Hints on Household Taste • Paul Reeves | Auction 28 June 2022

HINTS . ON HOUSEHOLD . TASTE . PAUL . REEVES .

TUESDAY 28 JUNE 2022 AT 10AM Sale Number LT700

Lyon & Turnbull 33 Broughton Place EDINBURGH EH1 3RR

VIEWING Friday, 24th June 10am - 5pm Sunday, 26th June 12 noon - 4pm Monday, 27th June 10am - 5pm

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Inside Front Cover Lot 40 [detail]

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

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HINTS . ON HOUSEHOLD . TASTE . PAUL . REEVES .

Design has dominated Paul

the interiors. This is exactly

Reeves’ life – from collecting

what Edward Godwin did and

as a child, to becoming an

William Morris did for his Red

acclaimed clothing designer

House - or rather he invited

in the 1960s and early 70s.

his close friends to design the

After a successful career in the

furniture.

fashion business, he turned to interior decorating and then later to his current profession as an antiques dealer. Paul’s international reputation as a passionate purveyor of 19th and 20th century furniture, objects, lighting and textiles, has led him to work with significant private collectors, as well as high profile museums and galleries.

Eastlake, like his forerunners, considered much contemporary design to be vulgar in form and flimsy in quality. He believed the earlier English and medieval periods offered a superior model where the method of construction was evident and honest, and a handmade piece more refined than machine manufactured goods.

The forms of earlier works

The title of this sale references

were perceived to be more

Charles Eastlake’s highly

rational and harmonious, with

influential and polemical

decoration being appropriately

book Hints on Household Taste,

kept to a minimal level.

first published in 1868, and reprinted in several later editions including the 1878 edition illustrated here. In the book he sought to answer his rhetorical question:

Eastlake’s book was reprinted four times in Britain, but it was also published in the United States in 1872 and reprinted there six times. It provided welcome advice for a middle-class consumer looking for a simpler and more

“What use is it to decorate the interior of our country-houses

appropriate aesthetic. Besides his written advice Eastlake

if we are to permit ugliness within them?”

also published designs which he hoped would be executed by

He aimed “to encourage a discrimination between good and bad design” by addressing the issues surrounding design and manufacture that had arisen out of the industrial revolution

local craftsmen local to the reader. As a result of his influence and reach, a large following emerged - known as the Eastlake style - which embraced both architecture and objects.

in Britain. The debate about design principles had been

This sale brings together a number of design examples by

started by Pugin, John Ruskin, the Pre-Raphaelites, and

Eastlake and his contempories, who were also advocates for

William Morris, with much of what was on display at the

simple designs of the highest quality. Additionally, works by

Great Exhibition of 1851 being seen to exemplify poor taste.

subsequent generations of designers illustrate the lasting

The Exhibition acted as a catalyst provoking architects to

legacy of Eastlake and the shared passion for good design.

not just conceive buildings, but also to design furniture for

T

M

The Daily News

The Athenaeum

here are an increasing number of people in all classes who are desiring to live among more picturesque surroundings. Mr. C. L. Eastlake has just published a handsome volume which will be of immense value to such persons, and will tend to increase their number.

r. Eastlake discourses clearly and soundly of those crafts which supply furniture for entrance halls, dining-rooms, libraries, drawing rooms, and bed-rooms; also of wall-decorations, crockery, glass, plate, dress, and jewellery.

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t will be my endeavour, in the following chapters, to point out those principles….and if I am thus enabled, even indirectly, to encourage a discrimination between good and bad design in those articles of daily use which we are accustomed to see around us, my object will be attained.

Charles Eastlake 1868

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1 ENGLISH ’ZODIAC’ MANTEL CLOCK, CIRCA 1851 the twin-train repeating movement, striking on a gong, with a brass dial with a central engraving of Aurora, Goddess of the Dawn, surrounded by engraved roundels of Greek gods and with signs of the Zodiac, within an ebonised wood case set with silver panels, one bearing engraved initials, the other with Classical figures representing the Seasons, the Hours and the Gods, each hallmarked London 1851 35.3cm wide, 53.5cm high

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

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t is hoped….that a few familiar hints on what may be called ‘household taste' will not be unacceptable to the readers of this book.

I

Charles Eastlake 1868

2 EDWIN ROLLASON (DESIGNER) & CHARLES NEWSOME, COVENTRY (MANUFACTURER) ’THE ODE BY ALFRED TENNYSON’ , EXHIBITION RIBBON, DATED 1862 machine-woven silk, mounted on a paper backing with applied registration lozenge and embossed crest of the city of Coventry, later framed silk panel 35.5cm x 9.5cm

£200-300

Note: Tennyson’s Ode on the opening of the Exhibition was written at the request of Francis Richard Sanford, organizing secretary for the London International Exhibition, and set to music by William Sterndale Bennett to be sung at the opening ceremony. Charles Newsome registered the ribbon design with the Patent Office on 31 May 1862.

3 ENGLISH VICTORIAN NEEDLEWORK FIRESCREEN, CIRCA 1880 walnut frame enclosing embroidered and beaded image of the Guardian Angel by Wilhelm von Kaulbach panel 53.4cm x 40.3cm; whole 57cm wide, 117.5cm high, 42cm deep

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

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4 JOHN BELL (1811-1895) (ATTRIBUTED DESIGNER) FOR FELIX SUMMERLY’S ART MANUFACTURES PAIR OF FISH SERVERS, CIRCA 1847 made by Minton & Co., Parian porcelain, silver plated metal (2) knife 36.5cm long, fork 28.5cm long

£200-300

5 SIR HENRY COLE (1808-1882) FOR FELIX SUMMERLY’S ART MANUFACTURERS PART TEA SERVICE, DESIGNED 1846 made by Minton & Co., printed, painted and glazed porcelain, comprising TWO TEACUPS, 8.5cm diameter; TWO SAUCERS, 14.5cm diameter; a PAIR OF PLATES, 20cm diameter; a TWIN-HANDLED BREAD PLATE, 26cm across; and a SUGAR BOWL, 13.5cm diameter, each bears printed marks SOCIETY OF ARTS PRIZE PATTERN/ MINTON & CO., STAFFORDSHIRE/ FS/ 1946 INVT. (8) Literature: Whiteway, Michael and Gere, Charlotte Nineteenth Century Design: From Pugin to Mackintosh, Weidenfeld & Nicolson, 1993, p.67, pl. 65 illus.

Note: Henry Cole founded Felix Summerly’s Art Manufactures in 1847, hoping that if well-known painters and sculptors could be persuaded to produce designs for functional objects the firm could ‘promote public taste’. Henry Cole was a close friend of Herbert Minton and persuaded him to make the service he had designed to enter the Society of Arts’ competition. The separate parts of the tea service remained in production for some years, the cup especially. It was given the factory code of FS (for Felix Summerly) and became a Minton standard.

£300-500

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6 CIRCLE OF GODFREY SYKES (1824-1866) AND JAMES GAMBLE (1875-BEFORE 1910) RENAISSANCE REVIVAL CABINET-ON-STAND, CIRCA 1860 oak and elm, decorated with penwork, of architectural form, the doors to the front cupboard painted in black with putti, one titled ‘PAINTING’, the other ‘SCULPTURE’, the side doors with monogram ‘SA’ entwined with the national plants of Great Britain & Ireland, and surrounded by a laurel wreath, the whole decorated with bands of neo-renaissance ornament in red and black 115cm wide, 122.5cm high, 57cm deep

Note: The style of the cabinet is unusual within the context of British cabinet making, in that it is painted in a neo-renaissance manner, in red and black on light wood. This is a feature that was also employed on a piano designed by James Gamble and made for Henry Cole, now in the collection of the V&A in London.

It is likely that the entwined ‘SA’ monogram stands for 'Science and Art' – a feature repeated several times on the West staircase of the V&A building. The staircase was designed by Francis Wollaston Moody, a member of the Museum’s design studio, who was notably influenced by Geoffrey Sykes who had been the first decorative designer of the Museum.

£3,000-5,000

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

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7 WORKING MEN’S EDUCATIONAL UNION, LONDON SET OF THREE FRAMED EGYPTIAN ‘DIAGRAMS’, CIRCA 1855 printed and hand-coloured cotton, bears printed marks WORKING MENS EDUCATIONAL UNION/ KING WILLIAM STREET/ TRAFALGAR SQUARE/ LONDON, each later-framed, one numbered 441, 87cm x 120cm; another numbered 260, 89cm x 119.5cm; the other numbered 259, 119.5cm x 89cm (3) Note: The Working Men’s Educational Union was 19th century English union, with rooms at 25 King William Street, Trafalgar Square, London. Founded in December 1851 by Benjamin Scott the union began producing ‘diagrams’, a series of large, coloured lithographs printed on calico, with eyelets on each corner, to illustrate lectures to their members. John Ruskin was an ardent supporter of the scheme.

£800-1,200

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8 ENGLISH, MANNER OF OWEN JONES EGYPTIAN REVIVAL COFFER, CIRCA 1870 walnut, sycamore and ebony with brass fittings 73cm wide, 54cm high, 47cm deep Literature: Metropolitan Museum of Art Collection, Accession Number: 16.1.1 and 16.1.2a, b Jones, Owen The Grammar of Ornament, pl XI no.23 Note: The form and inlay of this box closely relate in form and decoration to a jewellery chest and a cosmetics coffer of the 12th Dynasty, reign of Senwosret II–Amenemhat III, circa 1887–1813 B.C., held at the Metropolitan Museum of Art, New York.

Owen Jones was also one of the most influential design theorists of the nineteenth century. His seminal publication, The Grammar of Ornament, the global and historical design sourcebook has never been out of print. Jones was Superintendent of the Works of the Great Exhibition in 1851 and in 1852 joint Director of Decoration of the Crystal Palace. When this building was removed to Sydenham he designed the Egyptian, Greek, Roman and Alhambra Courts. The monumental centrepiece of the Egyptian Court also incorporates decorative elements found on this chest. The use of dark and light, foreign and native timbers in this piece of furniture are demonstrated in work designed by Jones for Eynsham Hall, Oxfordshire, reflecting his interest in unconventional combinations of materials typical of furniture produced by specialist firms such as Jackson & Graham.

Creator: The Metropolitan Museum of Art Credit: The Metropolitan Museum of Art

£1,000-1,500

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

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9 ART UNION OF LONDON NELSON’S COLUMN TABLE LAMP, DATED 1869 copper, stamped to base ART-UNION OF LONDON, 1868, mounted on a wooden base height to fitting 56cm high Note: The Nelson Memorial Committee proposed a General Subscription for the purpose of erecting a national Nelson monument in London in 1838. William Railton won the design competition, his Corinthian column decorated with bronze acanthus leaves cast from British cannon was finally completed in 1843, E.H. Baily’s 18-foot-high statue of Nelson, facing south, towards the Palace of Westminster, surmounted the 184-foot-high granite column in November of the same year. The bas reliefs of the four battle scenes around the base were added in 1854 and Landseer’s lions were placed at the four corners in 1867.

£400-600

10 ELKINGTON & CO., BIRMINGHAM EGYPTIAN REVIVAL CENTREPIECE, CIRCA 1875 electroplated metal, with cut glass, stamped to base 4806 71.3cm high, 47cm diameter

£600-800

11 ENGLISH GRECIAN REVIVAL ARMCHAIR, CIRCA 1880 mahogany and sycamore, marquetry inlay with later, period upholstery of Grecian design 57cm wide, 96cm high, 51.5cm deep

£400-600

12 ENGLISH EGYPTIAN REVIVAL ARMCHAIR, CIRCA 1890 mahogany, with later period close-nailed upholstery 55cm wide, 98.5cm high, 53cm deep

£300-500

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he principles of design in Greek pottery have been from time to time revived and applied to modern manufacture with more or less success, but the great expense attending the reproduction of antique designs has hitherto formed the chief obstacle to such revivals.”

Charles Eastlake 1868

PROBABLY SAMUEL ALCOCK & CO. PAIR OF GREEK REVIVAL TWINHANDLED VASES, CIRCA 1870 printed and painted earthenware with gilded embellishments, painted under base 6983 (2) 36cm high Literature: Coleman, B. The Best of British Arts & Crafts, Atglen, PA, 2004, p. 59-61, 63 where similar examples are illustrated

£300-500

14 ENGLISH EGYPTIAN REVIVAL CLOCK GARNITURE, CIRCA 1880 slate and marble, incised and gilded, with patinated bronze mounts, comprising a MANTEL CLOCK, the twin-train movement with enamelled chapter ring striking a bell, 49.5cm wide, 40.5cm high, 18cm deep; together with a PAIR OF OBELISK GARNITURES, 50cm high (3) £800-1,200

15 Y NORTHERN ITALIAN MILANESE SCHOOL RENAISSANCE REVIVAL SIDE CABINET, CIRCA 1880 ebonised wood with ivory inlay, set with semi-precious stones including agate and lapis lazuli, glazed panels 103cm wide, 102cm high, 44.5cm deep Note: Sold in compliance with UK Government and APHA regulations, with (non-transferable) exemption registration reference XH66X6M3.

£600-800

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

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16 CHRISTOPHER DRESSER (1834-1904) FOR J.W. & C. WARD, HALIFAX AESTHETIC MOVEMENT FRAMED FABRIC PANEL, CIRCA 1873 silk and wool, later framed 64cm high, 118cm wide Literature: Whiteway, M. (ed.)

Christopher Dresser: A Design Revolution, V&A 2004, p. 75, no. 84 Metropolitan Museum of Art, New York, Accession Number: 1995.252

£700-900

17 CHRISTOPHER DRESSER (1834-1904) (ATTRIBUTED DESIGNER) FOR J. C. & W. WARD, HALIFAX AESTHETIC MOVEMENT WOVEN FABRIC PANEL, CIRCA 1870 jacquard silk, with repeat pattern of Egyptianesque floral motifs, framed 89cm x 58cm

£400-600

W

ith regard to ornament, it should be borne in mind that incised patterns, however rudely executed, are much more effective than heavy mouldings.

Charles Eastlake 1868

18 ENGLISH, MANNER OF CHRISTOPHER DRESSER, OR R.A. BOYD GOTHIC REVIVAL SIDE CABINET CIRCA 1870 oak with brass fittings 122cm wide, 140cm high, 43.5cm deep Note: This cupboard shows similarities to furniture

by Dresser and his studio assistants, illustrated in The Furniture Gazette whilst Dresser was Art Editor.

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

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19 CHRISTOPHER DRESSER (1834-1904) (ATTRIBUTED DESIGNER) AESTHETIC MOVEMENT SIDE CABINET, CIRCA 1880 oak and parquetry oak, with mirrored glass and patinated brass fittings 122cm wide, 167.5cm high, 41cm deep Literature: See Lyons, Harry, Christopher Dresser: The People’s Designer, 18341904 ACC, 2004, pl.124, p.148-149, Pls. 264A, 264B, 265 and 266

£800-1,200

Note: This cabinet, with its characteristic incised decoration, also demonstrates similarities with the bedroom furniture commission

by Christopher Dresser at Bushloe House, Leicester, thought to be made by W. Booty, and which has identical handles to those fitted to the current lot.

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20 CHRISTOPHER DRESSER (1834-1904) FRAMED WATERCOLOUR DESIGNS FOR CARPET BORDERS, CIRCA 1870 pencil and watercolour, later framed and mounted 34.5cm x 24.5cm

£600-800

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21 CHRISTOPHER DRESSER (1834-1904) FOR WILLIAM FRY OF DUBLIN ’HERA’ WOVEN SILK PANEL, CIRCA 1876 woven silk, framed 58cm x 42cm Literature: The Aesthetic Movement The Decorative Arts Society, 2010, p.124, fig. 11 Note: Dresser first produced ‘Hera’ as a woven silk fabric for William Fry of Dublin circa 1876, as in this example. It was later produced as a printed cotton sold through Liberty & Co., London

£400-600

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here is no branch of art-manufacture exposed to greater dangers, in point of taste, than that of ceramic design

Charles Eastlake 1868

t 22 CHRISTOPHER DRESSER (1834-1904) FOR THE OLD HALL EARTHENWARE CO. LTD.

he substitution of electro-plate for real silver is now so common in households where the latter would be regarded as a superfluous luxury, that the sternest advocate of true principles in artmanufacture would scarcely require an apology for its use.”

Charles Eastlake 1868

AESTHETIC MOVEMENT ‘EUREKA’ PATTERN TOILET SET, CIRCA 1884 printed and glazed earthenware, with gilt embellishments, printed marks under base EUREKA/ RD.NO. 44552 (2) ewer 30cm high, basin 39cm diameter

£200-300

23 CHRISTOPHER DRESSER (1834-1904) FOR ELKINGTON & CO. THREE PIECE TEA SERVICE, CIRCA 1865 silver plate, comprising a TEAPOT, with hinged cover, 22cm high; a TWIN-HANDLED SUGAR BOWL, 19cm across the handles; and a MILK JUG, 11.5cm high, each stamped marks ELKINGTON & CO. 18730 (3) Note: A drawing of this jug appears in Dresser’s notebook.

See Christie’s, London British and Continental Decorative Arts, Wednesday 12th May 1999, Lot 216 for a similar example

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

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24 E.W. GODWIN (1833-1886) AESTHETIC MOVEMENT WARDROBE, CIRCA 1875 ash, inlaid with mahogany, mirrored glass 202.5cm wide, 224cm high, 54cm deep Literature: Soros, S. The Secular Furniture of E. W. Godwin, New Haven, 1999, p. 224, pl. 363 where a period line drawing showing a variant of this wardrobe is illustrated.

