Design since 1860 | Auction 20 & 21 April 2022 by Lyon & Turnbull

20TH & 21ST APRIL 2022 EDINBURGH LIVE ONLINE

WEDNESDAY 20 & THURSDAY 21 APRIL 2022 AT 10AM LOTS 1-298 WEDNESDAY 20 LOTS 299-548 THURSDAY 21

Sale Number LT680

Lyon & Turnbull 33 Broughton Place EDINBURGH EH1 3RR

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

Front Cover Lot 110 [detail] Inside Front Cover Lot 127 [detail]

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

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 £500,000 / 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 All collections will be by appointment only (this applies to both carriers and personal collections). To make an appointment call 0131 557 8844 or email info@lyonandturnbull.com. 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.

MEET THE SPECIALISTS

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

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

Joy McCall Senior Specialist joy.mccall@lyonandturnbull.com

Olivia Ross Junior Specialist olivia.ross@lyonandturnbull.com

Philip Smith Senior Specialist philip.smith@lyonandturnbull.com

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

£200-300

2 ENGLISH, MANNER OF A.W.N. PUGIN PAIR OF GOTHIC REVIVAL SIDE CHAIRS, CIRCA 1850 oak and pollarded oak, carved in relief with heraldic crest (2) 50cm wide, 111cm high, 45cm deep

£1,000-1,500

3 ENGLISH PAIR OF GOTHIC REVIVAL BENCHES, CIRCA 1870 oak (2) 366cm long, 45cm high, 34.5cm deep

£1,000-1,500

4 A.W.N. PUGIN (1812-1852) (ATTRIBUTED DESIGNER), POSSIBLY FOR GILLOWS GROUP OF SIX SIDE CHAIRS, CIRCA 1860 oak, with close-nailed leather upholstery, the top rail carvings representing fruiting vines; flowering foliage; thistles; convolvulus; ivy; flowering currants (6) 50cm wide, 88.5cm high, 49cm deep Provenance: Temple Three Paper Buildings, London Note: The Paper Buildings comprise a set of barrister’s chambers situated within the Inner Temple area in London. Initially built in 1609, the name refers to the construction materials used in the buildings, a combination of timer, lath and plaster, known as ‘paperwork’. In 1819 Robert Smirke was surveyor of the buildings; his only work in London that was executed in the Gothic Revival style, notable rooms include the Library and the Great Hall. However, the buildings’ history was plagued by a number of fires which destroyed large portions of Smirke’s work. The Library and Great Hall were rebuilt by Smirke’s brother Sydney in 1870, very much in the Gothic aesthetic; today the paper buildings resemble a far more modern aesthetic, with elements of neo-classical architecture after further renovations in the 1950s. The present set of six chairs, originally with green leather upholstery, certainly bear similarities with much of the seating produced for the Palace of Westminster, namely the chamfered square legs with recessed H-stretchers, completed in oak. The chairs each bear a distinct carving along the top rail and while Pugin’s designs were generally dominated by plain and solid construction, designs for the Palace of Westminster often featured more elaborate embellishments and intricately carved details. In 2006, a pair of X-frame side chairs, attributed to Pugin for the Palace of Westminster, feature similar carvings of oak leaves and acorns; a dining chair for the Speaker’s House, on display in The Metropolitan Museum in New York, also displays similarly carved flowering foliage (accession 2015.638). A chair matching the design of the present lot, carved with holly on the top rail with original green leather upholstery, still resides at the Three Paper Buildings Barristers in London today.

£2,000-4,000

5 A.W.N. PUGIN (1812-1852) FOR JOHN HARDMAN & CO., BIRMINGHAM PYX, BIRMINGHAM 1856 silver and silver gilt, stamped maker’s mark, hallmarked Birmingham 1856 4.3cm diameter

£300-500

6 J.G. CRACE (1809-1889) (ATTRIBUTED MAKER) SET OF SIX GOTHIC REVIVAL DINING CHAIRS, CIRCA 1865 walnut, with later vinyl upholstery, stamped to two stretchers GW (6) 45cm wide, 95cm high, 47cm deep Literature: Aldrich, M. The Craces: Royal Decorators 1768-1899, John Murray 1990, p. 94, pl. 4:18 illustrates a chair designed by Crace for Government House, Perth, Australia in 1862, showing similar treatment of top and mid rails to the current lot.

£600-800

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

7 ENGLISH, MANNER OF BRUCE J. TALBERT REFORMED GOTHIC OVERMANTEL MIRROR, CIRCA 1870 carved oak, ebonised oak, mirrored glass 131cm wide, 110.5cm high, 10cm deep

£600-1,000

8 A.W.N. PUGIN (1812-1852) FOR MINTON & CO. GROUP OF NINE RELIEF TILES, CIRCA 1860 glazed ceramic (9) 15cm square Note: Encaustic tiles of this pattern were designed by Pugin and made for St. Mary’s convent in Handsworth, Birmingham, which opened in 1841.

£300-500

9 ENGLISH, MANNER OF RICHARD NORMAN SHAW PAIR OF GOTHIC REVIVAL FIRE DOGS, CIRCA 1890 cast and wrought iron (2) 85cm high, 83cm deep

£400-600

10 A.W.N. PUGIN (1812-1852) GROUP OF EIGHT ‘HOUSE OF COMMONS’ SIDE CHAIRS, CIRCA 1860 oak, with later upholstery, one chair taller (8) 48cm wide, 87cm high, 51cm deep larger chair 49cm wide, 92.5cmhigh, 54cm deep Note: This chair design was one of Pugin’s most functional for the Palace of Westminster, and was one of over 300 designs for furniture he produced for the building.

£400-600

11 ENGLISH GOTHIC REVIVAL OVERMANTEL MIRROR, CIRCA 1850 ebonised and gilded wood 106.5cm wide, 138cm high, 10cm deep

£500-800

12 ENGLISH, MANNER OF BRUCE J. TALBERT AESTHETIC MOVEMENT BOOKCASE CABINET, CIRCA 1880 oak, ebonised oak, with silvered metal fittings and glass panels 120.5cm wide, 229cm high, 44cm deep

£600-1,000

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

£300-500

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

14 JAMES LAMB, MANCHESTER SET OF TWELVE AESTHETIC MOVEMENT DINING CHAIRS, CIRCA 1890 inlaid oak with later upholstery, stamped LAMB MANCHESTER/ ORDER 33822 (12) 49cm wide, 84.5cm high, 52cm deep

£6,000-8,000

15 GILLOW & CO. AESTHETIC MOVEMENT WRITING TABLE, CIRCA 1880 walnut with tooled leather writing surface, stamped L3088 91.5cm wide, 75.5cm high, 52cm deep

£400-600

16 MANNER OF STEPHEN ADAM AESTHETIC MOVEMENT STAINED GLASS PANEL, CIRCA 1880 stained, painted and leaded glass 136.5cm x 60.5cm Note: For a similar panel, probably by the same hand, see Lyon & Turnbull, Decorative Arts: Design since 1860, April 11th 2018, Lot 32

£800-1,200

17 ALFRED WATERHOUSE (1830-1905) (ATTRIBUTED DESIGNER), HENRY CAPEL, LONDON (ATTRIBUTED MAKER) AESTHETIC MOVEMENT WALNUT CORNER CABINET, CIRCA 1880 walnut, with gilt embellishment, polychrome painted panels inscribed SUMMER and AUTUMN, and incised decoration 77cm wide, 212cm high, 45.5cm deep

£1,200-1,800 Note: The Art Furniture maker Henry Capel worked particularly closely with the architect Alfred Waterhouse (see illustration of period advertisement of ‘Henry Capel’s Art Furniture’).

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

18 WILLIAM STEPHEN COLEMAN (1829-1904) FOR MINTON’S ART-POTTERY STUDIO PLAQUE, CIRCA 1870 painted pottery, impressed MINTON, printed factory stamp, painted initials WSC and painted signature W. S. COLEMAN verso 20.3cm diameter

£800-1,200

19 BRUCE J. TALBERT (1838-1881) FOR GILLOW & CO. AESTHETIC MOVEMENT CORNER CABINET, CIRCA 1878 ebonised wood with gilded embellishment, glass, painted panels, stamped to door GILLOW & CO/ L5647 95cm wide, 197cm high, 58cm deep Note: The original drawing for this piece is in the Gillows sketchbooks.

£1,200-1,800

ENGLISH

BENHAM & FROUD, LONDON (ATTRIBUTED MAKER)

AESTHETIC MOVEMENT CANTERBURY, CIRCA 1890 mahogany with ebony inlay and brass fittings

GOTHIC REVIVAL COAL BOX, CIRCA 1890 walnut, brass

47cm wide, 53.5cm high, 34cm deep

59cm long, 39cm high, 30.5cm wide

£250-350

£300-500

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

22 MANNER OF BRUCE J. TALBERT PAIR OF AESTHETIC MOVEMENT WALL SCONCES, DATED 1878 brass, each with registration mark for November 1878 (2) 39cm x 26cm

£500-800

23 BRUCE J. TALBERT (1838-1881) (ATTRIBUTED DESIGNER) FOR GILLOW & CO. CABINET, CIRCA 1870 walnut, ebonised wood, thuya wood and painted panels, with gilded embellishments and brass fittings, stamped to top drawer GILLOW & CO/ 664A 191cm wide, 171cm high, 46cm deep Note: Bruce Talbert originally trained as a carver before working as an architectural draughtsman in Glasgow. He subsequently became a prolific commercial designer of furniture, metalwork, stained glass, wallpapers, textiles and carpets and produced several influential publications including ‘Gothic Forms applied to Furniture Metalwork’ and ‘Decoration for Domestic Purposes’ which had a big impact on the way in which the revived Gothic style was used in domestic design. Talbert designed several pieces for Gillow & Co, drawing on widely divergent sources such as Gothic architecture and Japanese art. His is work for the firm was displayed at numerous international exhibitions, including the International Exhibition of 1873. Talbert worked in association with several other principal furniture makers of the period, including Holland & Sons, Marsh Jones & Cribb, Lamb of Manchester and the Coalbrookdale Company and established professional links with other key designers such as Richard Norman Shaw and George Edmund Street.

£4,000-6,000

24 JAMES COUPER & SONS, GLASGOW ‘CLUTHA’ CHAMPAGNE COUPE, CIRCA 1890 green glass, with aventurine and opaque trailed decoration, 20.5cm high; and ANOTHER ‘CLUTHA’ GLASS COUPE (broken and repaired), 21cm high (2) £300-500

25 CHRISTOPHER DRESSER (1834-1904) JAMES COUPER & SONS, GLASGOW ‘CLUTHA’ VASE, CIRCA 1890 green glass, with aventurine and opaque trailed inclusions, 25.5cm high; and another ‘CLUTHA’ VASE designed by CHRISTOPHER DRESSER, green glass, with aventurine and opaque trailed inclusions 33.5cm high (2) £800-1,200

26 CHRISTOPHER DRESSER (1834-1904) FOR HUKIN & HEATH, LONDON TOAST RACK, DATED 1881 electroplated, stamped H&H/ 2555, with registration diamond mark 12.5cm high Literature: Whiteway, M. Christopher Dresser 1834-1904, Milan 2001, p. 84, pl. 58 for a comparable example registered for 1881.

£400-600

27 JAMES COUPER & SONS, GLASGOW ‘CLUTHA’ VASE, CIRCA 1890 green glass, with aventurine and opaque trailed inclusions, 20cm high; and another ‘CLUTHA’ GLASS VASE, CIRCA 1890, with aventurine and opaque trailed inclusions and applied glass spiral, 26.5cm high (2) £600-800

28 JAMES COUPER & SONS, GLASGOW ‘CLUTHA’ JAR AND STOPPER, CIRCA 1890 green glass, with opaque trailed inclusions, 30cm high; together with an additional STOPPER, 7cm high (2) £1,000-1,500

29 CHRISTOPHER DRESSER (1834-1904) (ATTRIBUTED DESIGNER) FOR BENHAM & FROUD, LONDON EWER, CIRCA 1885 copper, brass, ebonised wood, maker’s stamp to base 27.3cm high Literature: Christopher Dresser: Ceramics, Glass and Metalware Crab Tree Farm Collection, 2015, p.63, no. 37 illus.

£500-800

30 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

£300-500

31 MANNER OF CHRISTOPHER DRESSER FOR BENHAM & FROUD (ATTRIBUTED MAKER) COAL SCUTTLE, CIRCA 1880 oak, brass, wrought steel 57cm long, 45cm high, 27cm deep

£600-800

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

ENGLISH

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

AESTHETIC MOVEMENT VASE, CIRCA 1880 red earthenware covered with cream slip, sgraffito-decorated with Japanese motifs 15cm high Note: For a pair of vases with similar characteristics see Sotheby’s, London The Best of British: Design from the 19th and 20th Centuries selling exhibition PR37. These vases by E.W. Godwin and retailed by William Watt are now in the collection at the V&A Museum, London, Accession No. C.2-2008.

ARTS & CRAFTS PENDANT LIGHT, CIRCA 1900 silvered metal, with frosted glass shade 20cm diameter, 62cm to top of fitting Note: For similar light fitting see The Studio Yearbook, 1906, p. 168

£500-800

£300-500

34 CLARISSA AULT (DECORATOR) FOR WILLIAM AULT & CO. PAIR OF VASES, CIRCA 1890 glazed and painted earthenware (2) 33cm high Note: For a similar vase see Metropolitan Museum of Art Collection, New York, Accession Number: 1995.413

£600-1,000

35 CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE ART POTTERY TWO TWIN-HANDLED VASES, CIRCA 1880 glazed earthenware, each impressed LINTHORPE/168 (indistinct), each 22cm high; together with a PAIR OF VASES, glazed earthenware, impressed LINTHORPE/ 1691, 24cm high (4) £300-500

36 AFTER E.W. GODWIN AESTHETIC MOVEMENT COFFEE TABLE, CIRCA 1890 walnut, bears paper label inscribed NO.65 39cm square, 70cm high

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

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

£500-800

38 CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE ART POTTERY PAIR OF VASES, CIRCA 1880 glazed earthenware, impressed LINTHORPE/ 240, facsimile signature C. DRESSER, one with impressed monogram HT (Henry Tooth), 16cm high; together with a further LINTHORPE VASE, glazed earthenware, impressed LINTHORPE/ 874, 6.5cm high (3) £300-500

39 MANNER OF CHRISTOPHER DRESSER LARGE AESTHETIC MOVEMENT JARDINIÈRE, CIRCA 1890 painted and glazed ceramic 60cm diameter, 37cm high

£500-800

40 KIMBEL AND CABUS, NEW YORK (ATTRIBUTED MAKER) PAIR OF AESTHETIC MOVEMENT SIDE CHAIRS, CIRCA 1890 mahogany, with caned seat and back (2) 44cm wide, 105cm high, 46cm deep Literature: Veith B., and Higgins Harvey M. Modern Gothic: The Inventive Furniture of Kimbel and Cabus, 1863-82, Hirmer 2021, pp.112-115, pl.1-3 where similar variants are illustrated. Note: The distinctive use of angled stiles and rear legs is characteristic of many of the firm’s chairs and was inspired by Edwin Oppler’s designs for Marienberg Castle.

£300-500

41 MANNER OF CHRISTOPHER DRESSER CAULDRON SUGAR BASIN, CIRCA 1890 silver-plated, inscribed and dated 1893 19cm high including handle

£200-300

42 ENGLISH GROUP OF ARTS & CRAFTS TILES CIRCA 1880 comprising a WILLIAM DE MORGAN TILE, ‘Double Carnation’ pattern, impressed Sand’s End mark, 15cm square; a C. F. A. VOYSEY STANDING TILE, by C. Edwards, cat mark C. EDWARD / RUABON, 15.7cm square; a MINTON, HOLLINS & CO., ALLEGORICAL TILE. moulded marks, framed, 19.5cm square; a COPELAND TILE, inscribed AJAX THE RSITES, framed, impressed COPELAND, 19.5cm square; and FURTHER TILE, printed with Medieval musicians, 15.2cm square (5) £300-500

43 ENGLISH AESTHETIC MOVEMENT MUSIC ÉTAGÈRE, CIRCA 1880 ebonised wood, brass 47.5cm wide, 93cm high, 29cm deep

£300-500

44 ENGLISH VICTORIAN THREE-PIECE BEDROOM SUITE, CIRCA 1880 comprising a DESK, mahogany with birch inlay and amber glass handles, 10cm wide, 75.5cm high, 56cm deep; a POT CUPBOARD, 138cm wide, 78cm high, 37cm deep; and a WARDROBE, with single mirrored door, 196.5cm wide, 210cm high, 58cm deep (3) £1,200-1,800

45 CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE ART POTTERY TWIN-HANDLED PERUVIAN VESSEL, CIRCA 1880 glazed earthenware, impressed facsimile signature C. DRESSER (indistinct)/ 298 21cm high Literature: Lyons H. Christopher Dresser: The People’s Designer, 1834-1904 (Woodbridge, 2004), p.98, pl.134 where this vase appears in a period advertisement for Linthorpe Art Pottery.

£3,000-5,000

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

46 W.A.S. BENSON (1854-1924) CHAFING DISH, CIRCA 1900 copper and brass, stamped to base W.A.S. BENSON 24cm wide Literature: Hamerton, I. (ed.), W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, Woodbridge, 2005, p.86, pl.59 where another similar example is illustrated.

£2,000-3,000

47 ENGLISH, MANNER OF CHRISTOPHER DRESSER AESTHETIC MOVEMENT DISPLAY CASE/ BOOKCASE, CIRCA 1880 ebonised and gilded wood, glass with brass fittings 124.5cm wide, 248.5cm high, 61cm deep

£500-800

48 CHRISTOPHER DRESSER (1834-1904) (ATTRIBUTED DESIGNER) FOR MINTON & CO. TWO AESTHETIC MOVEMENT VESSELS, CIRCA 1875 comprising a VASE, glazed earthenware, stamped maker’s and shape marks, 27cm high; together with a JARDINIÈRE, glazed earthenware, stamped maker’s and shape marks, 17cm diameter (2) £400-600

49 CHRISTOPHER DRESSER (1834-1904) (ATTRIBUTED DESIGNER) FOR MINTON & CO. PAIR OF MOON FLASKS, CIRCA 1880 glazed earthenware with gilded highlights (2) 32cm high Note: See Metropolitan Museum, New York, accession number 2016.178.2.1 for a similar pair of moon flasks designed by Christopher Dresser.

£2,000-3,000

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

50 ENGLISH AESTHETIC MOVEMENT WALL MIRROR, CIRCA 1880 ebonised and gilded wood, polychrome decoration, mirrored glass 144cm x 120cm

£400-600

51 ENGLISH, MANNER OF LEWIS F. DAY AESTHETIC MOVEMENT WALL CLOCK, CIRCA 1880 ebonised wood, painted ceramic, mirrored glass 97cm tall, 47cm wide, 17cm deep

£600-800

52 BRUCE J. TALBERT (1838-1881) FOR GILLOW & CO. AESTHETIC MOVEMENT SINGLE CHAIR, CIRCA 1880 mahogany with caned seat and buttoned loose horsehair cushion, bears remains of paper label 58cm wide, 88cm high, 54cm deep

£300-500

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

53 ENGLISH AESTHETIC MOVEMENT FRAMED TILE PANEL, CIRCA 1889 decorated on a Minton tile blank, signed lower left BROOKE 50cm x 25cm

£500-700

54 ENGLISH AESTHETIC MOVEMENT FRAMED TILE PANEL, DATED 1889 painted on a Minton tile blank, signed and dated lower right BROOKE/ 1889 49cm x 24cm

£300-500

55 HENRY STACY MARKS (1829-1898) FOR MINTON & CO. GROUP OF SIX ZODIAC TILES, CIRCA 1875 printed, painted and glazed earthenware (6) 15cm square

£300-500

56 JAMES LAMB, MANCHESTER AESTHETIC MOVEMENT DRAWING ROOM CABINET, CIRCA 1880 amboyna and ebonised wood, inlaid with boxwood and with gilt embellishments, painted panels, bevelled clear and mirrored glass 102.5cm wide, 154.5cm high, 38.5cm deep

£1,000-1,500

57 JAMES SHOOLBRED & CO. PAIR OF AESTHETIC MOVEMENT STOOLS, CIRCA 1870 mahogany, with brass mounts (2) 54.5cm wide 63cm high, 33cm deep

£800-1,200

58 HERBERT MASON & CO., BIRMINGHAM CLOCK GARNITURE, CIRCA 1887 comprising a MANTEL CLOCK, and a PAIR OF URNS, cast brass, the clock with enamelled dial, the twin train movement striking on a gong (3) clock 52.5cm high, urns 35.5cm high Note: Mason was formerly a student of the Birmingham and South Kensington Schools of Art. This clock garniture, design no. 82300, was registered on 28th September 1887.

£400-600

59 ENGLISH AESTHETIC MOVEMENT THREE-FOLD DRAUGHT SCREEN, CIRCA 1880 walnut, with brass fittings, fitted to one side with panels of Lincrusta pressed paper, and to the other with panels of flocked wallpaper each fold 183.5cm x 60.5cm

£500-800

60 FERDINAND BARBEDIENNE (1810-1892) PAIR OF WALL PLAQUES, CIRCA 1870 bronze, each signed on the base F. BARBEDIENNE (2) 28.2cm x 7.5cm

£250-350

61 MANNER OF JAMES POWELL & SON GROUP OF ARTS & CRAFTS DRINKING GLASSES, CIRCA 1900 clear and coloured glass, comprising a SET OF FOUR GREEN WINE GLASSES, 17.5cm high; and a further FOUR WINE GLASSES, 13cm high; and a SUITE OF 10 WINE GLASSES, four large, 17cm high and six small, 14cm high (18) £400-600

62 MANNER OF HENRY STACY MARKS FOR MINTONS AESTHETIC MOVEMENT TILE PANEL, CIRCA 1890 printed and painted ceramic, framed 14cm x 52cm

£300-500

63 AMERICAN, MANNER OF E. W. GODWIN AESTHETIC MOVEMENT GAMES TABLE, CIRCA 1880 walnut, with mahogany inlay, woven silk and brass capped legs 73.5cm diameter, 76.5cm high

£300-500

64 ENGLISH, MANNER OF ALFRED WATERHOUSE ARTS & CRAFTS HALLSTAND, CIRCA 1890 oak with brass fittings and toleware drip trays 132.5cm wide, 188cm high, 54cm deep

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

65 MANNER OF WILLIAM BURGES, PROBABLY COX & SONS (MAKER) WALL MIRROR, CIRCA 1880 painted and gilded wood, patinated brass, mirrored glass 75.5cm x 35.5cm

£2,000-3,000

66 HERBERT HORNE (1864-1916) FOR THE CENTURY GUILD ‘PRAISE OF THE SOUL’, RARE FABRIC PANEL, CIRCA 1884 block-printed velveteen, manufactured by Simpson & Godlee, Swinton, Manchester, later framed panel 112cm x 80cm Literature: Livingstone, K. et al., C.F.A. Voysey: Arts and Crafts Designer, V&A Publishing, London, 2016, p. 65, pl. 79 illus. Parry, L. British Textiles from 1850 to 1900 V&A 1993, pl.103 illus.

£1,000-1,500 Note: Herbert Horne was a writer, architect, designer and member of the Century Guild. He was apprenticed to Arthur Heygate Mackmurdo in 1883 and the two were business partners from 1885 to 1890. The Century Guild was established in 1883 by A. H. Mackmurdo and Selwyn Image with several others, including Horne. This design is one of the most recognisable designs produced by the Century Guild. Known as ‘Angel with Trumpet’ or ‘Praise of the Soul’ it was exhibited at a number of exhibitions for the Century Guild. Not all contemporary critics were impressed, one reviewer of the 1897 Manchester Royal Jubilee exhibition in the Journal of Decorative Art described it as ‘at the best a very weak effort’. Nevertheless, it is now seen as exemplifying the Guild’s swirling designs that preempted the Art Nouveau era. As well as velveteen it was also produced as printed cotton. The two differ in one detail; in the cotton, the angel’s halo contains a cross (usually signifying Jesus Christ), in the present velveteen example it has a dot, which may suggest that Horne amended the design and that the velveteen was produced after the cotton.

67 ENGLISH, MANNER OF E.W. GODWIN AESTHETIC MOVEMENT OCCASIONAL TABLE, CIRCA 1880 mahogany, with brass capped feet, stamped H576 to the underside 50.2cm diameter, 61cm high Literature: Aslin E. E.W. Godwin: Furniture and Interior Decoration John Murray 1986, p.79, pl. 59 and 60. Note: Sketches by Godwin of around 1881, held at the V&A, show designs with hipped cabriole legs and metal sabots.

£800-1,200

68 ENGLISH MANTEL CLOCK, CIRCA 1875 polished slate set with patinated bronze panels, flanked by two bronze figures, in the manner of Alfred Stevens, the dial with applied Roman Numerals and twin-train movement inscribed ELKINGTON LIVERPOOL 56cm wide, 28cm high, 15cm deep

£200-300

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

69 W.A.S. BENSON (1854-1924) ARTS & CRAFTS EXTENDING TABLE LAMP, CIRCA 1900 silvered metal 64cm high approx. Literature: Hamerton, I. (ed.), W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, Woodbridge, 2005, p.259, pl.16, no.1146 (illustrated).

£500-800

70 W.A.S. BENSON (1854-1924) RARE ARTS & CRAFTS TEAPOT, LONDON 1904 silver, hallmarked London 1904, stamped WASB & CO 21.3cm across, 9cm high

Literature: Hamerton, I. (ed.) W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, ACC, 2005, p.75, pl.47, where a plated example of this teapot is illustrated

£600-800

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

£300-500

72 W.A.S. BENSON (1854-1924) PAIR OF CANDLESTICKS, CIRCA 1900 silvered brass, stamped W.A.S. BENSON (2) 37.5cm long Literature: Hamerton, I. (ed.) W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, ACC, 2005, p.120, pl.96 where similar pair of candlesticks in brass and copper are illustrated

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

73 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.

