLATES, printed and painted earthenware, printed marks, 25.5cm (10in) diameter; and TWO ESCALIER DE CRISTAL PARIS PLATES, printed and painted earthenware, printed ESCALIER DE CRISTAL PARIS (8) £300-500

75

139 MINTON & CO. (ATTRIBUTED) NEAR PAIR OF AESTHETIC MOVEMENT WALL PLATES, CIRCA 1875 painted earthenware, unmarked (2) 23.5cm (9 1/4in) and 22.5cm (9in) diameter Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, pp. 128-29 (illustrated).

£400-600

140 FRED MILLER ART POTTERY CHARGER, DATED 1880 painted earthenware, painted F. Miller/ London/ 1880, 41cm (16 1/4in) diameter; and a SMALLER ART POTTERY PLATE, painted earthenware, painted F. Miller/ London/ 1879, 22cm (8 1/2in) diameter (2) £400-600

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

76

141

142

MONTIGNY-SUR-LOING

MONTIGNY-SUR-LOING

PAIR OF TWIN-HANDLED FAIENCE VASES, CIRCA 1880

SHOULDERED VASE, CIRCA 1880,

painted and glazed earthenware, painted M.S.L. V., the other also marked 4, 22cm (8 5/8in) high; together with a HEXAGONAL SECTION VASE, painted M S. L./ GE, 34cm (13 3/8in) high; and a EUGÈNE SCHOPIN VASE, decorated by Edmond van Coppenolle, impressed ES/M.S.L/ 421, painted M.S.L./ 224, monogram CVF, 32cm high (12 5/8in) high (4)

painted and glazed earthenware painted M. S. L, 38cm (15in) high; together with LÉON PARISOT FOR DOMINIQUE GRENET PAIR OF VASES, CIRCA 1875, glazed earthenware, painted DG/ LP, 30cm (11 3/4in) high (3)

Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p.194 (elephant handled vase illustrated).

£500-800

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

£300-500

77

143 JOSEPH-CARLE SCHULLER (1852- ND) BLUETITS IN BLOSSOM PLAQUE, PROBABLY CIRCA 1885 painted and glazed earthenware, framed, painted J. C. Schuller, partial impressed marks *IENCE PARIS B 35.5cm (14in) wide, 45cm (17 3/4in) high Note: Known as a painter of birds and flowers, Joseph-Carle Schuller exhibited at the Société des Artiste Français from 1880 until 1913.

He worked at Montigny-sur-Loing, as well as for a time at Longwy, and also at Sarreguemines.

£600-800

144 DOMINIQUE GRENET (1821-1885) TWO TWIN-HANDLED FAIENCE VASES, CIRCA 1875 glazed earthenware, each with painted monogram DG, 32cm (12 5/8in) high, the other 32.5cm (12 3/4in) high; together with a PAIR OF EUGÈNE SCHOPIN MONTIGNY-SUR-LOING VASES, decorated by Adolphe-Louis-Napoléon Castex-Dégrange, impressed ES/M.S.L, painted MSL/18, the other painted no 20, each with painted monogram CD, 32cm (12 5/8in) high; and a PAIR OF SMALL EUGÈNE SCHOPIN MONTIGNY-SUR-LOING VASES, impressed ES/ M.S.L/ 434, painted MSL/ 924, one with painted mark 323/ B, 16cm (61/4in) high (6) £1,200-1,800

78

145 GEORGE HOWARD (BRITISH 1843-1911) LISMORE CASTLE, COUNTY WATERFORD Watercolour 25.5cm x 36cm (10in x 14in)

£500-800

146 ALBERT GOODWIN R.W.S. (BRITISH 1845-1932) A DEVONSHIRE LANE Signed with monogram and dated ‘69’ (lower left), watercolour 33cm x 49.5cm (13in x 19.5in) Provenance: With Abbott & Holder, London, February 1984.

£600-800

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

79

147 WILLIAM JOHN MONTAIGNE (BRITISH 1839-1902) OLD INN AND BUILDINGS, HEMEL HEMPSTEAD Signed ‘W J Montaigne’ and with monogram (lower left), watercolour 14cm x 20.3cm (5.5in x 8in) Provenance: Gorringes, 1970.

Exhibited: London, Royal Academy, 1884, no. 1155 with artist’s label to reverse with address and picture title.

£400-600

148 JOHN WILLIAM NORTH A.R.A., R.W.S. (BRITISH 1842-1924) A GEORGIAN MANSION, HERTFORDSHIRE Signed ‘JWN ARA / 1916’ and inscribed ‘The citizen sleeps snug and snug as a bug in a rug,’ watercolour and scratching out 14.3cm x 12.7cm (5.5in x 5in) Provenance: Abbott & Holder via Phillips, March 1980.

Exhibited: London, Old Watercolour Society, 1916, no. 192 Note: There is an artist’s label to the reverse – No. 4 and address (Washford under Taunton), as well as a Royal Scottish Society of Painters in Watercolour’s label (256?).

£600-800

149 JOHN WILLIAM NORTH A.R.A., R.W.S. (BRITISH 1842-1924) A WATERMILL BY THE SEA, DEVON (OR BEER HEAD, DEVON) Signed with initials and dated ‘1915’ (lower right), pencil and watercolour with scratching out 8.9cm x 12.1cm (3.5in x 4.75in) Provenance: With Abbott & Holder, London, July 1976.

Exhibited: London, Old Watercolour Society, 1915 (Winter), no. 156; Hartnoll & Eyre, Exhibition, 23 September-11 October 1979, no. 40, item 17 (with label inscribed with title and J W North, ARA, Washford-under-Taunton, Somerset. Prix RXX-).

Label (in envelope attached to back). Inscribed No. 3; Title and artist’s address

£500-800

80

150 ALFRED WILLIAM HUNT R.W.S. (BRITISH 1830-1896) DOLWYDDELAN - TWILIGHT, RAIN Watercolour with scratching out 26cm x 38.7cm (10.25in x 15.25in)

£700-900

151 ALFRED WILLIAM HUNT R.W.S. (BRITISH 1830-1896) SUNSET AT WHITBY VIEWED FROM THE NORTH Watercolour 12.7cm x 21.6cm (5in x 8.5in) Provenance: Violet Hunt, sold from her estate (according to Abbott & Holder); With Abbott & Holder, London, July 1998.

£300-500

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

Provenance: John Wheeldon Barnes, Christie’s, 7 April 1894, lot 128 (£14gns to Mitchell); C. W. Mitchell, Newcastle, 1897; Christie’s (J. Abbott), 21 July 1981, lot 341.

Exhibited: Liverpool, Walker Gallery, Memorial Exhibition of Pictures by A W Hunt, 1897, London, Burlington Fine Arts Club, Drawings and Watercolours by Alfred William Hunt, 1897, no.6 with artist’s label on reverse with G28780 (ie 28 July 1880).

81

152 HERCULES BRABAZON BRABAZON (BRITISH 1821-1906) THE GATEWAY AT TANGIERS Signed with initials (lower right), pencil, watercolour and bodycolour on buff paper 17.8cm x 24.1cm (7in x 9.5in) Provenance: Christie’s, South Kensington, 15 October 1992, lot 15.

£700-1,000

153 WILLIAM WALCOT R.E. (SCOTTISH 1874-1943) THE STADIUM OF DOMITIAN, ROME Signed and dated 1940, pen and ink and watercolour 50cm x 66cm (19.75in x 26in)

£600-800

154 MORTIMER MENPES (BRITISH 1855-1938) VENICE Signed (lower right), pencil and watercolour 20cm x 24cm (8in x 9.5in)

£500-800

82

155 19TH CENTURY BRITISH SCHOOL LANDSCAPE Signed with monogram ‘RMR’ and dated ‘1863’ (lower right), oil on canvas 14cm x 33cm (5.5in x 13in)

£700-1,000

156 MARGARET FISHER PROUT A.R.A, (BRITISH 1875-1963) FAIRLIGHT Signed ‘Fisher Prout’ (lower right), oil on board 43.2cm x 62.2cm (17in x 24.5in) Provenance: With Abbott & Holder, London, November 1986.

£500-700

157 JAMES CHARLES (BRITISH 1851-1906) SELSEY BILL Signed ‘J Charles’ (lower left), oil on board 8.9cm x 27.9cm (3.5in x 11in) Provenance: Possibly, Sotheby’s, Belgravia, 1977.

£400-600

84

158 MARTIN BROTHERS TWO VASES, CIRCA 1890 salt-glazed stoneware, both incised R W Martin Fulham (2) 21cm (8 1/4in) high and 18.5cm (7 1/2in) high Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 229 (illustrated).

£300-500

159 FRANCIS POPE (FL.1880-1925) FOR ROYAL DOULTON THREE VASES, CIRCA 1890 glazed stoneware, comprising a LARGE VASE impressed ROYAL DOULTON, date cypher Q, incised FCP/ 53, monogram LB, 41.5cm (16 3/8in) high; together with a FURTHER FRANCIS POPE VASE, with broad rim, impressed DOULTON LAMBETH, incised FCP/ 122, monogram RB, 40cm (15 3/4in) high; and a TAPERED FRANCIS POPE VASE, impressed DOULTON LAMBETH, incised FCP/ 64, monogram H, 30cm (11 3/4in) high (3) Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, pp. 200-201 (illustrated).

£300-500

160 DOULTON, LAMBETH TWO SILICON WARE VASES, 1884 glazed stoneware, impressed DOULTON SILICON LAMBETH 1884/ OB, incised EDL/ B/ 82, one with partial V&A Museum Department of Ceramics label (2) 24cm (9 1/2in) high Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 20 (illustrated).