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

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s a rule, our modern bed-rooms are too fussy in their fitting up. People continually associate the words ‘luxurious and comfortable’ as if they were synonymous.

To my mind they convey very different ideas.

Charles Eastlake 1868

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25 MINTON & CO., MANNER OF CHRISTOPHER DRESSER FRAMED TILE PANEL, CIRCA 1870 painted and glazed earthenware, later framed each tile 20cm square

£300-500

26 MINTON & CO., MANNER OF CHRISTOPHER DRESSER GROUP OF THREE FRAMED TILE PANELS, CIRCA 1870 painted and glazed earthenware, two with four tiles, one with two tiles, later framed (3) each tile 15.3cm square

£400-600

27 BENHAM & FROUD, LONDON AESTHETIC MOVEMENT EWER, CIRCA 1880 copper and brass, applied stamped maker’s mark under base 42.5cm high

£250-350

t 28 ENGLISH, MANNER OF CHRISTOPHER DRESSER PAIR OF AESTHETIC MOVEMENT HALL CHAIRS, CIRCA 1880 stained mahogany, inset with printed ceramic tiles (2) taller chair 47cm wide, 88cm high, 41cm deep, shorter chair 46.5cm wide, 85.5cm high, 41cm deep

£400-600

he manufacture of Messrs. Hardman and Messrs.

Hart were, I believe, among the first who endeavoured to revive the principles of good design in connection with metal-work and ironmongery an example which has since been followed by other manufacturers, who, like Messrs. Benham and Froud, have identified themselves with the specialise of medieval metalwork.

Charles Eastlake 1868

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feeling is, I trust, being gradually awakened in favour of ‘art furniture’.

Charles Eastlake 1868

29 GEORGE FREETH ROPER (1843-1892) FOR COLLINSON & LOCK, LONDON AESTHETIC MOVEMENT DRESSER, CIRCA 1880 walnut, mirrored glass with brass fittings, stamped to drawer COLLINSON & LOCK, LONDON 6448, label to inside cupboard SUPPLIED BY THE FURNITURE AND FINE ART DEPOSITORIES LTD, ISLINGTON LONDON 160cm wide, 212.5cm high, 62cm deep Literature: Edwards, Clive Collinson & Lock: Art Furnishers, Interior Decorators and Designers, 1870-1900, Matador 2022, p. 154, pl. 4.89 where this dresser is illustrated.

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

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30 ENGLISH ARTS & CRAFTS FRAMED EMBROIDERY, CIRCA 1900 coloured wools and silks on a linen ground, later framed 60cm x 59cm

£300-500

31 BIRMINGHAM SCHOOL ARTS & CRAFTS STANDARD LAMP, CIRCA 1920 brass, with later pleated silk shade 142.5cm high to fitting

£400-600

32 ENGLISH AESTHETIC MOVEMENT ARMCHAIR, CIRCA 1880 ebonised wood with caned seat and later upholstered silk velvet seat cushion 62cm wide, 74.5cm high, 43.5cm deep

£300-500

33 ENGLISH AESTHETIC MOVEMENT EASEL, CIRCA 1890 decorated bamboo 56cm wide, 165.5cm high

£400-600

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34 HARRY POWELL (1853-1922) (ATTRIBUTED DESIGNER) FOR JAMES POWELL & SONS GROUP OF DRINKING GLASSES, CIRCA 1870 pale green glass, comprising SINGLE LARGE WINE GLASS, 16.2cm high; TWO SMALL WINE GLASSES, 13.1cm high; FIVE CORDIAL GLASSES, 10.2cm high; and a SET OF FOUR GREEN GLASS WINE GLASSES, probably Salviati & Co., 10.4cm high (12) Literature: Jackson, L. (ed.), Whitefriars Glass: The Art of James Powell & Sons, Ilminster, 1996, p. 105, pl. 34 (vi) for similar examples

£300-500

35 PHILIP SPEAKMAN WEBB (1831-1915) FOR JAMES POWELL & SONS GROUP OF DRINKING GLASSES, CIRCA 1870 pale green glass, comprising FIVE TUMBLERS, 9cm high; a FINGER BOWL, 10cm diameter; a DRINKING GLASS, with trailed decoration, cm high; and a WINE GLASS, dark green glass, 14.2cm high (8) 50.5cm wide, 110.5cm high, 44cm deep Literature: Jackson, L. (ed.), Whitefriars Glass: The Art of James Powell & Sons, Ilminster, 1996, p. 97, pls. 1 (ii) and 4 (iii).

£400-600

36 ENGLISH ARTS & CRAFTS EMBROIDERED CUSHION, THE MATERIAL CIRCA 1900 coloured silks on linen, later made up as a cushion; 48cm square; together with a PAIR OF AESTHETIC MOVEMENT CUSHIONS, THE MATERIAL CIRCA 1890, coloured silks and metals threads on linen ground with applied braid, later made up as a cushion, 32.5cm x 46cm (3) £300-500

37 ENGLISH PAIR OF ARTS & CRAFTS EMBROIDERED CUSHIONS, THE EMBROIDERY CIRCA 1900 coloured silks, on a fine linen ground with later linen border and backing, 27cm x 38.5cm; together with an ENGLISH ARTS & CRAFTS EMBROIDERED CUSHION, THE FABRIC CIRCA 1900, coloured silks, on a silk damask ground, with later linen backing, 48cm square (3) £300-500

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

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38 GEORGE FREETH ROPER (1843-1892) OR E.W. GODWIN (1833-1886) ATTRIBUTED DESIGNER) AESTHETIC MOVEMENT CABINET, CIRCA 1880 walnut, with leaded and glazed panels, brass fittings and mirrored glass 83.7cm wide, 223.5cm high, 35cm deep Literature: Soros, Susan, Aesthetic Movement Architect and Designer, New Haven, 1999, p. 209, no. 333; pp. 226-7, pls 369 and 369.1; p. 199 pl. 319; p. 188 pl. 309.II. Note: Having worked as an assistant to E. W. Godwin, Freeth Roper then worked for Collinson & Lock, Gillow & Co. and Kendal Milne & Co. designing furniture in an AngloJapanese style. His work appeared in The British Architect vols 10 (1878) and 15 (1881), and Building News in 1873 and 1878. This current work owes much to Godwin as can be seen from the curved and extending tapered uprights on the upper section, the ring handles with square backplates and the brass strap hinges and moulded timber elements.

The pierced circular openings can be seen in a sketch by Godwin for a drawing room cabinet of circa 1874 (V&A PD E. 235-1963, fol. 32), and are not noted in any of Freeth Roper’s other designs.

This is one of two known examples of this form, the other is held in a private collection in the UK. Significantly, the other cabinet is ebonised and has the same pierced detail, again a characteristic finish and design feature used by Godwin and not known in any designs recorded by Freeth Roper.

£2,000-3,000

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T

39

he best and most picturesque furniture of all ages has been simple in general form.

E. W. GODWIN (1833-1886) (ATTRIBUTED DESIGNER) FOR COLLINSON & LOCK, LONDON

Charles Eastlake 1868

£2,000-3,000

AESTHETIC MOVEMENT DISPLAY CABINET, CIRCA 1880 mahogany, clear glass, bevelled mirrored glass and brass fittings, abalone shell inlay, machine-embroidered fabric, embossed leather paper 143cm wide, 168.5cm high, 51.5cm deep

Note: During the 1870s Godwin designed a series of furniture for Collinson & Lock, which was then later redesigned for William Watt, which he described as cottage-style. A design drawing for a similar dresser or buffet of demi-lune form with open side shelves and brass fitments appears in William Watt’s Art Furniture catalogue of 1877 as illustrated in Soros, Susan, The Secular Furniture of E. W. Godwin, New Haven, 1999, p. 221, pl. 354.

29

40 WILLIAM STEPHEN COLEMAN (1829-1904) FOR MINTON & CO. SET OF TEN ‘NATURALIST SERIES’ PLATES, CIRCA 1869 transfer-printed earthenware, over-painted with enamel colour, printed maker’s marks W.S. COLEMAN INVT. & DELT./ MINTON & CO MANUFT., impressed MINTONS (10) each 24cm diameter

£400-600

41 WILLIAM STEPHEN COLEMAN (1829-1904) FOR MINTON & CO. SET OF TEN ‘NATURALIST SERIES’ PLATES, CIRCA 1869 transfer-printed earthenware, over-painted with enamel colour, printed maker’s marks W.S. COLEMAN INVT. & DELT./ MINTON & CO MANUFT., impressed MINTONS (10)

M

r. W. S. Coleman, in his figure-subject designs for modern ware, manufactured by Messrs.

Minton & Co., has realised much of the true spirit of old majolica.”

Charles Eastlake 1868

each 26cm diameter

£400-600

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

30

42 COLLINSON & LOCK, LONDON AESTHETIC MOVEMENT CORNER CABINET, CIRCA 1870 ebonised wood, clear and bevelled mirrored glass with brass fittings, stamped to reverse 24A 54cm wide, 108cm high, 28cm deep

£500-800

43 JOHN MOYR SMITH (1839-1912) FOR COX & SONS, LONDON AESTHETIC MOVEMENT CORNER CABINET, CIRCA 1880 gilded and ebonised wood, with glazing and brass fittings 269cm high, 61cm wide, 64cm deep Literature: Cox & Sons trade catalogue, circa 1875, p. 13, no. 221 where a line drawing of this piece is illustrated.

Note: Originally founded by Thomas Cox in 1838, his firm became known as Cox & Sons after 1868. From their primary location on Belvedere Road, Lambeth, they became known for fine carving work and furnishings and later expanded into domestic wares and cabinetmaking from the early 1870s. The company exhibited works at numerous international exhibitions and counted makers such as E. W. Godwin, J. Moyr Smith, and S. J. Nicholl among their designers.

£700-1,000

44 COX & SONS, LONDON (ATTRIBUTED MAKER) GOTHIC REVIVAL SIDE TABLE, CIRCA 1870 stained oak 99cm long, 73cm high, 60cm deep

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

31

45 WALTER CRANE (1845-1915) FOR JEFFREY & CO., LONDON FRAMED ‘ALCESTIS’ PATTERN WALLPAPER PANEL, CIRCA 1876 gold and colour print from woodblocks, on paper, later framed 58cm x 72cm Literature: V&A accession no. E.18451934 Art Journal, November 1901, p. 333 Note: By the mid-1870s Walter Crane was designing wallpaper for Jeffrey & Co, producing more than 50 designs over four decades.

His association with Jeffrey & Co gained him international popularity.

£500-800

46 ENGLISH, MANNER OF LEWIS FOREMAN DAY EMBROIDERED PANEL, CIRCA 1880 probably woven by Templetons, Glasgow, cotton and silk threads, within later frame Panel 72cm x 88cm

£300-500

32

47 ENGLISH FRAMED PAINTED AND EMBROIDERED PANEL, CIRCA 1820 coloured silks on a painted silk ground, later framed and mounted 58.5cm x 77cm

£400-600

48 MINTON & CO. ’RABBIT FAMILY’ FRAMED TILE. CIRCA 1880 hand-painted earthenware, within original maple frame 19.5cm square

£200-300

49 JOHN MOYR SMITH (1839-1912) FOR COLLINSON & LOCK, LONDON AESTHETIC MOVEMENT TABLE, CIRCA 1880 mahogany 113.5cm wide, 72.3cm high, 55cm deep Literature: Edwards, Clive Collinson & Lock: Art Furnishers, Interior Decorators and Designers, 1870-1900, Matador 2022, p. 167, pl. 4.120 where similar example is illustrated.

£800-1,200

50 ATTRIBUTED TO E. W. GODWIN (1833-1886) AESTHETIC MOVEMENT LONG STOOL, CIRCA 1875 mahogany, with caned seat 152cm long, 43cm high, 43.5cm deep Literature: Soros, Susan The Secular Furniture of E. W. Godwin, Yale 1999, p. 116, Plts. 140a and 140b where chairs with similar leg configurations are illustrated

£800-1,200

33

51 JOHN HENRY DEARLE (1859-1932) FOR MORRIS & CO. ‘SEAWEED’ ORIGINAL WALLPAPER PANEL, CIRCA 1901 hand blocked paper, later framed 78.5cm x 54cm Literature: Schoeser M. The Art of Wallpaper: Morris & Co in Context, ACC 2022, p.123, no. 112 illus.

£300-500

52 ENGLISH UNUSUAL AESTHETIC MOVEMENT OCCASIONAL TABLE, CIRCA 1875 oak with brass caps and castors 62.5cm diameter, 71cm high

£300-500

53 W.A.S. BENSON (1854-1924) (ATTRIBUTED DESIGNER) FOR MORRIS & CO. OFFICE CHAIR, CIRCA 1890 walnut, with brass caps and castors 52cm wide, 87.5cm high, 59.5cm deep

£300-500

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

34

54 LEEK SCHOOL OF EMBROIDERY ARTS AND CRAFTS EMBROIDERED PANEL, CIRCA 1890 coloured silk and metallic threads, on a blue silk ground, later framed 48.5cm high, 42cm wide

£500-800

Note: Established by Elizabeth and Thomas Wardle in Leek, Staffordshire around 1879-80, the Leek School of Embroidery became renowned for its innovation and fine needlework.

55 LEEK SCHOOL OF EMBROIDERY ARTS AND CRAFTS EMBROIDERED PANEL, CIRCA 1890 coloured silk and metallic threads, on a blue silk ground, later framed 48.5cm high, 42cm wide

£400-600

56 H.W. BATLEY (1846-1932) PAIR OF AESTHETIC MOVEMENT SIDE CHAIRS, CIRCA 1870 walnut, re-upholstered in period silk and wool woven fabric in the manner of B.J. Talbert or H.W. Batley, close-nailed, decorative brass caps and castors (2) 47.5cm wide, 98cm high, 48cm deep

£600-800

35

57 CHARLES BEVAN (ACTIVE 1860-CIRCA 1882) (ATTRIBUTED DESIGNER) GOTHIC REVIVAL MIRROR, CIRCA 1870 inlaid and ebonised oak, with mirrored plate 147cm wide, 208.5cm high. 15cm deep

£1,000-1,500

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

36

A

library table, open under the centre, and fitted on either side with a set of useful little drawers, is, of course, indispensable to the room. This piece of furniture, so commonly met with in upholsterers’ shops, is a singularly unobjectionable specimen of English manufacture.

Charles Eastlake 1868

58 ALFRED WATERHOUSE (1830-1905) (ATTRIBUTED DESIGNER) WRITING DESK, CIRCA 1870 oak, with tooled leather writing surface and brass fittings 122cm wide, 75cm high, 60cm deep Literature: Cooper, J., Victorian & Edwardian Furniture & Interiors, Thames & Hudson, London, 1987, p. 106, pl. 229 where a desk with comparable structural form is illustrated.

£1,500-2,000

Note: Alfred Waterhouse is perhaps best remembered as the architect of the Natural History Museum in London. The furniture he conceived was for his own buildings. He designed all the furniture for the Earl of Selborne’s Blackmoor House in Hampshire and this current desk is similar in form and proportions to one created for the Earl.

59 ENGLISH ARTS & CRAFTS EMBROIDERED PORTIÈRE/ BEDSPREAD, CIRCA 1900 coloured silks on an unbleached linen ground, reversible 218cm x 203cm Note: detail illustrated

£500-800

60 MANNER OF LEWIS FOREMAN DAY FRAMED FABRIC PANEL, CIRCA 1900 reversible woven cotton, later framed 65cm x 49.5cm

£250-350

61 ALFRED WATERHOUSE (1830-1905) (ATTRIBUTED DESIGNER) FOR HENRY CAPEL’S ART FURNITURE, LONDON SPINDLE-BACKED SIDE CHAIR, CIRCA 1870 oak, with later upholstery of the period 46cm wide, 97.5cm high, 46cm deep Literature: V&A Collection accession no.

29637:138

£800-1,200

Note: An advertisement card for Henry Capel’s Art Furniture of around 1875 illustrates a similar chair to the present lot.

Henry Capel was one of several furniture manufacturers who specialised in ‘art furniture’. The advertisement shows some of the characteristic examples of this style of furnishing: lighter spindle-turned furniture, the use of painted panels and tiles particularly with figurative designs, and reformist Gothic designs. Capel worked particularly closely with Alfred Waterhouse, producing furniture and fittings for over 30 of Waterhouse’s buildings. Waterhouse probably drew the designs for these projects, which reflect his interest in Gothic and medieval architecture.

Capel is recorded as working throughout the 1870s and exhibited at the Paris Universal Exhibition of 1878.

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

38

62 ENGLISH ECCLESIASTICAL EMBROIDERED PANEL, CIRCA 1900 coloured silks and gold threads reserved on a cream silk damask ground 25cm x 165cm

63

£500-800

IRISH ARTS & CRAFTS FIGURE OF A SAINT, CIRCA 1900 oil on board 83cm x 40cm

£300-500

64 ENGLISH ARTS & CRAFTS ECCLESIASTICAL EMBROIDERY, CIRCA 1880 coloured silks and gold threads on a ribbed silk ground, later framed 36cm x 36.5cm

£250-350

A

coal-box, or scuttle, is intended to contain a very useful, but dirty, species of fuel. It is evident, looking to the weight of the substance which it is destined to hold, that iron or brass must be the best and most suitable material of which a coal-box could be made.

