The Hancock Collection | Auction 25 January 2023

BUYER'S GUIDE

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

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DROIT DE SUITE

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

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CATALOGUE DESCRIPTIONS

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COLLECTION OF PURCHASED LOTS

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MEET

Olivia

Matthew

Chris Hancock studied Architecture and Design in London during the late Sixties/early Seventies. He worked for a small Architectural and Design firm in London, eventually taking over the company in the late Seventies. From a very young age Chris was an enthusiastic collector of varied memorabilia. Like many young boys growing up in the immediate post war years he was an avid hoarder of a large selection of Dinky toys. While his fascination with toys waned, his collecting instinct did not diminish and grew into a lifelong passion.

Based in London throughout his career, he had ready access to all the galleries and auction houses which enabled him to pursue his passion for collecting, beginning with a single purchase of a Royal Doulton vase. While at college he discovered and admired the work of Charles Rennie Mackintosh and the Art Nouveau movement. This was followed by a by a wider interest in all Twentieth Century Art, Ceramics and Furniture. He became an early member of the Charles Rennie Mackintosh Society. As the scope of his interest grew, he joined many other societies including The Thirties Society (subsequently the Twentieth Century Society), and the Decorative Arts Society, expanding his knowledge in all of these fields. Chris particularly enjoyed these Societies’ many trips, with others who shared his interests, within the UK, Europe and worldwide. He had a limitless appetite for knowledge about Twentieth Century art and design which stayed with him throughout his life.

Chris’s wife, Carole adds:

“Living with Chris was akin to living with a museum curator with his own private museum. Life was always interesting, and I learnt an immense amount from him. There were always new pieces of art works coming into the house and fighting for space on a wall or in a cabinet. He was precise about where items should be placed could always spot if a painting or piece of pottery had been moved! His ‘museum’ was also a family home to three lively boys and several pets over the years. Although much of the collection was quite susceptible to accidents, it is remarkable that very few occurred. We lived alongside this fascinating collection as it grew over fifty years and Chris thoroughly enjoyed showing it to likeminded people”.

The Entrance

2

GILBERT BAYES (BRITISH 1872-1953) FOR ROYAL DOULTON

THE ROMAN GALLEON, 1928

glazed stoneware, on ebonised base

Provenance: Fine Art Society, London, 8th December 1995.

Literature: Irvine, Louise and Atterbury, Paul, ‘Gilbert Bayes: Sculptor 1872-1953’, Richard Dennis 1988, pp. 36-37; p.171 illus.

£800-1,200 3

During the 1930s, Gilbert Bayes worked on a community art project for the St. Pancras Housing Association Improvement Society as part of a slum clearance scheme at Sidney Street in Somerstown, north of Euston station, and at other sites across London. The aim was the provision of high-quality homes for the poorest tenants. The society’s architect was Ian B. M. Hamilton, the grandfather of the current owners, and he designed all the new flats to stand on the cleared land. Since Bayes believed that art should be available to all people, this commission was very close to his heart. He produced relief model lunettes of fairy tale characters, as well as ceramic sculptures and post finials for the washing line posts. The finials were inspired by animals and plants, nursery rhymes, Christmas cards, or the lives of the saints.

All the post finials and relief panels were made by Royal Doulton between 1931 and 1938 and, as well as at Somerstown the Society, Doulton commissioned these embellishments by Bayes at their other London projects. This Rose finial, for example, was used at the York Rise Estate (1937-8) near Highgate Hill and the Ship finials at St. Francis and St. Martins flats.

All the original post-finials for the project have now been removed, although some original relief plaques and ornaments remain at Sidney Street.

GILBERT BAYES (BRITISH 1872-1953) FOR ROYAL DOULTON

THE TUDOR ROSE, 1928

glazed stoneware, on an ebonised base finial 35cm (13 3/4in); including base 37.5cm (14 3/4in)

Provenance: Fine Art Society, London, 8th December 1995.

Literature: Irvine, Louise and Atterbury, Paul, ‘Gilbert Bayes: Sculptor 1872-1953’, Richard Dennis 1988, pp. 36-37; pp. 90 and 172 illus.

£600-800

4

ROYAL DOULTON FOUR VASES, CIRCA 1930 glazed stoneware, one designed by Margaret E. Thompson, each with impressed manufacturer’s marks, 22.5cm (8 7/8in) high; 22.5cm (8 7/8in) high; 21cm (8 1/4in) high and 20.5cm (8 1/8in) high (4) £250-350

5

MARK V. MARSHALL (BRITISH 1879-1912) FOR ROYAL DOULTON VASE, CIRCA 1900 glazed stoneware, impressed manufacturer’s marks, incised initials, 25.5cm (10in) high; together with a BESSIE NEWBURY VASE, glazed stoneware, impressed manufacturer’s mark, incised initials, 14.5cm (5 3/4in) high; and FIVE FURTHER ROYAL DOULTON VASES, glazed stoneware, each with impressed manufacturer’s mark, 26.5cm (10 1/2 in) high; 19.5cm (7 3/4in) high; three measuring 18.5cm 7 (3/8in) high; and 19cm (7 1/2in) high (7) £400-600

ELIZA SIMMANCE (BRITISH 1857-1935) FOR

ROYAL

DOULTON VASE, CIRCA 1915

glazed stoneware, impressed manufacturer’s marks, incised artist’s initials, 27cm (10 5/8in) high; together with a BESSIE NEWBURY DOULTON VASE, glazed stoneware, impressed manufacturer’s stamp, incised artist’s initials, 15.2cm (6in) high; a MARGARET THOMPSON DOULTON POT & COVER, glazed earthenware, impressed manufacturer’s stamp, incised artist’s initials, 7cm (2 3/4 in) high; and THREE FURTHER ROYAL DOULTON VASES, all with impressed manufacturer’s marks and various incised initials, two measuring 18.5cm (7 1/4in) high and the other 15cm (6in) high (6) £300-500

8

MARGARET E. THOMPSON (BRITISH 1889-1926) FOR ROYAL DOULTON

PAIR OF VASES, CIRCA 1920

glazed stoneware, impressed manufacturer’s marks, painted artist’s monogram, 32.5cm (12 3/4in) high; together with a PAIR OF ROYAL DOULTON ‘BARBOTINE WARE’ VASES, glazed stoneware, printed manufacturer’s marks, 18.5cm (7 1/4in) high (4)

Literature: Eyles D., ‘The Doulton Burslem Wares’, Barrie & Jenkins 1980, for a similar example in the Barbotine technique. £300-500

7

FRANCIS C. POPE (BRITISH 1880-1925) ROYAL DOULTON

ART NOUVEAU VASE, CIRCA 1900

glazed stoneware, impressed manufacturer’s mark, incised initials, 33cm (13in) high; together with a FRANK BUTLER DOULTON VASE, glazed stoneware, impressed manufacturer’s mark, incised initials, 35.5cm (14in) high; a MARION HOLBROOK CANDLESTICK, glazed stoneware, impressed manufacturer’s mark, incised initials, 22.5cm (8 7/8in) high; a VASE, glazed stoneware with impressed manufacturer’s mark, incised initials, 15.2cm (6in); a TALL VASE, glazed stoneware, impressed manufacturer’s mark, incised initials, 26.5cm (10 1/2in) high; and a DOULTON IVORYWARE VASE, 10cm (4in) high (6) £300-500

MARGARET E. THOMPSON (BRITISH 1889-1926)

FOR DOULTON, LAMBETH

GROUP OF SIX VASES, CIRCA 1920

glazed earthenware, each with manufacturer’s stamp and painted artist’s monogram or initials, variously marked (6) tallest 33.5cm (13 1/4in) high; smallest 25.5cm (10in) high £1,000-1,500

10

EMILY J. GILMAN FOR DOULTON, LAMBETH VASE, CIRCA 1920

glazed earthenware, painted artist monogram, printed manufacturer’s marks, 32cm (12 5/8in) high; together with a MARGARET E. THOMPSON DOULTON VASE, glazed earthenware, painted artist monogram, printed manufacturer’s marks, 25.5cm (10in) high; and FOUR FURTHER DOULTON VASES, glazed earthenware, all variously marked, pair of vases 33.5cm (13 1/4in) high; 29cm (11 3/8in) high; 15cm (5 7/8in) high (6) £500-800

The Living Room

12

ENGLISH

DISPLAY CABINET, CIRCA 1905

mahogany, marquetry inlay, later water silk interior, glazing, with one key

106cm (41 3/4in) wide, 157cm (61 3/4in) high, 33cm (13in) deep £250-350

11

ENGLISH

BUREAU BOOKCASE, CIRCA 1905

mahogany, marquetry inlay with pewter and boxwood lining, stained and leaded glass panels 90cm (35.5in) wide, 175.5cm (69in) high £400-600

15 §

FRUIN CHARLES BRUCE BRAVINGTON (BRITISH 1910-2000) (ATTRIBUTED TO)

MEDITERRANEAN LANDSCAPE WITH FARMHOUSE, 1954 oil on board, signed with initials and dated 34cm (13 1/5in), 44.5cm (17 1/2in) £300-500

14 §

EDGAR LIONEL HEREFORD (BRITISH 1886-1967)

A PROVENCAL HILL TOWN

Oil on canvas

63.5cm (25in), 76cm (30in) £400-600

16

HORACE BRODZKY (AUSTRALIAN 1885-1969)

RUINS OF HADRIAN’S VILLA, TIVOLI, 1911 oil on board, signed and dated 51cm (20in), 41cm (16in)

Note: Brodzky toured Italy that year. £500-800

17 §

EDGAR LIONEL

HEREFORD

(BRITISH 1886-1967)

CORK TREES

oil on canvas, signed verso 51cm (20in), 61cm (24in)

Provenance: Abbott & Holder, London.

Note: Hereford lived in Collioure in the 1920s where he shared lodgings with Charles Rennie Mackintosh and Rudolph Ilhee. £400-600

19 §

ORLANDO GREENWOOD (BRITISH 1892-1989)

CHRIST AT THE WELL

Oil on canvas 51cm (20in), 56cm (22in) £300-500

18 §

ORLANDO GREENWOOD (BRITISH 1892-1989)

ON THE ROAD TO BETHLEHEM

Oil on canvas 61cm (24in), 51cm (20in) £300-500

20 §

STANLEY ROYLE R.B.A., R.C.A. (BRITISH 1888-1961)

STUDY FOR ‘THE DERELICT,’ 1930

oil on board, signed and dated 31cm (12in), 41cm (16in)

£1,000-1,500

21 §

FRANCIS WALL (BRITISH 1890-1981) POLPERRO

oil on canvas, signed, inscribed with title verso 51cm (29in), 61cm (24in)

Provenance: Christie’s, South Kensington, 15th December 1994, lot 46.

£300-500

22

ELLIOTT SEABROOKE (BRITISH 1886-1950)

WOODLAND VIEW

oil on board, signed and indistinctly dated 51cm (20in), 61cm (30in)

Provenance: Bonhams, London, 26th June 1996, lot 11; Lord Goodman Collection; Goupil Gallery Ltd. London. £200-300

24

CHRISTOPHER PRATT AND SONS, BRADFORD (ATTRIBUTED TO)

DISPLAY CABINET, CIRCA 1910

mahogany, marquetry inlay and decorated with penwork, applied silvered metal, bevelled glass, with plush lining and key 128cm (50 1/4in) wide, 194cm (76 1/4in) high, 44cm (17 1/4in) deep £800-1,200

25

ENGLISH

DISPLAY CABINET, CIRCA 1908

mahogany, marquetry inlay with brass and fruitwoods 99.5cm (39 1/4in) wide, 134cm (52 3/4in) high, 38cm (15in) deep £300-500

26

WILLIAM MOORCROFT (BRITISH 1872-1945)

FOR MOORCROFT POTTERY, BURSLEM ‘MOONLIT BLUE’ VASE, CIRCA 1920 glazed earthenware, painted in green ‘WM’, impressed MOORCROFT/ MADE IN ENGLAND/ 372 14cm (5 1/2in) high £400-600

27

WILLIAM MOORCROFT (BRITISH 1872-1945)

FOR MOORCROFT POTTERY, BURSLEM ‘MOONLIT BLUE’ VASE, CIRCA 1920 glazed earthenware, painted in green ‘WM’, impressed MOORCROFT/ 160/ MADE IN ENGLAND 15.2cm (6in) high £200-300

28

WILLIAM MOORCROFT (BRITISH 1872-1945) FOR MOORCROFT POTTERY, BURSLEM PAIR OF ‘MOONLIT BLUE’ CANDLESTICKS, CIRCA 1920 glazed earthenware, each painted in blue ‘WM.’, impressed MOORCROFT/ MADE IN ENGLAND/ 69 (2) each 18.5cm (7 3/8in) high £400-600

29

WILLIAM MOORCROFT (BRITISH 1872-1945) FOR LIBERTY & CO., LONDON

‘CLAREMONT’ FOOTED BOWL, CIRCA 1903-13 glazed earthenware, signed in green ‘W. Moorcroft’, printed ‘MADE FOR LIBERTY & CO/ RD NO 420081’ 20.2cm (8in) diameter £300-500

31

30

WILLIAM MOORCROFT (BRITISH 1872-1945) FOR LIBERTY & CO., LONDON

‘CLAREMONT’ VASE, CIRCA 1903-13 glazed earthenware, painted in green ‘W Moorcroft/ des.,’ printed ‘MADE FOR LIBERTY & CO RD NO 420081’ 31.5cm (12 3/8 in) high £400-600

WILLIAM MOORCROFT (BRITISH 1872-1945) ‘CLAREMONT’ FOOTED VASE, 1914 glazed earthenware, painted in green ‘W. Moorcroft/ 1914’, impressed ‘BURSLEM/ 1398/ 1914’ 20.2cm (8in) high £600-800

33

WILLIAM MOORCROFT (BRITISH 1872-1945) FOR MOORCROFT POTTERY ‘HAZELDENE’ POT & COVER, 1914

glazed earthenware signed in green ‘W. Moorcroft 1914’, 19cm (7 1/2in) high; together with a ‘HAZELDENE’ TWINHANDLED BISCUIT BOX, glazed earthenware, painted in green ‘W Moorcroft’, stamped ‘MOORCROFT’, 13cm (5 1/8in) high (2) £500-700

32

WILLIAM MOORCROFT (BRITISH 1872-1945) FOR MOORCROFT POTTERY, BURSLEM ‘WISTERIA’ VASE, CIRCA 1916

glazed earthenware, painted in green ‘WM’, impressed ‘MOORCROFT/ BURSLEM/ ENGLAND/ M55’ 9cm high (3 1/2in) high £200-300

34

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

‘FLORIAN WARE’ BOWL, CIRCA 1900

glazed earthenware, applied silvered metal rim, painted in green ‘W.M.’, printed ‘Florian Ware’ stamp and printed ‘RD NO 326471’

27cm (10 5/8in) diameter £300-500

35

WILLIAM MOORCROFT (BRITISH 1872-1945) FOR MOORCROFT POTTERY ‘ORCHID AND SPRING FLOWERS’ VASE, CIRCA 1930 glazed earthenware, painted in green ‘WM’, impressed MOORCROFT/ MADE IN ENGLAND 21cm (8 1/4in) high £200-300

36

WILLIAM MOORCROFT (BRITISH 1872-1945) FOR MOORCROFT POTTERY ‘POMEGRANATE’ VASE, CIRCA 1915 glazed earthenware, signed in green W MOORCROFT, impressed MOORCROFT/ BURSLEM/ ENGLAND/ *** 24cm high (9 1/2 in) high £300-500

37

WILLIAM MOORCROFT (BRITISH 1872-1945)

FOR MOORCROFT POTTERY, BURSLEM ‘CLAREMONT’ TYG, CIRCA 1914 glazed earthenware, signed in green ‘W. Moorcroft’, printed ‘RD NO 420081’ 25.3cm (10in) high £400-600

WILLIAM MOORCROFT (BRITISH 1872-1945) FOR MOORCROFT POTTERY RARE ‘EVENTIDE’ VASE, CIRCA 1925 flambé-glazed earthenware, painted in blue ‘W Moorcroft’, stamped MOORCROFT/ MADE IN ENGLAND/ 18 21cm (8 1/4in) high £700-900

39

WILLIAM MOORCROFT (BRITISH 1872-1945)

FOR MOORCROFT POTTERY, BURSLEM ‘EVENTIDE’ FOOTED BOWL, CIRCA 1920 glazed earthenware, painted in blue ‘W Moorcroft’, impressed ‘MOORCROFT/ MADE IN ENGLAND/ *2’ 24.5cm (9 1/5in) diameter £300-500

40 §

CHARLES E CUNDALL (BRITISH 1890-1971) FOR PILKINGTON’S TILE & POTTERY CO.

FOOTED BOWL, 1910

lustre-glazed earthenware, lustre monogram ‘CEC’, lustre date cypher for 1910, impressed manufacturer’s mark and ‘2524’ 7.5cm (3in) high, 20cm (7 7/8in) diameter £300-500

41

WILLIAM HOWSON TAYLOR (BRITISH 1876-1935) FOR RUSKIN POTTERY VASE,

1906

flambé-glazed earthenware, impressed manufacturer’s stamp/ 1906 23cm (9 1/8in) high

Provenance: Bonhams, Knightsbridge, 17th February 1995, lot 90. £300-500

42

JOHN PEARSON (BRITISH 1859-1930)

FOOTED BOWL, CIRCA 1900 painted earthenware with lustre highlights, painted monogram and hourglass symbol 9.5cm (3 3/4in) high, 19cm (7 1/2in) diameter £300-500

44

JACQUES LOUIS GAUTIER (FRENCH B. 1831) (ATTRIBUTED TO)

MEPHISTOPHELES, CIRCA 1900 painted plaster 63cm (23 5/8in) high £500-700

45

RICHARD GARBE (BRITISH 1876-1957)

DIANA, 1917 patinated bronze plaque, signed and dated ‘RICHARD GARBE 1917’ 32cm (12 1/2in) diameter £400-600

46

ELIZABETH MARY WATT (BRITISH 1855- 1952) GINGER JAR AND COVER, CIRCA 1920 on Carltonware blank, painted with fairies, painted monogram ‘EMW’ (to the base), 22cm (8 5/8in) high; together with an ELIZABETH MARY WATT VASE, painted monogram ‘EMW’ (to the base), 17.5cm (6 7/8in) high (2) £600-800

47

VIOLET ELMER (BRITISH 1907-1988) (ATTRIBUTED TO) FOR CARLTON WARE RARE VASE, CIRCA 1935

lustre-glazed earthenware, printed manufacturer’s mark, painted ‘1/11586 / 4019’, and ‘B’ in yellow, 26cm (10 1/4in) high; together with a CARLTON WARE VASE, lustre-glazed earthenware, printed manufacturer’s mark, 14.5cm (5 3/4in) high; and a CARLTON WARE ‘BABYLON’ TUMBLER, lustre-glazed earthenware, printed manufacturer’s mark, 6.5cm (2 1/2in) high (3) £300-500

48

SUSIE COOPER (BRITISH 1902-1955) FOR GRAY’S POTTERY CHARGER, CIRCA 1925 glazed earthenware with lustre highlights, printed manufacturer’s stamp, 36.5cm (14 3/8in) diameter; together with an A. E. GRAY & CO. OCTAGONAL PLATE AND BOWL, glazed earthenware with lustre highlights, each with printed manufacturer’s stamp, plate 25cm (9 7/8in) diameter; bowl 24cm (9 3/8in) diameter; and a GRAY’S POTTERY LAMP BASE, glazed earthenware with lustre highlights, with later shade printed manufacturer’s stamp, 23cm (9in) high to fitting (4) £250-350

The Hallway

49

PETER WAALS (DUTCH 1870- 1937), AFTER A DESIGN BY ERNEST GIMSON

COTSWOLDS DRESSER, CIRCA 1920-25

oak, Macassar ebony, and boxwood, glazed doors and central metal-lined cellar drawer 103cm (40in) wide, 208 1/2cm (82in) high, 64cm (25in) deep

Provenance: Harold W. Goddard, Lyndwood House, Leicester and by family descent; Christie’s, London, 18th November 1994, lot 87.