£400-600

85

161 FRANK BUTLER (FL.1872-1911) FOR DOULTON, LAMBETH BOTTLE AND STOPPER, DATED 1894 glazed stoneware, incised DESIGNED & EXECUTED AT IMPERIAL INSTITUTE DOULTON LAMBETH, FAB, 1894, and incised RCS 1894, 26.5cm (10 7/16in); together with ANOTHER FRANK BUTLER VASE, glazed stoneware, impressed DOULTON LAMBETH/ 1879, incised FAB/ 439, 45cm (17 3/4in) high (2) Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 247 (illustrated).

£400-600

162 ARTHUR BARLOW (1845-1879) FOR DOULTON LAMBETH LARGE COVERED EWER, 1875 glazed stoneware and patinated metal, impressed DOULTON LAMBETH, incised ABB/ 34.2 50cm (19 5/8in) high Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, pp. 245-46 (illustrated).

£500-800

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

86

163 MARK V. MARSHALL (1843-1919) FOR ROYAL DOULTON GROTESQUE VASE, CIRCA 1890 glazed stoneware, impressed ROYAL DOULTON, date cypher D, incised MVM/ 99, monogram EB 22cm (8 5/8in) high Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p.191 (illustrated).

£300-500

164 FRANCIS POPE (FL.1880-1925) FOR ROYAL DOULTON DRAGON VASE, CIRCA 1890 glazed stoneware, impressed ROYAL DOULTON/ 736, incised FCP/ 530, monogram FJ, 24cm (9 1/2in) high; together with ANOTHER FRANCIS POPE VASE, glazed stoneware, impressed ROYAL DOULTON/ 736, incised FCP/ 497, monogram BN, 24.5cm (9 3/4in) high; and another FRANCIS POPE BALUSTER VASE, glazed stoneware, impressed DOULTON LAMBETH, incised FCP/ 65, monogram (indistinct), 33cm (13in) high (3) Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, pp. 200, 201 & 206 (illustrated).

£400-600

87

165 FRANK BUTLER (FL.1872-1911) FOR DOULTON, LAMBETH DRAGON EWER, 1897 glazed stoneware, impressed DOULTON LAMBETH, incised FAB/ 1897/ VEX.EC., monogram RB 14.5cm (5 3/4in) high Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, pp. 247 & 254 (illustrated).

£1,000-1,500

166 MARK V. MARSHALL (1843-1919) FOR ROYAL DOULTON GROUP OF THREE VASES, CIRCA 1905 glazed stoneware, comprising a TALL CYLINDRICAL VASE, impressed ROYAL DOULTON, date cypher H, incised MVM/ 666/ monogram LB, 38.2cm (15 1/8in) high; together with a SMALL SHOULDERED VASE, glazed stoneware, impressed ROYAL DOULTON, date cypher D, incised MVM/146, monogram LV, 27.8cm (11in) high; and a BALUSTER VASE, impressed ROYAL DOULTON, date cypher E, incised MVM/ 793, monogram H, 46.8cm (18 3/8in) high (3) Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, pp. 199-201 (illustrated).

£600-800

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

88

167 MARK V. MARSHALL (1843-1919) FOR ROYAL DOULTON DRAGON VASE, CIRCA 1890 glazed stoneware, impressed ROYAL DOULTON, date cypher R, incised MVM/ 82, monogram EP 33.5cm (13 1/4in) high

168

Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, pp.190 & 198 (illustrated).

MARK V. MARSHALL (1843-1919) FOR ROYAL DOULTON

£1,500-2,500

glazed stoneware, impressed ROYAL DOULTON, date cypher G, incised MVM/ 263, monogram EP, 39.5cm (15 5/8in) high; together with a FURTHER MARK V. MARSHALL BALUSTER VASE, glazed stoneware, impressed ROYAL DOULTON, date cypher H, incised MVM/ 725 monogram EP, 34cm (13 3/8in) high; and a SMALL MARK V. MARSHALL VASE, glazed stoneware, impressed DOULTON LAMBETH, incised MVM/ 664, monogram RB, 19.5cm (7 3/4in) high (3)

LARGE BALUSTER VASE, CIRCA 1890

Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, pp. 200-201 (illustrated).

£600-800

89

169 MARK V. MARSHALL (1843-1919) FOR ROYAL DOULTON DRAGON VASE, CIRCA 1890 glazed stoneware, impressed ROYAL DOULTON, date cypher E, incised MVM/ FB 23cm (9in) high

£2,000-3,000

170 MARK V. MARSHALL (1843-1919) FOR ROYAL DOULTON GROTESQUE VASE, CIRCA 1890 glazed stoneware, impressed ROYAL DOULTON with date cypher, incised MVM/ 92/ RB 27cm (10 5/8in) high Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p.199 (illustrated).

£1,500-2,000

171 MARK V. MARSHALL (1843-1919) FOR DOULTON, LAMBETH WAISTED VASE, CIRCA 1900 glazed stoneware, impressed DOULTON LAMBETH, incised MVM/ 488, with monogram, 20cm (7 7/8in) high; together with TWO OTHER VASES BY MARK V. MARSHALL, glazed stoneware, impressed DOULTON LAMBETH/ 882, incised MVM, 21.5cm (8.5in) high; the other impressed ROYAL DOULTON/ 449, incised MVM, 31.7cm (12.5in) high (3) Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, pp. 190, 199 & 200 (illustrated).

£400-600

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

90

172

173

MARK V. MARSHALL (1843-1919) FOR ROYAL DOULTON

MARK V. MARSHALL (1843-1919) FOR ROYAL DOULTON

‘DORIS’ DRAGON BOWL, CIRCA 1890

THE YAWN

glazed stoneware, incised DORIS, impressed ROYAL DOULTON, incised MVM/ 995

glazed stoneware, incised THE YAWN, impressed ROYAL DOULTON, incised MVM/443

19.5cm (7 3/4in) wide

18cm (7in) high

£500-700

Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p.191 (illustrated).

£500-800

174 MARK V. MARSHALL (1843-1913) (ATTRIBUTED) FOR DOULTON, LAMBETH THE WANING OF THE HONEYMOON, CIRCA 1880 glazed stoneware, incised THE WANING OF THE HONEYMOON, impressed DOULTON LAMBETH/ ENGLAND and incised monograms 16.6cm (6 1/2in) high Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p.191 (illustrated).

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

91

175 MARK V. MARSHALL (1843-1919) FOR DOULTON, LAMBETH ‘GROTESQUE’ JUG, CIRCA 1890 glazed stoneware, impressed DOULTON LAMBETH, incised MVM/ 105* (indistinct) 22.5cm (8 7/8in) high Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p.

27 (illustrated).

£2,000-3,000

176 GILBERT WILLIAM BAYES (1872-1953), FOR DOULTON CARRARA WARE SEAHORSE, CIRCA 1890 glazed stoneware, moulded DOULTON CARRARA 15.3cm (6in) high Note: Doulton made Carrara Ware between 1887 and 1896. It is characterised by its white body and matt white glaze and has an appearance resembling Carrara marble.

£300-500

177 MARK V. MARSHALL (1843-1919) FOR DOULTON, LAMBETH ‘BOROGROVE’ VASE, CIRCA 1880 glazed stoneware, impressed DOULTON LAMBETH, incised MVM/ 816 20.5cm (8 1/8in) high Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 30 (illustrated).

£800-1,200

93

Far left Lot 191 [detail] Left Lot 191 [detail]

“HANNAH BARLOW…A LADY OF TWENTY YEARS, WAS ALREADY A “CHARACTER”.

HER SKETCHBOOKS AND A SCRAPBOOK OF INDIVIDUAL DRAWINGS ARE FILLED WITH HUMOUR, MUCH OF IT OF AN ANTHROPOMORPHIC KIND.” Peter Rose, Hannah Barlow: A Pioneer Doulton Artist 1851-1916, Exhibition Catalogue, Christies 1985, p.12

HANNAH BARLOW

Throughout her career Hannah Barlow decorated thousands of

The current group of drawings date from the late 1860s and early

ceramic works for Doulton & Co., and was at the forefront of a

1870s, a period which also marked her time at the Lambeth School

pioneering experiment in the nineteenth century employing women

of Art and the beginning of her career at Doulton & Co., containing

in a previously male arena. Barlow became the first woman to work

an array of sketches that displays her humour and enthusiastic love

for Doulton & Co., becoming a forerunner to many of the great

of animals. At the Lambeth School of Art she developed many of the

woman ceramic artists of the following generations, having studied

ideas that would form the basis for work at Doulton for her career,

at the Lambeth School of Art before joining the recently established

and the half-hour timed sketches which were an important feature

Doulton art pottery studio in Lambeth in 1871, followed by her sister

of the curriculum at the School explain how she gained the ability in

Florence in 1873. She would work at the firm painting Art Pottery

achieving rapid and direct responses in her work.

for over forty years and by mutual agreement Florence specialised in flowers and birds, and Hannah in horses and other animals.

Throughout her sketchbooks a number of her favourite themes reoccur frequently including her concern for the weak, whether

From an early age Hannah Barlow’s love of animals was expressed

animal or children fending off confrontations with man or beast,

in sketches she produced, working in pen, pencil and watercolour,

and designs for pottery including decorative handles for vases

seizing every opportunity to sketch animals directly from nature or

overflowing with naturalistic elements reminiscent of majolica, and

memory, and producing works full of vigour that were the results

oval relief mirrors that ingeniously use animals such as hares and

of frequent visits to places and shows such as the cattle show at

foxes entwined within the borders. Many of the designs and sketches

Windsor and dog show at Crystal Palace.

do draw close comparison to works carried out at Doulton but they do not appear to be a direct copy from this source, as her method of work was based on a spontaneous response to nature.

