Design Since 1860 ft. Vintage & Film Posters

FEATURING VINTAGE & FILM POSTERS STARRING JAMES BOND 19TH, 20TH & 21ST OCTOBER 2021 EDINBURGH

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FEATURING VINTAGE & FILM POSTERS STARRING JAMES BOND

TUESDAY 19 OCTOBER 2021 AT 6PM, WEDNESDAY 20 & THURSDAY 21 AT 10AM Sale Number LT670

Lyon & Turnbull 33 Broughton Place EDINBURGH EH1 3RR

VIEWING Sunday, 17th October 12 noon - 4pm Monday, 18th October 10am - 5pm Tuesday, 19th October 10am - 5pm

Front Cover Lot 217 [detail] Inside Front Cover Lot 144 [detail]

CONTACT EDINBURGH +44 (0) 131 557 8844 LONDON +44 (0) 207 930 9115 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).

If you have not bought before we will be delighted to help you.

BUYER’S PREMIUM

REGISTRATION

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

All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, 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:

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

1 – Government issued photo ID (Passport/Driving licence)

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

2 – Proof of address (utility bill/bank statement).

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

No VAT is payable on the hammer price or premium for books bought at auction.

DROIT DE SUITE § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012, this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the buyer on the hammer price and in addition to the buyer’s premium. It will not apply to works where the hammer price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale.

More information on Droit de Suite is available at www.dacs.org.uk

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).

BIDDING & PAYMENT For information on bidding options see our Guide to Bidding & Payment at the back of the catalogue.

REMOVAL OF PURCHASES Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser. See Collections & Storage section for more info specific to this particular auction.

CATALOGUE DESCRIPTIONS All item descriptions, dimensions and estimates are provided for guidance only. It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction.

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.

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 COLLECTION OF PURCHASED LOTS Due to social distancing requirements, all collections will be by appointment only (this applies to both carriers and personal collections). To make an appointment call 0131 557 8844.

Please ensure payment has been made prior to collection. This can be done by bank transfer, and debit/credit card online (powered by Opayo) - details will be shown on your invoice.

Please note we are unable to take payments over the phone.

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MEET THE SPECIALISTS At Lyon & Turnbull we want to make buying at auction as easy and enjoyable as possible.

Our specialist team are on hand to assist you, whether you are looking for something in particular for your home or collection, require more detailed information about the history or current condition of a lot, or just want to find out more about the auction process.

John Mackie Head of Sale

Joy McCall Senior Specialist

Philip Smith Senior Specialist

john.mackie@lyonandturnbull.com

joy.mccall@lyonandturnbull.com

philip.smith@lyonandturnbull.com

Olivia Ross Junior Specialist

Nicolette Tomkinson Vintage Poster Consultant

Sophie Churcher Vintage Poster Consultant

olivia.ross@lyonandturnbull.com

nicolette.tomkinson@lyonandturnbull.com

sophie.churcher@lyonandturnbull.com

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

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VINTAGE & FILM POSTERS STARRING JAMES BOND TUESDAY 19 OCT 2021 AT 6PM 1 ROBERT MCGINNIS (B.1926) LIVE AND LET DIE, SIGNED BY ROGER MOORE James Bond Poster, 1973, Eon Productions, British Quad, signed by Roger Moore, condition A-; backed on linen, framed 30 x 40 in. (76 x 102 cm)

£2,000-3,000

2 ROBERT MCGINNIS (B.1926) THE MAN WITH THE GOLDEN GUN, SIGNED BY ROGER MOORE James Bond poster, 1974, Eon Productions, British Quad signed by Roger Moore, condition A-; backed on linen, framed 30 x 40 in. (76 x 102 cm)

£1,500-2,000

3 ROBERT M. PEAK (1927-1992) THE SPY WHO LOVED ME, SIGNED BY ROGER MOORE James Bond poster, 1977, Eon Productions, British Quad signed by Roger Moore, condition A-; backed on linen 30 x 40 in. (76 x 102 cm)

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

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4 DAN GOOZEE (B.1943) MOONRAKER, SIGNED BY ROGER MOORE James Bond poster, 1979, Eon Productions, British Quad signed by Roger Moore and Richard Kiel “JAWS”, condition A-; backed on linen 30 x 40 in. (76 x 102 cm)

£1,000-1,500

5 BRIAN BYSOUTH (B.1936) FOR YOUR EYES ONLY, SIGNED BY ROGER MOORE James Bond poster, 1981, Eon Productions, British Quad signed by Roger Moore, condition A-; backed on linen 30 x 40 in. (76 x 102 cm)

£1,000-1,500

6 DAN GOOZEE (B.1943) AND RENATO CASARO (B. 1935) OCTOPUSSY, SIGNED BY ROGER MOORE James Bond poster, 1983, Eon Productions, British Quad signed by Roger Moore, condition A-; backed on linen 30 x 40 in. (76 x 102 cm)

£1,500-2,000

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VIC FAIR 1938-2017) & BRIAN BYSOUTH (B.1936)

ROBERT BROWNJOHN (1925-1970)

A VIEW TO A KILL

James Bond poster, 1964, Eon Productions, British quad style A, condition A-; backed on linen

James Bond poster, 1985, Eon Productions, Withdrawn UK one sheet, condition A-; not backed, framed 41 x 27in. (104 x 69cm.)

GOLDFINGER

30 x 40 in. (76 x 102 cm)

£6,000-8,000

£400-600

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ANONYMOUS

ROBERT MCGINNIS (B.1926)

JAMES BOND DRIVES AN ASTON... SEE THUNDERBALL

THUNDERBALL

offset lithographic poster, 1965, Thunderball film / Dealership poster from the first release, condition A; not backed, framed

James Bond poster, 1965, Eon Productions/United Artists, British Quad, condition A; backed on linen

20 x 30 in.

£6,000-8,000

£3,000-5,000

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

30 x 40 in. (76 x 102 cm)

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ANONYMOUS

ANONYMOUS

GOLDFINGER

YOU ONLY LIVE TWICE

James Bond poster, 1962, Eon Productions, Japanese B2 first release, condition A; not backed

James Bond poster, 1967, Eon/United Artists, advance U.S. one-sheet, condiion A-; backed on linen

28.5 x 20 in. (72 x 51 cm.)

41 x 27.5in. (104 x 70cm.)

£600-800

£800-1,200

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

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13 DAN GOOZEE (B.1943) MOONRAKER James Bond poster, 1979, Eon Productions, British Quad, condition B+/A-; not backed, framed 30 x 40 in. (76 x 102 cm)

£300-500

14 VARIOUS COLLECTION OF SEVEN UK QUADS INCLUDING JAWS AND THE GODFATHER 101.5 x 76cm; ‘The Railway Children’, 101.5 x 76cm; ‘The Godfather’, 101.5 x 76cm; ‘The Towering Inferno’, ‘The Sting’, 101.5 x 76cm; ‘The Last Tycoon’, 101.5 x 76cm; ‘The Great Gatsby’, 101.5 x 76cm; all UK printings, all folded; [and] 8 promotional screenshots from ‘The Towering Inferno’, with captions, each 25.5 x 20.1cm; [and] a promotional poster produced

by Jonathan Cape for a book, ‘The Life of Arthur Ransome’, by Hugh Brogan, 38 x 60.5cm, folded (16)

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£300-400

15 ANONYMOUS DR NO James Bond poster, 1972, Eon Productions, Japanese double panel re-release, condition A-; on two sheets, backed on board, framed 57 x 20 in. (145 x 51 cm.)

£200-300

16 BILL GOLD (1921-2018) MAGNUM FORCE offset lithographic poster, 1973, signed by Hal Bolbrook, US one-sheet, condition B+; baccked on linen, framed 41 x 27in. (104 x 69cm.)

£200-400

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17 NELSON LYON AND SERRANO POINT BLANK offset lithographic poster, 1967, MGM, US one-sheet, condition B+; backed on linen 41 x 27in. (104 x 69cm.)

£200-400

18 ANONYMOUS BULLITT offset lithographic poster, 1969, Spanish, condition B+; backed on paper 18

38.5 x 27 in. (98 x 69 cm.)

£400-600

19 PAPUZZA STAR WARS (GUERRE STELLARI) offset lithographic poster, 1977, Italian, condition A-; backed on linen, framed 55 x 39. 5 in. (140 x 100 cm.)

£600-800

20 LEONID A.VORONOV AND MIKHAIL EVSTAFIEV VODOVOROT (WHIRLPOOL) lithograph poster, c.1927, condition B+; backed on linen 49 x 37 in. (125 x 94 cm.)

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£1,000-1,500

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21 SAUL BASS (1920-1996) VERTIGO offset lithographic poster, 1958, U.S. One-sheet, Paramount, condition A-; backed on linen 41 x 27in. (104 x 69cm.)

£7,000-9,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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22 ERIK NITSCHE (1908-1998) GENERAL DYNAMICS, L’ATOME AU SERVICE DE LA PAIX lithographic poster, 1955, condition A; not backed 128 x 90 cm

£2,000-3,000

23 NIKOLAUS SCHWABE (B.1926) SWISSAIR offset lithographic poster, 1961, condition A; not backed 40 x 25 in. (102 x 64 cm.)

£400-600

24 JOSEF MÜLLER-BROCKMANN (1914-1996) BEA lithographic poster, 1958, condition A-; not backed 128 x 90 cm

£600-800 23

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25 ANTRAL LES MESSAGERIES MARITIMES lithograph, 1955, condition A; backed on linen 39 x 24 in. (99 x 60 cm.)

£300-500

26 KAY STEWART SOUTHAMPTON TO NEW YORK, FRENCH LINE lithographic poster, 1924, condition A-; not backed 40 x 25 in. (102 x 64 cm.)

£800-1,200

27 FOUGASSE (CYRIL KENNETH BIRD, 1887-1965) CARELESS TALK COSTS LIVES lithographic poster, c.1943 condition A-; not backed 40 x 25 in. (102 x 64 cm.)

£600-800

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

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28 BERNARD VILLEMOT (1911-1989) BALLY “LA FEMME EN NOIR” lithographic poster, 1982, condition A-; not backed 62 x 47 in. (158 x 119 cm.)

£400-600

29 BERNARD VILLEMOT (1911-1989) BALLY LE LOTUS lithographic poster, 1982, condition A-; not backed 62½ x 46in. (159 x 117cm.)

£500-700

30 WALTER HERZ OLYMPIC GAMES offset lithographic poster, 1948, condition B+; not backed 20 x 15 in. (51 x 36 cm.)

£500-700 29

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

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31 R. P. HUTCHINSON B.O.A.C STRATOCRUISER SPEEDBIRD lithographic poster, condition A; not backed 24 x 39 in. ( 61 x 99cm.)

£1,200-1,800

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32 CHARLES PAINE (1895-1967) SHELL, THE QUICK STARTING PAIR lithographic poster, c.1928, condition B+; backed on linen 30 x 45 in. ( 76 x 114 cm.)

£1,000-1,500

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33 CHARLES PAINE (1895-1967) SHELL, THE QUICK STARTING PAIR lithographic poster, c.1928, condition A-; backed on linen 30 x 45 in. ( 76 x 114 cm.)

£1,000-1,500

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34 MARY I. WRIGHT

BY TRAMWAY TO CAMDEN TOWN FOR THE ZOO lithographic poster, 1924, condition B+; backed on linen, framed 60 x 40 in. (152 x 102 cm.)

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

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35 CHRISTOPHER CLARK (1875-1942) TROOPING THE COLOUR lithographic poster c.1950, condition B+; backed on linen, framed 39 x 48in. (99 x 122cm.)

£800-1,200

36 EDWARD MCKNIGHT KAUFFER (1890-1954) BUCKINGHAM PALACE lithographic poster, 1934, condition A; not backed

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

£400-600

37 EDWARD MCKNIGHT KAUFFER (1890-1954) THE TOWER OF LONDON lithographic poster, 1934, condition A-; not backed 40 x 25 in. (102 x 64 cm.)

£300-500

38 TOM CURR (1887-1958) “SCOTLAND FOREVER”, JOIN A SCOTTISH REGIMENT lithographic poster, condition B+; not backed, framed 30 x 19 1/2 in. (76 x 49 cm.)

£300-500

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39 W. C. NICHOLSON LOCH LOMOND lithographic poster, c.1950, condition B+/A-; not backed 40 x 25 in. (102 x 64 cm.)

£500-700

40 WARREN WILLIAM (1863-1918) THE NAPLES OF THE NORTH, LLANDUDNO lithographic poster, condition A-; not backed 40 x 24.5 in. (102 x 63 cm.)

£300-500

41 CLAUDE BUCKLE (1905-1973) EDINBURGH, THE SCOTT MONUMENT lithographic poster, c.1950, condition B+/A-; not backed 40 x 25 in. (102 x 64 cm.)

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

£500-700

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42 ROGER DE VALERIO (1886-1951) DEAUVILLE lithographic poster, c.1935, condition A; not backed 39.5 x 24.5 in. (100 x 62 cm.)

£400-600

43 AFTER HENRI MATISSE (1869-1954) NICE lithographic poster, 1947, condition B+/A-; not backed 39 x 25 in. (99 x 64 cm.)

£800-1,200

44 JEAN JULES-LOUIS CAVAILLES (1901-1977) LE CARNAVAL A NICE lithographic poster, 1965, condition B+/A-; not backed 39.5 x 24.5 in. (100 x 62 cm.)

£200-300

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45 ROGER BRODERS (1883-1953) CALVI, CORSE lithographic poster, 1928, condition A-; backed on linen 42 1⁄2 x 31 1⁄2 in. (108 x 80 cm.)

£5,000-7,000

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

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46 ROGER BRODERS (1883-1953) ANTIBES lithographic poster, c.1928, condition B+; backed on linen 42.5 x 30.5 in. (108 x 77 cm)

£5,000-7,000

47 ROGER BRODERS (1883-1953) AGAY lithographic poster, c.1930, condition A-; backed on linen.

41½ x 30½ in. (105 x 77 cm.)

£3,000-5,000

48 ROGER BRODERS (1883-1953) BEAUSOLEIL lithographic poster, c.1928, condition A; backed on linen 39½ x 24 in. (101 x 61 cm.)

£2,000-3,000

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DAY TWO WEDNESDAY 20 OCTOBER AT 10AM

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49 ENGLISH ARTS & CRAFTS HALL LANTERN, CIRCA 1880 stained and leaded glass panels, supported within patinated brass frame 112cm high to rose, approx. 30cm diameter

£600-1,000

50 ENGLISH PAIR OF GOTHIC REVIVAL CANDLESTICKS, CIRCA 1870 brass, set with clear and coloured cabochons (2) each 29cm high

£300-500

51 ENGLISH GOTHIC REVIVAL STATIONERY BOX, CIRCA 1890 stained and carved oak, indistinct inscription to base 30cm wide, 28cm high

£200-300

52 A.W.N. PUGIN (1812-1852) (ATTRIBUTED DESIGNER) GOTHIC REVIVAL SIDE TABLE, CIRCA 1850 oak 149cm wide, 77cm high, 84cm deep

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

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53 ENGLISH PAIR OF GOTHIC REVIVAL CANDLESTICKS, CIRCA 1870 brass, set with coloured cabochons (2) 34.5cm high

£300-500

54 MANNER OF A.W.N. PUGIN SET OF GOTHIC REVIVAL FIREIRONS, CIRCA 1880 cast and wrought steel, comprising COAL PINCERS, 81cm long; POKER, 81.5cm long; and ASH SHOVEL, 83.5cm long (3) £250-350

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

£800-1,200

56 MANNER OF A.W.N. PUGIN GOTHIC REVIVAL FENDER, CIRCA 1880 wrought steel and brass, 109cm wide, 38cm high, 34cm deep; together with a GOTHIC REVIVAL FENDER, CIRCA 1880, cast iron, inner measurement 129.5cm wide, 22cm high, 32cm deep (2) £500-800

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

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57 A.W.N. PUGIN (1812-1852) OR E.W. PUGIN (1834-1875) NEEDLEWORK CARPET, CIRCA 1850 wool, with hessian backing 384cm x 95cm Provenance: St. Leonards - Mayfield Chapel, Mayfield, Sussex, England.

Note: The remains of a medieval palace belonging to the Archbishops of Canterbury was converted into a school, Mayfield School of the Holy Child, by Edward Welby Pugin in 1863-6. This needlework rug originally ran the entire length of the Chapel. Due to the sheer scale of the work, the rug was constructed in small, panelled sections and later stitched together to form the carpet. Hand-stitched by the sisters of Mayfield Chapel, the carpet was produced for Mother Cornelia Connelly, founder of the Society of the Holy Child Jesus. The border has verses from Psalm 112 verses 5 and 6 ET HUMILIA RESPICIT IN CAELO ET IN TERRA/ SUSCITANS A TERRA INOPEM ET DE STERCORE ERIGENS PAUPEREM, translating from Latin as ‘Good will come to those who are generous and lend freely, who conduct their affairs with justice/ Raising up the needy from the earth, and lifting up the poor out of the dunghill’. As in other projects, E.W. Pugin continued to use the decorative designs of his father of which this may be one.

£2,000-3,000

59 JOHN MOYR SMITH (1839-1912) (ATTRIBUTED DESIGNER) FOR COX & SON, LONDON GOTHIC REVIVAL SIDE CHAIR, CIRCA 1880 ebonised oak with incised and polychrome decoration, original velvet upholstered seat and back panel 46cm wide, 93cm high, 44cm deep

£400-600

58 MANNER OF A.W.N. PUGIN WALL MIRROR, CIRCA 1860 painted giltwood frame, later mirrored plate 47cm x 36cm

£350-450

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ENGLISH

A.W.N. PUGIN (1812-1852) (ATTRIBUTED DESIGNER) FOR JOHN HARDMAN & CO. (ATTRIBUTED MAKER)

OWEN WILLIAM DAVIS (1838-1913) FOR BENHAM & FROUD

PAIR OF GOTHIC REVIVAL BELL LEVERS, CIRCA 1880

GOTHIC REVIVAL CANDLESTICK, CIRCA 1870

GOTHIC REVIVAL WARDROBE CIRCA 1870 inlaid ash

brass, later-mounted on painted wood panels (2)

193cm wide, 218cm high, 58cm deep

each 18.5cm across

£800-1,200

Note: See trade catalogue for John Hardman & Co., circa 1885, ‘Brass Bell Pulls...etc.’, Nos. 2 and 5, where line drawings for related models are illustrated.

£200-300

brass, stamped to base 1463/ B&F, 26cm high; together with a GOTHIC REVIVAL CANDLESTICK, ATTRIBUTED TO A.W.N. PUGIN FOR JOHN HARDMAN & CO., brass, 29cm high (2) £300-500

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

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63 MANNER OF SELWYN IMAGE STAINED GLASS PANEL, CIRCA 1890 stained, painted and leaded glass, bearing inscription FAITH HOPE CHARITY/ THESE THREE: BUT THE GREATEST/ OF THESE IS CHARITY 92cm x 71cm

£400-600

64 ENGLISH PAIR OF GOTHIC REVIVAL ALTAR CANDLESTICKS, CIRCA 1870 brass, raised on later metal discs (2) 91cm high

£600-800

65 ENGLISH GOTHIC REVIVAL DAYBED, CIRCA 1890 oak, with later upholstered squab cushion 189cm wide, 82cm high, 64cm deep

£700-1,000

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66 ENGLISH PAIR OF ARTS & CRAFTS STAINED GLASS ROUNDELS, CIRCA 1900 stained, painted and leaded glass 35.5cm diameter

£200-300

67 ENGLISH PAIR OF CANDELABRA, CIRCA 1880 gilt metal, with applied enamel cabochons (2) each 40cm high

£300-500

68 ENGLISH TWO PAIRS OF GOTHIC REVIVAL CANDLESTICKS, CIRCA 1880 brass, set with clear cabochons (4) 29cm and 27cm high

£300-500

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

MANNER OF HARDMAN & CO.

SET OF TWELVE DINNER PLATES, CIRCA 1850 glazed and printed earthenware, variously marked (12) each 25.5m diameter

PAIR OF GOTHIC REVIVAL NEWEL CANDLESTICKS, CIRCA 1890 brass, recently converted to table lamps (2) each 68.5cm high to top of fitting

£400-600

£300-500

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

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71 JAMES BALLANTINE & SON, EDINBURGH TWO STAINED GLASS CARTOONS, CIRCA 1896 sepia wash on paper, later framed,186cm x 63cm; and 218cm x 63cm; and another STAINED GLASS CARTOON, sepia wash on paper, later framed, 150cm x 60cm (3) Note: Two of the cartoons in the present lot were made for a window depicting scenes from the life of Joseph in St Giles Cathedral, Edinburgh. The completed window, dating to around 1896, is comprised of four pointed trefoiled lights arranged in two stages with tracery and bears the inscription ‘To the Glory of God and in Memory of/ Alexander Stewart Born at New Rattray/ Blairgowrie 26th July 1822/ Died Edinburgh 13th Nov 1896.’

£500-1,000

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ENGLISH

ENGLISH

MANNER OF WILLIAM BURGES

GROUP OF ECCLESIASTICAL TEXTILES

CARTOON FOR STAINED GLASS

PAIR OF WALL LIGHTS, CIRCA 1880

comprising an ALTAR FRONTAL, yellow silk damask, with embroidery, and appliqué; a COPE, oyster silk damask with embroidery; and a BANNER, pale blue silk damask, with embroidery, and appliqué and inscription STELLA MARIS (3)

watercolour, framed

painted and gilded wood, brass candle nozzles (2)

48cm x 50cm

each 30cm wide, 20cm high, 26cm deep

£200-300

£200-300

£500-700

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75 MAYER & CO., MUNICH SUITE OF FOUR STAINED GLASS PANELS, CIRCA 1880 stained, painted and leaded glass (4) each 74.5cm x 44cm

£800-1,200

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

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76 SCOTTISH CORNER CABINET, CIRCA 1900 oak, with penwork, painted and gilded panels, and mirrored plate, paper label verso NO.2/ ANGLE CUPBOARD/ EXHIBITOR. DAVID HAY/ NEWBURGH FIFESHIRE N.B. 52.5cm wide, 104.5cm high, 36.5cm deep Note: This cabinet is presumably a late 19th-century copy of a production piece, with additional pokerwork detail. In the 19th century, ‘North Britain’ or ‘N.B.’ was widely used for postal addresses in Scotland.

£300-500

77 MANNER OF BRUCE TALBERT PAIR OF AESTHETIC MOVEMENT WALL SCONCES, CIRCA 1876 brass, bears registration mark for 1876 (2) 35.5cm x 20.5cm

£400-600

78 BRUCE TALBERT (1838-1881) (ATTRIBUTED DESIGNER) GOTHIC REVIVAL DRAWING ROOM CABINET, CIRCA 1870 oak, with brass fittings and mirrored plates, the doors with etched glass panels, the interior shelves with later velvet coverings 152.5cm wide, 151.5cm high, 45cm deep

£700-1,000

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79 ENGLISH AESTHETIC MOVEMENT CHANDELIER, CIRCA 1880 brass, with three opaline glass shades 55cm high, 63cm wide

£300-500

80 ENGLISH, MANNER OF PHILIP WEBB AESTHETIC MOVEMENT ADJUSTABLE ARMCHAIR, CIRCA 1890 ebonised wood with original leather upholstery and brass close nails 59cm wide, 111cm high, 78cm deep

£600-800

81 JOHN MOYR SMITH (1839-1912) (ATTRIBUTED DESIGNER) FOR COX & SON, LONDON AESTHETIC MOVEMENT ARMCHAIR, CIRCA 1890 ebonised wood with later plush upholstery and brass close nails 63cm wide, 107cm high, 58cm deep

£800-1,200

82 ENGLISH AESTHETIC MOVEMENT OCCASIONAL TABLE, CIRCA 1880 ebonised wood 61cm wide, 69.5cm high, 38cm deep

£600-800

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ENGLISH

E.W. GODWIN (1833-1886) (ATTRIBUTED DESIGNER) FOR JAMES PEDDLE, HIGH WYCOMBE

AESTHETIC MOVEMENT HALL LANTERN, CIRCA 1880 stained and leaded glass, with brass frame, 25cm square, 43cm high; together with another AESTHETIC MOVEMENT HALL LANTERN, stained and leaded glass panels with laterpainted metal frame, 41cm high (2)

AESTHETIC MOVEMENT ARMCHAIR, CIRCA 1880

£300-500

£200-300

mahogany, with moulded seat 57cm wide, 88cm high, 48cm deep Literature: Soros, S. The Secular Furniture of EW Godwin, Yale 1999, p.131, plate 178

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

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85 COALBROOKDALE IRONWORK COMPANY (ATTRIBUTED MAKER) PAIR OF AESTHETIC MOVEMENT WALL CABINETS, CIRCA 1870 cast iron, with registration lozenge for February 1870, registration number 376762 (2) 149cm wide, 102cm high, 13cm deep

£1,000-1,500

86 THOMAS JECKYLL (1827-1881) (ATTRIBUTED DESIGNER) FOR BARNARD, BISHOP AND BARNARDS AESTHETIC MOVEMENT FIRE DOGS AND GRATE, CIRCA 1880 the grate raised on wrought-iron supports and enclosed by matching fire dogs with elaborate scrollwork uprights (3) Grate 106.8cm wide, 58.5cm high, 30.5cm deep, Fire dogs 27cm wide, 83cm high, 84cm deep Literature: Soros, Susan Weber and Arbuthnott, Catherine Thomas Jeckyll Architect and Designer, 1827–1881, p. 61, n. 294.

£1,500-2,000

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

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

34

87 GEORGE FREDERICK WATTS (1817-1904) STUDIES OF THE MALE NUDE red chalk on paper, unsigned, bears inscription under the mount WATERMARK 1853-4, GIVEN TO ME IN 1938 AS ONE OF THE TRUSTEES OF THE WATTS GALLERY, COMPTON ON THE DEATH OF LADY G F WATTS, L.G.D. 27cm x 37.5cm

£300-500

Note: L.G. Duke became a trustee of the Watts Gallery in 1933, replacing the late Lord Northbourne. The drawing appears to be a study for the figure of Adam in The Denunciation of Adam and Eve by G.F. Watts of which there are two painted versions, both in the collection of Watts Gallery. Both are illustrated in colour with a detailed entry in ‘G F Watts; Victorian Visionary’, Bills & Bryant, Yale University Press 2008.

88 AMERICAN SCHOOL AESTHETIC MOVEMENT SIDE CHAIR, CIRCA 1880 carved ebonised wood with black and gold silk upholstered seat 56.5cm wide, 110cm high, 50cm deep

£300-400

90 ENGLISH AESTHETIC MOVEMENT FIRE SURROUND, CIRCA 1880

89 THOMAS JECKYLL (1827-1881) FOR BARNARD, BISHOP & BARNARD COAL SCUTTLE, CIRCA 1875

mahogany, inset with four ebonised, incised and gilded panels, traces of paper label verso 105cm wide, 130cm high, 15cm deep; internal 90cm x 79cm

£300-500

mahogany and cast iron, the interior with liner and coal shovel 34cm wide, 39cm high, 49cm deep

91

Literature: This coal scuttle is illustrated in a Barnard, Bishop & Barnard catalogue circa 1875.

SIMEON SOLOMON (1840 -1905)

£500-800

14.5cm x 19.5cm; together with TWO FURTHER PRINTS, ‘Blessed Damsel’

by D.G. Rosetti, 13cm x 12cm; and an Albert Moore print, 20cm x 5.5cm (3)

FRAMED PRINT

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

35

92

93

WALTER CRANE (1845-1915)

RANDOLPH CALDECOTT (1846-1886)

A CHARIOT RACE AT OLYMPIA pen and ink, signed with artist’s monogram and dated 1896, 23.2cm diameter, together with a companion by the same hand OLYMPIANS AT THE HIPPODROME pen and ink, signed with artist’s monogram and dated 1896, 23.2cm diameter, both within a single frame and mount Provenance: J.S. Maas & Son Ltd., London Note: These drawings may have been designed as publicity for a series of chariot races held at Kensington Palace Olympia by the Paris Hippodrome in 1886

£800-1,200

‘A HORSE FAIR IN BRITTANY’, CIRCA 1876 bronze plaque, signed RC (indistinct) 15.5cm x 35.5cm Note: A version of this work was exhibited at the Royal Academy, 1876

£400-600

94 SIR JOSEPH NOEL PATON (1821-1901) STUDY OF A KNIGHT AND A MAIDEN pencil, red chalk and oil on paper, later inscribed to the mount SIR JOSEPH NOEL PATON 27cm x 19.5cm Provenance: Campbell Wilson Fine Art

£300-500

36

95 ELKINGTON & CO. PLATEAU, LATE 19TH CENTURY gilt metal with champleve enamel, inset with mirrored glass upper surface, stained wood to the underside, stamped ELKINGTON, E & Co 32cm diameter

£500-700

96 Y ENGLISH AESTHETIC MOVEMENT WALL CABINET, CIRCA 1890 ash with polychrome and gilded panels and mother-of-pearl inlay 73.5cm wide, 26cm high, 20cm deep

£200-300

97 E. W. GODWIN (1833-1886) (ATTRIBUTED DESIGNER) AESTHETIC MOVEMENT TIERED TABLE, CIRCA 1880 mahogany 91.5cm long, 66cm high, 59cm deep

£800-1,200

98 Y COLLINSON & LOCK, LONDON (ATTRIBUTED MAKER) AESTHETIC MOVEMENT CABINET, CIRCA 1880 rosewood, inset with embossed panels, brass fittings and Japanese lacquer panels inset to the doors 90cm wide, 135cm high, 37,5cm deep

£300-500

99

100

MANNER OF JAMES POWELL & SONS

JAMES POWELL & SONS, WHITEFRIARS

PART SUITE OF STEMMED DRINKING GLASSES

GROUP OF FOUR CIRCULAR DISHES, CIRCA 1890

hand-etched coloured glass, comprising SIXTEEN LARGE GLASSES, 20cm high; FOURTEEN MEDIUM GLASSES, 18.5cm high; together with FIFTEEN SMALL GLASSES, 17.5cm high (45) £300-500

coloured green glass (4) each 16cm diameter

£200-300

37

101 ENGLISH MATCHED PAIR OF AESTHETIC MOVEMENT CEILING LIGHTS, CIRCA 1890 brass (2) each 39cm wide, 38cm high

£400-600

102 ENGLISH ARTS & CRAFTS APPLIQUE WALL HANGING, CIRCA 1900 woolwork embroidery and applied fabrics 99cm x 126cm Note: Bears motto to the reverse side of one sunflower CIO CHE DIO VUOLE IO VOGLIO, the motto of the Dormer family.