Note: The Goddard family of Leicester were chemists who patented mercury-free silver and brass polishes, building a large business whose brand name is still synonymous with metal polishes today. They were major patrons of Peter Waals and commissioned many pieces of furniture from him in the 1920s and 30s. The current lot was made for Harold Goddard and can be seen in a period photograph of the dining room at Lyndwood, his home in Leicester. The metallined cellar drawer may have been used for silver, as the household was strictly temperance. £4,000-6,000

51

ENGLISH, MANNER OF GORDON RUSSELL COTSWOLDS SCHOOL BEDSIDE CABINET, CIRCA 1925-30 oak, with walnut handles 38cm (15in) wide, 73.5cm (29in) high, 26cm (10 1/4in) deep £300-500

50

GEORGE WALTON (BRITISH 1867-1933) ‘ABINGWOOD’ ARMCHAIR, CIRCA 1900 oak, with close-nailed leather upholstery 67.5cm (26 3/4in) wide, 81cm (32in) high, 53cm (20 3/4in) deep

Literature: Moon, Karen ‘George Walton’, White Cockade 1993, p.48, pl. 5.5, illus.

Note: This is an upholstered variant of the ‘Abingwood’ chair, probably made by William Birch Ltd. of High Wycombe, Buckinghamshire. The original rush seated design was produced for the John Rowntree & Sons café in Scarborough, North Yorkshire (1895) and for the billiards room at Miss Cranston’s Buchanan Street tearooms in Glasgow (1896). £1,000-1,500

52

GILBERT BAYES (BRITISH 1872-1953)

A YOUNG DIANA, 1915

bronze, green marble base, signed, titled and dated bronze 28cm (11in) high, including base 40.5cm high (16in) high

Provenance: Bayes Trust, dated 1915, no plinth; Private Collection 1915; Sotheby’s 12th April 1985; Agnews 1986; Sotheby’s 15th March 1991; Sotheby’s 6th June 1997.

Exhibited: Versions of this figure have been exhibited at the following locations: Edinburgh (1914 (sold 10gns)); Leicester Galleries, Glasgow, Leeds 1916; Bristol 1917; Ridley 1980; Fine Art Society 1918 and 1920; Russell Gallery, Bradford 1990 (sold); Royal Academy, Bristol, 1920; Goupil 1924; Manchester 1928; Rio 1930; Institute 1933 (18gns).

Literature: Irvine, Louise and Atterbury, Paul, ‘Gilbert Bayes: Sculptor 1872-1953’, Richard Dennis 1988, p.123. (Illustrated).

£1,000-1,500

53

CHARLES

L. HARTWELL R.A. (BRITISH 1873-1951)

THE CALL OF THE SEA, 1920 verdigris bronze, on an ebonised plinth, signed in the bronze HARTWELL ** 39cm (15in) high; including base 50cm (19 3/4in) high £800-1,200

ROBERT ‘MOUSEMAN’ THOMPSON (BRITISH 1876-1955)

SIDEBOARD, CIRCA 1930 adzed oak, patinated metal fittings, carved mouse signature 151.5cm (59 1/2in) wide, 93cm (36 1/2in) high, 47cm (18 1/2in) deep £2,000-3,000

55

ROBERT ‘MOUSEMAN’ THOMPSON (BRITISH 1876-1955)

OCTAGONAL TABLE, CIRCA 1930 burr oak and oak, with carved mouse signature 55.5cm (21 1/2in) wide, 49.5cm (19 1/2in) high Provenance: Phillips, Leeds, 25th November 1992, lot 129. £600-800

56

ROBERT ‘MOUSEMAN’ THOMPSON (BRITISH 1876-1955) BOOKSHELF, CIRCA 1925-30 oak, with carved mouse signature 49.8cm (19 1/2in) wide, 68.5cm (27in) high, 26.2cm (10 1/4in) deep £400-600

57

ROBERT ‘MOUSEMAN’ THOMPSON (BRITISH 1876-1955)

HALL CABINET, CIRCA 1980

oak, signed with two carved mice 106.5cm (42in) wide, 70cm (27in) high, 48cm (18 3/4in) deep £1,000-1,500

FRANCIS ANNESLEY VOYSEY (BRITISH

CHARLES FRANCIS ANNESLEY VOYSEY (BRITISH 1857-1941)

SIDE CHAIR, CIRCA 1904

mahogany, with a heart-shaped cut out on the centre splat and close nailed drop-in leather pad seat 45.5cm (18 in) wide, 103cm (40 1/2 in) high, 44cm (17 1/4in) deep Provenance: Dreweatt Neate, Newbury, 9th February 1994, lot 194.

Literature: Livingstone K. et al., C.F.A.Voysey: Arts and Crafts Designer, V&A Publishing, London 2016, pp.159-161 and 197, pl. 204, pls. 338 and 251

RIBA catalogue SB115VOY[229], the original drawing for this chair £2,000-3,000

Voysey’s preferred material for furniture was unstained and unpolished oak. He did however specify other materials when he felt them appropriate, in particular, if the other furniture in the house was of a differing material or when specified by a client. He reiterated this to Arthur Simpson of Kendal in 1909 stating that “You must have oak everywhere or nowhere. I will not be a party to the mixture.”

A scarce example of his work in mahogany was a commission from the painter Edward Hughes who asked Voysey to design a corner sideboard for his house at 7, Lodge Place in St. John’s Wood in 1898. Voysey obtained quotations for the piece from Frederick Coote in mahogany and deal and mahogany was chosen. Other examples include a fitted scheme in mahogany for Leslie Paton at 29 Harley Street, London in 1919, although no records are known for moveable furniture. An entry in Voysey’s black book a G.W. Glynn at 8 Netherhall Gardens in 1910 includes a music cabinet and other unspecified ‘furniture’. The current lot and its companion, lot 58, were presumably from a similar commission where mahogany was the more appropriate material.

SHAPLAND AND PETTER, BARNSTAPLE (ATTRIBUTED TO) ARTS AND CRAFTS CARVED PLAQUE, CIRCA 1900

pitch pine, carved with motto ‘IT IS THE FAIR ACCEPTANCE THAT CREATES THE ENTERTAINMENT PERFECT NOT THE CATES’

245.5cm (96 3/4in) wide, 10.5 (4 1/4in) high, 2cm (3/4in) deep £300-500

61

LIBERTY & CO., LONDON (ATTRIBUTED TO)

SECRETAIRE, CIRCA 1900

fumed oak

95.5cm (37 3/4in) wide, 122cm (44in) high, 32cm (12 1/2in) deep £300-500

62

CHARLES FRANCIS ANNESLEY VOYSEY (BRITISH 1857-1941) FOR THOMAS ELSLEY

HINGE, CIRCA 1902

bronze, stamped twice ‘ELSLEY’S’ 46cm (18 1/8in) long

Literature: Livingstone K. et al ‘C.F.A Voysey: Arts and Crafts Designer’, V&A Publishing, London 2016, p. 238, pl. 298 where a similar example is illustrated. £300-500

63

GLASGOW SCHOOL

PAIR OF WALL MIRRORS, CIRCA 1900

copper frames, with repoussé design and mirrored plates (2) 47.8cm (18 3/4in) high; 39.5cm (15 1/2in) wide

Provenance: Phillips, London, 18th July 1991, lot 94. £500-800

GILBERT BAYES (BRITISH 1872-1953)

‘ANATKH’ (DESTINY), 1918 patinated bronze on a slate base, model for The Ramsgate War Memorial, signed and dated bronze 56cm (22in) high; including base 59cm (23 1/4in) high Literature: Irvine, Louise and Atterbury, Paul, ‘Gilbert Bayes: Sculptor 1872-1953’, Richard Dennis, 1988, p. 124 illus. £6,000-8,000

British sculptor Gilbert Bayes (1872-1953) rose to prominence in tandem with a burgeoning demand for the arts. In the wake of WWI, there emerged a desire to erect commemorative statues which symbolised the trauma of war and the tragic loss of life. Bayes’ workshop was at the forefront of the public’s stimulation of a war memorial movement, representing one of the greatest examples of national patronage of sculpture. Exhibitions were held at the Victoria & Albert Museum and Royal Academy to aid local communities and regions in their choice of sculptors, materials and subject matter. Bayes’ emotive work, Destiny, was shown at the Royal Academy in 1916, and subsequently used as the centrepiece for the Ramsgate War Memorial. This bronze statuette of this model was produced later in 1918.

65 §

GILBERT BAYES (BRITISH 1872-1953)

POSSIBLY ‘THE END OF THE FURROW’, 1893 silvered metal relief, signed and dated (lower left), with ebonised frame panel 19cm (7.5in) high, 61.5cm (24 3/4in) wide

Literature: Irvine, Louise and Atterbury, Paul, ‘Gilbert Bayes: Sculptor 1872-1953’, Richard Dennis, 1988, p.108.

£400-600

66 §

GILBERT BAYES (BRITISH 1872-1953)

A SEA FROLIC, 1897

copper relief plaque, together with another bronze plaque, each signed and dated lower left (2)

upper panel 29.5cm (11 1/2in) high, 8cm (3 1/4in) wide, lower panel 24cm (9 1/2in) high, 8cm (3 1/4in) wide

Provenance: Christie’s, South Kensington, 19th May 1999, lot 669.

Literature: Irvine, Louise and Atterbury, Paul, ‘Gilbert Bayes: Sculptor 1872-1953’, Richard Dennis, 1988, pp. 83 and 96 illus.

£400-600

GILBERT BAYES (BRITISH 1872-1953)

THE STORM RIDE, 1904

electrotype relief, later framed panel 18.4cm (7 1/4in) high, 44cm (17 1/4in) wide

Literature: Irvine, Louise and Atterbury, Paul, ‘Gilbert Bayes: Sculptor 1872-1953’, Richard Dennis, 1988, p.108 illus. £500-800

68

CASSANDIA ANNIE WALKER (BRITISH 1875-1957)

FOR DELLA ROBBIA POTTERY, BIRKENHEAD PLAQUE OF A CHERUB, 1902

painted plaster, in green oak frame, initialled ‘C.A.W.’ lower right plaque 29.4cm (11 1/2in) high, 32.5cm (12 3/4in) wide

Provenance: Bonhams, Knightsbridge, 4th February 1994, lot 140. £600-800

70

MISS ETA L. LOWRY DREAMING GIRLS, FRIEZE FOR A CHIMNEY PIECE, CIRCA 1900

pokerwork oak panel, framed panel: 19cm (7.5in) high, 38.7cm (15 1/2in) wide Exhibited: Women’s Exhibition London, 1900. Note: Eta Lowry was a representative of the Irish Decorative Arts Association in 1900 at the above exhibition.

£150-250

69

STANLEY THOROGOOD (BRITISH 1873-1952)

ST GEORGE AND THE DRAGON, 1912

glazed ceramic relief plaque mounted in original oak frame, dated ‘30 / 0 / 12’ and marked with artist mark (to the reverse), bears artist’s label dated October 1912, gallery label inscribed ‘Executed by Mr. S. Thorogood Artmaster, Berslum, Accepted at the National Gallery 1912. Given to Mr A F Wenger, November 1912’ plaque: 31cm (12 1/4in) high, 41cm (16in) wide, frame: 61cm (24in) high, 51.5 (20 1/4in) wide

Note: For a similar plaque in bronze see Lyon & Turnbull ‘The Contents of Kirkton House’, 10th October 2018, Lot 14 (£1,500). £800-1,200

71 §

SIR FRANK BRANGWYN R.A., R.W.S., R.B.A. (BRITISH 1867-1956)

EVENING AMONG THE LILIES, SOUTH AFRICA - 1891

oil on canvas, signed with initials and dated 31.5cm (12 1/2in), 41.5cm (16 1/4in)

Provenance: Phillips, London, 7th June 1994, lot 2.

Literature: V. Galloway, ‘The Oil and Mural Paintings of Sir Frank Brangwyn’, 1962, No. 583.

Exhibited: Japanese Gallery, London - 1892.

£800-1,200

72 §

SIR FRANK BRANGWYN R.A., R.W.S., R.B.A. (BRITISH 1867-1956)

BATHTIME

Oil on canvasboard 31cm (12 1/4in), 42.5cm (16 3/4in)

Provenance: From the collection of Count William de Belleroche.

£800-1,200

73 §

FOLLOWER OF AUGUSTUS EDWIN JOHN (WELSH 1878-1961)

SIRENS BY FIRELIGHT

oil on panel, bears signature 20cm (8in), 28cm (11in) £400-600

74 §

SAMUEL JOHN LAMORNA BIRCH R.A., R.W.S., R.W.A. (BRITISH 1869-1955)

NEAR LAMORNA COVE

pencil and watercolour, signed 24cm (9 1/2in), 36cm (14in) £500-700

76

CHARLES ROBINSON (BRITISH 1870-1937)

ILLUSTRATION FOR ‘THE SECRET GARDEN’ watercolour, signed 31cm (12 1/4in), 20cm (8in) £200-300

75 §

FRANCIS PATRICK MARTIN (SCOTTISH 1883-1966)

BATHERS ON THE ROCKS Pastel on blue-grey paper 34cm (13 1/2in), 43cm (17in) £400-600

77 §

ELIJAH ALBERT COX (BRITISH 1876-1955)

THE FLOWER SELLER oil on canvas, signed 30cm (12in), 25.5cm (10in) £400-600

78 §

SIR

FRANK BRANGWYN R.A., R.W.S., R.B.A. (BRITISH 1867-1956)

STUDY FOR ‘THE BUCCANEERS,’ 1891 oil on board, bears scratched initials 38cm (15in), 30cm (12in)

Provenance: From the collection of Count William de Belleroche; The Fine Art Society, 1948. Literature: Galloway, V., The Oils and Murals of Sir Frank Brangwyn R.A., Leigh-onSea, 1962, p.24 [cat.no.106]

£1,000-1,500

79

EDWARD REGINALD FRAMPTON (BRITISH 1870-1923)

HEAD OF A GIRL, 1920 gesso on panel, signed and dated 34cm (13 1/2in), 27cm (10 1/2in)

£1,500-2,000

80

GEORGE WALTON (BRITISH 1867-1933) FOR JAMES COUPER & SON, GLASGOW

‘CLUTHA’ VASE, CIRCA 1900

green glass with milky inclusions 20.5cm (8 1/4in) high £300-500

81

CHRISTOPHER DRESSER (BRITISH 1834-1904) FOR LINTHORPE POTTERY

TWO JUGS, CIRCA 1880 glazed earthenware, one stamped ‘LINTHORPE/ 602’ (2) each 22cm (8 5/8in) high £300-500

82

CHRISTOPHER DRESSER (BRITISH 1834-1904) FOR HUKIN & HEATH, LONDON

GROUP OF WARES, CIRCA 1880 comprising a CLARET JUG, clear glass with silver-plated mount 21cm (8 1/4in) ; a TEAPOT 16.5cm (6 1/2in) across; and a LIDDED JUG, 12.5cm (5in) high, each silver plate with wicker handle, all stamped H&H; together with a WILLIAM HUTTON & SONS LTD. TEAPOT, in the manner of Christopher Dresser, silver plate with wicker handle, 16.5cm (6 1/2in) high (4) £300-500

83 Y MANNER OF CHRISTOPHER DRESSER FOR HENRY WILKINSON & CO. LTD., SHEFFIELD

THREE-PIECE TEA SERVICE, CIRCA 1875 electroplated, comprising a TEAPOT, with ivory insulators, 19cm (7 1/2in) wide; a SUGAR BOWL, 11.5cm (4 1/2in) wide; and a MILK JUG, 11cm (4 1/4in) wide, all stamped manufacturer’s marks; together with a HUKIN & HEATH TWIN-HANDLED BOWL, silver-plated, stamped manufacturer’s mark, 15cm (6in) wide (4)

Literature: See Lyons H. ‘Christopher Dresser: The People’s Designer 1834-1904’ ACC, 2004, p. 206, pl. 395 illus.

Note: Sold in compliance with UK Government and APHA regulations, with (non-transferable) exemption registration reference TU9441MM. £250-350

84

CHRISTOPHER DRESSER (1834-1904) FOR RICHARD PERRY, SON & CO. ‘KORDOFAN’ CANDLEHOLDER, CIRCA 1880 brass and walnut, stamped DR DRESSERS DESIGN 13cm (5 1/4in) high

Provenance: Christie’s, South Kensington, 30th June 2005, lot 26.

Literature: Whiteway, M. ‘Christopher Dresser 1834-1904’ Skira Editore S.p.A., Milan, 2001, p. 175, pl. 214. £200-300

The Dining Room

85

PHILIP TILDEN (BRITISH 1887-1956) AND AMBROSE HEAL (BRITISH 1872-1959) FOR HEAL & SON, LONDON COMPOSITE SET OF TEN DINING CHAIRS, 1922-1925

oak, with dropin rushed seats, comprising FOUR SIDE CHAIRS, 44.5cm (17 1/2in) wide, 87.5cm (34 1/2in) high, 44cm (17 1/4in) deep, each with ivorine button label HEAL AND SON LTD., LONDON W; together with TWO UNMARKED CARVERS, 64cm (25 1/4in) wide, 92cm (36 1/4in) high, 48cm (19in) deep and FOUR UNMARKED SIDE CHAIRS, 45cm (17 3/4in) wide, 85cm (34 1/2in) high, 43cm (17in) deep (10) £800-1,200

86

PHILIP TILDEN (BRITISH 1887-1956) AND AMBROSE HEAL (BRITISH 1872-1959) FOR HEAL & SON, LONDON ‘148’ REFECTORY TABLE, 1922-1925

oak

198cm (78in) long, 75.5cm (29 3/4in) high, 88.5cm (31 3/4in) deep

Literature: Heal, Oliver S. ‘Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939’, Unicorn, 2014, p.210 where a similar example is illustrated.

Note: Winston Churchill employed Philip Tilden in the 1920s as chief architect for the renovation of Chartwell in

Churchill’s weekend residence. He designed this table for the house with Ambrose Heal which then became a standard table ‘148’ in the Heals’ range. £1,000-1,500

Kent,

87

ENGLISH

ARTS & CRAFT PENDANT LIGHT FITTING, CIRCA 1900

copper, with opalescent glass shade 77.5cm (30 1/2in) high to top of fitting £300-500

88

ENGLISH

ARTS & CRAFTS DRESSER, CIRCA 1910

oak, copper and brass, mirror plate 155cm (61in) wide, 169cm (66 1/2in) high, 61.5cm (24 1/4in) deep £500-800

89

LIBERTY & CO., LONDON (MANNER OF)

ARTS & CRAFTS

OVERMANTEL MIRROR, CIRCA 1900

oak, with mirrored plate, 120cm (47 1/8in) wide, 73cm (28 3/4in) high, 15cm (6in) deep; together with an ARTS & CRAFTS DROP-LEAF TABLE, oak, 71cm (28in) long, 62cm (24 1/2in) high, 59.5cm (23 1/2in) deep (2) £250-350

91

HEAL & SON, LONDON

ART DECO SIDE TABLE, CIRCA 1930

walnut, with ivorine label to the underside Heal and Son Ltd., London W 58cm (22 3/4in) wide, 58cm (22 3/4in) high, 36cm (14 1/4in) deep £300-500

90 ENGLISH

ARTS & CRAFTS WRITING TABLE, CIRCA 1910

oak, with leather skiver and patinated metal handles 76cm (30in) wide, 75cm (30in) high, 45.5cm (18in) deep £300-500

Minton Secessionist Wares: Léon Solon & John Wadsworth

Léon-Victor Solon (1872-1953), the son of famed Minton designer Louis Marc Solon, was born in Stoke-on-Trent and joined Minton’s as a designer in 1895 with the intention of revitalising the firm’s competitive edge. By 1901, Solon was in need of an assistant designer and appointed a young John W. Wadsworth (1879-1955) to the position. Together, Solon and Wadsworth collaborated on what came to be Minton’s most successful Art Nouveau range: Secessionist Ware. In producing this range, the company sought to align itself with this highly progressive European art movement. However, the stylised decoration for this range also draws much inspiration from the avant-garde Glasgow School.