Charles Eastlake 1868

65 ENGLISH COAL BUCKET, CIRCA 1900 of Byzantine design, patinated metal 34.5cm wide, 37.5cm high, 35cm deep

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

39

66 ENGLISH ECCLESIASTICAL EMBROIDERED PANEL, CIRCA 1900 coloured silks and gold threads reserved on a cream silk damask ground 25cm x 165cm

£500-800

67 ENGLISH PAIR OF ARTS & CRAFTS CUSHIONS, THE MATERIAL CIRCA 1910 wool and silk-plush fabric, with later linen backing, 47cm square; together with an ENGLISH ARTS & CRAFTS CUSHION, THE MATERIAL CIRCA 1900, woven cotton, with later linen backing, 60cm square (3) £300-500

68 CHARLES BEVAN (ACTIVE 1860-CIRCA 1882) FOR MARSH & JONES, LEEDS PAIR OF SIDE CHAIRS, CIRCA 1865 sycamore inlaid with ebony, caned seats (2) 41.7cm wide, 82.5cm high, 39cm deep Literature: Gilbert C. Furniture at Temple Newsam House and Lotherton Hall, Leeds City Council, Leeds, 1977, pl.521m where a similar example is illustrated.

£400-600

40

69 BRUCE J. TALBERT (1838-1881) FOR GILLOW & CO. AESTHETIC MOVEMENT FREESTANDING DESK, CIRCA 1875 oak, with inset original tooled leather skiver and brass hinges and fittings.

152cm wide, 121cm high, 81cm deep Literature: Talbert B.J. Fashionable Furniture, pub. The Cabinet Maker and Art Furnisher, 1881, where a line drawing of this desk is illustrated.

£2,500-3,500

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

Note: Bruce Talbert was a leading interior designer from the late 1860s until his death in 1881. He published an influential work the Gothic Forms Applied to Furniture, Metal Work and Decoration for Domestic Purposes in 1868. He was acclaimed for the simplicity of his designs which have an underlying geometric structure. His furniture places greater emphasis on horizontal lines than on soaring verticals. Whilst his decorative features are highly complex, they are always harmoniously contained within the overall form of the piece as can be seen in this present lot.

70 ADOLF FRANKAU & CO. LTD GOTHIC REVIVAL BRASS DESK SET, CIRCA 1890 brass, the inkstand with opaque glass finial and ceramic liner, each piece stamped DEPONIRT, desk set13.5cm wide; candlesticks, 17cm high (3) £300-500

71 BRUCE J. TALBERT (1838-1881) (ATTRIBUTED DESIGNER) FOR TEMPLETON’S, GLASGOW CARPET RUNNER, CIRCA 1875 the blue ground with allover floral and foliate panels within guard bands 665cm x 112cm

£400-600

72 HART, SON, PEARD & CO., LONDON & BIRMINGHAM (ATTRIBUTED MAKERS) PAIR OF GOTHIC REVIVAL THREE-BRANCH CANDELABRA, CIRCA 1880 brass, set with jewelled cabochons, each with removable branch converting to single candlesticks (2) candelabra 47cm high, candlestick 27cm high

£400-600

know no better examples of diningroom chairs than some made in the early part of the seventeenth century which still exist in excellent preservation at Knole”

I

Charles Eastlake 1868

73 BRUCE J. TALBERT (1838-1881) (ATTRIBUTED DESIGNER) PAIR OF JACOBEAN REVIVAL SIDE CHAIRS, CIRCA 1875 oak, with original tooled and painted leather upholstery (2) 44cm wide, 90cm high, 47cm deep

£600-800

42

74 ENGLISH AESTHETIC MOVEMENT TABLE LAMP, CIRCA 1880 painted and cast metal, cut glass, converted to electricity and fitted with a later pleated silk shade 45cm high to fitting

£300-500

75 BRUCE J. TALBERT (1838-1881) (ATTRIBUTED DESIGNER) FOR GILLOW & CO. (ATTRIBUTED MAKER) AESTHETIC MOVEMENT TABLE, CIRCA 1870 ebonised wood, with gilt embellishments 83.3cm wide, 73.2cm high, 67cm deep

£400-600

a

s soon as well designed and artistic furniture is offered for sale, under proper management, there will be no difficulty in finding purchasers.

There is no portion of a modern house which indicates more respect for the early traditions of art, as applied to furniture, than the entrance-hall.”

Charles Eastlake 1868

76 DANIEL COTTIER (1838–1891) (ATTRIBUTED DESIGNER) AESTHETIC MOVEMENT COURT CUPBOARD, CIRCA 1880 stained, painted and carved oak 121cm wide, 126cm high, 39.5cm deep Literature: Cooper, J. Victorian and Edwardian Furniture and Interiors: From the Gothic Revival to Art Nouveau, Abbeville Press, 1987, pl. 391, where a similar court cupboard by Cottier & Co. is illustrated.

£800-1,200

43

77 FRENCH, MANNER OF EDOUARD COLONNA PAIR OF ART NOUVEAU DAMASK PANELS, CIRCA 1900 woven silk damask, later framed (2) 50.5cm x 31.5cm

£200-300

78 BRUCE J. TALBERT (1838-1881) FOR JAMES LAMB, MANCHESTER AESTHETIC MOVEMENT DAVENPORT DESK, CIRCA 1870 ebonised wood, inset with carved, inset with carved hardwood, tooled leather skiver and brass fittings, stamped under fall, LAMB 893 and to lock LAMB, M’CHESTER 68.5cm wide, 90.3cm high, 62cm deep

£800-1,200

79 COX & SONS, LONDON (ATTRIBUTED MAKER) GOTHIC REVIVAL SIDE CABINET, CIRCA 1870 oak, inset with embossed patinated metal panels, brass fittings, signed to central embossed panel A. ARENS 108cm wide, 167cm high, 42.8cm deep

£600-800

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

44

T

he decision of a Parliamentary Commission in 1836 that the new Houses (of Parliament) were to be mediaeval in character gave great impetus to the growing taste; and though the Palace of Westminster may not have realised the highest qualities of the architecture which it is popularly supposed to represent, it has at least proved an excellent school for the encouragement of ancient art.

Charles Eastlake 1868

80 A.W.N. PUGIN (1812-1852) OR E.W. PUGIN (1834-1875) (ATTRIBUTED DESIGNERS), POSSIBLY FOR GILLOW & CO. GOTHIC REVIVAL LIBRARY TABLE, CIRCA 1860 oak 226cm long, 74cm high, 68cm deep

£1,500-2,500

45

81 RICHARDS & BROWN (EDWARD CHARLES BROWN), LONDON RICHARDS & BROWN (EDWARD CHARLES BROWN), LONDON silver, stamped ECB, hallmarked London 1873 (2) 29.5cm high

£400-600

82 ENGLISH GOTHIC REVIVAL FLAGON, CIRCA 1875 silver plate, indistinct stamped maker’s marks, 28.5cm high; together with another GOTHIC REVIVAL FLAGON, engraved silver plate, 25cm high (2) £250-350

83 HART, SON, PEARD & CO., LONDON & BIRMINGHAM GOTHIC REVIVAL FLAGON, CIRCA 1875 silver plate, with clear glass sphere finial, stamped maker’s mark under base 33.5cm high

£250-350

84 ELKINGTON & CO., BIRMINGHAM GOTHIC REVIVAL FLAGON, CIRCA 1880 engraved silver plate, stamped to base ELKINGTON & CO, 32cm high; together with a GOTHIC REVIVAL VASE, engraved silver plate, unmarked, 22.5cm high (2) £250-350 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

46

85 WILLIAM WHITE (1825–1900) FOR BISHOPS COURT, SOWTON, DEVON TWO GOTHIC REVIVAL ARMCHAIRS, CIRCA 1860 oak, with velvet upholstery (2) 53.5cm wide, 110.5cm high, 50cm deep; the other 66cm wide, 106.5cm high, 52.5cm deep Provenance: The Bishops Court, Sowton, Devon Bearnes auctioneers, Exeter, ‘The Principal Contents of Bishop’s Court’, auction Monday 26th September 1994, Lots 463 and 464

£3,000-5,000

Note: Originally a palace of the medieval bishops of Exeter from the mid-13th century the whole building was remodelled, and the elevations reworked in 1860-4 by William White, for the Garrett family who had purchased it in 1833.

The renovation of the house and furnishings in the Gothic Revival style is considered to be White’s most important domestic commission. White designed the fittings and much of the furniture, with exceptional attention to detail, specifically for the house of which these chairs formed a part.

47

86 AUGUSTUS WELBY NORTHMORE PUGIN (1812-1852) OR EDWARD WELBY PUGIN (1834-1875) NEEDLEWORK RUG, CIRCA 1860 wool, with later linen backing, with later cotton binding to each end, the panel a section of a larger carpet, panels bearing the cypher M with coronet 225cm x 112.5cm Provenance: St. Leonards Mayfield Chapel, Mayfield, Sussex, England.

£3,000-5,000

Note: The remains of a medieval palace belonging to the Archbishops of Canterbury was converted into a school, Mayfield School of the Holy Child, by Edward Welby Pugin in 1863-6.

This needlework rug originally ran the entire length of the Chapel.

Due to the sheer scale of the work, the rug was constructed in small, panelled sections and later stitched together to form the carpet.

Hand-stitched by the sisters of Mayfield Chapel, the carpet was produced for Mother Cornelia Connelly, founder of the Society of the Holy Child Jesus.

As in other projects, E.W. Pugin continued to use the decorative designs of his father of which this may be one.

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

48

87 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. RARE ‘BIRD AND ANEMONE’ PATTERN FRAMED FABRIC PANEL, DESIGNED 1881 resist-printed linen, later framed 44.5cm x 80cm Literature: Parry, Linda William Morris Textiles V&A 2013, p. 226, fig. 44 illus.

£300-500

M

essrs. Crace, of Wigmore Street, have produced some excellent paper hangings of both Greek and mediaeval design.

Charles Eastlake 1868 88 JOHN G. CRACE & SON, LONDON ORIGINAL FABRIC PANEL, CIRCA 1870 glazed oilcloth, with maker’s stamp PRIVATE DESIGN/ JOHN G. CRACE & SON/ 38 WIGMORE STREET LONDON/ 8030, later framed 101.5cm x 66cm Note: This fabric was used by the firm to make window blinds

£800-1,200

89 A.W.N. PUGIN (1812-1852) OR E.W. PUGIN (1834-1875) (ATTRIBUTED DESIGNERS) GOTHIC REVIVAL REFECTORY TABLE, CIRCA 1850 oak and pitch pine 225.5cm long, 75.5cm high, 107cm deep

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

49

A

dining-room is a room to dine in. Whether there are few or many people seated for that purpose, the table might well be kept of an uniform length; and if space is an object, it is always possible to use in its stead two small tables.

Charles Eastlake 1868

90 E.W. PUGIN (1834-1875) FOR JOHN HARDMAN & CO., BIRMINGHAM GOTHIC REVIVAL SILVER PLATE MANTEL CLOCK, CIRCA 1860 plated metal, enamel, oak, with twin train movement, the base bearing inscription MOMENTUM UNDE PENDET ETERNITAS (Eternity depends on the present moment) 49cm high Note: Hardman & Co. exhibited an almost identical clock at the International Exhibition of 1862.

£1,500-2,000

50

91 ENGLISH GOTHIC REVIVAL ECCLESIASTICAL EMBROIDERED PANEL, CIRCA 1870 silk, cotton and gold threads on a silk damask ground, embroidered inscription VIGILA/ ET ORA/ COR MEUM PARATUM, later framed 30cm square

£300-500

92 ENGLISH GOTHIC REVIVAL TABLE LAMP, CIRCA 1890 brass, set with jewelled cabochons, converted to electricity and fitted with a later silk shade 48cm high to fitting

£400-600

93 HART, SON, PEARD & CO., LONDON & BIRMINGHAM AESTHETIC MOVEMENT VASE, CIRCA 1880 engraved brass, set with agate cabochons, stamped maker’s mark under base 16.5cm high

£200-300

94 COX & SONS, LONDON PAIR OF AESTHETIC MOVEMENT VASES, CIRCA 1880 cast brass, stamped maker’s mark to one vase base COX & SONS/BUCKLEY & CO/ LONDON WC, 22.5cm high; together with a PAIR OF GOTHIC REVIVAL SPILL VASES, by Charles Winn & Co., Birmingham, cast brass, with applied jewelled cabochons, cast maker’s mark C. WINN & CO./ B’HAM, with registration lozenge under base, 23.5cm high (4) £300-500

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

51

95 ENGLISH, MANNER OF A.W.N. PUGIN EMBROIDERED HANGING, CIRCA 1880

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

£2,000-3,000

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

coloured wools and silks on a velvet ground, later linen lining with applied hanging rings 97cm x 218cm

£400-600

52

97 ENGLISH GOTHIC REVIVAL THREE-FOLD SCREEN, CIRCA 1890 oak, with silk damask panels and glazed silkwork and metal thread embroidery, carved inscription to frame THE QUIRE INVISIBLE, WHO’S MUSIC IS THE GLADNESS OF THE WORLD Centre fold 181cm x 88cm; side folds 163cm x 42.6cm

£1,000-1,500

53

98 ARTHUR H. LEE & SONS, BIRKENHEAD (ATTRIBUTED MAKER) ARTS & CRAFTS PORTIÈRE, CIRCA 1900 woven wool 227.5cm x 136cm

£400-600

99 ENGLISH GOTHIC REVIVAL CENTRE TABLE, CIRCA 1870 oak and grained pine 137cm long, 71cm high, 63cm deep

£700-900

100 ENGLISH GOTHIC REVIVAL ARMCHAIR, CIRCA 1870 pine, with original grained finish and original velvet upholstery 58cm wide, 81cm high, 50cm deep

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

54

101 FRENCH FRAMED BROCADE PANEL woven silk and metal threads, later framed 57.5cm x 52cm

£300-500

102 ENGLISH, MANNER OF SIR NINIAN COMPER RARE SET OF FOUR ARTS & CRAFTS ‘FEATHERED ANGEL’ CANDLE HOLDERS, CIRCA 1900 carved and painted oak, brass, with gilt embellishments (4) Each 43cm high Note: These candle holders depict feathered angels holding aloft candle holders. The iconography is thought to derive from medieval mystery plays.

These vernacular dramas, which enacted biblical tales such as the Creation and the story of Adam and Eve, were performed all over Europe in the Middle Ages. In England, guilds of performers toured the countryside with their pageant wagons and the actors playing angels would wear – in addition to wings – feathers that covered the body, ending neatly at neck and ankle. These costumes are variously described as ‘feather tights’ or feather-covered ‘pyjama suits’. This representation of angels is particularly associated with medieval carved roof angels, still found in many Norfolk churches.

£2,000-3,000

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

A

lmost everything which is produced by the labour of his hand and head is sure to be good and beautiful.

Charles Eastlake 1868

56

103 ENGLISH GOTHIC REVIVAL CEILING LIGHT, CIRCA 1890 brass, with associated opalescent glass shades 83cm high, 64cm diameter

£500-800

104 ENGLISH GOTHIC REVIVAL FRAMED EMBROIDERED PANEL, CIRCA 1900 coloured silks on a silk satin ground, with applied with machine-stitched braid edging, later frame 83cm x 20.5cm

£300-500

105 ENGLISH EMBROIDERED CHASUBLE, MID-LATE 19TH CENTURY cutwork 18th-century silk velvet panels, with 19th-century fine silk embroidery 61.5cm wide, 109cm long

£800-1,200

106 ELKINGTON & CO., BIRMINGHAM EGYPTIAN REVIVAL ICE BUCKET, CIRCA 1880 electroplated metal, clear and frosted etched glass, stamped ELKINGTON & CO./ 15578 15.5cm high (handle down); 23cm high (handle up)

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

107 WILLIAM BURGES (1827-1881) FOR HART, SON, PEARD & CO. PAIR OF GOTHIC REVIVAL FIRE DOGS, CIRCA 1865 wrought iron (2) 83cm high, 36cm deep Literature: Cooper, J., Victorian & Edwardian Furniture & Interiors, Thames & Hudson 1987, pp. 57-8, 60, plates 124, 125, 128 Note: Burges used this design in several of his schemes and examples can be found in situ, at Cardiff Castle and Tower House in London.

£3,000-5,000

58

108 COX & SONS, LONDON (ATTRIBUTED MAKER) EASTLAKE STYLE GOTHIC REVIVAL CABINET, CIRCA 1870 pine, with stencilled and gilded decoration and brass fittings, fitted interior 91.5cm wide, 159cm high 43.5cm deep

£600-800

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

59

109 E.W. PUGIN (1834-1875) GOTHIC REVIVAL CHAIR, CIRCA 1870 oak, with velvet upholstery, later but of the period 47.5cm wide, 84cm high, 42cm deep Literature: V&A Accession no W.1-1991 Note: This chair is identical to chairs designed by Edward Welby Pugin for the Grange, his family home, in Ramsgate in about 1864. The Grange was designed and built circa 1843 by his father A.W.N. Pugin who also designed the original furniture. After A.W.N. Pugin’s death in 1852, the house was let until 1864 when the Pugin family returned.

E.W. Pugin inherited his father’s architectural practice and followed the same principles when designing furniture. This chair shows A.W.N. Pugin’s preference for revealed construction in the pegs holding the legs and stretchers together. E.W. Pugin combined his father’s ideas with new details of his own such as the broad back support.

£800-1,200

110 HOLLAND & SONS, LONDON GOTHIC REVIVAL SIDE TABLE, CIRCA 1865 walnut, stamped HOLLAND & SONS 99cm long, 72.5cm high, 51cm deep

£400-600

111 HOLLAND & SON GOTHIC REVIVAL CANTERBURY TABLE, CIRCA 1870 oak, with brass ‘M’ handles 65cm wide, 91cm high, 48cm deep Literature: Cooper, Jeremy Victorian and Edwardian Furniture and Interiors: From the Gothic Revival to Art Nouveau, Hong Kong 1998, pl. 120

£800-1,200

112 ENGLISH, MANNER OF E.W. PUGIN GOTHIC REVIVAL CHAIR, CIRCA 1870 oak, with later period upholstery 61cm wide, 78.5cm high, 46.5cm deep

£300-500

Note: This table is from a celebrated suite of furniture made for John Winston SpencerChurchill, 7th Duke of Marlborough, circa 1880. Holland & Sons adapted designs they had commissioned from Pugin and the distinctive handles cast with the letter ‘M’ are distinctive to this commission.