£2,000-3,000

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’.

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

£400-600

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

75 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. PAIR OF ‘BIRD’ PATTERN CURTAINS, CIRCA 1890 jacquard-woven woollen double cloth, lined with Morris & Co. ‘Cray’ pattern block-printed cotton fabric, designed by William Morris for Morris & Co., circa 1884 (2) each 358cm long, 170cm wide Literature: Parry, L., William Morris Textiles, V&A 2013, pp. 222-223, illus. Note: This textile was the first hand-loom jacquard woven at Queen Square in London and later at Merton Abbey. In November 1879, Edward Burne-Jones ordered a set of bed hangings in this pattern.

£1,000-1,500

76 WILLIAM MORRIS (1834-1896) ‘TULIP & ROSE’ PATTERN HANGING, CIRCA 1876 woven woollen 3-ply cloth, backed with cotton and later-applied rope braiding panel 234cm x 122cm Literature: Parry, Linda William Morris Textiles V&A 2013, p. 210, fig. 18 illus.

£1,500-2,000

77 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. FIRESCREEN, CIRCA 1880 mahogany, with the embroidered panel in coloured silks on a linen ground, glazed panel 53cm x 45cm, the whole 114.5cm x 51.5cm

£400-600

78 MAY MORRIS (1862-1938) (ATTRIBUTED DESIGNER) FOR MORRIS & CO. EMBROIDERED PANEL, CIRCA 1890 coloured silks, within a glazed oak firescreen frame panel 39cm x 37cm Literature; Mason A., Marsh J., Bain, R. et al. May Morris: Arts & Crafts Designer, Thames & Hudson 2017, p.93, pl. 78 for a similar design attributed to May Morris

£300-500

79 FORD MADOX BROWN (1821-1893) (ATTRIBUTED DESIGNER) FOR MORRIS & CO. PAIR OF ARTS & CRAFTS ‘SUSSEX’ SIDE CHAIRS, CIRCA 1880 ebonised wood, rush seats (2) 43cm wide, 83cm high, 42cm deep Note: The artist, Ford Madox Brown, was one of the original partners in Morris, Marshall, Faulkner & Co., the firm founded by William Morris and his friends in 1861. Although not known as a furniture designer, it is thought he suggested this version of the Sussex range, which was also sold as an armchair.

£400-600

80 LEEK SCHOOL OF EMBROIDERY ARTS & CRAFTS FIRESCREEN, CIRCA 1890 silk and metal threads, glass and carved oak panel 50cm x 49.5cm; the whole 84cm wide, 97cm high

£400-600

81 MANNER OF ARTIFICERS’ GUILD ARTS & CRAFTS NECKLACE, CIRCA 1900 white metal and turquoise 43cm long

£600-800

82 ENGLISH, MANNER OF C.R. ASHBEE ARTS & CRAFTS PANEL, CIRCA 1900 worked in coloured silks on a cotton ground, later framed 39cm x 96cm

£300-500

83 C.R. ASHBEE (1863-1942) FOR THE GUILD OF HANDICRAFT ARTS & CRAFTS MUFFIN DISH & COVER, CIRCA 1900 silver plate, set with amethyst cabochon stone 22.5cm diameter

£600-800

84 W.A.S. BENSON (1854-1924) ARTS & CRAFTS FENDER, CIRCA 1900 brass and copper 129cm wide, 25cm high, 32cm deep Literature: Hamerton, I. (ed.), W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, Woodbridge, 2005, p.255, pl.32, illustrated in trade brochure No.502

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

85 ENGLISH ARTS & CRAFTS CEILING LIGHT, CIRCA 1900 brass and copper 53cm diameter, 43cm high

£400-600

86 MANNER OF DOUGLAS STRACHAN PAIR OF ARTS & CRAFTS STAINED GLASS PANELS, CIRCA 1926 stained, leaded and painted glass, framed (2) 65cm x 43cm Provenance: Dangstein, Rogate, West Sussex

£800-1,200

87 AMERICAN AESTHETIC MOVEMENT CHAIR, CIRCA 1890 walnut, with original close-nailed velvet upholstery 77.5cm wide, 78.5cm high, 51cm deep

£400-600

88 ELENA POLENOVA (1850-1898) AT THE ABRAMTSEVO WORKSHOPS, MOSCOW OBLAST, RUSSIA TABLE, CIRCA 1890 carved and stained birch 89cm wide, 76cm high, 65.3cm deep

£1,500-2,000

ELENA POLENOVA was an accomplished, painter, illustrator and designer, having initially taken an interest in drawing from her mother, herself an amateur artist and children’s author. During her early career she was introduced to Savva Mamontov, a wealthy businessman and major patron of the arts. He had fostered a community of artists, musicians and designers on his estate and encouraged them to study traditional Russian culture as inspiration for their creative output. Elena immersed herself in this flourishing environment and by 1885 she had taken over management of the furniture workshops, a pivotal point in her career.

Under her leadership, students at the Abramtsevo workshop enjoyed widespread critical acclaim across the globe; a table similar to the present lot was shown in the Russian Pavilion during the 1900 Paris Universal Exhibition. Elena is thought to have produced over 100 furniture designs during her time at the workshops and the influence from traditional Russian crafts is clear; boldly carved forms and patterns are sensitively reworked with her own intention of creating a captivating style that both striking and functional.

89 DUTCH ARTS & CRAFTS CUPBOARD, CIRCA 1910 oak, with patinated brass fittings 123cm wide, 171.5cm high, 56.5cm deep

£800-1,200

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

90 ENGLISH PAIR OF ARTS & CRAFTS CEILING LIGHTS, CIRCA 1900 copper with frosted glass shades (2) each 45cm across, 50cm high approx.

£300-500

91 GEORGE S. TANNER FOR NEWTON SCHOOL OF METALWORK ARTS & CRAFTS WALL SCONCE, DATED 1900 repoussé-decorated copper and brass, with carved oak backboard, bears label verso inscribed BY GEORGE S. TANNER/ GODALMING/ FOR MISS EDITH WITHAM ON/ THE OCCASION OF HER MARRIAGE/ JUNE 19TH 1900 48cm x 35cm Note: The Newton School of Metal Workers was set up by a local landowner and farmer, William Hurrell at Newton, Cambridgeshire around 1890. The School first exhibits at the Industrial Loan and Exhibition in Royston in 1891 and was mentioned in The Studio in 1894.

£500-800

92 LOUIS RHEAD (1857–1926) THE SNAKE QUEEN pen and ink, signed lower right LOUIS RHEAD 42.5cm x 33cm

£500-700

LOUIS RHEAD was an English-born illustrator, author and graphic designer. Shortly after his Art Training in London, Rhead was offered a position as Art Director for the publishing firm D. Appleton in New York and emigrated to the US. In the 1890s Rhead rapidly gained popularity as a poster artist. His work made a regular appearance in Century Magazine and Harper’s Bazaar, and in 1895 he won a Gold Medal for Best American Poster Design at the first International Poster Show in Boston. By the early 1900s Rhead turned his attention to children’s book illustrations, producing designs for treasured classics such as The Swiss Family Robinson, Treasure Island, Kidnapped and Robin Hood.

93 ENGLISH, MANNER OF PHILIP WEBB ARTS & CRAFTS SIDE TABLE, CIRCA 1900 oak 81cm wide, 86.5cm high, 40cm deep

£400-600

94 ARTHUR JOHN SEWARD, BIRMINGHAM ARTS & CRAFTS CASKET INKSTAND, CIRCA 1900 silver-plate, inscribed SAY WHAT YOU MEAN AND MEAN WHAT YOU SAY, the interior fitted with two ink bottles, stamped S monogram, registration number T.M. 392927 21cm wide

£300-500

95 J.S. HENRY, LONDON (ATTRIBUTED MAKERS) ARMCHAIR, CIRCA 1900 mahogany, with marquetry inlay 53cm wide, 93cm high, 47cm deep

£300-500

96 J.S. HENRY, LONDON (ATTRIBUTED MAKERS) ART NOUVEAU PARLOUR SUITE, CIRCA 1900 mahogany, comprising a SETTEE, 133cm wide, 112cm high, 67cm deep; and A PAIR OF MATCHING ARMCHAIRS, each with broad backs inlaid with stylised flowering rose trees, 61cm wide, 113cm high, 57cm deep (3) Literature: Agius, P. British Furniture 18801915 ACC 1978, p.122, pl.170 illus.

£1,500-2,000

ENGLISH

PHILIP SPEAKMAN WEBB (1831-1915) FOR JAMES POWELL & SONS

GROUP OF AESTHETIC MOVEMENT TILES, CIRCA 1880

SET OF EIGHT DRINKING GLASSES, CIRCA 1870

comprising FOUR T&R BOOTE TILES, Ages of Man; CHARLOTTE LOHR FOR MINTON’S, hand-painted tile, signed C.E. LOHR, 17.8cm square; FOUR PILKINGTON’S ART NOUVEAU TILES; and further examples by MAW & Co., MINTON’S etc. (16)

clear glass, 12.5cm high; together with a PAIR OF DECANTERS AND STOPPERS, in the manner of James Powell & Son, clear glass, 31cm high; and TWO JAMES POWELL & SONS POSY VASES, opalescent glass, 15cm and 11cm high (12) £300-500

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

99 ELEANOR FORTESCUE-BRICKDALE (1871-1945) THE DIVINE PLAYMATE watercolour, signed with initials lower right E.F.B., artist’s labels verso, original frame 20cm x 13cm Provenance: Property of a Scottish Family Note: The current lot is one of eight original watercolour illustrations that were produced by Eleanor Fortescue-Brickdale for The Story of Saint Elizabeth of Hungary by William Canton (1845-1926), first published in 1912 by Herbert & Daniel, London.

£600-800

100 M.H. BAILLIE SCOTT (1865-1945) (ATTRIBUTED DESIGNER) OCCASIONAL TABLE, CIRCA 1898 mahogany 41cm square, 70cm high Literature: Andrews, J. Arts and Crafts Furniture, ACC, Woodbridge, 2005, p 122 & 123, where a similar model is illustrated and attributes Baillie Scott as the designer and the maker as The Guild of Handicraft.

£600-800

101 M.H. BAILLIE SCOTT (1865-1945) (ATTRIBUTED DESIGNER) ARTS & CRAFTS ARMCHAIR, CIRCA 1900 walnut with rush seat 58cm wide, 110.5cm high, 51cm deep Literature: Furniture Made at the Pyghtle Works, Bedford designed by M.H. BAILLIE SCOTT, published by John P. White, where a similar chair is illustrated (No.8)

£600-800

102 WILLIAM DE MORGAN (1839-1917) ARTS & CRAFTS RUBY LUSTRE TILE, CIRCA 1890 glazed ceramic, depicting a partridge on scrolled foliate ground 15.5cm square Literature: Greenwood, M, The Designs of William De Morgan, Ilminster, 2007, p.130, pl.969, where this design is illustrated.

£1,000-1,500

103 WILLIAM DE MORGAN (1839-1917) ARTS & CRAFTS RUBY LUSTRE TILE, CIRCA 1890 glazed ceramic, depicting a mountain goat leaping over a crescent moon 15.5cm square Literature: Greenwood, M, The Designs of William De Morgan, Ilminster, 2007, p.122, pl.1073, where this design is illustrated.

£1,000-1,500

104 WILLIAM DE MORGAN (1839-1917) CHARGER, CIRCA 1885 glazed earthenware, with ruby lustre 36cm diameter Literature: Greenwood, M, The Designs of William De Morgan, Ilminster, 2007, p.207, pl.26, where a similar example is illustrated.

£600-800

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

105 C. F. A. VOYSEY (1857-1941) FOR JESSON, BIRKETT & CO. INKWELL, CIRCA 1898 brass, with later glass liner, stamped initials JBC/ 673 14.8cm square

£300-500

106 C. F. A. VOYSEY (1857-1941) FOR THOMAS ELSLEY & CO. ARTS & CRAFTS FIRE SURROUND, CIRCA 1898 polished and cast brass, bears cast inscription WORK/ PLAY, maker’s marks verso Rd. 233020/ ELSLEY/ No. 420 63cm wide, 93cm high Literature: Dekorative Kunst, vol. 1, 1898, p.256 illus. Livingstone K., Donnelly M., Parry L. C.F.A. Voysey: Arts & Crafts Designer, London 2016, p.254, pl.326 where this example illustrated.

£1,000-1,500

107 THOMAS ELSLEY & CO. RAIN HOPPER, CIRCA 1890 painted cast iron, cast date 1893, cast mark verso T. ELSLEY 40cm wide, 66cm high, 23.5cm deep

£300-500

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

Image courtesy of RIBA Collections

108 C.F.A. VOYSEY (1857-1941) (DESIGNER), ARTHUR W. SIMPSON (1857-1922) (ATTRIBUTED MAKER) ARTS & CRAFTS MIRROR, CIRCA 1906 oak, glass, patinated brass 58cm wide, 55.5cm high, 19.3cm deep Provenance: Collection of Mr E. H. Brooks, Bradwell-on-Sea, Essex, UK Victorian Society, London Paul Reeves, London Oscar Graf Gallery, Paris Private collection Exhibited: 1. C.F.A. Voysey: architect and designer 1857-1941, Brighton Art Gallery & Museum, 11th July-3rd September 1978; Wolverhampton Art Gallery, 8th January - 12th February 1979; Glasgow City Art Gallery, 5th April - 27th May 1979, exhibit no. C7 2. From Arts and Crafts to the Bauhaus, Bröhan-Museum, Berlin, 24th January - 5th May 2019, exhibit no. 27 Literature: Decorative Kunst, volume I, 1897, p. 258 The Artist, volume XXVI, 1899, p. 178 The Studio, volume XVIII, 1899, p. 45 Livingston, K., Max Donnelly, M., Parry, L. C.F.A. Voysey, Arts and Crafts designer V&A 2016, p. 178 Note: Original drawings for this mirror in the RIBA collections are dated 1906 and 1908 (versions with one and two knobs on each drawer) and include examples with mouldings around the drawers, as in the current lot, which have a RIBA reference SB116/VOY [392]. The current mirror matches the example illustrated in the bedroom of Holly Mount, a house designed by Voysey in Buckinghamshire, and photographed in 1907. Contemporary photographs in The Studio and Decorative Kunst show examples of mirrors in other styles made in the 1890’s.

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

109 C. F. A. VOYSEY (1857-1941) FOR TOMKINSON & ADAM LTD., KIDDERMINSTER DESIGN FOR A CARPET, DATED 1901 graphite and watercolour, depicting a lake landscape, signed and dated in pencil verso C. F. A. VOYSEY/ ARCHT./ APRIL 29/ 1901, and inscribed WORKED, bears printed Tomkinsons Carpets Ltd. stamp, no. V000032 50.5cm x 68.5cm Exhibited: The Fine Art Society, London C.F.A. Voysey: Designs for Tomkinson & Adam Carpets, 2013 Literature: Livingstone K., Donnelly M., and Parry L C.F.A. Voysey, Arts & Crafts Designer V&A 2016, pp.84-85 where a similar design is illustrated.

£2,000-3,000

110 C. F. A. VOYSEY (1857-1941) FOR TOMKINSON & ADAM LTD., KIDDERMINSTER DESIGN FOR A CARPET, DATED 1898 graphite and watercolour, depicting a Crown, on gridded paper, inscribed with colour scale, signed, dated and inscribed C.F.A. VOYSEY ARCHT./ 6 CARLTON HILL/ NW/ JULY 1898, 2nd,- inscribed verso 7/ 561, bears printed Tomkinsons Carpets Ltd. stamp, no. V000041 55.5cm x 60cm Exhibited: The Fine Art Society, London C.F.A. Voysey: Designs for Tomkinson & Adam Carpets, 2013 Note: Voysey used the Crown motif extensively in his designs. For further examples see Livingstone K., Donnelly M., and Parry L C.F.A. Voysey, Arts & Crafts Designer V&A 2016, pp.93-97

£2,000-3,000

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

111 C. F. A. VOYSEY (1857-1941) ‘REASON AS A BASIS OF ART’, PUBLISHED 1906 Elkin Mathews, London, published 1906, original paper dust cover Note: Voysey published only one book, Individuality (1915), and a pamphlet, Reason as a Basis of Art (1906), both offered here in subsequent lots.

£400-600

112 C. F. A. VOYSEY (1857-1941) ‘INDIVIDUALITY’, PUBLISHED 1915 first edition, Chapman & Hall, London 1915, original green cloth £150-250

113 C.F.A. VOYSEY (1857-1941) (DESIGNER), F.C.NIELSON, LONDON (ATTRIBUTED MAKER) ARTS & CRAFTS ARMCHAIR, CIRCA 1905 oak, with drop-in rush seat 61.3cm wide, 98.5cm high, 51cm deep Literature: Livingstone K., Donnelly M., and Parry L C.F.A. Voysey, Arts & Crafts Designer V&A 2016, pp.194-5, plates 248 and 249 where similar examples of this chair are illustrated.

£5,000-7,000

114 C. F. A. VOYSEY (1857-1941) FOR TOMKINSON & ADAM LTD., KIDDERMINSTER DESIGN FOR A CARPET, DATED 1898 graphite and watercolour, depicting palm leaves, on gridded paper, inscribed with colour scale, signed with initials and inscribed CFAV/ THIS PATTERN MUST BE KEPT VERY FLAT, signed and inscribed verso C.F.A. VOYSEY ARCHT./ 6 CARLTON HILL N.W./ JULY 1898 and for 4/1600, bears printed Tomkinsons Carpets Ltd. stamp, no. V000068 71cm x 50.5cm Exhibited: The Fine Art Society, London C.F.A. Voysey: Designs for Tomkinson & Adam Carpets, 2013

£2,000-3,000

115 C. F. A. VOYSEY (1857-1941) ‘ORANGE TREE’, DESIGN FOR WALLPAPER, 1925 pencil and watercolour, signed and inscribed to lower edge C.F.A. VOYSEY. ARCHITECT./73. ST. JAMES’S STREET S.W. 1925/ ORANGE TREE/ 117/ 21421 53cm square

£1,200-1,800

116 C. F. A. VOYSEY (1857-1941), POSSIBLY MANUFACTURED BY COMYN CHING & CO., IPSWICH OR T. ELSLEY & CO. VENTILATION GRILLE/ TRIVET, CIRCA 1892 cast iron grille18.5cm x 26cm Literature: Livingstone, K. et al., C.F.A.Voysey: Arts and Crafts Designer, V&A Publishing, London, 2016, p. 240-241, pl. 302 illus. Note: Voysey’s use of cut-out silhouettes in metal, reducing his motifs to their very simplest outline, is said to have been influenced by the pierced metal fittings at the Houses of Parliament, designed by Pugin. For a comparable grille see V&A collection M.70 - 2014.

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

117 SIR EDWIN LUTYENS (1869-1944) SURVEY OF LINDISFARNE CASTLE, HOLY ISLAND MARCH 1902 pencil and wash, inscribed SURVEY OF LINDISFARNE CASTLE, HOLY ISLAND MARCH 1902, later framed 56cm x 78cm

£600-800

Note: Located on Holy Island, near Berwick-Upon Tweed, Lindisfarne Castle was initially built as a fort in 1550, using materials from the island’s priory which was abandoned in 1537. Over the next three hundred years, the fort was transformed into a military station, occupied by soldiers who kept watch over the harbour for any potential attacks. In 1901, on a trip to Northumberland to explore the area, the remains of the fort were discovered by publishing magnate Edward Hudson, owner of Country Life Magazine. He tasked his friend and architect Edwin Lutyens to redesign and refurbish the Castle into an elegant holiday home in the Arts & Crafts style. The work was completed in 1912 and ranged from external work, such as the beautifully cobbled ramp, to major structural interior work: vaulted ceilings, arches, the use of different levels linked by steps and carefully installed fireplaces and cupboards. Throughout the Castle, Lutyens used a variety of materials, including brick, stone, slate and wood to create simple forms and rustic textures that drew upon the castle’s origins, whilst remaining a warm and homely environment for Hudson. In 1911, Lutyens instructed Gertrude Jekyll to design the walled garden, located on the site of a vegetable plot which provided food to soldiers living in the fort some time ago. The present two lots are an initial survey of the castle in 1902 before plans were drawn up for its renovation.

118 SIR EDWIN LUTYENS (1869-1944) SURVEY OF LINDISFARNE CASTLE, HOLY ISLAND pen, ink and wash, inscribed SURVEY OF LINDISFARNE CASTLE, HOLY ISLAND/ E.L. LUTYENS ARCHT/ 29 BLOOMSBURY SQUARE/ W.C., later framed 78cm x 57cm

£800-1,200

119 SIR EDWIN LUTYENS (1869-1944) (ATTRIBUTED DESIGNER) ARTS & CRAFTS LADDERBACK ARMCHAIR, CIRCA 1900 stained beech, with rush seat 62.3cm wide, 95cm high,53cm deep

£600-800

120 ENGLISH SCHOOL ARTS & CRAFTS PORTRAIT OF A YOUNG WOMAN tempera on board, framed 17cm x 12cm

£400-600

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

£400-600

122 WILLIAM BIRCH, HIGH WYCOMBE ARTS & CRAFTS ARMCHAIR, CIRCA 1900 oak with rush-upholstered seat 60cm wide, 105.5cm high, 59cm deep

£400-600

123 ENGLISH ARTS & CRAFTS EMBROIDERED FIRESCREEN, CIRCA 1900 coloured silks, stained oak frame, glazed panel 59cm x 50cm

£300-500

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

124 BIRMINGHAM GUILD OF HANDICRAFT ARTS & CRAFTS WALL LIGHT, CIRCA 1895 brass, oak 44.5cm high, 25.5cm wide, 10cm deep

£400-600

125 WILLIAM DE MORGAN (1839-1917) ‘PINEAPPLE’ OR ‘NEW PINEAPPLE’ FIVE-TILE PANEL, CIRCA 1900 glazed earthenware, impressed Sands End mark, framed each tile 15.7cm square Literature: Greenwood, M, The Designs of William De Morgan, Ilminster, 2007, p.160, pl.527, where this design is illustrated.

£1,000-1,500

126 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 35cm high Provenance: 2nd Lord Swaythling, thence by descent to the British Decorative Arts Exhibition held at the Louvre in 1914.

£1,000-1,500

127 WILLIAM DE MORGAN (1839-1917) ALHAMBRA VASE, CIRCA 1898 glazed ceramic, impressed DM98 55cm high Literature: Greenwood, M, The Designs of William De Morgan, Ilminster, 2007, p.227, pl.177, where the design for this vase is illustrated.

£3,000-5,000

128 ENGLISH, MANNER OF W.A.S. BENSON PAIR OF ARTS & CRAFTS WALL LIGHTS, CIRCA 1900 silvered metal with Victorian frosted glass shades, metal with cast number 2255 (2) 50cm high, 31cm deep

£400-600

129 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

£500-800

130 ENGLISH ARTS & CRAFTS EMBROIDERED AND APPLIQUÉ PORTIERE, CIRCA 1900 coloured wool, felt, cotton and gold threads 257cm x 170cm

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

131 WALTER CRANE (1845-1915, DESIGNER) AND W. S. MYCOCK (1872-1950, ARTIST) FOR PILKINGTON’S TILE & POTTERY CO. LANCASTRIAN ‘SWAN’ LUSTRE VASE, DATED 1910 glazed and painted ceramic, painted artist’s, designer’s and date cyphers to the base, painted artist’s marks and designer’s monogram, impressed maker’s marks 2472/ ENGLAND/ X 26.3cm high Literature: Cross, A. Pilkington’s Royal Lancastrian Pottery and Tiles, Richard Dennis, 1980, page 9, plate V, where similar examples are illustrated.

£4,000-6,000

132 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

£1,500-2,500

133 ALFRED POWELL (1865-1960) FOR WEDGWOOD ARTS & CRAFTS DISH, CIRCA 1920 glazed and gold-painted ceramic, signed with monogram and inscribed 418 32cm diameter

£300-500

134 ENGLISH ARTS & CRAFTS WALL MIRROR, CIRCA 1900 ebonised, stained, gilded and carved wood, mirrored glass 54cm x 64cm

£300-500

135 ALFRED DRURY (1856-1944) GRISELDA bronze, signed and dated ‘96 (1896); raised on a marble base 38cm high; 52cm high including base

£2,000-3,000

136 ENGLISH ARTS & CRAFTS SETTLE, CIRCA 1900 inlaid oak with upholstered seat 122cm wide, 114cm high, 49.5cm deep

£300-500

137 ENGLISH ARTS & CRAFTS HEXAGONAL LIBRARY TABLE, CIRCA 1900 oak 105.5cm diameter, 77.5cm high

£500-800

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

138 ENGLISH ARTS & CRAFTS HANGING LIGHT, CIRCA 1910 brass 26cm high, 30cm diameter

£400-600

139 ENGLISH, MANNER OF ARTHUR RACKHAM FIVE EDWARDIAN ILLUSTRATIONS, CIRCA 1905 pen, ink and watercolour on silk, three measure 19cm square; the other two 16.5cm x 19cm (5) £400-600

140 AFTER THE SILVER STUDIO FOR LIBERTY & CO., LONDON ‘THE FINTONA’ PATTERN CARPET, CONTEMPORARY wool 320cm x 290cm Literature: Haslam, M. Arts & Crafts Carpets, David Black 1991, p. 120-1, fig.76 where a period Donegal carpet with this design is illustrated.