Designs produced for the range were heavily characterised by a raised linear decoration using the slip-trailed technique. This method involves piping liquid clay by hand to form a raised outline using a tubular tool, which was squeezed so that the mixture flowed. The coloured lead glazes were then painted within the raised outlines, sometimes overflowing the lines and mingling with each other, before the finished piece was fired. The coloured glazes are particularly striking in their rich polychromy of bold tones, likely inspired by Solon’s personal interest in this ancient practice.

Beyond their distinctive decoration, pieces included in the range can be identified by the Minton’s factory marks specially designed by Solon and Wadsworth. One mark contains the words ‘Mintons Ltd’ in Art Nouveau lettering, in which the ‘S’ exaggeratedly sweeps back and underneath. Another more rare mark found on pieces from 1901-1903, features ‘Mintons Ltd’ framed in a square border. These earlier Secessionist pieces are likely to have been the work of Solon; designs produced after 1905 are attributed to Wadsworth, after his appointment to art director that year. Today, the designs of both men are held in high regard, and in particular, their designs for Minton Secessionist Wares for Minton’s are widely considered a significant contribution to the British Art Nouveau style between 1890 and 1914.

92 MINTONS LTD.

‘SECESSIONIST WARE’ VASE, 1903 relief moulded and block printed earthenware, printed ‘MINTON LTD.’ , impressed date cypher and ‘Minton’ and ‘18’, incised ‘3504’, 31.7cm (12 1/2in) high; together with a SECESSIONIST WARE VASE, 1903, impressed date cypher and ‘Minton’, incised ‘3504’, 31.7cm (12 1/2in) high; a SECESSIONIST WARE VASE, 1903, printed ‘MINTON LTD.’, impressed date cypher ‘Mintons’, incised ‘3509’, 31cm (12 1/4in) high; and a SMALL SECESSIONIST WARE JARDINIÈRE, 1902, moulded ‘MINTONS LTD.’, impressed date cypher and ‘Minton’, printed ‘28’, 11.5cm (4 1/2in) high (4) £300-500

93

MINTONS LTD.

‘SECESSIONIST WARE’ VASE, 1907 tube-lined and glazed earhenware, impressed ‘MINTONS’, printed ‘34’, incised ‘3508’, date cypher for 1907; together with another similar SECESSIONIST WARE VASE, 1906, printed ‘MINTONS LTD.’ and ‘No. 35’, 34.8cm (13 3/4in) high; a SMALLER VASE, printed ‘MINTONS LTD.’ and ‘No. 9’, 24cm (9 1/2in) high; a PAIR OF SMALL VASES, printed ‘MINTONS LTD.’ and ‘No. 41’, incised ‘3557’, one with cypher for 1904 and the other for 1911, 17.2cm (6 3/4in) high; a PAIR OF CANDLEHOLDERS, printed ‘MINTONS LTD’ and one example printed ‘No. 1’, 10.5cm (4 1/8in) high; and a SMALL JARDINIÈRE, printed ‘MINTONS LTD.’, ‘incised 3772, impressed ‘MINTONS’ and date cypher for 1911, 26.5cm (10 1/2in) wide (8) 34.8cm (13 3/4in) high £400-600

94

MINTONS LTD. (ATTRIBUTED TO)

‘GLASGOW ROSE’ CHARGER, CIRCA 1900 tube lined slip decorated, unmarked 39.8cm (15 3/4in) diameter £300-500

95 MINTONS LTD.

‘SECESSIONIST WARE’ CHARGER, CIRCA 1910 tube-lined and glazed earhenware, printed ‘MINTONS LTD.’, 38.4cm (15 1/8in) diameter; together with a MINTONS VASE, printed ‘MINTONS LTD.’ and ‘No. 1’, impressed ‘MINTONS’, incised ‘3652’, 29.5cm (11 5/8in) high; a MINTONS VASE, indistinctly stamped ‘MINTONS’, impressed ‘3709’, 29.5cm (11 5/8in) high; and a MINTONS VASE, printed ‘MINTONS LTD.’ and ‘No. 1’, 24cm (9 1/2in) high; a MINTONS VASE, printed ‘MINTONS LTD’ and ‘No. 46’, impressed ‘MINTONS’, incised ‘3548’, 15.5cm (6 1/8in) high; a MINTONS VASE, printed ‘MINTONS LTD.’ and ‘No. 42’, 13.5cm (5 3/8in) high; and a MINTONS VASE, printed ‘MINTONS LTD.’ and ‘No. 17’, 13cm (5 18in) high (8) £300-500

96

MINTONS LTD.

‘SECESSIONIST WARE’ VASE, 1911

relief moulded and block printed earthenware, impressed ‘MINTONS’ and ‘1911’ and ‘3573 47cm (18 1/2in) high £200-300

97

MINTONS LTD.

‘SECESSIONIST WARE’ JARDINIÈRE

tube-lined and glazed earhenware, printed manufacturer’s stamp, impressed model/serial number 37cm (14 1/2in) high £300-500

98

MINTONS LTD.

‘SECESSIONIST WARE’ JARDINIÈRE

tube-lined and glazed earhenware, printed ‘MINTONS LTD.’ and ‘No. 15’, 34.5cm (13 5/8in) high, 37cm (14 1/2in) high; together with a JARDINIÈRE, slip decorated and block printed, impressed ‘MINTONS’ and with year cypher for 1907 and ‘3472’, 26cm (10 1/4in) high; a JARDINIÈRE STAND, relief moulded and block printed, printed ‘MINTONS LTD.’, impressed ‘3499’ and ‘MINTONS’, with year cypher for 1903, 71cm (28in) high (3)

Provenance: Christie’s, South Kensington, 21st July 1999, lots 63, 76, and 80.

Literature: Jones, Joan ‘Minton: The First Two Hundred Years of Design & Production’, Swan Hill Press 1993. p, 249. where a similar example is illustrated in a variant colour. £600-800

99

MINTONS LTD.

‘SECESSIONIST WARE’ STICK STAND, 1902

relief moulded and block printed earthenware, printed ‘MINTONS LTD.’, impressed ‘MINTONS’ and ‘3310’, date cypher for 1902, 57cm (22 1/2in) high; together with another SIMILAR STICK STAND, incised ‘MINTONS ENGLAND’ and ‘3380’, 57cm (22 1/2in) high (2)

£200-300

100

MINTONS LTD.

‘SECESSIONIST WARE’ JARDINIÈRE & STAND, 1907

relief moulded earthenware, impressed ‘MINTONS’ and indistinct model number, date cypher for 1907; the stand impressed ‘MINTON’ and date cypher for 1907 and ‘3497’

Jardiniere: 32cm (12 5/8in) high; Stand: 56.5cm (22 1/4in) high £300-500

101

MINTONS LTD.

‘SECESSIONIST WARE’ JARDINIÈRE, CIRCA 1907

tube-lined and glazed earhenware, printed ‘MINTONS LTD.’ and ‘No. 17’, impressed ‘MINTONS ENGLAND’, incised ‘2732’ and ‘No. 3’, indistinct date cypher, 26cm (10 1/4in) high; together with ANOTHER JARDINIÈRE, impressed ‘MINTON ENGLAND’ and ‘MINTONS’, incised ‘3301’ and ‘2’, 26.5cm (10 1/2in) high; and a JARDINIÈRE STAND, printed ‘MINTONS LTD.’ and ‘No. 55’, 72cm (28 3/8in) high; and an UMBRELLA STAND, printed ‘MINTONS LTD.’ and ‘No. 72’, incised ‘3598’, with date cypher for 1920, 48.5cm (19 1/8in) high (4)

£300-500

103

MINTONS LTD.

PAIR OF TALL ‘SECESSIONIST WARE’ CANDLESTICK HOLDERS, CIRCA 1902-14 tube-lined and slip-glazed earthenware, printed ‘MINTON LTD.’ and ‘No. 2’ , impressed ‘Minton’, 52cm (20 1/2in) high; together with a JUG AND WASH SET, printed ‘MINTON LTD.’ and ‘No. 5’, moulded mark ‘Minton’ to the basin, impressed marks to the ewer and painted ‘B’, ewer 31cm (12 1/4in) high, basin 38.5cm (15 1/8in) diameter (4) £300-500

102

MINTONS LTD.

THREE ‘SECESSIONIST WARE’ VASES, 1911 tube-lined earthenware, printed ‘MINTONS LTD.’ and ‘No. 1’, impressed with date cypher for 1911 and ‘MINTONS’ and ‘3707’ to two of the vases, each 31.8cm (12 1/4in) high; together with a MINTONS VASE, 1918, impressed ‘MINTONS’ and date cypher for 1918, 22.5cm (8 3/4in) high; a FURTHER VASE, printed ‘MINTONS LTD.’ and ‘No. 18’, 21cm (8 1/4in) high; a PAIR OF MINTONS VASES, printed ‘No. 30’ and ‘MINTONS LTD.’, 12cm (4 3/4in) high; and another MINTONS VASE, printed ‘MINTONS LTD.’ and ‘No. 33’, 12cm (4 3/4in) high (8) £300-500

104

MINTONS LTD.

NEAR PAIR OF ‘SECESSIONIST WARE’ VASE, 1902 tube lined and block printed earthenware, incised ‘3337’, impressed ‘MINTONS’ and date cypher for 1902, 23.4cm (9 1/4in) high; together with a MINTONS VASE, 1902-14, tube lined and block printed, impressed ‘MINTONS LTD’, 33cm (13in) high; a MINTONS EWER, 1908, impressed ‘MINTONS LTD’ and date cypher for 1908, printed ‘36’, 37cm (14 1/2in) high; and a MINTONS TILE PANEL, glazed earthenware, with oak frame, 14cm (5 1/2in) high, 39.5cm (15 1/2in) long (5) £300-500

105 MINTONS LTD.

SEVEN ‘SECESSIONIST WARE’ PLATES, CIRCA 1904

tube lined and glazed earhenware, each plate impressed ‘MINTONS’, most with date cypher, each plate 24 (9 3/8in) diameter; together with TWO SHALLOW DISHES, impressed ‘MINTONS’, with date cyphers for 1903 and 1905, 27.5cm (10 7/8in) long; a COFFEE POT AND MATCHING PAIR OF BEAKERS, each printed ‘MINTONS LTD.’, date cypher for 1906 to the coffee pot, the beakers 9.5cm (3 3/4in) high; a PAIR OF CANDLESTICKS, printed ‘MINTONS LTD.’, 16.5 (6 1/2in) high; a VASE, printed ‘MINTONS LTD.’ and ‘No. 22’, impressed ‘MINTONS’, date cypher for 1911, 29.5cm (11 5/8in) high; and a SMALL VASE, printed ‘MINTONS LTD.’ and ‘No. 3’, impressed date cypher for 1903, 12.5cm (4 7/8in) high (16) £400-600

106

MINTONS LTD.

PAIR OF ‘SECESSIONIST WARE’ VASES, 1908 tube lined and block printed earthenware, impressed ‘3331’, with date cypher to one for 1908, 25.4cm (10in) high; together with TWO MINTON VASES, one printed ‘MINTONS LTD.’ and ‘No. 1’, the other impressed ‘MINTONS’ and ‘3651’ with date cypher for 1908, 29.7cm (11 3/4in) high each; and a FURTHER MINTON VASE, matte glazed, incised ‘3652’, impressed with date cypher for 1908, 29.5cm (11 5/8in) high (5) £300-500

JOHN WADSWORTH (BRITISH 1879-1955)

EXTENSIVE ARCHIVE OF ORIGINAL DESIGNS AND SKETCHES

mixed media (pencil; pen and ink; watercolour; bodycolour) some 150 items in total, on various paper and card stocks, various dimensions, including 10 items signed by Wadsworth, the remaining material unsigned but most attributable either to Wadsworth or an associate on external evidence or stylistic grounds:

1) Signed items: a) Design for a Sun-Dial to be executed in Irish-Green Marble with Brass Fitting (watercolour; with caption); b) Design for an embroidered doyley (watercolour; with caption); c) Design for Wadsworth’s personal bookplate (black and gold ink with lilac watercolour; mounted); d) Designs for decorative friezes (on a single sheet, red and black ink heightened with gold, possibly gold leaf); e) Repeating foliate design (sepia ink with pencil); f) Calligraphic Christmas card design (‘With best wishes from Mr and Mrs J. W. Wadsworth, Xmas 1910’ in black ink, with ‘Draycott Le Moors, Stoke on Trent’ in pencil); g) Cover design for an edition of Dante (black ink and pencil, annotations verso; together with another design, unsigned but near-identical); h-j) Three watercolour views (a country church; a view in the Colosseum; a crooked tree with cottages; the latter with heavy outlining and shading in black ink); 2) Views (watercolours, 13 in total, including wooded landscapes, beach scenes,

architectural studies, and boats moored in a harbour);

3) Bookplate designs, including two for Leon V. Solon (on 20 sheets, a few containing multiple designs, together with a few printed specimens);

4) Lettering specimens and copies of illuminated initials from medieval manuscripts (28 sheets, most with multiple designs);

5) Pattern designs after historical fabrics (watercolours, 6 in total, annotated on verso ‘17th century Italian’, ‘Italian damask, 17th century’, ‘Linen, Italian, 16 century’, ‘15 or 16th-century oriental’, ‘16th century Renaissance’, ‘Velvet, Persian, 17th century’); 6) Exhibition catalogue or poster designs for the North Staffordshire Art Society (5 in total), together with 3 similar designs for the Catalogue of the Malvern Art Club Exhibition,1928, woodblocks differentially hand-coloured;

7) Large collection of assorted designs and sketches, including various floral patterns and motifs, a vase, book illustrations and embellishments (including 4 designs for publisher’s devices or colophons: ‘FINIS’ written within scrolling foliate cartouche; two satyrs embracing beneath text ‘THE END’; large sketch of an angel and supplicant with the text ‘Carl Hentschel & Co. Photo-engravers’ at the head; an allegorical female figure with robe and shield beneath text ‘Bemrose & Sons Ltd. Printers, Derby & London’), and numerous female figures, several sketches evidently preparatory (approx. 50 in total);

8) 3 engraved Christmas cards from Leon V. Solon addressed in pencil to John Wadsworth (for 1903, 1905 and 1909, spotted); 2 photographs of works by Leon V. Solon (one of Elizabeth I, the other captioned verso ‘Le bain des nymphes’), both signed in the negative, mounted and inscribed

by Solon to Wadsworth in pencil on mount, heavily spotted; and 1 further engraving inscribed by Solon to Wadsworth in pencil (device for a menu at ‘Uplands’?);

9) Other items including: a copy of Wadsworth’s Designing from Plant Forms, 1910, first edition, original cloth; 1901-2 syllabus for Macclesfield Techincal and Science School and School of Art (8vo, original decorative wrappers, front cover design signed J. W. Wadsworth); dust jackets possibly designed by Wadsworth, etc. This lot includes a typed letter to Phillips auctioneers from C. J. Hancock requesting a catalogue for the sale. (approx. 150)

Provenance: ‘The Ceramic Art and Paintings of John and Philip Wadsworth’, the auction of their estate, Phillips, Knowle, 8th April 1992, various lots including 55, 89 etc.

Note: John William Wadsworth is best remembered as a designer of ceramics, but this extensive collection of material is an engrossing record of his interest in other fields including book decoration, bookplate design and landscape painting, and promises to reward further study.

Born in Macclesfield, Wadsworth studied at Stockport School of Art and the Royal College of Art. In 1901 he was appointed assistant art director to L. V. Solon at Mintons, designing Secessionist ware, and became full art director soon after in 1905. He was art director at Royal Worcester from 1915 until returning to Mintons in 1935, where he remained until his death.

£1,000-1,500

JOHN WADSWORTH (BRITISH 1879–1955)

EMBROIDERED APPLIQUÉ PANEL, CIRCA 1905

made by Ellen Wadsworth, stitched to a linen ground, the panel 21cm x 38cm (8 1/4in x 15in); together with an EMBROIDERED RUNNER BY JOHN WADSWORTH, made by Ellen Wadsworth, coloured silks on a linen ground, 66cm (26in) x 46cm (18 1/2in) (2)

Provenance: ‘The Ceramic Art and Paintings of John and Philip Wadsworth’, the auction of their estate, Phillips, Knowle, 8th April 1992, included in lot 98.

£150-250

109

JOHN WADSWORTH (BRITISH 1879–1955) FOR MINTONS LTD. NEOCLASSICAL VASE AND COVER, 1911-15

porcelain, glaze printed and gilt, printed ‘MINTONS ENGLAND’ 18.5cm (7 1/4in) high

Provenance: ‘The Ceramic Art and Paintings of John and Philip Wadsworth’, the auction of their estates, Phillips, Knowle, 8th April 1992, lot 57.

Literature: Glass and China Trader Magazine, 1912.

£200-300

110

JOHN WADSWORTH (BRITISH 1879-1955)

THE MOTHER, 1932

FOR ROYAL WORCESTER

porcelain, printed ‘ROYAL WORCESTER MADE IN ENGLAND’ and ‘2886’

Provenance: ‘The Ceramic Art and Paintings of John and Philip Wadsworth’, the auction of their estates, Phillips, Knowle, 8th April 1992, lot 82.

Note: This figure was produced when Wadsworth was Art Director of Royal Worcester. £300-500

111 §

JOHN WADSWORTH (BRITISH 1879–1955) FOR MINTONS LTD. TWO ORIGINAL DESIGNS FOR MINTON SECESSIONIST VASES, CIRCA 1901 pencil and watercolour on paper, each signed ‘John W Wadsworth’ in pencil, and initialled ‘AS’ in ink (lower right), one 55cm x 38cm (21 1/2in x 15in) ; the other 55cm x 37cm (21 1/2 in x 14in); together ‘MINTON SECESSIONIST WARE’, printed trade catalogue cover, designed by Léon Solon, framed, 26cm x 17cm (10 1/4in x 6 3/4in) (3) £400-600

112 §

JOHN WADSWORTH (BRITISH 1879-1955)

PLACE DE MARCH, HONFLEUR

watercolour, signed; and ‘French Market,’ ink and watercolour, signed (2) 34.5cm (13 1/2in), 24cm (9 1/2in); and 25.5cm (10in), 35cm (13 1/2in)

Provenance: ‘The Ceramic Art and Paintings of John and Philip Wadsworth’, the auction of their estates, Phillips, London, 8th April 1992, lot 108.

£300-500

113 §

LÉON-VICTOR SOLON (BRITISH 1872-1957)

GREEK GODDESS watercolour on paper, signed (lower right) 36.5m (14 3/8in), 22cm (8 1/2in)

Provenance: ‘The Ceramic Art and Paintings of John and Philip Wadsworth’, the auction of their estates, Phillips, Knowle, 8th April 1992.