£300-500

103 GILLOWS, LANCASTER & LONDON COMMODE BEDSIDE TABLE, CIRCA 1890 marquetry inlaid ash, stamped maker’s marks GILLOWS, 41cm wide, 84cm high, 36cm deep; together with a matching GILLOWS COMMODE STOOL, marquetry inlaid ash, with horsehair upholstered seat, stamped maker’s marks GILLOWS, 45.5cm wide, 47.5cm high, 44.5cm deep (2) Provenance: Paul Reeves, London Kirkton House, Montrose

£1,000-1,500

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

38

104 MANNER OF CHRISTOPHER DRESSER AESTHETIC MOVEMENT FRAMED TEXTILE PANEL, CIRCA 1870 printed cotton, framed 131cm x 40.5cm

£300-500

105 FALKIRK IRONWORKS, MANNER OF CHRISTOPHER DRESSER AESTHETIC MOVEMENT HALLSTAND, CIRCA 1880 cast iron, with mirrored panel, cast FALKIRK with registration lozenge 66cm wide, 189cm high, 29cm deep

£500-700

106 CHRISTOPHER DRESSER (1834-1904) FOR COALBROOKDALE IRONWORK COMPANY AESTHETIC MOVEMENT STICK STAND, CIRCA 1870 cast iron 53cm wide, 81cm high, 27cm deep

£200-300

107 ENGLISH EAGLE FIRE GRATE, CIRCA 1890 cast iron with inset Burmantofts tiled panel, marked to inner doors GOLD MEDAL EAGLE GRATE BY ROYAL LETTERS PATENT, and to base EAGLE RANGE AND FOUNDRY CO., LONDON 58 ST. PAUL’S CHURCH 97cm wide, 97cm high, 26cm deep, internal 38cm wide, 86cm high

£500-800

39

108

109

T. & R. BOOTE LTD., BURSLEM

CHRISTOPHER DRESSER (1834-1904) (ATTRIBUTED DESIGNER)

TILE PANEL, CIRCA 1880

PAIR OF AESTHETIC MOVEMENT GATES, CIRCA 1880

glazed and painted earthenware, later framed

cast iron (2)

15cm x 87cm

88.5cm and 91cm wide, 128cm high

£300-500

£800-1,200

110

111

CHRISTOPHER DRESSER (1834-1904) FOR WEDGWOOD RARE TWIN-HANDLED VASE, CIRCA 1880

CHRISTOPHER DRESSER (1834-1904) (ATTRIBUTED DESIGNER) AND RICHARD PERRY, SON & CO. (ATTRIBUTED MAKER)

majolica, impressed WEDGWOOD

AESTHETIC MOVEMENT WATERING CAN, CIRCA 1880

19cm high

toleware

Literature: Batkin, M. Wedgwood Ceramics, 1846-1959: A New Appraisal Richard Dennis 1982 p.65, pl. 117

24cm high, 53.5cm long

£300-500

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

40

112 CHRISTOPHER DRESSER (1834-1904) (ATTRIBUTED DESIGNER) PAIR OF WALLPAPER PANELS, CIRCA 1880 printed paper, framed (2) each 46.5cm x 28cm

£300-500

113 ENGLISH, MANNER OF WALTER CRANE OR STEPHEN WEBB AESTHETIC MOVEMENT PANEL CIRCA 1880 silvered copper 120cm x 51cm

£400-600

114 ENGLISH ARTS & CRAFTS FIRE SURROUND, CIRCA 1900 cast iron with inset tiled panels and copper canopy in the manner of John Pearson, cast mark MARLBOROUGH PATENT NO 13355 243C, REG NO 236240 103cm wide, 99cm high, 45cm wide, internal 81cm high

£500-800

115 CHRISTOPHER DRESSER (1834-1904) STUDIES IN DESIGN published by Cassell, Petter & Galpin, London, c.1870s, containing lithographed titlepage and sixty lithograph plates with captioned tissue guards, gilt decorated cloth binding, folio £300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

41

116 CHRISTOPHER DRESSER (1834-1904) FOR HUKIN & HEATH, LONDON AESTHETIC MOVEMENT CHAMBER CANDLESTICK, CIRCA 1880 electroplated silver with ebonised handle, removable nozzle and vesta cover, stamped H&H/ 4876 13.5cm high Literature: Durant, S. Christopher Dresser, Academy 1993, cover illustration Halén, Widar Christopher Dresser: A Pioneer of Modern Design London 1990, p.178, pl. 201

£2,000-3,000

117 CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE ART POTTERY VASE, CIRCA 1880 glazed earthenware, with incised decorative band, very indistinct mark under base 29.7cm high

£600-800

118 CHRISTOPHER DRESSER (1834-1904) (ATTRIBUTED DESIGNER) FOR MINTON & CO. LARGE AESTHETIC MOVEMENT MAJOLICA JARDINIÈRE, CIRCA 1875 glazed earthenware, stamped maker’s and shape marks 53cm high

£400-600

119 CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE ART POTTERY CHARGER, CIRCA 1880 glazed earthenware, impressed LINTHORPE/ HT (indistinct, Henry Tooth), with facsimile signature, 27cm diameter; together with a further LINTHORPE PLATE, glazed earthenware, similarly marked, 30.5cm diameter; and a LINTHORPE VASE, glazed earthenware, impressed 93, 23cm high (3) £300-500

42

120 MORRIS & CO. EMBROIDERED PANEL, CIRCA 1890 coloured silks, framed 55cm x 51cm

£400-600

121 MAY MORRIS (1862-1938) FOR MORRIS & CO. EMBROIDERED PANEL, CIRCA 1890 worked in coloured silks, framed 50cm x 42cm

£400-600

122 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. GROUP OF ORIGINAL TEXTILES, CIRCA 1880 comprising a ‘HONEYSUCKLE’ PATTERN PANEL, designed 1876, printed linen,135cm x 94cm including selvedge; a ‘BIRD & ANEMONE’ PATTERN PANEL, registered 1882, blue colourway, printed cotton, 79cm x 94cm; TWO FURTHER PANELS OF ‘BIRD & ANEMONE’ PATTERN PRINTED COTTON, lined and hemmed, one with hanging rings, 67cm x 86cm and 170cm x 82cm; a ‘STRAWBERRY THIEF’ PATTERN PANEL, registered 1883, printed cotton, 73cm x 87cm; THREE ‘MEDWAY’ PATTERN PANELS, registered 1885, printed cotton, 135cm x 46cm, 105cm x 94cm and 134cm x 47cm; TWO PANELS OF ‘TULIP AND WILLOW’ PATTERN, registered 1873, printed linen, 143cm x 90cm and 142cm x 90cm; together with a Liberty and co panel with some embroidery 88cm x 90cm, LIBERTY AND CO. NEEDLEWORK TEMPLATE, with partial needlework, printed to selvedge, LIBERTY AND CO REGENT STREET LONDON/ W REGISTERED, 88cm x 90cm (11) Provenance: From the collection of Arthur Halcrow Verstage (see lot 135) Literature: Parry, Linda William Morris Textiles, V&A 2013, p.217, no. 27; p. 226, no. 44; p. 233, no. 52; p. 246, no. 65; p. 207, no. 8

£600-800

43

123 MORRIS & COMPANY (MAKER), HERBERT HORNE (1864-1916) (ATTRIBUTED DESIGNER) FOR THE CENTURY GUILD ARTS & CRAFTS RUG, CIRCA 1884 hand-woven wool, with characteristic knotted fringe 74cm x 123cm (88cm x 123cm including knotted fringe) Literature: Parry, L., Cathers D., et al., Arts and Crafts Rugs for Craftsman Interiors, New York and London, 2010, cat. no. 8, where a rug of the same pattern is illustrated.

Note: In 1875, Morris & Co. began large-scale production of floor coverings, rugs and carpets, designed to complement an ever-popular ‘Morris’ aesthetic in Victorian Britain. A triumph in craftsmanship on an impressive scale, these designs were hailed as some of the finest hand-knotted carpets ever produced in Britain at the time. Morris’ designs were largely inspired by his love of Eastern carpets from Persia Turkey and China, of which he amassed a great deal and used to furnish his own homes, including Red House. Featuring an array of stylised plants and flowers, carefully woven into fields of vibrant colours, the carpets were hugely popular but very expensive to the average customer.

As a result, the firm began to manufacture a range of smaller and less costly alternatives to an eager market. Flowerpots were often a feature of these designs, with trailing flowers stemming out from the centre against a cream ground, and a dark blue border. These smaller rugs were frequently used as wall hangings and occasionally placed as bedside rugs in guest bedrooms.

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

£3,000-5,000

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

44

124 GEORGE WASHINGTON JACK (1855-1931) (ATTRIBUTED DESIGNER) FOR MORRIS & CO. WALL CABINET, CIRCA 1900 mahogany with glazed doors 142.5cm wide, 108cm high, 19cm deep

£800-1,200

125 MORRIS & CO. ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1900 coloured silks on a linen ground 23.5cm x 112cm

£300-500

126 MANNER OF MORRIS & CO. ARTS & CRAFTS SETTLE, CIRCA 1890 ebonised wood, with rush seat 139cm wide, 93cm high, 42cm deep

£400-600

45

127

128

MORRIS & CO.

WILLIAM MORRIS (1834-1896) OR J.H. DEARLE (1859-1932) FOR MORRIS & CO.

ARTS & CRAFTS SIDEBOARD CIRCA 1890

‘TULIP & NET’ FABRIC PANEL, REGISTERED 1888

oak, with mirrored back, embossed panels and brass lion ring handles

wool

187.3cm wide, 206cm high, 47cm deep

Literature: Parry, L. William Morris Textiles, V&A 2013, p.248, no.74

£1,000-1,500

£250-350

175cm x 102cm

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

46

129 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. AND LEWIS F. DAY (1845-1910) FOR TURNBULL & STOCKDALE GROUP OF ORIGINAL TEXTILES, CIRCA 1880 printed cotton, comprising: a PAIR OF LINED ‘KENNET’ PATTERN CURTAINS, each 249cm x 175cm; a ‘KENNET’ PATTERN PANEL, 157cm x 83cm; TWO ‘TULIP’ PATTERN PANELS, 78cm x 137cm and 42cm x 210cm; a ‘ROSE AND THISTLE’ PATTERN PANEL, 155cm x 128cm; a ‘WEY’ PATTERN PANEL, lined, 180cm x 96cm; SIX TURNBULL & STOCKDALE PANELS, 78cm square; 80cm square; 79cm square; 80cm square; 56cm x 54cm and 136cm x 76cm; and a FURTHER TURNBULL & STOCKDALE EXAMPLE, 37cm x 52cm, both designed by Lewis Day (13) Provenance: From the collection of Arthur Halcrow Verstage (see lot 135) Literature: Parry, L. William Morris Textiles, V&A 2013, p.237, no.55; p.229, no.

46; p.207, no. 8, p. 237, no. 54

£500-700

130 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. ‘ROSE’ FABRIC, REGISTERED 1883 printed cotton and linen, printed to selvedge REGD. MORRIS & CO (later made-up into a bedspread), 236cm x 271cm; together with a PANEL OF ‘TULIP & ROSE’ PATTERN FABRIC, woven silk and cotton, 153cm x 130cm; and TWO ARTS & CRAFTS EMBROIDERED PANELS, one a tablecloth, coloured silks on a muslin ground, 97cm square; the other a panel fragment, coloured silks on a silk ground, 99cm x 60cm (4) Literature: Parry, L. William Morris Textiles, V&A 2013, p.229, no.59 and p.210, no.18

£400-600

131 WILLIAM MORRIS (1834-1896) TWO BOLTS OF FABRIC, LATE 20TH CENTURY COMPTON pattern printed cotton, 1095cm x 136cm; and MARIGOLD, blue colourway, printed on linen, printed to selvedge “MARIGOLD”/ DESIGNED BY WILLIAM MORRIS/ AN ORIGINAL SCREENPRINT BY SANDERSON, 3655cm x 126cm (2) Provenance: From the collection of Arthur Halcrow Verstage (see lot 135) Literature: Parry, Linda William Morris Textiles, V&A 2013, p.258, no.95, and p.207, no.10

£500-700

132

133

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

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

GROUP OF ORIGINAL TEXTILES, CIRCA 1880

LINOLEUM & WALLPAPER SAMPLES

printed cotton, comprising three panels of INDIAN DIAPER, 52cm x 49cm; 55cm x 40cm; 44cm x 55cm; two panels of SNAKESHEAD, 54cm x 36cm and 54cm x 40cm; a single panel of WANDLE’, 76cm x 50cm; and a loose cover of the same pattern, main panel, 67cm x 140cm; a single panel of LEA, 92cm x 63cm; a single panel of STRAWBERRY THIEF, 49cm x 101; two loose covers of EVENLODE; and a selection of Morris & Co fabric scraps; two panels of PEONY, designed by Kate Faulkner, 36cm x 90cm and 31cm x 88cm; and a single panel of GRAVENEY, designed J.H. Dearle, 76cm x 56cm

to include a LINOLEUM SAMPLE, introduced 1875, 43cm x 20.5cm; and NINE HAND-BLOCKED WALLPAPER SAMPLES, including three from the Architectural Review, May 1931, THE BOWER; THE POWDERED; and THE DAISY, each 35.5cm x 26cm; also two folded sections of original BLUE WALLFLOWER, 34cm x 53cm and 35cm x 51cm; a folded section of original WILLOW BOUGH, 35.5cm x 52cm approx.; BLUE MARIGOLD, 35.5cm x 21.5cm; a folded section of original SUNFLOWER, 36cm x 53cm; and another folded sample, unidentified, 26cm x 53cm (10)

Provenance: From the collection of Arthur Halcrow Verstage (see lot 135) Literature: Parry, Linda William Morris Textiles, V&A 2013, p.209, no. 14; p.214-5, no. 24; p.240-1, no. 62; p. 243, no. 64; p. 232-3, no. 52; p. 233, no. 53; p.220, no.

32; p. 254, no. 87

Provenance: From the collection of Arthur Halcrow Verstage (see lot 135)

£400-600

£300-500

Literature: Parry, Linda William Morris Textiles, V&A 2013, p.90, pl. 70

48

134 FRED PASSENGER FOR WILLIAM DE MORGAN (1839-1917) ‘MOONLIGHT AND SUNSET SUITE’ TRIPLE LUSTRE PEDESTAL BOWL, CIRCA 1890 lustre-glazed earthenware, painted artist’s initials F.P. 36cm diameter Literature: Greenwood, M. The Designs of William De Morgan, Richard Dennis 2007, p. 224 pl. 155 where a bowl of the same shape from the ‘Sunset & Moonlight Suite’ is illustrated. See also p.245, pl.306 where the central design on this bowl is illustrated on a tile.

£4,000-6,000

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

49

135 WILLIAM DE MORGAN (1839-1917) CHARGER, CIRCA 1890 lustre-glazed earthenware, on a J.H. Davis blank, impressed J.H. DAVIS 30cm diameter Provenance: From the collection of Arthur Halcrow Verstage. Arthur Halcrow Verstage (1875-1969) was an architect who spent much of his career in the public sector. He was a student at the Royal Academy School of Architecture in the 1900s and was elected as an Associate of the Royal Institute of British Architects in 1902. By 1903 he was a student and assistant at the Central School of Arts and Crafts (later known as the Central School of Art and Design) in London where William Lethaby was principal and a great influence on him.

He then oversaw the design of the new school in Southampton Row from 1905-8. From here he became an architect for London County Council and was involved with many London societies, and as a founding member of the Kelmscott Fellowship, a forerunner to The William Morris Society. His large and varied collection reflected his wide interest in the arts. His archive was purchased by The William Morris Society in 2005.

Note: The impressed mark J.H. Davis on this piece was the mark used by the potter John Heath Davis (active 1875–91) of Hanley, Staffordshire. De Morgan frequently purchased blanks from commercial potteries in Staffordshire to decorate and fire himself.

£1,000-1,500

136 WILLIAM DE MORGAN (1839-1917) (DESIGNER), J. HERSEY (DECORATOR) PERSIAN TWIN-HANDLED VASE & COVER, glazed pottery, impressed W DE MORGAN POTTERY SANDS END, black painted FULHAM 2249 J.H 19 (2) 35cm high Provenance: 2nd Lord Swaythling, thence by descent to the British Decorative Arts Exhibition held at the Louvre in 1914.

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

50

137 WILLIAM DE MORGAN (1839-1917) PAIR OF 8 INCH ‘BBB’ TILES, DATED 1898 glazed earthenware, impressed DM 98 (2) each 20.4cm square Provenance: From the collection of Arthur Halcrow Verstage (see lot 135)

£600-800

138 WILLIAM DE MORGAN (1839-1917) PAIR OF 8 INCH DOUBLE CARNATION TILES, LATE 1890S glazed earthenware, one impressed DM 98, the other with Sands End mark (2) each 20.4cm square Provenance: From the collection of Arthur Halcrow Verstage (see lot 135)

£600-800

139 WILLIAM DE MORGAN (1839-1917) TWO TILES, CIRCA 1890 glazed earthenware, 15.5cm x 15.5cm, unmarked; the other with Sands End impressed mark, 15.2cm x 7.5cm (2) Provenance: From the collection of Arthur Halcrow Verstage (see lot 135)

£300-500

140 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. GROUP OF DELFTWARE TILES, CIRCA 1875 tin-glazed earthenware, decorated blue on white (6) each 16cm square Provenance: From the collection of Arthur Halcrow Verstage (see lot 135)

£300-500

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

51

141 HARRIS LEBUS, LONDON ARTS & CRAFTS FIVE-PIECE BEDROOM SUITE, CIRCA 1900 oak with copper fittings, comprising a BEDSIDE CABINET, 48.5cm wide, 77cm high, 39.5cm deep; a DRESSING TABLE, 122cm wide, 158cm high, 58.5cm deep; a WASHSTAND, with marble top and inset with tiles, 118cm wide, 133.5cm high, 61cm deep; a DOUBLE BED, frame 141.5cm wide, 113cm high, 205.5cm long; and a WARDROBE, 217cm wide, 211.5cm high, 66cm deep (5) £2,000-3,000

52

142 C. R. ASHBEE (1862-1942) (ATTRIBUTED DESIGNER) FOR THE GUILD OF HANDICRAFT LARGE ARTS & CRAFTS SEVEN-LIGHT ELECTROLIER, CIRCA 1910 patinated wrought iron with hammered and patinated copper shades and brass ceiling hook 100cm diameter, 175cm high Provenance: Property from an Important Private Collection Literature: Ashbee, C.R. Suggestions for Light Fittings Art Journal, 1895 V&A Accession number M.60-2000 See Guild of Handicraft Trade Catalogue, circa 1900, p.58, where a similar wrought-iron ceiling light is illustrated

£4,000-6,000

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

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

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

The nine-pendant circular rose in question spins a sort of grand spider-web upon white plaster.”

53

143 C.F.A. VOYSEY (1857-1941) ORIGINAL DESIGN FOR A NEEDLEWORK Watercolour on graph paper, signed, dated and inscribed lower right C.F.A. VOYSEY/ ARCHITECT/ 11 MELINA PLACE/ GROVE END ROAD/ ST JOHNS WOOD, NW/ SEPT. 1891, oak frame 49cm x 31cm Provenance: C.F.A. Voysey, until his death in 1941, thence by descent The Fine Art Society, London Exhibited: The Fine Art Society, in association with Haslam & Whiteway, Architects for a New Age 2008, No. 80

£3,000-5,000

Note: As a designer Voysey paid meticulous attention to detail, designing every aspect of a project whether architectural or in the design of furniture, patterns and metalwork. Concerned by the negative impact of industrialization on design, and handicrafts in particular, Voysey became a major proponent of the Arts & Crafts ideals. He set out to create simple but functional items, inspired by the natural world and produced with the spirit of craftsmanship in mind, thereby enriching the lives and homes of everyday Britain. Whilst many of his contemporaries opted to set up small-scale workshops to achieve this, Voysey forged links with an impressive network of commercial manufacturers and retailers, knowing that this would further disseminate these beliefs and allow beautifully designed goods to be accessible to a much larger market.

In 1897, Voysey’s output as a pattern designer for fabrics and wallpapers was significant; he signed three contracts with major manufacturers, agreeing to supply thirty original wallpaper designs per year to Essex & Co., ten carpet designs to Tomkinson & Adam, as well as a further ten for Alexander Morton & Co. Two of the designs offered in the proceeding lots feature marks for Tomkinson & Adam and, together with a further two needlework designs, illustrate a period where Voysey’s energy and originality were at their highest.

His fabric designs are typically produced on standard graph paper, used for setting up steam-driven looms.

Tomkinson & Adam’s looms were American and so specific grids were required for different types of machinery and weaves. These designs, so charming and vivid in their colours, serve as important interpretation tools for the technicians to bring the designs to life, direct from the master’s hand. To ensure quality and that the end-products remained true to Voysey’s intent, he often made several annotations leaving instructions concerning the repeat and colouring of the design for the weavers, as is exemplified in several of the following lots. Interestingly, in lot 147, he notes that the design was sold Stanway, an influential businessman who bought patterns from designers to be made into cloths and various fabrics for sale in his London and Parisian retails outlets. In lot 149, the design for a gas fire, Voysey also displays a strong sense of refinement and elegant proportion in the balanced linear forms, as well as a clear vision for the finished piece as he indicates his deliberate choice of materials in the annotations.

In a similar vein to William Morris, Voysey saw nature as his most important source of inspiration, as is clear from these designs. Arguably the motifs most synonymous with his work are the bird, heart and crown, the latter two representing love and loyalty: sentiments which he valued dearly. Rather than copy directly from what he saw, he believed that abstraction and inventiveness from the artist’s imagination was crucial in achieving good ornament.

Indeed, it was this belief that set his designs apart from Morris and others. Towards the end of his career his patterns tend to be figurative, as illustrated in the design for ‘The Sower’. Suitably charming and always beautifully coloured, these designs represent the talented mind of one of the most prolific architect designers of his generation.

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

54

144 C.F.A. VOYSEY (1857-1941) ORIGINAL DESIGN FOR A NEEDLEWORK Pen and Ink on blue graph paper with wash, oak frame 16.5cm x 16.5cm Provenance: C.F.A. Voysey, until his death in 1941, thence by descent The Fine Art Society, London Exhibited: The Fine Art Society, in association with Haslam & Whiteway, Architects for a New Age 2008, No. 79

£2,000-3,000

145 C.F.A. VOYSEY (1857-1941) THE SOWER pencil and watercolour, annotated with instructions for colours, oak frame 22.5cm x 24.5cm Provenance: C.F.A. Voysey, until his death in 1941, thence by descent The Fine Art Society, London Provenance: C.F.A. Voysey, until his death in 1941, thence by descent The Fine Art Society, London Exhibited: The Fine Art Society, in association with Haslam & Whiteway, Architects for a New Age 2008, No. 77 Note: This sketch could be a design for stained glass, and relates to a stained glass design held at the RIBA library, ref. SB120_VOY[913] no.2

£1,500-2,000

146 C.F.A. VOYSEY (1857-1941) DESIGN FOR A ROUNDEL WITH HEART, CROWN, BIRD AND TREE pencil and watercolour, signed and inscribed lower right C.F.A. VOYSEY/ ARCHITECT/ 23 YORK PLACE W, gilt frame 78cm x 56cm Provenance: C.F.A. Voysey, until his death in 1941, thence by descent The Fine Art Society, London Exhibited: The Fine Art Society, in association with Haslam & Whiteway, Architects for a New Age 2008, No. 76

£2,000-3,000

55

147 C.F.A. VOYSEY (1857-1941) DESIGN STUDY OF ARTICHOKE THISTLES Pen & Ink on sepia paper, laid down, inscribed lower right C.F.A. VOYSEY F.R.I.B.A., R.D.I./ 73 ST. JAMES ST. S.W.1, signed and inscribed in pencil C.F.A. VOYSEY/ SOLD TO STANWAY FOR FABRIC, bears Tomkinson & Adam stamp verso V00087, and with a faint pencil sketch 40cm x 39.5cm Note: The two signatures on this design reflect Voysey’s re-use of his work, often driven by a precarious financial position. Richard Stanway was an agent buying and selling patterns from designers like Voysey around the 1890’s (another example from 1898 ‘sold to Stanway for fabric’ is referenced on page 74 of C.F.A. Voysey, Arts & Crafts Designer by Livingstone, Donnelly and Parry published by V&A Publishing in 2016). Many years later Voysey has sold the design to carpet manufacturer Tomkinson and Adam and his later signature includes the letters “RDI” (Royal Designer for Industry) after his name, an award received by Voysey in 1936, making this one of his last successful pattern design sales.

£1,000-1,500

148 C.F.A. VOYSEY (1857-1941) TWO DESIGN SHEETS FOR CARPETS Pen & Ink and wash, one signed and inscribed lower right C.F.A. VOYSEY ARCHITECT/ 6.

CARLTON HILL, N.W., each bear Tomkinson & Adam stamps verso V00088(b.) and V00088(a.)

68cm x 26.5cm and 74cm x 26.5cm

£1,000-1,500

149 C.F.A. VOYSEY (1857-1941) DESIGN FOR A GAS FIRE coloured pencils and pencil, with pencil annotations, inscribed indistinctly top left DESIGN FOR GAS FIRE/ 1/4 FULL SIZE/ C.F. ANNESLEY VOYSEY ARCHITECT FRIBA/ 73 ST JAMES ST SW1 and lower left OCTOBER 1926, 57.5cm x 45.5cm; together with a SMALLER PREPARATORY DRAWING, Pen and Ink on blue laid paper, pasted in to larger work, oak frame 57.5cm x 45.5cm Provenance: C.F.A. Voysey, until his death in 1941, thence by descent The Fine Art Society, London Exhibited: The Fine Art Society, in association with Haslam & Whiteway, Architects for a New Age 2008, No. 78

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

56

150 ENGLISH ARTS & CRAFTS ELECTROLIER, CIRCA 1900 brass, with ceiling rose and later chain 58cm diameter, 64.5cm high (excluding chain and ceiling rose)

£400-600

151 ENGLISH STAINED GLASS PANEL, CIRCA 1900 stained, leaded and painted glass, depicting a portrait of Elizabeth Dauncey after Hans Holbein, 32.5cm x 26.5cm; together with a further STAINED GLASS PANEL, ‘THE SUN WORSHIPPER’, stained, leaded and painted glass, bearing inscription THE SUN WORSHIPPER, 31cm x 19.5cm (2) £200-300

152 ENGLISH ARTS & CRAFTS COAL BIN, CIRCA 1900

153

copper, set with Ruskin roundels

DUTCH OVEN, CIRCA 1900

46.5cm high, 44cm wide (approx.)

£500-700

W.A.S. BENSON (1854-1924) copper, wrought and cast iron 61cm high Literature: Hamerton, I. W.A.S. Benson, Arts and Crafts Luminary and Pioneer of Modern Design Antique Collectors’ Club, 2005, pg. 98, plate 76, as a Dutch oven, no. 774

£200-300

57

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

Provenance: Property from an Important Private Collection

£400-600

155 ARTHUR DIXON (1856-1929) FOR BIRMINGHAM GUILD OF HANDICRAFT ARTS & CRAFTS ‘HORN’ TABLE LAMP, CIRCA 1900 bronzed brass, with adjustable replacement hammered shade 55.5cm high

£600-800

156 JOHN PEARSON (FL. 1885-1910) NEWLYN CHARGER, DATED 1892 repoussé-decorated copper, signed and dated verso J. PEARSON/ 1892 51.5cm diameter

£600-800

157

158

159

KESWICK SCHOOL OF INDUSTRIAL ARTS

NEWLYN SCHOOL

ENGLISH

ARTS & CRAFTS DISH, CHESTER 1909

ARTS & CRAFTS TALL VASE, CIRCA 1900

ARTS & CRAFTS COAL SCUTTLE, CIRCA 1900

repoussé decorated copper 30cm high

copper, with repoussé decoration

£200-300

51cm wide, 57cm high, 39cm deep

silver, stamped K.S.I.A., hallmarks for Chester 1909, 10.5cm diameter; together with a CREAM JUG, designed by Robert Temple for The Keswick School of Industrial Arts, silver-plated, signed R. TEMPLE stamped K.S.I.A.. 6cm high; and a KESWICK SCHOOL SPOON, silver, stamped K.S.I.A., hallmarks for Chester 1906, 9.5cm long (3)

£300-500

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

58

160 AFTER GAVIN MORTON AND G.K. ROBERTSON HAND-KNOTTED CARPET, 20TH CENTURY wool 485cm x 298cm Literature: Haslam, M. Arts & Crafts Carpets, David Black 1991, p. 1067, fig. 67 where a Donegal carpet with related design is illustrated.