60

113 ENGLISH ‘FIELD OF THE CLOTH OF GOLD’ FABRIC PANEL, CIRCA 1935 woven jacquard silk, later framed 83cm x 124cm

£500-800

114 ENGLISH, MANNER OF RICHARD NORMAN SHAW AESTHETIC MOVEMENT SIDE CABINET, CIRCA 1880 oak, with nickel fittings 122cm wide, 95.5cm high, 63.5cm deep

£600-800

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

61

115 HART, SON, PEARD & CO., LONDON & BIRMINGHAM SILVERED TABLE LAMP, CIRCA 1870 silver plated metal, converted for electricity and fitted with a later pleated silk shade 70cm high to fitting

£800-1,200

Note: Joseph Hart established Hart and Son metalworkers around 1840, working from 53-58 Wych Street in central London. The firm merged with Peard and Jackson in 1866-67 to form Hart, Son, Peard & Co. and they continued operating in London and Birmingham. They specialised in ecclesiastical fittings as well as a wide range of interior and exterior architectural ironworks.

116 ENGLISH, MANNER OF ALFRED WATERHOUSE AESTHETIC MOVEMENT OCCASIONAL TABLE, CIRCA 1870 oak 68cm diameter, 73cm high

£400-600

117 ENGLISH, MANNER OF ALFRED WATERHOUSE PAIR OF ANGLO-MORESQUE SIDE CHAIRS, CIRCA 1880 walnut (2) 47.5cm wide, 96.5cm high, 45.5cm deep

£400-600

118 ENGLISH, MANNER OF WILLIAM EDEN NESFIELD AESTHETIC MOVEMENT SETTLE, CIRCA 1880 oak 137cm wide, 98.2cm high, 51cm deep

£400-600

62

119 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. PAIR OF ORIGINAL ‘CAMPION’ PATTERN ARTS & CRAFTS CURTAINS, DESIGNED 1883 jacquard woven wool, later lined with linen and with applied hanging rings (2) each 209cm x 170cm Literature: Parry, L., William Morris Textiles, V&A 2013, p. 230, No.50 illus.

£3,000-4,000

120 BRUCE J. TALBERT (1838-1881) (ATTRIBUTED DESIGNER) GOTHIC REVIVAL SIDE CABINET, CIRCA 1870 oak, with brass escutcheons 89cm wide, 168cm high, 41.5cm deep

£1,000-1,500

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

63

121 ENGLISH PAIR OF AESTHETIC MOVEMENT OCCASIONAL TABLES, CIRCA 1880 mahogany, inset with Iznik glazed ceramic panels (2) 52.5cm diameter, 62cm high

£300-500

122 BRUCE J. TALBERT (1838-1881) FOR GILLOW & CO. AESTHETIC MOVEMENT BUFFET, CIRCA 1880 oak, with cross-banded inlay 137cm long, 80.5cm high, 68.5cm deep

£800-1,200 Note: Originally from Dundee, 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.

123 EGYPTIAN REVIVAL ARTS & CRAFTS SERVING TABLE, CIRCA 1880 oak 153cm wide, 96.5cm high, 60cm deep

£700-900

64

124 ENGLISH, MANNER OF SIR GILBERT SCOTT PAIR OF AESTHETIC MOVEMENT DOORS, CIRCA 1875 stained pine, wrought iron and horn (2) 70.5cm wide, 213cm high, 5cm deep Note: The doors in this lot show similar characteristics to the wrought iron and wood gates at St, Pancras Station, London, designed by Scott in 1873

£800-1,200

i

t should be remembered that the work of the hammer and anvil is infinitely superior in every way to the production of the mould.

Charles Eastlake 1868

65

125 ENGLISH AESTHETIC MOVEMENT WALL MIRROR, CIRCA 1880 ebonised, gilded, painted with mirrored plate 99cm wide, 60.7cm high

£500-800

126 J. W. BENSON, LONDON AESTHETIC MOVEMENT MANTEL CLOCK, CIRCA 1880 the twin train movement striking on a gong, with enamelled dial inscribed J. W. BENSON/ 26 OLD BOND STREET, LONDON, the case of ebonised wood with embossed brass mounts 27cm wide, 40cm high, 15cm deep

£300-500

127 ENGLISH THREE AESTHETIC MOVEMENT ANGLO-JAPANESE EMBROIDERED PANELS, CIRCA 1880

128 H. W. BATLEY (1846-1932) AESTHETIC MOVEMENT CORNER CABINET, CIRCA 1880 oak with painted decoration, enclosing mirrored glass panels 28.5cm wide, 120cm high, 18cm deep Literature: Batley H.W. A series of studies for domestic furniture & decoration, 1883, pl. 7 Soros S. Rediscovering H.W. Batley The University of Chicago press on behalf of Bard Graduate Center, 1999 p. 27, fig. 34 illus.

coloured silks on an unbleached linen ground, each later framed with linen mounts (3) 81cm x 31cm

£800-1,200

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

67

129

130

BRUCE J. TALBERT (1838-1881) (ATTRIBUTED DESIGNER) FOR GILLOW & CO.

MANNER OF LEWIS F. DAY FOR JEFFERY & CO.

PAIR OF AESTHETIC MOVEMENT SIDE CHAIRS, CIRCA 1880

'TILE', FRAMED ORIGINAL WALLPAPER PANEL, CIRCA 1880

ebonised beech, later but period upholstery designed by Lewis F. Day (2)

hand-blocked paper, printed to selvedge ‘TILE’, later framed

43.5cm wide, 89cm high, 43cm deep

133.5cm x 55.5cm

Note: illustrated left

£250-350

£500-800

131 WILLIAM BURGES (1827-1881) FOR W. B. SIMPSON & SONS

132 WILLIAM BURGES (1827-1881) FOR W. B. SIMPSON & SONS ‘AQUARIUS’, FRAMED ZODIAC TILE, CIRCA 1880 painted and glazed earthenware, later framed 15.5cm square

£800-1,200

‘TAURUS’, FRAMED ZODIAC TILE, CIRCA 1880 painted and glazed earthenware, later framed 15.5cm square Literature: Mordaunt Crook, J. William Burges and the High Victorian Dream, London, 1981, pl. 163

£800-1,200

Note: Burges originally designed his Zodiac tiles for Castell Coch, one of the residences of the 3rd Marquess of Bute, where they were installed in the drawing-room fireplace. This panel consists of thirty tiles, twelve signs of the Zodiac with eighteen border tiles of other designs.

133 ENGLISH ARTS & CRAFTS CREWELWORK TABLE COVER, CIRCA 1900 coloured wools on a linen ground 108cm x 109cm

£250-350

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

68

134 BENHAM & FROUD, LONDON AESTHETIC MOVEMENT TABLE LAMP, CIRCA 1890 brass and copper, the base inlaid with foliate decoration, stamped maker’s mark to base, later silk shade 45cm high to fitting Note: In 1855, a group of six took over John Kepp’s metalworking firm, which was known for making the replacement orb and cross for St Pauls Cathedral in 1821 that now stamps their signature mark, becoming known henceforth as Benham & Froud. Based on Chandos Street in London, the company were known for their ambitious copper moulds.

£400-600

135 E. W. GODWIN (1833-1886) (ATTRIBUTED DESIGNER) AESTHETIC MOVEMENT COFFEE TABLE, CIRCA 1880 mahogany 52.5cm square, 74.5cm high

£1,000-1,500

136 H. W. BATLEY (1846-1932) FOR GILLOW & CO. AESTHETIC MOVEMENT WRITING DESK, CIRCA 1890 mahogany, with gilt tooled leather skiver and brass fittings 121.5cm wide, 104cm high, 60.5cm deep

£1,500-2,000

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

69

c

onsidering the nature of our social habits in this country, and the importance which we attach to a fireside in almost every apartment, one can scarcely doubt that, if a glass is to be fixed anywhere on the internal walls of a modern house, this is the place for it.”

Charles Eastlake 1868

137 ENGLISH, MANNER OF MORRIS & CO. ART MOVEMENT MUSIC ROOM OVERMANTEL, CIRCA 1870 oak, with inset panels of stained walnut, ebony, holly and mahogany, painted gesso and string, mirrored plate, painted gesso Japanese Noh mask cypher to the reverse, plate grooves to top of the cornice 146.5cm wide, 107.5cm high, 16.5cm deep

£1,000-1,500

138 COLLINSON & LOCK, LONDON (ATTRIBUTED MAKER)

A

AESTHETIC MOVEMENT CHAISE LONGUE, CIRCA 1870

Charles Eastlake 1868

£600-800

room intended for repose ought to contain nothing which can fatigue the eye by complexity.”

gilded and ebonised wood, later close-nailed upholstery 187cm long, 75cm high, 68cm wide Literature: Edwards, Clive Collinson & Lock: Art Furnishers, Interior Decorators and Designers, 1870-1900, Matador 2022, p. 187, pl. 4.170 and 4.170a where similar Anglo-Japanese examples are illustrated.

71

T

here are few persons of education and refinement who do not feel interested in architecture, but I would ask, of what use is it to decorate the interior of our country-houses if we are to permit ugliness within them?

Charles Eastlake 1868

139 ARTHUR HEYGATE MACKMURDO (1851-1942) AND SELWYN IMAGE (1849-1930) FOR THE CENTURY GUILD SECRETAIRE CABINET, CIRCA 1870 mahogany, with marquetry inlay, the fitted interior with leather skiver to fall 57.5cm wide, 146cm high, 46cm deep Literature: Evans, S., Liddiard, J., Arts and Crafts Pioneers, The Hobby Horse Men and their Century Guild, London, 2021, p. 117, fig. 5.30 (this example illustrated).

£12,000-18,000

Note: This piece was probably made for the drawing room of Pownall Hall in Cheshire. The Century Guild had already decorated the dining room of the property owned by the brewer Henry Boddington. This cabinet was likely designed by Arthur Heygate Mackmurdo and demonstrates the Century Guild’s preference for emphasising verticality over horizontal axis, while the roundel inlay designs by Selwyn Image express something of the Guild’s admiration for French Art Nouveau furniture by the like of Emile Gallé. The design drawings for the roundels are held in the collection of the William Morris Gallery, Walthamstow (cat. no. A 194 a-c) and there is also a table similarly decorated with a tulip roundel (cat. no. G 39).

The Saint Louis Museum of Art holds a related cabinet acquired from Paul Reeves (Stuart Evans, ‘Putting Together the Pieces’, The Decorative Arts Society, no. 31 [2007), fig.

14), and the Colchester and Essex Museum has a Century Guild box with similar inlay (Gillian Naylor, The Arts and Crafts Movement, Norwich, 1980, no. 38g).

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

72

140 JAPANESE EMBROIDERED PANEL OF AN OWL, MEIJI PERIOD CIRCA 1880 coloured silks and gold threads on a silk ground within giltwood and gesso frame 47.5cm x 38.5cm

£300-500

141 JAPANESE EMBROIDERED PANEL OF AN OWL, MEIJI PERIOD CIRCA 1880 coloured silks on a silk ground within original painted and ebonised fame 65cm square

£300-500

142 FRENCH PAIR OF ‘JAPANOISE’ SERVING DISHES, CIRCA 1900 printed, painted and glazed earthenware (2) 45.7cm across

£200-300

143 THOMAS JECKYLL (1827-1881) FOR ROBBINS & CO., DUDLEY AESTHETIC MOVEMENT TRIVET, CIRCA 1882 brass, bears registration mark for February 1882, cast mark no 3 19cm square Note: The original design for this trivet is held at the Public Records Office, London

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

144 JAPANESE BOXED CUTLERY SET, MEIJI PERIOD CIRCA 1880 bronze and mixed metal, silver plated metal, comprising 18 forks, 18.7cm long; and 18 knives, 21.5cm long, within fitted mahogany box £1,200-1,800

M

useums and exhibitions of art treasures are useful in familiarising the eye with the appearance of objects which illustrate excellence of ancient skill.”

Charles Eastlake 1868

145 ENGLISH CABARET SET, CIRCA 1870 painted and printed porcelain, decorated with birds and animals, with gilt embellishments, comprising FOUR CUPS, 7.8cm diameter; FOUR SAUCERS, 12cm diameter; MILK JUG, 9cm high; SUGAR BOWL, 11.5cm diameter; TEAPOT & COVER, 22.5cm high; HOT WATER JUG & COVER, 19.5cm high; and TRAY, 62.5cm across (13) £400-600

74

T

he general arrangement of an ordinary English sideboard is reasonable enough. It consists of a wide and deep shelf fitted with one or two drawers, and resting at each end on a cellaret cupboard.

If this piece of furniture were constructed in a plain and straightforward manner, and were additionally provided with a few narrow shelves at the rear for displaying the old china vases and rare porcelain, of which almost every house contains a few examples, what a picturesque appearance it might present at the end of a room!

Charles Eastlake 1868

146 CHARLES LOCKE EASTLAKE (1836-1906) DRESSER, CIRCA 1870 oak, with brass fittings, carved inscription CONFIDE/ RECTE/ AGENS 152cm wide, 205cm high, 64cm deep Literature: Eastlake, Charles L. Hints on Household Taste, Longmans, Green & Co., 1878, pl. XI, where a similar ‘Dining-room sideboard’ is illustrated; Cooper, Jeremy, Victorian & Edwardian Furniture & Interiors, London, 1987, p. 108, pl. 241 (design drawing illustrating a similar sideboard).

Note: Whilst Eastlake did not directly execute furniture himself, an engraving of this design was published in his Hints on Household Taste and has subsequently been reproduced in Jeremy Cooper’s Victorian & Edwardian Furniture & Interiors. Eastlake advocated simple furniture that was geometric in form with a strong preference for rectangular and square elements and gentle curves. He was reacting against the decorative excesses he felt were widely evidenced at the Great Exhibition of 1851. He also promoted the use of solid wood without elaborate inlays and executed using traditional methods that recalled the work of earlier English makers of the Gothic period. He recommended the use of inspirational mottos on furniture, and in this instance the sideboard bears the Latin inscription CONFIDE RECTE AGENS, which can be translated as Have the confidence to do what is right or By acting rightly, be confident.

£3,000-5,000

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

75

76

147

148

ENGLISH, MANNER OF CENTURY GUILD

HART, SON, PEARD & CO., LONDON & BIRMINGHAM

ARTS & CRAFTS HANGING LIGHT, CIRCA 1890

GOTHIC REVIVAL LAMP, CIRCA 1870

brass

brass, with painted faux enamel decoration, on a black glass base with later fitting and pleated silk shade (converted from an oil lamp)

130cm high to fitting, 38cm diameter

£500-800

42cm high to fitting

£400-600

149 C. F. A. VOYSEY (1857-1941) FOR ALEXANDER MORTON & CO. ‘MARTELLO’ FRAMED FABRIC PANEL, CIRCA 1898 woven cotton, later framed 66cm x 65cm Note: See V&A Collection E.155-1974, for the original watercolour design.

£400-600

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

77

150 ENGLISH ARTS & CRAFTS EMBROIDERED HANGING, CIRCA 1890 wool, reserved on a linen ground with original velvet border, mercerised cotton lining and hanging rings Panel 210cm x 153cm

£800-1,200

151 JAMES BROOKS (1825–1901) GOTHIC REVIVAL REFECTORY TABLE, CIRCA 1870 oak 244cm long, 79.5cm high, 85cm deep Provenance: Edgware Abbey, North London Note: James Brooks established his reputation through a series of landmark churches built in the East End of London in the 1860 and 1870s. A. H. Mackmurdo was his pupil.

£800-1,200

78

152 Y STYLE OF CHRISTOPHER DRESSER FOR PRATT & PRINCE, BRADFORD PAIR OF BOOKCASES, CIRCA 1880 ebonised oak and fruitwood, inlaid with ebony and ivory, remnants of paper label to reverse of one bookcase (2) each 106cm wide, 149.5cm high, 34cm deep Literature: Andrews, J. Arts and Crafts Furniture, AAC 2005, pl.

68 where these bookcases are illustrated. https://blairman.co.uk/designers-makers-and-patrons/pairchairs-walter-morrison-1836-1921-new-discovery/ Note: Sold in compliance with UK Government and APHA regulations, with (non-transferable) exemption registration reference TS76R5PW.

£10,000-15,000

Christopher Pratt, a cabinetmaker, and Thomas Prince, a carver and designer, formed a partnership based in Darley Street, Bradford, in about 1845. In 1850 they took over the workshop, showroom and stock of theirformer employer, Joseph Nutter, and began to trade as Pratt & Prince.

This impressive pair of bookcases may have formed part of a suite of furniture designed for Walter Morrison of Malham House, Yorkshire. A pair of armchairs, possibly from this suite and with similar decorative details is with H. Blairman & Sons, London.

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

80

153 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. ’SUNFLOWER’ FRAMED ORIGINAL WALLPAPER PANEL, 1879 hand-blocked paper, green colourway, manufactured and printed

by Jeffrey & Co., bears maker’s marks MORRIS & CO., later framed 133.2cm x 54.2cm

£300-500

154 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. ARTS & CRAFTS ‘BIRD AND VINE’ PATTERN TABLE RUNNER, THE MATERIAL DESIGNED 1879 jacquard woven wool, with later linen border and backing 178cm x 46.5cm Literature: Parry, Linda William Morris Textiles V&A 2013, p. 225, fig. 39 illus.