£200-300

114 §

LÉON-VICTOR SOLON (BRITISH 1872-1957)

‘ARIANE’, ILLUSTRATION FOR DE HEREDIA’S “LES TROPHEES”, CIRCA 1904 etching, initialled (lower right), signed and dated, reserved on a mount by John Wadsworth, pen and ink, signed with initials, visible sheet 29cm x 23cm (11 3/8in x 9in); together with a 1901-02 CHRISTMAS CARD TO THE WADSWORTHS, print, initialled and inscribed in pencil ‘Mon Amis Wadsworths’, 9.6cm x 7.2cm (3 3/4in x 2 7/8in) (2)

Provenance: ‘The Ceramic Art and Paintings of John and Philip Wadsworth’, the auction of their estates, Phillips, Knowle, 8th April 1992, part lot 55.

Literature: The Studio Yearbook, Volume Thirty-One, p.155 where ‘ARIANE’ is illustrated.

£200-300

116

ARCHIBALD KNOX (BRITISH 1899-1933)

WINTER TREES, ISLE OF MAN, CIRCA 1920 watercolour on paper 41.5cm (16 1/4in), 55.5cm (21 3/4in)

Provenance: Miss Knox, Isle of Man.

Note: Bears paper label verso, inscribed ‘Archibald Knox/ B. Tromode (I.O.M.) 1864 D. Douglas 1933/ purchased by HPK Robinson/ from Miss Knox/ St. Johns (I.O.M.)/ APL 1951’. £1,000-1,500

117

ARCHIBALD KNOX (BRITISH 1899-1933)

ISLE OF MAN - KEWAIGUE watercolour on paper, inscribed ‘B’VAR, (lower left) 41.5cm (16 1/4in), 56cm (22in) £1,000-1,500

118

ARCHIBALD KNOX (BRITISH 1899-1933)

FOR LIBERTY & CO., LONDON PAIR OF CANDELABRA, CIRCA 1904 pewter, stamped ENGLISH PEWTER/ 0530/ RD 459543, 22.8cm (11 1/8) high; together with a PAIR OF ‘TUDRIC’ BULLET-SHAPED CANDLESTICKS, pewter, each stamped ‘8/ TUDRIC/ 0221’, 14.3cm (5 5/8in) (4)

Literature: Martin, S. A., ‘Archibald Knox’, Art Media Press, 2001, p. 217 where a similar example of the candelabra 0530 model is illustrated.

£600-800

119

ARCHIBALD KNOX (BRITISH 1899-1933)

FOR LIBERTY & CO., LONDON ‘TUDRIC’ AND ‘CLUTHA’ CENTREPIECE, 1905 pewter and coloured glass with milky inclusions, stamped ‘ENGLISH PEWTER/ 0275/ MADE IN ENGLAND/ 5’ 17cm (6 3/4in) high, 20.5cm (8in) diameter

£600-800

120

LIBERTY & CO., LONDON ART NOUVEAU SERVING SPOON, BIRMINGHAM 1924

silver and enamel, stamped maker’s mark, hallmarked Birmingham 1924, 20.5cm (8 1/4in) long; together with TWO SERVING SPOONS

BY WILLIAM HUTTON & SONS LTD., silver and enamel, stamped maker’s marks, hallmarked Birmingham 1911, 18.5cm (7 1/2in) long (3)

Literature: Arwas, Victor ‘Liberty Style’, Parco 1983, p. 131, where an example of the single spoon is illustrated, S. 69.

£400-600

121

ALBERT EDWARD JONES (BRITISH 1878-1954) (ATTRIBUTED TO) BOX, CIRCA 1900

silver plated copper and brass, with Ruskin ceramic cabochons 20.2cm (8in) wide, 6cm (2 1/3in) high £200-300

122 §

DENISE WREN (BRITISH 1891–1979) AND HENRY WREN (BRITISH 1884-1947) AT OXSHOTT POTTERY

JUG, CIRCA 1922

stoneware with incised decoration, signed ‘HW/DW Oxshott’ (to the base); together with TWO C. H. BRANNAN JUGS MADE FOR LIBERTY & CO., LONDON, impressed ‘C H BRANNAN’ and ‘BRANUM N DEVON’ and ‘MADE FOR LIBERTY & CO’, 19cm (7 1/2in) high and 15cm (5 7/8in) high (3) 20.7cm (8 1/8in) high

Provenance: Phillips, London, 28th March 1995, lot 334.

Note: Archibald Knox was Design Master at Kingston School of Art until his unorthodox teaching method was condemned by the South Kensington Examination Board, prompting his abrupt resignation in 1911. When it emerged that Knox would not be returning to Kingston, a group of his former students also resigned their places in protest. One of these students, Denise Wren (nee Tuckfield), went on to help establish the Knox Guild of Design and Craft in 1912, a studio workshop in Kingston-Upon-Thames where Knox continued to be a source of inspiration. Wren’s own pottery designs in the 1910s and 1920s can be seen to incorporate Knox’s Art Nouveau and Celtic motifs clearly. The Oxshott Pottery was set up by Denise Wren and her husband Henry at their home, Potters Croft, in Oxshott, Surrey in 1920. £400-600

123

JOZEF-PIETER LAIGNEL (1870-1950), KORTRIJK, BELGIUM

ART NOUVEAU VASE, CIRCA 1905 majolica glazed stoneware, incised ‘54 JPL G’ 41.5cm (16 1/4in) high

Provenance: Purchased in 1905 by Claire Petrucci (wife of Marquis of Sienna) and mother of Clairette Wolfers, Art Nouveau jeweller. £200-300

124

LOETZ,

AUSTRIA

JUGENDSTIL TWIN-HANDLED VASE, CIRCA 1900 iridescent glass with pewter mounts, possibly by Boudon & Klur, Paris 27.5cm (10 7/8in) high £300-500

125

WMF (WURTTEMBERGISCHE METALLWARENFABRIK) CLARET JUG, CIRCA 1900 green glass with pewter mounts 38cm (15in) high £300-500

126

FULPER POTTERY, USA BOWL, CIRCA 1920 glazed earthenware with peacock feather motif, printed ‘Fulper’ 25cm (9 7/8in) diameter

Provenance: Phillips, London, 5th February 1987, lot 165. £250-350

127

ROYAL DOULTON

THREE-PIECE DRESSING SET, CIRCA 1920

transfer-printed earthenware, printed manufacturer’s mark and ‘D2624’, comprising a TRAY, 30cm (11 3/4in) wide; a VASE, 12.7cm (5in) high; and a BOWL, 13cm (5 1/8in) high; together with THREE ROYAL DOULTON WARES, transfer-printed earthenware, printed manufacturer’s mark, including a PLATE, 26.5cm (10 3/8in) diameter; a VASE, 12.5cm (5in) high; and a TRAY, 28.5cm (11 1/4in) across; a ROYAL DOULTON VASE, glazed stoneware, impressed manufacturer’s mark 14.5cm (5 3/4in) high; and TWO FURTHER ROYAL DOULTON VASES, one designed by Leslie Harradine, glazed stoneware, impressed manufacturer’s marks and incised initials, each 13cm (5 1/8in) high (9) £250-350

128 §

SIR FRANK BRANGWYN R.A., R.W.S., R.B.A. (BRITISH 1867-1956)

FOR ROYAL DOULTON

TWELVE PIECE DINNER SERVICE, CIRCA 1927 glazed earthenware, printed manufacturer’s marks and numbered ‘d. 5033’, comprising TWELVE LARGE PLATES, 26.5cm (10 1/2in); TWELVE MEDIUM-SIZED PLATES, 24.2cm (9 1/2in) diameter; TWELVE SIDE PLATES, 19cm (7 1/2in) diameter; TWO SAUCE JUGS, one with stand, 8.5 (3 3/8in) high; FOUR LIDDED TUREENS, 28cm (11in) wide; and SIX SERVING PLATTERS, two largest 40cm (15 3/4in), two medium, 35cm (13 3/4in) wide and two small, 28.5cm (11 1/4in) wide (49) £300-500

129

MARTIN BROTHERS DRAGON EWER, 1903 glazed stoneware, incised ‘Martin Bros/ London + Southall/ 3-1903’ 28.5cm (11 1/4in) high £1,000-1,500

Kate Harris Silverware

Kate (or Katie) Harris, is broadly considered one of the most important designs for the London-based firm, William Hutton & Sons. From 1899 to around 1905, she produced exquisite designs for artistic silver. Often featured in The Studio magazine, her work received much critical acclaim and is still admired by many collectors today.

An advocate of organic forms, executed with the finest material, sinuous botanical motifs dominate her work, serving both a decorative and structural purpose for the piece itself. Perhaps Harris’ best-known designs however, are those featuring a classically stylised figural form, typically austere in feeling and with fewer erotic overtones than Continental Art Nouveau counterparts. The skilled craftsmanship to bring these designs to life showcase the elegance and simple beauty that is so synonymous with Harris’ work.

Included in this sale are a number of pieces by Harris at the peak of her career. One such example is an inkstand which she was commissioned to design in 1902, and adopted as one of the prizes issued by the Art Union of London. The Union’s annual report of that

year indicates eighteen examples of the inkstand were allocated as prizes. The report also wrote of her design, ‘The charming and original inkstand, designed for the Society by Miss Katie J Harris will be especially noticed…Miss Harris’ future career will be watched with interest’.

The period between 1880 and 1914 offered fresh opportunities to women artists in training and employment, and there was a growing number of women artist-designers names published in popular art magazines at the time. However, despite her name being a major contributor to the commercial Arts and Crafts style, little is known about the life and career of Katie Harris. While Harris may have been one of Hutton & Sons brightest talents, it was commercial standard practice for designs to be attributed to the firm itself, and not the individual designer. As a consequence, even successful artists would remain largely anonymous and it became challenging, particularly for women, to forge a prosperous artistic career. Though her biography remains vague, her accomplishments in silverware design are recognised and reflected in the high prices her work commands in the art market today.

130

KATE HARRIS (BRITISH 1878-1949)

FOR WILLIAM HUTTON & SONS LTD. FOOTED BOWL, LONDON 1904 silver, with applied enamel roundels, hallmarked London 1904, inscribed ‘Jays 142-144 Oxford St. w’ 7.5cm (3 1/2in) high, 15cm (5 7/8in) across £300-500

132

KATE HARRIS (BRITISH 1878-1949)

FOR GOLDSMITHS & SILVERSMITHS COMPANY, LONDON

LARGE ART NOUVEAU BOX, LONDON 1901 silver, hallmarked London 1901, stamped ‘GOLDSMITHS & SILVERSMITHS COMPANY LTS/ 112 REGENT ST. LONDON W.’ 15cm (5 7/8in) across; 9.5cm (3 3/4in) high £600-800

131

KATE HARRIS (BRITISH 1878-1949)

FOR WILLIAM HUTTON & SONS LTD. JEWELLERY CASKET, LONDON 1902 silver, with velvet-lined interior, hallmarked London 1902 11.5cm (4 1/2in) wide £400-600

133

KATE

HARRIS (BRITISH 1878-1949)

FOR WILLIAM HUTTON & SONS LTD.

TWO SCENT BOTTLES, 1904 AND 1909 green glass with silver mounts, stamped maker’s mark, one hallmarked Sheffield 1909-10, the other London 1904-05, 16cm (6 1/4in) high; together with TWO DISHES, silver and enamel, each hallmarked London, one 1904-05 and 1905-06, each inscribed ‘FROM PADDY/ 1946’, 10cm (3 7/8in) square (4) £600-800

134

KATE HARRIS (BRITISH 1878-1949)

FOR WILLIAM HUTTON & SONS LTD.

ART NOUVEAU DRESSING SET, 1903-1908 silver, comprising a HAND MIRROR, with a mirrored glass plate, inscribed ‘O. E. Y. from a. e. J./ 9-10-08’, hallmarked Birmingham 1908, 29.2cm (11 1/2in) long; a HAIR BRUSH, hallmarked London 1903, stamped ‘RD 347101’, 24.8cm (9 3/4in) long; a CLOTHES BRUSH, indistinct hallmarks, 9cm (7 1/2in) long; a POWDER BOX, inscribed ‘Olive Eileen/ 9th Oct 1904’, stamped ‘RD 352424’, cover with indistinct hallmarks, base hallmarked London 1904, 6.5cm (2 1/2in) high; and a TRAY, inscribed ‘Olive E. Yardley/ 9th Oct 1907/ from A. L. Thompson’, hallmarked (twice) London 1904, 30.5cm (12in) long (5) £600-800

135 KATE HARRIS (BRITISH 1878-1949) FOR WILLIAM HUTTON & SONS LTD. COFFEE SET, LONDON 1906-1911 silver and mother-of-pearl, comprising a COFFEE POT, hallmarked London 1906, 16.5cm (6 1/2in) high; a TEAPOT, hallmarked London 1911, 23cm (9in) wide; a SUGAR BOWL AND MILK JUG, hallmarked London 1908, sugar bowl 15.5cm (6 1/8in) wide, milk jug 11.5cm (4 1/2in) wide, all with stamped maker’s marks (4) £1,200-1,800

136

KATE HARRIS (BRITISH 1878-1949) FOR WILLIAM HUTTON & SONS LTD.

GROUP OF THREE TABLE WARES, LONDON 1902-05

silver, comprising a CENTREPIECE, with glass lining, hallmarked London 1904-05, with registration number 322249, 20.2cm (8in) wide; a CUP, hallmarked London, date indistinct, 10.5cm (4 1/8in) high; and a MILK JUG, hallmarked London 190203, 6.5cm (2 5/8in) high, each with stamped maker’s mark (3)

Provenance: Phillips, London, 11th June 1991, lot 203. £400-600

137

KATE HARRIS (BRITISH 1878-1949)

FOR WILLIAM HUTTON & SONS LTD.

ART NOUVEAU TRAY, LONDON 1902-03

silver, stamped maker’s mark, hallmarked London 1902-03 46cm (18in), 31cm (12 1/4in) £800-1,200

138

KATE HARRIS (BRITISH 1878-1949)

(ATTRIBUTED TO)

CENTREPIECE, CIRCA 1904 silver plate, with glass liner, stamped BRITISH MAKE/ H/ W34184 34.5cm (13 5/8in) wide £300-500

139

WILLIAM HUTTON & SONS LTD.

PICTURE FRAME, LONDON 1903-04 silver and enamel, stamped maker’s mark, hallmarked London 1903-04, 30.5cm (12in), 22cm (8 5/8in); together with an ARTS & CRAFTS PICTURE FRAME, white metal, indistinct stamped mark probably for Murrle, Bennett & Co. Ltd., London, 32cm (12 1/2in), 27cm (10 5/8in) (2)

Provenance: Christie’s, South Kensington, 19th March 1993, lot 566 and Christie’s, London, 9th October 1992, lot 33.

Literature: Arwas, Victor ‘Liberty Style’, Parco 1983, p.120, where the Hutton frame is illustrated, S.26.

£400-600

140

KATE HARRIS (BRITISH 1878-1949)

FOR THE ART UNION OF LONDON INKSTAND, 1902

plated copper and brass, signed ‘Art Union of London 1902’ and ‘Katie J. Harris’

19cm (7 1/2in), 33cm (13in)

Literature: Pudney, S., ‘Katie Harris: The Mystery Woman of English Art Nouveau’, DAS Journal 39 2015, p.49, pl. 6 illus. £300-500

141

KATE HARRIS (BRITISH 1878-1949) (ATTRIBUTED TO) FOR THE GOLDSMITHS & SILVERSMITHS COMPANY LTD., LONDON SET OF SIX APOSTLE SPOONS, LONDON 1900 silver, with matching fitted box, stamped maker’s mark, each hallmarked London 1900 (6) each spoon 12cm (4 3/4in) long £400-600

142

KATE HARRIS (BRITISH 1878-1949)

FOR WILLIAM HUTTON & SONS LTD. LADIES MANICURE SET, LONDON 1902-1903

silver, in original box, comprising, TWO PILL BOXES, one hallmarked London 1902, the other with matching lid, hallmarked Birmingham 1902, each 2.4cm (3/4in) high; a BUFFER, hallmarked London 1903, 11.2cm (4 3/8in) long; a PAIR OF SCISSORS, the blade stamped SHEFFIELD/ 2, hallmarked London 1902, 9.8cm (4 7/8in) long; a PAIR OF NAIL SCISSORS, hallmarked London 1902, 9.8cm (4 7/8in) long; a NAIL BRUSH, handle hallmarked London 1902, head hallmarked Birmingham 1902, 8.7cm (3 3/8in) long; a CUTICLE TIP, terminal stamped STE*, hallmarked London 1902, 12cm (4 5/8in) long; and a NAIL FILE, terminal stamped STERLING, handle with partial hallmarks (8)

£300-500

143

KATE HARRIS (BRITISH 1878-1949) FOR WILLIAM HUTTON & SONS LTD.

ART NOUVEAU BELT BUCKLE, BIRMINGHAM 1902 silver and enamel, 9cm (3 1/2in) wide; together with a further BELT BUCKLE BY KATE HARRIS FOR WILLIAM HUTTON & SONS LTD., silver, set with green cabochons, 8.8cm (3 1/2in) wide, each with stamped manufacturer’s marks and hallmarked Birmingham 1902 (2) £500-700

144

KATE HARRIS (BRITISH 1878-1949) FOR R. H. HALFORD & SONS LTD.

ART NOUVEAU BELT BUCKLE, LONDON 1900 silver, hallmarked London 1900, stamped ‘RD 335769’ 14cm (5 1/2in) wide

Literature: Arwas, Victor ‘Liberty Style’, Parco 1983, p.39, where a similar buckle is illustrated, B.40. £300-500

145

KATE HARRIS (BRITISH 1878-1949) FOR WILLIAM HUTTON & SONS LTD.

BELT BUCKLE, LONDON 1899 silver, and inscribed ‘W. C. CONNELL / 83 CHEAPSIDE LONDON’, hallmarked London 1899, with bracket fittings and later black suede belt, 11.5cm (4 1/2in) wide including the bracket fittings; together with a PILL BOX BY KATE HARRIS FOR WILLIAM HUTTON & SONS LTD., silver and enamel, stamped maker’s marks, hallmarked Birmingham 1902, 4cm (1 1/2in) wide; and a BADGE BY KATE HARRIS FOR WILLIAM HUTTON & SONS LTD., silver, hallmarked Birmingham 1907 and partial registration number ‘4109..’, 2.5cm (1in) wide (3)

£400-600

147

WILLIAM

HUTTON & SONS LTD.

BELT BUCKLE, 1902 silver and enamel, stamped maker’s mark, hallmarked Birmingham 1902 9.8cm (4 7/8in) wide £200-300

148

GILBERT

146 §

JESSIE MARION KING (SCOTTISH 1875-1949)

FOR

LIBERTY & CO., LONDON

BELT BUCKLE, BIRMINGHAM 1906 silver and enamel, hallmarked Birmingham, one side with date stamp 1906, the other 1912 7.5cm (3in) wide

Provenance: Phillips, London, 28th November 1995, lot 385. Literature: Arwas, Victor ‘Liberty Style’, Parco 1983, p. 73, where a similar buckle is illustrated, B.55. £700-900

BAYES

(BRITISH 1872-1953)

QUEEN MARY MEDAL, 1936

bronze, in fitted case, commemorating the maiden voyage of the Queen Mary 7cm (2 3/4in) diameter

Provenance: Bonhams, Knightsbridge, 8th September 1997, lot 97.