94

178 HANNAH BARLOW (1851-1916) LION ATTACKING A STAG pen, ink and wash, heightened in white, 22cm (8 3/4in) high, 32cm (12 3/4in) wide; together with SIX FURTHER DRAWINGS, depicting wild animals, all unframed (7) £500-700

179 HANNAH BARLOW (1851-1916) PHIDIAS IN HIS STUDIO pen, ink and wash, monogrammed and titled in pencil, 25.5cm (10in) high, 37cm (14 1/2in) wide; together with TWELVE FURTHER SKETCHES, depicting horses, all unframed (13) £700-900

180 HANNAH BARLOW (1851-1916) ‘DEFIANCE- BUTCHER COMING FOR HER LAMB’, HALF-HOUR TIME SKETCH, CIRCA 1870 pencil on paper, 21.5cm (8 1/2in) high, 14.5cm (5 3/4in) wide; together with FOURTEEN FURTHER DRAWINGS, depicting children with animals, all unframed (15) Literature: Christie’s South Kensington, ‘Catalogue of an exhibition of pottery Hannah Barlow: a pioneer Doulton artist 1851- 1916’, August 1985, published by Richard Dennis, p. 18, fig.

25. (illustrated).

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

95

181 HANNAH BARLOW (1851-1916) ‘H B B’ IN INSECT LETTERING, CIRCA 1870 pen and ink on paper, 6.5cm (2 1/2in) high, 12cm (4 3/4in) wide; together with THIRTEEN FURTHER DRAWINGS, pen and ink on paper, to include a sketch of an elephant, hedgehogs, sheep and birds (14) £600-800

182 HANNAH BARLOW (1851-1916) PORTRAIT OF SIR HENRY DOULTON, 1880 pen and ink, monogrammed and dated in pen, upper right, inscribed to reverse, 35.5cm (14in) high, 25.5cm (10in) wide; together with EIGHT FURTHER PORTRAIT STUDIES, all unframed (9) £400-600

96

183

184

HANNAH BARLOW (1851-1916)

HANNAH BARLOW (1850-1916)

PIGS AT THE FARMYARD TROUGH Oil on paper, 29cm (11 1/2in) high, 43cm (17in) wide; together with ELEVEN FURTHER DRAWINGS OF FARMYARD ANIMALS, in pen, ink and oil, all unframed (12)

WILL THEY STING US?

£600-800

£400-600

pen, ink and wash on paper, monogrammed in pencil (lower right) 23cm (9in) x 31cm (12.25in)

185 HANNAH BARLOW (1850-1916) GUARDING THE FLOCK, 1869 pen, ink and wash on paper, initialled and dated (lower left) 18cm (7in) x 24cm (9 1/2in)

£400-600

97

186 HANNAH BARLOW (1851-1916) GREAT AFRICAN SHRIKE watercolour on paper, 9.5cm (3 3/4in) high, 12cm (4 3/4in) wide; together with FOUR FURTHER WATERCOLOURS, to include one of a bird and one of a fox; and TWO WATERCOLOURS OF A CARACAL, all mounted and unframed (5) £700-900

187 HANNAH BARLOW (1851-1916) IRLAM ON HIS HORSE, ‘BEAUTY’, 1866 watercolour, initialled, dated and titled in pencil, 16cm (6 1/4in) high, 21cm (8 1/4in) wide; together with ANOTHER SIMILAR WATERCOLOUR; TWO WATERCOLOURS OF BIRDS; and a WATERCOLOUR OF DOGS, all unframed (5) Literature: Christie’s South Kensington, Catalogue of an exhibition of pottery Hannah Barlow: a pioneer Doulton artist 1851- 1916, August 1985, published by Richard Dennis, p. 7, fig. 5 (first image illustrated).

Note: Irlam was Hannah Barlow’s older brother.

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

98

188 HANNAH BARLOW (1851-1916) THE DOG CARD GAME, 1870 pen and ink on paper, bears monogram and dated in pen (lower left), 21cm (8 1/4in) high, 16cm (6 1/4in) wide; together with FOURTEEN FURTHER DRAWINGS, mainly featuring dogs and cats, all unframed (15) Literature: Christie’s South Kensington, Catalogue of an exhibition of pottery Hannah Barlow: a pioneer Doulton artist 1851- 1916, August 1985, published

by Richard Dennis, p. 12, fig. 13 (illustrated).

£800-1,200

99

189 HANNAH BARLOW (1851-1916) DESIGN FOR A ‘FOX & HARE’ MIRROR FRAME, CIRCA 1870 pen and ink on paper, initialled and inscribed in pencil (lower left); together with FOUR FURTHER DESIGNS FOR MIRROR FRAMES, all unframed (5) The sheet 20cm (8in) wide, 28cm (11in) high

£600-800

190 HANNAH BARLOW (1851-1916) SO NEAR YET SO FAR terracotta, within ebonized and gilded frame, with monogram 24cm x 17cm (9.5in x 6 3/4in) Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, pp. 200 & 205 (illustrated).

£500-800

191 HANNAH BARLOW (1851-1916) DESIGNS FOR A ‘DOG’ JUG HANDLE AND A ‘CAT’ JUG HANDLE, CIRCA 1870 pen and ink on paper; the dog jug handle sheet 23cm (9in) high, 17.5cm (7in) wide; the cat jug handle sheet 16cm (6 1/4in) high, 13cm (5in) wide; together with THIRTEEN FURTHER ANIMAL DESIGNS FOR CERAMICS, all unframed (15) Literature: Christie’s South Kensington, Catalogue of an exhibition of pottery Hannah Barlow: a pioneer Doulton artist 1851- 1916, August 1985, published

by Richard Dennis, p. 20, figs 29 and 30 (illustrated).

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

100

GEORGE TINWORTH’S love for art began when he worked as an apprentice to his father, a wheelwright. Here he would spend his days carving and drawing various pieces for parts for wheels. His family lived in poverty and for much of his childhood Tinworth worked several small jobs to help support the family.

Yet in between all of this he developed an impressive talent for sculpting after taking local evening school classes. With his mother’s encouragement he enrolled in the Lambeth School of Art and later received an opportunity to study at the prestigious Royal Academy. Here he honed his craft further and won multiple awards for his work. Around the same time, the familyrun factory of Doulton was about to diversify from its usual production line of industrial ceramic wares, such as bathroom fittings and drainage pipes, in favour of decorative art pottery.

Having been introduced to the Doulton’s by his old headmaster, a partnership was soon struck between the two and before long Tinworth’s output for the factory was immense.

Most of the works Tinworth produced throughout his career were religious reliefs, often in terracotta and reflected his fascination with biblical scenes and scriptures, having studied them since he was a child. However, from the 1880s onwards, in an attempt to find some light-relief from his religious compositions, he began to produce playful sculptures on a much smaller scale. These fun and endearing pieces often featured, mice, frogs and children at play, in a number of humorous situations. Produced from moulds design by Tinworth, then handassembled by his assistants before adding some final touches himself, giving life to his character studies. It is not known how many of these dynamic and light-hearted pieces were produced,

192

but they were unlikely made on large scale. Charming and

GEORGE TINWORTH (1843-1913) FOR DOULTON, LAMBETH

incredibly endearing, these figure groups were a perfect antidote

JAR & COVER, CIRCA 1880 glazed stoneware, impressed DOULTON LAMBETH, incised GT 17cm (6 3/4in) high Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 43 (illustrated).

£600-800

193 GEORGE TINWORTH (1843-1913) FOR DOULTON, LAMBETH MUSIC AND LITERATURE, CIRCA 1880 glazed stoneware, incised MUSIC AND LITERATURE ALBERT EMBANKMENT, incised DOULTON LAMBETH and monogram, with V&A Museum Department of Ceramics label 17.7cm (7in) wide, 13.5cm (5 1/4in) high Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 44 (illustrated).

£800-1,200

for Tinworth and are still cherished by collectors today.

101

194 GEORGE TINWORTH (1843-1913) FOR DOULTON, LAMBETH CANOEIST, CIRCA 1885 glazed stoneware, impressed DOULTON LAMBETH 12.7cm (5in) wide, 7cm (3 3/4in) high Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 46 (illustrated).

£600-800

195 GEORGE TINWORTH (1843-1913) FOR DOULTON, LAMBETH THE BICYCLIST, CIRCA 1885 glazed stoneware, incised THE BICYCLIST, with monogram, impressed DOULTON LAMBETH 12cm (4 3/4in) high Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 47 (illustrated).

£1,000-1,500

196 GEORGE TINWORTH (1843-1913) FOR DOULTON, LAMBETH ART AND AGRICULTURE, CIRCA 1880 glazed stoneware, incised ART AND AGRICULTURE ALBERT EMBANKMENT, with monogram 17.7cm (7in) wide, 12.7cm (5in) high Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 45 (illustrated).

£800-1,200

102

197 GEORGE TINWORTH (1843-1913) FOR DOULTON & CO, LAMBETH THREE RELIEF DIORAMAS, CIRCA 1880 terracotta, each within ebonized wood and gilded frames and incised G. Tinworth, comprising SALOME DEMANDING THE HEAD OF JOHN THE BAPTIST; A WORD TO THE SHEPHERDS; and THE RELEASE OF PETER (3) each 14cm x 32cm (5 ½in x 12 1/2in) (approx.)

Salome: inscribed “and the king was exceeding sorry.