£300-500

155 ENGLISH HALL BENCH, CIRCA 1885 oak, with later antique velvet- close-nailed upholstery and medievalist braid trim 100cm wide, 93.5cm high, 45cm deep

£500-700

A

s a rule, the simplest patterns are the best for every situation; but where the eye has to rest upon the surface of the wall alone, a greater play of line in the patterns may become advisable.

Charles Eastlake 1868

81

156

157

HART, SON, PEARD & CO., LONDON & BIRMINGHAM

ALEXANDER MORTON & CO. (ATTRIBUTED MAKER)

AESTHETIC MOVEMENT TABLE LAMP, CIRCA 1880

ARTS & CRAFTS TABLE RUNNER, CIRCA 1900

brass and champleve enamel, later converted to electricity, contemporary shade

woven cotton, with later felt border with applied fringe, backed with linen

27.5cm high to fitting

106cm x 37.5cm

£300-500

£200-300

158

159

ENGLISH

UZBEKISTANI

PAIR OF ARTS & CRAFTS ‘BACCHANALIAN’ TALL CHAIRS, CIRCA 1900

PAINTED POKERWORK OCTAGONAL TABLE, CIRCA 1930

carved and stained oak, with later upholstered drop-in seats covered in original ‘Bird & Vine’ wool fabric by Morris & Co., designed by J.H. Dearle (2)

painted wood, with pokerwork decoration 35.4cm wide, 51cm high

50cm wide, 120.5cm high, 48cm deep

Note: Similar examples were exhibited at the Exposition Internationale des Arts et Techniques dans la Vie Moderne in Paris, 1937.

£300-500

£200-300

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

82

160 JOHN HENRY DEARLE (1859-1932) FOR MORRIS & CO. FRAMED ‘ROSE AND LILY’ PATTERN FABRIC PANEL, DESIGNED 1893 woven silk, later framed 128cm x 31.5cm Literature: Parry, Linda William Morris Textiles V&A 2013, p. 255, fig. 90 illus.

£400-600

161 ENGLISH ARTS & CRAFTS EMBROIDERED BEDSPREAD, CIRCA 1900 coloured wool threads on a linen ground 267cm x 188cm

£400-600

162 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. ’SUNFLOWER’ FRAMED ORIGINAL WALLPAPER PANEL, 1879 hand-blocked paper, red colourway, manufactured and printed by Jeffrey & Co., bears maker’s marks MORRIS & CO., later framed 135.7cm x 54.5cm Literature: Schoeser M. The Art of Wallpaper: Morris & Co in Context, ACC 2022, p.85, no. 75 illus.

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

83

163 ENGLISH ARTS & CRAFTS EMBROIDERED BEDSPREAD, CIRCA 1900 coloured silks on a linen ground, with embroidered inscription Daisies Shall Wish You Good Morning/ Buttercups Bid You Good Night/ Songbirds Shall Hover Yet/ Over Your Coverlet/ Bringing You Dreams Of Delight 165cm x 189cm

£500-700

164 ENGLISH GOTHIC REVIVAL FABRIC HANGING, CIRCA 1880 woven silk damask, withing later cotton velvet mount and backing, with applied hanging rings Panel 122cm x 61cm; Whole 164cm x 101cm

£250-350

165 ENGLISH ARTS & CRAFTS EMBROIDERED BEDSPREAD, CIRCA 1900 coloured wools on a linen ground 230cm x 181cm

£400-600

T

he design represented on the preceding page is for a chest of drawers which may occasionally be used for a toilet table in a small dressing-room. It is of course not intended for ladies’ use.

Charles Eastlake 1868

D

85

r. Salviati has done his best to procure good designs (some of which have been furnished

by Mr. Norman Shaw), and old examples for his men to copy.

Charles Eastlake 1868 166 SALVIATI & CO., VENICE TWIN-HANDLED VASE, CIRCA 1890 clear and green glass, aventurine inclusions 24.5cm high

167

£200-300

ENGLISH ARTS & CRAFTS EMBROIDERED BEDSPREAD, CIRCA 1890 coloured silks on a silk ground, applied braid and fringing, cotton lining 187cm x 192cm

£500-700

168 CHARLES LOCKE EASTLAKE (1836-1906) AESTHETIC MOVEMENT CHEST OF DRAWERS, CIRCA 1870 oak, with brass handles 106.7cm wide, 99.5cm high, 60.3cm deep Literature: Eastlake, Charles L. Hints on Household Taste, Longmans, Green & Co., 1878, p 215 where a similar chest is illustrated.

Cooper, Jeremy Victorian & Edwardian Furniture & Interiors, Thames & Hudson 1998, pp.108-9, pl. 240

£800-1,200 Note: Eastlake was not a commercial designer and earned his living as Keeper of the National Gallery. Most of his designs were variants based on his published designs, as in the present example.

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

86

169 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. ‘WILLOW BOUGHS’, FRAMED ORIGINAL WALLPAPER PANEL, CIRCA 1887 hand-blocked paper, printed by Jeffrey & Co., later framed 88cm x 28cm Literature: Schoeser M. The Art of Wallpaper: Morris & Co in Context, ACC 2022, p.93, no.

83 illus.

Note: Willow Boughs was inspired by an afternoon walk taken by Morris and his daughter May near Kelmscott manor in Oxfordshire. May Morris later wrote that her fathers “keenly observed rendering of our willows has enbowed many a London living room”

£200-300

171 CHARLES LOCKE EASTLAKE (1836-1906) CENTRE TABLE, CIRCA 1870 oak, with parquetry inlaid top 73cm square, 70.5cm high Literature: Eastlake, Charles L. Hints on Household Taste, Longmans, Green & Co., 1878, p. 178 where a similar table is illustrated.

£400-600

172 CHARLES LOCKE EASTLAKE (1836-1906) AESTHETIC MOVEMENT OCCASIONAL TABLE, CIRCA 1870 ebonised oak 81cm square, 71cm high

£300-500

170 MANNER OF LEWIS FOREMAN DAY ORIGINAL WALLPAPER PANEL, CIRCA 1890 hand-blocked paper, later framed 133cm x 55cm

£300-500

87

173 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. THREE ARTS & CRAFTS ‘PEACOCK & DRAGON’ PATTERN CUSHIONS, THE FABRIC CIRCA 1878 jacquard woven wool, reserved on russet velvet with applied braid, comprising a pair and another in a different colourway, each later made up as a cushion (3) each 53cm square Literature: Parry, Linda William Morris Textiles V&A 2013, p.

224, fig. 35 illus.

£400-600

174 CHARLES LOCKE EASTLAKE (1836-1906) (ATTRIBUTED DESIGNER) AESTHETIC MOVEMENT SOFA, CIRCA 1870 walnut, with later period close-nailed upholstery 154cm wide, 100cm high, 63cm deep Literature: Eastlake, Charles L. Hints on Household Taste, Longmans, Green & Co., 1878, p 215 Note: This settee is based on a 17th century example found at Knole House, Sevenoaks. Eastlake states that the furniture at Knole, including the Settee in Billiard Room at Knole, is furniture which is “designed on thoroughly artistic principles”.

£800-1,200

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

88

175 BENHAM & FROUD, LONDON AESTHETIC MOVEMENT ADJUSTABLE DESK CANDELABRA, CIRCA 1880 gilt metal, steel, ebonised wood, stamped maker’s mark under base 30cm wide, 46.5cm high

£200-300

176 COLLINSON & LOCK, LONDON AESTHETIC MOVEMENT CABINET, CIRCA 1885 mahogany, with copper fittings 86cm wide, 162cm high, 31cm deep

£1,000-1,500

E

very article of manufacture which is capable of decorative treatment should indicate, by its general design, the purpose to which it will be applied, and should never be allowed to convey a false notion of that purpose.

Charles Eastlake 1868

177 ALFRED GEORGE STEVENS (1817-1875) PAIR OF FIRESIDE COMPANIONS, CIRCA 1855 bronzed metal, each raised on a painted metal plinth (2) 37cm high

£400-600

178 ENGLISH, MANNER OF THOMAS JECKYLL AESTHETIC MOVEMENT FENDER, CIRCA 1880 brass and cast steel 156.5cm wide, 32.5cm deep, 16.5cm high; interior 139cm wide, 23cm deep

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

89

179 W.A.S. BENSON (1854-1924) FOR MORRIS & CO. ’GARDEN CRAFT’ FRAMED ORIGINAL WALLPAPER PANEL, CIRCA 1908 hand-blocked paper, manufactured and printed by Jeffrey & Co., printed to selvedge MORRIS & CO./ GARDEN CRAFT, later framed 128.5cm x 52cm

£300-500

T

he question whether, after all, yellow is and whether green is not, a primary hue, has been recently raised by the ingenious theories of Mr. Wm. Benson; and the new light which he has thrown on the subject of colour generally may, in some degree, explain the difficulties hitherto felt in reconciling scientific data with principles of taste in chromatic decoration.

Charles Eastlake 1868

181

180 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. ’BATCHELOR’S BUTTON’ ORIGINAL WALLPAPER PANEL, CIRCA 1892 hand-blocked paper, marked to selvedge MORRIS & CO., later framed 133cm x 55cm Literature: V&A accession no. E597-1919

£300-500

MAY MORRIS (1862-1938) FOR MORRIS & CO. ‘HONEYSUCKLE’ ORIGINAL WALLPAPER PANEL, DESIGNED 1883 hand-blocked paper, marked to selvedge MORRIS & CO. 133cm x 55cm Literature: Hulse, Lynn et. al, May Morris: Arts & Crafts Designer, Thames & Hudson, London, 2017, pp. 62-3, pls. 47-48 illus.

Note: May Morris designed three wallpapers during her first three years working for Morris & Co. of which ‘Honeysuckle’ was her most popular and enduring pattern. Its light and uplifting design proved very successful for the firm and was printed in four colourways.

£400-600

O

rder what articles you require to be made in solid wood, and either simply rubbed with linseed oil, or if they must be stained at all, let them be stained black before they are polished.

Charles Eastlake 1868

91

182 FORD MADOX BROWN (1821-1893) (ATTRIBUTED DESIGNER) FOR MORRIS & CO. ARTS AND CRAFTS ‘SUSSEX’ ARMCHAIR, CIRCA 1875 ebonised beech, with rush seat 59cm wide 90cm high 54.5cm deep

£300-500

Note: Morris & Co.’s celebrated Sussex chair was originally designed around 1860 and sold in large numbers from the late 1860s. The form of this immensely popular piece takes its inspiration from a lateGeorgian armchair discovered in Sussex, which is particularly visible in the turned frame and rush seat. 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 a side chair.

183 MORRIS & CO. ARTS & CRAFTS ‘SUSSEX’ ARMCHAIR, CIRCA 1880 ebonised ash and beech, with rushed seat 56cm wide, 85cm high, 50cm deep

£300-500

184 PHILIP SPEAKMAN WEBB (1831-1915) FOR MORRIS & CO. Note: This model was originally designed by Philip Webb circa 1875, and which William Morris had in his study at Kelmscott House, Hammersmith. There is a watercolour by Mary A. Sloane (‘May Morris in Tapestry Room at Kelmscott Manor’, 1910-15), which depicts William Morris’ daughter May editing the twenty-four volumes of Collected Works by William Morris at the Kelmscott table. The picture is held in the William Morris Gallery, Waltham Forest, London. A table of this design can still be found in the Tapestry Room at Kelmscott Manor, Oxfordshire.

ARTS & CRAFTS ‘KELMSCOTT’ TABLE, CIRCA 1875 oak 183cm long, 72cm high, 99cm deep

£5,000-7,000

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

92

185 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. ‘FLOWERPOT’, ARTS & CRAFTS EMBROIDERED PANEL, DESIGNED 1876, MADE CIRCA 1900 worked in chain stitch with coloured silk threads, on a damask ground, later framed and mounted 59.5cm high 51cm wide Literature: V&A Collection T.68-1939 Hulse, Lynn et. al, May Morris: Arts & Crafts Designer, Thames & Hudson, London, 2017, p.70-71, pls. 54-56 illus.

Note: This design was used for cushion covers and fire screens. The public could buy them as finished embroideries or as kits to complete at home and they were an inexpensive way of acquiring William Morris’s work. It is unusual to find an example entirely executed in chain stitch.

£700-900

W

ith regard to ladies’ costume in England at the present time, undeniably though it has improved within the last five and twenty years, all criticism on the subject is impossible, for the simple reason that the rapid changes of fashion make it useless to approve or condemn details of form and colour in dress which may be modified or actually 186 banished from the wardrobe while SWAN & EDGAR LTD., these pages are being printed.

REGENT STREET, LONDON

Charles Eastlake 1868

EDWARDIAN LADIES DAY COAT, CIRCA 1900 wool, with label SWAN & EDGAR LTD/ REGENT STREET W across shoulders 48cm, nape of neck to hem 127cm, collar length 36cm

£1,000-1,500

187 STYLE OF C.F.A. VOYSEY ARTS & CRAFTS HONITON LACE COLLAR, CIRCA 1900 cotton, mounted on a felt board, later framed collar 44cm x 49.5cm

£400-600

93

188 COX & SONS, LONDON (ATTRIBUTED MAKER) AESTHETIC MOVEMENT DRAWING ROOM CABINET, CIRCA 1880 painted fruitwood, with patinated metal fittings, inset with ceramic tiles and coloured leaded glass, also painted to the interior 116cm wide, 188.5cm high, 54.5cm deep

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

95

189 PHILIP SPEAKMAN WEBB (1831-1915) FOR MORRIS & CO. UNUSUAL OVAL CENTRE TABLE, CIRCA 1880 walnut, fruitwood inlay 161cm long, 140.5cm wide, 72.5cm high Literature: Whiteway, Michael and Gere, Charlotte Nineteenth Century Design: From Pugin to Mackintosh, Weidenfeld & Nicolson, 1993, p.100, pl. 108 Parry, Linda, William Morris, London, 1996, p.175 Andrews, John, Arts and Crafts Furniture, Woodbridge, 2005, p.50, pl.45 (similar version illustrated).

Lyon & Turnbull, Decorative Arts, April 2004, lot 328 for a similar example in mahogany

£6,000-8,000

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

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

96

g

ood examples of (a) design (which) is not only picturesque in effect, but practical and workmanlike as far as construction is concerned. Without both these qualities all furniture is, in an artistic sense, worthless.

Charles Eastlake 1868

190

George Washington Jack was the chief furniture

GEORGE WASHINGTON JACK (1855-1931) FOR MORRIS & CO.

designer for Morris and Co. from 1890. Prior to

ARTS & CRAFTS LIBRARY TABLE, CIRCA 1890

this in 1879, he had undertaken some work for

mahogany

the architect Philip Webb and by 1882 was a

167cm long, 73cm high, 97.5cm deep Literature: Morris & Co catalogue, Specimens of Furniture, Upholstery and Interior Decoration, circa 1900, p. 27, no.557; Cooper, Jeremy Victorian and Edwardian Furniture and Interiors: From the Gothic Revival to Art Nouveau, Abbeville Press, 1987, pl. 464 (variant with carved twisted legs and decorative table top edge).

£8,000-12,000

full-time employee of his. From 1885 he was also working for Morris, Marshall, Faulkner & Co. as well as Philip Webb. There is a similar example of this table held in the William Morris Gallery Collection in Walthamstow (cat. no. G37). It is of comparable form, with hay-rake stretchers in the same arrangement and brackets supporting the overhanging table surface.

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

98

191

192

MAY MORRIS (1862-1938) FOR MORRIS & CO.

PHILIP WEBB (1831-1915) (ATTRIBUTED DESIGNER) FOR MORRIS & CO. (ATTRIBUTED MAKER)

ARTS & CRAFTS TABLE COVER, CIRCA 1900 coloured silks on a wool felt ground, applied fringe and mercerised cotton backing

ARTS & CRAFTS DISPLAY CABINET, CIRCA 1880

129cm x 127cm

111.5cm wide, 164.5cm high, 44.5cm deep

Literature: Hulse, Lynn et. al, May Morris: Arts & Crafts Designer, Thames & Hudson, London, 2017, p.134 and 135, pls. 123-6, where designs and stitchwork reflecting May Morris’ interest in historic needlework of the 16th and 17th centuries are illustrated.

Note: This interesting cabinet demonstrates design elements characteristic of Philip Webb's furniture for Morris & Co. The deep mouldings to the apron frieze, the supported interior shelf, the canted form and the shaped cut-out apron are all found in furniture by Webb for the firm, who continued to produce his designs for furniture well into the 20th century.

£1,200-1,800

£1,500-2,500

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

mahogany, with glazed panels and cast metal handles, the interior with fabric lining

100

193 DUTCH AMSTERDAM SCHOOL CARPET, CIRCA 1880 cotton plush velvet 188cm x 124cm

£300-500

194 DUTCH PAIR OF AMSTERDAM SCHOOL SIDE CHAIRS, CIRCA 1910 pitch pine (2)

195

41cm wide, 87cm high, 50cm deep

HENDRIK BERLAGE (1856-1934)

£400-600

GOTHIC ARMCHAIR, CIRCA 1890 oak, with caned back and seat 50.5cm wide, 110.5cm high, 44cm deep Note: Hendrick Petrus Berlage began his practice in Amsterdam in 1889. His bestknown work is the Stock Exchange in Amsterdam (1898–1903), notable for its rounded Romanesque arches and the forthright use of structural steel and traditional brick, examples of Berlage’s concern that materials be used truthfully.