Literature: Irvine, Louise and Atterbury, Paul, ‘Gilbert Bayes: Sculptor 1872-1953’, Richard Dennis 1988, p.165 illus. £120-180

151

LOUISE POWELL (BRITISH 1865-1956)

FOR WEDGWOOD FOOTED BOWL, CIRCA 1910-20 glazed earthenware, painted artist monogram and ‘2598’, impressed ‘WEDGWOOD/ MADE IN ENGLAND/ 40B’ 31.7cm (12 1/2in) diameter £600-800

152

LOUISE POWELL (BRITISH 1865-1956)

FOR WEDGWOOD CHARGER, CIRCA 1920 glazed earthenware with lustre highlights, painted artist monogram and painted ‘3330’, impressed ‘WEDGWOOD/ ENGLAND/ 4BD’ 32.5cm (12 3/4in) diameter £700-1,000

153

ENGLISH, MANNER OF LIBERTY & CO., LONDON ARTS & CRAFTS MIRROR, CIRCA 1910

copper and brass 56cm (22in) high, 76cm (30in) wide £400-600

154

AMBROSE HEAL (1872-1959) FOR HEAL & SON, LONDON ‘LETCHWORTH’ OR ‘NO. 953’ LADDERBACK ARMCHAIR, CIRCA 1905

oak, with rush seat 58.5cm (23in) wide, 122cm (48in) high, 52cm (20 1/2in) deep

Literature: Heal, Oliver S. ‘Sir Ambrose Heal and the Heal Cabinet Factory’ 1897-1939, Unicorn 2014, p. 247 illustrated.

Note: This design was produced after a Baillie Scott design that Ambrose Heal made for the showhouse in the New Garden City of Letchworth. £300-500

GORDON RUSSELL (BRITISH 1892-1980)

‘THE LYGON’ TABLE, 1923 oak, bears a label to the underside of the top inscribed ‘Dining table in English quartered oak was designed by Gordon Russell and constructed by hand by G. Cooke in the workshops of Russell and Sons, Broadway, Worcestershire England in May 1923’

168cm (66 1/4in) wide, 76cm (30in) high, 83.5 (33in) deep

Provenance: Christie’s, London, 19th July 1989, lot 128.

Literature: Andrews, John ‘Arts & Crafts Furniture’, ACC 2005, p. 191, pl. 204 where a similar example is illustrated.

£2,000-3,000

157

ERIC SHARPE (BRITISH 1888-1966)

ARMCHAIR, 1930S

walnut, with drop-in leather seat 62cm (24 1/4in) wide, 84cm (33in) high, 54cm (21 1/4in) deep £300-500

156

COTSWOLD SCHOOL MIRROR, CIRCA 1930

walnut, with mirrored glass plate 39.2cm (15 1/2in) high, 55cm (22in) wide £300-500

158

STANLEY WEBB DAVIES (BRITISH 1894–1978)

SIDE TABLE, 1934

walnut, with glass top, incised S W D 1934 with cabinetmaker’s initials 40cm (15 3/4in) square, 61cm (24in) high Provenance: Phillips, London, 7th November 1995, lot 189. £500-700

159

ERNEST GIMSON (BRITISH 1864-1919)

ROCKING CHAIR, CIRCA 1904-10 yew, with rush seat 55cm (21 3/4 in) wide, 113cm (44 1/2 in) high 67cm (26 1/2 in) deep

Provenance: Phillips, London, 15th October 1991, lot 315.

Literature: Carruthers A. and Greensted M. ‘Good Citizen’s Furniture’, Cheltenham Art Gallery & Museum 1994, p. 88, no. 22 where a chair of similar design is illustrated.

Note: Probably made by Peter Waals circa 1904/10.

£1,500-2,000

161

ALPHONSE MUCHA (CZECH 1860-1939)

DOCUMENTS DECORATIFS, 1902

lithographs, framed, one 31cm (12 1/4in) high, 23.5cm (9 1/2in) wide; the others 34.5cm (13 3/4in) high, 23cm (9in) wide and 31cm (12 1/4in) high, 23.5cm (9 1/2in) wide; together with a STUDY OF WOMEN, lithograph, framed (4) Provenance: Woolley & Wallis, Salisbury, 9th October 2013, lot 1644. (first three). £200-300

160 §

SIR CLOUGH WILLIAMS-ELLIS (BRITISH 1883-1978)

PLAN AND ELEVATION FOR VILLAGE HALL AT STONE NO.1, 1909

pencil, ink and watercolour on linen, framed 29cm (11 1/2in) high, 49cm (19 1/2in) wide

Provenance: Fisher Fine Art, London. £250-350

162 §

JASPER PHILIP SALWAY (BRITISH 1884-1956)

A PAVILION AT AN EXHIBITION FOR THE DISPLAY OF FURNITURE & FABRICS

pencil and watercolour on paper, signed lower right 45.5cm (18in), 61cm (24in)

Provenance: Fisher Fine Art, London. £200-300

Richard Shone

Roger Fry’s appreciation of, and efforts to promote Post-Impressionist art were key to introducing Britain to recent developments in European art. Fry curated two PostImpressionist exhibitions in London, the first in 1910 and the second in 1912, with the intention of showing the ways in which Impressionism had expanded and developed from its French origins and taken root in other countries, specifically in England. The work of French artists such as Cézanne, Bonnard and Matisse were juxtaposed with that of a new generation of British artists made in response to art made on the Continent. Fry’s intention was to show the artistic and cultural exchange between Great Britain and mainland Europe.

One of Fry’s ambitions was to encourage a better appreciation of Cézanne’s achievements and he was the first British critic to champion his work. Fry’s 1927 study, Cézanne, remains the supreme introduction to a painter he regarded as the ‘greatest master of modern times’. On a trip to France in October 1919, Fry spent time in Cézanne’s hometown of Aix-enProvence, the surrounding areas painted by the artist, and his house, the Jas de Bouffan. The magnificent countryside inspired Fry to paint, and led him to declare Cézanne a ‘pure naturalist’.

Fry believed form, not subject matter, should be the primary expressive element in art. Cézanne’s aims closely aligned with Fry’s ideal, as it gave formal expression to nature. In his 1927 study, Fry asserts that Cézanne’s art is the antithesis of the abstraction of Cubism, constantly questing instead to explore the inner face of nature.

He also notes the artist’s powers as a colourist as among the supreme aspects of his genius. Typical of Cézanne’s style, according to Fry, are the pulsating rhythms and constructed strokes that create geometric forms. According equal emphasis to all areas of the canvas, the entire picture surface is imbued with ‘the vibration and movement of life’. In one passage, Fry writes ‘Cézanne reduces actual objects to pure elements of space and volume. In their abstraction, the objects are then brought back into the concrete world of real things by expressing them in an incessantly varying and shifting texture. They retain their abstract intelligibility and regain that reality of actual things which is absent from all abstractions.’

For all his academic influence, however, Fry primarily saw himself as an artist. His championship of Post-Impressionism was accompanied by a dramatic change in his own painting, becoming more experimental in style. His landscapes are arguably Fry’s most notable contribution to English Post-Impressionism, in which trees are ground down to the simplest geometrical shapes and clouds stalk the skies. He was

interested in the capturing of light and mood of places, and his desire for clear-cut shapes and colours is expressed in sturdy geometric shapes.

Fry was a regular visitor to southern France for much of his life. He had great admiration for its various landscapes, for the light and colours of the Midi, for the lifestyle and customs of its inhabitants, its broadly democratic attitude to culture, its architecture and artistic heritage. His extensive trips deepened his love of Provence, where he was eventually to buy a farmhouse. In 1931 he acquired Mas d’Angirany, on the Route d’Antiques leading out of St Remy-de-Provence, which he shared with Charles and Marie Mauron. It was surrounded by olive groves and the upper floor looked across to Les Alpilles, extraordinary geological formations that have been weathered into grotesque shapes and pitted by ravines that have cut their way through the rocks. Vincent Van Gough’s ‘Ravine’, painted shortly after his arrival at the Saint-Paul asylum in 1889, depicts a nearby ravine in Saint-Remy; a possible inspiration for Fry’s later production of a similar scene.

Frances Spalding has written ‘some of Fry’s most lyrical late landscapes, with their observation of flickering light an intense responsiveness to the spirit of the place, were painted in the area in and around St Remy’. Until the end of his life, Provence would remain Fry’s favourite part of France.

It was a painter’s love, ultimately visual.

“ Roger Fry, seen as the arch-exponent of formal values and aesthetic decorum, was frequently drawn in his painting to the most romantic and picturesque aspects of the landscape - to the jagged profiles of unpopulated hillsides, to ravines and mountain pools. ”

The Artists of Bloomsbury: Roger Fry, Vanessa Bell and Duncan Grant, 1999 essay

ROGER FRY (BRITISH 1866-1934)

THE RAVINE, THE ALPILLES, CIRCA 1932-33 oil on canvas, signed 54cm (21 1/4in), 65cm (25 1/2in)

Literature: Shone, Richard E. (ed.) ‘The Art of Bloomsbury: Roger Fry, Vanessa Bell and Duncan Grant’, London 1999, repr. b/w p.13 fig.4.

Note: In his 1999 essay ‘The Artists of Bloomsbury: Roger Fry, Vanessa Bell and Duncan Grant’, Richard Shone used this painting to illustrate the point that ‘Roger Fry, seen as the arch-exponent of formal values and aesthetic decorum, was frequently drawn in his painting to the most romantic and picturesque aspects of the landscape - to the jagged profiles of unpopulated hillsides, to ravines and mountain pools.’ (op.cit., p.13). £2,000-3,000

166 §

GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980)

THE ROCK II, 1972 (VARIANT TO TASSI 127)

Lithograph, 70/75, numbered in pencil, with printed signature, image size 59cm (23 1/4in), 49cm (19 1/4in); and another, After Graham Sutherland, Untitled, lithograph, 25/200, bears pencil numbering to margin 37cm (14 1/2in), 27.5cm (10 3/4in) (2)

£400-600

165 §

GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980)

PREDATORY FORM, 1953 (TASSI 57)

Lithograph, ed. 75, initialled in plate image size 75cm (29 1/2in), 52cm (20 1/2in) Provenance: Redfern Gallery, London. £300-500

169 §

GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980)

THORN CROSS, 1955 (TASSI 66)

Lithograph, 84/100, signed and numbered in pencil to margin sheet 66cm (26in), 50cm (19 3/4in)

Provenance: Redfern Gallery, London, 1967.

Duke’s, Dorchester, 17th September 2015, lot 130.

£1,000-1,500

168 §

167 §

GRAHAM

SUTHERLAND O.M. (BRITISH 1903-1980)

THE CATHEDRAL, 1974 (TASSI 160)

Lithograph, 18/75, signed and numbered in pencil to margin plate size 31cm (15 1/4in), 24cm (9 1/2in)

Provenance: Dominic Winter Book Auctions, Cirencester, 8th February 2012, lot 305. £300-500

SUTHERLAND O.M. (BRITISH 1903-1980)

GRAHAM

FLAMES IN A ROCK FORM (1), 1976 (TASSI 168)

Lithograph, 41/75, signed and numbered in pencil to margin image size 64cm (25 1/4in), 49cm (19 1/4in) £300-500

170 §

PATRICK CAULFIELD (BRITISH 1936-2005)

GARDEN WITH PINES, 1975

Screenprint 76cm (30in), 102cm (40 1/4in) £600-800

171 §

PATRICK CAULFIELD (BRITISH 1936-2005)

BROWN POT, 1994

Screenprint, 77/80, signed and numbered in pencil to margin, published by Advanced Graphics, London, with their blindstamp image size 73cm (28 3/4in), 52cm (20 1/2in)

Provenance: Alan Cristea Gallery, London, 2002; Royal Academy Summer Exhibition, 2002. £600-800

172 §

PATRICK CAULFIELD (BRITISH 1936-2005)

TERRACOTTA VASE, 1975

Screenprint, A/P, signed and inscribed in pencil to margin 76cm (30in), 102cm (40 1/4in) £700-900

173 §

RICHARD HAMILTON C.H. (BRITISH 1922-2011)

FIVE TYRES REMOULDED, 1972

The complete set of 8 works including seven screenprints in black on frosted mylar (superimposed on each other), and one relief cast in white silicone elastomer, 2/150, with accompanying collotype text sheet, all loose (as issued) contained in the original cream portfolio with printed title, signed and numbered in pencil on the Depths of Cut screenprint and on the reverse of the silicone relief, (there were also 15 artist’s proofs), copublished by Professional Prints A.G., Zug, and Eye Editions, Switzerland and Ohios each sheet 60cm (23 1/4in), 85cm (33 1/2in)

Provenance: Bloomsbury Auctions, London, 11th December 2013, lot 167.

£5,000-7,000

‘All art is equal - there was no hierarchy of value. Elvis was to one side of a long line while Picasso was strung out on the other side ... TV is neither less nor more legitimate an influence than, for example, is New York Abstract Impressionism’  Richard Hamilton was interested in graphics and printing, particularly the impact of technology on the production of art and the evolution of a creative idea. He had studied engineering draughtsmanship as well as art, and worked for a period as a commercial designer. Always keen to embrace new technologies, he was quick to utilise computer-generation in the production of artworks. We can see many of Hamilton’s interests and technical skills come together in Five Tyres Remoulded.

This iconic work from 1971 was many years in the making; Hamilton originally started work on the first drawings that would evolve into this project in 1951. He wanted to engage with the visual impact of an everyday but skilfully-

designed object, the car tyre. He started with a series of perspective drawings which eventually became a six-coloured screenprint in 1964. He wanted to emboss the sheet with a very stark relief but was not yet able to fully resolve how to do this; the work therefore became Five Tyres Abandoned. It was not until 1970 that a solution arose, when the art dealer Carl Solway saw the work in Hamilton’s studio and suggested he find a computer programme that would resolve the perspective problems.

The final work comprises one collotype printed with text, seven screenprints in black on mylar that superimpose over each other and one relief cast in white silicone elastomer. Conveying the perspective, depth and texture of tyre design, the refined composition belies the complex, near-two-decade production process. Five Tyres Remoulded showcases and elevates an everyday item; for Hamilton, something as carefully designed as car tyre would always be an artwork.

175 §

ALLEN JONES (BRITISH 1937-)

GUEST APPEARANCE, 2002

Lithograph, A.P. 10/25, signed and editioned in pencil to margin 20cm (8in), 13.5cm (5 1/4in)

Provenance: R.A. Summer Exhibition, 2002. £300-500

174 §

CHRIS ORR M.B.E, R.A. (BRITISH 1943-)

A PARTY OF RUSKINIANS DISEMBARKING AT BRANTWOOD WATCHED BY THE GHOST OF THE OLD MAN HIMSELF, 2004

Etching with hand-colouring, 8/24, signed, titled, dated and numbered in pencil to margin plate size 49cm (19 1/2in), 60cm (23 1/2in)

Provenance: Royal Academy Summer Exhibition, 2005. £300-500

176 §

SIR PETER BLAKE C.B.E., R.A. (BRITISH 1932-) ONE PLATE FROM ‘FRENCH POSTCARDS,’ 1969 Screenprint, 24/75, signed, dated and numbered in ink, published by Leslie Waddington, printed by Kelpra Studios 42cm (16 1/2in), 27cm (10 1/2in)

£200-300

177 §

RICHARD HAMILTON C.H. (BRITISH 1922-2011)

IN HORNE’S HOUSE, 1981

Etching, engraving and aquatint, 10/120, signed, dated, inscribed and numbered in pencil to margin, published by Waddington Graphics, London, printed by Atelier Crommelynck, Paris image size 52 1/2cm (20 3/4in),  43cm (17in)

Provenance: Alan Cristea Gallery, London. £2,000-3,000

178 §

SIR PETER BLAKE C.B.E., R.A. (BRITISH 1932-) GIRL IN A POPPIES FIELD, 1974

Screenprint, 45/125, signed, dated and numbered in pencil to margin sheet 63.5cm (25in), 48.5cm (19in) £300-500

179 §

SIR PETER BLAKE C.B.E., R.A. (BRITISH 1932-) MADONNA ON VENICE BEACH II, 1996

Screenprint, 97/100, signed and numbered in pencil to margin image size 26cm (10 1/4in), 22.5cm (9in)

Provenance: Nishimura Gallery, Tokyo; Bloomsbury Auctions, London, 4th December 2009, lot 383. £300-500

180 §

FRIEDENSREICH S. HUNDERTWASSER (GERMAN 1928-2000)

LOOK AT IT ON A RAINY DAY, 1970-72

The complete set of 10 screenprints with metallic embossing, 2553/3000, No. 3 signed and numbered 256/300 in ink, the others with stamped numbering and housed in original wooden portfolio box, the interior of the box signed and numbered in coloured crayon, some prints with the Schoeller Stern blindstamp (10) each sheet 49cm (19 1/4in), 67cm (26 1/2in)

£6,000-8,000

In 1970-72 the artist released the documentary ‘Hundertwasser’s Rainy Day’ with director Peter Schamoni. The film, which followed Hundertwasser as he rebuilt an old ship named the Regentag (Rainy Day), was presented at Cannes and received an Oscar nomination. Hundertwasser also produced a portfolio of ten silk screen prints relating to the film, titled ‘Look at it on a rainy day.’ Produced in collaboration with German art printer Günter Dietz, the complex printing process involved many colour separations, and implemented layers of glass dust to give a radiant and reflective effect. Each portfolio was presented in a wooden box which was signed and numbered by hand.

Friedensreich Hundertwasser was an Austrian visual artist and architect. His extensive travels informed his commitment to organic form and the natural world, which he believed were integral to human wellbeing. Hundertswasser founded the ‘transautomatism’ style, which was defined by a rejection of the straight line and the implementation of vibrant colour, abstraction and fantasy components.

182 §

SIR PETER BLAKE C.B.E., R.A. (BRITISH 1932-) DAVID HOCKNEY IN A HOLLYWOOD/SPANISH INTERIOR, 1965

Off-set lithograph, 192/250, signed and numbered in pencil to margin 46cm (18in), 37cm (14 1/2in) £300-500

181 §

DAVID HOCKNEY O.M., C.H., R.A. (BRITISH 1937-) A WEDDING PARTY MENU, 2ND OCTOBER 1993

Lithograph, ed. 25, signed with initials and dated in plate 41cm (16in), 30cm (12in)

Note: The menu was designed by Hockney and privately printed to celebrate the marriage of his friend and lawyer, Desmond Heap’s daughter, Jane. £400-600

183 §

DAVID HOCKNEY O.M., C.H., R.A. (BRITISH 1937-)

[UNTITLED FAX PRINT], 1999

timed 15/10/99 at 16:40 with printed message and signature, 16 sheets of A4 paper photocopied from a fax, with similar instruction sheet, together with 3 other Hockney items including Prints 1954-1995, Tokyo: Museum of Contemporary Art, 1996 (first edition, 8vo, original wrappers, dust jacket, rare) (4)

Provenance: David Lay, 27 October 2017, lot 124. £150-250

Kaisarion was standing a little forward, dressed in pink tinted silk, on his dress a garland of hyacinths, his belt a double row of sapphires and amethysts;

his shoes were tied with white ribbons embroidered with rose coloured pearls…

Kaisarion all grace and beauty.

David Hockney first experimented with printmaking as an art student studying at the Royal College of Art in London. At one point, having run out of funds, he was unable to purchase any further art materials until he discovered that in the printing room, materials were free.

In this period, Julian Trevelyan was in post as Professor of Printmaking at the College, inducting students into the process and its extensive potential for creative expression. With a painter’s perspective, Hockney brought a spontaneity to the technical process of etching and his abilities were quickly recognised when he won the prestigious Guinness Award for Etching while still a student.