£1,200-1,800

141 WILLIAM DE MORGAN (1839-1917) ARTS & CRAFTS EIGHTTILE PANEL, CIRCA 1890 glazed earthenware on Wedgwood blanks, Wedgwood mark verso, later framed 30cm x 62cm

£3,000-5,000

142

143

ENGLISH

WILLIAM BIRCH, HIGH WYCOMBE

ARTS & CRAFTS DESK, CIRCA 1880

SET OF FOUR ARTS & CRAFTS CHAIRS, CIRCA 1900

oak, with brass fittings

oak with rush-upholstered seats (4)

109.5cm wide, 106.5cm high, 63cm deep

42cm wide, 98cm high, 46cm deep

£400-600

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

144 WILLIAM DE MORGAN (1839-1917) ARTS & CRAFTS THREETILE PANEL, CIRCA 1890 glazed earthenware, later framed 20cm x 61.5cm

£2,000-3,000

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

£500-800

146 MARTIN VAN STRAATEN & CO., LONDON TILE PANEL, CIRCA 1900 painted and glazed earthenware, inscribed M. VAN STRAATEN & CO., LONDON, framed 38cm x 90cm Note: Martin van Straaten & Co were tile importers based at 28 Newgate Street, London in the early 20th century. The firm imported mainly Chinese tiles but when supplies of these were unreliable after the First World War, similar tiles were bought from Dutch firms based on the Chinese originals.

£600-800

147 HARRIS LEBUS, LONDON ARTS & CRAFTS THREE-PIECE BEDROOM SUITE, CIRCA 1904 comprising a WASHSTAND, oak, ceramic tiles, marble, copper and glazed ceramic, stamped RD. NO., 110cm wide, 120.5cm high, 51cm deep; a WARDROBE, with retailer’s label PATERSON, SMITH & INNES, CABINETMAKERS EDINBURGH, 138.5cm wide, 213.5cm high, 60cm deep; and a DRESSING CHEST, stamped RD. NO., with retailer’s label PATERSON, SMITH & INNES, CABINETMAKERS EDINBURGH, patent number 8896-1904, 99cm wide, 162.5cm high, 51cm deep (3) £600-800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

148 JOHN PEARSON (1859-1930) ARTS & CRAFTS WALL SCONCE, DATED 1896 copper, chased mark J.P./ 1896 42.5cm x 36.5cm

£600-800

149 BENJAMIN CRESWICK (1853-1946) FOR DELLA ROBBIA POTTERY, BIRKENHEAD ARTS & CRAFTS RELIEF WALL PLAQUE, CIRCA 1890 glazed polychromed terracotta, oak frame panel 55.5cm x 36cm Literature: Hyland, P., The Della Robbia Pottery Birkenhead 1894-1906, ACC, 2014, p.159 Note: Benjamin Creswick was a sculptor and teacher based in Birmingham. He was a founder member of the Century Guild along with A.H. Mackmurdo and William de Morgan. He lived in Liverpool briefly in the 1880s. He will have been known to Philip Rathbone, and he carved figures for Wallasey Memorial Unitarian Church, designed by Harold Rathbone’s partner Edmund. The full extent of Creswick’s work for Della Robbia is not known, however, the closing sale of the company included a ‘finely modelled panel – “Merry Drinkers” in low relief, By Mr Creswick, of Birmingham School of Art’, possibly this panel.

£4,000-6,000

150 APHRA PEIRCE & LIZ WILKINS FOR DELLA ROBBIA POTTERY, BIRKENHEAD VASE, DATED 1899 glazed terracotta, incised pottery marks and AJP monogram, green painted initials LW/ 1899/ 64 20cm high

£500-700

151 ATTRIBUTED TO SHAPLAND & PETTER, BARNSTAPLE FOUR PIECE ARTS & CRAFTS BEDROOM SUITE, CIRCA 1900 comprising a POT CUPBOARD, 45.5cm wide, 89cm high, 39.5cm deep; a WASHSTAND, marquetry inlaid oak, copper and marble with tiled splashback, 115cm wide, 140cm high, 61cm deep; a DRESSING CHEST, 114cm wide, 179cm high, 60.5cm deep ; and a WARDROBE, with retailer’s label for JAMES ALLAN & SONS, ABERDEEN, 162cm wide, 213cm high, 66cm deep (4) £600-800

152 MURIEL PERRIN (ACTIVE C.1910–20) MISTRESS MINE, WHERE ARE YOU ROAMING? pen and ink, inscribed MISTRESS MINE, WHERE ARE YOU ROAMING? 21cm x 14.5cm

£300-500

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

153 ENGLISH LARGE ARTS & CRAFTS HALL LANTERN, CIRCA 1900

154 §

brass, with opalescent glass shade

GEORGE MOTTRAM MOORHOUSE (1882-1960)

51cm high

LA BELLE DAME SANS MERCI

£400-600

watercolour, signed inscribed and dated lower left LA BELLE DAME SANS MERCI/ G. MOTTRAM MOORHOUSE/ 19** 29.5cm x 41cm Exhibited: Royal Cambrian Academy of Art, Forty-Second Annual Exhibition, 1924, no. 94

£600-800

155 SHAPLAND & PETTER, BARNSTAPLE ARTS & CRAFTS SIDEBOARD, CIRCA 1900 oak with copper fittings and mirrored and green glass 183cm wide, 195cm high, 56cm deep

£500-800

156 ENGLISH ARTS & CRAFTS OVERMANTEL MIRROR, CIRCA 1900 marquetry-inlaid oak 157cm wide, 74cm high, 27cm deep

£400-600

157 BATH CABINETMAKERS ARTS & CRAFTS SIDEBOARD, CIRCA 1900 oak, with brass and copper fittings 144.5cm wide, 190cm high, 55.5cm deep

£2,000-3,000

158 HAROLD STABLER (1872-1945) (DESIGNER) RICHARD LLEWELLYN BENSON RATHBONE (1864-1939) (MAKER) RARE ARTS & CRAFTS CENTRE LIGHT, CIRCA 1904 patinated copper, glass 103cm wide, 88cm high approx. Note: Harold Stabler initially trained in woodwork and stone-carving before being appointed Head of Metalwork at the Keswick School of Industrial Arts in 1898. After a short time there and later at Liverpool University, he moved to London in 1907 where he was Head of the John Cass Institute’s Art School until 1937. Stabler worked with a number of materials, including enamels, metalwork, glass and ceramics, producing designs for mass-production which had a notable influence on the development of modern English design of the 1920s and 30s. He exhibited extensively at The Art Worker’s Guild and in 1936 he was one of the first to be appointed a Designer for Industry by the Royal Society of Arts. A relative of W. A. S. Benson, Richard Llewellyn Benson Rathbone was also the cousin of Harold Rathbone, Head of the Della Robbia Pottery in Birkenhead. He initially trained in metalwork with Benson, before setting up his own workshop in 1908. In keeping with the Arts & Crafts aesthetic, Rathbone’s work proved popular and he is known to have produced metalwork designs for Mackmurdo, Heywood Summner and C.F.A. Voysey. Rathbone also taught metalwork classes at Liverpool University, where he was later joined by Harold Stabler in 1903. By 1905 he moved to London to take a position as Head of the Art School at the John Cass Institute.

Contemporary illustration from circa 1904

£6,000-8,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

159 ENGLISH ARTS & CRAFTS WALL MIRROR, CIRCA 1900 copper, Ruskin ceramic inserts, mirrored glass, bears repoussé inscription THE AWAKENING 72cm x 47cm

£400-600

160 WILLIAM HENRY MARGETSON (1861-1940) PANDORA’S BOX watercolour, unsigned 37cm x 23cm

£500-800

161 FREDERICK HOLLYER (1838-1933) GROUP OF FRAMED PHOTOGRAPHS, CIRCA 1900 each depicting works by HARRY BATES (1850-1899), comprising THE STORY OF PSYCHE, triptych, framed, 15.5cm x 58.5cm; HOMER — “A BLIND OLD MAN AND POOR, SWEETEST HE SINGS”, 13.5cm x 34cm; and ENDYMION CONVEYED IN SLEEP TO MOUNT LATMOS, 13.5cm x 34cm (3) £500-800

162 SHAPLAND & PETTER, BARNSTAPLE ARTS & CRAFTS RECLINING ARMCHAIR, CIRCA 1900 oak with upholstered cushion, stamped to leg B8 70.5cm wide, 91cm high, 108cm deep

£300-500

163 JAMES POWELL AND SONS, WHITEFRIARS THREE GRADUATED ARTS & CRAFTS PENDANT SHADES, CIRCA 1900 made up as pendant lights, each with opalescent glass, brass, silvered metal (3) large 104cm high, 39cm diameter; middle 97cm high, 25cm diameter; small 95cm high, 15.5cm diameter approx.

£600-800

164 W.A.S. BENSON (1854-1924) PAIR OF ARTS & CRAFTS TABLE LAMPS, CIRCA 1900 copper and brass, one stamped BENSON (2) 43cm high to fitting Literature: Hamerton, I. (ed.) W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, ACC, 2005, p.249, pl.8, No.399

£800-1,200

165 ENGLISH LARGE ARTS & CRAFTS SERVING TABLE, CIRCA 1920 oak 244cm wide, 111.5cm high, 65cm deep

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

166 ENGLISH ARTS & CRAFTS WALL MIRROR, CIRCA 1900 repoussé-decorated copper, mahogany 61cm diameter

£500-800

167 ENGLISH ARTS & CRAFTS FIRE SURROUND, CIRCA 1900 oak, with copper repoussé panel 145.5cm wide, 201cm high, 26cm deep; internal 100.7cm wide, 97.8cm high

£500-800

168 THORNTON & DOWNER

169

170 ENGLISH

wrought iron

ENGLISH, MANNER OF MORRIS & CO.

height of stand 79.5cm, poker length 54cm

AESTHETIC MOVEMENT SETTLE, CIRCA 1880

£400-600

ebonised wood, with an upholstered cushion

COTSWOLDS SCHOOL COMPANION SET

128cm wide, 84cm high, 49cm deep

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

CELTIC REVIVAL BOOK TROUGH, CIRCA 1920 oak, applied depository label to base for Harvey Nichols 33.5cm long, 21.5cm high

£300-500

171 JOHN PEARSON (1859-1930) ARTS & CRAFTS DISH, DATED 1890 copper, signed and dated verso J. PEARSON/ 1890/ 329 30.5cm diameter

£800-1,200

172 SCOTTISH ARTS & CRAFTS MANTEL CLOCK, CIRCA 1900 oak, copper, the twin-train movement striking on a gong, the case inscribed EAST WEST HAMES BEST 32cm high

£400-600

173 ENGLISH ARTS & CRAFTS FIRE INSERT, CIRCA 1900 patinated copper, cast iron and glazed ceramic tiles insert 56cm wide, 96.5cm high; tile panels 29cmwide, 97.5cm high

£400-600

174 ENGLISH ARTS & CRAFTS FIREPLACE, CIRCA 1910 oak, with repoussé copper panels 189cm wide, 133cm high, 21.5cm deep; internal 107cm x 111cm

£500-800

175 ENGLISH ART NOUVEAU WALL CHARGER, CIRCA 1900 copper, with repoussé decoration 76cm diameter

£300-500

176

177 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 Provenance: From The Millinery Works Collection

£700-1,000

178 ARTHUR W. SIMPSON (1857-1922), KENDAL ARTS & CRAFTS OCCASIONAL TABLE, CIRCA 1900 oak 56cm square, 76cm high

£400-600

ARTHUR W. SIMPSON (1857-1922), KENDAL ARTS & CRAFTS CORNER CABINET, CIRCA 1920 oak, with Rathbone bronze handle, bears label to interior ARTHUR W. SIMPSON / THE HANDICRAFTS/ KENDAL 69.7cm wide, 70cm high, 40cm deep

£600-800

179 ENGLISH ARTS & CRAFTS MIRROR, CIRCA 1910 oak, carved with the inscription BEAUTY IS TRUTH/ TRUTH IS BEAUTY 75.5cm x 43cm

£400-600

180 ARTHUR W. SIMPSON (1857-1922), KENDAL ARTS & CRAFTS WALL MIRROR, CIRCA 1920 oak, mirrored glass plate, bears label verso, ARTHUR W. SIMPSON/ THE HANDICRAFTS/ KENDAL

181 ENGLISH

52cm wide, 122cm high, 5cm deep

ARTS & CRAFTS ‘CAMBRIDGE UNIVERSITY’ BOOKCASE, CIRCA 1910

£500-800

oak, with applied cast metal university crest, registered no. RD. NO. 504216 54.5cm wide, 115.5cm high, 30cm deep

£1,000-1,500

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

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

183 KESWICK SCHOOL OF INDUSTRIAL ARTS ARTS & CRAFTS ROSE BOWL, CIRCA 1900 copper, with removable cover, stamped to base KSIA 32cm across feet, 12.5cm high

£600-800

184 KESWICK SCHOOL OF INDUSTRIAL ARTS ARTS & CRAFTS TEA SERVICE, CIRCA 1900 copper, and wicker, with ebonised wood, comprising a SPIRIT KETTLE, STAND AND BURNER, stamped under kettle KSIA, 25cm high; a TEAPOT, stamped to base KSIA, 13cm high; a MILK JUG, stamped to base KSIA, 8cm high; a SUGAR BOWL, stamped to base KSIA, 8cm diameter; and a TRAY, stamped KSIA, 55cm across (5) £400-600

185 KESWICK SCHOOL OF INDUSTRIAL ARTS LARGE ARTS & CRAFTS FLOWER VASE, CIRCA 1900 embossed copper, signed KSIA 29cm high

£200-300

186 MANNER OF M.H. BAILLIE SCOTT ARMCHAIR, CIRCA 1900 oak with upholstered back and seat 66cm wide, 83cm high, 52cm deep

£400-600

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

187 188

NEWLYN SCHOOL

SIBYL DUNLOP (1889-1968)

ART NOUVEAU PENDANT, CIRCA 1900

ARTS & CRAFTS BROOCH, LONDON 1954 silver and rock crystal, signed SD, hallmarked London 1954 3.7cm diameter Note: Sibyl Dunlop was born in London to Scottish parents and completed her education in Brussels where she was sent to learn French. Whilst she was there, she learnt the rudiments of her craft and on her return to Britain in the 1920s she set up in business with W. Nathanson, working in a late Arts & Crafts style. Dunlop closed the business at the outbreak of war in 1939 but after the war Nathanson re-started the business and continued producing jewellery and silver under Dunlop’s name until he retired in 1971.

enamel, white metal, stamped marks NEWLYN/ ENAMEL 5.5cm tall, 2.1cm across

£400-600

189 HAROLD STABLER (1872-1945) FOR KESWICK SCHOOL OF INDUSTRIAL ARTS ARTS & CRAFTS FLAGON, CIRCA 1900 plated copper, stamped KSIA 19.5cm high

£300-500

190 § OLIVE CAMBRIDGE HARBUTT (1878-1965) PAIR OF RELIEF PANELS, DATED 1913 patinated plaster, one signed lower right O.C. HARBUTT/ 1913, the other signed with initials lower right O.C.H., framed (2) 40cm x 26.5cm

191 WILLIAM BIRCH, HIGH WYCOMBE ARTS & CRAFTS ARMCHAIR, CIRCA 1900 oak, with drop-in rush seat 58cm wide, 83cm high, 47cm deep

£500-700

Note: Olive Cambridge Harbutt was an artist and sculptor who originated from Bath. Her father William was credited for the invention of plasticine in 1895. Her mother was an accomplished portrait miniaturist who was commissioned by Queen Victoria to produce portraits of herself and the late Prince Albert. Unsurprisingly, Olive took great interest in the arts from a young age and her father in particular encouraged her to be expressive when sculpting. Here, a focus on swirling linear forms in bold relief help achieve an extraordinary sense of energy and movement, as was characteristic of her work.

£400-600

192 GILBERT BAYES (1872-1953) MARRIAGE PLAQUE, DATED 1906 white metal, bearing initials GS (Gertrude Smith) and GB (Gilbert Bayes), and dated JULY 1906 5.8cm x 3.9cm Literature: Irvine, Louise and Atterbury, Paul, Gilbert Bayes: Sculptor 1872-1953, Richard Dennis 1988, p. 109 illus. Note: It may be that the models for this plaque are Gertrude Smith and Bayes himself.

£400-600

193 FREDERICK SHIELDS (18331911) ENAMEL PLAQUE, CIRCA 1900 enamel on copper, with gilt highlights, signed with monogram lower right, framed 12.5cm x 7cm

£1,000-1,500

194 ENGLISH ARTS & CRAFTS TALL CHAIR, CIRCA 1900 mahogany 62cm wide, 119cm high, 48cm deep

£300-500

195 ENGLISH ARTS & CRAFTS CASKET, CIRCA 1900 silver-plated and enamel 12.5cm wide

£200-300

196 MINNIE DIBDIN SPOONER (1867-1949) ARTS & CRAFTS CRUCIFIX, CIRCA 1910 painted and gilded wood, inscribed GREATER LOVE HATH NO MAN THAN THIS 57cm x 42cm Provenance: Purchased directly from the artist circa 1923-4 for either 45 guineas or 49 guineas and thence by direct descent. A hand-written letter provides further information about the purchase of the crucifix and that it was exhibited at an earlier unspecified ‘Art Workers’ Exhibition. Note: Minnie Dibdin Davison Spooner, painter, miniaturist and designer, is perhaps best known for her book illustrations - in particular for The Golden Staircase: Poems and Verses for Children selected by Louey Chisholm, 1906. In July 1900 she married Charles Sydney Spooner, architect, teacher and art metalwork designer. They worked together on many projects as co-designers, including St Christopher’s Church, Haslemere, Surrey (1902-4) where Minnie painted the large-scale reredos. Their close friends included C F A Voysey, and Spooner had professional connections with Henry Wilson and Fred Rowntree amongst others. He exhibited regularly with the Arts and Crafts Exhibition Society and the Art Workers Guild.

£600-800

197 SCANDINAVIAN ARTS & CRAFTS ARMCHAIR, CIRCA 1900 pine, with polychrome decoration 62.5cm wide, 95cm high, 57cm deep

£300-500

198 § SYDNEY MARCH (1876–1968) CLASSICAL FIGURE, 1907 bronze, onyx base, signed in the bronze SYDNEY MARCH. SC. 1907. KENT bronze 36cm high, whole 46cm high

£300-500

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

199 BARRY PARKER (1867-1947) AND SIR RAYMOND UNWIN (1863-1940) ARTS & CRAFTS PANEL, CIRCA 1904 carved pine, inscribed SALVE ET VALE 11cm x 191cm Provenance: The Mount, Motherwell

£300-500

200 BARRY PARKER (1867-1947) AND SIR RAYMOND UNWIN (1863-1940) ARTS & CRAFTS BOOKCASE, CIRCA 1904 pine, stained and leaded glass, glass, pewter 228.5cm wide, 202cm high, 38cm deep Provenance: The Mount, Motherwell

£1,500-2,000

Note: The Mount was commissioned from Barry Parker & Raymond Unwin by Dr Robert Jack and completed in 1904. Parker and Unwin went into partnership as architects in 1896. They collaborated on architectural writing including The Art of Building a Home (1901), applying the Arts and Crafts Movement to working-class housing and went on to design a model village for Joseph and Benjamin Rowntree in 1902. From 1903 they were responsible for the creation of Letchworth Garden City, and Hampstead Garden Suburb (with Sir Edwin Lutyens). Another notable commission was Goodfellow House, later named Chetwynd House, home of the pottery manufacturer Colley Shorter, whose second wife was the ceramics designer Clarice Cliff. A wardrobe designed by Parker & Unwin for the house was sold in these rooms, 24th April 2004, lot 312.

201 ENGLISH WALL MIRROR, CIRCA 1900 embossed copper, mirrored glass 91cm wide, 122cm high Provenance: The Mount, Motherwell

£400-600

202 MANNER OF HARRY CLARKE ARTS & CRAFTS STAINED GLASS PANEL, CIRCA 1920 stained, leaded and painted glass 29cm diameter

£300-500

203 ENGLISH ARTS & CRAFTS STAINED GLASS PANEL, CIRCA 1920 stained, leaded and painted glass 35cm diameter

£300-500

204

205

206

RHODA WAGER (1875-1953)

HENRY GEORGE MURPHY (1884-1939)

WILLIAM HENRY MARGETSON (1861-1940)

ARTS & CRAFTS BROOCH, CIRCA 1920

FALCON STUDIO BROOCH, CIRCA 1930

THE LOCKET

white metal set with mother of pearl, stamped maker’s mark WAGER

silver and glazed earthenware, stamped HGM/ STERLING with Falcon Studio mark

watercolour, signed and dated in pencil lower left W. H. MARGETSON 1901

3.6cm across

4cm across

22cm x 13cm

£200-300

£300-500

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

207 SHAPLAND AND PETTER, BARNSTAPLE (MAKER), MANNER OF M.H. BAILLIE SCOTT ARTS & CRAFTS WALL CABINET, CIRCA 1900 oak with marquetry inlay and patinated brass fittings with key, stamped R865/ 109 68.5cm wide, 55cm high, 23cm deep

£800-1,200

208 STUART & SONS, STOURBRIDGE GROUP OF SIX ART NOUVEAU VASES, CIRCA 1910 clear glass with applied and trailing decoration, comprising a METAL-MOUNTED VASE, stamped MW&S/ 1248, 23cm high; TWO SMALL SQUAT VASES, 9.5cm and 10.5cm high; a TAPERED VASE, with trailing peacock decoration, 14.5cm high; a TALL TAPERED VASE, 18cm high; and a LARGE SQUAT VASE, with broad rim and trailing peacock decoration, 26cm across (6) £500-700

209 ENGLISH FIRESCREEN, CIRCA 1900 brass, with stained and leaded glass panel 44cm wide, 71cm high

£300-500

210 SHAPLAND & PETTER, BARNSTAPLE ARMCHAIR, CIRCA 1910 inlaid oak with close-nailed leather upholstered seat 65.8cm wide, 106cm high, 60cm deep

£300-500

211 SHAPLAND & PETTER, BARNSTAPLE ARTS & CRAFTS OPEN BOOKCASE, CIRCA 1910 oak, with a decorative panel, inscribed MY LADIES GARDEN, bears retailer’s label verso FROM CHARLES JENNER & COMPY./ EDINBURGH, associated shelves 130.5cm wide, 184cm high, 37.5cm deep Provenance: The Estate of the Late Lord David Douglas-Hamilton Literature: Bennett, Daryl Shapland & Petter Ltd. of Barnstaple: Arts & Crafts Furniture, 2005, p.44, fig.4.10, where a similar oak bookcase is illustrated.

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

212 SHAPLAND & PETTER, BARNSTAPLE SMOKER’S CABINET, CIRCA 1900 oak, stencilled and polychrome painted panel, inscribed THE LAST BUNKER, copper fittings, stamped to rear R 907/84 47cm wide, 54cm high, 19cm deep

£1,000-1,500

213 SHAPLAND & PETTER, BARNSTAPLE ARTS & CRAFTS LOG BOX, CIRCA 1900 oak and patinated copper, and wrought steel 63.5cm wide, 45cm high, 41cm deep Literature: Bennett, Daryl Shapland & Petter Ltd. of Barnstaple: Arts & Crafts Furniture, 2005, p.76, fig.5.18, where this log box is illustrated.

£700-1,000

214 SHAPLAND & PETTER, BARNSTAPLE ARTS & CRAFTS SECRETAIRE DESK, CIRCA 1900 oak, marquetry inlay, copper fittings, stamped 110 96.5cm wide, 159cm high, 43.5cm deep Literature: Bennett, Daryl Shapland & Petter Ltd. of Barnstaple: Arts & Crafts Furniture, 2005, p.13, fig.2.1, where this secretaire is illustrated.

£1,500-2,000

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

215 JOHN WALSH WALSH, BIRMINGHAM EXTRA SIZE LAMP SHADE & PENDANT LIGHT, CIRCA 1900 silvered metal, opalescent glass, later hanging chain 34cm high

£800-1,200

216 SHAPLAND & PETTER, BARNSTAPLE ART NOUVEAU DRAWING ROOM CABINET, CIRCA 1910 marquetry-inlaid mahogany, set with mother-of-pearl, glass and mirrored plate, stamped R1787/109, bears remains of applied paper label verso 139.5cm wide, 177.5cm high, 39cm deep Literature: Bennett, Daryl Shapland & Petter Ltd. of Barnstaple: Arts & Crafts Furniture, 2005, p.33, pl.3.18, where a cabinet of similar design in illustrated.

£1,000-1,500

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

£800-1,200

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

£300-500

219 ENGLISH ARTS & CRAFTS SMALL SIDEBOARD, CIRCA 1900 oak 122cm wide, 116.5cm high, 50cm deep

£400-600

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

220 ENGLISH ARTS & CRAFTS CEILING LIGHT, CIRCA 1900 copper with three frosted glass shades 45cm diameter, 75cm high

£300-500

221 LIBERTY & CO., LONDON (ATTRIBUTED MAKER) ARTS & CRAFTS BOOKCASE, CIRCA 1900 oak with repoussé copper panel, adjustable shelves and adonised copper handles 92cm wide, 131.5cm high, 34cm deep

£400-600

222 SHAPLAND & PETTER, BARNSTAPLE ARTS & CRAFTS STICK STAND, CIRCA 1900 oak with embossed copper panel and removable tin drip tray 58cm wide, 109.5cm high, 28cm deep Literature: Bennett, Daryl Shapland & Petter Ltd. of Barnstaple: Arts & Crafts Furniture, 2005, p.32, fig.3.17, where a similar stick stand is illustrated.

£300-500

223 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

£300-500

224 § KAY NIELSEN (1886-1957) (ATTRIBUTED ARTIST) STUDY FOR PRINCESS MINON-MINETTE pen ink and watercolour, marked in pencil to the reverse P M-M 4/12 14cm x 12cm Note: This may be a preparatory sketch for the illustration ‘Princess Minon-Minette rides out into the world to find Prince Souci’ from the book ‘In Powder and Crinoline’, illustrated by Kay Nielsen.