£800-1,200

161 Y ENGLISH, MANNER OF CHARLES SPOONER DRAWING ROOM CABINET, CIRCA 1910 mahogany, with mother-of-pearl inlay, birch interior, of seven sliding drawers and with single fixed shelf 91cm wide, 141cm high, 44cm deep

£1,000-1,500

162 WILLIAM S. MYCOCK (1872-1950) FOR PILKINGTON’S ROYAL LANCASTRIAN THREE MOULDED VASES, CIRCA 1930 glazed earthenware, each with painted artist’s monogram, and impressed ROYAL LANCASTRIAN/ ENGLAND, various pattern numbers, largest 17.5cm high; together with a further MOULDED PILKINGTON’S VASE, by Richard Joyce, glazed earthenware, with painted artist’s monogram, and impressed ROYAL LANCASTRIAN/ ENGLAND, 20.5cm high (4) £250-350

59

163 ARTS & CRAFTS ST GEORGE AND THE DRAGON, NEEDLEWORK PANEL, CIRCA 1920 coloured wools, reserved on a later linen backing with hanging rings 83cm x 137cm; whole 101cm x 151cm

£400-600

164 BRITISH ARTS & CRAFTS DONEGAL CARPET, CIRCA 1900 hand-knotted wool 580cm x 364cm

£800-1,200

165 HENRY RYLAND (1856-1924) ‘ROSALBA’ AND ‘ROSAMUNDA’, PAIR OF FRAMED PRINTS, CIRCA 1890 lithograph, for The London Autotype Company, each with original frame and mount (2) 25cm x 18cm

£300-500

166 ENGLISH, MANNER OF ALFRED STEVENS MANTEL CLOCK, CIRCA 1875 polished slate set with patinated bronze panels, flanked by two bronze figures, the dial with applied Roman Numerals and twin-train movement 55cm wide, 26cm high, 15cm deep

£300-500

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

60

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

£600-800

168 C. F. A. VOYSEY (1857-1941) FOR PILKINGTON’S TILE & POTTERY CO. RARE ‘BIRD AND CHERRY TREE’ TILE PANEL, CIRCA 1903 glazed earthenware, framed each tile 15.6cm square Literature: Livingstone, K., C.F.A. Voysey: Arts & Crafts Designer, London 2016, p. 285, pl.374 where the central tile is illustrated.

£350-450

169 ENGLISH ARTS & CRAFTS FIRE SURROUND, CIRCA 1900 copper and cast iron and steel plate, marked ROYAL YORK PATENT NUMBER 2004/ 1522 107cm wide, 102cm high, internal 40cm x 73cm

£300-500

170 ENGLISH, NORMAN & ERNEST SPITTLE (ATTRIBUTED MAKERS) ARTS & CRAFTS CHARGER, CIRCA 1900 repoussé-decorated copper 41cm diameter

£300-500

61

171 W.A.S. BENSON (1854-1924) AND JAMES POWELL & SONS PAIR OF ARTS & CRAFTS PENDANT LIGHTS, CIRCA 1900 silvered metal, with frosted glass shades (2) each 20cm diameter, 62cm to top of fitting Note: For similar light fitting see The Studio Yearbook, 1906, p. 168

£2,000-3,000

172 GERTRUDE JEKYLL (1843-1932) FOR JAMES POWELL & SONS EXTRA-LARGE MUNSTEAD FLOWER VASE, CIRCA 1885 glass 50cm high Note: Gertrude Jekyll, the renowned garden designer, designed and commissioned ‘Munstead Flower Glasses’ when she failed to find vases to suit her needs. The range was named after her cottage ‘Munstead Wood’ near Godalming in Surrey, designed by her famous collaborator Sir Edwin Lutyens circa 1896. Extra-large examples, like the current lot, are scarce.

£800-1,200

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

Lyon & Turnbull, Edinburgh Decorative Arts: Design since 1860, 11th April 2018, Lot 154

£2,000-3,000

Note: This chair is often ascribed to the designer and architect M.H. Baillie Scott. Made by William Skull of High Wycombe, the chair was used by Baillie Scott in many of his houses.

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

62

174 ENGLISH ARTS & CRAFTS MIRROR, CIRCA 1900 repoussé decorated brass with bevelled mirror plate 109cm x 74.5cm

£400-600

175 ENGLISH GOTHIC REVIVAL STANDING LAMP, CIRCA 1915 patinated wrought iron, stained, painted and leaded glass panel 162cm high

£300-500

176 ENGLISH ARTS & CRAFTS BOOKCASE, CIRCA 1920 oak, with astragal-glazed doors 132cm wide, 216.5cm high, 46cm deep

£1,000-1,500

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

63

177

178

VICTOR BOWRINGHANBURY (1867-1943)

VICTOR BOWRINGHANBURY (1867-1943)

ARTS & CRAFTS NEEDLEWORK PANEL, CIRCA 1920

ARTS & CRAFTS NEEDLEWORK PANEL, CIRCA 1925

coloured silks, on an unbleached linen ground stretched onto a frame, unsigned 159cm x 42cm

coloured silks, on an unbleached linen ground stretched onto a frame, signed V. BOWRINGHANBURY 163cm x 48cm

£400-600

£400-600 Note: Victor Bowring-Hanbury was a ‘society sensation’ in 1930’s London and part of a royal and aristocratic social world. He was also considered rather eccentric and known for his aptitude for embroidery and his ability to make curtain hangings for his mother’s home. In 1925 he displayed his work in an exhibition that had favourable press attention.

Unfortunately, he also lived beyond his means, as the fabulous contents of his house in Belgrave Square were not always paid for and he became bankrupt in 1938. The notorious socialite of the age Henry ‘Chips’ Channon in his diary entry for 13th April 1935 comments “I feel sorry for Victor Bowring-Hanbury, who’s old and bankrupt…I wonder – have I touches of his weak, absurd character too? His love of royalty, jewels and collections…the worst sides of my character”

179 L. & J. G. STICKLEY DESK AND CHAIR, LATE 20TH CENTURY oak, with patinated copper fittings, the chair with upholstered drop-in seat, applied and branded maker’s marks (2) desk 122cm wide, 75cm high, 62cm deep; chair 47cm wide, 96cm high, 42cm deep

£500-800

64

180 § JOHN WILLIAMS (1866–1951) ARTS & CRAFTS PRESENTATION SPOON, LONDON 1906 silver-gilt, set with a red cabochon, bearing inscription LAURIE BEATRICE WILLIAMS/ JANUARY 22/ 1899, hallmarks for London 1906 21.5cm long

£300-500

Note: John Williams was a founding member of the Guild of Handicraft from 1888 where he trained under John Pearson, and, with Pearson, was responsible for the early beaten copper and brass work. In 1892 he went on to teach at Hammersmith School of Art and held classes at Fivemiletown Art Metalwork in County Tyrone where he supplied most of the designs. The current lot by Williams in silver and silver-gilt may have been a christening gift for a child.

181 ALFRED STEVENS (1817-1875) BEER TANKARD, DESIGNED CIRCA 1870 electroplated silver, stamped marks for G. R. COLLINS & CO, engraved to the base G.R. COLLINS & CO./ M.G FROM H.T.B/ 130 REGENT STREET LONDON 10cm high Note: This beer tankard was designed by Alfred Stevens, specifically for use in the South Kensington Museums’ restaurant. The first museum restaurant in the world, which opened in 1857 For a similar example, see V&A Museum, accession number M.84-1984.

£300-500

182 A. E. JONES (1878-1954) ARTS & CRAFTS CASKET, CIRCA 1900 copper, with applied blue/ green enamel roundels, embossed initials MC, with velvet and silk lined interior 20cm wide, 5cm high, 14.5cm deep

£300-500

183 GUILD OF HANDICRAFT PART COFFEE SERVICE, LONDON 1944-1945 silver, comprising a LIDDED COFFEE POT, hallmarked London 1945, 729g total weight, 21cm high; a MILK JUG, 283g, 8.3cm high, hallmarked London 1944; and a FOOTED SUGAR BOWL, hallmarked London 1944, 250g, 11cm diameter (3) £600-800

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

65

184 CHARLES FLEETWOOD VARLEY (1863-1942) ARTS & CRAFTS PLAQUE BROOCH, CIRCA 1900 silver and enamel, signed lower left VARLEY, stamped STERLING SILVER 5.3cm x 3.6cm Note: Fleetwood Varley (1863-1942) worked at The Guild of Handicraft from 1899 and was a renowned artist and gifted enameller. He was a friend of C. R. Ashbee and collaborated on finely painted enamel works mounted in silver at Chipping Camden.

£400-600

185 NELSON DAWSON (1859-1941) AND EDITH DAWSON (1862-1928) (ATTRIBUTED MAKERS) ARTS & CRAFTS BROOCH, CIRCA 1900 white metal and enamel with gilt highlights 5.5cm diameter

£300-500

186 § PHOEBE STABLER (1879-1955) (ATTRIBUTED MAKER) ARTS & CRAFTS ROUNDEL, CIRCA 1930 cloisonné enamel, within gilt metal frame 8cm diameter

£300-500

187 GEORGE FREDERICK SHIELDS (1833-1911) (ATTRIBUTED DESIGNER) ARTS & CRAFTS PLAQUE, EARLY 20TH CENTURY enamel, within copper frame with wooden backplate plaque 10.8cm diameter

£600-800

189 CHILD & CHILD, LONDON ARTS & CRAFTS PLIQUE-A-JOUR PILL BOX, CIRCA 1905 silver-gilt and enamel, stamped CHILD & CHILD LONDON S.W. 3.8cm diameter

188 META NAPIER BROWN SCOTTISH ARTS & CRAFTS HAND MIRROR, EDINBURGH 1906 silver, bears initials JKW, stamped MNB, hallmarks for Edinburgh 1906 29.5cm long Literature: Meta Napier Brown first registered her mark at the Edinburgh Assay Office in 1903, listed as a cut metal worker and enameller

£300-500

Literature: Walter Child (1840-1930) and Harold Child (1848-1915) were brothers who founded their jewellery business in Seville Street, London, in 1880. They became renowned for their artistic jewellery particularly featuring enamels - including jewels made for Sir Edward Burne-Jones. By 1892 the firm had moved to 35 Alfred Place West (now Thurloe Street).

£400-600

66

190 ARTS & CRAFTS WALL MIRROR, CIRCA 1910 brass, with bevelled mirror plate, 67cm x 85cm; together with a PAIR OF EDWARDIAN ANDIRONS, brass, 41cm high, 16cm long (3) £300-500

191 ENGLISH PAIR OF ARTS & CRAFTS WALL SCONCES, CIRCA 1910 patinated brass, inset with abalone shell (2) 77cm x 13.5cm

£300-500

192 MANNER OF M. H. BAILLIE SCOTT ARTS & CRAFTS SETTLE, CIRCA 1900 fumed oak with leather upholstered panel 125.5cm wide, 127.5cm high, 40.5cm deep

£400-600

193 ENGLISH ARTS & CRAFTS FIRE SURROUND, CIRCA 1910 embossed and hammered copper 107cm wide, 103cm high, 14.5cm deep; Internal 45cm x 65.5cm

£600-800

194 ENGLISH GROUP OF THREE TABLE LAMPS, CIRCA 1920 pewter, each with matched glass shades, 50cm high; 45cm high and 40.5cm high; together with a further TABLE LAMP BASE, plated brass, bears registration number 593937, 35cm high (4) £300-500

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

67

195 § JOSEPH E. NUTTGENS (1892-1982) PAIR OF STAINED GLASS CARTOONS, DATED 1979 watercolour, signed and dated J.E. NUTTGENS/ 1979, 42.5cm x 39cm; together with SEVEN FURTHER STAINED GLASS CARTOONS BY JOSPH NUTTGENS, pencil, ink and watercolour, including a ROUNDEL, for Winchester Diocese, signed and dated 1938, 12.5cm diameter; and an EXPERIMENTAL DESIGN, signed and dated 1928, 36cm x 25.5cm (9) Note: Born in Aachen, Germany in 1892, Nuttgens moved to London with his family in 1895 when he was just 3 years old. He studied at the Central School of Arts & Crafts under Christopher Whall from whom he learnt the tenets of the Arts & Crafts designer and was influenced by the philosophy and style of Edward Burne-Jones and William Morris. He became head of stained glass at the Royal College of Art, although he was interred during the First World War because of his German birth. Subsequently, he worked for other studios including James Powell & Sons before setting up his own studio at Piggotts Hill near High Wycombe. Nuttgens was an important influence on other stained glass makers including John Piper and Patrick Reyntiens, whose partnership began in his studio.

£600-800

196

197 §

ENGLISH

JOSEPH A. NUTTGENS (B. 1941)

‘SPRING’, STAINED GLASS PANEL, CIRCA 1920

STAINED GLASS PANEL, DATED 1983

stained, leaded and painted glass

stained, painted and leaded glass, signed and dated lower right JOSEPH A. NUTTGENS 1983

119.5cm x 59cm

59cm x 41cm

£600-800

£400-600

68

198 W.A.S. BENSON (1854-1924) ARTS & CRAFTS WALL LAMP, CIRCA 1900 copper and brass with removable reservoir and glass shade, stamped to reservoir W.A.S. BENSON 34cm high

£400-600

199 W. A. S. BENSON (1854-1924) (ATTRIBUTED DESIGNER) ARTS & CRAFTS TABLE LAMP, CIRCA 1890 brass and copper, raised on a later ebonised base, with frilled opaline glass shade 54cm high (excluding fittings)

£300-500

200 W. A. S. BENSON (1854-1924) ARTS & CRAFTS TABLE LAMP, CIRCA 1890 brass, copper and cast iron with frilled etched ruby glass shade, stamped maker’s mark W. A. S. BENSON height including shade 66cm Literature: Hamerton, I. (ed.) W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, ACC, 2005, Appendix 1A, p. 248, pl. 34 where the design for this lamp is illustrated (no. 393)

£500-800

201 ENGLISH ARTS & CRAFTS COAL BIN & COVER, CIRCA 1910 hammered brass 45cm high

£200-300

202

203

ENGLISH

MANNER OF W. A. S. BENSON

PAIR OF CREWELWORK CURTAINS, CIRCA 1930

ARTS & CRAFTS TABLE LAMP, CIRCA 1900

coloured wools on a wool ground, lined with cotton (2)

brass with frilled opaline glass shade

318cm high x 236cm wide and 319cm high x 232cm wide

39cm high

£200-300

£250-350

69

204 ENGLISH PAIR OF ARTS & CRAFTS WALL LIGHTS, CIRCA 1900 brass, with opalescent glass shades 35cm high, 26cm deep

£400-600

205 ENGLISH ARTS & CRAFTS TABLE CLOCK, CIRCA 1900 copper and brass, with repoussé decoration 17cm wide, 27.5cm high, 9.5cm deep

£600-800

206 MANNER OF J. P. SEDDON GOTHIC REVIVAL OCCASIONAL TABLE, CIRCA 1870 mahogany, with Morris & Co. wool-covered top 61cm across, 81cm high

£400-600

207 REGINALD FAIRFAX WELLS (1877-1951) AT COLDRUM POTTERY VASE, CIRCA 1910 glazed earthenware, impressed mark COLDRUM/ CHELSEA, 16cm high; and an EDWARD BINGHAM (1829–1914) AT CASTLE HEDINGHAM SHALLOW BOWL, glazed earthenware, incised mark EDWARD W. BINGHAM/ CASTLE HEDINGHAM, 26.5cm diameter (2) £200-300

208 JAMES POWELL & SONS, WHITEFRIARS MATCHED PAIR OF DECANTERS, CIRCA 1890 clear glass with applied blue teardrop decoration, 31.5cm high; together with a further DECANTER, clear and applied pink glass, 24.5cm high; a LIQUEUR GLASS, with applied blue glass, 13cm high; and a SHALLOW BOWL, clear and blue threaded decoration, 26cm diameter (5) £300-500

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

70

209 DELLA ROBBIA POTTERY, BIRKENHEAD RELIEF TILE, CIRCA 1900 glazed earthenware, impressed serial numbers verso 23.5cm x 19.5cm

£250-350

210 CASSANDIA ANNIE WALKER (1875-1957) FOR DELLA ROBBIA POTTERY, BIRKENHEAD THREE-HANDLED VASE, DATED 1898 glazed earthenware, incised pottery marks with initials C.A.W./ DR/ 1898 20cm high

£400-600

211 DELLA ROBBIA POTTERY, BIRKENHEAD BALUSTER VASE, CIRCA 1900 incised pottery mark and initials DR 21.5cm high

£200-300

212 FORD MADOX BROWN (1821-1893) FOR DELLA ROBBIA POTTERY, BIRKENHEAD ‘THE YOUNG MILTON’, CIRCA 1895 glazed terracotta, incised inscription to base FMB/ THE YOUNG MILTON 70.5cm x 42.5cm Literature: Hyland, P., The Della Robbia Pottery Birkenhead 1894-1906, ACC, 2014, p.241, Appendix A; and p.246 Appendix C. Note: This panel is listed in The Della Robbia 1896 catalogue as item 503, one of four plaques after designs by Ford Madox Brown. From 1895 the pottery produced several more pieces after Brown’s cartoons, including Gideon; Elkana and the Dores; The Blessing of Isaac, Mary Magdalene; Peda, King of Kent and King Edward the First. A ‘Milton’ panel was also listed as lot 61 in the catalogue of the Della Robbia Pottery Closing sale in 1906.

£400-600

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

71

213 ELLEN MARY ROPE (1855- 1934) (DESIGNER) FOR DELLA ROBBIA POTTERY, BIRKENHEAD ‘MOTHER AND CHILD’, DATED 1897 glazed earthenware, inscribed verso DR/ 54/ AEA/ 1897, later framed 52.5cm x 47.5cm Literature: Jeremy Cooper Ltd., The Birkenhead Della Robbia Pottery 1893-1906, 1980, front cover illustration Hyland, P., The Della Robbia Pottery Birkenhead 1894-1906, ACC, 2014, p.209, pl.225

£3,000-5,000

Note: A prominent sculptor and artist based in London, Ellen Mary Rope never worked at the Della Robbia Pottery, however she did supply a significant number of designs from 1897 until the factory’s closure in 1906. After studying at the Slade, she quickly gained a solid reputation and received a number of important commissions, including one to produce four panels for the Woman’s Building at the 1893 Chicago Exhibition. At the same time, Rope also wanted her work to be more accessible to a wider market; her charming designs and traditional working methods, very much in keeping with Arts & Crafts ideology, appealed to Harold Rathbone, who was in need of a talented designer and sculptor to replace Carlo Manzoni and Conrad Dressler.

Her designs for the pottery were an instant success, and featured heavily in the 1896 catalogue, as well as in exhibitions at the Walker Art Gallery in Liverpool. One of Rope’s most popular designs is arguably the present lot, which she titled ‘Mother and Child’. The figures, modelled with simplicity, have a certain classical aura about them and their delicate treatment offers a graceful and tender interpretation of the relationship between them.

Often seen on large square bas-relief panels, as in the present lot, this particular design was also reproduced by the pottery as small medallions by Marion de Clawé.

72

214 RICHARD JOYCE (1873-1931) FOR PILKINGTON’S TILE & POTTERY CO. LUSTRE VASE, DATED 1911 lustre-glazed earthenware, impressed factory marks, with artist’s monogram and date cypher in lustre 12cm high

£300-500

215 CHARLES E. CUNDALL (1890-1971) FOR PILKINGTON’S TILE & POTTERY CO. LUSTRE VASE, DATED 1910 lustre-glazed earthenware, impressed factory marks, with artist’s monogram and date cypher in lustre, impressed factory marks 2864/ X/ ENGLAND 17.5cm high

£600-800

216 WALTER CRANE (1845-1915) FOR PILKINGTON’S TILE & POTTERY CO. ‘NIGHT AND MORNING’ PLATE, CIRCA 1906 glazed earthenware, impressed factory mark 32cm diameter Literature: Cross, A. J., Pilkington’s Royal Lancastrian Pottery & Tiles, Richard Denis, p. 9, pl.VII where a similar plate is illustrated

£300-500

73

217 WILLIAM S. MYCOCK (1872-1950) FOR PILKINGTON’S TILE & POTTERY CO. LUSTRE CHARGER, DATED 1910 lustre-glazed earthenware, impressed factory marks, with artist’s monogram and date cypher in lustre, bears original paper label 30cm diameter

£2,000-3,000

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

74

218 MARGARET THOMPSON FOR DOULTON, LAMBETH ART NOUVEAU VASE, CIRCA 1900 painted faience, impressed 16087, printed factory stamp and painted artist monogram 34.5cm high

£800-1,200

219 CARLO MANZONI (1855-1910) FOR MINERVA ART WARE MANUFACTURERS LARGE TWIN-HANDLED VASE, CIRCA 1897 glazed terracotta, with inscription to inside of rim FLORAL AGE’S/ ORIGINAL DESINE (SIC)/ BY G.C. MANZONI/ MINERVA WARE 51cm high Note: Carlo Manzoni had a short-lived career at Della Robbia pottery under Harold Rathbone and Conrad Dressler from 1893-1895 when he left the company in to form Minerva Art Ware Manufacturers, renting space in the Granville Pottery, Stoke-on-Trent. In 1898 he left the company in the hands of his workers and returned to Della Robbia where he continued to work until 1906.

£400-600

220 LÉON SOLON AND JOHN WADSWORTH (ATTRIBUTED DESIGNERS) FOR MINTONS LTD SECESSIONIST VASE, CIRCA 1910 glazed earthenware, impressed marks (indistinct) 47.5cm high

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

75

221 § EDWARD RAYMOND PAYNE (1906-1991) STAINED GLASS PANEL, DATED 1987 stained, leaded and painted glass, signed 63cm x 52cm

£400-600

222 MANNER OF M.H. BAILLIE SCOTT ARTS & CRAFTS LOW CHAIR, CIRCA 1900 stained oak 36cm wide, 75.3cm high, 44cm deep

£400-600

223 ENGLISH ARTS & CRAFTS COFFER, DATED 1905 carved oak with applied copper hinges and fittings, inscribed KS, dated 1905 to lid 106cm wide, 51cm high, 48cm deep

£300-500

224 W.A.S. BENSON (1854-1924) ARTS & CRAFTS TABLE LAMP, CIRCA 1900 wrought and cast iron, brass fitting, opaline glass shade 27cm high

£300-500

76

225 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) BOWL, 1940S/1950S oak, with carved mouse signature to the outside 24cm diameter

£300-500

226 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) MONEYBOX, 1980S oak, with carved mouse signature 14cm wide, 8.7cm high, 18cm long

£300-500

227 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) GROUP OF THREE ASHTRAYS, 1940S oak, each with carved mouse signature 10cm long, 7.3cm wide

£200-300

228 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) BOWL, 1950S oak, with carved mouse signature to the centre 19.5cm diameter

£200-300

229 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) BREADBOARD, CIRCA 1930 oak, with carved mouse signature 44cm long, 4.3cm high, 32.5cm deep

£500-700

77

230 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) RARE MINIATURE OCTAGONAL TABLE, 1930S-40S oak, with carved mouse signature 41cm diameter, 43cm high

£1,000-1,500

231 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) BOOK TROUGH, CIRCA 1940 oak, with carved mouse signature 45.5cm wide, 18.5cm high, 20.5cm deep

£250-350

232 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) BEDSIDE BOOKCASE, 1970S oak, with carved mouse signature 49.5cm wide, 69.5cm high, 27cm deep

£700-1,000

233 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) ARTS & CRAFTS DOUBLE BED, CIRCA 1930 oak, with carved mouse signature 136cm wide, 125cm high, 208.5cm long

£800-1,200

78

234 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) DINING ROOM SUITE, CIRCA 1970 oak, comprising a REFECTORY TABLE, 213cm long, 73cm high, 86cm deep; and EIGHT CHAIRS, including two carvers, carved mouse signature to each, carver 51.5cm wide, 90cm high, 46.5cm deep (9) £4,000-6,000

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

79

235 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) STANDARD LAMP, CIRCA 1930 oak, with carved mouse signature to base 139cm high to fitting

£400-600

236 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) OCTAGONAL TABLE, 1940S oak, with carved mouse signature 52cm across, 50.5cm high

£800-1,200

237 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) DOUBLE BED, 1970S oak, with carved mouse signature 138cm wide, 103cm high, 198.5cm long

£1,200-1,800

238 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) BEDSIDE BOOKCASE, 1970S oak, with carved mouse signature 49cm wide, 68cm.5cm high, 26.5cm deep

£700-1,000

80

239 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) STOOL, CIRCA 1930 burr oak, with carved oak signature 44cm wide, 40cm high, 32.5cm deep

£1,000-1,500

240 MANNER OF ROBERT ‘MOUSEMAN’ THOMPSON TWO ARTS & CRAFTS SIDE TABLES, CIRCA 1930 oak (2) 81cm wide, 74cm high, 45cm deep and 86.5cm wide, 74cm high, 56cm deep

£800-1,200

241 WILFRID HUTCHINSON, HUSTHWAITE (‘SQUIRRELMAN’) SIDEBOARD, CIRCA 1970 oak, carved squirrel signature 152cm wide, 82cm high, 47cm deep

£1,000-1,500

242 LENNON P., JOY D. MOUSEMAN: THE LEGACY OF ROBERT THOMPSON OF KILBURN limited edition 371/500, published Great Northern 2008, blank dedication to inside front cover, signed by Ian Thompson Cartwright £200-300 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

81

243 ARTHUR ROMNEY GREEN (1872-1945) ARTS & CRAFTS DRESSING MIRROR, CIRCA 1920 oak, with incised and gilded decoration, enclosing a mirror plate 41cm wide, 77cm high, 24.5cm deep

£600-800

244 STANLEY WEBB DAVIES (1894-1978) ARTS & CRAFTS CENTRE TABLE, DATED 1931 walnut, carved maker’s cypher and date 76cm diameter, 61cm high

£600-800

During the First World War, STANLEY WEBB DAVIES spent much of his time in France building huts for refugees. This only further deepened his love for woodworking which he had developed since he was a young boy at school. Upon his return from the war in 1920, he became an apprentice to Arthur Romney Green, before setting up his own workshop in Windermere in 1923, where he worked until his retirement in 1961. Davies’ work ultimately represents a reaction against machine-made furniture of the Victorian era.

Instead, he sought to celebrate the physical demands of the craftsman by exposing certain elements of the construction and using techniques such as chamfering which focussed one’s attention to the character of the timber and skill involved in making simple and elegant handmade pieces. He kept a small stock in his workshop but much of the designs he produced throughout his career were made to commission.

245 STANLEY WEBB DAVIES (1894-1978) ARTS & CRAFTS CUPBOARD, DATED 1951 oak, carved maker’s cypher and date to interior 109cm wide, 178cm high, 50cm deep

£1,500-2,500

82

246 EDWARD BARNSLEY (1900-1987) (ATTRIBUTED MAKER) TABLE, CIRCA 1940 oak 77cm high, 96cm wide, 167cm long

£1,000-2,000

247 EDWARD GARDINER (1880-1958) CHILD’S HIGH CHAIR, CIRCA 1950 oak, with rush seat, stamped to rear leg E GARDINER 34cm wide, 92cm high, 40cm deep Note: Edward Gardiner made chairs for Ernest Gimson from 1904-1914 and continued to make chairs in his own workshop after Gimson’s death in 1919.

£400-600

248 GORDON RUSSELL (1892-1980) DESK, CIRCA 1930 oak, with cupboard doors enclosing sliding drawers and a shelf, model no. 870 137cm wide, 74cm high, 60cm deep

£600-1,000

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

249

250

ENGLISH

COTSWOLD SCHOOL

ARTS & CRAFTS CENTRE TABLE, CIRCA 1920

DROP-LEAF OCCASIONAL TABLE, CIRCA 1920

oak

walnut

137cm long, 75.5cm high, 61cm deep

76cm long, 87cm (open), 61cm high

£300-500

£400-600

84

251 ALBERT EDWARD JONES (1878-1954) (ATTRIBUTED MAKER) ARTS & CRAFTS WALL MIRROR, CIRCA 1920 patinated copper, the frame enclosing mirrored plate 49cm diameter

£400-600

252 MANNER OF G.M. ELLWOOD ART NOUVEAU CABINET, CIRCA 1900 inlaid mahogany 65cm wide, 145cm high, 42cm deep

£300-500

253 Y A. GARDNER & SON, GLASGOW ART NOUVEAU DRAWING ROOM CABINET, CIRCA 1900 mahogany, specimen wood and mother-of-pearl marquetry inlay, with ivorine maker’s label 168cm wide, 191cm high, 47cm deep

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

85

254 ENGLISH ART NOUVEAU PARLOUR ARMCHAIR, CIRCA 1910 mahogany with marquetry inlay and upholstered seat 58cm wide, 118.5cm high, 53cm deep

£300-500

255 ENGLISH ART NOUVEAU DISPLAY CABINET, CIRCA 1900 mahogany with marquetry inlay, glass 91cm wide, 178cm high, 41cm deep

£800-1,200

256 SHAPLAND & PETTER, BARNSTAPLE SIDEBOARD, CIRCA 1900 mahogany with marquetry inlay, patinated copper fittings 141cm wide, 135cm high, 56cm deep

£1,500-2,500

86

257 Y W.H. HASELER LTD. ART NOUVEAU PENDANT, BIRMINGHAM 1905 silver, set with mother-of-pearl roundels, amethyst drop, with chain spacers, stamped W.H.H., hallmarked Birmingham 1905 pendant 4.3cm long

£200-300

258 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. ‘REVIVED CORNFLOWER’ PATTERN DOUBLE GOURD VASE, CIRCA 1900 glazed earthenware, painted signature in green, printed factory stamp 27.5cm high

£500-800

259 SHAPLAND & PETTER, BARNSTAPLE ART NOUVEAU HANGING CABINET, CIRCA 1900 oak, with leaded glass panel 65cm wide, 58cm high, 16.5cm deep

£200-300

260 SHAPLAND & PETTER, BARNSTAPLE SMALL ARTS & CRAFTS TWO-DOOR CABINET, CIRCA 1900 mahogany, with applied copper fittings and embossed copper panels, stamped R1958, with retailer’s label for Rose & Co., Stockton-on-Tees 42.5cm wide, 79cm high

£400-600

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

87

261 HARRY NAPPER (1860-1930) GROUP OF THREE WALLPAPER SAMPLES, CIRCA 1900 printed paper, 56cm x 26.5cm; 43cm x 40cm and 35cm x 46.5cm (3 Note: See also detail image on page 83

£400-600

262 Y SHAPLAND & PETTER, BARNSTAPLE (ATTRIBUTED MAKERS) HEXAGONAL OCCASIONAL TABLE, CIRCA 1910 mahogany with marquetry and mother-of-pearl inlay, stamped serial number R2089/129 53.5cm diameter, 65.5cm high

£400-600

263 ENGLISH SIX ART NOUVEAU DINING CHAIRS, CIRCA 1900 mahogany with upholstered seats (6) 43cm wide, 100cm high, 43cm deep

£400-600

88

264 ENGLISH ART NOUVEAU CEILING LIGHT, CIRCA 1910 copper, with three frosted glass shades, stamped number 5870 37cm wide, 44cm high

£300-500

265 SHAPLAND & PETTER, BARNSTAPLE BEDROOM SUITE, CIRCA 1900 painted wood, specimen wood and mother of pearl marquetry, enamel, comprising a WARDROBE, 174cm wide, 209cm high, 59cm deep; and a DRESSING TABLE, 106cm wide, 167cm high, 50.5cm deep, stamped to wardrobe R329/ 147 (2) Literature: Bennett, D. Shapland & Petter of Barnstaple, Museum of Barnstaple & North Devon, 2005, p. 79, pl. 5.24 illus.