Yet for his oath sake, and for their sakes which sat with him He would not reject her” (above plaque) “But the tongue no man can tame it is unruly evil full of deadly poison” (below plaque) “The tongue is only the servant of the mind” (under lower shelf). Inscribed H DOULTON & CO LAMBETH G. TINWORTH G.T. A Word to the Shepherds: inscribed at top “he shall not enter the kingdom of heaven” a word to the shepherds surrounding edge: And Jesus called a little child unto him and in the midst of them and said I say unto you except you be converted and become as humble yourselves. therefore under the mighty hand of God that he may exalt you in due time.” Incised H Doulton Co Lambeth - G. Tinworth GT

£800-1,200

198 GEORGE TINWORTH (1843-1913) FOR DOULTON & CO, LAMBETH TWO RELIEF DIORAMAS, CIRCA 1880 terracotta, each within ebonized wood and gilded frames, incised G. Tinworth, comprising THE YOUNG CHILD WITH MARY, HIS MOTHER; and CHRIST BEFORE CAIAPHAS (2) each 35cm x 19cm (13 3/4in x 7 3/4in) (approx.)

Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 201 (illustrated).

£400-600

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

103

199 GEORGE TINWORTH (1843-1913) FOR DOULTON, LAMBETH PAIR OF SPILL VASES, CIRCA 1880 glazed stoneware, impressed DOULTON LAMBETH, each with monogram (2) 23cm (9in) high (approx.)

Exhibited: Doulton Stoneware Pottery, Richard Dennis exhib. cat., London, 1971, pl. 622 (illustrated).

Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, pp. 27 & 48 (illustrated).

£500-800

200 GEORGE TINWORTH (1843-1913) FOR DOULTON & CO. GOETH DOWN TO THE BATTLE, CIRCA 1875 glazed stoneware, incised GOETH DOWN TO THE BATTLE 9.5cm x 20.5cm (3 3/4in x 8in) Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 200 (illustrated).

£500-700

201 GEORGE TINWORTH (1843-1913) FOR DOULTON, LAMBETH FOUNTAIN SECTION, CIRCA 1878 salt-glazed stoneware, incised ABRAHAM ROSE EARLY IN THE MORNING AND TOOK BREAD AND A BOTTLE OF WATER AND GAVE IT UNTO HAGAR/ H DOULTON & CO LAMBETH 23cm (8 3/4in ) x 21cm (8 1/4in) Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p.

27 (illustrated).

Note: This section is similar to an example Tinworth designed a fountain for the Paris Universal Exhibition of 1878. The fountain elements each of which represented different Biblical scenes.

£400-600

104

202 HAROLD RATHBONE (1858–1929) FOR DELLA ROBBIA POTTERY, BIRKENHEAD TWO ‘SAXON KING’ PLAQUES, CIRCA 1900 glazed terracotta, each painted Della Robbia/ B’head with monogram HR, incised marks, later oak frames (2) 19cm x 33cm (7 1/2in x 13in) high and 19.5cm x 34cm (7 1/2in x 13 1/2in) Provenance: Richard Dennis, March 1989.

Note: The designs for the panels are attributed to Ford Madox Brown.

£1,000-1,500

203 CASSANDIA ANNIE WALKER (1875-1957) FOR DELLA ROBBIA POTTERY, BIRKENHEAD TWIN-HANDLED VASE, 1904 glazed earthenware, incised DR/ 1904/ C.A.W./ 27/ 114/116/ Irish Clay 37.5cm (14 3/4in) high Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, pp.168 & 171 (illustrated).

£1,000-1,500

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

105

204 COMPTON POTTERS’ ART GUILD GROUP OF SIX PLAQUES, CIRCA 1920 painted pottery, including THE HOLY FAMILY, impressed mark, 18.5cm (7 1/4in) x 21.5cm (8 1/2in); ST. CHRISTOPHER, 16cm (6 1/4in) x 10.5cm (4in); ST. FRANCIS, 16.5cm (6 1/2in) x 11cm (4 1/4in) ; JOAN OF ARC, 15cm (6in) x 13.5cm (5 1/4in); BISHOP, unmarked, 19cm (7 1/2in) x 12.5cm (5in); and HEAR NO EVIL,10.5cm (4in) x 15.5cm (6in), each with impressed maker’s marks (6) Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, pp.133-35 (illustrated).

£1,000-1,500

205 COMPTON POTTERS’ ART GUILD THREE FIGURES OF ST. MICHAEL, CIRCA 1920 painted pottery, including TOW STANDING FIGURES, each with impressed Compton marks, one with paper label, 21.5cm (8 1/2 in) high and 20cm (8in) high; and ANOTHER, mounted ton wood cross, 30.5cm (12in) high overall (3) Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, pp.133-35 (illustrated).

£400-600

106

A prominent sculptor and artist based in London,

206

ELLEN MARY ROPE never worked at the Della Robbia Pottery, however she did supply a significant number of designs from 1897

ELLEN MARY ROPE (1855-1934) FOR DELLA ROBBIA POTTERY, BIRKENHEAD

until the factory’s closure in 1906. After studying at the Slade,

FOUR-TILE PANEL, 1896

she quickly gained a solid reputation and received a number of

wanted her work to be more accessible to a wider market; her

glazed terracotta, incised with inscription JOG-ON-JOG-ON-THEFOOTPATH-WAY-AND-MERRILIE-HENT-THE-STILE-A-MERRIE-HEARTGOES-ALL-THE-WAY-YOUR-SAD-TIRES-IN-A-MILE-A, signed and dated E.M.ROPE/ 1896, inscribed with factory mark verso and monogrammed E.M.W. (Emily Margaret Wood)

charming works and traditional working methods approach, very

23cm x 116cm (9in x 45 3/4in) framed

much in keeping with Arts & Crafts ideology, appealed to Harold

Provenance: Purchased from Paul Reeves, August 1997

Rathbone, who was in need of a talented designer and sculptor to

Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 229 (illustrated).

replace Carlo Manzoni and Conrad Dressler.

£600-800

important commissions, including one to produce four panels for the Woman’s Building at the 1893 Chicago Exhibition. Rope also

Her designs for the pottery were an instant success, and featured heavily in the 1896 catalogue, as well as in exhibitions as the Walker Art Gallery in Liverpool. Childhood, motherhood and religion remained dominant themes throughout her work, and in particular, her charming compositions of children proved popular to Della Robbia’s customers. The figures, modelled with simplicity, have a certain classical aura about them; Rope’s approach was delicate, as she sought to offer up a graceful, tender, and endearing interpretation of her figures and the relationship between them.

107

207 ELLEN MARY ROPE (1855-1934) THE NATIVITY, CIRCA 1900 painted plaster relief 43cm x 81cm (17in x 32in) Literature: H. Blairman & Sons Ltd, 1997 catalogue, No. 48; Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p.229 (illustrated).

£300-500

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

108

208 ELLEN MARY ROPE (1855-1934) FOR DELLA ROBBIA POTTERY, BIRKENHEAD MELODY, DATED 1906 glazed terracotta, impressed mark and date 1906 29.5cm x 49cm (11 1/2in x 19 1/4in) Literature: The Studio, Vol. 13, 1898, p. 190 (similar example illustrated), titled ‘Della Robbia panel Melody Designed by Miss Rope and painted by Miss E.M. Wood’.

£600-800

209 ELLEN MARY ROPE (1885-1934) FAIRY LISTENERS, CIRCA 1900 painted plaster, 16.5cm x 26.5cm (6 1/2in x 10 1/2in); together with TWO OTHER ELLEN MARY ROPE PANELS, THURSDAY’S CHILD AND FRIDAY’S CHILD, later framed, each panel 16cm x 11cm (6 1/4in x 4 1/4in) (2) £300-500

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

210 MARIANNE DE CALUWÉ, AFTER EDWARD BURNE-JONES FOR DELLA ROBBIA POTTERY, BIRKENHEAD, ‘DAYS OF CREATION (THIRD)’ PLAQUE, CIRCA 1906 majolica glazed plaque 55.5cm x 22cm (21 3/4in x 8 1/2in) Provenance: Purchased from Andy Tilbrook,1972.

Literature: Van Lemmen, H. and Malam, J. (eds), Fired Earth: 1000 Years of Tiles in Europe, Scarborough Art Gallery touring exhibition, 1991, p. 123, image 636 (illustrated).

£1,000-1,500

110

211 JOHN PEARSON (1859-1930) ARTS AND CRAFTS CHAMBER STICK, 1896 copper and steel, repoussé decorated, incised J.P./ 1896 33.5cm (13 1/4in) long

£300-500

212 JOHN PEARSON (1859-1930) CHARGER, 1893 brass, signed J Pearson 1893 51.8cm (20in) diameter

£300-500

213 JOHN PEARSON (1859-1930) PAIR OF ARTS & CRAFTS PANELS, CIRCA 1890 patinated copper, repoussé decorated, later framed, incised J.P. (2) each 60.5cm x 24.5cm (23 3/4in x 9 5/8in), 64.5cm x 28.5cm (25 1/2in x 11 1/4in) framed

£500-700

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

111

214

215

216

JOHN PEARSON (1859-1930)

JOHN PEARSON (1859-1930)

JOHN PEARSON (1859-1930)

ARTS & CRAFTS TRIPTYCH PANEL, CIRCA 1890

ARTS & CRAFTS PANEL, 1898

ARTS & CRAFTS FENDER, CIRCA 1890

patinated copper, repoussé decorated, later framed, incised J. PEARSON 1898

copper, repoussé decorated

panel 25cm x 115.5cm (9 7/8in x 45 1/2in), 34cm x 124cm (13 3/8in x 48 3/4in) framed

Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, pp. 190-91 (illustrated).

£700-900

£800-1,200

patinated copper, repoussé decorated, period oak frame 64.5cm x 106.5cm (25 1/2in x 42in) framed

£600-800

128.7cm (50 5/8in) wide, 18.4cm (7 1/4in) high, 31cm (12 1/4in) deep

112

217 JOHN PEARSON (1859-1930) ARTS & CRAFTS GALLEON CHARGER, 1910 painted earthenware, painted signature and date JP 1910 30.5cm (12in) diameter

£700-900

218 JOHN PEARSON (1859-1930) ARTS & CRAFTS TILED TRAY, CIRCA 1880 painted earthenware, with copper frame each tile 7.5cm (3in) sq., tray 53cm 20 7/8in) wide, 20.5cm (8in) deep Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, pp. 122-123 (illustrated).