£400-600

225 MANNER OF W.A.S. BENSON PAIR OF ARTS & CRAFTS TABLE LAMPS, CIRCA 1900 brass, with associated opalescent glass shades by James Powell & Sons, Whitefriars (2) 46cm high

£600-800

226 ENGLISH ARTS & CRAFTS ‘CAMBRIDGE UNIVERSITY’ BOOKCASE, CIRCA 1910 oak, fitted with cast metal shield and later adapted glazed door 59.5cm wide, 120cm high, 30cm deep

£600-800

227 ENGLISH PAIR OF ARTS & CRAFTS ARMCHAIRS, CIRCA 1900 oak, with close-nailed woven leather upholstery (2) 58cm wide, 106.5cm high, 56cm deep

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

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

of French Studio pottery. Doulton pottery and its many

Gallichan was decided at the turn of the 21st century.

decorators became an engaging subject.

It must have been a difficult decision to make but the establishment of the Albert Dawson Trust to support study and scholarship of 19th century fine and decorative art, was a perfect recipient for the funds that would be raised from the sale of the collection (the name is formed of Peter and Albert’s middle

Their research into designers and makers lead to lectures and publications in Great Britain and America, early retirement allowing Peter to concentrate his research into the metalwork of W.A.S. Benson and George Tinworth which resulted in authoritative volumes on both subjects.

names).

Although the house was

The collection

furnished with

was begun in

pieces of museum

the 1950’s when

quality, they lived

Peter and Albert

a perfectly normal

were living

life surrounded

together - as

by their treasures,

cousins - in an

entertaining in

attic flat over

style with good

an antique shop

wine chosen

in Hampstead.

by Albert and

Their interest

delicious food

in Victorian

cooked by Peter.

design was unfashionable

Their sense of

at the time.

humour was

Things Victorian

evident in the

were the butt of

Nature Room

cartoonists jibes,

that began life

the Festival of Britain was fresh in people’s memories and

as the Bad Taste Room! It overflowed with things inspired

‘contemporary’ was the watchword for interior decoration.

by or made from natural things ranging from shell pictures

Antique shops were full of unwanted Victoriana; the British Antique Dealers’ Association (BADA) begrudgingly extended its date limit to allow Regency pieces to be exhibited at

to a door stop made from an ostrich leg. Pottery by Blanche Vuillamy became a slight obsession and sat happily alongside other grotesquery.

the Grosvenor House Fair but banned anything later.

The small selection of lots offered here is the last group

Peter and Albert’s early acquisitions were chosen for their

from the dispersal of this celebrated collection. Meticulous

evocative quality rather than their intellectual conception.

records were kept of each item and this archive is destined

Papier-mâché chairs and drawing room furniture furnished

for the Brotherton Library in Leeds where it will eventually

their modest early abodes. A terrace house in Richmond

be available to students and scholars. This permanent

followed the Hampstead flat and then, in 1965, they moved

record of a remarkable collection together with the Albert

to Montpelier Villas in Brighton and from then on their

Dawson Trust will ensure that the remarkable achievement

scholarship blossomed.

of Peter Rose and Albert Gallichan will be preserved in

Christopher Dresser, W.A.S. Benson and Willian de Morgan exercised their curiosity and soon began to dominate the increasingly crowded house along with furniture by named designers; and they were in the vanguard of collectors

perpetuity. Peter Miall, 13 October 21

228 DANIEL COTTIER (1837-1891) FOR COTTIER & CO. GRECIAN REVIVAL SIDE CABINET, CIRCA 1870-75 ebonised wood with parcel-gilt and polychrome painted decorations, bears black printed depository label verso GREEN & EDWARDS LTD.,/Depositories, Sailsbury Road, N.W./... 188cm wide, 243cm high, 51cm deep Literature: en-Doesschate Chu P., Max Donnelly M., Montana, A., Veldink S. Daniel Cottier: Designer, Decorator, Dealer, Paul Mellon Centre 2021, p.64, pl.51 near identical example illustrated. Cooper, J. Victorian and Edwardian Furniture & Interiors, London, 1987, p.291, pl.291 Coleman B., The Best of British Arts & Crafts, Atglen, PA, 2004, p.12 Note: The firm of Cottier & Co. was founded by the artist, designer, decorator and art dealer Daniel Cottier (1838-1891). Cottier had trained as a coach painter in Glasgow but by the 1860s was working as a glass designer in London where he heard lectures given by the critic John Ruskin and received drawing lessons from the artist Ford Madox Brown. Returning to Scotland he eventually opened his own business in 1864, which would grow to become a highly successful international organisation with branches in London, New York, Sydney and Melbourne. Cottier was interested in glass, furniture, ceramic manufacture, and interior design. In the United States he is seen as a ‘harbinger of aestheticism….and a profound influence on American decoration’. A key exponent of the aesthetic movement, Cottier developed a very original and highly distinctive style, employing to great effect delicately painted surface decoration often on gold or ebonised ground providing bold contrast. His designs frequently drew on the prevailing Japanese aesthetic associated with the aesthetic movement but also, as in the current lot, on other ancient sources.

£4,000-6,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

229 JOHN BELL (1811-1895) FOR MINTON & CO. ‘DOROTHEA’ & ‘CLORINDA’, CIRCA 1847-8 polychrome parianware, ‘Clorinda’ stamped MINTON/ 203, and incised JOHN BELL/ FEBRUARY/ 1848, 33.5cm high; ‘Dorothea’ with moulded decorator marks, stamped MINTON, with moulded registration lozenge for 1847, 34cm high (2) Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, pp. 74, 77-79 Note: John Bell was an esteemed British sculptor, having begun his training at the Royal Academy Schools in 1839. During the 1840s Bell partnered with Henry Cole to produce a number of designs for his company Felix Summerly. It was around this time that Bell also collaborated with several companies like Minton to recreate his sculptures in Parian ware. These sculptures were immensely popular in the late 19th century, conjuring up notions of the exclusive Grand Tour and representing a superior knowledge of Rome and Classical Antiquities. Minton are thought to have produced around 500 figures between 1845 and 1910, with Bell’s Dorothea proving a particularly popular example.

£500-800

230 ALFRED GEORGE STEVENS (1817-1875) CARYATIDS FOR THE BOY STOVE, CIRCA 1855 patinated bronze, registration marks for March 1851, 36cm high, with later painted wood mount 56cm high; together with TWO LIONS, bronzed metal, each raised on a painted metal plinth, 37cm high (4) £400-600 Note: This pair of caryatids would have formed part of a bronze, lacquered brass and steel fireplace known as the ‘Boy’ stove, designed by Stevens for Hoole & Co., Sheffield and first exhibited at the Great Exhibition in 1851. The original plaster for one of the figures, and design drawings for the stove, are in the Victoria and Albert Museum (inv. no. 40291853). Alfred Stevens, active as a sculptor, designer, and painter, rejected traditional distinctions between fine art and design. As chief designer for Hoole & Co., he produced award-winning designs for metalwork, maiolica, terracotta ornaments and chimneypieces. Decorations for the dining-room at Dorchester House, London, and the monument to the Duke of Wellington for St Paul’s Cathedral, London are amongst his most celebrated works.

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

£600-800

232 W.A.S. BENSON (1854-1924) TABLE LAMP, CIRCA 1890 brass and copper with moulded and cased glass shade, stamped BENSON, 29cm high including shade; together with TWO JOHN WALSH WALSH SHADES, frosted opalescent glass, 8.8cm outer diameter of the aperture, 20.5cm tall (3) Literature: Hamerton, I. (ed.) W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, ACC, 2005, p. 126, pl. 102 where this example is illustrated

£400-600

233 W.A.S. BENSON (1854-1924) PAIR OF ARTS & CRAFTS HANGING LIGHTS, CIRCA 1900 brass, with later clear glass shades, one stamped BENSON (2) fitting 10cm high, with shade 21cm high Literature: Hamerton, I. (ed.) W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, ACC, 2005, p. 140, pl. 117 where one example is illustrated

£500-800

234 HARRY POWELL (1853-1922) (ATTRIBUTED DESIGNER) FOR JAMES POWELL & SONS, WHITEFRIARS DECANTER & STOPPER, CIRCA 1890 clear glass, 33.2cm high; and FIVE FURTHER DECANTERS/ CARAFES, clear and green glass, tallest 32cm high, shortest 18.7cm high (6) Literature: Jackson, L. (ed.), Whitefriars Glass: The Art of James Powell & Sons, Ilminster, 1996, p. 30, fig. 78; p. 102, pl. 25 (ii and iii) and p. 108, pl. 47 (iii) where similar examples are illustrated

£600-800

235 W.A.S. BENSON (1854-1924) TURKISH COFFEE JUG, STAND AND SPIRIT BURNER, CIRCA 1890 electroplate, stamped W. A. S. BENSON, 20.8cm high; together with a BON BON DISH, electroplate, unmarked, 11.3cm diameter (2) 23cm high, the tazza 11cm wide Literature: Hamerton, I. (ed.) W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, ACC, 2005, p. 78, pl. 50 illustrated (Turkish coffee jug).

£300-500

236 CHRISTOPHER DRESSER (1834-1904) FOR HEATH & MIDDLETON, LONDON EGG CODDLER, CIRCA 1880 silver-plated, with ebonised handles, 19cm high; together with a CONDIMENT STAND, 24cm high; and TWO CRUET SETS, manufactured by Elkington & Co, 13cm high, each with stamped maker’s marks and serial number (4) £500-800

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

237 ENGLISH FOUR ARTS & CRAFTS STAINED GLASS PANELS, LATE 19TH/ EARLY 20TH CENTURY stained, leaded and painted glass, comprising a ROUNDEL, 26cm diameter, PANEL, depicting a falconer, framed, 44.5cm x 29.5cm; a FACETED PANEL, depicting a putto, 21cm x 17cm; and a FRAGMENT PANEL, of the head of young man, 16cm x 12cm (4) £400-600

238 ENGLISH THREE ARTS & CRAFTS ENAMEL PANELS, CIRCA 1910 enamel on copper, framed (3) 19.2cm x 10.6cm; 12.8cm x 4.2cm; and 7.3cm x 5.6cm

£300-500

239 JOHN PEARSON (1859-1930) TWO ARTS & CRAFTS FINGERPLATES, CIRCA 1900 copper, each with incised initials JP verso (2) 30.5cm x 9cm

£300-500

240 JOHN PEARSON (1859-1930) ARTS & CRAFTS CASKET, DATED 1900 patinated copper with repoussé decoration, incised J.P./ 1900 15.5cm wide, 8cm high, 12cm deep Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 127 (illustrated).

£500-700

241 W.A.S. BENSON (1854-1924) ARTS & CRAFTS HALL LANTERN, CIRCA 1900 patinated brass and copper, opalescent glass shades, stamped to frame BENSON 16cm diameter, 34cm high Literature: Hamerton, I. (ed.) W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, ACC, 2005, p. 140, pl. 118 where this example is illustrated

£500-800

242 ENGLISH AESTHETIC MOVEMENT WALL BRACKET, CIRCA 1880 ebonised and gilded wood with painted panels and mirrored plate 93cm tall, 39.5cm wide, 20cm deep

£400-600

243 ENGLISH AESTHETIC MOVEMENT SIDE CABINET, CIRCA 1880 ebonised wood, boxwood, embossed paper and mirrored glass 72.5cm wide, 140.5cm high, 30.5cm deep

£300-500

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

244 COMPTON POTTERS’ ART GUILD GROUP OF SIX PLAQUES, CIRCA 1920 painted pottery, comprising THE HOLY FAMILY, 21cm x 18.5cm; ST. CHRISTOPHER, 16.5cm x 11cm; ST. FRANCIS, 16.5cm x 11cm; JOAN OF ARC, 15cm x 13.5cm; and HEAR NO EVIL,10.5cm x 15.5cm, each with impressed pottery marks; together with ST NICHOLAS, unmarked, 18.5cm x 12.5cm (6) Literature: Calvert, H., & Boreham, L., Mary Seaton Watts and the Compton Pottery, PWP 2019, p. 212, pls. B9; B5; and B6, and p. 213, pls. B15; B13 and B10 illus. Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, pp.133-35 illus.

£400-600

245 ENGLISH TWO AESTHETIC MOVEMENT TILES, CIRCA 1880 glazed earthenware, later framed, each 20cm square; together with a TWO-TILE PANEL, glazed earthenware, each 20cm square, later framed; and a further TWO-TILE PANEL, glazed earthenware within tiled border, later framed, each 15cm square (4) £300-500

246 JAMES SHOOLBRED & CO., LONDON AESTHETIC MOVEMENT LAMP TABLE, CIRCA 1880 ebonised mahogany with incised gilded decoration and brass handle, stamped JAS SHOOLBRED & CO/ 516 8 51cm square, 69cm high

£300-500

247 W.A.S. BENSON (1854-1924) PAIR OF ANDIRONS, CIRCA 1890 brass, unmarked (2) 34cm high Literature: Hamerton, I. (ed.) W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, ACC, 2005, p. 73, pl. 115 where these examples are illustrated

£400-600

248 W.A.S. BENSON (1854-1924) ARTS & CRAFTS HANGING LIGHT, CIRCA 1900 copper and brass, with frosted glass shade, stamped BENSON 23.5cm high Literature: Hamerton, I. (ed.) W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, ACC, 2005, p. 142, pl. 120 where this example is illustrated

£500-800

249 ENGLISH AESTHETIC MOVEMENT STANDING JARDINIÈRE, CIRCA 1880 ebonised wood, set with eight tiles, with removable tin liner 60cm long, 90cm high, 28cm deep

£300-500

250 CRAVEN DUNHILL, JACKFIELD PAIR OF RED LUSTRE VASES, LATE 19TH CENTURY glazed earthenware, printed factory stamp (2) 21cm high Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 170

£300-500

251 CHRISTOPHER DRESSER (1834-1904) (ATTRIBUTED DESIGNER) FOR THE COALBROOKDALE COMPANY FENDER, CIRCA 1870 cast iron Note: Dresser is first documented as working for Coalbrookdale circa 1870, however stylistic evidence and designs such as the ‘Water Plant’ garden furniture were registered at an earlier date, pointing to his designing for the firm from the mid-1860s.

124cm wide, 34cm deep Literature: Lyons, Harry Christopher Dresser: The People’s Designer, Woodbridge 2005, pp. 152-3.

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

252 GEORGE EDWARD COOK (1844-1914) FOR MINTON, HOLLINS & CO., STOKE-ON-TRENT AESTHETIC MOVEMENT TILE, CIRCA 1880 printed earthenware, painted G.E. COOK lower left, moulded marks verso, 20cm square, framed; together with a FRAMED TWO-TILE PANEL, in the manner of E. W. Godwin, one tile painted G.E. COOK lower right, moulded pottery mark verso, each 20cm square; and a further FRAMED TILE, painted monogram lower left and right, moulded marks verso, 22.5cm square (3) £300-500

253 MINTON, HOLLINS & CO., STOKE-ON-TRENT FOUR-TILE PANEL, CIRCA 1890 glazed and printed earthenware, within tile border and later framed, each tile 15cm square; together with a THREE-TILE PANEL, FOR WEDGWOOD & CO., printed earthenware, within later frame, each tile 15cm square (2) £200-300

254 W. B. SIMPSON & SON (ATTRIBUTED MAKER) FRAMED TILE, CIRCA 1900 glazed and painted earthenware, painted monogram ETP lower left 30cm square

£300-500

255 JOHN MOYR SMITH (1839-1912) FOR MINTON, HOLLINS & CO. GROUP OF FOUR AESOP’S FABLES SERIES TILES, CIRCA 1878 printed earthenware, within tile border, mounted and later framed, each central tile 15cm square; together with ‘WALPURGIS NIGHT’ TILE PANEL, printed earthenware, printed MOYR SMITH, moulded pottery mark, mounted and later framed, 20cm square; and a KNIGHT’S OF THE ROUND TABLE’ TILE PANEL, mounted and later framed, printed MOYR SMITH, each central tile 15cm square; a ‘LOT’S WIFE’ TILE PANEL, printed earthenware, printed MOYR SMITH, 20cm square, later framed; and a ‘GIANT POPE’ TILE PANEL, printed earthenware, printed MOYR SMITH, 20cm square, later framed (5) £300-500

256 A.W.N. PUGIN (1812-1852) EIGHT TILES, CIRCA 1860 comprising a FRAMED FOUR-TILE PANEL, each 14.5cm square; a FRAMED TWO-TILE PANEL, each 20cm square; a FRAMED TILE ROUNDEL, bears inscription S MATH***, 16cm diameter; TWO W. GODWIN OF HEREFORD TILES, including one by C. F. A. Voysey, 10.5cm and 10.7cm square; a MINTON & CO., FRAMED TILE, bears inscription SITS*EMP*R/ AEQUUS/ EQUES, central tile 15cm square; and TWO FRAMED TILES FOR MINTON, HOLLINS & CO., 14.5cm and 20cm square respectively (8) Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 235 (illustrated).

£700-1,000

257 WALTER CRANE (1845-1915) FOR MAW & CO. TWO NURSERY RHYME TILE PANELS, CIRCA 1875 glazed earthenware, each with two tiles within tile border, printed WC, later framed, pictorial tiles 6in square; together with a further FRAMED TILE, for Minton’s, initialled MH lower right, within tile border, later framed, 7in square (3) £300-500

258 MINTON, HOLLINS & CO., STOKE-ON-TRENT AESTHETIC MOVEMENT TWO-TILE PANEL, CIRCA 1880 glazed earthenware, pottery and lozenge mark, later framed, each 20.5cm square; together with a further MINTONS EIGHT-TILE PANEL, printed earthenware, pottery mark, later framed, each tile 15.3cm square; and a MINTON RELIEF TILE PANEL, glazed earthenware, pottery mark verso, later framed, each tile 20.5cm square (3) £300-500

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

259 SELWYN IMAGE (1849-1930) DAYDREAMING watercolour, signed and dated lower right SELWYN IMAGE 1904 20cm x 28cm

£200-300

260 W.A.S. BENSON (1854-1924) ARTS & CRAFTS HANGING LIGHT, CIRCA 1900 copper and silvered metal, opalescent glass shade, stamped registration number 386811 57cm high approx. Literature: Hamerton, I. (ed.) W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, ACC, 2005, p. 141, pl. 119 where this example is illustrated

£1,000-1,500

261 MAY MORRIS (1862-1938) FOR MORRIS & CO. ARTS & CRAFTS FIRESCREEN, CIRCA 1900 coloured silks within a mahogany frame, stamped three times under base, MORRIS & CO./ 49 OXFORD ST/ 1873 64.7cm wide, 95cm high, 42cm deep

£500-800

262 HENRY STACY MARKS (1829-1898) AND CHRISTOPHER DRESSER (1834-1904) FOR MINTON & CO. BEER SET, CIRCA 1880 glazed earthenware, comprising a PITCHER, 26cm high; TWO TANKARDS, 14.5cm and 15cm high; and a TRAY 38cm across, each impressed MINTON (4) Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 249 where this set is illustrated

£200-300

263 § CHARLES MARCH GERE, R.A., R.W.S., R.B.S.A., N.O.A.C. (1869-1957) FLETSCHHORN pencil and watercolour, signed with monogram and dated 1922, inscribed on the reverse 29.2cm x 44.5cm Provenance: With Abbott & Holder, London, January 1984

£300-500

264 W.A.S. BENSON (1854-1924) SINGLE ARTS & CRAFTS WALL LIGHT, CIRCA 1900 brass and copper, with opalescent glass shade, 41cm tall; and a W. A. S. BENSON-STYLE CEILING LIGHT, brass and copper, with associated opalescent and cranberry glass shade, 25.5cm diameter (2) Literature: Hamerton, I. (ed.) W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, ACC, 2005, p. 138, pl. 115 where the wall light is illustrated

£400-600

265 W.A.S. BENSON (1854-1924) ARTS & CRAFTS TABLE LAMP, CIRCA 1900 brass and copper, with associated opalescent glass shade 31cm high Literature: Hamerton, I. (ed.) W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, ACC, 2005, p. 149, pl. 130 where this example is illustrated

£400-600

266 ENGLISH VICTORIAN NURSERY PLATE, CIRCA 1880 overglazed and hand-painted ceramic, bearing inscription YE QUEEN OF HEARTS SHE MADE SOME TARTES, painted bird cypher and initial P, 20.5cm diameter; together with another PLATE, overglazed blank, handpainted with spider and web decoration, monogram ED/ 1876, 24cm diameter (2) £200-300

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

267 SHAPLAND & PETTER, BARNSTAPLE DISPLAY CABINET, EARLY 20TH CENTURY marquetry-inlaid mahogany, inset with mother-of-pearl, bevelled mirror, locks stamped S & P/H, stamped with registration number R2034/123 116.5cm wide, 183cm high, 50.8cm deep Literature: B. Coleman, The Best of British Arts & Crafts, Atglen, PA, 2004, p. 217.

£800-1,200

268 TIFFANY & CO. STUDIOS, NEW YORK ‘ZODIAC’ PATTERN BLOTTER, CIRCA 1920 patinated bronze, each corner stamped TIFFANY STUDIOS/ NEW YORK (fitted to later card blotter of reduced size) 30cm x 23.5cm

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

269 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘FISH’, FLAMBÉ FOOTED PLATE, CIRCA 1935 painted initials in blue W.M., impressed maker’s marks MOORCROFT/ MADE IN ENGLAND 20.8cm diameter

£300-500

270 LIBERTY & CO., LONDON CENTRE TABLE, CIRCA 1900 walnut, stamped to base LIBERTY & CO/ REGENT ST/ LONDON/ 0/513, with original paper label 62cm diameter, 56.5cm high

£300-500

271 WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO. ‘POPPY & FORGET-ME-NOT’ TWIN-HANDLED VASE, CIRCA 1910 glazed earthenware, printed factory stamp, green painted signature, 23cm high; together with a ‘FLORIAN WARE’ YELLOW IRIS, VASE, printed ‘Florian Ware’ stamp, green painted initials, 21cm high; and a ‘YELLOW AND BLUE POPPY’ BOWL, impressed 225, printed factory stamp, green painted initials, 8.5cm high (3) £300-500

272

273

WILLIAM MOORCROFT (1872-1945) FOR JAMES MACINTYRE & CO.

LIBERTY & CO., LONDON

‘FLORIAN WARE GREEN & GOLD’ FOOTED BOWL, CIRCA 1900

mahogany, stamped under top LIBERTY & CO./REGENT ST. LONDON

glazed earthenware with gilt embellishment, initialled in green W.M., printed factory marks Rd. No. 404017 25.5cm diameter

£300-500

CENTRE TABLE, CIRCA 1910

86.5cm diameter, 73cm high

£300-500

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

£1,000-1,500

275 BURMANTOFTS POTTERY, LEEDS FIGURAL VASE, CIRCA 1890 impressed factory mark and number 133, 41.5cm high; together with a BRETBY POTTERY FIGURAL JARDINIÈRE, glazed earthenware, impressed pottery mark/ 1251, 20cm high, 35cm across; and a further BRETBY JARDINIÈRE, impressed pottery mark/ 909, impressed registration number 215983, 22.5cm high (3) £300-500

276 BURMANTOFTS POTTERY, LEEDS GROTESQUE FIGURE, CIRCA 1890 glazed ceramic, impressed maker’s mark/ LEEDS/ 2174, 11.5cm across; a BURMANTOFTS FAIENCE CANDLESTICK, glazed ceramic, impressed BURMANTOFTS FAIENCE 834, 11cm high; and a ROYAL DOULTON FIGURAL SPOUT, glazed ceramic, impressed maker’s mark, 17.5cm high (3) £300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

277 JESSIE MARION KING (1875-1949) AN ARRAN VIEW watercolour, signed lower left JESSIE M. KING 20.3cm x 25.4cm Provenance: Sotheby’s sale, 21 June 1977 With Abbott & Holder, London, 1978 Note: The frame was specially made by David Paul Gallery, Chichester.

£700-1,000

278 CHARLES CATTEAU (1880-1966) FOR BOCH FRÈRES KERAMIS VASE, CIRCA 1925 glazed earthenware, impressed 945, printed factory stamp, painted signature CATTEAU (indistinct), painted L./D.968 26.5cm high

£150-250

279 HARRY SIMEON (1896-1936) FOR DOULTON, LAMBETH CHARGER, CIRCA 1925 glazed stoneware, impressed pottery mark for PINDER, BOURNE & CO.,/ BURSLEM, painted mark DOULTON/ LAMBETH/ HS/ 865/ FJ/ AT 48.5cm diameter

£300-500

280 BLANCHE GEORGIANA VULLIAMY (1869-1923) THE GOBLIN VASE pastel study, framed 31.5cm x 28cm; and a COLLECTION OF CERAMICS to include TWO BARUM, BARNSTAPLE CANDLESTICKS, glazed pottery, one incised BARUM BARNSTAPLE, 14cm and 12cm high; a VULLIAMY WARE JARDINIÈRE, modelled as a dog embellished with letters of the alphabet, Rd No. 445420, 18cm long; a SMALL VULLIAMY WARE JARDINIÈRE, incised VULLIAMY, 12cm across; and TWO ASSOCIATED VESSELS, unmarked (8) 33cm x 28.6cm

£300-500

281 BLANCHE GEORGIANA VULLIAMY (1869-1923) GROUP OF WARES, CIRCA 1900 glazed ceramic, to include THREE VULLIAMY JUGS, each moulded with bats in a night sky, printed B. G. VULLIAMY RD. NO. 326785, 13.5cm high; another VULLIAMY JUG, inscribed HM OOM PAUL I DV 1900, moulded VULLIAMY REG. NO. 355750, painted T. Goode retailer’s mark, 16cm high; and a VULLIAMY JAR & COVER, printed B.G. VULLIAMY, 15.5cm high (5) Note: ‘Oom Paul’ was the nickname of Paul Kruger, President of the South African Republic (or Transvaal) from 1883 to 1900.

£300-500

BLANCHE VULLIAMY studied portrait painting in London in the late 1880s before moving to Torquay to live with her grandparents. Here she became involved with Aller Vale Art Pottery and other potteries in Barnstaple. She became known for her creation of ceramic goblins and other grotesques and by 1897 was producing her own pottery, supplying items to Liberty & Co. in London.