£600-800

101

196 PHILIP SPEAKMAN WEBB (1831-1915) FOR MORRIS & CO. ARTS & CRAFTS DRAWING ROOM CABINET, CIRCA 1870 walnut, with brass fittings 156cm wide, 155cm high, 31.7cm deep Literature: Morris & Co catalogue, Specimens of Furniture, Upholstery and Interior Decoration, circa 1900, p. 27, no.557 Cooper, J. Victorian and Edwardian Furniture and Interiors: From the Gothic Revival to Art Nouveau, Abbeville Press, 1987, p. 167, pl. 418, where the line drawing for this cabinet is illustrated.

Note: A similar stained oak example of this cabinet is held in the Art Gallery of South Australia, Adelaide, ascension no. 996F2.

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

102

197 PHILIP SPEAKMAN WEBB (1831-1915) FOR MORRIS & CO. LARGE ARTS & CRAFTS OAK CABINET, CIRCA 1890 mahogany, with brass fittings, and astragal glazed doors 242cm wide, 235.5cm wide, 78cm deep

£3,000-5,000

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

Note: The canopy over the central shelves recalls the canopy Philip Webb employed in the settle which he designed for his friend and associate William Morris’ Red House, which subsequently moved to Kelmscott Manor. In keeping with Arts & Crafts values this cabinet recalls earlier historic forms, it is devoid of superfluous ornamentation and places an emphasis on the overall form, structure and materials used.

103

198 DUTCH PORTIÈRE, CIRCA 1890 cotton plush velvet batik 285cm x 145cm

£300-500

199 ENGLISH ART FURNITURE ARMCHAIR, CIRCA 1860 walnut, with later horsehair and woven silk close-nailed upholstered, with drop-in seat 60cm wide, 83.3cm high, 64cm deep

£600-800

200 JOHN MOYR SMITH (1839-1912) (ATTRIBUTED DESIGNER) FOR COX & SONS, LONDON AESTHETIC MOVEMENT PARLOUR CHAIR, CIRCA 1870 ebonised wood, with close nailed velvet upholstery 57cm wide, 106.5cm high, 64cm deep

£300-500

104

201 FRENCH ART NOUVEAU TABLE COVER, CIRCA 1900 printed cotton plush velvet, with cotton fringing 176cm x 168cm

£300-500

202 AMERICAN, POSSIBLY KIMBEL & CABUS, NEW YORK AESTHETIC MOVEMENT PARLOUR SUITE, CIRCA 1890 ebonised wood with gilt embellishments, later covered with period upholstery, comprising a SOFA, 158cm wide, 83.5cm high, 69cm deep; and PAIR OF ARMCHAIRS, 74cm wide, 84cm high, 69cm deep (3) Literature: Veith B., and Higgins Harvey M. Modern Gothic: The Inventive Furniture of Kimbel and Cabus, 1863-82, Hirmer 2021, p.70, fig. 38 and pp.1535 where pierced and carved details similar to the current lot are illustrated.

£2,000-3,000

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

v 105

203 AUSTRIA JUGENDSTIL FRAMED EMBROIDERY, CIRCA 1900 coloured silks on a silk ground, later framed within lunette mount 59.5cm x 71cm

£300-500

204 AMERICAN AESTHETIC MOVEMENT WALL MIRROR, CIRCA 1890 mahogany with bevelled mirrored plate, and copper filagree set with opalescent cabochons 91cm x 60.7cm

£400-600

205 LIBERTY & CO., LONDON ANGLO-MORESQUE ARMCHAIR, CIRCA 1890 mahogany, with velvet dropin seat, bears makers label LIBERTY & CO to the underside 53cm wide, 89.5cm high, 45cm deep

£400-600

106

206

207

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

GEORGE EDMUND STREET (1824-1881)

ALTAR FRONT, CIRCA 1880

oak, with velvet upholstery, later but of the period

silk damask, applied braid and fringing, cotton lining, and with applied hanging rings

46cm wide, 89cm high, 45cm deep

91cm x 185cm

£500-800

GOTHIC REVIVAL SIDE CHAIR, CIRCA 1880

Note: Street designed these chairs for the Law Courts (now the Royal Courts of Justice) which he also designed, and which were opened by Queen Victoria in 1882.

£400-600

208 GEORGE EDMUND STREET (1824-1881) TABLE, 1880 oak 83.7cm wide, 73cm high, 43cm deep

£300-500

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

107

209 JAMES F.F. CAMM ARTS & CRAFTS MARQUETRY PANEL, DATED 1911 painted and inlaid specimen woods within original oak framed, signed lower left and dated JAMES F.F. CAMM/ 1911 50cm x 19.3cm

£200-300

210 W.A.S. BENSON (1854-1924) ARTS & CRAFTS EXTENDING STANDARD LAMP, CIRCA 1900 brass and copper, later converted to electricity with later pleated silk shade, stamped to base REG.NO.127090 153cm high (closed to fitting); 185cm to fitting (fully extended) Literature: Hamerton, I. (ed.), W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, Woodbridge, 2005, pP. 249 and 259 where similar lamps are illustrated.

£1,000-1,500

211 ENGLISH ARTS & CRAFTS WALL MIRROR, CIRCA 1900 copper with pewter inlay, enclosing a mirrored plate and fitted with two electric lights 61cm x 46cm

£500-800

212 FRENCH CUSHION, THE FABRIC CIRCA 1920 stencil-painted velvet, with later silk backing, 45cm x 65cm; together with an ENGLISH ARTS & CRAFTS EMBROIDERED CUSHION, THE EMBROIDERY CIRCA 1900, silk threads, on a plush ground with later linen backing, 33cm square; and an ENGLISH ARTS & CRAFTS EMBROIDERED CUSHION, THE EMBROIDERY CIRCA 1900, coloured wools on a linen ground, with later linen backing, 43cm x 49cm (3) £300-500

108

213 FRENCH AESTHETIC MOVEMENT FABRIC PANEL, CIRCA 1880 printed cotton, later framed 52.5cm high 45cm

£200-300

214 ENGLISH, MANNER OF HENRY WILSON ARTS & CRAFTS CEILING LIGHT, CIRCA 1890 brass, with opalescent glass shade by James Powell & Sons, converted to electricity 41.5cm diameter, 66cm high

£600-800

215 ENGLISH PAIR OF VICTORIAN HALL CHAIRS, CIRCA 1875 pitch pine, oak and mahogany with glazed panels inset with coloured prints (2) 32cm wide, 94cm high, 31.5cm deep

£300-500

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

109

216 ENGLISH MEDIEVAL REVIVAL FRAMED FABRIC PANEL, CIRCA 1880 silk cut velvet, later framed 81cm x 62.5cm

£400-600

217 ENGLISH EMBROIDERED SHAWL COAT, MID-19TH CENTURY the upper bodice and sleeves in cobalt blue silk velvet, the skirt of the coat an earlier, heavily silkembroidered fine Kashmir shawl, fully lined in a pale eau de nil silk satin, with hidden inner pocket. bust 92-97cm. nape of neck- hem 113cm, sleeve length 42cm

£1,000-1,500

218 KASHMIRI CAPE, FOR THE EXPORT MARKET, CIRCA 1840 made from fine pashmina shawl handwoven and embroidered in Kashmir, northern India across shoulders 48cm, nape of neck to hem 62cm, collar length 36cm Note: Probably made from an earlier Kashmir shawl and fashioned into a cape for the fashionconscious European market.

£2,000-3,000

110

219 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. ‘THE APPLE TREE’ EMBROIDERED PANEL, CIRCA 1890 coloured silk threads within later frame 59cm x 58cm

£400-600

220 ENGLISH ARTS & CRAFTS NEEDLEWORK RUG, CIRCA 1910 wool 192cm x 199cm

£400-600

221 POSSIBLY VIETNAMESE EMBROIDERED PANEL, CIRCA 1880 coloured silks, silk threads and raised work, black cotton ground, later framed 68cm x 88cm

£300-500

111

222 CONTINENTAL, THE PANELS AFTER ALPHONSE MUCHA KITCHEN DRESSER, CIRCA 1890 painted pine, with brass fittings 105.5cm wide, 191.5cm high, 52cm deep Literature: For further imagery relating to this lot see Alphonse Mucha, Poster for ‘La Samaritaine, 1897. https://www.metmuseum.org/art/collection/search/338261 Bridges, A. Alphonse Mucha: The Complete Graphic Works. Random House Value Publishing: New York, 1980. cat. no. A15, p. 153

£700-1,000

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

112

223 WILLIAM BROWNFIELD & SONS TWIN-HANDLED SERVING BOWL, CIRCA 1880 of Nordic design, painted and glazed earthenware, impressed maker’s mark 46cm wide across handles

£300-500

224 SCANDINAVIAN TAPESTRY HANGING, DATED 1948 wool, cotton, woven makers mark and initials MHT/ 1948 (maker’s symbol ‘S’ with a cross), with hanging rings Tapestry 180cm x 137cm

£400-600

225 SWEDISH ARTS & CRAFTS SETTLE, CIRCA 1900 pine, with chip-carved decoration, embroidered cotton hanging, bears paper label verso UTSTÄLLNINGEN HELSINGBORG (Exhibition Helsingborg) 119cm wide, 146cm high, 43cm deep Exhibited: Helsingborg Industry and Craft Exhibition, 1903 Note: The Helsingborg Industry and Craft Exhibition of 1903 was an exhibition set up to highlight products from the south of Sweden. The exhibition was very ambitious and included a wide range of different industrial and craft activities. By the time the exhibition closed on September 10th 1903 over 300,000 visitors had seen the exhibition.

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

W

ood- carving applied as a means of decoration in such places should be treated after a thoroughly abstract fashion, and made subservient to the general design of the furniture.

Charles Eastlake 1868

114

226 W.A.S. BENSON (1854-1924) RARE TABLE LAMP, CIRCA 1910 brass, with hinged fitting, and associated faux tortoiseshell lamp shade 21cm high to fitting

£800-1,200

227 ENGLISH THE ‘MARLBOROUGH’ DESIGN, FRAMED ORIGINAL WALLPAPER PANEL, CIRCA 1910 hand-blocked paper, printed to selvedge THE ‘MARLBOROUGH’ DESIGN, later framed 132.5cm x 56cm

£300-500

228 LEWIS FOREMAN DAY (1845-1910) AESTHETIC MOVEMENT FOUR-FOLD SCREEN, CIRCA 1880 mahogany with leather hinges, inset with embroidered panels, 175cm high, 248cm wide (fully extended) Note: The design of the lower frieze in this piece can also be found in the frontispiece of Every-Day Art by Lewis F. Day published in 1882.

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

T

here was, not many years ago, a great demand for bronze candlesticks, whereas brass is a far more brilliant material for the purpose, and is capable of being treated with greater richness of form and surface-decoration.

115

229 MANNER OF THOMAS JECKYLL PAIR OF AESTHETIC MOVEMENT CANDLESTICKS, CIRCA 1880 brass, with removable nozzles (2)

Charles Eastlake 1868

21.5cm high

£400-600

T

he fittings of the hall at least assume an appearance of solidity which is characteristic of a better aim in design.

Charles Eastlake 1868

230 GEORGE MONTAGUE ELLWOOD (1875-1955) ARTS & CRAFTS SETTLE, CIRCA 1900 oak 127cm wide, 123.5cm high, 52cm deep

£2,000-3,000

T

he hall-table is, then, generally made of oak, in a plain and substantial manner, flanked by chairs of the same material, with a hat and umbrella-stand to correspond. Sometimes a bench is substituted for the chairs, but in any case this group of furniture is generally the best in the house, on account of its extreme simplicity.

231 ENGLISH, MANNER OF SIR EDWIN LUTYENS ARTS AND CRAFTS HALL TABLE, CIRCA 1890 oak 175cm length, 75cm high, 69cm deep

Charles Eastlake 1868

£800-1,200

116

232 MARJORIE HAYES (1913-2005) ‘PEGASUS’ MODERNIST APPLIQUE PANEL, CIRCA 1937 coloured silk and gold threads with original frame, bears Society of Women Artists exhibition label verso 77.5cm x 59cm Note: Marjorie Hayes studied at the Royal College of Art in the 1930s.

She excelled in the design of clothes and handicrafts and established her own commercial design and bespoke clothes business. Hayes also contributed regularly to Queen Magazine, and she also illustrated children’s books. She exhibited at the Society of Women Artists from 1936to 1972, and at the Royal Institute Galleries and the Royal Academy.

£400-600

233 BIRMINGHAM SCHOOL PAIR OF ARTS & CRAFTS TABLE LAMPS, CIRCA 1920 brass, with later silk shades (2) 46cm high to fitting

£500-700

234 M.H. BAILLIE SCOTT (1865-1945) ARTS & CRAFTS TABLE, CIRCA 1900 stained chestnut, with single drawer 107cm long, 68cm high, 74.5cm deep Literature: Furniture Made at the Pyghtle Works, Bedford designed by M. H. Baillie Scott, published by John P. White, no. 58, where a version of this table is illustrated

£1,200-1,800

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

117

235 M. H. BAILLIE SCOTT (1865-1945) (ATTRIBUTED DESIGNER) FOR JOHN P. WHITE (ATTRIBUTED MAKER) ARTS & CRAFTS OVERMANTEL MIRROR, CIRCA 1900 walnut, with marquetry inlay and bevelled mirrored glass 125.5cm wide, 51.5cm high, 11.2cm deep

£1,000-1,500

236 ENGLISH, MANNER OF M.H. BAILLIE SCOTT SET OF TEN ARTS AND CRAFTS DINING CHAIRS, CIRCA 1900 oak, with leather close nailed upholstery and drop in seats (10) armchair 61cm wide, 136cm high, 49cm deep

£1,000-1,500

118

237 WILLIAM FOXTON LTD. FRAMED FABRIC PANEL, CIRCA 1915 printed cotton, later framed 104.5cm x 96cm

£400-600

238 ENGLISH

239 ENGLISH ARTS & CRAFTS ARMCHAIR, CIRCA 1900 oak 61.3cm wide, 109.5cm high, 39.5cm deep

£300-500

ARTS & CRAFTS EMBROIDERED CUSHION, THE MATERIAL CIRCA 1900 coloured silks and metals threads on linen ground with applied braid, later made up as a cushion, 32.5cm x 46cm; together with a GLASGOW STYLE EMBROIDERED CUSHION, THE EMBROIDERY, coloured silks, on a linen ground with later linen backing, 38cm square (2) £250-350

240 HANS VOLLMER (1878-1969) FOR PRAG-RUDNIKER, VIENNATUB ARMCHAIR, CIRCA 1900 oak, ceramic, rush and wicker 62cm wide, 71cm high, 51.5cm deep

£500-700

119

241 SCOTTISH TWO GLASGOW STYLE EMBROIDERED PANELS, CIRCA 1900 coloured silk threads, on a linen ground, later framed, 36cm x 45.5cm and 36cm x 45.5cm (2) £500-800

242 SCOTTISH PAIR OF GLASGOW STYLE EMBROIDERED PANELS, CIRCA 1900 coloured silk threads on a grey linen ground, later framed (2) 24.5cm x 32.5cm

£400-600

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

120

243 GEORGE HENRY WALTON (1867-1933) (ATTRIBUTED DESIGNER) ARTS & CRAFTS CEILING LIGHT, CIRCA 1900 brass, copper and opalescent glass 56cm high to fitting, 51cm diameter excluding shades Literature: Walter Shaw Sparrow The British Home of Today, Hodder & Stoughton 1904, G12 illus., where a similar ceiling light is illustrated

£800-1,200

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

122

244

245

ERNEST ARCHIBALD TAYLOR (1874-1951) (ATTRIBUTED DESIGNER)

GEORGE HENRY WALTON (1867-1933)

SUITE OF STAINED GLASS, CIRCA 1900

GLASGOW STYLE SIDEBOARD, CIRCA 1900

stained, leaded and clear glass, with later frames mounted to painted board ground (3)

mahogany, with turned bone handles

largest 80cm x 108cm; smaller 82cm x 55.5cm

198cm wide, 154.5cm high, 67.5cm deep

£800-1,200

£800-1,200

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

123

246 SCOTTISH ’ST. MARGARET’, EDINBURGH SCHOOL EMBROIDERED PANEL, CIRCA 1930, coloured silks on a blue silk ground with gilt thread embellishment, bears inscription ST. MARGARET 44cm x 30cm

£1,000-1,500

247 ANN MACBETH (1875-1948) (ATTRIBUTED DESIGNER) GLASGOW SCHOOL FRAMED EMBROIDERY, CIRCA 1900 coloured silks, metal threads and beadwork on a silk satin ground, later framed 42cm x 30cm

£600-800

248 SCOTTISH PAIR OF GLASGOW SCHOOL ARTS & CRAFTS VITRINES, CIRCA 1900 oak with glazed panels and velvet lined interiors, glass panels (2) 112.8cm wide, 76cm high, 41cm deep

£800-1,200

124

249 SIR ROBERT LORIMER (1864-1929) FOR EARLSHALL CASTLE, FIFE ARTS & CRAFTS CREWELWORK PANEL, CIRCA 1893 russet silk embroidery on a natural linen ground, later framed 87cm x 93cm Provenance: R.W.R. Mackenzie, Earlshall Castle, Fife, Scotland Note: In 1890 Sir Robert Lorimer was commissioned by R.W.R. Mackenzie to restore and enhance his sixteenth-century tower house, Earlshall, near Leuchars in Fife, Scotland. Lorimer designed several pieces of furniture for the house, including the settle now in LACMA and the buffet which Walter Shaw Sparrow illustrated in his The British Home of To-Day (1904). The work included embroideries to complete the decorative scheme. Walter Shaw Sparrow illustrated the bedcover from this set (now with The National Museums of Scotland) in The Modern Home (published in 1908).