£1,500-2,500

89

266 HILDA HECHLE (1886-1939) FAIRY LOVE BOAT watercolour, signed lower left H. HECHLE, 25cm x 16cm; together with MARJORIE DAWSON (fl. EARLY 20TH CENTURY) Fairy Pipes watercolour, signed lower right MARJORIE DAWSON 22cm x 14cm (2) Provenance: Campbell Wilson Fine Art

£500-800

267 BRITISH SCHOOL PORTRAIT BUST OF A YOUNG WOMAN, EARLY 20TH CENTURY mounted on a square marble plinth base, unsigned 49cm high

£800-1,200

268 FRANK BOWCHER (1864-1938) FIGURE OF A CHILD bronze, signed FB/ 1965, raised on a later ebonised base 13cm high excluding base

£200-300

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

90

269 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON BROOCH, CIRCA 1905 silver and enamel, stamped L&CO/ SILVER 2.8cm wide Literature: Martin, S. ‘Archibald Knox’ Second Edition 2001, p.265, where a brooch of matching pattern is illustrated Model No. 1186E

£250-350

270 LIBERTY & CO., LONDON (ATTRIBUTED MAKER/RETAILER) BANGLE, CIRCA 1910 enamelled white metal, unmarked 8cm diameter

£250-350

271 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON ‘CYMRIC’ BUCKLE, DATED 1905 silver and enamel, stamped L&CO/ CYMRIC, hallmarks for Birmingham 1905 total width 9.5cm Literature: Tilbrook, A., The Designs of Archibald Knox for Liberty & Co., Somerset, p.187, pl.182

£500-800

272 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON SET OF FOUR TEASPOONS, BIRMINGHAM 1903 silver and enamel, each with stamped marks and hallmarks (4) each 11cm long

£300-500

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

91

273 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON ‘TUDRIC’ CLOCK, CIRCA 1900 pewter and enamel, stamped TUDRIC/ 0371/ SOLMETS/ MADE IN ENGLAND 23.5cm high

£1,000-1,500

274 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON ‘TUDRIC’ CLOCK, CIRCA 1900 pewter and enamel, with key, associated and incomplete movement, stamped TUDRIC 0384 17cm high

£2,000-3,000

92

275 LEONARD WYBURD (1865-1958) (ATTRIBUTED DESIGNER) FOR LIBERTY & CO., LONDON ‘THEBES’ STOOL, CIRCA 1900 mahogany and stained beech, stamped 16674 35cm wide, 35cm high, 28cm deep Literature: Bennett, D. Liberty’s Furniture, ACC 2012 p.26, plate 1.24 where a similar example is illustrated.

£300-500

276 LIBERTY & CO., LONDON ANGLO-MORESQUE ÉTAGÈRE CIRCA 1900 walnut, stamped LIBERTY & CO, REGENT STREET LONDON 66cm wide, 102.5cm high, 36.5cm deep

£400-600

277 ENGLISH, MANNER OF LIBERTY & CO., LONDON ART NOUVEAU OCCASIONAL TABLE, CIRCA 1900 mahogany, with specimen wood and mother of pearl marquetry inlay 79cm long, 74cm high, 50cm deep

£300-500

278

279

280

281

MANNER OF LIBERTY & CO., LONDON

MANNER OF LIBERTY & CO., LONDON

LIBERTY AND CO., LONDON

PAIR OF OCCASIONAL TABLES, CIRCA 1910

OCCASIONAL TABLE, CIRCA 1910

ARTHUR W. SIMPSON (1857-1922), KENDAL (ATTRIBUTED MAKER)

mahogany, with satinwood banding (2)

mahogany, 61cm square, 67cm high; together with a DROPLEAF OCCASIONAL TABLE, ATTRIBUTED TO LIBERTY & CO., LONDON, mahogany, with single drawer 59.5cm long, 68cm high, 86cm open (2)

each 50cm diameter, 71cm high

£300-500

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

ARTS & CRAFTS FIRESCREEN, CIRCA 1900 green-stained oak, the frame enclosing Morris & Co. woven wool panel 68cm wide, 86cm high, 28cm deep

£300-500

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

£200-300

93

A PRIVATE COLLECTION OF MOORCROFT POTTERY

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

94 In 1897 William Moorcroft was employed as a designer at James Macintyre & Co.; with a background in ceramic chemistry, he was a keen experimenter and introduced an array of new wares and glazes to the production line. However, it wasn’t until the launch of ‘Florian Ware’, one year later, which really cemented his reputation as a talented designer and ceramicist. The arrangement of sinuous flowing lines and intricate foliate patterns were outlined using an applied raised slip, a technique known as tubelining. Moorcroft was meticulous, and oversaw every stage of production to ensure quality was met at the highest level; and Florian Ware was the first range in which Moorcroft began to sign his name or initials on every piece he worked on and supervised.

282 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. ‘FLORIAN WARE’ FORGET-ME-NOT AND TULIPS CHALICE & COVER, CIRCA 1900 glazed earthenware, painted signature in green, printed factory stamp, impressed 143 22.5cm high

£800-1,200

283 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. ‘FLORIAN WARE’ LILAC TWIN-HANDLED VASE, CIRCA 1900 glazed earthenware, painted signature in green, printed factory stamp, impressed 124 20cm high

£400-600

284 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. ‘FLORIAN WARE’ POPPY AND FORGETME-NOT POSY VASE, CIRCA 1910 glazed earthenware, painted signature in green, printed factory stamp, painted M/ 2947/ B, impressed 25 12cm high

£300-500

95

285 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. ‘FLORIAN WARE’ CORNFLOWER DOUBLE GOURD VASE, CIRCA 1900 glazed earthenware, painted signature in green, printed ‘Florian Ware’ factory stamp 23cm high

£800-1,200

286 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. ‘FLORIAN WARE’ BLUE POPPY VASE, CIRCA 1900 glazed earthenware, painted signature in green, printed ‘Florian Ware’ factory stamp and registration number 401753 21.5cm high

£800-1,200

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

96

287 WILLIAM MOORCROFT (1872-1945) FOR LIBERTY & CO., LONDON ‘POPPIES’ PATTERN, JARDINIÈRE, CIRCA 1910 lustre glazed earthenware, painted signature in green, printed MADE FOR LIBERTY & CO., 10.5cm diameter; together with a ‘GRAPE VINE’ PATTERN JUG, by William Moorcroft, made for Liberty & Co., London, glazed earthenware, painted signature in green, printed MADE FOR LIBERTY & CO.,15cm high (2) £400-600

288 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. ‘FLORIAN WARE’ ROSE, TULIP AND FORGET-ME-NOT TWIN-HANDLED VASE, CIRCA 1910 glazed earthenware, with gilded highlights, painted signature in green, printed factory stamp, 23cm high; together with a further ‘FLORIAN 18TH CENTURY’ PATTERN VASE by William Moorcroft, glazed earthenware, with gilded highlights, made for Jenner’s of Edinburgh, painted signature in green, printed factory stamp, stamped MADE FOR C. JENNER & CO./ EDINBURGH, 20cm high (2) £400-600

289 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. MATCHED PART TEA SERVICE, CIRCA 1910 glazed earthenware, each with printed factory mark and other various marks, comprising a HOT WATER JUG, 17cm high; a TEAPOT, 13.5cm high; a MILK JUG, 14cm high; a SUGAR BOWL, 7.5cm high; a CREAMER, 8cm high; TWO SMALL CUPS AND SAUCERS, cups with painted initials WM in green, cup 6cm high, saucers 11.5cm diameter; and an ASSOCIATED EGG CUP, 7.5cm high (qty) £300-500

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

97

290 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY MINIATURE ‘PANSIES’ PATTERN VASE, CIRCA 1915 glazed earthenware, painted signature, impressed MOORCROFT/ BURSLEM 7cm high

£300-500

291 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. ‘FLORIAN WARE’ GREEN AND GOLD CHALICE & COVER, CIRCA 1900 glazed earthenware, painted initials WM in green, printed factory stamp, impressed 143 23cm high

£300-500

292 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. ‘PANSIES’ PATTERN FLOWER POT, CIRCA 1910 glazed earthenware, painted signature in green, printed factory stamp 15.5cm high

£500-800

293 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘PANSIES’ PATTERN VASE, CIRCA 1915 glazed earthenware, painted signature in green, impressed MOORCROFT/ BURSLEM/ ENGLAND, 21cm high; together with a ‘COLUMBINE’ PATTERN FLAMBÉ VASE, by Walter Moorcroft, glazed earthenware, painted initials WM in blue, facsimile signature, impressed MADE IN ENGLAND, 19.5cm high (2) £500-700

294 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. ‘FLORIAN WARE’ JARDINIÈRE, CIRCA 1900 glazed earthenware, painted WM/ DES in green, printed ‘Florian Ware’ factory stamp, impressed marks (indistinct), 14.5cm diameter; together with a JAMES MACINTYRE & CO. DUBARRY WARE PLATE, glazed earthenware, printed factory stamp, registration number 211991, 27cm diameter (2) £500-700

98

295 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘POMEGRANATE’ PATTERN DOUBLE INKWELL, CIRCA 1915 Glazed earthenware, with white metal inkwells, impressed MOORCROFT/ BURSLEM, 20cm across; together with a further ‘POMEGRANATE’ INKWELL, by William Moorcroft, glazed earthenware with white metal mount, painted initials WM in green, impressed MOORCROFT, 7.5cm high (2) £400-600

296 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘POMEGRANATE’ PATTERN THREE-PIECE TEA SET, CIRCA 1920 glazed earthenware, each with applied pewter mounts, comprising a TEAPOT, 15cm high; a MILK JUG, 8cm high; and a SUGAR BOWL, 7cm high, each with painted initials WM in blue, impressed MOORCROFT (3) £300-500

297 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘WISTERIA’ PATTERN TALL VASE, CIRCA 1920 glazed earthenware, painted signature in blue, impressed MOORCROFT/ MADE IN ENGLAND, 32cm high; together with a ‘WISTERIA’ SQUAT BALUSTER VASE, similarly marked 13.5cm high; and a ‘WISTERIA’ BOWL, similarly marked, 18.5cm diameter (3) £300-500

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

99

298 WILLIAM MOORCROFT (1872-1945) FOR SHREVES & CO., SAN FRANCISCO ‘CLAREMONT’ PATTERN PLATE, CIRCA 1905 glazed earthenware, overlaid with while metal openwork rim, painted W. MOORCROFT/ SHREVES & COMPANY/ SAN FRANCISCO, printed registration number 420081 23.5cm diameter

£1,500-2,000

299 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘CLAREMONT’ PATTERN BOWL, CIRCA 1900 glazed earthenware, retailed by Liberty & Co, painted signature in green, printed MADE FOR LIBERTY & CO., REG NO. 420081 impressed 2199 17cm diameter

£500-700

300 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘CLAREMONT’ PATTERN DISH, CIRCA 1930 glazed earthenware, painted initials WM in blue, impressed MOORCROFT/ MADE IN ENGLAND, 19cm diameter; together with a ‘CLAREMONT’ PATTERN CANDLESTICK,

by William Moorcroft, glazed earthenware, painted initials WM in blue, impressed MOORCROFT/ MADE IN ENGLAND/ 69, 19cm high (2) £400-600

100 Over the next few years, richer colours were introduced and several new patterns were registered.

In particular, the charming designs of trees amongst rolling hills in an English countryside caught the eye of Liberty’s in London, and a partnership was soon struck between Moorcroft and the company. who remained a major outlet of his pottery, as well as other significant retailer’s such as Harrod’s and Tiffany & Co. In 1912 Moorcroft’s relationship with the directors at James Macintyre disintegrated and in 1913, with the financial backing of the Liberty family, he opened his own pottery in Cobridge. He was inundated with orders from several distributors who were keen to support his venture, and many of the popular patterns from the Macintyre period such as Spanish, Pomegranate, Hazeldene and Claremont, continued to be produced at Cobridge. However, he was also keen to develop his particular interest in his Florian-style designs and some of these early Macintyre patterns were revived and redeveloped in bolder forms and richer colours from the late 1920s.

301 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘BLUE DAWN LANDSCAPE’ BALUSTER VASE, CIRCA 1925 salt-glazed earthenware, painted initials WM in blue, impressed MADE IN ENGLAND 18cm high

£300-500

302 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY LARGE ‘WISTERIA’ PATTERN VASE, DATED 1935 salt-glazed earthenware, painted signature and date in brown, facsimile signature, impressed POTTER TO H.M. THE QUEEN/ MADE IN ENGLAND 49cm high Provenance: Albert E. Wade Collection, Sotheby’s 2002 Literature: Atterbury, P. Moorcroft 1897-1993 Richard Dennis 2002, p.85, no. 5 where this vase is illustrated

£400-600

303 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘BLUE DAWN LANDSCAPE’ VASE, CIRCA 1925 salt-glazed earthenware, painted initials WM in blue, impressed MADE IN ENGLAND/ 393, 19cm high; together with a further ‘BLUE DAWN LANDSCAPE VASE’, by William Moorcroft, Salt-glazed earthenware, impressed MOORCROFT, 9cm high (2) £400-600

101

304 WILLIAM MOORCROFT (1872-1945) FOR LIBERTY & CO., LONDON ‘HAZELDENE’ PATTERN VASE, CIRCA 1910 glazed earthenware, painted signature in green, printed MADE FOR LIBERTY & CO. 15.5cm high

£800-1,200

305 WILLIAM MOORCROFT (1872-1945) FOR LIBERTY & CO., LONDON ‘HAZELDENE’ PATTERN EWER, CIRCA 1910 glazed earthenware, painted signature in green, printed MADE FOR LIBERTY & CO./ RD.NO. 397964 16cm high

£500-700

306 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘MOONLIT BLUE LANDSCAPE’ PATTERN VASE, CIRCA 1920 glazed earthenware, painted initials WM in blue, impressed MOORCROFT/ MADE IN ENGLAND/ 572 15cm high

£500-700

307 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘MOONLIT BLUE LANDSCAPE’ PATTERN VASE, CIRCA 1920 glazed earthenware, painted initials WM in green, impressed MOORCROFT/ MADE IN ENGLAND/ 101 19.5cm high

£800-1,200

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

102

308 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY TWO MINIATURE ‘POMEGRANATE’ PATTERN VASES, CIRCA 1915 glazed earthenware, each with painted signature in green, impressed MOORCROFT/ BURSLEM/ ENGLAND, 10.5cm and 10cm high; together with a ‘POMEGRANATE’ PATTERN DISH, glazed earthenware, similarly marked, 11cm diameter (3) £300-500

309 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘BANDED POMEGRANATE’ PATTERN BOWL, CIRCA 1930 glazed earthenware, painted initials WM in blue, facsimile signature, impressed POTTER TO H.M THE QUEEN/ MADE IN ENGLAND, 15.5cm diameter; together with a ‘POMEGRANATE’ PATTERN TALL VASE, CIRCA 1915, glazed earthenware, with painted signature in green, impressed MOORCROFT/ BURSLEM/ ENGLAND, 12.5cm high; and a ‘POMEGRANATE’ PATTERN VASE, painted initials WM in blue, facsimile signature, impressed POTTER TO H.M THE QUEEN/ MADE IN ENGLAND, 16.5cm high (3) £400-600

310 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘POMEGRANATE’ PATTERN BALUSTER VASE, CIRCA 1915 glazed earthenware, painted signature in green, impressed MOORCROFT/ BURSLEM/ ENGLAND/ M72, 26.5cm high; together with a ‘PANSIES’ THREE-HANDLED TYG, glazed earthenware, painted initials WM in blue, facsimile signature, impressed POTTER TO H.M. THE QUEEN/ MADE IN ENGLAND, 15cm diameter (2) £300-500

103

311 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY MINIATURE ‘ORCHID’ PATTERN VASE, CIRCA 1915 glazed earthenware, painted initials WM in green, impressed MOORCROFT/ BURSLEM, 10.5cm high; together with an ‘ORCHID’ PATTERN VASE, glazed earthenware, facsimile signature, impressed POTTER TO H.M. THE QUEEN/ MADE IN ENGLAND, 16.5cm high; and an ‘ORCHID’ PATTERN PERFUME BOTTLE AND STOPPER, similarly marked, 15cm high (3) £300-500

312 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY FLAMBÉ ‘ORCHID’ PATTERN URN-SHAPED PEDESTAL VASE, CIRCA 1935 flambé-glazed earthenware, painted signature in blue, facsimile signature and impressed POTTER TO H.M. THE QUEEN/ MADE IN ENGLAND 32cm high

£500-700

313 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘POMEGRANATE’ PATTERN PLATE, CIRCA 1910 glazed earthenware, painted signature in green, impressed 752, 21.5cm diameter; together with a ‘SIMPLIFIED APPLE BLOSSOM’ PATTERN VASE, painted initials WM in blue, facsimile signature, impressed POTTER TO H.M. THE QUEEN/ MADE IN ENGLAND, 22cm high (2) £400-600

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

104

314 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘SPANISH’ PATTERN VASE, CIRCA 1915 glazed earthenware, painted signature in green, impressed MOORCROFT/ BURSLEM/ ENGLAND/ 73 39cm high Provenance: Albert E. Wade Collection, Sotheby’s 2002

£800-1,200

315 WALTER MOORCROFT (1917-2002) FOR MOORCROFT POTTERY LARGE ‘ANEMONE’ PATTERN VASE, CIRCA 1950 flambé-glazed earthenware, painted initials WM in green, impressed MOORCROFT/ MADE IN ENGLAND, bears paper label BY APPOINTMENT/ W. MOORCROFT/ POTTERS TO THE LATE QUEEN MARY 34.5cm high

£500-700

316 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘ANEMONE’ PATTERN TWIN-HANDLED VASE, CIRCA 1930 salt-glazed earthenware, painted signature in blue, impressed facsimile signature, impressed POTTER TO/ H.M. THE QUEEN/ MADE IN ENGLAND, 21.5cm high; together with an ‘ANEMONE’ PATTERN MOORCROFT TWIN-HANDLED BOWL, glazed earthenware, painted signature in blue, impressed facsimile signature, impressed POTTER TO/ H.M. THE QUEEN/ MADE IN ENGLAND, 18cm across (2) £250-350

105 By the 1930s, tastes were beginning to change and whilst English native flowers always remained central to his most popular wares, Moorcroft started to look further afield for new inspiration. Amongst some his hi contemporaries, for example Charles Noke and Bernard Moore, there was a growing interest in the high-fired Oriental wares which produced the most intense and dramatic effects. To achieve these flambé glazes Moorcroft built his own special kiln and was highly secretive about his methods, however the ware produced as a result were arguably some of his most remarkable, given the complex and demanding nature of the skills required. Whilst other potteries sought to deliver a consistent sang de boeuf colour, Moorcroft embraced the unpredictable nature of the kiln and the eccentric array of colourful glazes it could produce, making every piece unique. Walter Moorcroft took over management of the pottery after his father’s passing in 1945. During a few difficult years of transition, his father’s designs were crucial in ensuring the success and continuation of the business, but soon after Walter developed his own style which matured into the 1950s. William displayed a clear preference in using English flowers and landscapes for his wares, however Walter was fascinated by more exotic species and so patterns such as Hibiscus, Arum Lily, Caribbean and Marine began to emerge alongside a dramatic use of colour. Importantly, Walter was also knowledgeable of the transmutation process and exhibited the same skill as his father to continue the production of flambé wares. In 1998 the pottery established a new Design Studio, led by Senior Designer Rachel Bishop, to further expand its range of products and continues to build on William and Walter’s legacy today.

317 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. ‘REVIVED CORNFLOWER’ PATTERM BALUSTER VASE, CIRCA 1910 glazed earthenware, painted signature in green, printed factory stamp, impressed 98 30cm high

£600-800

318 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘REVIVED CORNFLOWER’ PATTERN, CIRCA 1940 flambé-glazed earthenware, painted signature in blue, facsimile signature and impressed POTTER TO H.M. THE QUEEN/ MADE IN ENGLAND 32cm high

£600-800

319 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY LARGE ‘POWDER BLUE CORNFLOWER’ PATTERN VASE, CIRCA 1920 glazed earthenware, painted signature in blue, impressed MOORCROFT/ MADE IN ENGLAND/ 48 36.5cm high

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

106

320 WALTER MOORCROFT (1917-2002) FOR MOORCROFT POTTERY ‘CLEMATIS’ PATTERN BALUSTER VASE, CIRCA 1950 flambé-glazed earthenware, painted initials WM in blue, facsimile signature, impressed POTTER TO H.M. THE QUEEN/ MADE IN ENGLAND; 15cm high; together with a further ‘CLEMATIS’ PATTERN VASE

by Walter Moorcroft, flambé-glazed earthenware, painted initials WM in blue, impressed MOORCROFT/ MADE IN ENGLAND, 18.5cm high; and an ‘ORCHID’ PATTERN BOWL, by Walter Moorcroft, flambéglazed earthenware, painted initials WM in blue, impressed MOORCROFT/ MADE IN ENGLAND, 18.5cm diameter (3) £600-800

321 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘LEAF AND BERRY’ PATTERN GLOBULAR VASE, CIRCA 1930 flambé-glazed earthenware, facsimile signature and impressed H.M. POTTER TO THE QUEEN/ MADE IN ENGLAND, 11.5cm high; together with a ‘LEAF AND BERRY’ VASE, painted signature in blue, facsimile signature and impressed H.M. POTTER TO THE QUEEN/ MADE IN ENGLAND, 16.5cm high; and a further ‘LEAF AND BERRY’ VASE, Flambé-glazed earthenware, painted initials WM in blue, facsimile signature and impressed H.M. POTTER TO THE QUEEN/ MADE IN ENGLAND, with maker’s paper label, 17cm high (3) £400-600

322 WALTER MOORCROFT (1917-2002) FOR MOORCROFT POTTERY ‘ARUM LILY’ PATTERN BOWL, CIRCA 1960 flambé-glazed earthenware, painted initials WM in blue, impressed MOORCROFT/ MADE IN ENGLAND, 23.5cm diameter; together with a ‘FREESIA’ PATTERN BALUSTER VASE, by William Moorcroft, glazed earthenware, painted signature in blue, facsimile signature and impressed POTTER TO H.M. THE QUEEN/ MADE IN ENGLAND, 27cm high (2) £400-600

107

323 MOORCROFT POTTERY ‘BIG POPPY’ MINIATURE BALUSTER VASE, CIRCA 1925 glazed earthenware, impressed MOORCROFT/ ENGLAND, 11cm high; together with a ‘BIG POPPY’ PATTERN BALUSTER VASE, glazed earthenware, painted signature in blue, impressed MOORCROFT/ MADE IN ENGLAND/ K, 16cm high; and a ‘BIG POPPY’ PATTERN MINIATURE VASE, impressed MOORCROFT/ MADE IN ENGLAND/ 55/ M, 7cm high (3) £500-700

324 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘BIG POPPY’ PATTERN DISH, CIRCA 1925 glazed earthenware, painted initials WM in blue, impressed MOORCROFT/ MADE IN ENGLAND, bears paper label BY APPOINTMENT/ W. MOORCROFT/ POTTERS TO H. M. THE QUEEN, 19cm diameter; together with a ‘PANSY’ PATTERN VASE, by William Moorcroft, glazed earthenware, painted initials WM in blue, impressed MOORCROFT/ MADE IN ENGLAND/ 216, 16.5cm high; and a further ‘PANSY’ PATTERN VASE, glazed earthenware, with applied silver plated rim, painted initials WM in blue, impressed MOORCROFT/ MADE IN ENGLAND/ 372, 14.5cm high (3) £300-500

325 WALTER MOORCROFT (1917-2002) FOR MOORCROFT POTTERY ‘ANEMONE’ PATTERN BALUSTER VASE, CIRCA 1950 glazed earthenware, painted initials WM in blue, impressed MOORCROFT (indistinct), 23.5cm high; together with a ‘CLEMATIS’ PATTERN MOORCROFT VASE, flambé glazed earthenware, painted initials WM in blue, impressed MOORCROFT, 21cm high (2) £200-300

326 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘LEAF AND BERRY’ PATTERN PLATE, CIRCA 1930 flambé-glazed earthenware, painted initials WM in blue, facsimile signature and impressed H.M. POTTER TO THE QUEEN/ MADE IN ENGLAND, 19c diameter; together with TWO MINIATURE ‘LEAF AND BERRY’ PATTERN VASES, glazed earthenware, similarly marked, 9cm and 10cm high (3) £300-500

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

108

327 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY FLAMBÉ ‘CARIBBEAN’ PATTERN MINIATURE SPILL VASE, CIRCA 1960 glazed earthenware, impressed MOORCROFT, 6.5cm high; together with a FLAMBÉ ‘MARINE’ PATTERN PLATE, CIRCA 1955, by Walter Moorcroft, glazed earthenware, painted initials WM in blue, impressed MOORCROFT/ MADE IN ENGLAND, 26cm diameter (2) £250-350

328 WALTER MOORCROFT (1917-2002) FOR MOORCROFT POTTERY ‘SPRING FLOWERS’ PATTERN, CYLINDRICAL VASE, CIRCA 1960 glazed earthenware, painted initials WM in green, impressed MOORCROFT/ MADE IN ENGLAND, 24cm high; together with a ‘SPRING FLOWERS’ GLOBULAR VASE, by William Moorcroft, saltglazed earthenware, painted initials WM in blue, with facsimile signature, impressed POTTER TO H.M. THE QUEEN/ MADE IN ENGLAND, 16cm high; an ‘ORCHID’ PATTERN DISH, by Walter Moorcroft, painted initials WM in green, impressed MOORCROFT/ MADE IN ENGLAND, 19cm diameter; and a ‘CLAREMONT’ PATTERN MINIATURE BOWL, salt-glazed earthenware, facsimile signature, impressed POTTER TO H.M. THE QUEEN, 11cm diameter (4) £250-350

329 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY GROUP OF THREE ‘WAVING CORN’ PATTERN VASES, CIRCA 1935 salt-glazed earthenware, comprising a LARGE VASE, 15cm high; and a PAIR OF MINIATURE VASES, 9cm high; each with facsimile signature and impressed POTTER TO H.M. THE QUEEN/ MADE IN ENGLAND (3) £300-500

109

330 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘WEEPING WILLOW’ PATTERN BOWL, CIRCA 1930 glazed earthenware, painted initials WM in blue, facsimile signature and impressed H.M. POTTER TO THE QUEEN/ MADE IN ENGLAND 20.5cm diameter Literature: Atterbury, P. Moorcroft 1897-1993 Richard Dennis 2002, p.96, no. 3 where this bowl is illustrated

£300-500

331 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘WAVING CORN’ PATTERN VASE, CIRCA 1935 glazed earthenware, painted in blue WM, facsimile signature, impressed POTTER TO H.M. THE QUEEN/ MADE IN ENGLAND 15.5cm high

£300-500

332 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘BANDED FERN’ PATTERN VASE, CIRCA 1935 salt-glazed earthenware, painted initials WM in blue, impressed MOORCROFT/ MADE IN ENGLAND, 10cm high; together with a ‘PEACOCK FEATHER’ BOWL & COVER by William Moorcroft, salt-glazed earthenware, painted initials WM in blue, impressed MOORCROFT/ MADE IN ENGLAND, 10.5cm high; a ‘REVIVED CORNFLOWER’ PATTERN JUG, glazed earthenware, impressed facsimile signature, impressed marks (indistinct), 14cm high; and a MINIATURE FISH VASE, impressed facsimile signature and impressed POTTER TO H.M. THE QUEEN/ MADE IN ENGLAND, 8.5cm high (4) £300-500

333 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘WAVING CORN’ PATTERN BALUSTER VASE, CIRCA 1930 salt-glazed earthenware, similarly marked, 26.5cm high; a ‘WAVING CORN’ PATTERN TRUMPET VASE, salt-glazed earthenware, similarly marked, 21cm high; and a ‘LEAVES IN THE WIND’ PATTERN DISH, similar impressed marks, 16.5cm across (3) £250-350

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

DAY THREE THURSDAY 21 OCTOBER AT 10AM

111

334 ALEXANDER & EUPHEMIA RITCHIE, IONA PLAID BROOCH, GLASGOW 1922 silver, bears inscription A.E.R. IONA; stamped AR, hallmarks for Glasgow 1922/ registration number 689616 5.3cm diameter Literature: A similarly early Ritchie plaid brooch of matching pattern features on the front cover of the publication ‘Iona Celtic Art’, by Mairi MacArthur

£200-300

335 JAMES CROMAR WATT (1862-1940) ARTS & CRAFTS PENDANT NECKLACE, CIRCA 1900 white metal, and enamel, set with two opaline stones, with later chain, pendant 6.5cm long; together with a SMALL BROOCH, probably by the same hand, white metal and enamel, set with pearl segment, 4cm long (2) £400-600

336 JAMES PITTENDRIGH MACGILLIVRAY (1856-1938) EHRNA bronze, signed and dated in the bronze MACGILLIVRAY/ 1913 72cm high Note: A portrait bust of the artist’s younger daughter, Ehrna (1892-1966).