282

283

BLANCHE GEORGIANA VULLIAMY (1869-1923)

COLLECTION OF WARES, CIRCA 1900

GROUP OF WARES, CIRCA 1900

glazed ceramic, to include a BARUM JUG, incised BARUM BARNSTAPLE VULLIAMY, 18cm high; TWO FURTHER BARUM JUGS, each incised BARUM BARNSTAPLE, 13.8cm and 12cm high; a BARUM FIGURE, inscribed to the body LITTLE MARY and incised BARUM BARNSTAPLE, 7.5cm high; a WARDLE JUG, impressed WARDLE/ ENGLAND/ 2155, 22.5cm high; a MOULDED JUG, unmarked, 16cm high; and a MOULDED IMP FIGURE, unmarked, 6cm high (7)

glazed ceramic, to include TWO VULLIAMY WARE CHARACTER JUGS, each incised VULLIAMY REGD, 20.5cm high; TWO SIMILAR VULLIAMY WARE JUGS, each incised VULLIAMY, 21cm high; a VULLIAMY WARE CANDLESTICK, incised VULLIAMY REG. NO. 333615, 13.5cm high; a VULLIAMY OWL JUG, incised VULLIAMY 326053, 12.5cm high; and TWO SIMILAR WARDLE JUGS, each impressed WARDLE ENGLAND 2153, 18cm and 18cm high (8)

£300-500

£500-800

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

284 HECTOR LEMAIRE (1846-1933) FOR EMILE MULLER (1823-1899) VASE, 1890-1899 glazed stoneware, modelled as a satyr feeding a goat, incised No 21 BENX and indistinct signature, 15cm high; together with a FIGURAL JUG, designed by James Vibert for Emile Muller, glazed stoneware, indistinct signature, incised N, 16cm high (2) £400-600

285 AGNES DE FRUMERIE (1896-1937) AND EDMOND LACHENAL (1855-1930) FIGURE, 1900 glazed ceramic, painted and incised AGNES DE FRUMERIE/ PARIS/ 1900, painted LACHENAL CERAMISTE 33cm high

£300-500

286 THEODORE DECK (1823-1891) MANDARIN DUCK, CIRCA 1890 glazed earthenware, impressed T DECK, 17.8cm long; together with a TWIN-HANDLED VASE, glazed earthenware, 15cm high; and a further SMALL VASE, impressed signature (indistinct), 12.5cm high (3) £400-600

287 FÉLIX OPTAT-MILET (1838-1911) FOR SÈVRES VALLAURIS VASE, CIRCA 1890 painted and glazed earthenware, painted SÈVRES VALLAURIS, with monograms 22cm high

£300-500

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

£300-500

289 ANDRÉ METTHEY (1871-1920) BALUSTER VASE, CIRCA 1911 glazed ceramic, with gilt embellishment, impressed maker’s cypher, 33.5cm high; and an ANDRÉ METTHEY BOWL, glazed ceramic, with gilt embellishment, impressed maker’s cypher, 12cm diameter (2) Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 221

£500-800

290 SÈVRES, FRANCE TWO VASES, 1887-88 AND 1927 one with pâte nouvelle porcelain with flambé glaze, brass mount and gilt rim, orange printed Sèvres mark, black printed S. 87, painted O.51., 24cm high; the other pâte dure ancienne, green printed S. 1927/ DN/ MADE IN FRANCE, incised H27 2 PN, 17cm high (2) £500-800

291 ERNEST CHAPLET (1835-1909) FOR HAVILAND & CIE. TWO JUGS, CIRCA 1885 relief-moulded and glazed ceramic with gilt highlights, one with painted monogram HB, 23.5cm high; the other unmarked, 24cm high (2) £400-600

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

100

292 CHRISTOPHER DRESSER (1834-1904) FOR WILLIAM AULT & CO. GROUP OF WARES, CIRCA 1890 glazed ceramic, comprising a LARGE VASE, with frilled rim, applied mark, impressed 118/D, 25.3cm high; another VASE, with opposed moulded fish mask, applied mark, impressed 457, 18cm high; and a WALL POCKET, moulded with moth motif, unmarked, 13.3cm diameter (3) £400-600

293 CHRISTOPHER DRESSER (1834-1904) FOR MINTON & CO. POSY VASE, CIRCA 1870 glazed earthenware with painted and gilded highlights, 10cm high; together with a BOX & COVER, impressed marks (indistinct), 9.5cm high; a TEACUP & SAUCER, red painted 332, saucer 13.5cm diameter; and a further VASE, 12.5cm high (4) £500-800

294 ROYAL WORCESTER AESTHETIC MOVEMENT JARDINIÈRE, CIRCA 1885 glazed earthenware, impressed factory mark/ 422, 14.5cm high; together with a ROYAL WORCESTER DISH, glazed earthenware, impressed factory mark, 28cm across (2) £300-500

295 CHRISTOPHER DRESSER (1834-1904) FOR MINTON & CO. PAIR OF VASES, CIRCA 1870 glazed porcelain with gilded highlights, each impressed MINTON (indistinct), 18.5cm high; together with a PAIR OF BROWNFIELD VASES, glazed earthenware, each impressed BROWNFIELD with moulded registration lozenge, 25.5cm high; and a further MINTON VASE, glazed earthenware with gilded highlights, with factory stamp and red-painted 20cm high (5) £400-600

101

296 EDMUND BARNABY POWELL (1891-1939) FOR JAMES POWELL & SON, WHITEFRIARS LARGE ‘TEAR’ VASE, CIRCA 1932 blue and green glass, 26cm high; and HARRY POWELL (1853-1922) FOR JAMES POWELL & SONS, WHITEFRIARS ‘TEAR VASE, CIRCA 1910, clear and amethyst glass, 13.5cm high; together with a WHITEFRIARS CORONATION GLASS, etched under foot EM ****/ 1953, 18.5cm high (3) Literature: Jackson, L. (ed.), Whitefriars Glass: The Art of James Powell & Sons, Ilminster, 1996, p. 125 pl. 114 (iii) and p. 106, pl. 40 (v) where similar examples are illustrated

£300-500

297 ROBERT ANNING BELL (1863-1933) FOR ROWLEY GALLERY, LONDON MARQUETRY FRAMED MIRROR, CIRCA 1916 specimen woods with mirrored glass, bears original paper label verso with inscription CLASSICAL DESIGN BY./ PROFESS. R. ANNING BELL 60cm x 43cm

£300-500

298 WILLIAM S. MYCOCK (1872-1950) FOR PILKINGTON’S TILE & POTTERY CO. DISH, DATED 1910 lustre-glazed earthenware, with impressed pottery marks, painted artist’s monogram and date cypher, 23.7cm diameter; together with a PILKINGTON’S VASE, by William Mycock, impressed pottery marks and stamped artist’s monogram, 13cm high; and a DOULTON LAMBETH BOWL, glazed earthenware with gilded highlights, with pottery stamp, incised and painted marks, 25.3cm diameter (3) £300-500

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

103

DAY TWO THURSDAY 21 APRIL AT 10AM

299 LIBERTY & CO., LONDON ARTS & CRAFTS PENDANT NECKLACE, CIRCA 1900 silver and turquoise, within box with silk lining, printed with makers brand LIBERTY/ REGENT ST./ LONDON 5cm tall, 2.5cm across

£400-600

300 JACKSON & GRAHAM (ATTRIBUTED MAKERS) PAIR OF ANGLO-MORESQUE SIDE CHAIRS, CIRCA 1890 mahogany, with later close-nailed upholstery, brass caps and castors (2) 48cm wide, 75.5cm high, 53cm deep

£400-600

301 LIBERTY & CO., LONDON (ATTRIBUTED MAKER) ANGLO-MORESQUE SIDE CHAIR, CIRCA 1880 ebonised and gilded wood, with later upholstered seat 42cm wide, 88cm high, 40.5cm deep

£300-500

302 JACKSON & GRAHAM (ATTRIBUTED MAKERS) ANGLO-MORESQUE OVERMANTEL MIRROR, CIRCA 1880 mahogany, boxwood and mirrored glass 157.5cm wide, 121.5cm high, 23.5cm deep

£600-1,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

104

303 LIBERTY & CO., LONDON ARTS & CRAFTS WALL MIRROR, CIRCA 1900 oak, repoussé brass, mirrored glass, bears label verso LIBERTY & CO./ LONDON 60cm x 48.5cm

£800-1,200

304 LIBERTY & CO., LONDON CHEST OF DRAWERS, CIRCA 1900 original painted pine finish, with brass fittings 92cm wide, 118.5cm high, 47cm deep Literature: Bennett, Daryl Liberty’s Furniture, Woodbridge 2012, p.205, pl. 5.101 where a similar chest is illustrated in an interior.

£600-800

305 MANNER OF LIBERTY & CO., LONDON ANGLO-MORESQUE SETTEE, CIRCA 1890 stained beech and later upholstered loose cushions 186cm wide, 116cm high, 68cm deep

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

105

306 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON WALL MIRROR, CIRCA 1900 repoussé-decorated copper, mirrored glass 60.8cm x 90.2cm

£1,200-1,800

307 LIBERTY & CO., LONDON ‘THE LEYDEN’ WALL BRACKET, CIRCA 1910 walnut, inset with print by Henri Cassiers, glazed 122cm wide, 54cm high, 15cm deep Literature: Bennett, Daryl Liberty’s Furniture, Woodbridge 2012, p.178, pl. 5.51 where a similar bracket is illustrated

£300-500

308 JAMES DIXON & SONS, SHEFFIELD PAIR OF ARTS & CRAFTS CANDLESTICKS, CIRCA 1908 pewter, marked W1830/ CORNISH PEWTER/ 9 (2) 22cm high

£300-400

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

£300-500

310 LEONARD WYBURD (1865-1958) (ATTRIBUTED DESIGNER) FOR LIBERTY & CO., LONDON ARTS & CRAFTS THRONE CHAIR, CIRCA 1900 oak, leather 72cm wide, 117cm high, 56cm deep

£400-600

106

311 CHARLES FLEETWOOD VARLEY (1828-1883) (ATTRIBUTED ENAMELLER) FOR G .W. LEWIS & CO. ARTS & CRAFTS PILL BOX, BIRMINGHAM 1923 silver, silver gilt and enamel, stamped maker’s marks, hallmarked Birmingham 1923 3.4cm square

£400-600

312 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

313 LIBERTY & CO., LONDON ‘TUDRIC’ JEWELLERY BOX, CIRCA 1900 pewter set with an enamel roundel, attributed to Charles Fleetwood Varley, velvet and silk-lined interior, stamped 1/ MADE IN ENGLAND/ TUDRIC/ PEWTER/ 01021 11.3cm wide

£300-500

314 LIBERTY & CO., LONDON FOUR-FOLD DRAUGHT SCREEN, CIRCA 1900 mahogany, woven silk, stained and leaded glass each fold 190.5cm x 53.5cm

£800-1,200

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

107

315 ENGLISH THREE ART NOUVEAU PENDANTS, CIRCA 1908 silver and enamel, to include a JAMES FENTON & CO. PENDANT, stamped maker’s mark JF, hallmarked Birmingham 1908, 4cm tall; a JOHN BARKER BENNETT & CO. PENDANT, stamped maker’s mark J.B.B. & Co., stamped SILVER, 3.6cm wide; and a MURRLE, BENNETT & CO. PENDANT, stamped makers mark 950, (drop lacking), 3.5cm tall (3) £300-500

316 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON ‘CYMRIC’ BROOCH, 1903 silver and enamel, stamped L&C/ C LD, hallmarked Birmingham 1903 2.4cm across Literature: Martin, S. Archibald Knox Second Edition 2001, p.271, where the matching pattern is illustrated

£400-600

317 LIBERTY & CO., LONDON ‘CYMRIC’ BROOCH, CIRCA 1905 silver and enamel, stamped L&Co/ CYMRIC 3.3cm across

£300-500

318 ENGLISH ART DECO EGYPTIANESQUE BROOCH, CIRCA 1930 sterling silver, enamel, stamped maker’s mark AFK/ STERLING SILVER, 3cm wide; also an ART NOUVEAU PENDANT, gold, enamel and pearl, indistinctly marked, 2.6cm tall; and another ART NOUVEAU BROOCH, yellow metal and turquoise, unmarked, 7.5cm wide (3) £300-500

319 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON BROOCH, 1905 silver and enamel, stamped WHH for W.H. Haseler, hallmarked Birmingham 1905 3cm across Literature: Martin, S. Archibald Knox Second Edition 200, p.266, where a brooch of matching pattern is illustrated

£250-350

320 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON ‘CYMRIC’ BROOCH, CIRCA 1905 silver and enamel, stamped L&C / C LD/ SILVER 3.2 cm across Literature: Martin, S. Archibald Knox Second Edition 200, p.262, where a brooch of matching pattern is illustrated

£400-600

108

321 GEORGE HENRY WALTON (1867-1933) FOR ELMBANK, YORK ART NOUVEAU WARDROBE, CIRCA 1920 satin birch, stained and leaded glass, with silvered metal fittings, bears ivorine label verso GEORGE WALTON & CO. / 150 AND 152 WELLINGTON STREET GLASGOW, lined interior 142cm wide, 195cm high, 56cm deep Literature: Moon, K. George Walton, Designer and Architect, White Cockade 1993, pages 64-70 Agius, P. British Furniture 1880-1905’ ACC 1978, page 102, pl. 105

£3,000-5,000

GEORGE WALTON was born in Glasgow on 3 June 1867, the youngest of twelve children. The painter, Edward Arthur Walton, born in 1860, was his elder brother and the flower painter, Constance Walton, his sister. His father died in 1873 leaving the family in reduced circumstances and Walton had to leave school aged thirteen to become a clerk with the British Linen Bank, but while working there he also studied at Glasgow School of Art (as the School of Design had become in 1869). In 1888 Miss Catherine Cranston commissioned Walton to re-design the interiors of the tea rooms at 114 Argyle Street, Glasgow. Walton gave up banking and opened showrooms entitled George Walton & Co, Ecclesiastical and House Decorators, at 152 Wellington Street. The Walton firm quickly expanded into woodwork, furniture making and stained glass. In 1896 Walton received a further commission from Miss Cranston to decorate the Buchanan Street premises. His collaborator was C. R. Mackintosh, for whom Walton made some early pieces of furniture. In 1897 Walton moved to London and, as well as retaining his Glasgow showroom, opened a branch in York. This wardrobe demonstrated all of the characteristics of the furniture produced for Elm Bank, York by Walton & Co. in 1898 for Sydney Leetham. The furniture is inlaid with bold geometric chevron banding, a type of decoration that had been revived and popularised by George Jack at Morris & Co., however, the use of this technique at Elm Bank was altogether bolder and more expansive. This bedroom suite also demonstrates stained glass detailing derived from plant forms, with metal and wood also inset, relating to techniques being produced by Charles Rennie Mackintosh at the same time.

109

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

£3,000-5,000

323 GEORGE HENRY WALTON (1867–1933) FOR MISS CRANSTON’S BUCHANAN STREET TEAROOMS, GLASGOW RARE EBONISED AND PAINTED BEECH DINING CHAIR, CIRCA 1896 ebonised beech with polychrome painted decoration, caned seat and back panels 49cm wide,115cm high, 48cm deep Provenance: T. & R. Annan & Sons Ltd., Glasgow Literature: Billcliffe, Roger; Charles Rennie Mackintosh, The Complete Furniture etc. pub. The Lutterworth Press, 1978, illus. 1896G. Moon, Karen ‘George Walton’, White Cockade 1993, p.53, pl. 63 Note: This chair was made for Miss Cranston’s new tearoom in Buchanan Street in Glasgow in 1896. This scarce chair, with its tall, curved back echoing the stencilled wall decoration and the hand-painted floral sprigs following the colour scheme of the walls. The tall vertical form of the chair continues the ‘Glasgow Style’ aesthetic whilst the Regency inspiration which the design subverts is still evident, particularly on the matching armchairs with their lower backs. Other versions of this chair were used by Walton in schemes throughout his career, but the Buchanan Street chairs are marked out by their painted decoration.

£2,000-3,000

110

324 FRANCES MACDONALD MCNAIR (1874-1921) (ATTRIBUTED DESIGNER) CADDY SPOON, CIRCA 1900 white metal with applied beading, marked verso R 7.5cm long Literature: Larner G. & C.The Glasgow Style, Paul Harris 1980, illus. no. 43 for a similar silver caddy spoon

£600-800

FRANCES MACDONALD and her sister Margaret were skilled in metalware, jewellery and enamelling however few executed pieces of jewellery and silver 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.; and Lyon & Turnbull, Design Since 1860, 21 October 2021, lot 357

325 CHARLES RENNIE MACKINTOSH (1868-1928) AND LEOPOLD BAUER (1872-1938) MEISTER DER INNEN KUNST: HAUS ELNES KUNST FREUNDES II, 1901 published by Alexander Koch, Darmstadt, to include SIX FRAMED DESIGN PRINTS, each taken from the original album by Mackintosh, each print approx. 30.5 x 52cm; and PAGE 1 of the same album; together with FOUR PAGES FORM THE ALBUM BY BAUER, including the title page, pages 1 and 2 and one page with two designs, within an associated portfolio (6) Note: A competition to design a house for a connoisseur of the arts was announced in the December 1900 issue of ‘Zeitschrift für Innendekoration’, published by Alexander Koch. It seems reasonable to assume that Mackintosh would have heard about the competition on his visit to Vienna at the end of 1900, where it would almost certainly have been a topic of discussion amongst the architects and designers he met at the Secession, especially as J.M. Olbrich, who had become a good friend, was to be one of the judges. The closing date was 25th March 1901, and the adjudication was set for 16th and 17th May 1901, at Darmstadt. Mackintosh’s entry was disqualified initially because he did not submit the required number of interior perspectives; but, after preparing these, he was awarded a prize of 600 marks and the drawings were reproduced in one of three folios of competition drawings issued in 1902 under the title ‘Meister der Innenkunst’. No first prize was awarded, the prize money being divided between more than sixteen competitors. The second prize was given to M.H. Baillie Scott, and the third was shared by Leopold Bauer and Oskar Marmorek of Vienna and Paul Zeroch of Coblenz.

£400-600

326 AFTER CHARLES RENNIE MACKINTOSH TWO COPIES OF MEISTER DER INNEN KUNST; HAUS EINES KUNST FREUNDES II facsimile edition, Architectural Heritage Prints, 1990, numbered 300 and 301 of 700 copies in the English Edition (2) 54cm x 40cm

£300-500

327 ERNEST ARCHIBALD TAYLOR (1874-1951) (ATTRIBUTED DESIGNER) ARTS & CRAFTS HALL LANTERN, CIRCA 1905 patinated copper, stained and leaded glass panels 28.4cm diameter, 19.5cm high

£500-800

111

328 ANNIE FRENCH (1865-1915) THE READER pen and ink 8.5cm x 12cm Provenance: Sir James French

£200-300

329 ANNIE FRENCH (1865-1915) ‘AUTUMN’ graphite, pen, ink and watercolour with gilded highlights, signed lower right ANNIE FRENCH, bears artist’s label verso 18.5cm square

£500-700

330 ANNIE FRENCH (1865-1915) ‘SPRING’ graphite, pen, ink and watercolour with gilded highlights, signed lower right ANNIE FRENCH, bears artist’s label verso 18.5cm square

£500-700

331 ANN MACBETH (1875-1948) ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1905 coloured silks, framed 15.5cm diameter Note: One of the leading figures of the Glasgow School Movement, Ann MacBeth is best known for her beautifully executed embroideries, often featuring young women amongst an array of characteristic stylised roundels and openwork banding. Skilfully executed, with bright pastel colours and expressive stitching, MacBeth’s captivating pieces were a regular feature in The Studio, well-received and much admired. In 1908, MacBeth succeeded Jessie Newbery as Head of the Needlework & Embroidery Department at the Glasgow School of Art; she also taught bookbinding and ceramic decoration in the years following. During this time MacBeth published a number of books on embroidery; together with Margaret Swanson, she co-wrote ‘Educational Needlecraft’ a textbook which proved hugely influential both in the UK and Internationally.

£3,000-5,000

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

112

332 ERNEST ARCHIBALD TAYLOR (1874-1951) A CORNER OF KIRKCUDBRIGHT charcoal and watercolour, signed lower right E.A. TAYLOR, artist’s label verso 37.5cm x 25.5cm

£800-1,200

333 GEORGE HENRY WALTON (1867-1933) (ATTRIBUTED DESIGNER) ARTS & CRAFTS XYLOPHONE, CIRCA 1900

334

Oak and brass, with bell metal and string

MANNER OF GEORGE WALTON

55.5cm wide, 80cm high, 32cm deep

OCCASIONAL TABLE, CIRCA 1900 51.7cm diameter, 70.5cm high

Literature: Moon, K. George Walton, Designer and Architect, White Cockade 1993, p.89, pl.115 where a similar example to the current lot is pictured in the Hall at The Leys, Elstree, designed by Walton for J.B.B. Wellington circa 1900.

£300-500

oak

335 ERNEST ARCHIBALD TAYLOR (1874-1951) (ATTRIBUTED DESIGNER) FOR WYLIE AND LOCHHEAD, GLASGOW ARTS & CRAFTS SETTLE, CIRCA 1900 oak 152cm wide, 71cm high, 50cm deep

£400-600

113

336 MARY THEW (1876-1953) ARTS & CRAFTS NECKLACE, CIRCA 1918 white metal, set with moonstone cabochons, within original presentation box, papercovered card with padded silk and velvet lining, inscribed DESIGNED & EXECUTED BY MARY R. THEW 44cm long Note: Mary Thew was born in Glasgow and studied briefly at Glasgow School of Art. Following her husband’s early death, she took up jewellery making as a career, receiving some training from the Arts & crafts jeweller Rhoda Wager. Her jewellery is more often than not unmarked, however this rare necklace comes with its original box, bearing her mark.

£600-800

337 SCOTTISH, MANNER OF MARY THEW CADDY SPOON, CIRCA 1910 white metal set with an oval amethyst, unmarked 6.5cm high

£300-500

338 § JOHN VERNAL (1914-2002) AUTUMN PROCESSION watercolour, signed lower left JOHN VERNAL 18cm x 29cm

£300-500

339 § JOHN VERNAL (1914-2002) THE DENISON OF THE GLEN watercolour, bears artist’s label verso, dated 1934 18cm x 14cm

£300-500

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

114

340 SCOTTISH CELTIC REVIVAL WALL CLOCK, CIRCA 1910 repoussé-decorated brass, with weights and pendulum dial 35cm diameter

£300-500

341 § STUART SCOTT SOMERVILLE (1908-1983) FOUR-FOLD SCREEN, DATED 1926 oil on canvas, stretched on wood frame, signed lower right STUART SCOTT SOMERVILLE 1926 each fold 183.5cm x 55cm

£600-800

115

342 HENRY TAYLOR WYSE (1870-1951) AT THE WATERS EDGE watercolour, signed lower right HENRY T. WYSE 1898, 27cm x 39cm; and a PAIR by the same hand, AFTERNOON and EARLY MORNING, watercolour, each signed lower right H.T. WYSE, 20cm x 13.5cm (3) £400-600

343 HENRY TAYLOR WYSE (1870-1951) BEECH TREES pastel on paper, 26.5cm x 30cm; and another by the same hand, pastel on paper, signed and dated lower right H.T. WYSE, 19cm x 14cm (2) £300-500

344 WYLIE & LOCHHEAD, GLASGOW (ATTRIBUTED MAKER) ARTS & CRAFTS CHEST OF DRAWERS, CIRCA 1900 oak, with patinated brass fittings, with keys 61cm wide, 101cm high, 39cm deep

£200-300

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

116

345

346

SCOTTISH

JOSEPH HAYES (1869-1916) FOR ST. PETER’S CHURCH, MORNINGSIDE

ARTS & CRAFTS CEILING LIGHT, CIRCA 1920

FIGURE OF SAINT JOHN, CIRCA 1907

painted steel and copper

plaster maquette, later mounted on a carved oak plinth

128cm high, 70cm diameter approx.

figure 111cm high, including plinth 139cm high

£400-600

Note: Regarded as amongst Sir Robert Lorimer’s most innovative architectural designs, St Peter’s, Morningside was built in two stages from 1906-7, with the nave completed from 1928-9. The church was designed by Lorimer in an Italianate style and includes stained glass by Morris and Gertrude A. Meredith Williams, Nina Millar Davidson, and Pierre Fourmaintraux, metalwork by Thomas Haddon and a fine Arts & Crafts lead font by G. P Bankart. On the exterior are carved stone sculptures by Joseph Hayes including The Crucifixion with Our Lady and St. John of around 1907. The current lot is the maquette for the figure of St. John. A polychrome carved wood sculpture in the apse of around 1908 uses the same figure. Joseph Hayes worked on several projects with Lorimer from around 1900, including the management of the carving for the Thistle Chapel in St. Giles’ Cathedral, Edinburgh, built from 1909-1911.

Provenance: St. Peters Church, Morningside

£400-600

347 SIR ROBERT LORIMER (1864-1929) (ATTRIBUTED DESIGNER) FOR WHYTOCK & REID, EDINBURGH CABINET ON STAND, CIRCA 1920 mahogany, burr walnut, glass, painted and gilded wood 123cm wide, 137cm high, 54cm deep Provenance: Paul Reeves, London Kirkton House, Angus Literature: Savage, Peter, ‘Lorimer and the Edinburgh Craft Designers’, Steve Savage 1980, p. 89, plate 175

£2,000-3,000

Note: Although Lorimer had used the Edinburgh cabinet makers Whytock & Reid in the 19th century, from around 1900 they increasingly became his favoured cabinetmakers because of their skill in interpreting his design sketches and their high-quality workmanship. Lorimer did not hold copyright over his work, and many examples of what may have started as his designs became Whytock & Reid pieces which, as modified for other customers, became examples of the firms’ look. This fine display cabinet, probably a one-off commission, is designed in the Chinese taste, an aesthetic Lorimer favoured in the latter part of his career and employed in commissions such as Glencruitten House, near Oban, in 1927. The cabinet demonstrates all the characteristic features of his output including high quality inlaid cabinetmaking using fine timbers, with low relief carved and moulded detail.