This embroidered panel formed part of a suite of hangings worked by Mackenzie’s wife Jessie and her friends in 1893 and remained at Earlshall until the contents were sold in 1983. The larger hangings from this suite were sold in these rooms (see ‘Paul Reeves: Textiles as Art’, 23rd February 2017, lots 42 and 43).

£600-800

250 MANNER OF SIR ROBERT LORIMER PAIR OF ARTS & CRAFTS STANDARD LAMPS, CIRCA 1920 oak, each fitted with later pleated silk shades (2) height to top of fitting, 158cm, without fitting 153cm, base 35cm diameter

£700-1,000

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

251 MANNER OF SIR ROBERT LORIMER ARTS & CRAFTS CENTRE TABLE, CIRCA 1920 oak 107cm wide, 75.5cm high

£1,500-2,000

126

252 GRACE CHRISTIE (MRS. A.G.I. CHRISTIE) (1872-1953) (ATTRIBUTED MAKER) ARTS AND CRAFTS FRAMED EMBROIDERY, CIRCA 1900 coloured silks on a linen ground, with embroidered eyelets, bears embroidered inscription, The Grass Withereth The Flower Fadeth But The Word Of The Lord Endureth Forever, later framed 122cm wide, 52.5cm high

£600-800

253 HEAL & SON, LONDON ‘674’ DRESSER, CIRCA 1920 oak, with original finish 153cm wide, 171.5cm high, 53cm deep Literature: Heal, Oliver S. Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939, Unicorn 2014, p.188 where a similar example is illustrated.

Note: Dating from circa 1914 the ‘674’ 5 ft unpolished oak dresser was featured at the 1916 Arts & Crafts exhibition, and again at the Wembley Exhibition in 1924, and remained in production until 1935.

£800-1,200

127

254 WEMYSS SCHOOL OF EMBROIDERY (ATTRIBUTED MAKERS) FRAMED COMMEMORATIVE EMBROIDERY, CIRCA 1900 silk threads, on an unbleached linen ground, bears embroidered date ‘1661’, later framed 112.5cm wide, 40.4cm high

£400-600

255 WALTER CRANE (1845-1915) FOR JOHN WILSON, LONDON FRAMED NAPKIN, CIRCA 1900 linen damask, with inscription to the outer border DESIGNED BY WALTER CRANE LONDON, embroidered with initials, later framed 68cm x 67cm Note: An established linen draper, John Wilson of Bond Street, London is known to have commissioned designs for linen damask from Ireland Brothers, Belfast and this is thought to be a scarce surviving example.

£300-500

256 ENGLISH ARTS & CRAFTS EMBROIDERED CUSHION, THE MATERIAL CIRCA 1900 coloured silks on linen, with Art Nouveau velvet backing, later made up as a cushion, 46cm square approx.; together with an ARTS & CRAFTS CUSHION, THE MATERIAL CIRCA 1900, woven cotton, with later linen backing, 60cm square; and a CUSHION, THE MATERIAL CIRCA 1900, woven cotton with a later linen backing, 42cm x 60cm (3) £300-500

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

128

257 COTSWOLD SCHOOL ARTS & CRAFTS STRUT MIRROR, CIRCA 1920 walnut frame, bevelled mirror plate and needlework embroidery 61cm x 40.5cm

£400-600

T

he first principles of decorative art require that the nature of construction, so far as is possible, should always be revealed, or at least indicated, by the ornament which it bears.”

Charles Eastlake 1868

258 ERNEST GIMSON (1864-1919) PAIR OF WALL SHELVES, CIRCA 1910 mahogany (2) 69cm wide, 59.5cm high, 18.7cm deep

£3,000-5,000

259 ENGLISH METAMORPHIC FIRESCREEN AND TABLE, EARLY 20TH CENTURY oak, with glazed wool work embroidered panel, signed EMcK Firescreen 63cm wide, 86cm high, 46cm deep; table 63cm wide, 53cm high, 77cm long

£400-600

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

260 C.R. ASHBEE (1863-1942) FOR THE GUILD OF HANDICRAFT PAIR OF ARTS & CRAFTS ARMCHAIRS, CIRCA 1900 oak, reupholstered in original Silver Studios woven fabric, close-nailed finish. (2)

The architect C. R. Ashbee was a leading figure in the Arts & Crafts movement in Britain, but also had considerable influence in Europe particularly with the Wiener Werkstatte in Vienna. He founded the Guild of Handicraft in 1888 and created most of its furniture designs. It was in about 1900 that he began designing chairs which are characteristically simple in form, typically composed of solid elements softened by some curved feature – in this instance the back splat and subtle splay of the feet.

74.5cm wide, 110cm high, 61cm deep Literature: Der Moderne Stil, 1905, vol. 7, pl. 8, fig. 6 (for an example with inlaid splat); The Studio Yearbook of Decorative Art, 1907, p. 47 (for an example photographed within a Cheyne Walk interior); Crawford, Alan, C.R. Ashbee: Architect, Designer & Romantic Socialist, Yale, 1985, p. 287.

Exhibited: Compton Verney The Arts & Crafts House: Then and Now, 27 June - 13 September 2015; Chipping Campden, Court Barn Women in the Arts & Crafts Movement, July 27th - October 28th 2018

£2,000-3,000

261 FOLK ART NEEDLEWORK SAMPLER, CIRCA 1900 coloured wools within original oak frame 39.5cm x 49.5cm

£250-350

262 GODFREY BLOUNT (1859-1937) (ATTRIBUTED DESIGNER) FOR HASLEMERE PEASANT INDUSTRIES FRAMED APPLIQUE PANEL, CIRCA 1890 embroidered applique cotton, later framed 43cm x 48cm Note: Haslemere Peasant Industries was a community of artist craftsmen and women, established in Surrey in 1894 to obtain ‘the double pleasure of lovely surroundings and happy work’. Ironwork, pottery, woodwork, fresco painting, hand-press printing, bookbinding, plasterwork and carving were all produced, but textiles were by far the industries’ most important craft.

The first weaving sheds were set up by Joseph and Maud King who specialised in handwoven plain and figured materials in linen, silk and cotton. From 1896 appliqué and embroideries, such as this example, were produced by the Peasant Arts Society founded by Godfrey Blount and his wife Ethel Hine. Local women were recruited for the workshops and trained in weaving and embroidery techniques.

£400-600

131

263 AMBROSE HEAL (1872-1959) FOR HEAL & SON, LONDON RARE “THE COTTAGERS CHEST”, CIRCA 1898 pine, with original painted finish 106.5cm wide 144.5cm high 50cm deep Literature: Whiteway, Michael and Gere, Charlotte Nineteenth Century Design: From Pugin to Mackintosh, Weidenfeld & Nicolson, 1993, p.235, pl. 298 illus.

Aslin E. 19th Century English Furniture, Faber & Faber 1962, pl. 114, illus.

Cooper, Jeremy Victorian and Edwardian Furniture and Interiors: From the Gothic Revival to Art Nouveau, Abbeville Press, 1987, pl. 420.

Note: The influence of Ford Madox Brown’s stained joiner furniture in simple shapes, which he designed for William Morris in 1887, is evident in this early piece by Heal.

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

132

264 AMBROSE HEAL (1872-1959) FOR HEAL & SON, LONDON ARTS & CRAFTS ‘MANSFIELD’ PRESS, CIRCA 1898 Note: Ambrose Heal turned to C.R. Ashbee and the Guild of Handicraft workshops in Essex Road, Mile End to produce much of his earliest bedroom furniture output. The Guild produced eleven of these ‘Gentleman’s Wardrobes’ before the production moved to their own workshops circa 1899.

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

no. ‘235’, probably made by the Guild of Handicraft, oak, with patinated iron fittings, stamped to the drawer HEAL & SON 139cm wide, 191cm high, 59cm deep Literature: Heal, Oliver S. Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939, Unicorn 2014, cover illustration, also p.157 where a similar example is illustrated.

£2,500-3,000

133

265 SILVER STUDIOS ARTS & CRAFTS QUILT, CIRCA 1900 printed cotton, reversable 213cm x 176cm

£300-500

266 SILVER STUDIOS ARTS & CRAFTS QUILT, CIRCA 1900 printed cotton, reversable 218cm x 203cm

£300-500

267 SILVER STUDIOS ARTS & CRAFTS QUILT, CIRCA 1900 printed cotton, reversable 191cm x 207cm

£300-500

134

268 J.T BARLOW, BIDDULPH PAIR OF FOLK ART TABLE LAMPS, 1960S carved and painted wood, comprising a HEY DIDDLE DIDDLE LAMP, carved makers mark and date to base J.T BARLOW, BIDDULPH/ 1964, 41cm high; together with a WILLOW PATTERN LAMP, carved makers mark and date to base J.T BARLOW, BIDDULPH/ 1965, 40cm high to fitting, each with later pleated shade (2) £300-500

269 J.T BARLOW, BIDDULPH PAIR OF FOLK ART TABLE LAMPS, 1960S carved and painted wood, comprising an ADAM & EVE LAMP, carved makers mark and date to base J.T BARLOW, BIDDULPH/ 1964, 40.5cm high to fitting; together with JACK AND JILL LAMP, by the same hand, unmarked, 41.3cm high, each with later pleated shade (2) £300-500

270 BLOOMSBURY STYLE 19TH CENTURY BLANKET BOX, THE DECORATION CIRCA 1930 painted pine 83.5cm wide, 35cm high, 40cm deep

£300-500

271 BLOOMSBURY STYLE 19TH CENTURY KITCHEN DRESSER, THE DECORATION CIRCA 1930 painted pine 137cm wide, 132cm high, 54cm deep

£600-800

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

136

MARY IRELAND Mary Ireland was a celebrated British female artist active during the 1930s-1950s, who was influenced by the Birmingham School and in particular the work of Joseph Southall. Although her artistic skills included cartoons, watercolours, stained glass and needlework, she was most noted for her ‘fabric mosaics’ which incorporated fragments of antique textiles into the composition of the picture.

Borrowing from the Georgian technique of enhancing an embroidery with painted features, Ireland would hand-paint certain elements (such as the hands and face of figures) onto plain silk, then create the rest of the image from fabric fragments. The textile mosaic approach she subsequently pioneered was uniquely her own. She initially wanted to work in stained glass, but after falling ill from acid poisoning while trying to work and fuse crushed glass, she was forced to change approach. In an interview with the Sunday Sun in 1933 Mary explained her revised thinking: “It was my interest in old fabrics”,

she explained, “that was really the beginning. I hated to think of lovely materials ever being destroyed by age and being lost to future generations. Kept away from the air, silks, cottons and woollens retain their colour and their original strength for many years. The idea of framing them behind glass seemed a good way of preserving them, and from this the first fabric picture originated. Since I began friends and even strangers who know my work, have sent me scraps of material from every country in the world, some modern and some very old” (‘A New Art’ Elaine Arnott in Sunday Sun, 12.02.1933) The first antique textile remnant Mary reputedly repurposed was some 18th Century Brocade and she would actively incorporate antique scraps into her pictures well into the 1950s.

She particularly admired the late 18th Century fashions but tried to choose scraps that matched the relevant period of the costume in her artwork, and which mimicked the object or effect she was going for: “…These I used for my picture making, cutting and fitting every piece, however tiny, separately. I am always discovering

137

272 MARY IRELAND (1891-C.1980) ‘ENCHANTMENT’ TRIPTYCH, DATED 1933 appliqué ‘fabric mosaic panel’, painted silk, with applied signature to left-hand panel MARY IRELAND Central image 32cm x 36.5cm; Side panels each 32cm x 16cm Note: Bears further inscription verso “‘Enchantment’ Fabric Mosaic by Mary Ireland, ‘Within A Fairy Ring He Stood/ Amid The Dim Enchanted Wood…/ And Down The Silent Leafy Glade/ There Came A Fair Enchanting Maid’/ Mary Ireland 1933”

£800-1,200

new ways of setting fabric against fabric so that they catch the light from different angles and take upon themselves the appearance of all kinds of things. The pieces are not stuck one on top of the other as in applique work, but inlaid like a pavement of mosaic” (‘A New Art’ Elaine Arnott in Sunday Sun, 12.02.1933) Ireland first exhibited at the Birmingham Spring Art exhibition in 1929, and soon gained notable commissions, for public institutions in the British Isles and overseas, with Queen Mary purchasing a number of works. Ireland also produced several works for religious buildings and arguably her most important work was a large triptych she produced for Bruges Cathedral. After WW2 Mary would stop cutting up and using antique fragments preferring to repair, research and exhibit them instead. However, from newspaper reviews written about her during the 1930s-50s, none appear to have questioned her practice and instead universally praised her for the unique and engaging approach it created.

The following collection of works by Mary Ireland have been collected by Paul Reeves over the last 25 years and come from his private collection.

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

138

273 MARY IRELAND (1891-C.1980) ‘A SPRING MORNING’, CIRCA 1935 appliqué ‘fabric mosaic panel’, painted silk, original frame, inscribed verso ‘A SPRING MORNING’.

FABRIC PICTURE BY MARY IRELAND 32.5cm x 22.5cm

£300-500

274 MARY IRELAND (1891-C.1980) ‘GIRL IN A BLUE GOWN (18TH CENTURY)’, DATED 1936 appliqué ‘fabric mosaic panel’, painted silk, with applied signature lower right MARY IRELAND, inscribed verso N.B. THE BLUE SILK USED IN THIS PICTURE IS ACTUALLY OF THE PERIOD) FABRIC MOSAIC BY MARY IRELAND/ OCTOBER 1936 30.5cm x 26cm

£300-500

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

139

275 MARY IRELAND (1891-C.1980) ‘THE EMBROIDERED KIMONO’, DATED 1935 appliqué fabric mosaic panel, mixed fabrics and painted silk, with applied signature lower right MARY IRELAND, artist’s inscriptions verso FABRIC MOSAIC PANEL BY MARY IRELAND/ APRIL 1935, original frame 34cm x 24cm Note: Bears further artist’s inscription verso “Exhibited Walker’s Gallery, June/ 35. Subsequently used by Gaumont British in their film of me (G.B. Maguire ’47).

The background is modern Japanese (about 50 years old) and the kimono antique Chinese Peking stitch – M.I.”

£300-500

140

276 MARY IRELAND (1891-C.1980) COURTING COUPLE, DATED 1932 appliqué ‘fabric mosaic panel’, painted silk, bears inscription verso BOUGHT APPLIED ARTS & HANDIWORK VINCENT SQUARE, DECEMBER 1ST 1932 23.5cm x 19cm

£300-500

277 MARY IRELAND (1891-C.1980) ‘THE SHADOW (BLUE & GOLD CLOAK)’, DATED 1935 appliqué ‘fabric mosaic panel’, painted silk, with applied signature lower right MARY IRELAND, in original frame, bears inscription verso FABRIC MOSAIC BY MARY IRELAND SEPT 1935 (ALL MODERN MATERIALS) 23cm x 19cm

£300-500

141

278 MARY IRELAND (1891-C.1980) ‘BRETON PEASANT GIRL AT ST. SERVAN’, DATED 1934, ALTERED 1950 appliqué fabric mosaic panel, mixed fabrics and painted silk, with applied signature lower left MARY IRELAND, artist’s inscriptions verso FABRIC MOSAIC PANEL BY MARY IRELAND/ FROM STUDY 1934 (FABRIC ALTERED 1950), original frame 35cm x 29.5cm

£300-500

279 MARY IRELAND (1891-C.1980) ‘THE LADY HEARTSEASE’, CIRCA 1935 appliqué fabric mosaic panel, mixed fabrics and painted silk, with applied signature lower left MARY IRELAND, artist’s inscriptions verso FABRIC MOSAIC PANEL BY MARY IRELAND, original frame 34cm x 24cm Note: bears further artist’s inscription verso “Woman in a damson velvet gown (TUDOR)/ MARY IRELAND/ 27 JULIAN RD./ FOLKSTONE/ 30gns Materials: Background gold-plated silk; Cap: 18th century satin velvet…*”

£300-500

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

142

280 MARY IRELAND (1891-C.1980) ‘MARY’S VISION OF THE HOLY GRAIL’, DATED 1944 appliqué ‘fabric mosaic panel’, painted silk, with applied signature lower right MARY IRELAND 34cm x 29cm Note: bears further inscription verso “Fabric Mosaic Panel by Mary Ireland Oct-Nov 1944 Materials used in background - 19th century Italian silk with Hungarian stitch embroidery At Foot/ Robe - wide French brocaded ribbon 19th century Conure-Chef - Algerian 18th century silk Sleeve Border - Indian 18th century wool Halo - Edwardian satin Conure – Chef - Modern shaded ribbon Chalice - French gold-plated silk with halo of Persian embroidery - M.I.”