£800-1,200

337 ALEXANDER RITCHIE (1856-1941), IONA CELTIC REVIVAL HAND MIRROR, CIRCA 1920 brass, with mirrored glass plate 25.5cm long

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

112

338 WILLIAM AND ALEXANDER CLOW, EDINBURGH (ATTRIBUTED MAKERS) GROUP OF FOUR ARTS & CRAFTS FIGURES, CIRCA 1915 oak (4) tallest 27cm high

£300-500

339 § CHARLES D’ORVILLE PILKINGTON JACKSON (1887-1973) THE LORETTO BOY bronze, raised on a slate plinth with brass fixture to rotate the figure, inscribed in the bronze SPARTA.NACTVS.ES.HANC. EXORNA, signed in the bronze D’O. PILKINGTON JACKSON/ 1909 bronze 63cm high, total height 68.5cm Note: Pilkington Jackson’s The Loretto Boy was accepted to the Royal Academy in 1911

£1,000-1,500

340 WEMYSS WARE ‘CABBAGE ROSES’ PATTERN KENMORE VASE, EARLY 20TH CENTURY glazed earthenware, impressed WEMYSS (twice), retailer’s stamp T. GOODE & CO. 37.8cm high

£400-600

341 WEMYSS WARE SMALL ‘SHAMROCKS’ PATTERN PIG, CIRCA 1900 painted earthenware, 16cm long; and a LARGE WEMYSS WARE MUG, painted earthenware, 14.3cm high, each impressed WEMYSS WARE/ R.H.& S. (2) £300-500

113

342

§

BENNO SCHOTZ (1891-1984) RELIEF PLAQUE, CIRCA 1929 bronze, indistinctly signed in the bronze 25cm diameter Provenance: Evill Frost Collection.

Note: This plaque and the plaster from which it was cast by Schotz are a bequest of the Evill Frost Estate to the Ben Uri Gallery and Museum. In agreement with the Estate, the plaster has been accessioned to the Gallery’s collection, whilst this bronze is being sold in aid of the Ben Uri Research Unit. The purpose of the Unit is the study and recording of the Jewish and immigrant contribution to British visual culture since 1900.

£800-1,000

343

§

BENNO SCHOTZ (1891-1984) PHILOSOPHER WITH A BROKEN NOSE patinated plaster, raised on an ebonised wood plinth, with brass plaque inscribed BENNO SCHOTZ R.S.A./ PHILOSOPHER WITH A BROKEN NOSE 43cm high

£300-500

344

§

BENNO SCHOTZ (1891-1984) BUST OF BERTO PASUKA patinated plaster, raised on an ebonised wood plinth, applied brass plaque inscribed BENNO SCHOTZ R.S.A/ BERTO PASUKA (C.1919-1963) 39cm high Note: Further inscribed to the plinth “Pasuka was a Jamaican dancer and creator of Ballet Negre. This head was modelled while Pasuka and his ballet company were performing in Glasgow.”

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

114

345 SIR ROBERT LORIMER (1864-1929) (DESIGNER) WILLIAM WHEELER, ARNCROACH (MAKER) ‘GOSSIP’ CHAIR, CIRCA 1930 oak, with upholstered drop-in seat 43cm wide, 86cm high, 36cm deep Note: A similar oak chair is held by the National Trust for Scotland at Kellie Castle, the Lorimer family home in Fife.

£400-600

346 MANNER OF SIR ROBERT LORIMER CARVER ARMCHAIR, CIRCA 1900 oak, with rush seat 69.5cm wide, 110cm high, 49cm deep

£400-600

347 CELTIC REVIVAL LARGE CHEST, CIRCA 1900 oak, with key 124.5cm wide, 61cm high, 62cm deep

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

115

348 § THOMAS HUTCHISON PEDDIE (1871-1954) THE HERMIT pencil, watercolour and gouache, signed lower left T. PEDDIE/ 27, the mount with printed excerpt from ‘The Hermit’ by Robert Burns 52cm x 36.5cm

£300-500

349 § THOMAS HUTCHISON PEDDIE (1871-1954) THE BRIGS OF AYR pencil, watercolour and gouache, signed lower right T. PEDDIE/ 27, the mount with printed excerpt from ‘The Brigs of Ayr’ by Robert Burns 51.5cm x 35.5cm

£300-500

350 § THOMAS HUTCHISON PEDDIE (1871-1954) ADDRESS TO THE DEIL pencil, watercolour and gouache, signed lower left T. PEDDIE/ 27, the mount with printed excerpt from ‘Address to the Deil’ by Robert Burns 52cm x 35.5cm

£300-500

116

351 PHOEBE ANNA TRAQUAIR (1852-1936) ‘THE DREAM’, ARTS & CRAFTS BROOCH, CIRCA 1909 enamel with foil in copper, within white metal mount 5cm across Literature: Cumming, E. Phoebe Anna Traquair 1852-1936 National Galleries of Scotland 1993, p. 85, no. 121, p. 82, no 101 Note: Traquair learned the craft of art enamelling from her friend Lady Carmichael in 1901, and over the coming decade her enamels would be set either as jewellery (notably pendants and necklaces) or ‘architectural’ formats such as triptychs in stands often designed by her architect son Ramsay. They were exhibited both in Scotland and in London with the Arts and Crafts Exhibition Society. Her fine enamels soon became the craft for which she was best known south of the Border, with The Studio critic commenting in 1906 that ‘the qualities which are attained in enamel by a worker with a sensitivity to colour make it peculiarly a medium which satisfies an artistic nature ... that enamelling is Mrs Traquair’s medium we do not doubt’. Her subjects, painted on copper or more occasionally silver or gold, were taken from classical or religious subjects, the latter often popularised as angels comforting or watching over female figures. A pendant, necklace or the occasional brooch, set to her design by John Maitland Talbot, Hamilton & Inches, Brook & Sons or (after 1909) Henry Tatton would sell for two or three guineas.

Traquair the artist always gave her craft pieces titles, and The Dream copies the central plaque of a 1906 necklace of the same name. Enamels that were admired or which she herself found particularly satisfying were duplicated, with a number remaining unset in her studio. One such unmounted piece is The Dream, given to the V&A by her granddaughter and dated 1909.

The enamel is from the same date: the setting may be by Brook. The dream concept was one that greatly appealed to her, and was introduced to her Mansfield Place Church mural where Joseph’s dream is central to the Old Testament narrative on the nave’s south wall (1900). A dream image was also present on the Lorimer piano painted for Frank Tennant as part of her illustrations of The Song of Solomon (National Museums Scotland).

With thanks to Elizabeth Cumming for her footnote for this lot

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

117

352 Y PHOEBE ANNA TRAQUAIR (1852-1936) FAN, ‘THE ISLAND OF THE FAY’ watercolour on silk and with ivory sticks, capped with silvered metal, inscribed, signed and dated THE ISLAND OF THE FAY/ PHOEBE A. TRAQUAIR/ 1889, set within card box 32.5cm x 60cm (open)

£3,000-5,000

After completing studies together at the Glasgow School of Art, Frances Macdonald McNair and her sister Margaret established a small studio together, where they often worked in collaboration with each other as well as Herbert McNair and Charles Rennie Mackintosh. Together they became known as ‘The Four’, developing widespread international acclaim for their designs.

Frances and Herbert married in 1899 and soon after moved to Liverpool where they both taught design classes at the Art Sheds at the University. It was in these early years that Frances really began to explore her interest in jewellery design. Sadly, very few examples of the jewellery she produced during this time are thought to have survived, however a rare handful of original designs are still known, including these four works, which can be traced directly back through the family.

Each is skillfully executed and illustrates a strong sense of creativity and refinement as well as a fascination with stylised forms and decorative linear patterns. It is thought that Frances particularly admired the work of Lily Day, a staff member at the Art Sheds, after attending her evening classes in enamelling. Indeed, these particular designs may also indicate inspiration from C. R. Ashbee, as she sought to delicately balance fine wirework and enamelled details, with her distinctive mystical imagery. After her son Sylvan was born in 1900, motherhood and children became a significant theme in her work, exemplified in Lot 354. This figure appears in several of her works throughout her career, namely in The Spirit of the Rose, a textile design that Frances adapted for this particular pendant.

Some of Frances’ designs were exhibited at St George’s Hall, Liverpool in 1900 and again in Turin in 1902, yet after the demise of the Art Sheds the McNair’s financial situation was precarious and they moved back to Glasgow in 1908 where she taught classes in embroidery and metalwork at the School of Art. Latterly her focus turned to watercolours, revisiting themes of motherhood, and thus her venture into jewellerymaking was relatively short-lived. Nevertheless, her designs had a lasting impact on the work of artists such as Edgar Simpson and Jessie Marion King and demonstrate her impact on the development of the Art Nouveau aesthetic.

With thanks to Elizabeth Cumming for her footnote for this lot

118

353 FRANCES MACDONALD MCNAIR (1873-1921) DESIGN FOR A PENDANT, CIRCA 1901-02 pencil, watercolour and silver paint 16.5cm x 12.5cm Provenance: Mrs C. Armstrong, the artist’s niece The Fine Art Society, London, 1979 Private Collection Exhibited: Doves & Dreams: The Art of Frances Macdonald and J. Herbert McNair, Hunterian Art Gallery Glasgow, 2006 & Walker Art Gallery Liverpool, 2007, M19

£3,000-5,000

After completing studies together at the Glasgow School of Art,

attending her evening classes in enamelling. Indeed, these particular

Frances Macdonald McNair and her sister Margaret established

designs may also indicate inspiration from C. R. Ashbee, as she

a small studio together, where they often worked in collaboration

sought to delicately balance fine wirework and enamelled details,

with each other as well as Herbert McNair and Charles Rennie

with her distinctive mystical imagery. After her son Sylvan was born

Mackintosh. Together they became known as ‘The Four’, developing

in 1900, motherhood and children became a significant theme in

widespread international acclaim for their designs.

her work, exemplified in Lot 354. This figure appears in several of

Frances and Herbert married in 1899 and soon after moved to Liverpool where they both taught design classes at the Art Sheds

her works throughout her career, namely in The Spirit of the Rose, a textile design that Frances adapted for this particular pendant.

at the University. It was in these early years that Frances really

Some of Frances’ designs were exhibited at St George’s Hall,

began to explore her interest in jewellery design. Sadly, very few

Liverpool in 1900 and again in Turin in 1902, yet after the demise of

examples of the jewellery she produced during this time are thought

the Art Sheds the McNair’s financial situation was precarious and

to have survived, however a rare handful of original designs are

they moved back to Glasgow in 1908 where she taught classes in

known, including these four works, which can be traced directly back

embroidery and metalwork at the School of Art. Latterly her focus

through the family.

turned to watercolours, revisiting themes of motherhood, and

Each is skillfully executed and illustrates a strong sense of creativity and refinement as well as a fascination with stylised forms and decorative linear patterns. It is thought that Frances particularly admired the work of Lily Day, a staff member at the Art Sheds, after

thus her venture into jewellery-making was relatively short-lived.

Nevertheless, her designs had a lasting impact on the work of artists such as Edgar Simpson and Jessie Marion King, and demonstrate her impact on the development of the Art Nouveau aesthetic.

120

354 FRANCES MACDONALD MCNAIR (1873-1921) DESIGN FOR A PENDANT, CIRCA 1901-02 pencil and watercolour, inscribed in pencil ENAMEL -/ SIDE-/ FRONT-/ BACK10.5cm x 14cm Provenance: Mrs C. Armstrong, the artist’s niece The Fine Art Society, London, 1979 Private Collection Exhibited: Doves & Dreams: The Art of Frances Macdonald and J. Herbert McNair, Hunterian Art Gallery Glasgow, 2006 & Walker Art Gallery Liverpool, 2007, M23

£3,000-5,000

355 FRANCES MACDONALD MCNAIR (1873-1921) DESIGN FOR A BROOCH OR PENDANT, CIRCA 1901-02 pencil and watercolour, inscribed in pencil DESIGN FOR BROOCH IN TURQUOISE AND SILVER-/ OR PENDANT 10cm x 10.5cm Provenance: Mrs C. Armstrong, the artist’s niece The Fine Art Society, London, 1979 Private Collection Exhibited: Doves & Dreams: The Art of Frances Macdonald and J. Herbert McNair, Hunterian Art Gallery Glasgow, 2006 & Walker Art Gallery Liverpool, 2007, M21

£3,000-5,000

121

356 FRANCES MACDONALD MCNAIR (1873-1921) DESIGN FOR JEWELLERY, CIRCA 1901-02 pencil and watercolour, inscribed in pencil - PLEASE PUT ON/ EXTRA RING &/ FASTEN CHAIN TO PENDANT17.5cm x 10.5cm Provenance: Mrs C. Armstrong, the artist’s niece The Fine Art Society, London, 1979 Private Collection Exhibited: Doves & Dreams: The Art of Frances Macdonald and J. Herbert McNair, Hunterian Art Gallery Glasgow, 2006 & Walker Art Gallery Liverpool, 2007, M20

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

122

357 FRANCES MACDONALD MCNAIR (1874-1921) (ATTRIBUTED DESIGNER) BROOCH, CIRCA 1900 white metal and enamel, marked verso R 3.4cm across Note: Frances Macdonald and her sister Margaret were skilled in metalware, jewellery and enamelling however few executed pieces of jewellery are known. A group of jewellery, attributed to McNair and engraved to the reverse with the letter R, as in the present lot, was sold at Christie’s, London, in 1992.

For similar examples of jewellery in this group with this marking see Metropolitan Museum of Art, New York, Accession Numbers 2021.7.6 and 2021.7.5

£500-800

358 § JAMES HERBERT MCNAIR (1868-1955) AND CHARLES J. ALLEN (1862-1956) UNIVERSITY COLLEGE LIVERPOOL, KANTHACK MEDAL, DATED 1900 bronze, struck by John Pinches, London, bearing inscription ALFREDO ANTUNES KANTHACK/ PATHOLOGIST STUDENT OF UNIVERSITY COLL. LIVERPOOL, engraved ETHEL CHADWICK 1913, moulded CJ ALLEN/ J.H. MCNAIR/ 1900, with original fitted case 9.5cm long Provenance: Purchased from The Fine Art Society, 1979 Exhibited: Burlington House, London, Royal Academy Annual Exhibition 1901 Turin, 1902 Liverpool, Medallic Art, 1917, pt II Literature: Robertson, P. (ed), Doves & Dreams: The Art of Frances Macdonald and James Herbert McNair, Lund Humphries 2006, p.113, M24, where this example is illustrated

£1,000-1,500

359 GLASGOW SCHOOL SYMBOLIST BELT BUCKLE, CIRCA 1900 white metal, bears artist’s monogram 8.5cm (7cm central panel) wide x 7cm high Note: The opposed linear forms of the figures in this piece relate to the iconography of the Glasgow School artists and in particular the work of the ‘Four’.

£400-600

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

123

360 PETER WYLIE DAVIDSON (1870-1963) ‘SWALLOWS FLIGHT’ BROOCH, CIRCA 1902 gilt-metal, stamped P. W. D., within fitted case 11.5cm across Literature: Larner, G. and C. The Glasgow Style, Edinburgh 1979, plate 188

Note: The swallow’s flight design is a distinctive Davidson element seen on his best pieces, as well as a classic ‘Glasgow Style’ motif. This brooch, depicting a swallow’s flight through wirework clouds, is thought to be one of five brooches created by Davidson for the women in his family, of which one example is dated 1902.

£1,000-1,500

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

124

361 GLASGOW SCHOOL CELTIC REVIVAL WALL MIRROR, CIRCA 1900 repoussé-decorated brass, with mirrored plate 35cm x 70cm

£300-500

362 § MARION HENDERSON WILSON (1869-1956) BRASS CANDLE SCONCE, CIRCA 1910 repoussé decorated brass, bears initials MHW 68cm high, 31cm wide Note: Marion Henderson Wilson studied at Glasgow School of Art from 1884 to 1896 and excelled in the production of strikingly crafted metalwork.

£300-500

363 MANNER OF GEORGE WALTON ARTS & CRAFTS HALL CABINET, CIRCA 1900 oak, with stained and leaded glass panels 195cm wide, 215,5cm high, 48cm deep

£800-1,200

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

125

364 GLASGOW SCHOOL, MANNER OF GEORGE WALTON SUITE OF STAINED GLASS PANELS, CIRCA 1900 stained, opalescent and clear leaded glass panels in two pairs (4) largest pair 90.5cm x 42.4cm; smaller pair 45cm x 42.5cm

£1,000-1,500

126

365 GLASGOW SCHOOL CELTIC REVIVAL WALL CLOCK, CIRCA 1900 repoussé-decorated brass, with decorated weights and pendulum dial 33cm diameter

£300-500

366 SCOTTISH LARGE EMBROIDERED CUSHION, THE MATERIAL CIRCA 1900 coloured silks on a linen ground, later made-up as a cushion, the material to the front circa 1900 66cm square

£300-500

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

£400-600

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

127

368 TALWIN MORRIS (1865-1911) TWO RARE GLASGOW SCHOOL PANELS, CIRCA 1893 brass with repoussé decoration, later framed (2) each panel 28cm x 12.5cm Provenance: Walter W. Blackie, Glasgow

£5,000-7,000

After spending part of his early career working as an art editor in London, Talwin Morris took up a post as Arts Manager for Glasgow publisher Blackie & Son in 1898, a position he held until his death in 1911. He quickly became acquainted with Charles Rennie Mackintosh and the circle of artists associated with Blackie and the Glasgow School of Art, which had a significant influence on his work. Perhaps best known for his book designs, Morris also produced pieces of furniture, textiles and metalwork, which were incorporated into many of his decorative schemes, including his own home at Dunglass Castle and the refurbishment of W.W. Blackie’s Printing Works where these panels formed part of an entrance screen. The panels demonstrate the key characteristics of the ‘Glasgow Style’, with their heavily stylised linear plant forms and ‘Glasgow’ roses.

128

369 § ANNIE FRENCH (1872-1965) THE FLOWER POT pen and ink on paper, signed upper right ANNIE FRENCH 19cm x 15cm

£600-800

370 § ANNIE FRENCH (1872-1965) ‘THE BRIDE’ pen and ink with watercolour on laid paper 9cm x 12.5cm Provenance: Sir James French

£1,500-2,000

371 § ERIC FRENCH LADY IN A FOREST pen and pencil on paper, signed lower right E. V. FRENCH 22.5cm x 28.5cm Note: Eric French was the nephew of the Glasgow artist Annie French. Eric was very close to his aunt who encouraged his creativity. Towards the end of her life, she moved to Jersey to be close to her nephew and his mother and painted alongside him. Her influence can clearly be seen in this picture.

£300-500

129

372 § KATHARINE CAMERON (1874-1965) ‘IRISH ELEGANCE’ pencil and watercolour on paper, signed and dated lower left K. CAMERON/ 1923 54.5cm x 35cm

£1,000-1,500

373

§

ANNIE FRENCH (1872-1965) SKETCH FOR A CHRISTMAS CARD pen & ink and watercolour, signed lower right ANNIE FRENCH, indistinctly inscribed and dated 26.5cm x 14.5cm Provenance: Una K. Rota The Fine Art Society, London

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

130

374 § ELIZABETH MARY WATT (1886-1954) IONA watercolour, signed lower left ELIZABETH MARY WATT, bears label verso for James McClure & Son, Wellington Street, Glasgow 25cm x 33 cm

£300-500

375 SCOTTISH ARTS & CRAFTS MANTEL CLOCK, CIRCA 1910 the circular enamel dial set within a pewter-lined arched case, decorated with applied blue/green enamels 26cm high

£300-500

376 SABATTINI, AFTER CHARLES RENNIE MACKINTOSH COLLECTION OF ‘NEWBERY’ FLATWARE, CONTEMPORARY silver plate, comprising a LADLE, dated 1989, 39cm long; TWO SPOONS, dated 1988, largest 27.5cm long; TWO FORKS, dated 1988, largest 26cm long; TWO KNIVES, largest 26.5cm long; together with a FURTHER FORK AND KNIFE. ‘M. M. M.’ pattern, 23cm long, all with stamped factory marks and original boxes (9) £400-600

377 E. A. TAYLOR (1874-1951) (ATTRIBUTED DESIGNER) FOR WYLIE & LOCHHEAD, GLASGOW ARTS & CRAFTS ARMCHAIR, CIRCA 1900 oak, with drop-in rush seat 56.5cm wide, 72.5cm high, 45cm deep

£300-500

378 GLASGOW SCHOOL JARDINIÈRE, CIRCA 1900 repoussé-decorated tin 30.5cm square, 28cm high

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

131

379 GLASGOW SCHOOL PAIR OF STAINED GLASS PANELS, CIRCA 1900 stained and leaded glass, framed (2) each 82cm x 24.5cm

£300-500

380 MANNER OF MARGARET GILMOUR WALL CLOCK, CIRCA 1910 repoussé-decorated tin, inset with enamel panel, with associated pendulum and weights dial 32cm x 31.5cm

£400-600

381 MANNER OF GEORGE WALTON ETAGERE, CIRCA 1910 stained mahogany 80.5cm wide, 130cm high, 33cm deep

£400-600

382 GLASGOW SCHOOL TWO FRAMED EMBROIDERED PANELS, CIRCA 1910 each worked in coloured silks on a linen ground (2) 53.5cm x 40cm and 47cm x 47.5cm

£250-350

132

383 JESSIE MARION KING (1875-1949) GROUP OF FOUR SAUCERS, EARLY 20TH CENTURY painted earthenware, signed to each with Greengate and rabbit cyphers, 15.5cm diameter; together with TWO TEACUPS, painted earthenware, one similarly marked, the other indistinct, 7.5cm high (6) £300-500

384 JESSIE MARION KING (1875-1949) LARGE BOWL, EARLY 20TH CENTURY painted earthenware, painted Greengate and rabbit cyphers, 27cm diameter; together with a PLATE, painted earthenware, signed to each with monogram and Greengate and rabbit cyphers, 21cm diameter (2) £300-500

385 JESSIE MARION KING (1875-1949) GROUP OF FIVE SIDE PLATES, EARLY 20TH CENTURY painted earthenware, decorated with ‘Red Riding Hood’; a ‘Fox & Pixie’; a ‘Water Sprite’; a ‘Dutch Boy’; and a ‘Squirrel’, signed to each with monogram and Greengate and rabbit cyphers (5) each 16cm diameter

£300-500

133

Despite the disapproval of her parents, JESSIE MARION KING pursued her early artistic promise and enrolled at the Glasgow School of Art in 1892. There she was encouraged by the inspirational, liberal Headmaster, Fra Newbery, to maintain her ‘child-like vision’ while developing her natural gift for linear expression. Primarily known for her book illustrations, King also designed an array of intricate silver and jewellery pieces for Liberty’s of London.

After marrying the artist E. A. Taylor, the pair lived in Salford, followed by a stay in Paris, before eventually settling at her residence, ‘Greengate’, in Kirkcudbright in 1915. Here, they ran summer schools in Arran and befriended young emerging artists such as Cecile Walton, S.J. Peploe and Anne Redpath, all of whom became prominent figures in the town. By the 1920’s King established the ‘Greengate Close Coterie’ a group of women artists who were King’s tenants in the cottages she renovated on Greengate Close and this helped foster a close-knit community of artists living and working in an exciting hub of creativity. During this time, as well as continuing with her book illustrations, King turned her attention to ceramics and began painting on pottery blanks, which were sold exclusively through Paul Jones’s Tea Rooms in Kirkcudbright. Her love for ‘Greengate’ features on all of her pieces as she used this motif to sign her pottery. Throughout her varied professional career, King retained a distinctly individual style as she chose not to draw from life, but instead from ‘her own mind’, conjuring up fantasy-like scenes of fairies and pixies on enchanting adventures.

386 JESSIE MARION KING (1875-1949) GROUP OF FOUR BOWLS, EARLY 20TH CENTURY painted earthenware, three decorated with mermaids, one with a galleon in full sail, all painted JMK and rabbit, signed to each with monogram and rabbit cyphers, and three with Greengate mark (4) each 16.5cm diameter

£500-800

387 JESSIE MARION KING (1875-1949) PART DINNER SERVICE, CIRCA 1940 panted and glazed earthenware, comprising a VEGETABLE TUREEN & COVER, 28cm across; TWO OVAL SERVING DISHES, 22cm long; a SERVING BOWL, 18cm diameter; FOUR COVERED BOWLS, (one with cover lacking), cover 12.5cm diameter, bowl 11.5cm diameter; SIX PLATES, 20.6cm diameter, and a MUSTARD POT, with matched cover signed by Mary L. Fairgrieve, 6.5cm high, each painted with a waterlily design, signed to each with monogram and Greengate and rabbit cyphers (13) £1,000-1,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

134

388 JESSIE MARION KING (1875-1949) FLYING A KITE pen and watercolour on paper, signed lower right JESSIE M. KING 34cm x 42.5cm Provenance: The Fine Art Society London, 1972

£3,000-5,000

389 JESSIE MARION KING (1875-1949) ‘PLACE DE LA CONCORDE, PARIS’ pen and ink on vellum, signed lower left JESSIE M. KING 17.8cm x 18.2cm

£600-800

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

390 ‡ EDGAR BRANDT (1880-1960) ‘LA TENTATION’ FLOOR LAMP, DESIGNED 1920-26 patinated gilt bronze, with Daum mottled glass shade, stamped E. BRANDT, engraved DAUM NANCY FRANCE with Cross of Lorraine 160cm high Literature: Kahr J. Edgar Brandt: Master of Art Deco Ironwork, New York, 1999, pp. 156-7, pl. 166.

Kahr J. Edgar Brandt: Art Deco Ironwork, New York, 2010, p. 133, pl. 184 et p. 134 for a view of the design in the Brandt showrooms at 101 boulevard Murat, Paris in about 1923.

£30,000-40,000

EDGAR BRANDT was a celebrated Art Deco designer working in metal producing both private and public works. He celebrated the past but was also thoroughly modern. He understood traditional materials and chose to explore their potential, besides using handtools, he also relied on machines. Brandt set up a workshop in 1901 and by 1925 was exhibiting on the world stage at the Paris Exposition Internationale des Arts Décoratifs et Industriels Modernes (International Exposition of Decorative Arts and Modern Industries).

A design he showed on this occasion was La Tentation, a lamp featuring a serpent. A subject of antiquity that appeared in ancient Greek, Roman and Egyptian culture as a creature to both be feared and revered. It was an exotic motif also employed by other leading Art Deco designers including René Lalique, Jean Dunand, Albert Chereut and Paul Jouve.

The serpent was a recurrent motif in Brandt’s work appearing on andirons, vases, cachepots, paperweights and incense burners, but is perhaps best remembered in his two lamps designs both of which were produced in bronze between 1920-26. This present example La Tentation being the larger of the two, the smaller being referred to as the Cobra. Both lamps were made to order and available in two sizes and this present lot is the larger version. They were of high quality, not only in terms of the sophistication of the design, but also in their execution and the attention paid to their finishing. Brandt employed specialists to patinate the pieces. La Tentation was a great commercial success and the lamps remain highly sought after still today by collectors.

La Simplicitée lamp by contrast illustrates Brandt’s passion for iron. The textured circular base supports soaring vertical elements conjoined by scrolling and foliate forms. Brandt’s lamps offered his customers move versatile lighting options than traditional fixed chandeliers provided.

138

391 ‡ EDGAR BRANDT (1880-1960) ‘SIMPLICITÉ’ FLOOR LAMP, CIRCA 1925 wrought iron, with Daum mottled glass shade, stamped E. BRANDT, engraved DAUM NANCY FRANCE with Cross of Lorraine 177cm high

£7,000-10,000

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

139

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

140

392 GABRIEL ARGY-ROUSSEAU (1885-1953) ‘FRIEZE’ BOWL, DESIGNED 1926 pâte de verre, signed G. ARGY-ROUSSEAU/ FRANCE 16cm diameter Literature: J. Bloch-Dermant, G. Argy-Rousseau: Glassware as Art, London, 1991, p. 209, fig. 26.11 (similar design illustrated)

£3,000-5,000

393 GABRIEL ARGY-ROUSSEAU (1885-1953) FAN-PANEL LIGHTING PLATE, DESIGNED 1928 pâte de verre, cast iron base, signed G. ARGY ROUSSEAU/ FRANCE 19cm wide Literature: J. Bloch-Dermant, G. Argy-Rousseau: Glassware as Art, London, 1991, p. 217, fig. 28.12 (similar design illustrated).

£5,000-7,000

GABRIEL ARGY-ROUSSEAU was a technical and artistic innovator

then covered in wax. He made sectional moulds secured with cords

whose chosen medium was pâte-de-verre and whose preferred

and the pâte-de-verre was his own formula composed of feldspar,

form was hollow wares decorated in low relief. His work is

kaolin and boric acid ground into a powder, with metallic oxides

characterised by simplicity and geometry, inspired by nature and

being added to provide the colour. The powder was combined with

ancient Greek design.

water and applied to the mould with a brush. When dry a coating of

Argy-Rousseau became fascinated by pâte-de-verre and by 1920 had established his own company – Les Pâte-de-Verre d’Argy Rousseau. His working practise began with drawings from which he made plaster models which he painted with lacquer varnish and

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

tragacanth was painted on to give a extra hardness and the interior was then filled with asbestos to help prevent it from collapsing while in the kiln. No mould could be reused and as a result of the production method each piece was unique, having distinctions in composition, paste and colouration.