£600-800

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

113

219 PHILIP WEBB (1831-1915) (ATTRIBUTED) FOR MORRIS & CO. ‘LONGDEN’ TILE PANEL, 1875-85 tin-glazed and painted earthenware, framed, applied paper label 28cm x 43.3cm (11in x 17in) framed Exhibited: Morris & Co. Tiles, William Morris Gallery,14th September 1996 – 5th January 1997, No.95.

Literature: Myers, R. & H., Morris Tiles. The Tile Designs of Morris and his Fellow-Workers, Ilminster, 1996, p. 42, pl. 10e, p. 103, fig. 157 (similar examples illustrated).

£300-500

220 WILLIAM DE MORGAN (1839-1917) DOUBLE ROSE TILE, MERTON ABBEY PERIOD 1882-1888 glazed earthenware, tile 21cm (8 1/4in) sq., inc. frame 31.5cm (12 3/8in) sq., impressed W. DE. MORGAN; together with a ANOTHER DE MORGAN TILE, glazed earthenware, Fulham Period, later framed (2) Literature: Catleugh, J, William De Morgan Tiles, London, 1983, p. 63, pl. V11, C (similar tile illustrated); Greenwood, M, The Designs of William De Morgan, Ilminster, 2007, pp.143; 243 and 244, pls 636; 656; 296 and 302 (Double Rose design illustrated).

£400-600

114

221 CHARLES PASSENGER FOR WILLIAM DE MORGAN (1839-1917) TWO DRAGONS PLATE, CIRCA 1885 glazed earthenware, with ruby and gold lustre, painted CP 25cm (9 3/4in) diameter

£500-700

222 WILLIAM DE MORGAN (1839-1917) TWO TILE PANELS, CIRCA 1880 glazed earthenware with ruby lustre, one with four tiles, the other with two tiles, each within tiles border, later framed (2) 29cm x 45.5cm (11 1/2in x 18in) and 35cm (13 3/4in) sq.

Literature: Greenwood, M. The Designs of William De Morgan, Ilminster, 2007, p.122, pl. 977 (antelope design illustrated).

£300-500

115

223 WILLIAM DE MORGAN (1839-1917) TWO GALLEON TILES, CIRCA 1885 glazed earthenware, ruby and silver lustre, the two-tile panel with further tile border, later oak frame 24cm x 40cm (9 1/2in x 15 3/4in) Provenance: Purchased from Michael Whiteway, June 1999.

Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p.147 (illustrated).

£400-600

224 WILLIAM DE MORGAN (1839-1917) TWO PLATES, CIRCA 1885 glazed earthenware, with ruby lustre, one impressed 8 (2) 21.5cm (8 1/2in) and 23cm (9in) diameter Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, former p.148, latter pp. 148-49 (illustrated); Greenwood, M. The Designs of William De Morgan, Ilminster, 2007, p. 42, pl. 1256 (two eagles plate design illustrated)

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

116

225 WILLIAM DE MORGAN (1839-1917) PERSIAN TILE PANEL, CIRCA 1885 glazed earthenware, comprising two tiles within tiles border, later framed 30.5cm x 22cm (14in x 8in) Literature: Greenwood, M. The Designs of William De Morgan, Ilminster, 2007, p. 149, pl. 588 (similar design illustrated).

£300-500

226 WILLIAM DE MORGAN (1839-1917) TILE PANEL, CIRCA 1890 glazed earthenware, comprising four Persian tiles, within border tiles and later frame 38cm (15in) sq.

Literature: Greenwood, M. The Designs of William De Morgan, Ilminster, 2007, p. 255, pls 358 and 359 (similar tiles illustrated in Debenham House, Addison Road, London).

£400-600

227 WILLIAM DE MORGAN (1839-1917) FOUR BEDFORD PARK ANEMONE TILES, CIRCA 1880 glazed earthenware, comprising four tiles within tiled border, modern pine frame 41cm (16in) sq.

Literature: Greenwood, M., Designs of William De Morgan, Ilminster, 2007, p. 135, no. 676 (similar design illustrated) and p. 254, pl. 355 (similar tiles illustrated in Debenham House, Addison Road, London).

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

117

228 WILLIAM DE MORGAN (1839-1917) PERSIAN TILE PANEL, MERTON ABBEY PERIOD 1882-1888 glazed earthenware, impressed Merton Abbey marks, later framed 34.2cm (12 3/8in) sq. overall Literature: Catleugh, J, William De Morgan Tiles, London, 1983, p. 92, pl.131 (similar design illustrated).

£500-800

229 WILLIAM DE MORGAN (1839-1917) TILE PANEL, CIRCA 1890 glazed earthenware, within tiled border, later oak frame 92cm x 33cm (36 1/4in x 30in)

£500-700

118

230 WILLIAM DE MORGAN (1839-1917) PERSIAN TILE PANEL, CIRCA 1888 glazed earthenware, comprising ten tiles, later oak frame 38cm x 15cm (15in x 6in)

£300-500

231 WILLIAM DE MORGAN (1839-1917) PAIR OF PERSIAN TULIP TILE PANELS, CIRCA 1880 glazed earthenware, comprising three tiles, later framed (2) 45cm x 14.5cm (17 3/4in x 5 3/4in) Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p.147 (illustrated).

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

119

232 CHARLES PASSENGER FOR WILLIAM DE MORGAN (1839-1917) GALLEON PLATE, CIRCA 1890 glazed earthenware, painted CP; and another CHARLES PASSENGER FOR WILLIAM DE MORGAN PLATE, circa 1880, painted CP (2) 18cm (7in) diameter and 20.8cm (8 1/4in) diameter Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, pp.154-55 (illustrated).

£300-500

233 CHARLES PASSENGER FOR WILLIAM DE MORGAN (1839-1917) PERSIAN BOWL, CIRCA 1890 glazed earthenware, decorated with mythical beasts, painted W. DE. MORGAN & CO, FULHAM 27cm (10 5/8in) diameter Literature: Greenwood, M. The Designs of William De Morgan, Ilminster, 2007, p. 206, pl. 16 (design illustrated). The note mentions that the design is signed CP for Charles Passenger.

£400-600

120

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

121

234 ENGLISH THE JUDGMENT OF CHRIST PANEL painted plaster 51cm (20 1/4in) high, 59cm (23 1/4in) wide; 63cm (24 3/4in) high, 74 (29 1/4in) wide framed

£500-800

235 MARTIN BROTHERS HE RESTS, HE SLEEPS, NOR DREAMS OF ANY HARM, CIRCA 1880 painted pottery, oak frame, signed and inscribed Edwin Bruce Martin, signed R. Wallce. Martin. SC. Figure 41.5cm (16 1/4in) high, 16.5cm (6 1/2in) wide

£600-800

236 GEORGE FRAMPTON (1860-1928) SAINT CHRISTINA, 1889 plaster relief panel, oak frame, signed Geo. Frampton 89 42cm (16 3/4in) high, 23.5cm (9 1/4in) wide Literature: Beattie, S., The New Sculpture, London, 1983, p. 87, pl. 68 (similar bronze example illustrated from the Walker Art Gallery, Liverpool); Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 229 (illustrated).

Note: It was for his bas-relief work that Frampton initially found recognition and the composition of this work pays tribute to 15th-century portraiture. He had an ability to create forms conveying a sense of depth that were actually very shallow. St Christina is portrayed as a mystical figure combining occult-like spirituality with earlier secular portraiture.

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

122

237 GILBERT WILLIAM BAYES (1872-1953) ‘SEA NYMPH ON CREST OF WAVE’, 1900 patinated metal relief, framed 30cm (11 3/4in) high, 20cm (8in) wide Literature: Irvine, L. & Atterbury, P., Gilbert Bayes Sculptor 1872-1953, Ilminster, 1998, p.102 (similar plaster version illustrated).

£600-800

238 SIR WILLIAM GOSCOMBE JOHN, R.A. (1860-1952) THE NATIVITY painted plaster 96.5cm (38in) high, 56cm (22in) wide

£500-700

239 SIR WILLIAM GOSCOMBE JOHN, R.A. (1860-1952) THE GLAMOUR OF THE ROSE copper covered plaster, moulded ebonized frame, signed W GOSCOMBE JOHN 61cm (24in) high, 27.5cm (10 3/4in) wide Literature: Goscombe John at the National Museum of Wales No. 45 (ill). The Glamour of the Rose. Letter from sculptor to Isaac Williams, Nov 13 1928 “it is very different in style to my other works and I think interesting” quoted in the catalogue.

Exhibited: New Sculpture, The Fine Art Society, 1968, exhibited 1989 (illustrated).

£400-600

123

240 ROBERT WALLACE MARTIN (1843-1923) JAMES ANGUS MARTIN, 1863 plaster relief, titled J A MARTIN and dated 49.5cm (19 1/2in) high, 42.5cm (16 3/4in) wide Provenance: Purchased from Richard Dennis, April 1997.

Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 229 (illustrated).

£2,000-3,000

241 SIR WILLIAM GOSCOMBE JOHN, R.A. (1860-1952) ST GEORGE, 1897 patinated copper, oak frame, initialled and dated 52cm (20 1/2in) high, 21.5 (8 1/2in) wide

£400-600

242 ENGLISH THREE ARTS & CRAFTS CORBELS, CIRCA 1890 carved oak (3) 23cm (9in) high and smaller Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 229 (illustrated).