117

348 JAMES CROMAR WATT (1862-1940) ARTS & CRAFTS PENDANT NECKLACE, CIRCA 1900 enamelled metal, pearl, with later chain 7cm tall, 5cm across Note: James Cromar Watt was born in Aberdeen. He worked in precious metals and developed particular skills in the ancient techniques of gold granulation and translucent foiled enamelling. His work was exhibited in Turin in 1902 and illustrated in the Art Journal periodical of the time. Some of his pieces were strongly influenced by the enamel work of Phoebe Traquair and others were designed in association with the painter and stained glass artist, Douglas Strachan. His work is predominantly in the collection of Aberdeen Art Gallery & Museum.

£400-600

349

350

MANNER OF PHOEBE ANNA TRAQUAIR ARTS & CRAFTS ‘CUPID’ PENDANT, EARLY 20TH CENTURY

SIR ROBERT LORIMER (1864-1929) (DESIGNER) WILLIAM WHEELER, ARNCROACH (MAKER)

white metal and enamel, apparently unmarked

‘GOSSIP’ CHAIR, CIRCA 1930

5cm across

cherry, with upholstered drop-in

£500-800

43cm wide, 84.5cm high, 38cm deep Note: A similar oak chair is held by the National Trust for Scotland at Kellie Castle, the Lorimer family home in Fife.

£600-800

351 SIR ROBERT LORIMER (1864-1929) ARTS & CRAFTS LIBRARY TABLE, CIRCA 1900 oak, with single drawer 153cm long, 77cm high, 71cm deep

£1,500-2,000

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

118

352 MANNER OF SCOTTISH GUILD OF HANDICRAFT ARTS & CRAFTS CEILING LIGHT, CIRCA 1910 patinated and painted brass 87cm high, 43cm diameter

£400-600

353 EDWARD BAIRD (1904-1949) DESIGN FOR A MURAL ‘CARVING IN PLASTER’ pencil and watercolour on paper, signed and inscribed 60cm x 45cm Provenance: Mrs Ann Baird Mrs Jean Fairweather Exhibited: Edinburgh, National Gallery of Modern Art, Edward Baird exhibition, 29th February - 17th May 1992 London, Fleming Collection Edward Baird April - June 2004

£300-500

354 JOHN MACALLAN SWAN (1847-1910) STANDING FIGURE carved wood, incised with monogram JMS 48cm high

£300-500

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

119

355 § KATHARINE CAMERON (1874-1965) FLORAL STILL LIFE graphite and watercolour, signed lower right K. CAMERON 44cm x 53cm

£1,000-1,500

356 ENGLISH ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1900 coloured silks on a silk ground, with hand-coloured highlights, later framed and mounted panel 30.5cm x 23.5cm

£250-350

357 JESSIE MARION KING (1875-1949) ‘STATUE JEANNE D’ARC ST. DENIS DE CHAPELLE’ pen and ink on vellum, signed lower left JESSIE M. KING 23.5cm x 13cm

£500-700

358 GLASGOW SCHOOL, MANNER OF ANN MACBETH ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1900 coloured silks and threads, framed 18.5cm x 14cm

£400-600

121

359 ERNEST GIMSON (1864-1919) ARTS & CRAFTS CHINA CABINET, CIRCA 1916 mahogany, with pattern inlay in Macassar ebony and holly and ebony chequer beading 101cm wide, 223.5cm high, 58cm deep approx. Provenance: The cabinet was made for Gimson’s distant cousin Kingsley Gimson in 1916. The design is 1941.222.39, dated 25 July 1916, to be made in mahogany inlaid with holly & ebony. Literature: Carruthers A., Greensted M., Roscoe B. Ernest Gimson: Arts & Crafts Designer and Architect, Yale 2019, p.251, pl. 234 where this cabinet is illustrated Note: Copies of letters held at The Wilson, Cheltenham relate to this piece. The workshop Job Book states the cabinet took over 1000 hours to make (around 20 weeks) in 1916-17. It was made by Ernest Smith with some assistance from Harry Davoll, under the supervision of Peter Waals. The price charged was £85.10s, less than the cost of £88.10s given in the Job Book (1941.225.121, p.31). The piece is typical of Gimson’s later work, based on his early designs but made much more elaborate by the addition of the shaped cornice. In one of his letters, Gimson revealed that he had received an order for a similar piece as a result of this example, but that it would not be a repeat as he had ‘used up the last veneers of a famous tree’.

£10,000-15,000

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

122

360 AFTER ERNEST GIMSON LARGE ARTS & CRAFTS CENTRE TABLE, CONTEMPORARY oak, with mahogany and sycamore chequer inlay, bears label under top MATTHEW POMFRET/ POMFRET FURNITURE STUDIO/ CIRENCESTER 175cm diameter, 73.5cm high Literature: Carruthers A., Greensted M., Roscoe B. Ernest Gimson: Arts & Crafts Designer and Architect, Yale 2019, p.89, pl.77 where Gimson’s own example is illustrated in situ at Sapperton, circa 1905 Note: The original design for this table is held at The Wilson, Cheltenham (1941.222:401) and is inscribed ‘Dining or Hall Table in English Oak’, signed and dated ‘Ernest W. Gimson / Daneway House Nr Cirencester / Aug – 1909’. An earlier, larger table in walnut was sold by Mellors & Kirk in March 2013. This table which has an ebony-inlaid edge was made for the designer’s brother Mentor Gimson (1851–1925) and measures 153 cm diameter, slightly smaller than the present contemporary copy.

£5,000-7,000

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

361 ERNEST GIMSON (1864-1919) (DESIGNER), PETER WAALS (1870-1937) (MAKER) SET OF SIX ARTS & CRAFTS DINING CHAIRS, EARLY 20TH CENTURY English walnut, inlaid with ebony and holly, leatherette, comprising two armchairs and four side chairs (6) armchair 58cm wide, 103.5cm high, 51cm deep, side chair 52cm wide, 95cm high, 42cm deep Literature: Andrews J. Arts & Crafts Furniture, AAC 2015, pl.95 Yates S. Encyclopaedia of Chairs, Wellfleet 1991, p.85, pl.136a (similar example illustrated) Note: The original design drawings for the side chairs in this set, signed by Ernest Gimson and dated Dec 31st 1908 and 1909, are held in the Cheltenham Museum Archive (The Wilson) (1941.222.160 and 1941.222.453).

£10,000-15,000

124

362 EDWARD BARNSLEY (1900-1987) (ATTRIBUTED DESIGNER) SET OF EIGHT ‘CORONATION’ CHAIRS, DESIGNED 1936 oak with leather upholstery, two branded CORONATION with St. Edwards Crown; two branded GR with Crown; the remaining four branded with a Crown (8) Carver 57cm wide, 95cm high, 48cm deep; Chair 49cm wide, 89.5cm high, 42.5cm deep Note: These chairs and armchairs are thought to have been designed by Barnsley for the coronation of Edward VIII in 1936. The design remained in production for Government offices and Ministries. These examples have Royal monograms.

£3,000-5,000

363 EDWARD BARNSLEY (1900-1987) DESK, 1962 walnut, cedar and tooled leather, with three sliding shelves above an arrangement of ten drawers, one fitted with divider and one fitted with filing rack 122.3cm wide, 73.5cm high, 66.7cm deep

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

125

364 EDWARD BARNSLEY (1900-1987) TABLE LAMP, 1962 yew 30.5cm high to fitting

£500-800

365 EDWARD BARNSLEY (1900-1987) BOOKCASE CABINET, 1962 yew wood and oak 102cm wide, 196cm high, 44.5cm deep

£2,000-3,000

366 EDWARD BARNSLEY (1900-1987) OCCASIONAL TABLE, 1962

367 COTSWOLD SCHOOL ARTS & CRAFTS SIDE TABLE, CIRCA 1930 chestnut 73cm wide, 67.5cm high, 44.3cm deep

£300-500

walnut with sycamore inlay, stamped BARNSLEY 61cm diameter, 46cm high

£1,000-1,500

126

368 PETER WAALS (1870-1937) WARDROBE, CIRCA 1935 chestnut, with black walnut handles 181cm wide, 169cm high, 64.5cm deep Provenance: Geoffrey and Dorothy Bushby, Sibbersfield Hall, Chester Jackson-Stops & Staff and Wingett & Sons, the sale of the contents, 11th and 12th December 1974, Lot 347 John Minoprio Note: Geoffrey Campbell Bushby (1878-1974) was a Liverpool cotton merchant and married Dorothy Minoprio (18841973) in 1907. In 1931, the Sibbersfield estate was purchased by Dorothy, known as Dora, for herself and her husband. This wardrobe, made by Peter Waals at around this time, is thought to have been designed by Dora’s nephew, Anthony Minoprio.

£1,500-2,500

127

369 WORKSHOP OF ERNEST GIMSON (1864-1919) ARTS & CRAFTS HANGING BOOKCASE, CIRCA 1910 oak, plyboard, brass 81cm wide, 114cm high excluding brackets, 16.5cm deep including brackets Provenance: Sidney Gimson (brother of Ernest Gimson), and by family descent Private collection

£500-800

370 GORDON RUSSELL (1892-1980) FOR RUSSELL & SONS, BROADWAY ARTS & CRAFTS CABINET, DATED 1929 cherrywood and cedar, bears label verso THIS PIECE OF FURNITURE DESIGN NO X154 WAS MADE THROUGHOUT IN THE RUSSELL WORKSHOPS BROADWAY, WORCESTERSHIRE/ DESIGNER: GORDON RUSSELL/ FOREMAN: EDGAR TURNER/ CABINETMAKER: R.FRANCE, TIMBER USED CHERRYWOOD LINED CEDAR, DATE AUGUST 15TH 1929 53cm wide, 94.5cm high, 42.5cm deep

£600-900

371 GORDON RUSSELL (1892-1980) FOR RUSSELL & SONS, BROADWAY DRESSING CHEST AND MIRROR, DATED 1928 oak, with brass fittings bears label to one drawer DESIGN NO 55R. DESIGNED BY: GORDON RUSSELL/ FOREMAN: EDGAR TURNER/ CABINET MAKER: R.G. FRANCE/ DATED 19/10/28 142cm wide, 139cm high, 52.5cm deep

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

128

372 Y R.D. RUSSELL (1903-1981) AND EDEN MINNS (1906-1998) FOR GORDON RUSSELL LTD TABLE, DATED 1930 rosewood and English walnut, bears original label FOREMAN: FRED SHILTON/ CABINET MAKER: W. MARKS/ MADE 30 JUNE 1930 253cm long, 76.3cm high, 121cm deep Note: To face the challenges of the changing market in design in the early 1930s Gordon Russell suggested that his youngest brother R.D. (Dick) Russell should train as an architect. Once he had qualified Dick returned to Broadway, at which point Gordon Russell relinquished his role as designer, passing the mantle to his brother and a team of designers including David Booth and Eden Minns who had trained with Dick as an architect. Minns went on to design radio cabinets for Murphy, with whom he later took up the position of Head of Cabinet Design.

£3,000-5,000

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

129

373 HARRY DAVOLL (1876-1963) (ATTRIBUTED MAKER) ARTS & CRAFTS REVOLVING BOOKCASE, CIRCA 1920 oak, bears script mark to base DAVIDSON 224 (indistinct) 39.5cm square, 55cm high

£600-800

130

131

374 § JOSEF HOFFMANN (1870-1956) FOR WIENER WERKSTÄTTE PAIR OF KOHLENKISTE (COAL BOXES), CIRCA 1905 painted pine (2) 50cm square, 50cm high Provenance: Jerome and Margaret Stonborough-Wittgenstein, Berlin and by family descent Literature: MAK, Vienna WWF 102-79-4 and WWF 102-79-2, period photograph illustrated. Josef Hoffmann Architect and Designer 1870-1956, exhibition catalogue, Galerie Metropol, New York, 1981, p.163 illus.

£3,000-5,000

Margaret Wittgenstein (1882-1958) married the American Jerome Stonborough (18731938) in Vienna on 7 January 1905. For their wedding and their subsequent move to Berlin, Karl Wittgenstein (1847-1913), the bride’s father, commissioned the Wiener Werkstätte to furnish the couple’s Berlin apartment (In den Zelten 21a). Wittgenstein was a German-born Austrian steel tycoon and, at the time, one of the richest men in the world. His sons were the philosopher Ludwig Wittgenstein and the pianist Paul Wittgenstein and he was also a major patron of the Vienna Secession. In the same year, he commissioned Klimt to paint Margaret’s portrait, which today hangs in the Neue Pinakothek in Munich. Koloman Moser and Josef Hoffmann supplied the interior designs for the apartment, including all ancillary facilities such as the kitchen and the servant’s quarters. Margaret, writing to her mother in Vienna on 18 April 1905 remarked that “Moser who was absolutely charming again - and I have for the last three days been arranging furniture, hanging pictures and painting frames. Now the apartment is in good shape, at least superficially, and Jerome and I are delighted and sing yours and the Wiener Werkstätte’s praises every day.” The current lot, a pair of coal boxes, were said to have stood in the servant’s quarters. They are striking, with their stepped facades in bas relief adding drama to the restrained form. This feature is found in other furniture designed by Hoffmann for the apartment including chairs and a matching wardrobe. In keeping with other related pieces, the boxes were highlighted with a coloured band in grey or blue (now overpainted).

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

132

375 JOSEF HOFFMANN (1870-1956) FOR WIENER WERKSTÄTTE SECESSIONIST VASE, EARLY 20TH CENTURY patinated copper, stamped with artist’s monogram and maker’s mark WIENER/ WERK/ STÄTTE 15cm high, 15cm wide Literature: Fahr-Becker, G. Wiener Werkstätte 1903 - 1932, Cologne 1995, p.172, illustrated Schweiger,W.J. WW, Wiener Werkstätte, London 1984, p.66, illustrated

£800-1,200

376 § JOSEF HOFFMANN (1870-1956) FLOWER PLANTER, CIRCA 1905 painted wood 49.2cm square, 51.2cm high Provenance: Private Collection, London Literature: Galerie Julius Hummel, Vienna; Galerie Michael Pabst, Munich and Galerie Meyer-Ellinger, Frankfurt, Exhibition catalogue KONSTRUKTIVER JUGENDSTIL/ WIENER GRAFIK, Frankfurt 3-28 May 1981, Leverkusen 4 October-1 November 1981, p. 43, pl. 32 illus.

£600-800

377 JOSEF HOFFMANN (1870-1956) FOR J. & J. KOHN SECESSIONIST ‘FLEDERMAUS’ DRAWING ROOM CHAIR, CIRCA 1905 stained and bent beechwood, with original upholstered seat and later Backhausen cover to a Hoffmann design 44cm wide, 76cm high, 35cm deep

£500-800

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

378 JOSEF HOFFMANN (1870-1956) FOR J. & J. KOHN DESK, MODEL NO. 500/6, DESIGNED CIRCA 1901 beech, leather, brass, partial J. & J. Kohn applied paper label 97cm high, 108cm wide, 58cm deep Literature: Renzi G., Caraffa C. Il Mobile Moderno: Gebrüder Thonet Vienna, Jacob & Josef Kohn, Silvana 2008, pp. 202-203.

£5,000-7,000

134

379 MAX JOSEF GRADL (1873-1934) (ATTRIBUTED DESIGNER) FOR THEODOR FAHRNER PAIR OF JUGENDSTIL CUFFLINKS, CIRCA 1903 silver, set with green stone cabochons, marked to reverse TF/ 950/ REGD/ MB (Murle Bennett, importer), import hallmarks for London 1903 (2) 1.2cm square Literature: Becker, V. Art Nouveau Jewelry, Thames & Hudson 1998, p.142, pl.210 where buttons of a similar design are illustrated.

£250-350

380 THEODOR FAHRNER (1859-1919) (ATTRIBUTED MAKER) FOR MURRLE BENNETT & CO. ART NOUVEAU SILVER BROOCH, CIRCA 1900 openwork square form set with a tapered turquoise, stamped maker’s marks MBCo/ 950 3cm across

£300-500

381 CHRISTIAN FERDINAND MORAWE (1865-1910) FOR THEODOR FAHRNER JUGENDSTIL BROOCH, CIRCA 1903 silver and amethyst, fitted with a gold pin hinge and C clasp, signed TF/ 950 REG’D, with artist’s mark and Murrle Bennett importers mark 2.5cm x 3cm

£300-500

382 AUSTRIAN SECESSIONIST TRINKET BOX, CIRCA 1905 copper, with enamel lid, glass body 14.5cm across

£300-500

383 MICHAEL POWOLNY (1871-1954) FOR LOETZ ‘TITANIA’ BOWL, CIRCA 1918 glass 12.5cm diameter Literature: Lötz, Böhmisches Glas 1880-1940, Book 1, p 290

£300-500

135

384 AUSTRIAN LARGE JUGENDSTIL CEILING LIGHT, CIRCA 1900 brass, cut glass, opalescent glass 159cm high, 49cm across

£500-800

385 HANS VOLLMER (1878-1969) (ATTRIBUTED DESIGNER) FOR PRAG-RUDNIKER, VIENNA ARMCHAIR, CIRCA 1901 oak with upholstered seat 59.5cm wide, 74cm high, 54cm deep

£400-600

386 AUSTRIAN SECESSION WRITING DESK, CIRCA 1910 oak, with brass fittings, later rexine writing surface 134.5cm, 124cm high, 79.5cm deep Provenance: From The Millinery Works Collection.

£500-800

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

136

387 REISSNER, STELLMACHER & KESSEL, TURN-TEPLITZ, BOHEMIA JUGENDSTIL ‘AMPHORA’ VASE, CIRCA 1900 glazed, enamelled and painted earthenware with gilded highlights, printed factory stamp, impressed 139/ 28 22.5cm high

£1,200-1,800

388 REISSNER, STELLMACHER & KESSEL, TURN-TEPLITZ, BOHEMIA JUGENDSTIL ‘AMPHORA’ VASE, CIRCA 1900 painted and gilded ceramic, artist’s monogram to body, printed factory stamp, AMPHORA TURN/ 1326 hand-signed medallion 33cm high

£500-800

389 AUSTRIAN SCHOOL AND LOETZ JUGENDSTIL SERPENT LAMP, CIRCA 1910 patinated bronze, iridescent Loetz glass, brass fitting 49.5cm high

£1,000-1,500

390 GUSTAVE SERRURIER-BOVY (1858-1910) ART NOUVEAU SIDE TABLE, CIRCA 1900 oak with marquetry inlay and patinated metal fittings 95cm wide, 75cm high, 65cm deep

£400-600

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

137

391 RICHARD RIEMERSCHMID (1868-1957) FOR DEUTSCHE WERKSTÄTTEN, HELLERAU PAIR OF SIDE CHAIRS, CIRCA 1902 oak, with upholstered seats (2) 43cm wide, 89.5cm high, 42.5cm deep

£300-500

392 ‘LATOUR’ FOR FRIEDRICH GOLDSCHEIDER (1845-1897) SALOME, CIRCA 1912 patinated terracotta, impressed maker’s marks LATOUR/ FRIEDRICH GOLDSCHEIDER/ WIEN/ 3726/ 32/ 27 80cm high Literature: Pinhas, O. Goldscheider, Richard Dennis 2006, p.45 illus.

£600-800

393 RICHARD RIEMERSCHMID (1868-1957) GAMES TABLE, CIRCA 1905 mahogany 72cm long, 74.5cm high, 60cm deep Literature: Nerdinger, W. Richard Riemerschmid. Vom Jugendstil zum Werkbund, Munich 1982, p.202, fig.135

£500-700

Heavily regarded as one of the leading designers of the Jugendstil movement, RICHARD RIEMERSCHMIDT initially trained as a painter before turning his attention to furniture and architecture in 1895. Inspired by the ideology of the Arts & Crafts movement, he produced a number of designs for furniture, textiles, ceramics and glass using simple forms and materials to create pieces that very much conveyed a functional aesthetic. In 1897 Riemerschmidt was co-founder of the Deutsche Werkstãtten für Kunst und Handwerk and the Deutscher Werkbund in 1907, and pioneered the machine production of artistically designed wooden furniture. He championed low-cost material, and simple yet solid craftsmanship to advocate affordable design for everyday living.

138

394 ERICH KLEINHEMPEL (1874-1947) (ATTRIBUTED DESIGNER), PROBABLY FOR THEODOR FAHRNER JUGENDSTIL NECKLACE, CIRCA 1906 sterling silver with amethysts, seed pearls, stamped STERLING/ 935 45.5cm long

£400-600

395 RICHARD RIEMERSCHMID (1868-1957) DRAWING ROOM CABINET, CIRCA 1905 oak, glazed and leaded glass with steel fittings 70cm wide, 155cm high, 39.5cm deep

£700-900

396 SIMON PETER GERZ, WESTERWALD PAIR OF VASES, CIRCA 1920 salt-glazed stoneware, impressed maker’s marks/ 1054 (2) 40cm high

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

139

397 WILHELM SCHMIDT (1845-1938) (ATTRIBUTED MAKER) AND JOSEPH ANTON HODEL (18731930) RARE ART NOUVEAU OPAL CAMEO PENDANT, CIRCA 1900 carved opal matrix, with openwork silver metal mount, stamped to rear HODEL, within fitted case 5.2cm tall, 2.8cm across

£6,000-8,000

WILHELM SCHMIDT developed an innovative technique of carving opal; an incredibly difficult task given the delicate nature of the material. Instead of carving the whole piece from the precious stone, he used a rough opal and opted to carve the matrix with a very thin layer of precious opal overlaying it. The result is a stunning contrast of layered opals, giving his designs a sense of depth and relief. Schmidt worked for renowned jewellers such as John Brogden, Child & Child and Guilliano. Examples of his work are now housed in museum collections such as the British Museum and the Natural History Museum in London. The silver frame supporting the central opal has been worked by Joseph Anton Hodel, a leading silversmith and jeweller of the Arts & Crafts period. He initially trained in Vienna and Paris, before moving to London in 1900. In the years following he worked for the Bromsgrove Guild and taught metalwork in 1908 at the School of Art in Liverpool.

398 ALPHONSE MUCHA (1860-1939) ‘HAMLET’, POSTER, 1899 colour lithograph, printed signature MUCHA, 1899, titled TRAGIQUE HISTOIRE D’HAMLET PRINCE DE DANEMARK SARAH BERNHARDT, publisher’s mark IMP.F.CHAMPENOIS, 66.BOULD.ST. MICHEL, PARIS, framed 205.5cm x 75cm Literature: Sato T. et al Alphonse Mucha: In Quest of Beauty, Mucha Foundation Publishing 2015, p.27, illus. Note: Hamlet premiered on May 20th 1899 at Sarah Bernhardt’s new theatre, Théâtre Sarah-Bernhardt (now Théâtre de la Ville) at 2 Place du Chatelet, Paris. This was the final poster Mucha produced for Bernhardt.

£6,000-8,000

141

399 FRENCH, MANNER OF JEANBAPTISTE-EMILE DROPSY ART NOUVEAU LOCKET, CIRCA 1900 yellow metal, stamped to the bale 15CT 2.6cm diameter Provenance: Victor Arwas Gallery, Beverley Hills Literature: Becker, V. Art Nouveau Jewelry, Thames & Hudson 1998, p.151, pl.151 where a similar example is illustrated.

£300-500

400 CHARLES KORSCHANN (1872-1943) ART NOUVEAU FIGURE, CIRCA 1900 gilded and patinated bronze, signed C. KORSCHANN lower rear, with the Foucher, Paris foundry mark 27cm high

£1,000-1,500

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

£1,500-2,000

402 TIFFANY STUDIOS, NEW YORK BOWL, CIRCA 1920 blue favrile glass, etched to base 146/ M/ L.C. TIFFANY/ FAVRILE 20.4cm diameter

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

142

403 GEORGES DE BARDYÈRE (1883-1941) ART DECO CABINET, CIRCA 1920 mahogany, burr walnut, glass, signed to one roundel G BARDYÈRE 78.5cm wide, 180cm high, 36cm deep

£1,000-1,500

404 AGATHON LÉONARD (1841- 1923) BUST OF A GIRL, CIRCA 1900 carved marble, inscribed A. LÉONARD 46cm high, 46cm wide Provenance: Design, Bonhams London: Wednesday 15 November 2006, lot 127 Exhibited: L’Art Nouveau, La Révolution Décorative, Pinacoteque de Paris, 28 April-8 September 2013 Art Nouveau, Il Trionfo della Bellezza, Venaria Réale , Palazzo Venaria, Torino, 17 April 2019 - January 2020.

£10,000-15,000

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

AGATHON LÉONARD is best remembered as the French Art Nouveau sculptor responsible for creating a series of works inspired by the dancer Loïe Fuller. First produced for Manufacture Nationale de Sèvres in 1899 and exhibited at the Exposition Universelle in Paris in 1900, they were then executed in bronze at the Süsse Frères foundry, as a result of their popularity. This present bust possesses the same grace as the dancers, with the elegant flowing lines and arabesques of the hair and the beautiful serenity of the pose. Between 1896 and 1914 he regularly exhibited at the Salon de la société nationale des beaux-arts. A list of these works including a number of marble busts is provided in Ingelore Böstge’s Agathon Léonard Le Geste Art Nouveau, Paris, 2003, pp 120-122. Two of these are entitled Flore des Champs - one in 1905 model number 1818 and the other in 1907 model number 2001. This seems a plausible title for the present lot as the girl has daisies and poppies in her hair, together with ears of corn. Born in Belgium, Agathon Léonard was naturalised French in 1887 and in 1900 he was awarded the chevalier of the Légion d’Honneur, the highest order of merit in France.