£300-500

281 MARY IRELAND (1891-C.1980) ARTS & CRAFTS APPLIQUÉ PICTURE, CIRCA 1935 appliqué ‘fabric mosaic panel’, painted silk, with applied signature lower right MARY IRELAND 28.5cm x 24.5cm

£300-500

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

143

282 MARY IRELAND (1891-C.1980) ‘MADONNA & CHILD WITH ROSES AND THORNS’ DATED 1955 appliqué fabric mosaic panel, painted silk, with applied signature lower right MARY IRELAND, artist’s inscriptions verso FABRIC MOSAIC PANEL BY MARY IRELAND/ MAY 1955 33cm x 28cm Note: bears further artist’s inscription verso, “Materials used: roses from 18th century brocade, border to background 18th century polish, child’s robe Persian silk, Mary’s bodice early 19th century Indian embroidery, background and velvets 20th century (first half)”

£300-500

283 MARY IRELAND (1891-C.1980) ‘STUDY FOR THE CHILD CHRIST’, DATED 1950 appliqué ‘fabric mosaic panel’, painted silk, with applied signature lower right MARY IRELAND, inscribed verso FABRIC MOSAIC PANEL BY MARY IRELAND OCTOBER 1950/ 19TH AND EARLY 20TH CENTURY SILKS 24cm x 19cm Exhibited: London, Arlington Gallery, 22 Old Bond Street, W1

£150-250

284 MARY IRELAND (1891-C.1980) ‘STUDY FOR OUR LADY IN BLUE & GOLD’, DATED 1950 appliqué ‘fabric mosaic panel’, painted silk, with applied signature lower left MARY IRELAND, inscribed verso Fabric Mosaic Panel By Mary Ireland In Hand-Painted Moulding July 1950 Materials Used Background – GoldPlated Silk (French) And 18th Century Chinese Damask/ Galo – Jerusalem Embroidery, Robe And Veil 19th And 20th Century Silks Etc/ 20gns 19.5cm x 19.5cm

£300-500

144

285 MARY IRELAND (1891-C.1980) ‘FAIRYTALE’, CIRCA 1935 appliqué ‘fabric mosaic’ triptych panel, signed verso MARY IRELAND, bears artist’s inscriptions verso ‘FAIRYTALE’/ A FABRIC TRIPTYCH BY MARY IRELAND Central panel 26.5cm x 29cm; Side panels 26.5cm x 12.5cm

£700-1,000

286

287

MARY IRELAND (1891-C.1980)

MARY IRELAND (1891-C.1980)

ARTS & CRAFTS APPLIQUÉ PICTURE, CIRCA 1935

STUDY FOR A CHILD’S HEAD

unfinished appliqué ‘fabric mosaic panel’, pencil, tracing paper, 27cm x 22.5cm; together with a PRESENTATION BOOK, containing photographs of the artist and her circle, photographs of her work with inscriptions by Mary Ireland, bound in vellum, 33cm x 23.5cm; and a GROUP OF SIX PRINTING BLOCKS, steel and wood, each bearing image of the artist’s work for printing (8)

pencil and crayon, signed lower left MARY IRELAND and inscribed STUDY FOR A CHILD’S HEAD, USED IN MEMORIAL PANEL (FABRIC MOSAIC) TO G. W. FOR “PRINCESS ELIZABETH FOR YORK CHILDREN’S HOSPITAL”, later frame

£300-500

18cm x 15.5cm

£200-300

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

145

288 MARY IRELAND (1891-C.1980) SEATED FIGURE, CIRCA 1935 appliqué ‘fabric mosaic panel’, painted silk, with applied signature lower right MARY IRELAND 24cm x 19cm

£300-500

289 MARY IRELAND (1891-C.1980) OLD LADY IN TRADITIONAL COSTUME, CIRCA 1935 appliqué ‘fabric mosaic panel’, painted silk, with applied signature lower right MARY IRELAND, later framed 24.5cm x 24.5cm

£300-500

290 MARY IRELAND (1891-C.1980) ‘OLD WOMAN SEWING’, CIRCA 1935 appliqué ‘fabric mosaic panel’, painted silk, with applied signature lower right MARY IRELAND, inscribed verso OLD WOMAN SEWING (STUDY FOR ST ANNE IN HOLY FAMILY WITH ANGELS) MARY IRELAND/ 14 GNS 24.5cm x 20cm

£300-500

291

292

MARC TERRIER

CONTINENTAL

DESIGN FOR A TEXTILE, CIRCA 1930

ARABIAN NIGHTS’ BEDSPREAD, CIRCA 1920

graphite, pen and ink, later framed, 33cm x 24.5cm; together with another DESIGN FOR A TEXTILE BY THE SAME HAND, gouache on textured paper, later frame, printed label verso S.A.R.L. MARC TERRIER/ DESSINS TEXTILES/ LYON, FRANCE, 28cm x 30.5cm (2)

machine-embroidered rayon and silk 208cm x 224cm

£300-500

Note: illustrated left

£250-350

293 EUROPEAN MODERNIST FABRIC PANEL, CIRCA 1930 printed cotton, later framed 99cm x 87cm

£300-500

294 FRENCH ART DECO CENTRE TABLE, CIRCA 1920 ebonised and gilded wood 70cm diameter, 65cm high

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

148

295 RAOUL DUFY (1877-1953) FOR BIANCHINI-FÉRIER ’LA CHASSE’ COLOUR SAMPLE LINEN PANEL, CIRCA 1920 hand-blocked print on heavy linen, bears factory inscription COL. 12/ P. 8011, framed 32cm x 118cm Provenance: Two Centuries of Design: The Bianchini-Férier Collection, Christies, London, 25-27th July 2001

Note: Dufy was a painter who had exhibited with the Fauves and first began to design textiles for Paul Poiret in 1911. From 1912 until 1930 he designed woven and printed textiles for the silk manufacturers Bianchini-Férier. He created a range of lively fabrics in bright colours, many of which were bought by leading couturiers such as Lanvin, Patou and Poiret.

£300-500

296 MANNER OF GEORG HULBE CONTINENTAL THREE-FOLD DRAUGHT SCREEN, CIRCA 1900 close-nailed embossed and coloured leather, with oak frame and brass studs to the edges the whole: 123.5cm x 155cm

£500-800

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

149

297 FRENCH SIX APPLIQUÉ FASHION MASKS, CIRCA 1925 moulded and painted felt, silk & rayon fabric, later-mounted on a velvet pad, framed 32.5cm x 36.5cm

£400-600

298 GERMAN, MANNER OF EMANUEL JOSEF MARGOLD SECESSIONIST DAY ROBE, CIRCA 1925 silk bouclé fabric, across shoulders, bears label SCHERK, 39cm, nape of neck to hem 112cm Note: Scherk were retailers of luxury items, with branches in New York as well as in Berlin.

£800-1,200

299 ENGLISH GROUP OF DISPLAY DESIGNS FOR SHOES, CIRCA 1940 watercolour and gouache (8) each approx. 16cm x 12.5cm

£300-500

150

300 JOHN NASH (1893-1977) FOR SCHOOL PRINTS LTD. WINDOW PLANTS lithograph, later framed, 49cm x 75cm; together with ANOTHER SCHOOL PRINT

BY THOMAS CARR, Fireside, lithograph, later framed, 49cm x 75cm (2) £300-500

Printed in the 1940s by the Baynard Press in London, the School Prints were originally introduced as a scheme by which artists were commissioned to produce original lithographs depicting a wide variety of themes in modern designs. Printed in large numbers and sold at affordable prices, the scheme was introduced as a means for subscribing schools to acquire collections of artworks for children to have the opportunity to engage with and enjoy original works of art.

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

151

301 BARBARA JONES (1912-1978) FOR SCHOOL PRINTS LTD. FAIRGROUND lithograph, later framed, 49cm x 75.5cm; together with a further SCHOOL PRINT BY EDWIN LA DELL, The Tower of London, 1946, lithograph, later framed, 49cm x 75cm (2) £200-300

302 KENNETH ROWNTREE (1915-1997) FOR SCHOOL PRINTS LTD. TRACTOR IN LANDSCAPE, 1945

303

lithograph, later framed, 49cm x 75cm; together with another SCHOOL PRINT BY MICHAEL ROTHENSTEIN, Timber Felling in Essex, 1946, lithograph, later framed, 49cm x 75.5cm (2)

JOHN SKEAPING (1901-1980) FOR SCHOOL PRINTS LTD.

£200-300

MARE & FOAL, 1945 lithograph, later framed, 49cm x 75.5cm; together with another SCHOOL PRINT BY PHYLLIS GINGER, A Bristol Street Scene, lithograph, later framed, 49cm x 75.5cm (2) £200-300

152

304 DOVECOT TAPESTRY CO. PAIR OF TAPESTRY HANGINGS, CIRCA 1990 inspired by Charles Rennie Mackintosh, wool, woven company logo, with initials SG/ HW/ FM/ JW/ NR (2) each 192cm x 48cm

£600-800

305 FRENCH CARPET, CIRCA 1930 cotton chenille, with allover celestial design 223cm x 159.5cm

£800-1,200

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

153

306 F. GREGORY BROWN (1887-1941) FOR WILLIAM FOXTON LTD. FRAMED FABRIC PANEL, CIRCA 1922 printed unbleached linen, later framed 71cm x 55cm Literature: V&A Collection T.325-1934 Exhibited: This design was exhibited at the Paris Exhibition of Decorative Arts of 1925

£300-500

Note: This furnishing fabric was designed by F. Gregory Brown for William Foxton in 1922. Abstract patterns, like this one of undulating arches, were among the most contemporary designs displayed in the Paris Exhibition of Decorative Arts of 1925. This textile was awarded a gold medal by the judges. The firm of William Foxton Ltd., founded in 1903, produced some of the most innovative artistdesigned textiles of the 1920s. It commissioned artists such as Charles Rennie Mackintosh, Claude Lovat Fraser, F. Gregory Brown and Constance Irving. In 1915 William Foxton helped to found the Design and Industries Association. The aim was to improve the standard of British industrial design by exhibiting new designs and communicating information about them to those working in the field.

307 FRENCH, MANNER OF RENE BEAUCLAIR ART DECO FRAMED FABRIC PANEL, CIRCA 1920 printed velvet, later framed 64.5cm x 37cm

£250-350

308 LIBERTY & CO., LONDON ‘KNIGHT’S CASTLE’ FRAMED FABRIC PANEL, CIRCA 1960 printed linen, marked to selvedge HAND-PRINTED VAT COLOURS LIBERTY OF LONDON 119cm x 109cm

£250-350

154

309 ENGLISH, MANNER OF EDWARD BAWDEN FRAMED ORIGINAL WALLPAPER PANEL, CIRCA 1930 block-printed paper, later framed 71cm x 48.5cm

£300-500

310 GRAHAM SUTHERLAND (1903-1980) FOR COLE & SON LTD. 'ABSTRACT' FRAMED WALLPAPER PANEL, CIRCA 1945-50 hand-blocked paper, later framed 133.3cm x 56cm Literature: V&A accession no. E.614-1980

£200-300

311 FRENCH ART DECO FRAMED ORIGINAL WALLPAPER PANEL, CIRCA 1930 printed paper, later framed 131.4cm x 48.7cm

£200-300

312 ALEX WALKER FOR CRYSÉDE SILKS, CORNWALL FRAMED FABRIC PANEL, CIRCA 1925 resist-printed silk voile, later framed 104.4cm x 52cm Note: Alex Walker was inspired by his contact with French artist Raoul Dufy who also designed fashion textiles. Walker’s own painterly designs were often based on landscapes in Cornwall where he founded Cryséde Silks.

£300-500

155

313 JACQUELINE GROAG (1903-1986) FOR DAVID WHITEHEAD LTD. FRAMED FABRIC PANEL, CIRCA 1950 screen printed cotton satin, later framed 71cm x 122cm Literature: Galloway, F. Post-War British Textiles Robert Marcuson Publishing, London, 2002 Note: Czech-born Jacqueline Groag was a student of Josef Hoffmann and Franz Cizek in Vienna and designed for the Wiener Werkstätte before moving to Paris in 1929. There she designed dress fabrics for Chanel, Schiaparelli and Lanvin before moving to London in 1939.

£500-800

314 HARRY BERTOIA (1915-1978) FOR KNOLL ASSOCIATES PAIR OF ‘BIRD’ ARMCHAIRS, DESIGNED 1952 chromed steel, original wool upholstery, 97cm wide, 103cm high, 79cm deep; together with a MATCHING OTTOMAN, 60cm wide, 37cm high, 43cm deep (3) £2,000-3,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

AUCTION 10 AUGUST 2022 OPEN FOR CONSIGNMENTS

GRAYSON PERRY C.B.E., R.A. (BRITISH 1960-) 'HOUSE OF LOVE' SHRINE - 2017 Steel shrine with figures, from the edition of 50, with accompanying signed Serpentine Galleries 'Certificate of Authenticity' £3,000-5,000

For more information please call 0131 557 8844 or email Charlotte Riordan Contemporary & Post-War Art charlotte.riordan@lyonandturnbull.com Carly Shearer | Prints & Multiples carly.shearer@lyonandturnbull.com

ART AND DESIGN AUCTION

CONTACT

June 29 11 AM EDT

Lauren Colavita +1 267.414.1231 lcolavita@freemansauction.com

AUCTION 12 OCTOBER 2022 OPEN FOR CONSIGNMENTS ALFRED POWELL (1865–1960) FOR WEDGWOOD & SONS ARTS & CRAFTS WALL CHARGER, CIRCA 1910 painted and glazed earthenware 47cm diameter

£2,000-3,000

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

MODERN & POST-WAR ART, DESIGN & STUDIO CERAMICS AUCTION 28 OCTOBER 2022 OPEN FOR CONSIGNMENTS EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) SCULPTOR’S CHAIR, 1987 beech, birch plywood, and found objects; together with the maquette model £8,000-12,000

For more information please contact Philip Smith | 0207 930 9115 philip.smith@lyonandturnbull.com

160

CONDITIONS OF SALE FOR BUYERS (UK) These Conditions of Sale and the Saleroom Notices as well as specific Catalogue terms, set out the terms on which we offer the Lots listed in this Catalogue for sale. By registering to bid and/or by bidding at auction You agree to these terms, we recommend that You read them carefully before doing so. You will find a list of definitions and a glossary at the end providing explanations for the meanings of the words and expressions used.

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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.

161 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

162 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.

163 I. OUR LIABILITY TO YOU (a) We give no warranty in relation to any statement made, or information give, by us, our representatives or employees about any Lot other than as set out in the authenticity warranty and as far as we are allowed by law, all warranties and other terms which may be added to this agreement by law are exclude. The Seller’s warranties contained in paragraph E.1 are their own and we do not have a liability in relation to those warranties. (b) (i) We are not responsible to You for any reason whether for breaking this agreement or any other matter relating to Your purchase of, or bid for, any Lot other than in the event of fraud or fraudulent misrepresentation by us other than as expressly set out in these conditions of sale; or (ii) We do not give any representation, warranty or guarantee or assume any liability for a kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance, except as required by local law, any warranty of any kind is excluded by this paragraph. (c) in particular, please be aware that our written and telephone bidding services, Lyon & Turnbull Live, Condition Reports, currency converter and saleroom video screens are free services and we are not responsible for any error (human or otherwise) omission or breakdown in these services. (d) We have no responsibility to any person other than a Buyer in connection with the purchase of any Lot (e) If in spite of the terms of this paragraph we are found to be liable to You for any reason, we shall not have to pay more than the Purchase Price paid by You to us. We will not be responsible for any reason for loss of profits, business, loss of opportunity or value, expected savings or interest, costs damages or expenses.

J. OTHER TERMS 1. OUR ABILITY TO CANCEL In addition to the other rights of cancellation contained in this agreement, we can cancel the sale of a Lot if; (i) Any of our warranties are not correct, as set out in paragraph E3, (ii) We reasonably believe that completing the transaction is or may be unlawful; or (iii) We reasonably believe that the sale places us or the Seller under any liability to anyone else or may damage our reputation.

2. RECORDINGS We may videotape and record proceedings at any auction. We will keep any personal information confidential, except to the extent disclosure is required by law if You do not wish to be videotaped, You may make 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

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GUIDE TO BIDDING & PAYMENT REGISTRATION

BIDDING OUTSIDE THE SALEROOM

PAYMENT

All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, or on our website. Please note that first-time bidders, and those returning after an extended period, will be asked to supply the following documents in order to facilitate registration:

BY PHONE

Our accounts teams will continue to be available to process payments and answer queries. We will be able to accept online payments through our website and bank transfer. On-site payment facilities are available by appointment.

1–G overnment issued photo ID (Passport/Driving licence) 2–P roof of address (utility bill/bank statement).

We may, at our option, also ask you to provide a bank reference and/or deposit.

By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale.

BIDDING IN THE SALEROOM At the Sale Registered bidders will be assigned a bidder number and given a paddle for use at the sale. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. To place your bid, simply raise your paddle until the auctioneer acknowledges you.

Please ensure that the auctioneer repeats your bidder number correctly when confirming the sale. If there is any doubt at this stage as to the hammer price or buyer it must be brought to the auctioneer’s attention immediately. All lots will be invoiced to the name and address given on your registration form, which is non-transferable.

A limited number of telephone lines are available for bidding by phone through a Lyon & Turnbull representative. Phone lines must be reserved in advance. All bid requests must be received an hour before the sale. All telephone bids must be confirmed in writing, listing the relevant lots and appropriate number to be called. We recommend that a covering bid is also left in the event that we are unable to make the call.

We cannot guarantee that lines will be available, or that we will be able to call you on the day, but will endeavour to undertake such bids to the best of our abilities. This service is available entirely at our discretion and at the bidder’s risk.

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

ON THE INTERNET

Payment is due within seven (7) days of the sale. Lots purchased will not be released until full payment has been received. Payment may be made by the following methods: BANK TRANSFER Account details are included on any invoices we issue or upon request from our accounts department.

ONLINE CREDIT OR DEBIT CARD PAYMENTS We no longer accept card payments by phone. Please use our online payment service (provided by Opayo).

You will find a link to this service in any email invoice issued or you can visit the payments section of our website.

CASH No cash payments will be accepted for this auction.

COLLECTION OF PURCHASED LOTS Please refer to page 2 of this catalogue.

- 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 191 [detail]

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