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

124

243 CHARLES SARGEANT JAGGER (1885-1934) SIR W. JAMES THOMAS SHIELD, 1913 silvered electrotype, inscribed Search The Scriptures, The Monmouthshire Congregational Union Sunday Schools Examination, Inaugurated 1913, Sir W James Thomas Shield, Cariad, Gobaith, Fydd.

62cm (24 1/2in) high, 45cm (17 3/4in) wide Exhibited: Charles Sargeant Jagger Memorial Exhibition, May 21st to June 20th 1935 Literature: McAllister, I. G. Rising British Sculptor: Charles Sargeant Jagger, Studio International, Vol. 54 (Nov. 1914-Feb.1915): pp. 84-99 (illustrated) p.99 captioned ‘Design for a Shield by C.S. Jagger’ Note: Jagger probably secured this commission through the sculptor W. Goscombe John and chose a Celtic style for the commission because it ‘is suitable for any object definitely of Welsh interest and secondly because the Celtic is essentially a “religious art”.’

The father and mother mourning their child represents love triumphing over pain. The full-scale model was sent to Wurttemburg, Germany, to be cast in silver. In October 1914 Jagger resigned from the commission because, having enlisted, he felt he could not complete the work. The model sent to Germany is presumed lost, but a bronze cast was listed in the studio inventory at Jagger’s death.

£500-700

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

125

244 ALEXANDER FISHER (1864-1936) BHANAVAR THE BEAUTIFUL, CIRCA 1903-4 silvered metal, black patinated bronze base, signed ALEX FISHER/ BHANAVAR 49cm (19 1/4in) high Provenance: 20th Century Decorative Arts, Christie’s South Kensington, 23 July 1993, lot 765; Purchased from Michael Whiteway, December 1993.

Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 213 (illustrated).

Note: George Meredith’s The Story of Bhanavar the Beautiful, from a collection of pseudo-oriental stories titled The Shaving of Shagpat was first published in 1856 and became a popular subject of artists and sculptors of the period. The tale follows Bhanavar, an Arabian beauty and innocent daughter of a Caucasian amir, who gains possession of a magical jewel and is transformed into an evil queen of the serpents. In Alexander Fisher’s rendition he captures Bhanavar at the moment of transformation, with her arms held aloft to the heavens, creating a femme fatale figure that was a source of fascination to the public, as was shown in art and literature of the period, in the latter half of the long nineteenth century.

£1,500-2,000

126

245 GILBERT WILLIAM BAYES (1872-1953) WHITE HORSES, 1908 patinated metal relief, impressed GILBERT BAYES 1909 14.5cm (5 3/4in) high x 49.5cm (19 1/2in) wide Provenance: Christie’s South Kensington 7 September 1990, lot 71.

Literature: Irvine, L. & Atterbury, P., Gilbert Bayes Sculptor 1872-1953, Ilminster, 1988, p.112 (similar example illustrated).

£300-500

246 HARRY BATES (1850-1899) ORPHEUS AND EURYDICE, CIRCA 1880 patinated plaster relief panel, ebonised frame, signed H. BATES 41.9cm (16 1/4in) high, 15.9cm (6 1/4in) wide Note: For a similar panel in bronze see National Gallery of Victoria Collection, Melbourne, Accession Number 1999.264

£300-500

247 HAMO THORNYCROFT (1850-1925) TWO COMMEMORATIVE PLAQUES, 1919 patinated bronze, cast HAMO THORNYCROFT SC., one dated 1919, designed for the Open Championship Horticultural Prize, presented by Toogood & Sons, Southampton, Seedsmen to H.M. the King (2) 29.3cm (11 1/2in) x 17.2cm (6 3/4in); the other 27.7cm (11 7/8in) x 17cm (6 3/4in)

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

127

248 BROMSGROVE GUILD, POSSIBLY BY WALTER GILBERT MEDALLION, CIRCA 1900 bronze and marble, later framed, inscribed BROMSGROVE WORCESTERSHIRE 7.5cm (3in) diameter

£300-500

249 CHARLES FLEETWOOD VARLEY (1828-1883) TWO PLAQUES, CIRCA 1900 enamel, later framed, both signed VARLEY, one with paper label, dated 1905; together with ANOTHER PLAQUE (3) largest framed 24.4cm (9 5/8in) x 21.7cm (12 1/2in)

£600-800

128

250 GEORGE JOHN PINWELL R.W.S. (BRITISH 1842-1875) THE ENCHANTED PRINCE Signed with initials ‘GJP’ (lower right), oil on board 26.7cm x 38.1cm (10.5in x 15in) Provenance: The artist’s studio sale, 1876, lot 196; E. A. Waterlow; Anonymous sale, Sotheby’s, Belgravia, 17 December 1974, lot 198.

Exhibited: London, Deschamps Gallery, Works by the late G. J. Pinwell, 1876, no. 68 Literature: G. C. Williamson, George J Pinwell and his Works, 1900, p. 73 (illustrated); Studio, Vol. 18, p. 99 (illustrated); “Among the most interesting of all Mr Waterlow’s possessions are the sketches by G. J. Pinwell. Of these there are four or five, mostly slight notes for pictures or rapid records of incidents in modern life. The most important is the oil sketch. The Enchanted Prince…”

£500-700

251 252 GEORGE JOHN PINWELL R.W.S. (BRITISH 1842-1875) THE ENCHANTRESS OF THE FLOWERS Pencil and watercolour heightened with bodycolour and with scratching out, signed with initials (lower right) and dated ‘1876-7’ 22cm (8 3/4in) x 14cm (5 1/2in) Provenance: Artist’s sale, Christie’s, March 1876, lot 49 (£3½gns to Waller) With Abbott & Holder, London, February 1976.

Exhibited: London, Deschamps Gallery, Works by the late G J Pinwell, 1876, no. 22 Original artist’s label on reverse & “The Enchantress of the Flowers. I know where the visions dwell that around the night bed play”

£600-800

GEORGE JOHN PINWELL R.W.S. (BRITISH 1842-1875) GREEK SORCERESS Signed with monogram (lower left), watercolour 15.9cm x 19.1cm (6.25in x 7.5in) Provenance: ‘The Remaining Works of G. J. P. Deceased’; Christie’s, 16 March 1876, Lot 170 (£2gns to Waller); With Abbott & Holder, London, February 1976, artist’s label to reverse.

£400-600

129

253 GEORGE JOHN PINWELL R.W.S. (BRITISH 1842-1875) ‘SHE WAS A PHANTOM OF DELIGHT’ Signed with initials (lower left), pencil and watercolour heightened with bodycolour 17.1cm x 11.1cm (6.75in x 4.5in) Provenance: Christie’s, 1876, lot 85 (£4-4-0 to Ernest Waterlow); E. A. Waterlow; With Abbott & Holder, London, September 1986.

Exhibited: London, Deschamps Gallery, Works by the late G. J. Pinwell, 1876, no. 84 Literature: Williamson, George John Pinwell and referenced in GJP by Williamson.

Note: This work features a Thos. Agnew, Manchester label verso, and another ‘Pinwell label including title and “property of E A Waterlow” & 84.

£500-700

254 GEORGE JOHN PINWELL R.W.S. (BRITISH 1842-1875) RAMBLE MILL Signed with initials (lower left), pencil and watercolour heightened with bodycolour and with scratching out 12.1cm x 14.6cm (4.75in x 5.75in) Provenance: Christie’s, 1876, lot 115, (to Pickford Waller £1-10-0); The Fine Art Society, 4 September 1986.

Exhibited: London, Deschamps Gallery, Works by the late G. J. Pinwell, 1876, no. 139.

Literature: References in G. C. Williamson, George J Pinwell and his Works, 1900

£400-600

255 GEORGE JOHN PINWELL R.W.S. (BRITISH 1842-1875) HIDE & SEEK Pencil and watercolour heightened with bodycolour and with scratching out 17.8cm x 17.1cm (7in x 6.75in) Provenance: With Abbott & Holder, London, November 1986.

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

130

256 GEORGE JOHN PINWELL R.W.S. (BRITISH 1842-1875) STUDY FOR GILBERT A BECKET’S TROTH Signed ‘G. J. Pinwell’ (lower left), pencil, black chalk and watercolour heightened with bodycolour 52.1cm x 96.5cm (20.5in x 38in) Provenance: Christie’s lot 111 (to Waller £11gns); With Abbott & Holder, London, May 1975.

Exhibited: London, Deschamps Gallery, Works by the late G. J. Pinwell, 1876, no. 36.

£3,000-5,000

257 GEORGE JOHN PINWELL R.W.S. (BRITISH 1842-1875) PEG WOFFINGTON BEFORE MANAGER RICH Signed with monogram (lower left), pencil, watercolour and bodycolour with scratching out 60.3cm x 44.5cm (23.75in x 17.5in) Provenance: Sotheby’s, 6 October 1981, lot 139 (unsold); Sotheby’s, London, 1 March 1984, lot 486.

Exhibited: Birmingham, Royal Society of Artists, March 1895, no. 407 (lent by Henry Quilter, 21 Bryanston Sq, London W).

Note: There is a label verso with title and ‘lent by Henry Quilter, 21 Bryanston Sq London W,’ as well as a Godden & Fox label.

£2,000-3,000

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

131

258 GEORGE JOHN PINWELL R.W.S. (BRITISH 1842-1875) THE PRISON HOLE, TANGIER Signed, inscribed and dated ‘G. J. Pinwell, Tangier 74,’ pencil and watercolour, heightened with white and with scratching out 50.8cm x 67.3cm (20in x 26.5in) Provenance: R. H. Wotchman (?sp); H. W. Henderson; Philips Son & Neale, March 1975.