141

394 GABRIEL ARGY-ROUSSEAU (1885-1953) ‘LE JARDIN DES HESPERIDES’ VASE, DESIGNED 1925 pâte de verre, signed G. ARGY-ROUSSEAU/ FRANCE 24cm high Literature: J. Bloch-Dermant, G. Argy-Rousseau: Glassware as Art, London, 1991, fig. 26.01 (similar design illustrated).

£15,000-20,000

142

395 GABRIEL ARGY-ROUSSEAU (1885-1953) ‘MÉDALLIONS FLEURIS’ VASE, DESIGNED 1925 pâte de verre, signed G. ARGY ROUSSEAU 24cm high Literature: J. Bloch-Dermant, G. Argy-Rousseau: Glassware as Art, London, 1991, fig. 25.19 (similar design illustrated)

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

143

396 DAUM FRÈRES, NANCY (EST. 1878) ‘LIBELLULE’ VASE, CIRCA 1900 clear, frosted and peach glass, acid-etched and enamelled with gilt highlights, signed in gilt DAUM/ NANCY and with Cross of Lorraine 7.5cm high

£2,500-3,000

JEAN DAUM bought a failing glass factory in Nancy in France and in 1887 his son Auguste took over running it. He was joined two years later by his brother Antonin. The Daum brothers were near neighbours of Emile Gallé and shared many of his priorities for reinvigorating the nation through the arts, as well as for studying nature and experimenting with techniques. They employed leading designers who each contributed a different dimension to the creative development of Daum glass. Jacques Gruber favoured oriental forms, Henri Bergé brought his deep love of nature and skill in both botanical and landscape drawing, while Almeric Walter introduced new techniques including adding inclusions to the glass and surface finishes.

The Daums business was entrepreneurial and experimental, and always focussed on producing high quality glass. Decoration was not just applied to the surface of the glass but was also in the glass itself.

397 DAUM FRÈRES, NANCY (EST. 1878) CAMEO VASE CIRCA 1900 glass, overlaid, acid-etched, with martelé, engraved and gilt DAUM/ NANCY, with Cross of Lorraine 19cm high

£3,000-5,000

144

EMILE GALLÉ, the French Art Nouveau genius, took over his father’s

Many of the works that bear the name Gallé were actually produced

faience factory and soon afterwards found himself captivated by the

after his death first under the instructions of his wife Henriette and

possibilities of glass. Having sought to learn from leading makers of

then, after her death, under the management of Paul Perdrizet, who

the day, he then set about creating his own works. He combined his

was married to Emile Gallé’s daughter Lucile. Much of Gallé’s work

fascination with Japan culture with a keen observation of nature. He

was cameo glass in which he combined colours. The pieces are works

was passionate about the revitalisation of the arts believing that it

of art in their own right and do not rely on the need for flowers of

would assist in the renewal of the whole nation of France including

foliage to be present when displaying them.

the economy.

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

145

398 EMILE GALLÉ (1846-1904) ‘THISTLE’ VASE, CIRCA 1890 smoky glass, enamelled and gilt highlights, engraved EMILE GALLÉ/ NANCY 20.5cm high

£1,200-1,800

399 EMILE GALLÉ (1846-1904) ‘THISTLE’ VASE, CIRCA 1890 smoky glass, enamelled with gilt highlights, enamelled GALLÉ/ NANCY/ DEPOSÉ 20.5cm high

£5,000-7,000

146

400 GALLÉ ‘JACINTHE’ VASE, CIRCA 1925 mould-blown, overlaid and acid-etched cameo glass, signed in cameo GALLÉ 31cm high

£5,000-7,000

147

401 GALLÉ ‘NENUPHARS AND LIBELLULE’ CAMEO VASE, CIRCA 1900 double overlaid and acid-etched, cameo GALLE, with original paper label 38cm high

£1,500-2,000

402 ‡ GALLÉ ‘CLÉMATITES’ CAMEO VASE, CIRCA 1910 double overlaid and acid-etched glass, signed in cameo GALLÉ 32.5cm high

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

148

149

403 GALLÉ ‘CLÉMATITES’ SOUFFLÉ VASE, CIRCA 1925 mould-blown, overlaid and acid-etched cameo glass, signed in cameo GALLÉ, underside stamped MADE IN FRANCE/ SPÉCIAL 24.5cm high

£6,000-8,000

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

150

404 LOETZ, AUSTRIA VASE, CIRCA 1900 textured, coloured and iridescent glass 18.5cm high

£300-500

405 TIFFANY STUDIOS, NEW YORK ‘BAMBOO’ TABLE LAMP, CIRCA 1910 patinated bronze, with iridescent glass shade, base stamped TIFFANY STUDIOS/NEW YORK/1206 33.5cm high

£600-800

406 Y CONTINENTAL JUGENDSTIL DESK LIGHT, CIRCA 1920 adjustable tortoiseshell shade with brass openwork frame, marble plinth 15cm wide, 48cm high, 23cm deep

£300-500

407 P. LUGRIN, GENEVA ART NOUVEAU STRUT MIRROR, CIRCA 1900 repoussé-decorated brass set with opalescent and foil-backed glass beads, leather-covered wood, enclosing a mirrored plate, signed lower right LUGRIN 38.5cm x 26.5cm

£500-800

151

408 GEORG GARDET (1863-1939) FIGURE OF A GREAT DANE bronze, signed in the bronze G. Gardet, with founders mark SIOT PARIS 23cm long

£500-800

409 AIMÉ-JULES DALOU (1838-1902) ‘TERRASSIER’ bronze, signed DALOU/ CIRE PERDU (indistinct) 14.2cm high

£500-800

410 CHERC FOR GOLDSCHEIDER, VIENNA THE GLEANER patinated bronze, signed in the bronze CHERC, stamped factory mark/ 6A 54.5cm high

£300-500

411 THÉOPHILE-ALEXANDRE STEINLEN (1859-1923) SEATED CAT bronze, raised on a wooden base, signed in the bronze STEINLEN, stamped CIRE PERDUE/ A. HÉBRARD 11.5cm high

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

152

412 GOLDSCHEIDER, VIENNA ‘RAHEL’ PORTRAIT BUST, CIRCA 1900 patinated terracotta, applied cabochon ‘jewels’, inscribed RAHEL, applied factory stamp, impressed REPRODUCTION RÉSERVÉ 63cm high

£800-1,200

413 CARLO BUGATTI (1856-1940) STOOL, CIRCA 1902 walnut, stained walnut, vellum, with pewter and brass inlay, with later vellum-covered seat 42.5cm square, 51cm high

£2,000-3,000

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

153

414 TIFFANY STUDIOS, NEW YORK TABLE LAMP, CIRCA 1900 patinated bronze, with stained and leaded glass ‘Acorn’ shade, stamped to shade TIFFANY STUDIOS NEW YORK 1435 and to base TIFFANY STUDIOS NEW YORK 444 55cm high Literature: Duncan, A. Tiffany Lamps and Metalware, Woodbridge 2007, p. 96, pl. 376 and p.132, pl. 556

£4,000-6,000

154

415 THEODOR FAHRNER (1868-1928), PFORZHEIM JUGENDSTIL BROOCH, CIRCA 1910 silver, set with three citrines, stamped TF/ 935 4cm diameter

£300-500

416 TIFFANY & CO., NEW YORK LETTER OPENER, CIRCA 1906 sterling silver and mixed metals, stamped TIFFANY & CO./ 123/ 2194/ STERLING SILVER & OTHER METALS/ 307 20.5cm long

£500-700

417 TIFFANY & CO., NEW YORK BOX & COVER, CIRCA 1906 sterling silver, with gilded interior, stamped TIFFANY & CO./ MAKERS/ STERLING SILVER/ 925-1000 9.3cm high

£500-800

418 TIFFANY STUDIOS, NEW YORK TWO ‘FAVRILE’ STEMMED GLASSES, CIRCA 1905 engraved iridescent glass, etched L.C.T. (2) tallest 16.5cm high

£700-900

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

155

419 TIFFANY STUDIOS, NEW YORK THREE-LIGHT ‘LILY’ TABLE LAMP, CIRCA 1910 patinated bronze and ‘favrile’ glass, base stamped TIFFANY STUDIOS/NEW YORK/319, each shade engraved L.C.T 33cm high Literature: Duncan, A.Tiffany Lamps and Metalware Woodbridge 2007, p. 59, pl. 211

£2,000-3,000

156

420 WIENER WERKSTÄTTE ELECTRIC WALL CLOCK, CIRCA 1930 hammered copper case, the silvered dial with brass bezel and glass front, stamped makers marks, serial no. 9302/ 1220 35cm diameter

£600-800

421 JOSEF HOFFMANN (1870-1956) FOR WIENER WERKSTÄTTE MOSER VASE, CIRCA 1900 amethyst glass, etched maker’s marks WW/ MOSER KARLSBAD 11.5cm high

£200-300

422 MICHAEL POWOLNY (1871-1954) FOR LOETZ VASE, CIRCA 1920 orange cased glass, with trailed black striped decoration 19.5cm high

£300-500

423 AUSTRIAN SECESSION OCCASIONAL TABLE, CIRCA 1910 birch, with brass mounted legs single drawer 77cm wide, 74cm high, 53cm deep

£300-500

424

425

426

427

ITALIAN

CONTINENTAL

CONTINENTAL

STILE LIBERTY JARDINIÈRE STAND, CIRCA 1920

ART NOUVEAU SETTLE, CIRCA 1900

OCCASIONAL TABLE, CIRCA 1900

ROBERT KRAFT OF PFORZHEIM, POSSIBLY RETAILED BY LIBERTY & CO., LONDON

wrought iron, with later applied wooden base

mahogany, stained and leaded glass, mirrored glass, upholstery

53cm diameter, 82cm high

148cm wide, 147cm high, 67cm deep

£200-300

£400-600

mahogany, 74.5cm diameter, 72cm high; together with an AESTHETIC MOVEMENT JARDINIÉRE STAND, mahogany, 29cm diameter, 91cm high; and an ARTS & CRAFTS OCTAGONAL JARDINIÉRE STAND, oak, 33.5cm wide, 68cm high (3) £300-500

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

JUGENDSTIL BELT BUCKLE, CIRCA 1910 silver-plated, set with two amethyst stones, stamped ALPACCA/ 27 9cm wide

£200-300

157

428 JOSEF HOFFMANN (1870-1956) FOR ALEXANDER STURM & CO., VIENNA FLATWARE SERVICE, CIRCA 1902 comprising 12 Table Knives, five with plated steel blades, seven with steel blades, eleven stamped SOLINGEN 25.2cm; 12 Table Forks, 21cm; 12 Table Spoons, 20.5cm; 11 Dessert Knives, six with plated steel blades, five with steel blades, each stamped SOLINGEN, 20.1cm; 12 Dessert Forks, 17.5cm; 12 Dessert Spoons, 13.9cm; 10 Coffee Spoons, 10cm; a Sauce Ladle, 19.5cm; a Meat Fork, 25.5cm; a Serving Spoon, 24.5; and a Salt Spoon, 7.5cm, each impressed Viennese poinçon and maker’s cloverleaf cypher and with stylised monogram to the terminals AU (86) Provenance: Private Collection, London Note: The design of this flatware pre-dates the formation of the Wiener Werkstätte in 1903. Hoffmann used a number of Viennese makers to produce his designs before this time including Sturm. The present design is no. 135 in the Strum archives inscribed in ink Hoffmann Entwurf (Hoffmann design). The archive states that only eight of these services were made, each comprising 170 pieces.

£15,000-20,000

158

429 JOSEF HOFFMANN (1870-1956) FOR WIENER WERKSTÄTTE PAIR OF CUFFLINKS, CIRCA 1910 silver gilt, each pair stamped WW and with Vienna poinçon (2) each 1.5cm diameter Literature: Wiener Werkstätte Archive, MAK, Vienna, model number 1619, ref: WWF 94-108-11

£3,000-5,000

430 JOSEF HOFFMANN (1870-1956) FOR J. & L. LOBMEYR, VIENNA SUITE OF ‘PATRICIAN’ DRINKING GLASSES, INTRODUCED CIRCA 1920 hand-blown crystal, comprising 11 CHAMPAGNE FLUTES, 17.5cm high; 9 WINE GLASSES, 15cm high; together with 3 BEER GLASSES, 17.5cm high (23) Provenance: Private Collection, London Note: See MOMA, New York, object number 106.1948.1-9, for a similar suite of glassware

£700-900

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

159

431 JOSEF HOFFMANN (1870- 1956) FOR J. & J. KOHN SECESSIONIST ‘FLEDERMAUS’ DRAWING ROOM SUITE, CIRCA 1905 comprising a SETTEE, 117cm wide, 79cm high, 50cm deep; and a PAIR OF MATCHING CHAIRS, 39cm wide, 76cm high, 35.5cm deep, stained and bent beechwood, the original upholstered seats with later Backhausen covers to a Hoffmann design (3) £1,200-1,800

432 JOSEF HOFFMANN (1870-1956) (ATTRIBUTED DESIGNER) PLANTER, CIRCA 1905 painted wood 49.2cm square, 51.2cm high Provenance: Private Collection, London

£2,000-3,000

160

161

433 Y FERDINAND PREISS (1882-1943) ‘ARCHER’ (DIANA) FIGURE, CIRCA 1930 cold painted bronze, carved and painted ivory, onyx, inscribed F. PREISS, impressed to bronze PK 33.8cm wide, 58.5cm high (overall), 52cm high (figure and plinth), 37cm high (figure only) Literature: Catley, B. Art Deco and other Figures, Woodbridge 2003, p.289Alberto Shayo, A. Ferdinand Preiss, Art Deco Sculptor, the fire and the flame, Woodbridge 2005, p.105 where the smaller version of this model is illustrated Note: At the beginning of the 20th Century the German Ferdinand Preiss established a company with Arthur Kassler known as Preiss-Kassler and until his death in 1943 he continued to design sculptures. Regarded as one of the most important Art Deco sculptors, he is acclaimed for his popular mixed media (chryselephantine) figures which were affordable to the middle class and appropriately sized for the home. His works were usually based on classical and mythical subjects, such as The Archer, circa 1925, which appears to represent Diana the huntress from Roman mythology.

Amongst his other favoured subjects were idealised children, women at leisure sunbathing or holding parasols, or figures involved in sporting endeavours such as ice-skating, playing tennis, football or golf, or even javelin throwing. Preiss’ Archer was executed in two sizes, the present lot representing one of only a few known examples of the rare larger variant.

£15,000-25,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

162

434 BRUNO ZACH (1891-1935) FIGURE OF A DANCER bronze, raised on a turned marble and slate plinth, signed in the bronze ZACH 44.5cm high

£1,000-1,500

163

435 EMMANUEL VILLANIS (1858-1914) ART NOUVEAU BUST OF A GIRL patinated terracotta, signed E. VILLANIS, 53cm high; together with an ART NOUVEAU GOLDSCHEIDER BUST OF A GIRL, patinated terracotta, signed FLAGOLL DONATELLO, applied and impressed factory marks 2090/ 351/ 19, 72cm high (2) £400-600

436 JOSEF LORENZL (1892-1950) FOR GOLDSCHEIDER NAKED DANCER FIGURE, CIRCA 1930 glazed earthenware, incised to base L., impressed 5802/ 728/ 33 29cm high

£800-1,200

437 Y FERDINAND PREISS (1892-1943) TWO FIGURES, CIRCA 1930 ivory, raised on oval onyx bases, carved signature to each F. PREISS, 18.2cm and 17.2cm high (2) Literature: Catley, B. Art Deco and other Figures ACC 2003, p.280 where similar examples are illustrated

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

164

438 Y FERDINAND PREISS (1882-1943) ‘TAMBORINE DANCER’, CIRCA 1920 cold painted bronze, carved and painted ivory, onyx, etched to rear of plinth F. PREISS 19cm wide, 16.5cm high Literature: Catley, B. Art Deco and other Figures ACC 2003, p.283 where a similar example is illustrated

£2,000-3,000

439

440

441

SYDAN FOR GOLDSCHEIDER, VIENNA

GOLDSCHEIDER, VIENNA

CHERC FOR GOLDSCHEIDER, VIENNA

FIGURAL LAMP, CIRCA 1900

THREE FIGURE GROUPS, CIRCA 1900

FIGURAL LAMP, EARLY 20TH CENTURY

patinated terracotta, incised SYDAN/ REPRODUCTION RÉSERVÉ/ 2771/ 7/ 16 with applied factory mark

comprising a FIGURE OF A BOY, impressed and applied factory marks 4549/ 21/ 16, 59cm high; a FIGURE OF A BOY AND GIRL, impressed and applied factory marks, 51cm high; and the FIGURE OF A DUTCH MILKMAID, signed HEINEMANN, impressed and applied factory marks, 4242/ 10/ 13, 36cm high (3)

patinated terracotta, impressed marks GOLDSCHEIDER/ WIEN/ 3125/ 13/ 17/ CHERC, 67cm high; together with a further GOLDSCHEIDER FIGURAL LAMP, by Ferdinand Grohs, patinated terracotta, applied and impressed GOLDSCHEIDER/ 3031/ 144/ 17, 84.5cm high (2)

88cm high

£300-500

£400-600

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

£300-500

165

442 Y JOSEF LORENZL (1892-1950) ‘FAN DANCER’, CIRCA 1925 patinated bronze, mother-of-pearl, raised on a onyx base, signed in the bronze LORENZL 34.5cm high Literature: Catley, B. Art Deco and other Figures ACC 2003, p.217 where a similar example is illustrated

£2,000-3,000

166

167

443 Y FERDINAND PREISS (1882-1943) ‘BO-PEEP’ ART DECO FIGURE, CIRCA 1925 cold painted bronze, carved and painted ivory, apparently unmarked 42cm high Literature: Catley, B. Art Deco and other Figures ACC 2003, p.307 where a similar example is illustrated

£4,000-6,000

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

168

444 ROBJ, PARIS ART DECO TABLE LAMP, CIRCA 1930 wrought iron and brass with associated shade, stamped ROBJ, 32cm high; and a ROBJ STYLE TABLE LAMP, CIRCA 1930, cast brass, moulded glass shade, unmarked, 19cm high (2) £400-600

445 ROBJ, PARIS ART DECO FIGURAL LAMP BASE, CIRCA 1930 lustre glazed terracotta stamped ROBJ/ MADE IN FRANCE/ BOULOGNE/ S/S 23cm high

£300-500

446 SCANDINAVIAN TWIN-HANDLED BOWL, CIRCA 1920 cast composition, the handles inset with enamelled cast metal panels, the rim with cabochon stones 34.5cm across, 8.5cm high

£300-500

169

447 ‡ ETLING, FRANCE STATUETTE, CIRCA 1925 opalescent glass, moulded ETLING FRANCE 50 19.4cm high

£1,000-1,500

448 SCHNEIDER, FRANCE CENTREPIECE, CIRCA 1930 glass, on wrought iron base with glass beads, etched SCHNEIDER/ FRANCE 36cm diameter, 38.5cm high

£1,000-1,500

449 ALFREDO SANTARELLI (1874-1957) ITALIAN MAIOLICA VASE, CIRCA 1930 lustre-glazed earthenware, painted artist’s mark AS 40cm high

£500-700

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

170

450 ANDRÉ GROULT (1884-1966) (ATTRIBUTED DESIGNER) PAIR OF ART DECO ARMCHAIRS, CIRCA 1930 giltwood frame with velvet upholstery 76cm wide, 97cm high, 83cm deep Literature: Marcilhac, Félix André Groult: Décorateur-Ensemblier du XXème Siècle, L’Amateur (French Edition) 1997, pp. 87 (illus. no.2 and 3); 86 (illus. no.1 and 2) and 156 (illus. no.1) Note: Groult was one of a group of French designers who led a shift from Art Nouveau towards a more restrained and classical style in the first quarter of the 20th century. These armchairs, with their roots in the 18th century, demonstrate characteristic motifs in Groult’s iconography with their exaggerated cowled backs and spiral mouldings.

£4,000-6,000

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

171

451 EMILE-JACQUES RUHLMANN (1879-1933) BOOKCASE, CIRCA 1930 oak, the interior with two drawers and two adjustable shelves, impressed RUHLMANN, stamped 603 199.5cm wide, 98cm high, 49.5cm deep Provenance: Cité Universitaire de Paris, Pavillon des Provinces de France Literature: Inauguration de la Maison d’Etudiante, S.B.H.M de Logement Feminin, inaugural booklet, February 1, 1930

£3,000-5,000

172

452 ENGLISH PAIR OF ART DECO DESK LAMPS, CIRCA 1930 walnut, with aluminium and glass shades (2) 50cm high Provenance: Private Collection, London

£600-800

453 Y JOHANNES SORTH FOR BORNHOLM MØBLERFABRIK PEDESTAL CUPBOARD, 1960S rosewood, with shelved interior and key, stamped BM/ MADE IN DENMARK 60cm wide, 130cm high, 41.5cm deep Note: Sold in compliance with CITES regulations, with (non-transferable) Transaction Specific Certificate no. 606413/01.

£400-600

454 WOLFGANG HOFFMANN (1900–1969) FOR THE HOWELL FURNITURE COMPANY COFFEE TABLE, CIRCA 1930 chromium-plated steel 62.5cm diameter, 43cm high Provenance: Private Collection, London

£600-1,000

Note: Wolfgang Hoffmann was the son of Joseph Hoffman, co-founder of the Wiener Werkstätte in Austria. He and his wide Pola emigrated to the US in 1925 where they set up a design studio. Along with Kem Weber they conceived the 1931 Modern Design Exhibit at the Brooklyn Museum.

From 1934-1942 Hoffmann was a designer for the Howell Furniture Company in Illinois.

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

173

456 GEORG JENSEN (1866-1935) MATCHED FOUR-PIECE COFFEE SERVICE, 1920S

455

106cm high

sterling silver, pattern number 34A, comprising a COFFEE POT, with ebonised handle, stamped GEORG JENSEN/ GJ/ 925/ S/ DESSIN GJ/ DENMARK/ STERLING/ 34A, 19cm high; and a SUGAR BOWL, pattern 34A, stamped GEORG JENSEN/ GJ/ 92*/ STERLING/ DENMARK, 5cm high; together with a TEAPOT, pattern number 34, stamped GEORG JENSEN/ GJ/ 925/ S/ 34, 12.5cm high; and a MILK JUG, with ebonised handle, stamped GEORG JENSEN/ 925 S/ 34, 7cm high, all with import hallmarks: milk jug 1924; sugar bowl 1928; teapot; 1925; coffee pot: 1931 (4)

£300-500

£1,200-1,800

ITALIAN DISPLAY STAND, CIRCA 1950 bronze and spun aluminium, later clear disc supports

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

£500-800

458 BACCARAT, PARIS SUITE OF GLASSWARE, CIRCA 1930 etched green and clear glass, comprising TWO PITCHERS, 13cm high; THREE LARGE GLASSES, 10cm high; EIGHT MEDIUM GLASSES, ; NINE SMALL GLASSES; FOUR SUNDAE DISHES,10.3cm diameter, etched to each BACCARAT/ FRANCE £300-500

459 GEORG JENSEN (1866-1935)

460

PEDESTAL BOWL, CIRCA 1920

ART DECO

sterling silver, stamped marks GEORG JENSEN/ 181 and import hallmarks for London 1926

CARPET, CIRCA 1920

11.5cm diameter

373cm (147in) x 267cm (105in)

£250-350

£400-600

wool

174

461 ARNO MALINOWSKI (1899-1976) FOR GEORG JENSEN BROOCH, POST 1945 sterling silver, stamped GEORGE JENSEN/ STERLING/ DENMARK/ 250/ GJLD, with import hallmarks London 1964 4cm square

£300-500

462 OSCAR GUNDLACH-PEDERSEN (1887-1970) FOR GEORG JENSEN PAIR OF CANDLESTICKS, CIRCA 1930 sterling silver, stamped initials GP, maker’s marks and import hallmarks for 1929 (2) each 5.5cm high

£400-600

463 GEORG JENSEN (1866-1935) ‘BLOSSOM’ PATTERN DISH, CIRCA 1930 sterling silver, stamped GEORG JENSEN/ DENMARK/ STERLING/ 2B, with import hallmarks for 1931 13cm across

£400-600

464 JØRGEN JENSEN (1895-1966) FOR GEORG JENSEN LIDDED PITCHER, CIRCA 1926 sterling silver, stamped GEORG JENSEN/ GJ/ 925 S/ 985C/ DENMARK/ STERLING, with import hallmarks for 1929 16.5cm high

£300-500

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

175

465 SYRIE MAUGHAM (1879-1955) (ATTRIBUTED DESIGNER) WALL MIRROR, CIRCA 1937 painted and silvered wood and moulded gesso frame, mirrored glass plates, bears ivorine label verso DANIELL 42-44-46 WIGMORE STREET LONDON 167cm x 94.5cm Provenance: By repute, purchased from Syrie Maugham in London by the vendor’s mother in law as a wedding present in 1937 Literature: Metcalf, P.C. Syrie Maugham: Staging the Glamorous Interior, Acanthus 2010, p.107

£3,000-5,000

Note: Syrie Maugham was the leading British interior designer in the 1920s and 1930s. She is best known for being the first to decorate her drawing room white in its totality and for her stellar client list which included Margaret, Duchess of Argyll, Wallis Simpson, Elsa Schiaparelli, Edward James and Stephen Tennant amongst many others. Maugham opened her first shop in Baker Street, London in 1922. As it thrived, she began decorating, taking on projects in Palm Beach and California and adding shops in New York and Chicago. The current lot, with its design origins in the 18th century and white craquelure paint finish, is typical of Maugham’s aesthetic style.