Kaisarion and all his Beauty dates from 1961, the year prior to Hockney’s graduation from the RCA. Hockney had recently discovered the work of contemporary Greek poet Cavafy and was captivated. Cavafy did not shy away from his gay identity and his work has been described as holding ‘the historical and the erotic in a single embrace.’

In this etching, Hockney takes inspiration from the poem which describes, in sumptuous detail, the imagined figure and dress of Julius Caesar and Cleopatra’s son, Kaisarion (Caesarion).

The composition is deceptively simple at first glance, with hand-written text overlaying the image like graffiti and the figures conveyed in a sketchy and naïve style. Yet the imagery is complex; this Kaisarion stands atop a cloaked figure, possibly the artist, and his classical, regal profile is at odds with his round, patterned body and spindly limbs. To the right appears the artist’s mother, depicted as Cleopatra, with the Royal College of Art insignia a floating crown above her head. A miniature army spreads along the bottom and up the left-hand edge. The work is compelling, an entanglement of the ancient and modern as the artist interweaves his own response and experience into the imagery of the poem.

184 §

DAVID HOCKNEY O.M., C.H., R.A. (BRITISH 1937-)

KAISARION AND ALL HIS BEAUTY - 1961

Etching, signed and dated in pencil (to margin) plate size 49cm (19 1/4in), 27.5cm (10 3/4in)

Provenance: Mallams, Oxford, 19th May 2016, lot 462.

£7,000-9,000

185 §

GARY ANDERSON (SCOTTISH 1960-)

HE ALWAYS WAS A STRANGE BOY, 1995

mixed media, signed and dated to frame verso; and another ‘Cockerel - 1995,’ mixed media, signed and dated (2)

15cm (6in), 15cm (6in)

Provenance: Ewan Mundy Fine Art Ltd, Glasgow, November 1995.

£300-500

186 §

GARY

ANDERSON (SCOTTISH 1960-)

FEBRUARY 14TH IN WORDS AND PICTURES, 1991

mixed media, signed and dated; and another ‘Poppies -1997,’ mixed media, signed and dated (2)

15cm (6in), 15cm (6in) and 10cm (4in), 10cm (4in)

Provenance: Ewan Mundy Fine Art Ltd, Glasgow, November 1995.

£300-500

187 §

GARY ANDERSON (SCOTTISH 1960-) AND MY HEART STILL HAS WINGS, 1995

mixed media, signed and dated 60cm (23 1/2in), 39cm (15 1/4in)

£300-500

188

CHARLES & RAY EAMES (AMERICAN 1907-1978 & 1912-1988) FOR HERMAN MILLER

TWO SOFT-PAD ‘686’ CHAIRS, CIRCA 1968

aluminium frame, with black leather upholstery (2) 58cm (22 3/4in) wide, 83cm (32 1/2in) high, 55cm (21 1/2in) deep

Provenance: Phillips, London, 17th March 1992, lot 252.

£300-500

189 ARTHUR ROMNEY GREEN (BRITISH 1872- 1945) NINE-DRAWER SECTIONAL DESK, CIRCA 1935-40

oak, with pull-out extensions and a secret compartment

137cm (54in) wide, 75.5cm (29 3/4in) high, 68cm (26 3/4in) deep

Provenance: Art Furniture London Ltd, London, 11th April 1991.

Note: By repute, part of Romney Green’s shop sign was used inside the back.

£300-500

191

PHOEBE

190

PHOEBE

STABLER (BRITISH 1879-1955) FOR CARTER, STABLER AND ADAMS

THE PIPING BOY, DESIGNED 1913 glazed stoneware, executed 1921-34, impressed ‘CARTER STABLER ADAMS, POOLE ENGLAND’ and ‘PHOEBE STABLER 1913’, painted marks 36.7cm (14 3/8in) high

Literature: Hayward, Leslie ‘Poole Pottery: Carter & Company and their Successors 18731995’, Richard Dennis 1995, p. 40. where a similar design is illustrated. £300-500

STABLER (BRITISH

1879-1955)

FOR HAMMERSMITH POTTERY

THE BUSTER BOY, 1912 glazed stoneware, incised ‘STABLER’ above waves and ‘1912’, impressed ‘18’; together with ‘THE BUSTER GIRL’ BY PHOEBE STABLER, glazed earthenware, impressed ‘PHOEBE STABLER’, printed ‘ASHTEAD POTTERY’ and ‘DCM/ ASHTD’, incised ‘M 49’ 17.5cm (6 7/8in) high; and ROYAL WORCESTER FIGURE OF PUTTI, modelled by Frederick Gertner to designs by John Wadsworth, printed mark ‘Royal Worcester England’, model ‘2694 Registrati...’, 17.8cm (7in) high (3) 17.5cm (6 7/8in) high

Provenance: Ashtead figure: Christie’s, South Kensington, 1st December 1993, lot 1. Worcester Figure: ‘The Ceramic Art and Paintings of John and Philip Wadsworth’, the auction of their estate, Phillips, Knowle, 8th April 1992, lot 84. £300-500

192

PHOEBE AND HAROLD STABLER (BRITISH 1879-1955 & 1872-1945)

FOR CARTER, STABLER AND ADAMS

THE BULL, DESIGNED 1914

glazed stoneware, executed 1922- early 1930s, impressed ‘CARTER, STABLER, ADAMS, POOLE ENGLAND’, stamped, painted marks for 1922-34 34cm (13 3/8in) high, 34.cm (13 5/8in) long

Literature: Hayward, Leslie ‘Poole Pottery: Carter & Company and their Successors 1873-1995’, Richard Dennis 1995, p. 40. where a similar design is illustrated.

Note: This design was exhibited in the Arts & Crafts Society’s exhibitions ad, the Royal Academy in 1916 and 1924, the British Industries Fair of 1923, the International Exhibition of Modern Decorative and Industrial Arts in Paris in 1925, and Heal’s in 1925. £700-900

193

PHOEBE AND HAROLD STABLER (BRITISH 1879-1955 & 1872-1945) FOR HAMWORTHY POTTERY THE PIPING FAWN, 1917 stoneware, incised ‘POTTED BY HAROLD STABLER AT HAMWORTHY POTTERY. AUG 1917 MODELLED BY PHOEBE STABLER’ 41cm (16 1/8in) high

Literature: See Leslie Hayward, ‘Poole Pottery: Carter & Company and their Successors 18731995’, Richard Denis, Shepton Beauchamp, 1995, p. 41. (Similar non-polychrome version illustrated).

£600-800

194

PHOEBE STABLER (BRITISH 1879-1955) FOR HAMMERSMITH POTTERY THE LAVENDER WOMAN, DESIGNED 1911 glazed stoneware, incised ‘STABLER 1911’ 48cm (18 7/8in) high

Note: This is an early figure by Stabler, produced at her studio in Hammersmith which she shared with her husband Harold. Stabler later made designs for the Ashtead Pottery and the firm Carter, Stabler & Adams (later Poole Pottery) in which her husband was a partner.

£300-500

195

TRUDA CARTER (BRITISH 1890- 1958) (ATTRIBUTED TO) FOR CARTER, STABLER AND ADAMS TWIN-HANDLED ART DECO VASE, DESIGNED CIRCA 1930 glazed stoneware, impressed ‘CARTER STABLER ADAMS LTD., POOLE ENGLAND’, mark for 1925-34, pattern EC, 18.5cm (7 1/4in) high; together with a TRUDA ADAMS TWIN-HANDLED ‘BLUEBIRD’ VASE, designed circa 1930, executed circa 1960, impressed ‘CARTER STABLER ADAMS LTD., POOLE ENGLAND’, painted mark ‘PN’, incised ‘2002’, decorated by Josephine Smith, 16.5cm (6 1/2in) high; and a TRUDA ADAMS ‘BLUEBIRD’ VASE, circa 1930, impressed ‘CARTER STABLER ADAMS LTD., POOLE ENGLAND’, painted mark ‘HE’, incised ‘336’, decorated by Eileen Pragnell, 17.5cm (6 7/8in) high; and a FURTHER POOLE POTTERY VASE, impressed ‘CARTER STABLER ADAMS LTD., POOLE ENGLAND’, incised ‘26Y’, painted mark ‘TP’ and ‘III’, decorated by Marjorie Batt, 14cm (5 1/2in) high (4)

Literature: Hayward, Leslie ‘Poole Pottery: Carter & Company and their Successors 1873-1995’, Richard Dennis 1995, p. 49. where a similar design of a twin-handled ‘Bluebird’ vase is illustrated.

£300-500

196

TRUDA CARTER (BRITISH 1890-1958) FOR POOLE POTTERY JARDINIÈRE, DESIGNED CIRCA 1930 stoneware, impressed ‘POOLE ENGLAND’, incised ‘925’, painted mark ‘YO’, the cypher for Eileen Pragnell, 21.5cm (8 1/2in) high; together with a TRUDA CARTER ‘LEAPING DEER’ VASE, circa 1930, impressed ‘POOLE ENGLAND’, incised ‘438’, painted mark ‘TZ’, with decorator cypher, 17cm (6 5/8in) high; and a TRUDA CARTER ‘GRAPES’ VASE, impressed ‘CARTER STABLER ADAMS LTD., POOLE POTTERY’, incised ‘424’, painted mark ‘TR’, with decorator cypher, 13cm (5 1/8in) high; and ONE SHALLOW PLATE AND TWO OTHER SMALLER PLATES, the widest 27.5cm (10 7/8in) wide, 25.5cm (10in) wide, and the smallest 19.7cm (7 3/4in) wide (6) £300-500

The Kitchen

197

KOLOMAN MOSER (1868-1918) FOR E. BAKALOWITS SÖHNE, VIENNA SHERRY DECANTER, CIRCA 1899

gilt metal, cased and wheel carved glass 23cm (9in) high, 19.5cm (7 5/8in) wide

Provenance: Sotheby’s, London, 4th June 1993, lot 401.

Note: A similar decanter by Moser, with amber glass, is in the Saint Louis Museum, Missouri, object number 41:1996. £2,000-3,000

199 S. C. FOGH, COPENHAGEN

PAIR OF CANDLESTICKS, CIRCA 1947 silver, each stamped ‘925S/ STERLING/ SCF’ (2) 11.3cm (4 1/2in) high, 22cm (8 5/8in) across Provenance: Phillips, London, 29 March 1994, Lot 152. £400-600

198 §

SAM HERMAN (BRITISH, AMERICAN 1936-2020) VASE, 1982 glass with iridescence, signed, dated and numbered ‘CN39’ 15.7cm (6 1/4in) high £200-300

200 §

BOREK SPIEK (CZECH 1949-2016) VESSEL, 1997 clear and applied glass, etched signature and ‘97’, 17.8cm (7in) high; together with a FURTHER BOREK SPIEK GLASS, clear glass with applied leafy decoration, etched signature and ‘NO. 80’, 11.5cm (4 1/2in) high; a MATCHING VESSEL AND WINE GLASS, green glass with applied prunts and trailing decoration, each etched ‘HAARLEM 750/ 750/120’, 16.3cm (6 3/8in) high and 13.4cm (5 1/4in) high; and THREE TALL VESSELS/ GLASSES, clear and coloured glass, 29.3cm (11 1/2in) high, 22.5cm (8 7/8in) high and 23.2cm (9 1/8in) high (7)

Provenance: Woolley & Wallis, Salisbury, 3rd October 2012, lot 1126. £300-500

201

GUNDOLPH ALBERTUS (DANISH 1887 - 1970)

FOR GEORG JENSEN

‘CACTUS’ TWELVE PIECE CUTLERY SET, CIRCA 1930 silver, comprising TWELVE DINNER KNIVES, stainless steel blades, 20.5cm (8in) long; TWELVE DESSERT KNIVES, stainless steel blades, 17.2cm (6 3/4in) long; TWELVE FISH KNIVES, 19.5cm (7 5/8in) long; TWENTY-FOUR DINNER FORKS 19.5cm (7 5/8in) long; TWELVE DESSERT FORKS, 16cm (6 1/4in) long; TWELVE FISH FORKS, 16cm (6 1/4in) long; TWELVE CAKE FORKS, 12.7cm (5in) long; TWELVE TABLESPOONS, 20cm (7 7/8in); TWELVE DESSERT SPOONS, 17cm (6 5/8in) long; TWELVE TEASPOONS, (10.7cm (4 1/4in) long; FOUR SERVING SPOONS, one with plated bowl, 22.5cm (8 3/4in) two

are 20cm (7 7/8in) long; LARGE LADLE 33cm (13in) long; TWO SMALLER LADLES, 19cm (7 1/2in) and 15.5cm (6 1/8in); a SMALL SLOTTED SERVING SLICE, with plated handle, 16cm (6 1/4in) long; a SERVING SLICE, with plated end, 20.8cm (8in); and a FURTHER SLICE, 14.5cm (5 3/4in); a SMALL WAITER, 18cm (7in) across; and a MUSTARD POT AND SPOON, with Royal Copenhagen porclain body, 7.5cm (3in) high, stamped manufacturer’s marks, variously stamped sterling marks (144)

Provenance: Christie’s, London, 29th April 1992, lot 44.

£3,000-5,000

202 §

PETER LANE (BRITISH 1932-) TWO BOWLS

glazed porcelain, each incised ‘Peter Lane’ (2) 10.5cm (4 1/8in) high, 23.2cm (9 1/8in) diameter; and 10.5cm (4 1/8in) high, 23cm (9in) diameter £200-300

203 §

WALTER

KEELER (BRITISH 1942-)

THREE TEAPOTS, CONTEMPORARY salt-glazed stoneware, each impressed artist’s seal, 20.2cm (8in) high, 7cm (6 5/8in) high and 13cm (5 1/8in) high; together with an ANTHONY THEAKSTON ‘PUFFIN’ JUG, salt-glazed, incised artist’s signature, 15.5cm (6 1/8in) high (4) £400-600

204 §

WALTER KEELER (BRITISH 1942-) ‘LEATHER BUCKET’ JARDINIÈRE, 1983 stoneware, impressed artist’s seal (three times) 28cm (11in) high

Provenance: Purchased at Craftsman Potters Shop, Soho. £200-300

205 §

SVEND BAYER (DANISH/BRITISH 1946-)

FOOTED BOWL, CIRCA 1999 woodfired stoneware, slip glaze 35.5cm (14in) diameter Provenance: Purchased from the artist. £200-300

The Scottish Room

208

JOHN KEPPIE (SCOTTISH 1862-1945)

BOAT REPAIRER’S

YARD, SEPTEMBER 1929

pencil drawing, signed, inscribed and dated 15cm (6in), 22cm (8 3/4in)

Provenance: The Fine Art Society.

£300-500

206

JOHN KEPPIE (SCOTTISH 1862-1945)

ROSE STREET, GLASGOW

Pencil drawing

25cm (9 3/4in), 17cm (6 3/4in)

Provenance: The Fine Art Society. £400-600

209

JESSIE MARION KING (SCOTTISH 1875-1949)

SEASIDE COTTAGES

Ink and watercolour on cream tracing paper

16cm (6 1/4in), 25.5cm (10in)

Provenance: Sotheby’s, ‘Jessie M. King and E.A. Taylor’, Charles Rennie Mackintosh Society, Queen’s Cross Church, Glasgow, 21st June 1977. £400-600

207 §

KATHARINE CAMERON R.S.W., R.E. (SCOTTISH

1874-1965)

MICHAELMAS DAISIES, 1921

Etching, signed to margin, signed and dated in plate; and another ‘Cherry Blossom,’ etching, signed to margin, signed in plate (2) each 48.5cm (19in), 18cm (7in) £400-600

Provenance: Sotheby’s, ‘Jessie M. King and E.A. Taylor’, Charles Rennie Mackintosh Society, Queen’s Cross Church, Glasgow, 21st June 1977, probably lot 257.

210

ARTHUR MELVILLE A.R.S.A., R.S.W., A.R.S (SCOTTISH 1855-1904) STREET SCENE, KURRACHEE watercolour, signed 33cm (13in), 51cm (20in)

Provenance: Sotheby’s, London, 15th April 1997, lot 171.

Literature: Mackay, Agnes E. ‘Arthur Melville’, cat. no. 315. Exhibited: R.I. 1884 (91).

£2,000-3,000

211

JESSIE MARION KING (SCOTTISH 1875-1949)

SKETCH BOOK, CIRCA 1915 her own sketchbook, with 26 original pencil sketches and watercolour sketches, cloth binding (23) each page 12.7cm (5in), 21cm (8 1/4in)

£1,500-2,000

JESSIE MARION KING (SCOTTISH 1875-1949)

PATH THROUGH WOODLAND COTTAGES

pencil and watercolour on buff paper

36.5cm (14 1/4in), 26 (10 1/4in)

Provenance: Sotheby’s, ‘Jessie M. King and E.A. Taylor’, Charles Rennie Mackintosh Society, Queen’s Cross Church, Glasgow, 21st June 1977.

£2,000-3,000

213

JESSIE MARION KING (SCOTTISH 1875-1949)

SPRINGTIME, THE ENCHANTED START AFTER WINTER’S SLEEP, 1904

pen, ink and watercolour on buff paper, signed and dated

14cm (5 1/2in) 19cm (7 1/2in)

Provenance: Sotheby’s, ‘Jessie M. King and E.A. Taylor’, Charles Rennie Mackintosh Society, Queen’s Cross Church, Glasgow, 21st June 1977.

£1,500-2,000

214

JESSIE MARION KING (SCOTTISH 1875-1949)

COTTAGE GARDEN

watercolour, signed 23cm (9in), 28.5cm (11 1/4in)

Provenance: Sotheby’s, ‘Jessie M. King and E.A. Taylor’, Charles Rennie Mackintosh Society, Queen’s Cross Church, Glasgow, 21st June 1977.

£1,000-1,500

215

JESSIE MARION KING (SCOTTISH 1875-1949)

IN THE SHADOW OF THE MOUNTAIN

Pencil and watercolour

27cm (10 1/2in), 36cm (14in)

Provenance: Sotheby’s, ‘Jessie M. King and E.A. Taylor’, Charles Rennie Mackintosh Society, Queen’s Cross Church, Glasgow, 21st June 1977.

£800-1,200

218

ERNEST ARCHIBALD TAYLOR (SCOTTISH 1874-1951)

THE BLACK HILLS charcoal, signed 28cm (11in), 37cm (14 1/2in)

£300-500

219

JAMES WATTERSTON HERALD (SCOTTISH 1859-1914)

EVENING MARKET

watercolour

25.5cm (10in), 36cm (14in)

Provenance: Sotheby’s, London, 26th August 1997, lot 1310.

£500-700

216

GEORGE HOUSTON R.S.A, R.S.W., R.G.I. (SCOTTISH 1869-1947)

THE VILLAGE STREET oil on canvas, signed 23cm (9in), 32cm (12 1/2in) £600-800

217

JAMES WATTERSTON HERALD (SCOTTISH 1859-1914)

MOONLIT SEA, ARBROATH Watercolour 24cm (9 1/2in), 16.5cm (6 1/2in)

Provenance: Abbott & Holder, London. £400-600

220

JAMES WATTERSTON HERALD (SCOTTISH 1859-1914)

ARBROATH FROM THE SEA watercolour, signed 24cm (9 1/2in), 34.5cm (13 1/2in) £800-1,200

222

JAMES WATTERSTON HERALD (SCOTTISH 1859-1914)

A SCOTTISH TOWN BY NIGHT watercolour, signed 27cm (10 1/2in), 38cm (15in)

Provenance: Abbott & Holder, London, 2000.