Exhibited: London, Deschamps Gallery, Works by the late G. J. Pinwell, 1876, no. 36

£4,000-6,000

259 GEORGE JOHN PINWELL R.W.S. (BRITISH 1842-1875) THE DUEL Signed with initials (lower left), pencil, watercolour and bodycolour 13cm x 18.4cm (5in x 7.25in) Provenance: ‘The Remaining Works of G. J. P. Deceased’; Christie’s, 16 March 1876, Lot 105 (£3-10-0 to Wright); With Abbott & Holder, London, May 1980.

Exhibited: London, Deschamps Gallery, Works by G. J. Pinwell, 1876, no. 129

£500-700

132

260 THOMAS WEBSTER R.A. (BRITISH 1800-1886) BREAKFAST Signed and inscribed ‘Breakfast, sketch painted for a picture purchased by Lord Northwick in 1837. Retouched in 1878 Thos. Webster’ (on the reverse), oil on board 22.2cm x 32.4cm (8.75in x 12.75in) Provenance: Graves Son & Pilcher, 1970.

£800-1,200

261 BRITON RIVIERE R.A. (BRITISH 1840-1920) SKETCH FOR ‘THE HERD OF SWINE’ Oil on board 16.5cm x 25.4cm (6.5in x 10in) Provenance: Abbott & Holder, London 1974; Royal Academy, 1873, bought by Henry Tate.

Note: The work was illustrated in Art Annual, 1891.

£500-700

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

133

262 ARTHUR BOYD HOUGHTON (BRITISH 1836-1875) IN CAPTIVITY Signed with initials ‘ABH’ (lower left), bodycolour and watercolour 50.5cm x 57.8cm (19.75in x 22.75in) Provenance: Christie’s sale 2 July 1877 “By the waters of Babylon”, vendor Miss Cottier, 8 Pall Mall. Unsold at £27gns; Christie’s 25 March 1994, (?)

Lot 340.

Exhibited: London, Old Watercolour Society, 1871, no. 67.

Literature: Illustrated London News, 19 April 1871, p. 422 as ‘an impressive representation of a thong of turbaned figures and two handsome women in Eastern costumer….and guarded by swarthy sentinels in conical helmets posted along adjacent mounds of earth, arms red with scourges.’

£1,500-2,000

263 ARTHUR BOYD HOUGHTON (BRITISH 1836-1875) THE ROMANCE OF A CRUSADER Oil on board 25.4cm x 29.2cm (9.75in x 11.5in) Provenance: Anonymous sale, Christie’s, London, 21 October 1977, lot 14.

Exhibited: London, Hartnoll & Eryre, Exhibition, 1974, no.

32 (original price £400); London, Victorian and Albert Museum, A Boyd Houghton, 1975, no. 76 (‘Probably 1866-7, probably ‘The Romans of a Crusader’).

£1,000-1,500

134

264 FREDERICK JAMES SHIELDS (BRITISH 1833-1911) GIRL LOOKING OVER HIGH PARAPET Signed with monogram (lower right), watercolour 16.5cm x 21.6cm (6.5in x 8.5in) Provenance: With Abbott & Holder, London, March 1976.

£1,000-1,500

265 RANDOLPH SCHWABE (BRITISH 1885-1948) THE GRAVEDIGGERS Oil on board 41.9cm x 52.7cm (16.5in x 20.75in) Provenance: Michael Sadler; With Abbott & Holder, London, 1979.

Exhibited: Colour magazine, July 1916, p. 217 (reproduced in colour)

£600-800

266 CHARLES GREEN R.I. (BRITISH 1840-1898) AN INCIDENT IN THE LIFE OF J.J. BARRATT Signed with monogram ‘CG’ (lower right), pencil and watercolour 15.2cm x 17.1cm (6in x 6.75in) Provenance: John Fullerlove; With Abbott & Holder, London, January 1989; Title on reverse ‘ex Coll. John Fullerlove’ (transcribed by Philip Athill of Abbott & Holder from original backboard, which was subsequently lost).

£600-800

135

267 JOSEPH NASH (BRITISH 1809-1878) PETER SCHEEMAKER’S MONUMENT, ST MARY’S BEAMINSTER Signed and dated ‘Joseph Nash 1854,’ pencil and watercolour 52.1cm x 36.8cm (20.5in x 14.5in)

£2,000-3,000

268 SIR CHARLES LOCKE EASTLAKE P.R.A. (BRITISH 1793-1865) THE LAST SUPPER, AFTER LEONARDO DA VINCI Signed with initials and dated ‘1847,’ watercolour 53.3cm x 99.1cm (21in x 39in) Provenance: Christie’s, South Kensington.

Exhibited: Julian Hartnoll, Master after Master (see catalogue entry by Barbara Coffey); London, Victoria and Albert Museum, The Image Multiplied, 1987, no. 225.

£800-1,200

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

136

137

In France towards the end of the 19th Century there was a

269

revival of interest in art pottery. Key exponents included Chaplet,

SÈVRES, FRANCE

Deck and Delaherche who were concerned with returning to

VASE, 1901

traditional methods whilst at the same time experimenting with

probably designed by Alexandre Sandier, pâte nouvelle porcelain with crystalline glaze, bronze mounted, black printed cypher S1901, incised H 00 12 PN, 24cm (9 1/2in) high; together with a FOURMAINTRUAXDELASSUS FAIENCE DESVRES VASE, glazed porcelain, impressed FD DESVRESFRANCE, 14cm (5 1/2in) high (2)

new techniques. In keeping with the principles of Arts & Crafts in Britain and Art Nouveau in Europe they believed in the value of craftsmanship and were rejecting excessive ornamentation and instead seeking a simplicity of form and decoration.

Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, former p. 218 (illustrated).

£300-500

270 SÈVRES, FRANCE VASE, 1910 pâte nouvelle porcelain, polychrome decorated, with gilt highlights, black printed S. 10, red printed MANUFACTURE RF NATIONALE DÉCORÉ A SÈVRES 1910, incised D 10 8 PN III 33cm (13in) high Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 218 (illustrated).

£500-700

271 SÈVRES, FRANCE FAIENCE VASE, 1926 glazed earthenware, printed MANUFACTUFRE NATIONALE de SÈVRES Faïence 1926 MADE IN FRANCE, painted A. BANTARD 24cm (9 1/2in) high Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 218 (illustrated).

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

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272 SÈVRES, FRANCE VASE, 1889 flambé glazed pâte nouvelle porcelain, patinated bronze foot, black printed S.89, incised LG/ 89/ 19/ PN 32cm (12 1/2in) high Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 242 (illustrated).

£300-500

273 THÉODORE DECK (1823-1891) & PAUL-CÉSAR HELLEU (1859-1927) CHARGER, CIRCA 1885 glazed earthenware, painted P. C. HELLEU, impressed painted THDECK 32.3cm (12 3/4in) diameter Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 226 (illustrated).

£500-800

274 THÉODORE DECK (1823-1891) JARDINIÈRE, CIRCA 1880 glazed earthenware, impressed TH DECK with roundel 37cm (14 1/2in) long, 15.5cm (6 1/8in) high, 19cm (7 3/4in) deep

£1,000-1,500

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

THÉODORE DECK is remembered for the blue glaze he used. He was inspired by Assyrian, Hispano-Moorish, Chinese and Italian Renaissance art and between 18581887 director at Manufacture de Sèvres. He was also influenced on Edmond Lachenal and Emile Decoeur and embraced Art Nouveau.

139

275 THEODORE DECK (1823-1891) FOR SÈVRES SEATED BUDDHA, 1890 lustre glazed stoneware, impressed mark, indistinct incised marks, painted 5.289.96 16.5cm (6 1/2in) high Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 196 (illustrated).

£300-500

276 THÉODORE DECK (1823-1891) & RAPHAEL COLLIN (1850-1916) CHARGER, CIRCA 1880 glazed ceramic, painted R. Collin, impressed painted THDECK 29.5cm (11 5/8in) diameter

£500-800

277 CANTIGALLI, ITALY TWIN-HANDLED VASE, CIRCA 1900 tin-glazed earthenware with lustre highlights, printed FIRENZE ITALY, painted cockerel 24.5cm (9 3/4in) high

£400-600

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AUGUSTE DELAHERCHE earned himself the nickname ‘poet of stoneware’ and the works in this sale illustrate the subtlety of his simple forms and tonal glaze effects. He is regarded as a master of glazes and invested much of his career researching and experimenting to create a great variety in his production.

Besides having a fascination with the regional ceramics of his native Beauvais, he was inspired by Asian glazes and firing methods. He had a love of drip glaze that appear accidental but were in fact meticulously planned. Examples of his work are held by the Metropolitan Museum of Art in New York.

278 AUGUSTE DELAHERCHE (1857-1940) VASE, CIRCA 1900 glazed stoneware, incised Aug. Delaherche, with monogram 27cm (10 1/2in) high Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 213 (illustrated).

£300-500

279 AUGUSTE DELAHERCHE (1857-1940) VASE, CIRCA 1890 glazed stoneware, incised flower and foliage, drip sang de boeuf glaze, impressed AUGUSTE DELAHERCHE 5971 27.5cm (10 1/2in) high Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 213 (illustrated).

£400-600

ÉMILE DE COEUR began his career apprenticed to Edmond Lachenal. His work was characterised by simple forms, harmonious proportions and clean lines, adorned with subtly sophisticated coloured glazes. His inspiration came from Asia and he sought to understand the techniques he observed, as well as to realise the potential of the media to create elegant works.

280 ÉMILE DE COEUR (1876-1953) VASE, CIRCA 1910 high-fired stoneware, impressed cypher, painted DE COEUR 23.5cm (9 1/4in) high Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, pp. 218-19 (illustrated).