176

466 BRITISH SET OF THREE GRADUATED ART DECO PHOTOGRAPH FRAMES, 1930S chrome metal and glass (3) largest 58cm x 45cm

£600-800

467 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘DAWN LANDSCAPE’ CYLINDRICAL VASE, CIRCA 1900 salt-glazed earthenware, painted signature in blue, impressed MOORCROFT/ MADE IN ENGLAND/ 245 26cm high

£300-500

468 HEAL & SON, LONDON TALLBOY, CIRCA 1930 limed oak with makers ivorine label to top drawer, 76cm wide, 131cm high, 47cm deep; together with a MATCHING BEDSIDE CABINET, limed oak, maker’s label lacking (2) £500-800

469

470

KEITH MURRAY (1892-1981) FOR WEDGWOOD

BRITISH

OVOID EARTHENWARE VASE, CIRCA 1940

mahogany frame, upholstered in plush fabric

‘Matt Straw’ glazed earthenware, printed maker’s marks, 19cm high; together with a WEDGWOOD LEMONADE SET BY KEITH MURRAY, comprising a Jug, 24.5cm high; and two Tankards, 12cm high £300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

SETEE, CIRCA 1920

149cm wide, 73cm high, 68cm deep

£400-600

177

471 W. G. S. GAVIN, BIRMINGHAM ARTS & CRAFTS OCCASIONAL TABLE, CIRCA 1950 burr walnut, glass with chrome fittings, bears maker’s label to the rear WGS GAVIN/ CRAFTSMAN IN WOOD/ WYLDE GREEN/ B’HAM 37cm square, 70cm high Provenance: Private Collection, London

£400-600

472 BRITISH ART DECO STANDARD LAMP, CIRCA 1930 chromium-plated metal, with later cream shade 153cm high (excluding fittings)

£300-400

473 HEAL & SON, LONDON TALLBOY CIRCA 1930 oak, bears ivorine maker’s label to top drawer 79cm wide, 131cm high, 48cm deep

£1,000-1,500

178

474 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY MONUMENTAL ‘DAWN LANDSCAPE’ BALUSTER VASE, CIRCA 1900 flambé-glazed earthenware, painted signature in green 40cm high

£2,000-3,000

475 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘PANSIES’ PATTERN BOTTLE VASE, CIRCA 1930 glazed earthenware, painted signature in green W. MOORCROFT, impressed MOORCROFT/ BURSLEM/ ENGLAND, 21cm high; together with a further ‘ORCHIDS’ PATTERN MOORCROFT VASE, glazed earthenware, incised facsimile signature and painted signature in blue W. MOORCROFT, impressed POTTER TO H. M. THE QUEEN/ MADE IN ENGLAND, 15cm high (2) £400-600

179

476 JOHN MONCRIEFF LTD., PERTH ‘MONART’ ‘PUMICE EFFECT’ VASE, CIRCA 1930 milky off-white glass interior, surface decorated in blue/green 18cm high

£300-500

477 JOHN MONCRIEFF LTD., PERTH ‘MONART’ VASE, CIRCA 1930 green and blue mottled glass with aventurine inclusions, with maker’s paper label 23.5cm high

£300-500

478 JOHN MONCRIEFF LTD., PERTH LARGE ‘MONART’ BOWL, CIRCA 1930 marbled green, blue and brown glass, 39cm diameter; together with THREE ‘MONART’ BOWLS, CIRCA 1930, blue glass with bubble inclusions, one with aventurine inclusions, 27cm; 23cm and 24cm diameter; together with a ‘MONART’ BOTTLE AND STOPPER, blue and amethyst glass, with maker’s label, 34.5cm high (5) £300-500

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

180

479 JOHN MONCRIEFF LTD., PERTH ‘MONART’ CLOISONNÉ PATTERN VASE, CIRCA 1930 orange glass overlaid with white craquelure 16.5cm high

£300-500

480 JOHN MONCRIEFF LTD., PERTH TWO ‘MONART’ VASES, CIRCA 1930 mottled orange glass with aventurine inclusions 23cm and 25cm high; together with TWO MONART STYLE VASES, clear, green and yellow glass with bubble inclusions, one etched CELERY, 14.5cm and 20cm high (4) £300-500

481 JOHN MONCRIEFF LTD., PERTH TWO ‘MONART’ VASES, CIRCA 1930 mottled green and orange glass with aventurine inclusions, each with maker’s label, 31.5cm and 33.5cm high (2) £250-350

181

482 JOHN MONCRIEFF LTD., PERTH ‘MONART’ VASE, CIRCA 1930 orange glass with swirls of white and yellow 24.5cm high

£300-500

483 JOHN MONCRIEFF LTD., PERTH ‘MONART’ VASE, CIRCA 1930 mottled blue and yellow glass with aventurine inclusions, 18.5cm high; a further ‘MONART’ VASE, mottled blue and green glass, 18.5cm high; and a SMALL ‘MONART’ VASE, green glass with aventurine inclusions, 11cm high (3) £300-500

484 JOHN MONCRIEFF LTD., PERTH ‘MONART’ VASE, 1930S red and blue mottled glass with bubble inclusions 27.5cm high

£400-600

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

182

485 JOHN MONCRIEFF LTD., PERTH RARE ‘MONART’ ‘PUMICE EFFECT’ VASE, CIRCA 1930 milky off-white glass interior, surface decorated in butterscotch 20.5cm high

£400-600

486 JOHN MONCRIEFF LTD., PERTH ‘MONART’ VASE, CIRCA 1930 pulled yellow glass with bubble inclusions, traces of maker’s label to base 36cm high

£300-500

487 JOHN MONCRIEFF LTD., PERTH ‘MONART’ VASE, 1930S green glass with bubble inclusions, 29cm high; together with a further ‘MONART’ VASE, mottled green and orange glass wth aventurine inclusions, 21cm high; and a SMALL ‘MONART’ POSY VASE, green glass with mica inclusions, 8cm high (3) £300-500

488 JOHN MONCRIEFF LTD., PERTH LARGE ‘MONART’ TABLE LAMP & SHADE, CIRCA 1930 glass, the shade with associated painted metal fittings (2) 52cm high

£300-500

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

183

489 JOHN MONCRIEFF LTD., PERTH ‘VASART’ TABLE LAMP AND SHADE, CIRCA 1950 mottled pink glass, 35.5cm high; together with a ‘VASART’ GLASS LAMP BASE, CIRCA 1950, mottled white, orange and yellow glass, 21cm high (excluding fittings) and another ‘VASART’ LAMP BASE, mottled orange and green glass, traces of maker’s paper label, 22.5cm high (excluding fittings) (3) £300-500

490 JOHN MONCRIEFF LTD., PERTH ‘MONART’ VASE, 1930S cased glass in pink and purple with aventurine inclusions, 21cm high; together with a further ‘MONART’ VASE, green glass with aventurine inclusions, 20.5cm high; and another ‘MONART’ VASE, clear and lilac glass, with maker’s label to base, 22.5cm high (3) £400-600

491 JOHN MONCRIEFF LTD., PERTH PAIR OF ‘MONART’ VASES, 1930S blue glass with aventurine inclusions (2) each 25cm high

£300-500

184

492 ERIC RAVILIOUS (1903-1942) FOR WEDGWOOD CORONATION MUG, DATED 1937 printed earthenware, printed factory marks to base, bearing inscription TO COMMEMORATE/ THE CORONATION/ OF THEIR MAJESTIES/ KING GEORGE VI/ QUEEN ELIZABETH/ 1937, 11cm high; together with a further WEDGWOOD MUG, designed by Robert Goodden, printed earthenware, printed maker’s marks, 10.5cm high (2) £300-500

493 PACKARD & ORD SCARCE ‘BOAT RACE’ TILES, CIRCA 1938 painted and glazed earthenware, depicting the Eton/ Harrow boat race, inscribed ALEXANDRA and MONARCH, later framed (2) each tile 15.2cm square

£300-500

494 E. E. STRICKLAND FOR CARTER & CO., POOLE SET OF SEVEN ‘FARMYARD SERIES’ TILES, CIRCA 1925-30 printed earthenware, some with moulded marks (7) 15.5cm square

£300-500

495 HANNAH FRANK (1908-2008) DANCE lithographic print, 1950, signed lower right in pencil HANNAH FRANK, unframed, 37cm x 26cm; together with another HANNAH FRANK LITHOGRAPHIC PRINT, titled ‘Flight’, 1939, signed lower right in pencil HANNAH FRANK, unframed, 34cm x 26cm (2) £300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

185

496 MESSRS MARSH JONES & CRIBB, FORMERLY J. CHAPPELL & SON., LEEDS DESIGN ARCHIVE, CIRCA 1925 AND LATER comprising approximately twenty-five watercolour drawings, Art Deco and classical drawing room settings, fireplace designs and settings, various sizes, mainly backed onto board, together with samples of the firm’s advertising pamphlets and brochures; a watercolour drawing of an art deco bedroom suite, together with a smaller governmental archive relating to the Ministries of Supply and Works, with blueprints, notes and drawings for alterations to various premises for the 1953 Coronation including Whitehall, Admiralty and 1st Lord’s Residence, War Office, Horse Guards’ Banqueting House and Banners for The Mall and Trafalgar Square, some with typed memos with notes on construction, with four watercolours of drawing-room interiors, possibly Messrs. Trollope & Sons Ltd., West Halkin Street, London Provenance: James Douglas Spencer (1912-1985)

£600-800

186

THE MILLINERY WORKS COLLECTION The Millinery Works’ story begins in 1967 on a stall in North London’s leading antique centre, Camden Passage, every Saturday. Three years later when a local shop became vacant, Derek Rothera & Brian Thompson opened the Antique Trader specialising in early English oak furniture. Over the years they dealt in a range of antiques but were always most inspired by the Arts & Crafts Movement and its emphasis on honesty, quality materials, beautiful design and skill of construction.

Their stock of late 19th and early 20th century furniture increased and by 1995 the shop was simply not big enough, so the business was moved to two large buildings, part of a former massive hat factory in Islington and the company was renamed The Millinery Works.

Painter and graphic artist Gordon House (19322004), himself a keen collector of Arts & Crafts, designed their logo and house style based on a hat block that Derek & Brian had in their collection.

After a happy 26 years The Millinery Works is closing its doors at the hat factory, but opening again soon to continue trading online, albeit on a smaller scale.

497 ENGLISH FOUR MILLINERY MANNEQUIN HEADS, 1920S wood, metal and upholstery (4) largest 35cm high

£300-500

187

498 RICHARD NORMAN SHAW (ATTRIBUTED DESIGNER) GOTHIC REVIVAL BOOKCASE, CIRCA 1875 oak with painted polychrome panel and brass fittings, with key 147cm wide, 258cm high, 49cm deep Literature: Cooper J. Victorian and Edwardian Furniture and Interiors Thames & Hudson, 1987, p. 360 Gere, C. and Whiteway M. Nineteenth Century Design Weidenfeld & Nicolson, 1993, p. 87 which illustrates Shaw’s celebrated secretaire exhibited at the 1862 International Exhibition, South Kensington, with the same turned columns and paired Gothic arches as the current example.

£2,000-3,000

499 BENHAM & FROUD, LONDON GOTHIC REVIVAL PURDONIUM, CIRCA 1900 oak with brass fittings, with tin liner and associated shovel, maker’s label under lid 55cm long, 38cm high, 31cm deep

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

188

500 COLE & SON, AFTER A.W.N. PUGIN TWO FRAMED HAND-BLOCKED WALLPAPER PANELS, LATE 20TH CENTURY to include ‘GOTHIC LILY’ 73cm x 52cm; and a flocked example FLEUR DE LYS AND POMEGRANATE, 83cm x 55cm; also THREE ROLLS OF FLOCKED WALLPAPER, also after Pugin; and another HAND-BLOCKED ROLL OF WALLPAPER (6) Note: These papers were originally designed by Pugin for the new Palace of Westminster circa 1848, and the current examples were hand-printed from the original wooden blocks by Cole & Son.

£400-600

501 ENGLISH AESTHETIC MOVEMENT JARDINIÈRE STAND, CIRCA 1890 ebonised and painted wood 39cm wide, 123cm high

£300-500

502 MANNER OF E. W. GODWIN AESTHETIC MOVEMENT TALL ARMCHAIR, CIRCA 1890 ebonised beech with rush seat 53cm wide, 125cm high, 47cm deep

£600-800

189

503 WILLIAM MORRIS INTEREST COLLECTION OF BOOKS AND PAMPHLETS to include: The Artworkers Guild 1884 to 1934 by H. J. L. J. Massé: May Morris: William Morris (in tissue paper wrappers): J.W. Mackail: The Life of William Morris 1st edition 1899 (2 Vols., with Philip Burne Jones’ signature): J.W. Mackail: The Life of William Morris, 1901 ed (with May Morris’ signature): Transactions of the National Association for the Advancement of Art and its Application to Industry Liverpool Meeting of 1888: Socialism Its Growth & Outcome by William Morris & E Belfort Bax, 1893: Labour Annual 10 copies, 1898, 1899, 1900, 1901 (Reformers Yearbook, formerly Labour Annual), 1903, 1904, 1906, 1907, 1908, 1909 J.B. Shaw (edit.): Fabian Essays in Socialism, 1 volume: William Morris: Hopes & Fears for Art 5 Lectures 1871-1881: William Morris: Gothic Architecture: A Lecture for the Arts & Crafts Exhibition: The Dream of John Ball & The Kings Lesson: William Morris: Address delivered 11th November 1890: Socialist Review March, April & May 1928, contains unpublished letters of William Morris: Notice of a Fabian Society Public Meeting 1908 by G. B. Shaw on Socialism – Hand Flyer: Kelmscott Fellowship Notice 1926, showing A. H. Verstage: William Morris: The Life & Death of Jason: William Morris: The Earthly Paradise (3 of 4 parts): William Morris to Whistler: Papers & Addresses on Art & Craft and the Commonweal; Illustrations by Walter Crane: Walter Crane: An Artist’s Reminiscences: Walter Crane: Decorative Illustration of Books: Walter Crane: Decorative Illustrations des Buches: MacNeil Whistler: Pamphlet Board of Education South Kensington: Walthamstow Museum: Guide to William Morris Centenary: Speeches in Commemoration of William Morris at the Baths Hall Walthamstow (3 copies): William Morris 1884-1934: Some Appreciations: Morris & Company 1861 to 1940 (2 copies): Tributes to Peter Floud: Parables from Nature by Margaret Gatty: Mary de Morgan: On a Pincushion & Other Fairy tales: H.J.L.J. Massé: The Artworkers Guild 1884 to 1934: A May Day Interlude: C.R. Ashbee: Table of the Arts & Crafts of the Renaissance: C.R. Ashbee: Table of the Arts & Crafts of the 17th Century (2 copies):

C.R. Ashbee: Table of the Arts & Crafts of the 18th Century (2 copies): The New Party published by Hodder Brothers, frontispiece by Walter Crane: William Morris: Dream of John Ball and A King’s Lesson: William Morris: The Defence of Guenevere and Other Poems: Sidney Webb & Sidney Ball: Socialism and Individualism: A Catalogue of an Exhibition Celebrating the Ninetieth Birthday of The Churches and Chapels of Old London: William Morris as a Socialist: William Morris: Art & the Beauty of the Earth, A Lecture: Sir Edward Burne-Jones: Letters to Katie with an introductory note: William Morris: The Water of the Wondrous Isles, Longmans: William Morris: Prose & Poetry (1856 – 1870): Edward & Stephani Godwin: Warrior Bard. The Life of W. Morris: William Morris: News from Nowhere, pocket edition: H Halliday Sparling: The Kelmscott Press and William Morris: William Morris: A Dream of John Ball and a King’s Lesson: J.W. Mackail: The Life of William Morris 2 volumes, new edition: Countess of Warwick: William Morris His Homes & Haunts: Edited by G. D. H. Cole: William Morris Selected Writings: William Morris: News from Nowhere, Boston: Robert Brothers: C. Gillington: A Day with William Morris: Gerald H Crow: William Morris Designer: Bernard Shaw: Morris as I Knew Him: Peter Faulkner: Wilfred Scawen Blunt & The Morrises: Richard Tames: An Illustrated Life of William Morris: Joseph R. Dunlap: William Caxton & William Morris: Peter Faulkner: William Morris & Eric Gill S.L. Bensusan: The Charm of Burne-Jones Provenance: From the collection of Arthur Halcrow Verstage Note: Arthur Halcrow Verstage (1875-1969) was an architect who spent much of his career in the public sector. He was a student at the Royal Academy School of Architecture in the 1900s and was elected as an Associate of the Royal Institute of British Architects in 1902. By 1903 he was a student and assistant at the Central School of Arts and Crafts (later known as the Central School of Art and Design) in London where William Lethaby was principal and a great influence on him. He then oversaw the design of the new school in Southampton Row from 1905-8. From here he became an architect for London County Council and was involved with many London societies, and as a founding member of the Kelmscott Fellowship, a forerunner to The William Morris Society. His large and varied collection reflected his wide interest in the arts. His archive was purchased by The William Morris Society in 2005.

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

190

504 W. A. S. BENSON (1854-1924) FOR MORRIS & CO. ARTS & CRAFTS CENTRE TABLE, CIRCA 1890 green stained pine 37cm long, 74cm high, 59.5cm deep Literature: Hamerton, I. W. A. S. Benson, Arts and Crafts Luminary and Pioneer of Modern Design, ACC 2005, pp. 169-170, where a similar table attributed to Benson is illustrated.

£500-800

505 WALTER CAVE (1863-1939) ARTS & CRAFTS ARMCHAIR, CIRCA 1900 oak, with drop-in rush upholstered seat 65cm wide, 100cm high, 46cm deep

£300-500

506 AUSTRIAN SECESSION WRITING DESK, CIRCA 1910 oak, with brass fittings, later rexine writing surface 134.5cm, 124cm high, 79.5cm deep

£1,000-1,500

507 & 508 NO LOT Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

191

509 AFTER C. F. A. VOYSEY PAIR OF ARTS & CRAFTS ARMCHAIRS, CIRCA 1910 oak (2) each 50.5cm wide, 142.5cm high, 39.5cm deep Literature: Lever, Jill Architects’ Designs for Furniture, RIBA Drawings Series, p.99 Note: This model of chair was originally designed by Voysey as part of the furnishings for The Homestead Frinton-on-Sea, a house he designed circa 1902

£1,000-1,500

510 MANNER OF M.H. BAILLIE SCOTT ARTS & CRAFTS BUFFET SIDEBOARD, CIRCA 1900 oak, with brass fittings and silvered and specimen inlay with chequered banding, one central cupboard over arched recess flanked by two cupboard doors, with key 147cm wide, 116cm high, 71cm deep

£500-800

192

511 ENGLISH ARTS & CRAFTS OPEN BOOKCASE, CIRCA 1900 oak 92cm wide, 128cm high, 23cm deep

£400-600

512 HARRIS LEBUS, LONDON ‘THE LEBUS DESK’, AN ARTS & CRAFTS BUREAU, CIRCA 1900 oak, with key, escutcheon cast in relief “THE LEBUS DESK” 87.5cm wide, 203cm high, 61.5cm Note: Harris Lebus was established in 1857 in Tabernacle Street, in London’s East End and works were sold through department stores such as Maple & Co.

£400-600

513 ENGLISH ART NOUVEAU BOOKCASE, CIRCA 1910 oak, with specimen wood and pewter inlay and copper fittings 116.5cm wide, 125.5cm high, 33cm deep

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

193

514 JOHN KEPPIE (1862-1945) THE ROAD UP THE HILL oil on board, unsigned, bears label verso inscribed THE ROAD UP THE HILL/ £15-15-0/ JOHN KEPPIE A.R.S.A./ 257 WEST GEORGE STREET/ GLASGOW. 34cm x 44cm

£400-600

515 § ERNEST ARCHIBALD TAYLOR (1874-1951) LANDSCAPE WITH WINDMILL charcoal and watercolour, signed with initials lower left E.A.T. 22cm x 31.5cm

£400-600

516 § ERNEST ARCHIBALD TAYLOR (1874-1951) COTTAGE IN THE WOODS charcoal sketch, unsigned, later frame and mount, 16cm x 23.5cm; together with another CHARCOAL SKETCH, by the same hand, 9.5cm x 17.5cm (2) £300-500

517 GLASGOW SCHOOL EMBROIDERED TABLE RUNNER, CIRCA 1900 silk threads on a linen-backed linen ground, 210cm x 89cm; together with an ARTS & CRAFTS EMBROIDERED PELMET, silk threads on a linen ground, 48cm x 232cm (2) £200-300

194

518 LIBERTY & CO., LONDON (ATTRIBUTED MAKER) ARTS & CRAFTS SIDE TABLE, CIRCA 1900 walnut 122cm wide, 74cm high, 53cm deep

£400-600

519 ENGLISH, MANNER OF LIBERTY & CO., LONDON SET OF FOUR ARTS & CRAFTS ARMCHAIRS, CIRCA 1900 oak with drop-in upholstered seats (4) each 56cm wide, 101cm high, 53cm deep

£300-500

520 LIBERTY & CO., LONDON ARTS & CRAFTS OPEN BOOKSHELVES, CIRCA 1900 oak, with ivorine maker’s label, LIBERTY & CO LTD/ LONDON 91.5cm wide, 129cm high, 23cm deep Literature: Bennett, D. Liberty’s Furniture, Woodbridge 2012, p.266 pl.7.50

£400-600

195

521 M. H. BAILLIE SCOTT (1865-1945) HOUSE AT WENDENS AMBO, ESSEX pencil and watercolour, signed and dated lower right BAILLIE SCOTT/ 1935, bears label verso inscribed BAILLIE SCOTT & BERESFORD FRIBA/ 12 SOUTH SQUARE GRAY’S INN W.C.1/ HOUSE AT WENDENS AMBO/ ESSEX/ FOR *** 15cm x 25cm Note: In 1919 Baillie Scott re-established his practice in London in partnership with Arthur Edgar Beresford (18801952. His later houses remained faithful to the Arts & Crafts ideals and were the subject of a completely new and much larger ‘Houses and Gardens’ volume published in 1933.

£500-800

522 WILLIAM BIRCH, HIGH WYCOMBE (MAKER) LIBERTY & CO., LONDON (RETAILER) SET OF SIX ARTS & CRAFTS DINING CHAIRS, CIRCA 1905 oak, with rushed seats (6) 44cm wide, 101cm high, 46cm deep Literature: Bennett, D. Liberty’s Furniture, Woodbridge 2012, p.242-3, plates 6.66 and 6.67

£500-800

523 LIBERTY & CO., LONDON ARTS & CRAFTS BOOKCASE, CIRCA 1900 oak 122cm wide, 109cm high, 23cm deep Literature: Bennett, D. Liberty’s Furniture, Woodbridge 2012, p.266 pl.7.50

£400-600

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

196

524 SYRIAN MORESQUE OCCASIONAL TABLE, CIRCA 1905 bone and specimen wood inlaid hardwood, with folding base 51cm diameter, 53cm high

£400-600

525 LIBERTY & CO., LONDON (ATTRIBUTED MAKER) ANGLO-MORESQUE OCCASIONAL TABLE, CIRCA 1910 mahogany 50.5cm diameter, 67.5cm high

£300-500

526 LIBERTY & CO., LONDON (ATTRIBUTED MAKER) COMPACTUM, CIRCA 1905 stained oak 122cm wide, 122cm high, 48cm deep

£600-800

527 LIBERTY & CO., LONDON ARTS & CRAFTS WASHSTAND, CIRCA 1900 ebonised oak, glazed earthenware tiles, leaded glass panels, copper fittings, bears ivorine label LIBERTY & CO./ LONDON 110cm wide, 122cm high, 58cm deep

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

197

528 LIBERTY & CO., LONDON (ATTRIBUTED MAKER) HEXAGONAL OCCASIONAL TABLE, CIRCA 1900 stained oak 52cm diameter, 56cm high

£300-500

529 MANNER OF LIBERTY & CO., LONDON ARTS & CRAFTS RECLINING ARMCHAIR, AND ASSOCIATED STOOL, CIRCA 1910 oak, with later upholstery originally designed

by Archibald Knox, stool bears retailers label DANIEL ALLEN & SONS, chair with stamped number under seat rail 71104 (2) Chair, 65cm wide, 94cm high, 76cm deep; stool 32cm wide, 42cm high, 57cm deep

£300-500

530 LIBERTY & CO., LONDON (ATTRIBUTED MAKER) ARTS & CRAFTS CABINET, CIRCA 1900 stained and carved oak, with three sliding doors to a shelved interior 163cm wide, 107cm high, 50cm deep

£400-600

198

531 LIBERTY & CO., LONDON ARTS & CRAFTS DRESSER, CIRCA 1920 oak, with iron fittings 155.5cm wide, 193cm high, 56cm deep Literature: Bennett, D. Liberty’s Furniture, ACC 2012, p. 189, plate 5.74 where a dresser with similar characteristics is illustrated.

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

199

AMBROSE HEAL is widely considered a pioneer of modern furniture design. After studying at the Slade School of Art, Heal joined the family furniture business established by his great-grandfather John Harris Heal in 1893, where he initially worked in the bedding department. Not long after, he began designing furniture for the firm. These designs adopted simple lines, using unvarnished oak or chestnut and were far more robust in appearance, much to the disdain of his sales colleagues who were used to selling far more elaborate furniture that took inspiration from the early 18th century. Despite this, Heal was recognised in 1900 when he won a silver medal at the Paris Exhibition for a bedroom suite. He was soon appointed chairman of the company in 1913; he was the driving force behind their renewed marketing efforts and expanded the range of products produced in a bid to appeal to the emerging middle class. Heals’ furniture embraced the Arts & Crafts ideals, and while he did accept some machinery into the production line, he was resolute in ensuring that the quality of craftsmanship never suffered as a result. As well as chairman of the family business, Heal was also a founding member of the Design & Industries Association, which campaigned to increase the standard of British Design under the slogan ‘Fitness for Purpose’. Early Heal’s designs clearly demonstrate an admiration for Arts & Crafts, but as tastes changed the company was able to innovate quickly and began to embrace stylistic influences from Art Deco and Modernism. Before his retirement from the family firm in 1959, Heal was knighted in 1933 and appointed a Royal designer for industry in 1939.

200

532 AMBROSE HEAL (1872-1959) FOR HEAL & SON, LONDON ARTS & CRAFTS CUPBOARD, CIRCA 1900 model 240, oak, with iron fittings 106cm wide, 166cm high, 45.5cm deep Literature: Heal, Oliver S. Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939, Unicorn 2014, p. 153 Note: This model is the first time an arched apron was employed by the designer.

£800-1,200

201

533 AMBROSE HEAL (1872-1959) FOR HEAL & SON, LONDON ARTS & CRAFTS ‘OWL’ CABINET, CIRCA 1910 model 412, unpolished chestnut 113cm wide 153cm high, 54cm deep Exhibited: Brighton Museum Beauty’s Awakening, the Centenary Exhibition of the Art Workers Guild, 1984 Literature: Heal, Oliver S. Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939, Unicorn 2014, p.179 where this lot is illustrated along with the original drawing

£6,000-8,000

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

202

534 AMBROSE HEAL (1872-1959) FOR HEAL & SON, LONDON ARTS & CRAFTS WARDROBE, CIRCA 1910 model 392, unpolished chestnut 165.5cm wide, 203cm high, 59cm deep Literature: Heal, Oliver S. Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939, Unicorn 2014, p.173 where this lot is illustrated along with the original drawing

£3,000-5,000

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

203

535 AMBROSE HEAL (1872-1959) FOR HEAL & SON, LONDON PAIR OF BEDSIDE TABLES, CIRCA 1910 model 392, unpolished chestnut (2) 42.5cm wide, 77cm high, 38.5cm deep, 71cm long extended Exhibited: Brighton Museum Beauty’s Awakening, the Centenary Exhibition of the Art Workers Guild, 1984

£1,000-1,500

536 AMBROSE HEAL (1872-1959) FOR HEAL & SON, LONDON DRESSING TABLE & STOOL, CIRCA 1910 model 392, unpolished chestnut, the stool with later-upholstered seat pad (2) dressing table 16cm wide, 152.5cm high, 53cm deep, stool 48cm long, 41cm high, 31.5cm deep Literature: Heal, Oliver S. Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939, Unicorn 2014, p.173 where this lot is illustrated along with the original drawing

£600-800

537 AMBROSE HEAL (1872-1959) FOR HEAL & SON, LONDON ARTS & CRAFTS CHEST OF DRAWERS, CIRCA 1910 stamped number 284, unpolished chestnut 106cm wide, 106cm high, 52.5cm deep

£2,000-3,000

204

538

539

540

541

HEAL & SON, LONDON

HEAL & SON, LONDON

HEAL & SON, LONDON

ARTS & CRAFTS CABINET-ON-CHEST, CIRCA 1920

CABINET CHEST, CIRCA 1930

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

model 372, chestnut, with key

oak, bears rubbed makers label to inside top drawer

ARTS & CRAFTS ‘BOOK TABLE’, CIRCA 1936

ARTS & CRAFTS REFECTORY TABLE, CIRCA 1930

112cm wide, 168.5cm high, 53cm deep

91cm wide, 76.5cm high, 49cm deep

oak

limed oak

Literature: Heal, Oliver S. Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939, Unicorn 2014, p.165 where similar examples in the ‘372’ bedroom suite are listed.

£300-500

61.5cm wide, 61.5cm high

137cm long, 70.5cm high, 68.5cm deep

£2,000-3,000

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

Literature: Goodden, S. A History of Heal’s: At the Sign of the Fourposter, 1984, p. 83 (illustrated)

£300-500

£300-500

205

542 HEAL & SON, LONDON ART DECO ‘BOOK TABLE’, CIRCA 1930 oak, with maker’s label HEALS/ TOTTENHAM COURT ROAD/ LONDON, and stamped number 606 79cm diameter, 51.5cm high Literature: Goodden, S. A History of Heal’s: At the Sign of the Fourposter, 1984, p. 83 (illustrated)

£400-600

543 AMBROSE HEAL (1872-1959) FOR HEAL & SON, LONDON ARTS & CRAFTS REFECTORY TABLE, DESIGNED 1912 model 14, oak 213.5cm long, 75cm high, 89.5cm deep Literature: Heal, Oliver S. Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939, Unicorn 2014, pp.184, 185 Note: This table was first designed and made in 1912, and shown in the Arts & Crafts Exhibition that year, in Ghent the following year and again at the Arts & Crafts Exhibition in 1916.

£1,000-1,500

544 HEAL & SON, LONDON PAIR OF ARTS & CRAFTS LONG BENCHES, CIRCA 1920 oak (2) each 250cm long, 46cm high, 30.5cm deep

£600-800

206

545 AMBROSE HEAL (1872-1959) FOR HEAL & SON, LONDON ARTS & CRAFTS ‘LETCHWORTH’ LADDERBACK ARMCHAIR, CIRCA 1905 model 953, oak with rush seat, the design after M.H. Baillie Scott 59cm wide, 123cm high, 22cm deep Literature: Heal, Oliver S. Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939, Unicorn 2014, p. 247 illustrated Note: This design was produced after a Baillie Scott design that Ambrose Heal made for the showhouse in the New Garden City of Letchworth

£300-500

546 AMBROSE HEAL (1872-1959) FOR HEAL & SON, LONDON ARTS & CRAFTS CUPBOARD, CIRCA 1900 model 240, oak with iron fittings 105.5cm wide, 166cm high, 45cm deep Literature: Heal, Oliver S. Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939, Unicorn 2014, p. 153 Note: This model is the first time an arched apron was employed by the designer.

£800-1,200

547 AMBROSE HEAL (1872-1959) FOR HEAL & SON, LONDON ARTS & CRAFTS REFECTORY TABLE, CIRCA 1930 model 50, oak 166.5cm long, 77cm high, 74.5cm deep Literature: Heal, Oliver S. Sir Ambrose Heal and the Heal Cabinet Factory 18971939, Unicorn 2014, p. 199 Note: This table was designed by Ambrose Heal as part of the Reasonable Furniture Collection, circa 1920,

£300-500

548 HEAL & SON, LONDON (ATTRIBUTED MAKER) ARTS & CRAFTS BUREAU, CIRCA 1925 limed oak 74cm wide, 105cm high, 41.5cm deep

£300-500

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

207

549 HEAL & SON, LONDON ARTS & CRAFTS SIDE TABLE, CIRCA 1900 fumed oak, with iron ring handles, stamp to drawer HEAL & SON/ LONDON 107cm wide, 76cm high, 49.5cm deep

£400-600

550 AMBROSE HEAL (1872-1959) (ATTRIBUTED DESIGNER) FOR HEAL & SON, LONDON ARTS & CRAFTS BEDROOM SUITE, CIRCA 1920 comprising: a WARDROBE, oak with mirrored plate and iron fittings, 91cm wide, 179cm high, 51cm deep; and a MATCHING DRESSING CHEST (2) Literature: Heal, Oliver S. Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939, Unicorn 2014, p. 151 for handle configuration

£700-900

551 HEAL & SON, LONDON ARTS & CRAFTS DRESSER, CIRCA 1930 oak 122cm wide, 143cm high, 50.5cm deep

£600-800

552 HEAL & SON, LONDON (ATTRIBUTED MAKER) ARTS & CRAFTS TOY CUPBOARD, CIRCA 1920 oak, stamped serial number verso 122 121cm wide, 121cm high, 50cm deep Literature: Heal, Oliver S. Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939, Unicorn 2014, p. 183, where another similar toy cupboard (no. 348) is illustrated

£500-800

208

553 ERNEST GIMSON (1864-1919) (ATTRIBUTED DESIGNER) PAIR OF ARTS & CRAFTS ANDIRONS, CIRCA 1900 brass and wrought steel (2) each 34.5cm wide, 65cm high, 21cm deep Provenance: Hurtwood House, Hurtwood Chase, Abinger Hammer Note: Gimson first started designing andirons in this style after seeing a similar 17th-century pair at Haddon Hall in Derbyshire.