£1,000-1,500

221

JAMES WATTERSTON HERALD (SCOTTISH 1859-1914)

CATTLE IN WOODLAND watercolour, signed 26cm (10 1/4in), 36cm (14in) £1,000-1,500

223

JAMES WATTERSTON

HERALD (SCOTTISH 1859-1914)

STUDY FOR ‘WOMEN WALKING THROUGH WOODS’ pastel on dark paper, signed with initials 18cm (7in), 23cm (9in)

Provenance: Sotheby’s, London, 26th August 1997, lot 1311. £800-1,200

224

JAMES

WATTERSTON HERALD (SCOTTISH 1859-1914)

THE ROAD OVER THE HILL pastel on dark grey paper, signed 41cm (16in), 50cm (19 1/2in)

Provenance: The Fine Art Society, London, 28th December 1995.

Exhibited: The Fine Art Society, Edinburgh,1981; The Fine Art Society, London, 1981; The Fine Art Society, Glasgow, 1981; Dundee Art Gallery, 1981, No. 41. £1,500-2,000

225

JAMES WATTERSTON

HERALD (SCOTTISH 1859-1914)

STUDY FOR ‘TWO WOMEN IN WOODS’ pastel on dark paper, signed 36cm (14in), 41cm (16in) £1,500-2,000

226

ALBERT TOFT (BRITISH 1862-1949) ‘TRUTH’, 1906 bronze, signed and dated ‘Albert Toft Sc Oct 4 1906’ 33.5cm (13 1/4in) high £500-700

227 §

SIR WILLIAM REID DICK (BRITISH

1878-1961)

THE SLINGSHOT, CONCEIVED 1911 bronze, signed ‘W Reid Dick’ with London foundry mark 33cm (13in) high Provenance: Phillips, London, 25 March 1007, Lot 275. £2,000-3,000

228

LIBERTY & CO., LONDON (ATTRIBUTED TO) ARTS & CRAFTS SECRETAIRE BOOKCASE, CIRCA 1905 oak, with copper fittings and leaded and glazed panels 116.5cm (46in) wide, 175.5cm (69 1/4in) high, 53cm (20 3/4in) deep £400-600

229

CONTINENTAL JUGENDSTIL LONGCASE CLOCK, CIRCA 1910

oak case, silvered dial, with brass weights and pendulum, one key 51cm (20in) wide, 193.5cm (76in) high, 24.5cm (9 1/2in) deep £300-500

230

MATTHEW HILTON (BRITISH 1957-) FOR SCP, ENGLAND PAIR OF ‘BALZAC’ TWO-SEATER SOFAS, CONTEMPORARY oak frames, with natural hide upholstery, includes matching ottoman (3) sofas 154cm (60 1/2in) wide, 80cm (30 1/2in) high, 102cm (40in) deep; ottoman 71cm (28in)  long, 33cm (13in) high, 51cm (20in) deep

Provenance: Purchased from SCP in 2005. £1,000-1,500

SIR WILLIAM NICHOLSON (BRITISH 1872-1949)

AN ALPHABET

London: William Heinemann, 1898.

original cloth-backed pictorial boards, first edition, trade or ‘popular’ issue, 4to, all edges dyed red, 26 lithographic plates in colours

Note: There was also a deluxe or ‘library’ issue printed on Dutch handmade paper, bound in cloth and with gilt edges, and a few copies printed direct from the woodblocks, hand-coloured by the artist and housed in a vellum portfolio.

£400-600 233

SIR WILLIAM NICHOLSON (BRITISH 1872-1949)

AN ALMANAC OF TWELVE SPORTS

Words by Rudyard Kipling.

London: William Heinemann, 1898.

original cloth-backed pictorial boards, first edition, trade or ‘popular’ issue, 4to, lithographs in colours, 12 full-page advertisement leaf to rear. Together with a copy of London Types, New York 1898 (first US edition) (2)

Note: There was also a deluxe or ‘library’ issue printed on Japanese vellum, and a few copies printed direct from the woodblocks, handcoloured by the artist and housed in a vellum portfolio.

£300-500

SIR FRANK BRANGWYN R.A., R.W.S., R.B.A. (BRITISH 1867-1956)

COLLECTION OF WORKS

1) The Way of the Cross. An Interpretation. With a Commentary by Gilbert Keith Chesterton. London: Hodder and Stoughton, [1936]. First edition, deluxe issue, one of 250 numbered copies signed by Brangwyn and Chesterton, folio, original vellum, front cover lettered in gilt, 14 etched plates on tinted ground, slipcase; 2) The Girl and the Faun by Eden Phillpotts. London: Cecil Palmer & Hayward, 1916. First edition, deluxe issue, one of 350 numbered copies on hand-made paper signed by Brangwyn and Chesterton, 4to, original quarter vellum, 4 colour plates; 3) The Etchings of Frank Brangwyn, R.A. A Catalogue Raisonné by W. Gaunt. London: The Studio, 1926. 4to, original quarter vellum, plates; 4) The Oils and Murals of Sir Frank Brangwyn R.A. 1867-1956 by Vincent Galloway. Leigh-on-Sea, F. Lewis, 1962. First edition, one of 500 copies only, 4to, original cloth, dust jacket; 5) The Water-Colours of Sir Frank Brangwyn R.A. 1867-1956. Leigh-on-Sea: F. Lewis, 1958. First edition, one of 500 copies only, 4to, original cloth, dust jacket; 6) Prints and Drawings by Frank Brangwyn with some Other Phases of his Art. By Walter Shaw Sparrow. London: John Lane, the Bodley Head, 1919. First edition, original cloth, 4to; 7) Frank Brangwyn and his Work. 1910. By Walter Shaw-Sparrow. With the Appendices revised and brought down to 1919 by Frank Brangwyn. London: Kegan Paul, Trench, Truber & Co. Ltd., 1920. 4to, original cloth; 8) A Book of Bridges by Frank Brangwyn, A.R.A. and Walter Shaw Sparrow. London: John Lane the Bodley Head, 1915. 4to, original cloth (8)

235

AUBREY BEARDSLEY (BRITISH 1872-1898)

THE BIRTH, LIFE AND ACTS OF KING ARTHUR

The Text as written by Sir Thomas Malory and imprinted by William Caxton at Westminster in the Year MCCCCLXXXV. Now spelled in Modern Style. With an Introduction by Professor Rhys and embellished with many Original Designs by Aubrey Beardsley. London: J. M. Dent, 1893-4.

First edition, one of 1500 copies on ordinary paper, 2 volumes, 4to, original cream cloth, floral Art Nouveau design by Aubrey Beardsley gilt to spines and front covers, top edges gilt, others untrimmed, half-titles (each with limitation statement verso), photogravure frontispieces (on india paper, mounted as issued), 18 line-block plates (4 double-page), lineblock text-illustrations, decorative borders, chapter-headings and tailpieces throughout, colophon leaf to each volume (2)

£300-500

236

AUBREY BEARDSLEY (BRITISH 1872-1898)

THE YELLOW BOOK

An Illustrated Quarterly. London: Elkin Mathews & John Lane [-John Lane The Bodley Head], 1894-7. 13 volumes, square 8vo, original yellow cloth with pictorial designs blocked in black, plates, without advertisement leaves (13)

£400-600

237

19TH AND 20TH-CENTURY ART AND DESIGN COLLECTION OF CATALOGUES, PAMPHLETS AND REFERENCE WORKS

Douglas Cooper, Sutherland, The Works of Graham Sutherland, 1961,1st edition; Robert Tassi, Graham Sutherland Complete Graphic Works, 1978, 1st Edition; Alexander Postan, Paul Nash: The Complete Graphic Works, 1973, in red slipcase; Orde Levinson ‘Quality and Experiment’ the Prints of John Piper, 1996; Sotheby’s ‘The Harriman Judd Collection’, 2 catalogues; Waltraud Neuwirth ‘Wiener Keramik, 1974’; Jeremy Cooper ‘Nineteenth-Century Romantic Bronzes, 1975; and further other pamphlets, catalogues and reference books (Approx. 32 items) £150-250

238

OWEN JONES (BRITISH 1809-1874)

THE GRAMMAR OF ORNAMENT

London: Day and Son, Limited, 1865. First edition, later issue, folio, original decorative maroon cloth gilt, recased and relined, date on spine 1865, chromolithographic additional title-page, 111 plates (nearly all chromolithographic; a few tinted only), housed in a custom brown buckram solander box £400-600

239

SHAKESPEARE HEAD PRESS

ERNEST GIMSON HIS LIFE AND WORK

Stratford-upon-Avon: Shakespeare Head Press, 1924. One of 500 copies only, folio, original buckram-backed blue paper boards, 60 photographic collotype plates, woodcuts in the text, errata slip, additional spine-label mounted to rear pastedown, with laid-in typed letter signed by Basil Blackwell to original subscriber F. W. Troup, publisher’s prospectus and memorandum £300-500

240

THE STUDIO

AN ILLUSTRATED MAGAZINE OF FINE AND APPLIED ART

London: offices of The Studio, 1893-1917. Volumes 1-70 (volumes 5-6 bound in one), 4to, most volumes in original cloth, a few in contemporary or later cloth, volumes 1 and 4 in contemporary half morocco. Together with the volumes for 1920 and 1921 (without titlepages but dated on spines), The Studio Special Summer Numbers for 1901 (Modern British Domestic Architecture and Decoration, original wrappers) and 1906 (The Art Revival in Austria, original cloth), and The Studio Year Book of Decorative Art for 1908, 1910, 1912, 1913, 1916, 1924 and 1925 (original wrappers or cloth, rear wrapper for 1908 detached); the lot sold as a periodical, not subject to return (81) £400-600

241

SIR DAVID YOUNG CAMERON R.A. (BRITISH 1865-1945) D. Y. CAMERON’S ETCHINGS

With an Introductory Essay by Frank Rinder. Edinburgh: Otto Schulze and Company, 1908. First edition, deluxe issue, one of 150 copies printed on Japanese vellum and signed by the artist, 4to, original vellum, tipped-in plate (a few loose), bookplate (Frank Gordon Brown); Idem. Etchings of D. Y. Cameron [same work as the preceding, with variant title]. Edinburgh: Otto Schulze and Company, 1908. First edition, trade issue, 4to, original quarter vellum, etched bookplate of James Robertson Cameron tipped in; Idem. The Etchings of D. Y. Cameron by Arthur M. Hind. London: Halton and Truscott Smith, Ltd., 1924. 4to, original black pictorial cloth gilt; and 13 others, including: Book of Common Prayer, c.1930, with repoussé silver panel after Holman Hunt’s Jesus Light of the World mounted to front cover; Katharine Cameron, The Flowers I Love, undated, original boards with Art Nouveau design gilt to front cover, tipped-in colour plates; Oscar Wilde, A House of Pomegranates, with Sixteen Illustrations by Jessie M. King, 1915; Harry Clarke, Tales of Mystery and Imagination by Edgar Allan Poe, undated, original cloth, colour plates; Clough Williams-Ellis and John Summerson, Architecture Here and Now, 1934, original cloth, dust jacket; Joseph Nicolson, The History and Antiquities of the Counties of Westmorland and Cumberland, 1777, volume 1 only, with Aubrey Beardsley-designed bookplate of one, Mr Pollitt; Maxfield Parrish, The Arabian Nights, New York, 1921, original black cloth, plates; idem, The Golden Age by Kenneth Grahame, 1899, original cloth; idem, Dream Days by Kenneth Grahame, c.1900, original cloth; J. C. Rogers, Modern English Furniture, c.1910, original cloth, photographic plates; and 3 similar works; the lot sold as seen, not subject to return (16)

Provenance: Dominic Winter Book Auctions, Swindon, 17th May 1996, lot 341. £150-200

242

20TH-CENTURY ART AND DESIGN COLLECTION OF CATALOGUES, LIMITED EDITIONS AND REFERENCE WORKS

to include: Marcel Duchamp. The Bride Stripped Bare by her Bachelors, even. A Typographic Version by Richard Hamilton of Marcel Duchamp’s Green Box, [2002]. [Together with:] In the Infinitive. A typotranslation by Richard Hamilton and Ecke Bonk of Marcel Duchamp’s White Box, [2002]. 2 works, each one of 300 copies, 8vo, original boards, housed together as issued in grey cloth slipcase with accompanying bookplate Notes et/and Notations, also one of 300 copies; Andrew Holmes (born 1947). London: Architectural Association, 1986. [Modernism] signed limited edition, number 65 of 1000 copies. Portfolio (12 x 12 inches) of 20 silkscreen prints which when assembled form a print 1525 x 1120 mm, together with a 28-page catalogue printed in colour, housed in folding box with ribbon pull release, titled in white, handnumbered and autographed to outer box cover.; and approx. 50 others, including: Skelton, Eric Gill, The Engravings, 1993; Grayson Perry, [Exhibition catalogue], Victoria Miro Gallery, 2004, with Grayson Perry tea towel laid in and unopened; Christie’s, A Selection from the Barbara Streisand Collection of Fine and Decorative Arts Part I [-II], March 3 [-4] 1994, 2 volumes, original cloth and wrappers, first volume with dust jacket and inscribed ‘Dear Christopher, I hope you can make the auction, B. S.’, in original slipcase; and other reference books, including Jugendstil, Arts and Crafts and Secession interest (approx. 50 items)

£200-300

243

SERGE GLADKY (FRENCH/RUSSIAN 1880-1930)

FLEURS

Texte et vingt-six planches en couleurs. Paris: Editions “Synth”, 1929. First edition, limited to 375 copies, 4to, original wrappers with colour pochoir design to front, 26 colour pochoir plates of abstract designs, similar vignettes to initial blank and title-page, tissue-guards, spine and stitching largely perished with the book separating into quires, front wrapper with dustsoiling to lower inner corner and spotting along top edge, in good condition internally £300-500

244 §

EDWARD BAWDEN C.B.E., R.A. (BRITISH 1903-1989) EDWARD BAWDEN

EDITIONED PRINTS

[By] Jeremy Greenwood. With an Introduction by Elspeth Moncrieff. Woodbridge: The Wood Lea Press, 2005. First edition, deluxe issue, one of 55 copies (of which 50 for sale), oblong quarto, original quarter morocco, colour illustrations throughout. With 12 linocuts by Edward Bawden depicting scenes from Morte d’Arthur, printed by Bawden’s son Richard Bawden from Edward’s original linocuts on a single sheet of thick wove paper, and with manuscript limitation on verso, the linocuts in grey card chemise as issued and housed together with the book in original blue cloth solander box

Provenance: The Wood Lea Press, Suffolk, 29th June 2005. £300-500

245 §

ANISH KAPOOR (INDIAN/BRITISH 1954-)

ANISH KAPOOR (LIMITED EDITION), 2009

offset lithographic print in colours, 125/500, signed and numbered verso 26cm (10 1/4in), 22.5cm (9in) £300-500

246 §

PAULA REGO R.A. (BRITISH, PORTUGUESE 1935-) JANE EYRE

Introduced by Marina Warner. London: Enitharmon Editions, 2003.

First edition, deluxe issue, one of 75 numbered copies signed by Paula Rego and Marina Warner, and including an original lithograph of Jane Eyre by Paula Rego, signed and numbered by Rego in pencil. Folio, original pictorial boards, blue cloth backstrip, colour illustrations throughout (one on folding leaf), original lithograph in cream card portfolio, both housed together in original blue cloth slipcase

Note: The deluxe issue also contained 10 copies hors commerce; the regular issue, without a signed lithograph, comprised 275 copies (of which 25 were hors commerce). £300-500

EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933)

WOMAN AND CHILD IN A GALLOWAY LANDSCAPE, 1891 oil on canvas, signed and dated 46cm (18in), 52cm (20 1/2in)

Provenance: Christie’s, Scotland, 30th April 1992, lot 903.

Literature: Smith B. ‘Hornel: The Life and Work of Edward Atkinson Hornel’, Edinburgh 1997, p.67, repr. col. pl. 25 (as ‘Woman and Child, 1891’).

£15,000-20,000

Hornel’s biographer, Bill Smith, has argued that this painting appears to confirm that Hornel had ‘heard about, if not seen’ the work of Paul Gauguin (1843-1903). (op.cit., p.68) He explains: ‘In style it is very similar to the work being done by Gauguin and [Emile] Bernard at this time. It is a rather expressive painting. The pigment is very freely handled, the rich colour applied both in broad flowing brushstrokes and in small patches. In several areas Hornel has given the surface a textured appearance. The pose of the woman and the little girl standing on the treeless hillside, bound together in the blustery wind by the long white shawl-like material billowing over their heads, the dark meandering stream, the winding path and the curve of the horizon all combine to give the painting a wonderful flowing rhythm. The drama is heightened by the appearance of the moon just above the horizon and the pink glow of the sunset reflected in the clouds.’

248

ERNEST ARCHIBALD TAYLOR (SCOTTISH 1874-1951)

LOCH FERN FARM

Coloured crayon on buff paper

15cm (6in), 20cm (8in) £400-600

249

ERNEST ARCHIBALD TAYLOR (SCOTTISH 1874-1951)

THE WHITE COTTAGE, KIRKCUDBRIGHT

Oil on panel

23cm (9in), 33cm (13in) £800-1,200

250

ERNEST ARCHIBALD TAYLOR (SCOTTISH 1874-1951)

THE ROAD, GALLOWAY

Oil on board

35.5cm (14in), 28cm (11in) £800-1,200

251

ERNEST

ARCHIBALD TAYLOR (SCOTTISH 1874-1951)

THE EDGE OF TOWN - KIRKCUDBRIGHT

Mixed media

30.5cm (12in), 38cm (15in)

Provenance: Sotheby’s, ‘Jessie M. King and E.A. Taylor’, Charles Rennie Mackintosh Society, Queen’s Cross Church, Glasgow, 21st June 1977.

Illustrated: The Studio Magazine, 1925.

£500-800

253

252

ERNEST ARCHIBALD TAYLOR (SCOTTISH 1874-1951)

THE BLUE COTTAGE

Pastel on buff paper 26cm (10 1/4in), 19cm (7 1/2in)

Provenance: Sotheby’s, ‘Jessie M. King and E.A. Taylor’, Charles Rennie Mackintosh Society, Queen’s Cross Church, Glasgow, 21st June 1977. £300-500

ERNEST

ARCHIBALD TAYLOR (SCOTTISH 1874-1951)

COTTAGES ON THE HILLSIDE

Charcoal and watercolour

28cm (11in), 37cm (14 1/2in)

Provenance: Sotheby’s, ‘Jessie M. King and E.A. Taylor’, Charles Rennie Mackintosh Society; Queen’s Cross Church, Glasgow, 21st June 1977; Abott & Holder, London.

£300-500

254

ERNEST ARCHIBALD TAYLOR (SCOTTISH 1874-1951)

A TREE OUTSIDE KIRKCUDBRIGHT

Pastel on buff paper

32cm (12 1/2in) 41cm (16in)

Provenance: Abbott & Holder, London. £400-600

255

ERNEST ARCHIBALD TAYLOR (SCOTTISH 1874-1951)

THE VIADUCT - TONGLAND

Oil on panel

36cm (14in), 28cm (11in)

Exhibited: E. A. Taylor Centenary Exhibition, Kirkcudbright, 2001. £800-1,200

J.D. Fergusson

DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)

FISHING BOAT, MOROCCO, C.1899

oil on canvas, 25.5cm (10in), 33cm (13in); together with two accompanying works ‘Figures by a Bridge, Morocco’ and ‘Berber Village, Morocco’, both oil on canvas and both 25.5cm (10in), 33cm (13in) (3)

Provenance: Christie’s Scotland, 8 June 1995, lot 919 (as ‘Figures by a Grounded Fishing Boat, Tangier, circa 1897’ and sold with ‘two others, similar’).