144

405 Y DEMETRE H. CHIPARUS (1886-1947) ‘THE NIMBLE DANCER’: ART DECO FIGURE, CIRCA 1925 patinated and cold painted bronze, ivory and inlaid onyx, the base indistinctly inscribed D.H. CHIPARUS 47cm high Literature: Catley, Bryan Art Deco and Other Figures, Antique Collectors Club, 1978, p. 91

£8,000-12,000

145

406 SCHNEIDER ART DECO TABLE LAMP, CIRCA 1925 wrought steel, frosted glass, signed to shade SCHNEIDER 47cm diameter, 80cm high

£1,000-1,500

407 EDGAR BRANDT (1880-1960) ‘SIMPLICITÉ’ CONSOLE TABLE, CIRCA 1925 wrought steel, marble 150.5cm wide, 87.5cm high, 45.5cm deep

£8,000-12,000

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

146

408 DAUM FRÈRES, NANCY ‘RAIN’ CAMEO VASE, CIRCA 1910 frosted glass, acid-etched and enamelled, signed in enamel DAUM/ NANCY/ *P., with the Cross of Lorraine 11.5cm high

£2,000-3,000

409 DAUM FRÈRES, NANCY ‘PAVOTS’ CAMEO VASE, CIRCA 1900 glass, acid-etched, overlaid, engraved DAUM/ NANCY, with Cross of Lorraine 19.5cm high

£3,000-5,000

410 GALLÉ CAMEO BOX & COVER, CIRCA 1910 glass, acid-etched and overlaid, box and cover with cameo signature GALLÉ 11cm diameter

£400-600

411 GALLÉ CAMEO BOX & COVER, CIRCA 1910 glass, acid-etched and overlaid, cameo signature GALLÉ 16.5cm diameter

£500-700

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

147

412 DAUM, NANCY CHANDELIER, CIRCA 1900 wrought-iron, with four glass shades, each signed DAUM/NANCY/ FRANCE with Cross of Lorraine 76cm high

£500-800

413 FRENCH, MANNER OF JEAN DESPRÉS ART DECO CLIP, CIRCA 1930 silver, 18ct gold and malachite, partial mark for French standard of silver for 950, partial maker’s mark 3.6cm x 3.7cm

£300-500

414 DAUM, NANCY PAIR OF WALL LIGHTS, CIRCA 1920 cameo glass, pressed and wrought steel (2) shades, 14cm high, 8cm diameter, the whole 27cm high, 20cm deep

£300-500

415 JOE DESCOMPS (1869 1950) RECLINING NUDE, CIRCA 1925 bronze, onyx, signed JOE DESCOMPS 25cm long

£400-600

148

416 RENÉ LALIQUE (1860-1945) OEILETTE SCENT BOTTLE, D’HÉRAUD – 13, DESIGNED 1922 clear, frosted and grey stained glass, boxed, moulded R. LALIQUE PARIS FRANCE (2) 8.2cm high

£300-500

417 ‡ LALIQUE ‘MADRIGAL’ SCENT BOTTLE, MOLINARD, DESIGNED 1944 clear, frosted and green stained glass, engraved MOLINARD LALIQUE FRANCE 15.2cm high

£400-600

418 RENÉ LALIQUE (1860-1945) AMBRE D’ORSAY SCENT BOTTLE, D’ORSAY – 4, DESIGNED 1914 black, and white stained glass, moulded LALIQUE AMBRE D’ORSAY 13.5cm high

£400-600

419 420 RENÉ LALIQUE (1860-1945) AMBRE EAU DE TOILETTE SCENT BOTTLE, D’HÉRAUD – 8, DESIGNED 1920 clear, frosted and sepia stained glass, moulded AMBRE EAU DE TOILETTE D’HÉRAUD PARIS FRANCE 13.5cm high

£1,200-1,800

RENÉ LALIQUE (1860-1945) SUR DEUX NOTES SCENT BOTTLE, RENAUD, DESIGNED 1920 clear, frosted and sepia stained glass, moulded R. LALIQUE, applied paper label Rénard PARIS SUR 2 NOTES 13.5cm high

£300-500

149

421 RENÉ LALIQUE (1860-1945) ‘COQ HOUDAN’ CAR MASCOT, NO. 1161 designed 1929, clear and frosted glass, moulded R. LALIQUE FRANCE 19.7cm high

£4,000-6,000

422 EMILE GALLÉ (1846-1904) ‘PAYSAGE DE NEIGE’ VASE, CIRCA 1899 glass, acid-etched, overlaid and enamelled, signed GALLÉ 30.3cm high

£3,000-5,000

423

424 Y

425

DUNCAN. ALASTAIR (EDIT.)

SOLANGE BERTRAND (1913-2011)

SIX VOLUMES OF ‘THE PARIS SALONS’

FIGURE OF A GIRL, CIRCA 1910

AIMÉ-JULES DALOU (1838-1902)

cloth bound, no dust covers, comprising Volume III ‘Furniture’; Volume IV ‘Ceramics & Glass’; Volume V ‘Objets d’Art & Metalware’; Volume VI ‘Textiles & Leather’; ‘Jewellery A-K’; and ‘Jewellery L-Z’, Antique Collector’s Club 2002; also Hoffmann, Julius ‘Der Moderne Stil: Jugendstil 1899-1905’, Arnoldsche 2006 (7)

bronze, ivory, marble, signed to the base S. BERTRAND

‘TERRASSIER’

16.5cm high

bronze, signed DALOU/ CIRE PERDU (indistinct)

£300-500

14.2cm high

£300-500

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

150

426 LOUIS ICART (1888-1950) LADY WITH PARASOL, CIRCA 1920 coloured etching, signed in pencil and numbered 129, 23.5cm x 18.5cm; together with a further ETCHING BY LOUIS ICART, coloured etching, signed in pencil and numbered 47, 23.5cm x 18.5cm each published by L’Estampe Moderne, Paris and bear paper label verso (2) £300-500

427 MAURICE MILLIÈRE (1871-1946) GROUP OF THREE ETCHINGS to include POWDER PUFF, signed in pencil, numbered 329 with blindstamp, 45cm x 35cm; AT THE PIANO, signed in pencil, inscribed 98/1/0, 33cm x 45.5cm; LIPSTICK, signed in pencil and inscribed 60 with blindstamp, 32.5cm x 40.5cm; together with PIERROT IN LOVE, signed in pencil A. SOLANGES, editioned 52/250, 38.5cm x 47.5cm (4) £300-500

428 LOUIS ICART (1888-1950) GROUP OF FOUR ETCHINGS, CIRCA 1925 to include ‘SMOKE’ (FUMÉE), 1926, signed in pencil, with Windmill blindstamp and publishers mark, 38cm x 51.5cm; THAÏS, 1927 signed in pencil, inscribed THAIS/ 116, with Windmill blindstamp and publishers mark, 40.5cm x 53cm; FANNY WITH CATS, signed in pencil, inscribed 212, with Windmill blindstamp and publishers mark, 39.5cm x 30cm; BLUE GARTER, 1924, signed in pencil, inscribed 77, with Windmill blindstamp and publishers mark, 30cm x 24cm (4) £600-1,000

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

152

429 Y FERDINAND PREISS (1882-1943) ‘CABARET GIRL’, CIRCA 1925 patinated bronze, ivory, onyx, foundry mark to base figure 32cm high, 38.5cm high including base Literature: Catley, B. Art Deco and other Figures ACC 2003, p.309 where a similar example is illustrated

£10,000-15,000

153

430 Y FERDINAND PREISS (1882-1943) ‘CON BRIO’, CIRCA 1925 cold-painted bronze, ivory and patinated ivory onyx, signed in bronze F. PREISS 29.2cm high, 34.3cm high including base Literature: Catley, B. Art Deco and other Figures ACC 2003, p.303 where a similar example is illustrated

£10,000-15,000

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

154

431 Y HANS HARDERS DANCER, CIRCA 1925 cold-painted bronze, ivory, onyx and black slate, signed to base H. HARDERS. R.U.M figure 33.8cm, total height including base 38cm

£4,000-6,000

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

155

432 JOSEF LORENZL (1892-1950) DANCER, CIRCA 1925 cold-painted bronze, onyx, signed to base LORENZL 65cm high

£6,000-9,000

433 JOSEF LORENZL (1892-1950) DANCER FIGURE, CIRCA 1925 patinated bronze, raised on an onyx dished base, signed in the bronze LORENZL 36.5cm high excluding base

£1,500-2,000

156

434 BRUNO ZACH (1891-1935) ‘HIGH-KICK’, CIRCA 1925 cold-painted bronze, black slate 37cm high; 41.2cm high including base Literature: Catley, B. Art Deco and other Figures ACC 2003, p.333 where a similar example is illustrated

£4,000-6,000

157

435 Y

436 Y

FERDINAND PREISS (1882-1943)

BALLET DANCER, CIRCA 1925

YOUNG GIRL, CIRCA 1925

cold painted bronze, ivory and black slate, signed in the bronze F. PREISS

cold-painted bronze, ivory, onyx and black slate, foundry mark to rear of dress, signed to onyx base F. PREISS

14cm high, 18.8cm high including base Literature: Catley, B. Art Deco and other Figures ACC 2003, p.272 where a similar example is illustrated

18.5cm high, 25.4cm high including base

£4,000-6,000

£1,500-2,000

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

158

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

£500-700

438 Y SAMUEL LIPCHYTZ (1880-1943) FIGURE OF A WOMAN, CIRCA 1920 cold-painted bronze, ivory, onyx and black slate 25.4cm high, 34.4cm high including base

£2,500-3,500

159

439 JOSEF LORENZL (1892-1950) ‘GIRL WITH DOGS’, CIRCA 1925 cold-painted bronze, with marble base 31.5cm high, 33.2cm wide excluding base; total height 35cm, 34.7cm wide including marble base Literature: Catley, B. Art Deco and other Figures ACC 2003, p.223 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

160

440 § PAUL COLIN (1892-1985) JOSEPHINE BAKER ink, watercolour and gouache, signed, dated and inscribed lower right JOSEPHINE BAKER/ PAUL COLIN/ 1928 34cm x 24cm Note: Paul Colin is best known for his 1925 poster design for the Revue Nègre, which helped to launch the career of Josephine Baker (who became his mistress). He worked for over forty years in the theatre, creating not only posters but also numerous sets and costumes.

£1,000-1,500

441 FRENCH TWO ART DECO HANDBAG/ COMPACTS, CIRCA 1930 enamelled metal, polished brass, corded cotton, fabric, mirrored glass, paste (2) compact bag 18.3cm wide, 13.5cm high, handbag 23.3cm wide, 14.5cm high

442

£300-500

DAUM, FRANCE PAIR OF TABLE LAMPS, SECOND HALF 20TH CENTURY clear and frosted glass, pâte de verre, with brass mounts, script etched signature DAUM/ FRANCE (2) 58cm high

£1,200-1,800

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

£800-1,200

161

French artist and weaver JEAN LURÇAT is widely credited for the revival of contemporary tapestry. Studying in Paris, he was very familiar with the Cubism and Expressionism movements, becoming enmeshed in the circles of Pablo Picasso, Georges Braque and Henri Matisse. His earliest work incorporated abstracted forms in a colourful palette, clearly derived from his contemporaries. Though he initially worked as a painter, Lurçat became intrigued by tapestry after learning more its history, and downfall as an authentic art form. During the Renaissance, many artworks by painters such as Raphael were re-created as tapestries. As a result, traditional weaving techniques were applied in ways which set out to copy painterly effects of colouring and shading. Lurçat firmly believed that tapestry and paintings were two separate entities, distinguished by the fact that a tapestry is often custom made for the wall on which it is displayed, and thereby works in unison with the surrounding architecture to transform the space it inhabits. He set out to create original and striking compositions; inspired by medieval bestiaries, his work often features mythical beasts and creatures that fill the space entirely. As in the present lot, the central animal dominates and is captured in the midst of movement: entwined with a vivid mass of leafy foliage, creating an incredibly dynamic work. By embracing the origins of tapestry, adopting bold colour palettes and unique energetic compositions, Lurçat helped restore the integrity of a lost art form and re-positioned it as a respected and valued medium of contemporary art.

444 JEAN LURÇAT (1892-1966) FOR ATELIER GOUBELY BELZÉBUTH, CIRCA 1960 coloured wools, woven signature LURÇAT and GG monogram, sewn label verso 170cm x 120cm

£2,000-3,000

445 AFTER LE CORBUSIER, PIERRE JEANNERET & CHARLOTTE PERRIAND LC4 LOUNGER, DESIGNED 1929, MODERN chromium-plated steel frame, leather upholstery, powder coated steel base 162cm long, 71cm high, 53cm deep

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

162

446 PRIMAVERA, FRANCE ART DECO CAT FIGURE, CIRCA 1930 crackle-glazed ceramic, printed mark PRIMAVERA/ FRANCE 24cm across

£300-500

447 OTTO LINDIG joined the Bauhaus as a sculptor in 1919 and in 1920 was apprenticed under Gerhard Marcks at the school’s Dornburg premises. As the school moved closer towards a philosophy of uniting Art & Technology, Lindig became increasingly interested in machine-based production methods and in 1924 he was responsible for the technical management of the pottery. Simple, organic forms dominated his work, as well as a careful selection of glazes in an effort to further emphasise the sculptural quality of the design. A testament to Lindig’s popularity, the Karlsruhe factory contacted Lindig for permissions to use some of his Bauhaus designs as he owned their copyrights. The original designs came into production at Karlsruhe in 1929, some of them produced until 1962.

OTTO LINDIG (1895-1966) FOR STAATLICHE MAJOLIKA KERAMIK MANUFAKTUR, KARLSRUHE, GERMANY BAUHAUS PART TEA-SERVICE, CIRCA 1930 glazed earthenware, comprising a COFFEE POT, 19cm high; a MILK JUG, 7cm high; and THREE CUPS, 5cm high, each with moulded pottery marks and serial numbers (some pieces indistinct) (5) Note: A similar example of the coffee pot is in the V&A Collection, accession number C.254:1 to 2-1993

£600-800

448

449

450

GERMAN

P. LUGRIN, GENEVA

CONTINENTAL

‘SCHETSEN’: GROUP OF THIRTY-EIGHT FASHION PLATES

ART NOUVEAU STRUT MIRROR, CIRCA 1900

ENVELOPE CARD TABLE, CIRCA 1900

graphite and watercolour, most signed PM lower right

repoussé-decorated brass set with opalescent and foil-backed glass beads, leather-covered wood, enclosing a mirrored plate, signed lower right LUGRIN

mahogany, boxwood and mother-ofpearl inlay, baize lining and brass fixings

various sizes, most 25cm x 11cm and 27cm x 12cm

38.5cm x 26.5cm

open 75.6cm square; closed 53.2cm square, 73.5cm high

£300-500

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

163

451 CONTINENTAL ART NOUVEAU DRAPED FIGURE, CIRCA 1900 carved wood 38cm high

£400-600

452 FRIEDRICH GOLDSCHEIDER (1845-1897) FIGURE OF A BOY, CIRCA 1895 model 1368, painted terracotta, bamboo and rattan chair, stamped marks 56.5cm high Literature: Pinhas, O. Goldscheider, Richard Dennis 2006, p.33 illus.

£2,000-3,000

453 PROBABLY GERMAN JUGENDSTIL JARDINIÈRE, CIRCA 1900 pewter, with copper liner 17.8cm high, 54.5cm wide

£500-700

454

455

CONTINENTAL

DEUTSCHE KUNST UND DEKORATION

ART NOUVEAU TABLE LAMP, CIRCA 1910

SEVEN VOLUMES, 1899-1905

glass, with metal fittings, wired for electricity

published by Alexander Koch, Darmstadt, Germany (7)

44cm high

£400-600

£300-500

164

456 SERGE CHERMAYEFF (1900-1996) (ATTRIBUTED DESIGNER) FOR WARING & GILLOWS (ATTRIBUTED MAKER) ART DECO CABINET, CIRCA 1928 ripple sycamore veneer on mahogany construction with silver, ebonised and green lacquered detailing 121cm wide, 169cm high; 53cm deep Literature: Battersby M. The Decorative Twenties, The Herbert Press 1988, p.188, where a cabinet of similar design is illustrated.

£800-1,200

SERGE CHERMAYEFF had a long and varied career. He was initially an interior designer but later became an architect and academic. Born in Grozny, Chechnya, he and his parents moved to England when he was young. He was educated at Peterborough Lodge Preparatory School, the Royal Drawing Society School and at Harrow, before his family lost their money during the Russian Revolution. In 1928, along with the French designer Paul Follot in the Paris branch, became director of Waring & Gillow’s ‘Modern Art Studio’. Together they organised an Exhibition of Modern Design from 1928-9, which gave the British public access to luxurious Paris furnishings and an introduction to the French Modern style. Chermayeff was widely travelled and “enthusiastically pro-Modern”. His use of geometric, sometimes asymmetric forms and abstract decoration is illustrative of the influence of firms like Primavera in Paris and avante-garde designers like Pierre Chareau. Despite the lack of formal qualifications Chermayeff established his own architectural practice in 1930 and left Waring & Gillow in 1931. After 1933 Chermayeff executed several commissions with the German architect Erich Mendelsohn, the best-known of which is an icon of the International Style, the De La Warr Pavilion in Bexhill-on-Sea. He emigrated to the United States in 1940 where he became an academic.

457 SERGE CHERMAYEFF (1900-1996) (ATTRIBUTED DESIGNER) FOR WARING & GILLOWS (ATTRIBUTED MAKER) ART DECO BEDSIDE CABINET AND CHAIR, CIRCA 1928 ripple sycamore veneer on mahogany construction with silver, ebonised and green lacquered detailing, upholstery (2) cabinet 38cm wide, 86cm high, 38cm deep, chair 44cm wide, 77cm high, 55cm deep

£400-600

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

165

458 Y SERGE CHERMAYEFF (1900-1996) (ATTRIBUTED DESIGNER) FOR WARING & GILLOWS (ATTRIBUTED MAKER) TOILET MIRROR, CIRCA 1928 ripple sycamore veneer on mahogany construction with silver and ebonised detailing, ivory and mirrored glass 49cm wide, 86cm high, 24cm deep

£300-500

459 SERGE CHERMAYEFF (1900-1996) (ATTRIBUTED DESIGNER) FOR WARING & GILLOWS (ATTRIBUTED MAKER) ART DECO CONSOLE TABLE, CIRCA 1928 ripple sycamore veneer on mahogany construction with silver, ebonised and green lacquered detailing 112cm wide, 92cm high, 53cm deep

£600-800

460 SERGE CHERMAYEFF (1900-1996) (ATTRIBUTED DESIGNER) FOR WARING & GILLOWS (ATTRIBUTED MAKER) ART DECO CHEST, CIRCA 1928 ripple sycamore veneer on mahogany construction with silver, ebonised and green lacquered detailing 95cm wide, 92cm high, 53cm deep

£600-800

461 SERGE CHERMAYEFF (1900-1996) (ATTRIBUTED DESIGNER) FOR WARING & GILLOWS (ATTRIBUTED MAKER) ART DECO BED, CIRCA 1928 ripple sycamore veneer on mahogany construction with silver, ebonised and green lacquered detailing 106cm wide, 97cm high, 192cm long

£400-600

166

462 § CECIL BEATON (1904-1980) COSTUME DESIGN FOR CAROL REED’S ‘KIPPS’, CIRCA 1941 pencil and hand-coloured wash, signed lower right BEATON 38cm x 22cm

£1,500-2,000

463 SERGE CHERMAYEFF (1900-1996) FOR WARING & GILLOW SIDEBOARD, CIRCA 1930 coromandel wood veneer and ebonised handles, stamped to drawer WARING & GILLOW LTD 153cm wide, 100cm high, 60.5cm deep Literature: Tilson B. The Modern Art Department, Waring and Gillow, 1928-1931, Decorative Arts Society Journal, no.8, pp.40-47.

£1,500-2,500

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

168

464 OLIVER MESSEL (1904-1978) CEILING LIGHT, CIRCA 1960 gilded metal 63cm diameter, 30cm high Note: A similar fitting by Messel hangs in the upstairs Tapestry Room at Kelmscott Manor, Oxfordshire.

£400-600

465 ENGLISH, MANNER OF GORDON RUSSELL ART DECO CABINET, CIRCA 1930 walnut and ebonised wood, with three keys 115.5cm wide, 131cm high, 45cm deep

£600-1,000

169

466 CHARLES NOKE (1858-1941) AND HARRY NIXON (1886-1955) FOR ROYAL DOULTON ‘CHANG’ JAR & COVER, CIRCA 1930 flambé glazed earthenware, painted NOKE/ HN/ CHANG/ ROYAL DOULTON 23.5cm high

£2,000-3,000

467 CHARLES NOKE (1858-1941) AND HARRY NIXON (1886-1955) FOR ROYAL DOULTON LARGE ‘CHANG’ CENTREPIECE, CIRCA 1930 glazed earthenware, painted NOKE/ HN/ CHANG/ ROYAL DOULTON 38cm wide

£3,000-5,000

468 GOLDSCHEIDER, AUSTRIA BUST OF A GIRL, CIRCA 1930 painted and glazed terracotta, printed and incised maker’s marks GOLDSCHEIDER/ WIEN/ MADE IN AUSTRIA/ 6305 23cm high

£400-600

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

170

469 HEAL & SON, LONDON ‘LETCHWORTH’ CABINET CHEST, CIRCA 1910 oak, inset label HEAL & SON LTD. LONDON W. to one drawer 91cm wide, 153cm high, 51cm deep Literature: Rogers J.C. Modern English Furniture Country Life 1930, illustrated Note: An unusual variant of the Letchworth chest with cupboard, with four rather three drawers.

£2,000-3,000

470 HEAL & SON, LONDON ARMCHAIR, CIRCA 1935 oak, with upholstered seat 71cm wide, 83cm high, 95cm deep

£400-600

471 HEAL & SON, LONDON CABINET, CIRCA 1930 painted oak 76.3cm wide, 98cm high, 46cm deep

£400-600

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

171

472 ENGLISH ‘MASTER INCOLOR’ ART DECO COCKTAIL SHAKER, CIRCA 1930 red Bakelite, chrome-plated metal, maker’s marks THE MASTER INCOLOR COCKTAIL SHAKER / MADE IN ENGLAND / PATENT PENDING 28cm high

£300-500

473 ENGLISH ART DECO UPLIGHTER, CIRCA 1935 brass, acrylic glass 30cm high, 28cm diameter Provenance: Purchased at Olympia Fine Art Fair

£600-800

474 ENGLISH GROUP OF THREE ART DECO TABLE LAMPS, CIRCA 1930 patinated metal, alabaster, glass (3) 50cm high (two kneeling figures), 65cm high (standing figure)

£600-800

172

475 GERARD DE WITT (1884-1976) FOR FULHAM POTTERY FLOWER VASE, CIRCA 1940 glazed earthenware, stamped THE FULHAM POTTERY LONDON MADE IN ENGLAND 35cm high

£300-500

476 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

£300-500

477 ENGLISH NEST OF THREE OCCASIONAL TABLES, CIRCA 1950 walnut and glass (3) largest 62cm wide, 68cm high, 38cm deep; smallest 47cm wide, 60cm high, 38cm deep

£300-500

478 ENGLISH MODERNIST ARMCHAIR, CIRCA 1920 painted oak 53.5cm wide, 72cm high, 75cm deep

£300-500

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

173

479 COLETTE GUEDEN (1905-2001) FOR PRIMAVERA FIVE PLATES, CIRCA 1930 painted, printed and glazed ceramic, signed to reverse, two with CG monogram (5) £300-500

480 PAOLO BUFFA (1903-1970) BUREAU, CIRCA 1940 mahogany inlaid with sycamore and exotic woods, with bronze sabot feet 81cm wide, 145.5cm high, 43cm deep

£2,000-3,000

481 ESSEVI, TURIN FIGURE, CIRCA 1930 glazed ceramic, painted ESSEVI/ ITALIA/ R.F. and incised 1016 44cm high

£600-800

174

482 GEORG JENSEN (1866-1935) BROOCH NO. 51, CIRCA 1925 sterling silver, amber, stamped GJ, DENMARK/ 830S 8.5cm x 4.2cm

£1,000-1,500

483 GEORG JENSEN (1866-1935) BROOCH NO. 14, CIRCA 1906 sterling silver, malachite, stamped GJ/ 14/ 826S 6.5cm x 6.1cm

£500-800

484 GEORG JENSEN (1866-1935) NECKLACE NO.9, CIRCA 1937 sterling silver, malachite, amber, stamped GJ (twice)/ 925/ STERLING/ DENMARK/ 9 45.7cm long

£2,000-3,000

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

175

485 GEORG JENSEN (1866-1935) NECKLACE NO. 22, CIRCA 1917 sterling silver, lapiz lazuli, stamped GEORG JENSEN/ 925/ STERLING/ DENMARK/ 22 42cm long

£800-1,200

486 GEORG JENSEN (1866-1935) SUGAR TONGS NO.3, CIRCA 1917 sterling silver, chrysoprase, stamped GEORG JENSEN/ GJ 830S/ 3/ 14/ 826S 14cm long

£300-500

176

487 ROYAL DOULTON ‘MOTHERHOOD’, CIRCA 1925 glazed earthenware, printed factory stamp, impressed 329/ 3.21/ painted H.N. 570, indistinctly signed F. CLAYTON to base 22.5cm high

£300-500

488 ROYAL DOULTON ‘SUNG’ JAR & COVER, CIRCA 1930 flambé glazed earthenware, printed factory stamp, painted SUNG 17.5cm high

£300-500

489 CHARLES NOKE (1858-1941) FOR ROYAL DOULTON FIGURE OF A TIGER, MID-20TH CENTURY flambé-glazed earthenware, printed factory stamp, painted NOKE, 23.5cm long; together with a larger FLAMBÉ FIGURE OF A TIGER, printed factory stamp, 37cm long approx.; and TWO TIGER FIGURES, one raised on an onyx base, the other with printed factory stamp, painted H.N. 2646/ J.C, each 33.5cm long approx. (4) £300-500

490 LESLIE HARRADINE (1887-1965) FOR ROYAL DOULTON TWO VEINED FLAMBÉ RHINO FIGURES, MID-20TH CENTURY flambé glazed earthenware, each with printed factory stamp and painted initials PD, one with impressed mark (2) each 45cm long approx.