£800-1,200

554 EDWARD BARNSLEY (1900-1987) ARTS & CRAFTS ESCRITOIRE, CIRCA 1920 oak, with fitted interior and leather writing surface 76cm wide, 108.5cm high, 33cm deep

£1,000-1,500

555 MANNER OF THE ARTIFICER’S GUILD PAIR OF ARTS & CRAFTS ANDIRONS, CIRCA 1920 wrought iron and brass (2) 47cm long, 62cm high, 30.5cm wide

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

209

556 ERNEST GIMSON (1864-1919) (DESIGNER) PETER WAALS (1870-1937) (ATTRIBUTED MAKER) ARTS & CRAFTS DINING TABLE, CIRCA 1920 chestnut 148.5cm long, 74.5cm high, 80cm deep Literature: Lethaby, W. R., Powell, Alfred H., Griggs, F.L. Ernest Gimson; his life & work, plate 30 Cheltenham Museum, 1941 222.413 Note: Tables of this design, with chip-carved detail to the table edge and apron, were supplied by Gimson to the agricultural reformer Hugh Fairfax-Cholmeley (1864-1940) at Brandsby Hall, near York. Gimson produced variations of his designs in different woods and qualities of timber, depending on the wishes of his clients and what they could afford. Waals continued the Gimson tradition after his death, making furniture to his designs and acquiring the stock of seasoned timber and equipment from his executors.

£4,000-6,000

557 MAPLE & CO., LONDON (ATTRIBUTED MAKER) THREE-PIECE BEDROOM SUITE, CIRCA 1910 inlaid oak, marble, with silvered metal mounts comprising a WASHSTAND, 107cm wide, 131cm high, 51cm deep; a PRESS CUPBOARD, inlaid oak with brass fittings,155cm wide, 199.5cm high, 56cm deep; and a WALL MIRROR, with bevelled glass plate, 68cm x 48cm (3) £2,000-3,000

211

558

An experienced Dutch cabinet-maker, PETER WAALS moved to London in 1901, and after responding to

PETER WAALS (1870-1937)

an advertisement in The Times, was employed as a foreman by Ernest Gimson and Ernest Barnsley, shortly

ARTS & CRAFTS WARDROBE, CIRCA 1920

his skills as a craftsman, and developed a good eye for timber, as he was often tasked with selecting fine

oak 122cm wide, 182.5cm high, 60cm deep Literature: Design & Industries Association Year Book, 1923 1924, p.15, pl.1

£7,000-9,000

after the two had established a workshop in Sapperton. Under their leadership, Waals was able to hone specimen woods and exotic veneers for the workshop. Gimson often involved Waals in discussions about his designs and methods of construction, and he acknowledged the great debt he owed to Waals for his assistance. Together, the two were considered amongst some of the pioneering figures of the ‘Cotswold Tradition’. After Gimson’s death in 1919, Waals established his own workshop in Chalford and continued many of the traditional working methods he had learnt at Sapperton. Conscious to protect the reputation and legacy of his friend and mentor, Waals agreed with Gimson’s family that he would not reproduce designs and inlaid patterns, and instead he focused on the construction of more domestic pieces which often illustrated his skilful execution of marquetry. Latterly, Waals received significant commissions for work from Leicester University and Eton College, as well as high-profile locals such as the Goddard Family in Leicester.

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

212

559 PETER WAALS (1870-1937), AFTER ERNEST GIMSON DESK, CIRCA 1930 oak 145cm wide, 77.5cm high, 60.5cm deep

£3,000-5,000

213

560 PETER WAALS (1870-1937) EXTENDING DINING TABLE, CIRCA 1935 walnut, with chequered beaded inlay and single drop-in leaf 158cm closed, 99cm deep, 77cm high, 234cm extended Provenance: Arthur Mitchell; thence by descent.

Note: Arthur Mitchell, whose father Henry founded the Smethwick brewery that would become Mitchells & Butlers, was a great patron of Cotswolds School craftsmen.

With this table, Waals is adapting the chamfered ‘hayrake’ stretcher, first developed

by Gimson and Sidney Barnsley at Sapperton in the early years of the 20th century.

£4,000-6,000

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

561 PETER WAALS (1870-1937) ARTS & CRAFTS WARDROBE, CIRCA 1930 oak 122cm wide, 181.5cm high, 53cm deep Literature: Design & Industries Association Year Book, 1923 - 1924, p.15, pl.1

£7,000-9,000

215

562 PETER WAALS (1870-1937) ARTS & CRAFTS TALLBOY, CIRCA 1930 sycamore with cedar handles 84cm wide, 145cm high, 59.5cm deep Provenance: The Goddard family Note: Important local patrons of the arts, much of the Goddard family’s collection can still be seen today in the Leicester Museum. Joseph Goddard was a chemist, who was often asked to assay some of the finest silver owned by Leicester wealthy elite. It was during this time that he developed a rich appreciation for the arts and instigated his passion for collecting objects he admired. After the introduction of electro-plating, silver-plate became more readily available to the masses. Goddard developed a non-mercurial plate powder – a substance which, unlike standard issue polish with mercury, did not cause silver-plate to disintegrate. The invention was a huge success and soon after Goddard expanded his firm and began to produce a range of similar products suited to a wide use of materials, such as furniture.

Goddard was significant advocate for the arts, so much so that he encouraged excursions for his workforce, including the 1851 Great Exhibition.

£2,000-3,000

563 PETER WAALS (1870-1937) ARTS & CRAFTS COMPACTUM, CIRCA 1935 oak 147cm wide, 200.5cm high, 55cm deep Note: These compendiums were made for Hazlerigg Hall of Residences, Loughborough College, England to a design by Peter Waals.

£1,000-1,500

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

A view of The Millinery Works main gallery set up for an exhibition

217

A self-described “craftsman woodworker, boat builder and sailor, mathematician, poet, chess player, social reformer, rebel, friend and lover”, ARTHUR ROMNEY GREEN was a man of many talents. From a very young age he developed a love for woodworking and spent much of his free time building sailing boats. He later turned his attentions to furniture and setup a workshop in Christchurch from around 1920. An admirer of William Morris, Romney Green was an advocate of Social Reforms and sought to create a sense of community amongst his workforce. During the 1930s he supervised several workshops

564 ARTHUR ROMNEY GREEN (1872-1945) GROUP OF THREE ARTS & CRAFTS TUB ARMCHAIRS, CIRCA 1920

in deprived areas; and often employed young

oak with leather upholstered seats (3)

boys who struggled during their educational

each 56cm wide, 72cm high, 43cm deep

years, helping them learn key skills in the trade

£400-600

to increase their self-esteem and improve their literacy skills. This nurturing approach and value he placed on apprenticeships was hugely successful, and many of the young boys he employed eventually established themselves as master craftsmen in their own right. Like many of his contemporaries, Romney Green’s furniture designs show a strong admiration for the work of Gimson and Barnsley, who were very much considered founders of the Cotswold Tradition. Yet what distinguishes Romney Green’s work from Gimson’s is the importance he places on geometry and proportion. His designs, “built from solid equations”, often feature geometric shapes in the small details and are constructed with an exact set of mathematical principles in mind.

565 ARTHUR ROMNEY GREEN (1872-1945) ARTS & CRAFTS BOOKCASE, CIRCA 1910 stained oak 137cm wide, 152cm high, 46.5cm deep Provenance: The Bathurst family Note: The Bathurst family were major patrons of Gimson, the Barnsleys and other Cotswold makers during the early 20th century.

£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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566 ARTHUR ROMNEY GREEN (1872-1945) ARTS & CRAFTS BOOKCASE, CIRCA 1925 oak, with glazed doors 74cm wide, 123cm high, 25.5cm deep

£400-600

567 ARTHUR ROMNEY GREEN (1872-1945) ARTS & CRAFTS DOCUMENT CABINET/ BOOKCASE, CIRCA 1920 walnut, the lower cupboard enclosing vertical dividers, carved rose mark to one side 109cm wide, 103.5cm high, 44.5cm deep

£600-800

568 THEO DALRYMPLE ARTS & CRAFTS DINING TABLE, DATED 1954 oak, stamped and dated TAD 1954 152cm long, 73.5cm high, 74cm deep Note: Theo Darymple was apprenticed to Peter Waals, then with his own workshop with designs by Gimson & Waals. He was made a brother of The Art Workers Guild in 1967.

£500-700

569 COTSWOLD SCHOOL ARTS & CRAFTS DROP-LEAF TABLE, CIRCA 1925 oak, with removable bookshelves to each end 95cm open, 91.5cm long, 73.5cm high

£300-500

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570 ARTHUR W. SIMPSON (1857-1922), KENDAL (ATTRIBUTED MAKER) ARTS & CRAFTS TWO-DOOR CABINET ON STAND, CIRCA 1900 carved oak and elm, the interior with four removable shelves, the base with single drawer, includes key 69.5cm wide, 74cm high, 35cm deep Base 73.5cm wide, 65cm high, 44cm deep

£500-700

571 SIR FRANK BRANGWYN (1867-1956) FOR E. POLLARD AND CO LTD., LONDON ARTS & CRAFTS DRESSING CHEST, CIRCA 1910 oak, with mirrored glass plate, bears makers label to front edge 76cm wide, 139cm high, 53cm deep

£400-600

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

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

221

572 ARTHUR W. SIMPSON (1857-1922), KENDAL (ATTRIBUTED MAKER) ARTS & CRAFTS FREESTANDING DESK, CIRCA 1920 oak, inlaid with ebony and bone, with an arrangement of six drawers to one side and two cupboard doors to the other 137cm long, 74cm high, 75cm deep

£3,000-5,000

ARTHUR SIMPSON was first apprenticed to a Kendal cabinet maker, then to Gillow’s of Lancaster as Architectural and General Wood Carver. He returned to Kendal in 1885 and opened his own workshop, employing several workers, and in 1889 was showing at the Arts & Crafts Society Exhibition in London. His Lake District house was designed by C F A Voysey in 1908.

The high quality of the timber chosen, the cabinetmaking and the quality of the carving are characteristics of Simpson’s work, and which recommended him to Voysey as a maker for his own designs. The metalware suggests the work of Nelson Dawson (1859 - 1941) a fellow Quaker, and member of the Art Workers’ Guild who supplied ironwork for Simpson.

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573 § SIR FRANK BRANGWYN (1867-1956) BRIDGE-BUILDERS, 1904 etching, signed in pencil lower left FRANK BRANGWYN, and further inscribed in pencil F. (FREDERICK) GOULDING/ PRINTER 51cm x 62cm Literature: Marechal, D. Frank Brangwyn Collection, Bruges 1987, p.201, inv. no. 0.1090.III

£300-500

574 COTSWOLD SCHOOL CHEVAL MIRROR, CIRCA 1950 oak, with mirrored plate 81cm wide, 172cm high, 56cm deep

£500-800

575 DEREK SLATER, CRAYKE (‘FISHMAN’) OCTAGONAL DINING TABLE, CIRCA 1960 oak, with intaglio relief signature mark 133cm diameter, 72cm high

£400-600

576 COTSWOLD SCHOOL CHEST OF DRAWERS, CIRCA 1920 oak 91cm wide, 92cm high, 48cm deep

£500-800

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577 HARRY DAVOLL (1876-1963) (ATTRIBUTED MAKER) COTSWOLD SCHOOL MANTEL CLOCK, CIRCA 1930 burr yew, holly and ebony and burr yew, movement marked BUREX/ SWISS MADE 22cm high, 28cm wide

£300-400

578 ROBIN NANCE (1907-1990) ARTS & CRAFTS DINING TABLE, CIRCA 1950 elm 152cm wide, 70.5cm high, 68.5cm deep

£500-700

ROBIN NANCE was apprenticed to Arthur Romney

Green, returning to his home town of St Ives, Cornwall, and opening his own workshop in 1933.

This was suspended during the war, re-opening in 1946 with his brother, Dicon, as a gallery/ workshop on the quayside. Dicon designed a pottery wheel for Bernard Leach and the furniture workshop made picture frames for Ben Nicholson and other St Ives artists and sculpture bases for Barbara Hepworth. Nance Furniture was shown at the Red Rose Guild of Craftsmen in 1950 and at the Festival of Britain in 1951 and sold through The Craft Centre in The Haymarket. The business was closed in 1972.

579 COTSWOLD SCHOOL SIDEBOARD, CIRCA 1920 oak 120.5cm wide, 94cm high, 43.5cm deep

£600-800

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

224

580 GORDON RUSSELL (1892-1980) FOR RUSSELL & SONS, BROADWAY SIDE TABLE, DATED 1929 cherrywood and Honduras mahogany, bears label under the drawer, DESIGN NUMBER: X213/ DESIGNER: GORDON RUSSELL/ FOREMAN: EDGAR TURNER/ CABINET MAKER: F. DODD, dated December 16th 1929 83.5cm long, 76cm, high, 56.5cm deep

£400-600

581 GORDON RUSSELL WORKSHOPS, BROADWAY (ATTRIBUTED MAKER) SET OF SIX ‘CLISSETT’ LADDERBACK DINING CHAIRS, CIRCA 1925 oak and elm, with cord seats, including two carvers (6) carver 60cm wide, 104cm high, 46cm deep

£600-800

582 ENGLISH, MANNER OF GORDON RUSSELL ARTS & CRAFTS PEDESTAL DESK, CIRCA 1930 walnut, with ebonised wood handles 142.5cm wide, 76.5cm high, 80.5cm deep

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

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583 GORDON RUSSELL (1892-1980) FOR RUSSELL & SONS, BROADWAY

Unlike his contemporaries, many of whom initially

workforce, whilst at the same time producing

trained as architects, GORDON RUSSELL was

high-quality pieces that celebrated design and

primarily self-taught. He and his father were

the craftsman. Clearly influenced by Gimson

ARTS & CRAFTS BREAKFRONT COMPENDIUM WARDROBE, DATED 1928

acutely aware of the exciting hub of activity in the

and Scandinavian modernism, out of Russell’s

Cotswolds, led by pioneers such as C. R. Ashbee

Workshops came simple, yet highly functional

and Ernest Gimson; after witnessing unimaginable

pieces, using the finest quality woods and

scenes of complete destruction after the First

showcases traditional craftsmanship. In 1947

World War, Russell was determined to create

Russell was appointed chairman of the Design

furniture that would stand the test of time and

Council and played a crucial role in the design and

be valued by generations to come. Together he

manufacture of Utility furniture in the post-war

and his father established Russell & Sons in 1922

years which helped re-build the country.

oak and ebonised oak, maker’s label verso THE RUSSELL WORKSHOPS BROADWAY/ DESIGNER GORDON RUSSELL/ FOREMAN EDGAR TURNER/ CABINET MAKER C TURNER DATE 1/11/28, with keys 175cm wide, 181cm high, 57cm deep

£2,000-3,000

and were advocates of the Arts & Crafts ideology as they sought to improve working conditions and provide educational opportunities for their

226

584

§

HELEN MCKIE (1889-1957) LONDON oil on board, signed and dated lower left, H. MCKIE/1948 111cm x 241.5cm

£400-600

Note: Helen McKie was born in London and attended Lambeth School of Art where she studied composition and painting under Philip Connard. She became an illustrator and permanent member of staff to ‘Bystander’ magazine from 1915-1929 and was a contributing artist to The Graphic, Sphere, Autocar, and Queen publications. In 1919 she exhibited at Brock Street Art Gallery, and in 1928 at Walkers Galleries, where Queen Mary purchased a picture. She also exhibited at the Paris Salon from 1934-1936 and at the Royal Hibernian Academy in 1936. Mural designs were designed and painted by McKie for amongst others; the Ritz Hotel in London, several Butlins holiday camps including a Bahamas resort, Ford motorcars, the French Government Tourist Office, and Selfridges. This painting was commissioned by the late Grace Laporte and her husband possibly for the walls of her hairdressing salon in Duke Street, St James’s, London.

585 GORDON RUSSELL (1892-1980) FOR RUSSELL & SONS, BROADWAY ARTS & CRAFTS SIDEBOARD, DATED 1926 oak and cedar, bears paper label under drawer DESIGN: GORDON RUSSELL/ FOREMAN: EDGAR TURNER/ CABINET MAKER: C BEADLE/ DATE 26/6/26, with key 138cm wide, 94cm high, 51.5cm deep

£1,000-1,500

586 GORDON RUSSELL (1892-1980) FOR RUSSELL & SONS, BROADWAY MODERNIST WRITING DESK, CIRCA 1935 walnut, bears maker’s label RUSSELL WORKSHOP LTD/ BROADWAY/ WORCESTERSHIRE 76cm wide, 115cm high, 60.5cm deep Provenance: The Estate of Dr H J Hoyland, Painswick, purchased directly from Gordon Russell.

£400-600

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

227

587 BRITISH SLIPWARE DISH, CONTEMPORARY glazed terracotta, impressed seal mark 48cm long

£300-400

588 GORDON RUSSELL WORKSHOPS, BROADWAY (ATTRIBUTED MAKER) WRITING DESK, CIRCA 1960 teak, with leather writing original top, stamped monogram M and serial number 118cm wide, 77.5cm high, 51cm deep

£500-700

589 BOWMAN BROTHERS, CAMDEN TOWN TALLBOY, CIRCA 1950 oak 107cm wide, 152.5cm high, 50cm deep

£400-600

590 COTSWOLD SCHOOL ARTS & CRAFTS TOY CUPBOARD, CIRCA 1930 oak, with castors, double-sided 101cm wide, 105.5cm high, 68cm deep

£300-500

228

591 BRITISH ART DECO THREE-PIECE SUITE, CIRCA 1930 walnut with later upholstery, comprising a TWO-SEAT SOFA, 148cm wide, 77cm high, 88cm deep; and TWO ARMCHAIRS, 79cm wide, 77cm high, 91cm deep (3) £1,000-1,500

592 E. GOMME, HIGH WYCOMBE (ATTRIBUTED MAKER) ARTS & CRAFTS SETTLE, CIRCA 1930 oak with later leather upholstery 123cm wide, 109cm high, 56cm deep

£400-600

229

593 BRITISH ART DECO STYLE WALL MIRROR, MODERN patinated brass, oak and mirrored glass plate 154.5cm x 107cm

£300-500

594 MANNER OF WILLY RIZZO DINING TABLE, CIRCA 1970 stainless steel and lacquered wood 139cm diameter, 74cm high

£300-500

595 ARNE JACOBSEN (1902-1971) FOR FRITZ HANSEN SET OF EIGHT ‘OXFORD’ CHAIRS, DESIGNED 1965 chromed steel frame and upholstered fabric, six with makers’ label (8) 88cm high, 46cm wide, 42cm deep Note: Originally designed for the professors at St. Catherine’s College, Oxford

£400-600

END OF COLLECTION

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

230

596 § AMANDA NOTARIANNI (B. 1970) ‘PROTOZOON’ frosted, cut and coloured glass, etched signature NOTARIANNI 12cm high

£300-500

597 § OWEN CRAWFORD (B. 1962) JUDGE, ORANGEMAN & JOCKEY, THREE SKITTLE FIGURES carved and patinated wood each approx. 41cm high Note: Owen Crawford studied at Ravensbourne College of Art and Design. He lives in Co Down and has been commissioned to provide works for Belfast Council, NI hospital trusts and various other private commissions. He works in oak (often green) and granite and has exhibited with several other Irish artists in Northern Ireland and Ireland most recently at Draiocht, Dublin in 2016.

£300-500

598 MARCEL BREUER (1902–1981) (DESIGNER) PARKER KNOLL (MAKER) CHAISE LONGUE, CIRCA 1965

599 §

birch plywood with later leather upholstery

JILL SANDERS (B. 1930)

65cm wide, 86cm high, 135cm long

MATADOR

£400-600

bronze, raised on a marble base, signed and editioned in the bronze JILL SANDERS 13/100 15.5cm high

£200-300

600 TIM STEAD (1952-2000) COFFEE TABLE, CONTEMPORARY pine and specimen wood inlay, 110cm long, 38cm high, 51cm deep; together with a LOW STOOL, pine, 31cm wide, 17cm high, 25cm deep (2) £200-300 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

231

601 JAEGER LE COULTRE ‘MARINA’ CLOCK, 20TH CENTURY Perspex and gilt-metal with painted highlights, printed MARINA/ JAEGER LE COULTRE, the movement stamped SWISS MADE 18cm wide, 20.5cm high, 4.5cm deep

£300-500

602 MANNER OF MAX INGRAND FOR FONTANA ARTE PHOTOGRAPH FRAME, CIRCA 1950 brass, marble and glass 35.5cm high, 25.5cm wide

£400-600

603 GIO PONTI (1891-1979) (ATTRIBUTED DESIGNER) SIDEBOARD, CIRCA 1940 mahogany, the fluted frieze fitted three drawers with brass detailing and handles, on shaped legs with gilt sabots, with key 184.5cm wide, 90cm high, 45.5cm deep Note: A table, presumably from the same suite, was attributed to Gio Ponti and sold at Sotheby’s, Gordon Watson: The End of a Chapter Sale on 3 May 2006, lot 148. A further example of this model of table with the same attributes as this sideboard/console table came up Viscontea Casa d’Aste in Milan, Italy 28 November 2019, lot 253.

£1,500-2,000

232

604

§

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

£600-800

605 ATTRIBUTED TO LUIGI MASSONI (1930–2013) FOR HARVEY GUZZINI ‘QUADRIFOGLIO’ STANDING LAMP chrome, Perspex 164.5cm high Note: This lamp is often attributed to Gae Aulenti however it was designed in-house at Guzzini, probably by Luigi Massoni.

£500-700

606 LINLEY, LONDON ‘LIZARD COLLECTION’ CONSOLE TABLE, CONTEMPORARY Macassar ebony with chromium-plated mount, and Perspex, stamped to the drawer handle LINLEY 150cm wide, 81.5cm high, 50cm deep

£400-600

607 AFTER LE CORBUSIER SOFA, MODERN chromium-plated steel frame, leather upholstery 155cm wide, 75cm high, 71cm deep

£300-400

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

233

608 MARY WARREN FOR HEAL & SON, LONDON ‘NAUTILUS’ PANEL, DESIGNED 1956 furnishing fabric, screen-printed cotton, printed to the selvedge ‘NAUTILUS’ BY MARY WARREN and with Heal’s paper export label (to the top edge) 155.5cm x 124cm Note: During the 1950s, Mary Warren designed furnishing fabrics for Heal’s Wholesale and Export Ltd. in London. Her work typically comprises of abstract and geometric forms on screen-printed cotton. The title ‘Nautilus’ comes from the name of a marine mollusc and is also the name of numerous historic ships, which alludes to the pattern suggestive of ship rigging and navigational equipment in this panel.

£200-300

609 LINLEY, LONDON ‘LIZARD COLLECTION’ DINING TABLE, CONTEMPORARY Macassar ebony and chromium-plated metal and Perspex, each end opening to fitted drawers , stamped LINLEY to drawer handles, 230cm wide, 74cm high, 110cm deep; together with a set of EIGHT ‘DICE’ CHAIRS, including two carvers, by David Linley, walnut with cream upholstery, all stamped LINLEY with maker’s fabric labels, carver 61cm wide, 71cm high, 61cm deep (9) £1,000-1,500

234

610 OTTAVIANI, ITALY BOX & COVER, CIRCA 1960 silver, enamel and hardwood, signed OTTAVIANI 24cm wide

£300-500

611 LINO SABATTINI (1925-2016) FOR CHRISTOFLE, PARIS FIVE-PART ‘COMO’ TEA AND COFFEE SERVICE, DESIGNED 1956 silver plated, comprising a COFFEE POT, 21.5cm high; a TEAPOT, 13.5cm high; a MILK JUG, 11.5cm high; and a SUGAR BOWL, 7.5cm high; with a SERVING TRAY, 49.5cm across, each marked GALLIA and the teapot, milk jug and sugar bowl marked PROD. CHRISTOFLE (5) £3,500-4,000

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

235

612 ITALIAN BOX & COVER, CIRCA 1960 white metal and enamel, bears inscription under cover dated November 1962 13cm diameter, 22cm high

£500-800

613

§

VICKI WOOD (BRITISH 1943-2010) AUTOMATON, CIRCA 1985

614 ANDREW CROUCH (B. 1955); SULEYMAN SABA (B. 1969); JANE HAMLYN (B. 1940)

painted plywood, depicting the God Sobek by the river Nile

THREE TEAPOTS, CONTEMPORARY

62.5cm high x 48.5 wide x 8cm deep

£250-350

£300-500

glazed stoneware 15cm; 19cm high and 21.5cm high (3)

236

615 ACHILLE CASTIGLIONI (1918-2002) FOR FLOS ‘ARCO’ LAMP, 1960S chromium-plated metal and marble, makers label to lamp shade 242cm high

£500-800

616 ANDREA BRANZI (ITALIAN 1938-) FOR CASSINA ‘BERIONE’ BOOKCASE, DESIGNED 1988 glass, steel and marble 190cm high, 300cm wide

£2,000-3,000

617 BERNARD LEACH INTEREST SIX-FOLD SCREEN, CIRCA 1940-1950 wood frame with linen-covered borders and paper, with 37 applied scraps, drawings and prints, laid down and including a signed sketch by Hein Heckroth (German film director), examples by David Jones, Eric Gill, Reginald Turvey, and others, some signed and or inscribed and dated

618 JULIAN CHICHESTER, LONDON CONSOLE TABLE, CONTEMPORARY

each fold 79cm x 33.5cm

ebonised and painted wood, with glass inset panels, backed with silvered leaf

Provenance: Laurie Cookes, the second wife of the potter Bernard Leach

180.5cm wide, 93cm high, 55cm deep

£300-500

£400-600

237

619 § SCOTTIE WILSON (1890-1972) UNTITLED coloured inks on paper, signed lower right SCOTTIE 46.5cm x 59.5cm Provenance: Gimpel Fils, London

£1,000-1,500

620 § SCOTTIE WILSON (1890-1972) BIRDS IN A TREE SW44, CIRCA 1958 pen, ink and crayon, unsigned 60.5cm x 48cm Exhibited: Gimpel Fils, London, 1975-76 Third Eye Centre, Glasgow, 1986

£800-1,200

621

622

BRITISH

TINEI MASHAYA (B. 1978)

WALL MIRROR, DATED 1981

‘GAMEKEEPER’

painted pine, with mirrored plates, inscribed and stamped initials HJSR/ 81

stone, raised on a marble base, signed TINEI M

§

154cm long

Total height 127cm high; excluding base 118cm high; widest point 45cm

£200-300

£600-800

LALIQUE

MODERN MADE

28 OCTOBER | LONDON

28-29 OCTOBER | LONDON

Dedicated to the works of René Lalique

Post-War Art, Design & Studio Ceramics

JOY McCALL | 0207 930 9115

PHILIP SMITH | 0207 930 9115

joy.mccall@lyonandturnbull.com

philip.smith@lyonandturnbull.com

RENÉ LALIQUE (FRENCH 1860-1945) LA CHASSE CHANDELIER, NO. 2258 To be offered 28 October 2021 £80,000-120,000

THE PETER ROSE & ALBERT GALLICHAN COLLECTION 30 NOVEMBER | LONDON JOY McCALL | 0207 930 9115 joy.mccall@lyonandturnbull.com

240

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.

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“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

241 financing checks we may require to our satisfaction, we may refuse to register You to bid, and if You make a successful bid, we may cancel the contract between You and the Seller.

4. BIDDING ON BEHALF OF ANOTHER PERSON (a) As an authorised Bidder: If You are bidding on behalf of another person, that person will need to complete the registration requirements above before You can bid, and supply a signed letter authorising You to bid for him/ her. (b) As agent for an undisclosed principal: If You are bidding as an agent for an undisclosed principle (the ultimate Buyer(s)) You accept personal liability to pay the Purchase Price and all other sums due, unless it has been agreed in writing with us before commencement of the auction that the Bidder is acting as an agent on behalf of a named third party acceptable to us and we will seek payment from the named third party.

5. BIDDING IN PERSON If You wish to bid in the saleroom You must register for a numbered bidding paddle before You begin bidding. Please ensure You bring photo identification with You to allow us to verify Your registration.

6. BIDDING SERVICES The bidding services described below are a free service offered as a convenience to our clients and we are not responsible for any error (human or otherwise), omission or breakdown in providing these services. (a) Phone bids Your request for this service must be made no later than 12 hours prior to the auction. We will accept bids by telephone for Lots only if our staff are available to take the bids. If You need to bid in a language other than English You should arrange this Well before the auction. We do not accept liability for failure to do so or for errors and omissions in connections. (b) Internet Bids For certain auctions we will accept bids over the internet. For more information please visit our Website.

We will use reasonable efforts to carry out online bids and do not accept liability for equipment failure, inability to access the internet or software malfunctions related to execution of online bids/ live bidding. (c) Written Bids While prospective Buyers are zgly 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

242 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.

243 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

244

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 At the Sale Registered bidders will be assigned a bidder number and given a paddle for use at the sale. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. To place your bid, simply raise your paddle until the auctioneer acknowledges you.

Please ensure that the auctioneer repeats your bidder number correctly when confirming the sale. If there is any doubt at this stage as to the hammer price or buyer it must be brought to the auctioneer’s attention immediately. All lots will be invoiced to the name and address given on your registration form, which is non-transferable.

A limited number of telephone lines are available for bidding by phone through a Lyon & Turnbull representative. Phone lines must be reserved in advance. All bid requests must be received an hour before the sale. All telephone bids must be confirmed in writing, listing the relevant lots and appropriate number to be called. We recommend that a covering bid is also left in the event that we are unable to make the call.

We cannot guarantee that lines will be available, or that we will be able to call you on the day, but will endeavour to undertake such bids to the best of our abilities. This service is available entirely at our discretion and at the bidder’s risk.

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

ON THE INTERNET

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.

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Inside Back Cover Lot 122 [detail]

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