£1,000-1,500

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In 1882 ERNEST CHAPLET founded his own atelier with assistance from Albert-Louis Dammouse and funding from Haviland & Company. He produced works in stoneware with Japanese inspired decoration. He experimented with glaze techniques including sang de boeuf and also began working in porcelain.

Chaplet was inspired by the Arts & Crafts movement in Britain to seek an alternative to mass-production that nurtured individual creativity. This philosophy in turn led him to become the leading studio potter in France at the time.

281 ERNEST CHAPLET (1835-1909) & EDOUARD DAMMOUSE (1850-1903) FOR HAVILAND & CIE, JARDINIÈRE, CIRCA 1885 glazed earthenware with gilt highlights, impressed Chaplet cypher, gilt H & C, incised ED 26.2cm (10 1/4in) high

£300-500

282 ERNEST CHAPLET (1835-1909) & EDOUARD DAMMOUSE (1850-1903) JARDINIÈRE, CIRCA 1885 relief-moulded and glazed ceramic with gilt highlights, incised EDammouse, incised TC/ 33 31cm (12 3/8in) wide, 23.3cm (9 1/4in) high

£1,000-1,500

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

142

283 FRÉDÉRIC DANTON (1874-1932) VASE, CIRCA 1905 lustre-glazed earthenware, indistinct impressed AUBUSSON 20cm (7 7/8in) high Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 220 (illustrated).

£300-500

284 EDMOND LACHENAL (1855-1948) FOR KELLER- GUERIN, LUNEVILLE VASE, CIRCA 1905 lustre-glazed ceramic, impressed LUNEVILLE, painted KG LACHENAL and cypher 35.5cm (14in) high

£800-1,200

285 LUCIEN LÉVY-DHURMER (1865-1953) FOR CLEMENT MASSIER (1845-1917) VASE, CIRCA 1900 lustre-glazed earthenware, impressed CLEMENT MASSIER/ GOLFE/ JUAN (AM) L. LEVY; together with FOUR SMALLER EXAMPLES (5) 18.5cm (7 1/4in) high and smaller

£1,000-1,500

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

143

286 EDMOND LACHENAL (1855-1930) FOR KELLER- GUERIN, LUNEVILLE FOUR-HANDLED VASE, CIRCA 1905 lustre-glazed earthenware, signed KG/ LUNEVILLE/ 1220, impressed K&G/ LUNEVILLE/ 273 28cm (11in) high

£1,000-1,500

287 CLEMENT MASSIER (1845-1917) VASE, 1891 lustre-glazed earthenware, painted C. M. / GOLFE/1891; another LUCIEN LEVY-DHURMER (1865-1953) FOR CLEMENT MASSIER VASE, lustre glazed earthenware, painted CLEMENT MASSIER GOLFE JUAN (AM) L. LEVY (2) 28cm (11in) and 15cm (6in) high respectively Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 220 (illustrated).

£400-600

288 LUCIEN LÉVY-DHURMER (1865-1953) FOR CLEMENT MASSIER (1845-1917) VASE, CIRCA 1895 lustre-glazed earthenware, painted CLEMENT MASSIER, impressed CLEMENT MASSIER/GOLFE/ JUAN/ (AM)/ L. LEVY 38cm (15in) high Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 213 (illustrated).

£800-1,200

144

289 ERNEST CHAPLET (1835-1909) VASE, 1890 glazed porcelain, impressed cypher 19cm (7 1/2in) high Note: In his Choisy-le-Roi period particularly Chaplet created many asymmetrical vessels. The mark is listed in Jean D’Albis, Ernest Chaplet, Paris, 1976, p. 89, fig. b.

£400-600

290 PIERREFONDS, FRANCE TWIN-HANDLED VASE, CIRCA 1900 crystalline glazed earthenware, impressed PIERREFONDS/ 314, 37cm (14 1/4in) high; together with THREE FURTHER CRYSTALLINE GLAZED VESSELS, each impressed PIERREFONDS, one numbered 603, the other two 478, 20cm (7 1/8in) high, the two 18cm (7 1/8in high) (4) Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 218 (illustrated).

£1,000-1,500

145

291 PATRICK NORDSTRÖM (1870-1929) VASE, 1919 glazed stoneware, painted monogram PN, three waves cypher 31-3 1919 II 18.5cm (7 1/4in) high

£300-500

292 ROBALBHEN VASE, CIRCA 1900 stoneware and grès, painted Robalbhen/Paris, 1019 21cm (8 1/4in) high Note: There has been confusion over the years as to whether there was a designer named Robalbhen but more recently it has been suggested that this is a name created for Robert, Albert and Henri Laurent-Desrousseaux. Beside sculptural works, other works marked Robalbhen were vessels decorated with glazed foliage on matt grounds.

£300-500

293 EDMOND LACHENAL (1855-1948) ELEPHANT, CIRCA 1900 glazed earthenware, painted LACHENAL FRANCE 20.5cm (8 1/8in) long Purchased from Haslam & Whiteway, August 1990.

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

146

294 JOHN WILLIAM MARRINER FOR FULHAM POTTERY FOUR TWIN-HANDLED FLOWER VASES, CIRCA 1940 glazed and unglazed earthenware, and ANOTHER FULHAM POTTERY VASE DESIGNED BY FLORENCE STANDFAST, all impressed THE FULHAM POTTERY LONDON MADE IN ENGLAND, one impressed CONSTANCE SPRY (5) largest 45.5cm (18in) wide

£800-1,200

295 GERARD DE WITT FOR FULHAM POTTERY FOUR FLOWER VASES, CIRCA 1940 glazed and unglazed earthenware, stamped THE FULHAM POTTERY LONDON MADE IN ENGLAND, with patent numbers (4) largest 39cm (15 1/4in) wide, 42.5cm (16 3/4in) high

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

147

296 AGATHA WALKER (1888-1980) TWO FIGURES, 1926 painted wax, glazed and ebonized display case, comprising a BOY, 38.5cm (15 1/4in) high; and a GIRL, 38.5cm (15 1/4in) high, each incised monogram and date (2) Note: During the 1920s and 1930s Agatha Walker created a series of sculptures some of which depicted actors, actresses and leading figures of the day. The plaster forms were wax coated and coloured. The Fine Art Society in London held an exhibition of her work in 1931 and the Victoria & Albert Museum holds a number of works by her, as does Dorset County Museum.

£300-500

297 AGATHA WALKER (1888-1980) THREE FIGURES, CIRCA 1920 painted wax, glazed and ebonized display case, comprising LUCY LOCKIT, from The Beggar’s Opera, 1921, 24.5cm (9 1/2in) high; GWEN FFRANGCONDAVIES, as Elizabeth Barrett Moulton Moulton-Barrett in the Barretts of Wimpole Street, Marquessa, 1921, 27.5cm (10 3/4in) high; and a FIGURE OF A NOBLEWOMAN, 1936, 33.5cm (13 1/4in) high, each incised monogram and date (3) £250-350

148

298

299

STELLA R. CROFTS (1898-1964)

STELLA R. CROFTS (1898-1964)

GROUP OF THREE FIGURES, CIRCA 1930

FLAMINGO, 1931

glazed stoneware, including SABLE ANTELOPES, 22.5cm (8 3/4in) high; ANTELOPES, dated 1928, 15cm (6in) high; and IBEX GOATS, 14.5cm (5 3/4in) high, each with incised marks (3)

glazed stoneware, raised on an ebonised plinth, incised signature and date mark

£500-800

18cm (7in) wide Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 133 (illustrated).

Note: The British sculptor Stella Croft’s preferred medium was ceramic and her favoured subjects were animals and birds.

£400-600

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

149

300 HEAL & SON LTD, LONDON ART DECO DINING ROOM SUITE, CIRCA 1930 walnut and ebonised wood with ebony stringing, comprising an EXTENDING DINING TABLE, with additional leaf, 168cm (66in) long (closed), 229cm (90in) extended, 76.5cm (30 1/4in) high, 106.5cm (42in) deep; and SIX MATCHING CHAIRS, including TWO CARVERS, carvers 53cm (21in) wide, 92.5cm (36 1/2in) high, 45cm (17 3/4in) deep; together with TWO ASSOCIATED HEAL & SON WALNUT DINING CHAIRS, of similar design, 46cm (18in) wide, 92cm (36 1/4in) high, 48cm (19in) deep, inset ivorine maker’s labels (9) £1,000-1,500

SCOTTISH PAINTING & SCULPTURE

SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) ROSES AND FRUIT, c.1924 oil on canvas

£300,000-500,000

09 DECEMBER 2021 | EDINBURGH NICK CURNOW | 0131 557 8844 nick.curnow@lyonandturnbull.com

THE MINOPRIO COLLECTION BRITISH DESIGN IN THE ARTS & CRAFTS TRADITION

11 JANUARY 2022 EDINBURGH JOHN MACKIE | 0131 557 8844 john.mackie@lyonandturnbull.com

152

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 and/or anti-terrorism

153 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.

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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 may be added to this agreement

154 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 licences shall neither justify the recession of any sale not any delay in making full payment for the Lot.

155 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.

21.2

156

GUIDE TO BIDDING & PAYMENT REGISTRATION

BIDDING OUTSIDE THE SALEROOM

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. On-site payment facilities are available by appointment.

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 IN THE SALEROOM 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.

IN WRITING Bid forms are available at the sale and/ or the back of the catalogue. These should be submitted in person, by post, or by fax as soon as possible prior to the sale and we will bid on your behalf up to the limit indicated. In the event of receiving two identical bids the first one received will take precedence All bids must be received an hour before the sale. This service is provided entirely at the bidder’s risk.

ON THE INTERNET - 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.

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