£300-500

177

491 ROYAL DOULTON ‘THE MOOR’ CIRCA 1995 flambé-glazed earthenware, number 25 of 150, HN3642, printed factory stamp, painted initials DS, 43.5cm high; together with another figure of ‘THE MOOR’, printed factory stamp, gilt-painted ‘THE MOOR’/ D SMITH, painted S2136/ HN2082/ DBR, 43.5cm high (2) £300-500

492 ROYAL DOULTON ‘ST GEORGE AND THE DRAGON’, DATED 1987 glazed earthenware, printed pottery mark and painted marks HN2856/ KW/ 17.7.87 41.5cm high

£400-600

493 ROYAL DOULTON ‘THE MATADOR’, DATED 1995 glazed earthenware, printed factory stamp, painted HN2324/ DS/ 30.3.95/ 24106 65cm long approx.

£500-800

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

178

494 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) STANDARD LAMP, CIRCA 1950S-1960S oak, with carved mouse signature 138cm high

£500-800

495 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) STOOL, CIRCA 1950 oak, with carved mouse signature 40.5cm wide, 38.5cm high, 27.5cm deep

£400-600

496 SID POLLARD, BAGBY ARTS & CRAFTS DINING SUITE, CIRCA 1950 comprising a DINING TABLE, oak, 135.5cm long, 75cm high, 75.5cm deep; and a SET OF FOUR CHAIRS, oak, with close-nailed leather upholstery, 43cm wide, 87.5cm high, 42cm deep (5) Note: Sid Pollard was one of Robert ‘Mouseman’ Thompson’s craftsmen in the early days. He went on to produce his own work at Bagby in Yorkshire, all unsigned but characterised by the quality of the craftsmanship and the characteristic Mouseman features.

£800-1,200

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

179

497 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) MATCHED PAIR OF ASHTRAYS, 1940S AND 1970S oak, each with carved mouse signature (2) each 10cm x 7.5cm

£150-250

498 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) RARE PAPERWEIGHT, CIRCA 1980 oak, with carved mouse signature 9.5cm long

£100-200

499 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) SMALL DISH, CIRCA 1980 oak, with carved mouse signature to the centre 16.5cm diameter

£100-200

500 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) BOWL, CIRCA 1940S oak, carved mouse signature to the exterior 25.5cm diameter

£300-500

501 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) LARGE BOWL, CIRCA 1965 oak, carved mouse signature to the centre 31cm diameter

£200-300

502

503

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) NEST OF TABLES, CIRCA 1950

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

oak, each with carved mouse signature (3)

STANDARD LAMP, CIRCA 1950

largest, 60.5cm wide, 47.5cm high, 37cm deep; smallest 39cm wide, 36.5cm high, 26cm deep

oak, with carved mouse signature to the base

£800-1,200

139cm high

£500-700

504 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

£400-600

181

505 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) RARE KIDNEY-SHAPED STOOL, CIRCA 1930S oak, with carved mouse signature to one leg 52.5cm wide, 45cm high

£500-800

506 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) STANDARD LAMP, CIRCA 1950 oak, with carved mouse signature 138cm high

£700-900

507 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) ARTS & CRAFTS BREAD BOARD, CIRCA 1950 oak, with carved mouse signature 21.8cm x 31.2cm

£300-500

508 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) NEST OF TABLES, CIRCA 1970 oak, each with carved mouse signature (3) largest, 61cm wide, 48cm high, 38cm deep, smallest 39.5cm wide, 37cm high, 26cm deep

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

182

509 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

£400-600

510 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

£400-600

511 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY MINIATURE ‘PANSIES’ PATTERN VASE, CIRCA 1915 glazed earthenware, painted signature, impressed MOORCROFT/ BURSLEM, 7cm high; together with a ‘PANSIES’ PATTERN FLOWER POT, for James Macintyre & Co., glazed earthenware, painted signature in green, printed factory stamp, 15cm high (2) £400-600

512 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 ‘DUBARRY WARE’ PLATE, for James Macintyre & Co., glazed earthenware, printed factory stamp, registration number 211991, 27cm diameter (2) £300-500

183

513 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY LARGE ‘DAWN LANDSCAPE’ BALUSTER VASE, CIRCA 1900 flambé-glazed earthenware, painted signature in green, with associated hardwood stand (2) 40cm high

£1,500-2,000

514 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

£300-500

515 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) £300-500

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

184

516 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

£300-500

517 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; a ‘BANDED POMEGRANATE’ BOWL, glazed earthenware, painted initials WM in blue, facsimile signature, impressed POTTER TO H.M THE QUEEN/ MADE IN ENGLAND, 15.5cm diameter; 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 (5) £300-500

518 WILLIAM MOORCROFT (1872-1945) FOR 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; a ‘BIG POPPY’ PATTERN DISH, 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, with stamped marks to mount, 14.5cm high (6) £300-500

519 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; a ‘CLEMATIS’ PATTERN BALUSTER VASE, flambé-glazed earthenware, painted initials WM in blue, facsimile signature, impressed POTTER TO H.M. THE QUEEN/ MADE IN ENGLAND; 15cm high; 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, flambé-glazed earthenware, painted initials WM in blue, impressed MOORCROFT/ MADE IN ENGLAND, 18.5cm diameter (5) £300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

186

520 HARALD NIELSEN (1892-1977) FOR GEORG JENSEN BRACELET, CIRCA 1963 silver, model 86, stamped GEORG JENSEN/ STERLING / DENMARK/ 86, with import hallmarks for 1963 19.5cm long

£600-800

521 VIVIANNA TORUN BÜLOW-HÜBE (1927-2004) FOR GEORG JENSEN MÖBIUS BROOCH, CIRCA 1968 silver, model 374, stamped TORUN/ GEORG JENSEN/ 374/ 925S/ DENMARK 7cm across

£200-300

522 HENNING KOPPEL (1918-1981) FOR GEORG JENSEN BRACELET, POST 1945 silver, model 190, stamped GEORG JENSEN/ 925S/ DENMARK/ 190 19cm long

£400-600

187

523 NANNA DITZEL (1923-2005) AND JØRGEN DITZEL (B.1921) FOR GEORG JENSEN NECKLACE, POST 1945 silver, model 328, stamped GEORG JENSEN/ NJ/ 328/ 925S/ DENMARK pendant 6cm long

£250-350

524 GEORG JENSEN (1866-1935) BRACELET, CIRCA 1920 silver, model 255, stamped GEORG JENSEN/ 255/ 925S/ DENMARK 22cm long

£500-700

525 TAPIO WIRKKALA (1915-1985) MODEL TW 114 BOWL, DESIGNED 1956 sterling silver, stamped maker’s marks and artist’s initials 30cm long

£800-1,200

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

188

526 MICHAEL ANDERSEN AND SONS PAIR OF TABLE LAMPS, CIRCA 1970 glazed ceramic, incised maker’s marks (2) 30.5cm high

£300-500

527 RUD THYGESEN (B.1932) & JOHNNY SØRENSEN (B.1944) FOR BOTIUM PAIR OF ‘KONGASERIE’ ARMCHAIRS, CIRCA 1980 teak, canework, with leather upholstered loose cushions, applied paper label (2) 69cm wide, 69cm high, 62cm deep

£600-800

528 EDWARD WORMLEY (1907-1995) FOR DUNBAR, BERNE, INDIANA CHAIR, 1960S mahogany cane with upholstered cushion and brass caps and castors, bears label under set rail DUNBAR, BERNE, INDIANA 60cm wide, 70cm high, 76cm deep

£700-900

189

529 JOHANNES ANDERSEN (1903-1995) FOR ULDUM MØBELFABRIK SET OF TEN DINING CHAIRS, CIRCA 1960 teak with upholstery (10) 46cm wide, 79cm high, 48cm deep

£2,500-3,500

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

190

530 ROCHE BOBOIS ‘SATELIS’ CANAPE, CONTEMPORARY cream leather upholstery, chrome feet, applied maker’s label to one end 314cm long; section two 242cm long; the whole 90cm high with headrest; 95.5cm deep approx Provenance: Purchased from Roche Bobois store in Paris in 2010.

£2,000-4,000

531 GIANCARLO VEGNI (B.1949) AND GIANFRANCO GUALTIEROTTI (B.1944) FOR FASEM, ITALY SET OF FOUR MODEL P40 CHAIRS, CIRCA 1985 chromed metal and black vinyl (4) 62cm wide, 74cm high, 52cm deep

£500-800

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

191

192

532 CASSINI, ITALY, AFTER DESIGNS BY FRANK LLOYD WRIGHT PAIR OF ‘BARREL’ ARMCHAIRS, DESIGNED 1937 cherry wood with domed upholstered drop-in seats (2) 54.2cm wide, 80.5cm high; 52cm deep

£400-600

533 LINLEY, LONDON PAIR OF LIBRARY BOOKCASES, CONTEMPORARY oak and burr walnut, with ebony lining, bears maker’s label to one bookcase (2) 179.5cm wide, 279.5cm high, 50cm deep

£2,000-3,000

193

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

194

534 LINLEY, LONDON SET OF FOURTEEN DINING CHAIRS, CONTEMPORARY

535

walnut, burr walnut and sycamore with upholstered backs and seats (14)

LINLEY, LONDON

53cm wide, 100cm high, 55cm deep

PAIR OF TABLES, CONTEMPORARY

£2,500-3,500

walnut, burr myrtle, maple and burr walnut, each table 200cm long 130cm deep, 74.5cm high; together with the ORIGINAL FRAMED DESIGN, pen & ink, watercolour, inscribed LINLEY/ DESIGN FOR A DINING (sic) 36cm x 56cm (3) £3,000-5,000

195

536 LINLEY, LONDON FREESTANDING PEDESTAL CABINET, CONTEMPORARY walnut, burr myrtle, maple and burr walnut, 46cm wide, 91cm high, 46cm deep; together with the ORIGINAL FRAMED DESIGN, pen & ink, watercolour, inscribed LINLEY/ DESIGN FOR A CABINET, 39cm x 29cm (2) £1,500-2,000

537 LINLEY, LONDON SERVING TABLE, CONTEMPORARY walnut, burr myrtle, maple, burr walnut and black granite, 170cm wide, 86cm high, 80cm deep; together with the ORIGINAL FRAMED DESIGN, pen and ink, watercolour, inscribed LINLEY/ DESIGN FOR A SERVING CONSOLE, 36cm x 27cm (2) £1,000-1,500

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

196

538 § ALFREDO AVELLA (1924-1981) TREE OF KNOWLEDGE stained, leaded and painted glass, inscribed TREE OF KNOWLEDGE 49.5cm x 39cm

£300-500

ALFREDO AVELLA was born in Cava de Tirreni in Italy in 1924. He began his career as a painter, studying under Hugh Adam Crawford at the Glasgow School of Art. During this time his work was admired by J. D. Fergusson, who encouraged him to exhibit at The McLellan Galleries in 1956, alongside a number of aspiring young artists known collectively as The New Scottish Group. Years later, Avella returned to the School of Art to study Stained Glass, graduating in 1965. An accomplished stained-glass artist and painter, Avella exhibited widely and undertook a number of private commissions throughout his life, predominantly for churches across Edinburgh and Glasgow. He was made an associate of the British Society of Master Glass Painters in 1966 and became a full-time lecturer for the Glasgow School of Art’s Stained Glass and Murals department from 1969-1982.

539 § ALFREDO AVELLA (1924-1981) BROKEN CIRCLE GREEN-RED stained, leaded and painted glass, within stained wooden frame 58cm x 54.5cm

£300-500

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

197

540 § RUPERT WILLIAMSON (B.1945) PAIR OF SOFAS, 2012 sycamore inlaid with walnut, silk upholstery (2) 182.5cm wide, 99.5cm high, 81cm deep Literature: Williamson R. The Furniture of Rupert Williamson, Duval & Hamilton 2014, p.182, pl. 291 where one of these sofas is illustrated.

£2,000-3,000 RUPERT WILLIAMSON, the acclaimed designer-craftsman, had little interest in wood as a student in the 1960s. His early pieces were made of fibreglass, acrylic and foam. Later he began experimenting with paler woods such as maple and sycamore and mastered the art of bending and cutting to create dynamic and interesting forms and patterns. His interest in colour contrast and the tension between straight and curved lines is a primary feature of his work.

198

541 § JAKE KEMPSELL (B.1940) ABSTRACT FORM bronze, slate, bears artist’s label to base 16.3cm high

£200-300

542 § JOHN WILLIAM MILLS (B.1933) CAGED LION bronze, mounted on a wooden plinth with plaque inscribed LION IN A CAGE/ BRONZE/ BY JOHN W. MILLS, painted wood carrying case 9.5cm long, 11cm high, including plinth

£300-500

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

£600-800

544

545

ROBERT HERITAGE (B.1927) FOR ARCHIE SHINE, RETAILED BY HEAL & SON, LONDON

‘BERKSHIRE’ SIDEBOARD, CIRCA 1955

‘BERKSHIRE’ SIDE TABLE, CIRCA 1955

teak, inset with engraved copper plated plaque, one drawer baize lined for cutlery, bears maker’s label to rear

teak, with walnut drawer fronts, inset with engraved copper plated plaques

229cm wide, 78.5cm high, 50.5cm deep

123cm wide, 79cm high, 51cm deep

£600-800

£300-500

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

NORMAN GRANT was an artist and silversmith who set up Dust Jewellery in the 1970s. He specialised in enamelled silver pieces, including brooches, earrings, pendants and cufflinks and started hallmarking his work in 1973.

546 § NORMAN GRANT (B.1943) ‘MOLECULAR STRUCTURE OF PLANKTON’ NECKLACE, EDINBURGH 1973 white metal, enamel, stamped maker’s mark NG pendant 9cm diameter

£250-350

547 § NORMAN GRANT (B.1943) ‘DAISY’ PENDANT, EDINBURGH 1973 silver, enamel, stamped maker’s mark NG, hallmarked Edinburgh 1973 7cm across

£250-350

548 JAEGER LE COULTRE RED ‘EMBASSY’ ATMOS CLOCK, CIRCA 1970 brass case with faux marbleised panels, signed JAEGER LE COULTRE, with original brochures and case 22cm high Provenance: Christie’s House Sale ‘Fingask Castle’, 2628th April 1993, lot 1545

£300-500

AUCTION 28 APRIL 2022 THE MALL GALLERIES, LONDON

RENÉ LALIQUE (FRENCH 1860-1945) RENARD CAR MASCOT, NO. 1182 [DETAIL]

£80,000-120,000

For more information please contact Joy McCall | 0207 930 9115 joy.mccall@lyonandturnbull.com

MODERN & POST-WAR ART, DESIGN & STUDIO CERAMICS FEATURING A COLLECTION OF DANISH DESIGN AUCTION 29 APRIL 2022 THE MALL GALLERIES, LONDON

HANS WEGNER (DANISH 1914-2007) SWIVEL CHAIR MODEL JH502 £7,000-9,000 + fees

For more information please contact Philip Smith | 020 7930 9115 philip.smith@lyonandturnbull.com

SCOTTISH PAINTINGS & SCULPTURE

FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) IONA, EAST BAY – THE LITTLE ISLAND AND MULL

£40,000-60,000

AUCTION 16 JUNE 2022 | LIVE ONLINE | EDINBURGH | OPEN FOR CONSIGNMENTS

For more information please contact NIck Curnow | 0131 557 8844 nick.curnow@lyonandturnbull.com

. HINTS . ON . . HOUSEHOLD . TASTE . . BY . PAUL . REEVES .

AUCTION 28 JUNE 2022 | LIVE ONLINE | EDINBURGH

For more information please contact John Mackie | 0131 557 8844 john.mackie@lyonandturnbull.com

204

CONDITIONS OF SALE FOR BUYERS (UK) These Conditions of Sale and the Saleroom Notices as well as specific Catalogue terms, set out the terms on which we offer the Lots listed in this Catalogue for sale. By registering to bid and/or by bidding at auction You agree to these terms, we recommend that You read them carefully before doing so. You will find a list of definitions and a glossary at the end providing explanations for the meanings of the words and expressions used. Special terms may be used in Catalogue descriptions of particular classes of items (Books, Jewellery, Paintings, Guns, Firearms, etc.) in which case the descriptions must be interpreted in accordance with any glossary appearing in the Catalogue. These notices and terms will also form part of our terms and conditions of sales. In these Conditions the words “Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd, the singular includes the plural and vice versa as appropriate. “You”, “Your” means the Buyer. Lyon & Turnbull Ltd. acts as agent for the Seller. A. BEFORE THE SALE 1. DESCRIPTIONS OF LOTS Whilst we seek to describe Lots accurately, it may be impractical for us to carry out exhaustive due diligence on each Lot. Prospective Buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a Lot. Prospective Buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or Estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and only accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the Auctioneer or our employees or agents accept liability for the correctness of such opinions and no warranties, whether relating to description, condition or quality of Lots, express, implied or statutory, are given. Please note that photographs/ images provided may not be fully representative of the condition of the Lot and should not be relied upon as indicative of the overall condition of the Lot. All dimensions and weights are approximate only. 2. OUR 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.

22.1

(a) Condition Reports: Condition Reports are provided on our Website or upon request. The absence of a report does not imply that a Lot is without imperfections. Large numbers of such requests are received shortly before each sale and department specialists and administration will endeavour to respond to all requests although we offer no guarantee. Any statement in relation to the Lot is merely an expression of opinion of the Seller or us and should not be relied upon as an inducement to bid on the Lot. Lots are available for inspection prior to the sale and You are strongly advised to examine any Lot in which You are interested prior to the sale. Our Condition Reports are not prepared by professional conservators, restorers or engineers. Our Condition Report does not form any contract between us and the Buyer. The Condition Reports do not affect the Buyer’s obligations in any way. (b) Estimates: Estimates are placed on each Lot to help Buyers gauge the sums involved for the purchase of a particular Lot. Estimates do not include the Buyer’s Premium or VAT. Estimates are a matter of opinion and prepared in advance. Estimates may be subject to change and are for guidance only and should not be relied upon. (c) Catalogue Alterations: Lot descriptions and Estimates are prepared in advance of the sale and may be subject to change. Any alterations will be announced on the Catalogue alteration sheet, made available prior to the sale. It is the responsibility of the Buyer to make themselves aware to any alterations which may have occurred. 3. WITHDRAWAL Lyon & Turnbull may, at its discretion, withdraw any Lot at any time prior to or during the sale of the Lot. Lyon & Turnbull has no liability to You for any decision to withdraw. 4. JEWELLERY, CLOCKS & OTHER ITEMS (a) Jewellery: (i) Coloured gemstones (such as rubies, sapphires and emeralds) may have been treated to enhance their look, through methods such as heating and oiling. These methods are accepted practice but may make the gemstone less strong and/or require special care in future. (ii) All types of gemstones may have been improved by some method. You may request a gemmological report for any Lot which does not have a report if the request is made to us at least three weeks before the date of the sale and You pay the fee for the report in advance of receiving said report. (iii) We do not obtain a gemmological report for every gemstone sold in our sales. Where we do get gemmological

reports from internationally accepted gemmological laboratories, such reports may be described in the Sale Particulars. Reports will describe any improvement or treatment only if we request that they do so, but will confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree whether a particular gemstone has been treated, the amount of treatment or whether treatment is permanent. The gemmological laboratories will only report on the improvements or treatments known to the laboratories at the date of the report.

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.

(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.

(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) 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

(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.

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.

205 3. FAILURE TO PROVIDE THE RIGHT DOCUMENTS If in our opinion You do not satisfy our Bidder identification and registration procedures including, but not limited to, completing any anti-money laundering and/or anti-terrorism financing checks we may require to our satisfaction, we may refuse to register You to bid, and if You make a successful bid, we may cancel the contract between You and the Seller. 4. BIDDING ON BEHALF OF ANOTHER PERSON (a) As an authorised Bidder: If You are bidding on behalf of another person, that person will need to complete the registration requirements above before You can bid, and supply a signed letter authorising You to bid for him/ her. (b) As agent for an undisclosed principal: If You are bidding as an agent for an undisclosed principle (the ultimate Buyer(s)) You accept personal liability to pay the Purchase Price and all other sums due, unless it has been agreed in writing with us before commencement of the auction that the Bidder is acting as an agent on behalf of a named third party acceptable to us and we will seek payment from the named third party. 5. BIDDING IN PERSON If You wish to bid in the saleroom You must register for a numbered bidding paddle before You begin bidding. Please ensure You bring photo identification with You to allow us to verify Your registration. 6. BIDDING SERVICES The bidding services described below are a free service offered as a convenience to our clients and we are not responsible for any error (human or otherwise), omission or breakdown in providing these services. (a) Phone bids Your request for this service must be made no later than 12 hours prior to the auction. We will accept bids by telephone for Lots only if our staff are available to take the bids. If You need to bid in a language other than English You should arrange this Well before the auction. We do not accept liability for failure to do so or for errors and omissions in connections. (b) Internet Bids For certain auctions we will accept bids over the internet. For more information please visit our Website. We will use reasonable efforts to carry out online bids and do not accept liability for equipment failure, inability to access the internet or software malfunctions related to execution of online bids/ live bidding. (c) Written Bids While prospective Buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular Lot and shall be assumed to have carefully inspected

and satisfied themselves as to its condition we shall, if so instructed, clearly and in writing execute bids on their behalf. Neither the Auctioneer nor our employees nor agents shall be responsible for any failure to do so. Where two or more commission bids at the same level are recorded we Reserve the right in our absolute discretion to prefer the first bid so made. Bids must be expressed in the currency of the saleroom. The Auctioneer will take reasonable steps to carry out written bids at the lowest possible price, taking into account the Reserve. If You make a written bid on a Lot which does not have a Reserve and there is no higher bid than Yours, we will bid on Your behalf at around 50% of the lower Estimate or, if lower, the amount of Your bid.

responsible for any error (human or otherwise) omission or breakdown in providing these services.

C. DURING THE SALE

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.

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.

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.

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.

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

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

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 £500,000, plus 20% from £500,001 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. (a) Lots affixed with (†): Value Added Tax on the Hammer Price is imposed by law on all items affixed with a dagger (†). This imposition of VAT maybe because the Seller is registered for VAT within the European Union and is not operating under a Margin Scheme. (b) Lots affixed with (*): A reduced rate of Value Added Tax on the Hammer Price of 5% is payable. This indicates that a Lot has been imported from outwit the European Union. This reduced rate is applicable to Antique items. (c) Lots affixed with [Ω]: Standard rate of Value Added Tax on the Hammer Price and premium is payable. This applies to items that have been imported from outwit the European Union and do not fall within the reduced rate category outlined above.

3. ARTIST’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 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

206 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

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:

(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

(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;

(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.

(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;

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:

(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.

(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

F. PAYMENT 1. MAKING PAYMENT (a) Within 7 days of a Lot being sold You will pay to us the Total Amount Due in cash or by such other method as is agreed by us. We accept cash, bank transfer (details on request), debit cards and Visa or MasterCard credit cards. Please note that we do not accept cash payments over £5,000 per Buyer per year. (b) Any payments by You to us can be applied by us towards any sums owing by You to us howsoever incurred and without agreement by You or Your agent, whether express or implied. (c) We will only accept payment from the registered Bidder. Once issued, we cannot change the Buyer’s name on an invoice or re-issue the invoice in a different name. (d) The ownership of any Lots purchased shall not pass to You until You have made payment in full to us of the Total Amount Due. The risk in and the responsibility for the Lot will transfer to You from whichever is the earlier of the following: (i) When You collect the Lot; or (ii) At the end of the 30th day following the date of the auction, or, if earlier, the date the Lot is taken into care by a third party unless we have agreed otherwise

with You in writing. (e) You shall at Your own risk and expense take away any Lots that You have purchased and paid for not later than 7 working days following the day of the auction or upon the clearance of any cheque used for payment whichever is later. We can provide You with a list of shippers. However, we will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us. (f) No purchase can be claimed or removed until it has been paid for. (g) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time. 2. IN THE EVENT OF NON-PAYMENT If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the Sellers and on their behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies:

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.

(a) To proceed against You for damages for breach of contract;

(iii) Sell the Lot in any way we think reasonable.

(b) To rescind the contract for sale of that Lot and/or any other Lots sold by us to You;

H. TRANSPORT & SHIPPING

(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

1. TRANSPORT AND SHIPPING We will include transport and shipping information with each invoice sent to You as well as displayed on our Website. You must make all transport and shipping arrangements. 2. EXPORT OF GOODS Buyers intending to export goods should ascertain; (a) Whether an export licence is required; and (b) Whether there is any specific prohibition on importing goods of that character, e.g. items that may contain prohibited materials such as ivory or rhino horn. It is the Buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale not any delay in making full payment for the Lot. 3. CITES: ENDANGERED PLANTS AND ANIMALS LEGISLATION Please be aware that all Lots marked with the symbol Y may be subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http://www. defra.gov.uk/ahvla-en/imports-exports/ cites We accept no liability for any Lots which may be subject to CITES but have not be identified as such.

207 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 arrange-

ments 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.

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:

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;

“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

“Bidder” a person who has completed a Bidding Form

“Lien” a right for the person who has possession of the Lot to retain possession of it.

“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”

“Knocked Down” when a Lot is sold to a Bidder, indicated by the fall of the hammer at the Sale.

“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.

“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

22.1

208

GUIDE TO BIDDING & PAYMENT REGISTRATION

BIDDING OUTSIDE THE SALEROOM

PAYMENT

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.

- ABSENTEE BIDDING Leave a bid online through our website, call us on 0131 557 8844 or email info@lyonandturnbull.com - BID LIVE ONLINE Bid live online, for free, with Lyon & Turnbull Live. Just click the button from the auction calendar, sale page or any lot page online to register. Inside Back Cover: Lot 102 [detail]

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