£10,000-15,000

Fishing Boat, Morocco is an accomplished early work by J. D. Fergusson, which he painted during a trip to North Africa inspired by the travels of the artist Arthur Melville (1855-1904). Fergusson’s recollection of the exact date of his trip was not precise, but it is believed to have been undertaken in 1899.1 As his biographer, Kirsten Simister, has explained: ‘From a very early stage in his career travel was to provide a crucial spur to his artistic development’ and his first trip abroad is thought to have been to Paris in 1897.2

Melville, a forerunner of the Glasgow Boys, was an exceptional watercolourist and an intrepid traveller; he spent time in Morocco in 1890 and 1893. Forty years later, Fergusson recalled: ‘I had heard of Melville; he was my first influence. Although I never met him or even saw him, his paintings gave me my first start; his work opened up to me the way to free painting – not merely freedom in the use of

paint, but freedom of outlook.’ 3 His wife, the dance pioneer Margaret Morris, continued the story: ‘Fergus, having been much impressed by the wonderful free paintings of Morocco by Arthur Melville of the Glasgow School, decided to go and see for himself the effects of intense light and shadow. He told his family he would certainly not write and had no idea how long he would stay.’ 4

Painted on an easily portable canvas measuring 10 x 13 inches, Fishing Boat, Morocco reveals an example of the bustling scenes which caught Fergusson’s eye during his explorations. His enjoyment of the application of oil paint is clear in the freely executed brushstrokes. A skilful use of highlights, especially of bright red, is combined with a muted palette in which tonal values are explored and hints at the colourist he would become.

Fergusson’s pride in his Moroccan works is proven by the fact that they made up the majority of the works he exhibited with the Royal Society of British Artists in London between 1901 and 1903. Few are extant, but examples are held by The Fergusson Gallery, Perth (1992.123), University of Stirling (1968.2) and Glasgow Life: Kelvingrove Art Gallery and Museum (3163).

(1) See Kirsten Simister, Living Paint: J. D. Fergusson 1874-1961, Edinburgh 2001, p.18.

(2) Simister, op.cit., p.15.

(3) J. D. Fergusson, Modern Scottish Painting, Glasgow 1943, 2015 edition, p.88.

(4) Margaret Morris, The Art of J. D. Fergusson: A Biased Biography, Glasgow 1974, 2010 edition, p. 24.

JOHN

“

His art is a deep and pure expression of his immense love of life… He joined with it an exceptional sense of colour, outspoken, ringing colours, rich and splendid in their very substance. ”

André Dunoyer de Segonzac Foreword to Fergusson’s Memorial Exhibition, 1961

257 §

JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) ROYAN, 1909 oil on board, signed, inscribed and dated verso 26cm (10 1/4in), 34cm (13 1/2in) £30,000-50,000

Fergusson painted Royan during the exceptional period when he lived in France from 1907 until 1914. More than any other British artist, he played a part in the heady creative circles of Paris’s pre-war art world and whilst there made the works on which his international standing is based.

Following sporadic attendances at the Académies Colarossi and Julian in the French capital in the late 1890s, Fergusson began his career in Edinburgh. His first solo exhibition was held at the Baillie Gallery in London in 1905. However, as Alice Strang has explained: ‘An increasing interest in developments in contemporary art in Paris and parallel frustration with the conservatism of the art world in Scotland, an inheritance following his father’s death in 1906 and the start of his relationship with the painter Anne Estelle Rice (18771959) in Paris-Plage in 1907, culminated in Fergusson’s decision to move to Paris later that year.’ 1

Fergusson declared ‘Paris is simply a place of freedom’ and established himself in a studio in Montparnasse. 2 First-hand experience of the very latest developments in French art, such as those made by the Fauve artists Henri Matisse, André Derain and Kees van Dongen, had an immediate and dramatic effect upon his work, as can be seen in Royan. This encompasses the bold colour, simplification of form and expressive technique which signalled Fergusson’s progression from the Edwardian sophistication of his earlier work to the forefront of the avant-garde.

Royan dates from a key year in Fergusson’s career. In 1909 he exhibited at the Venice Biennale for the first time and moved to the inspiring environment of a new light and orderly studio, in the rue Notre Dame des Champs. Moreover, as Kirsten Simister has written: ‘Fergusson’s artistic confidence and ambition reached an all-time high in 1909 when he was elected a Sociétaire of the Salon d’Automne and given an entire wall for his exhibits.’ 3 Election to this progressive exhibiting society was recognition by Fergusson’s peers of his contribution to the modern movement and he recalled: ‘To me, considering myself a revolutionary, this was a very great honour…it

had the effect of confirming my feeling of independence, the greatest thing in the world, not merely in art but in everything.’4 Rice received the same honour the following year and together they became key figures in the celebrated group of Anglo-American artists who, for example, founded the cutting-edge journal Rhythm in 1911. After three years of encouragement from Fergusson, his fellow Scottish Colourist Samuel John Peploe moved to Paris in 1910, where he lived for two years.

Simister continues: ‘In both 1909 and 1910 Fergusson, Peploe and Rice spent summer holidays together painting in Royan and nearby Saintonge, on the west coast of France. The sea and harbour inspired a number of small paintings made outdoors, which make use of stronger colour to heighten the emotional impact and mood of the scene…[Some]…indicate a tighter, more structured organisation of composition, a feature which became more pronounced over the years to come.’ 5 Fergusson had long been stimulated by working en plein air, in locations as varied as Princes Street Gardens in Edinburgh, the Scottish island of Islay and during summer painting trips to France with Peploe from 1904 to 1907. His enjoyment of responding directly and spontaneously to light and weather conditions, as well as to architectural and natural features, is clear in many of the paintings he created outdoors.

In 1913, Fergusson left Paris in search of ‘more sun, more colour’ and settled on the Cap d’Antibes. 6 Due to the outbreak of World War One he moved to London, but returned to the French capital for a decade from 1929. World War Two prompted a move to Glasgow, where Fergusson died in 1961.

(1) Alice Strang et al, D. Fergusson, Edinburgh 2013, p.16. (2) J. D. Fergusson, Modern Scottish Painting, Glasgow 1943, p.70.

(3) Kirsten Simister, Living Paint: J. D. Fergusson 1874-1961, Edinburgh 2001, p. 39.

(4) J. D. Fergusson quoted by Margaret Morris in The Art of J. D. Fergusson: A Biased Biography, Glasgow 1974, 2010 edition, p. 53.

(5) Simister op.cit., p. 42. (6) J. D. Fergusson, ‘Memories of Peploe’, Scottish Art Review, vol. viii, no.3, 1962, p.31.

The Stairway

SIR FRANK BRANGWYN R.A., R.W.S., R.B.A. (BRITISH 1867-1956)

THE STORM, 1904 (GAUNT 29)

Zinc etching, 2nd state, signed in pencil plate size 45cm (17 3/4in), 47cm (18 1/2in) £200-300

259 §

SIR FRANK BRANGWYN R.A., R.W.S., R.B.A. (BRITISH 1867-1956)

NOTRE DAME, PARIS, 1914

Etching, ed. 120, signed in pencil to margin: and another ‘Castello Della Ziza, Palermo,’ 1904, etching on blue paper, signed in pencil to margin (2) image size 55cm (21 3/4in), 74cm (29in) and 45cm (17 3/4in), 47.5cm (18.75in) £400-600

260 §

SIR FRANK BRANGWYN R.A., R.W.S., R.B.A. (BRITISH 1867-1956)

GONDOLAS, VENICE, 1924

Etching, signed in pencil (to margin); and another ‘The Gondoliers - Venice,’ lithograph with hand-colouring, signed in pencil (to margin) (2) image sizes 34.5cm (13 1/2in), 27cm (10 1/2in) and 11cm (4 1/2in), 20cm (8in)

£300-500

262 §

SIR FRANK BRANGWYN R.A., R.W.S., R.B.A. (BRITISH 1867-1956)

SANTA SOPHIA, 1906

Etching, ed. 70, signed in pencil (to margin); and another ‘Assisi,’ etching, ed. 70, signed in pencil (to margin) (2) image size, 47.5cm (18 3/4in), 52cm (20 1/2in) and 30cm (12in), 39cm (15 1/2in)

Provenance: Phillips, London, 12th September 1995, lot 177. £400-600

261 §

SIR FRANK BRANGWYN R.A., R.W.S., R.B.A. (BRITISH 1867-1956)

THE VILLAGE OF LONG, FRANCE, 1910 watercolour on buff paper, signed with initials and inscribed 42cm (16 1/2in), 54cm (21 1/4in)

Provenance: Christie’s, South Kensington, 4th June 1992, lot 68; The Fine Art Society, London. £400-600

263 §

SIR FRANK BRANGWYN R.A., R.W.S., R.B.A. (BRITISH 1867-1956)

A BEND IN THE RIVER, 1926 (GAUNT 323)

Etching, signed in pencil, 1st state, one of three impressions; and another, ‘A Road in Picardy,’ etching, ed. 60, signed in pencil (to margin) (2) image size 30cm (11 1/2in), 35cm (13 3/4in) and 37cm (14 1/2in), 30cm (11 3/4in) £300-500

264 §

SIR FRANK BRANGWYN (BRITISH 1867-1956) / YOSHIJIRO (MOKUCHU) URUSHIBARA (JAPANESE 1888-1953)

THE POTTERIEREI, BRUGES, 1924

Colour woodblock, signed in pencil to margin by both artists; and another, ‘The Bridge at Lucerne,’ colour woodblock, No. 28, signed in pencil to margin by both artists and numbered (2) image size, 38cm (15in), 49cm (19 1/2in) and 46cm (14in), 51cm (20in) £300-500

265 §

SIR FRANK BRANGWYN R.A., R.W.S., R.B.A. (BRITISH 1867-1956)

THE ROAD, MONTREUIL, 1904 (GAUNT 34)

Etching, ed. 100, signed in pencil; and another ‘The Walls of Avignon,’ etching, ed. 125, signed in pencil (2) image size 28cm (11in), 35.5cm (14in) and 20cm (8in), 15cm (6in) £300-500

266 §

SIR FRANK BRANGWYN R.A., R.W.S., R.B.A. (BRITISH 1867-1956)

WOODED LANDSCAPE

pastel on buff paper, signed with initials 28cm x 35.5cm (11in x 14in) £300-500

267 §

ROBIN TANNER (BRITISH 1904-1988)

CHRISTMAS

Etching, 13/100, numbered in pencil, from ‘Robin Tanner - Memorial Portfolio, 1989’ with the relevant blindstamp, published by Merivale Editions 33cm (13in), 27 1/2cm (9 3/4in)

Provenance: Abbott and Holder, London, 2006.

£300-500

268 §

ROBIN TANNER (BRITISH 1904-1988) MARTIN’S HOVEL

Etching, 13/50, signed and numbered in pencil (to margin) sheet 30cm (12in), 34cm (13 1/4in), unframed

Provenance: Mallams, Oxford, 8th December 2016, lot 614.

Note: From the edition published by the Penn Print Room in 1974.

£400-600

269

WILLIAM LEE HANKEY R.W.S. (BRITISH

MARIE OF THE FIELDS, 1919

1869-1952)

Drypoint etching, signed in pencil (to margin), with the artist’s blindstamp plate size 20cm (8in), 12.5cm (5in)

Provenance: Rosebery’s, London, 4th October 2014, lot 151.

£200-300

270

CHARLES ROBINSON (BRITISH 1870-1937)

ILLUSTRATION FOR ‘SINTRAM AND HIS COMPANIONS’, 1900 pen and ink with bodycolour on card and paper, inscribed to the border ‘BEFORE THE EYES OF FRODA SAT ASIAUGA’

29.5cm (11 1/2in) high, 17.5cm (6 3/4in) wide

Provenance: Abbott and Holder, London.

£300-500

271 §

STANLEY CURSITER C.B.E., R.S.A. (SCOTTISH 1887-1976)

RAIN

Lithograph, signed and inscribed 22cm (8 1/2in), 25 1/2cm (10in)

Provenance: Elizabeth Harvey-Lee, Oxfordshire, 13th November 1996.

£200-300

275 §

273 §

HANNAH FRANK (BRITISH 1908-2008) GARDEN, 1932

lithograph, signed in pencil lower right, inscribed verso 32cm (12 1/2in), 37.5cm (14 3/4in) £150-250

274 J. H. PIERNEEF (SOUTH AFRICAN 1886-1957) THORNTREE AND HOUSE, SILVERTON Woodcut, signed and inscribed in pencil to the margin; ‘Thorntrees, Rustenburg,’ woodcut, signed and inscribed in pencil to the margin; and another ‘Twee Jongegeasellen,’ woodcut, signed and inscribed in pencil to margin (3) the images 16cm (6 1/4in), 20cm (8in); 20cm (8in), 30cm (12in); and 20.5cm (8in), 25cm (9 3/4in) £500-700

OROVIDA CAMILLE PISSARRO (BRITISH 1893-1968)

JUNGLE LAW

Etching, 22/45, signed, inscribed and numbered in pencil to margin; and another, Paul Drury (British 1903-1987), March Morning - 1933, etching, signed, titled and dated in pencil to margin (2) 12 1/2cm (5in), 19cm (7 1/2in) and 13cm (5in), 16cm (6 1/4in)

Provenance: Paul Drury ‘March Morning’ - Elizabeth Harvey-Lee, Oxfordshire, 1996. £400-600

272 §

BLAIR HUGHES-STANTON (BRITISH 1902-1981)

BATHERS, 1938

mixed media, signed and dated 35cm (14in), 51cm (20in)

Provenance: Christie’s, South Kensington, 22nd September 1994, lot 198. £300-500

The Landing

276

ITALIAN SCHOOL

BUST OF A MAIDEN, CIRCA 1900 painted plaster, signed ‘L. Mattei’ 61cm (24in) high, 43.2cm (17in) wide £300-500

277

SWEDISH

ART NOUVEAU CIRCULAR TABLE, CIRCA 1908 mahogany, label for Gardner Mobler, Stockholm 84.5cm (33 1/4in) wide, 70.5cm (27 3/4in) high £500-800

278

ERNST RIEGEL (GERMAN 1871-1939) FOR WÄCHTERSBACHER STEINGUTFABRIK CERAMIC MODEL OF AN INFANT, 1910 glazed earthenware, printed maker’s mark 10cm (4in) high Literature: Frensch, Heinz ‘Wächtersbacher Steingutfabrik’, K. R. Langewiesche Nachfolger H. Köster, 1978, p. 84. where a similar model, held in the Darmstadt Museum. £200-300

279

ANTON PUCHEGGER (GERMAN 1878-1917) ‘NOUS PORTONS BONHEUR’ MANTEL CLOCK, CIRCA 1910 patinated bronze, gilt metal dial, signed ‘A. PUCHEGGER’ and number ‘1056’ 22.5cm (8 7/8in) high £500-800

280

JOSEF HOFFMANN (AUSTRIAN 1870-1956)

FOR J. & J. KOHN, VIENNA OCCASIONAL TABLE, CIRCA 1910 stained beech, with label for ‘Jacob & Joseph Kohn’ 59cm (23 1/4in) wide, 70.5cm (27 3/4in) high, 47cm (18 1/2in) deep Provenance: Sotheby’s, London, 4th June 1993, lot 428. £400-600

282 WILLIAM ARTHUR CHASE (1878-1944)

FOR THE ROWLEY GALLERY, LONDON

‘THE SWISS VILLAGE’, CIRCA 1920 marquetry inlaid panel, oak frame, stamped ‘ROWLEY/ KENSINGTON’, 24.5cm (9 3/4in) high, 18cm (7in) wide; together with ‘THE BRIDGE’ - ROWLEY GALLERY PANEL, marquetry inlaid panel, oak frame, 14.3cm (5 1/2in) high, 14.3cm (5 1/2in) wide, each with Rowley Gallery label verso (2)

Provenance: Christie’s, South Kensington, 13th September 1996, lot 419.

£200-300

281 §

SIR FRANK BRANGWYN R.A., R.W.S., R.B.A. (BRITISH 1867-1956) FOR ROWLEY GALLERY, LONDON

THE GALLEON, CIRCA 1920 marquetry, stamped ‘ROWLEY’, with applied paper label verso 72cm  (28 3/8in), 75cm (29 3/4in)

Provenance: Phillips, Oxford, 7th March 1996, lot 284.

Exhibited: Scarborough Museums Trust, ‘Brangwyn 1867- 1956: Man of the People’, 2016.

Note: See similar in the Cecil Higgins Gallery, exhibited at Scarborough Museum, see cat. ‘Brangwyn’, page 74, November 2016.

£800-1,200

Graham Sutherland specialised in etching whilst a student at London University’s Goldsmith’s College School of Art between 1921 and 1926. He was taught by Malcolm Osborne and Stanley Anderson and trained alongside Paul Drury and William Larkins. It was during this formative period that he made the following group of etchings, with May Green created in 1927; all of them reveal his precocious and emerging talent. Indeed, Sutherland established his professional standing as a printmaker and held his first solo exhibition in 1924, at the Twenty-One Gallery in London. The following year he was elected an Associate Member of the Royal Society of Painter-Etchers and Engraves. Shortly after graduating, he was appointed to the staff of Chelsea College of Art, where he taught engraving until 1932.

In 1924, Larkins found an impression of The Herdman’s Cottage etching of 1850 by the visionary artist Samuel Palmer (1805-81) in a shop on the Charing Cross Road and showed it to his fellow students. Sutherland recalled the impact it had on him: ‘I remember that I was amazed at its completeness, both emotional and technical. It was unheard of at the school to cover the plate almost completely with work and quite new to us that the complex variety of the multiplicity of lines could form a tone of such luminosity…As we became familiar with Palmer’s later etchings, we ‘bit’ our plates deeper. We had always been warned against ‘overbiting’. But we did ‘overbite’ and we ‘burnished’ our way through innumerable ‘states’ quite unrepentant at the way we punished and maltreated the copper…It seemed to me wonderful that a strong emotion, such as was Palmer’s, could change and transform the appearance of things.’ 1

Palmer’s reputation had diminished since his death in 1881, but was resurrected when an exhibition of his work was mounted at the Victoria and Albert Museum in London in 1926. As illustrated in the current group, Roberto Tassi has explained that Palmer’s influence on Sutherland’s etchings showed ‘in the presence of the sun and its light

The Early Etchings of Graham Sutherland

shining through the trees, the starry sky streaked with horizontal clouds, the contrast between the evening dusk that is already creeping over the land in thickening shadows and the soaring beams of the setting sun.’ 2

Sutherland engaged with and extended the English pastoral tradition and its idealism, with Gordon Cooke proclaiming: ‘Prints such as Village, Pecken Wood, Cray Fields, St Mary Hatch, Lammas and May Green concern the unchanging experience of life in the countryside, the generations which have worked in it and lived from it and the manner in which nature rules such a way of life.’ 3 Yet Sutherland’s etched images of the mid-1920s are also laced with nostalgia - as rural communities changed - and with an embracing of religion which culminated in his acceptance into the Roman Catholic church in 1926.

Tassi continues: ‘Throughout this period, the influence of Palmer continues, most noticeably in the atmosphere, which seems to be suspended, wrapped in mystery and a tinge of mysticism. The sun, the doves, the stars, the birds and the sheep all become religious symbols; the air is one of enchantment; the contrast between light and shade, though violent, is not disturbing, but seems rather to diffuse an air of quietude over the world. In general, however, the feeling is one of abstraction rather than life.’ 4

Sutherland’s success as an etcher came to an abrupt end with the collapse of the art market following the Wall Street crash of 1929. He turned to painting, but returned to print-making at various points during his career, including lithography in the 1940s and 1950s before a resumption of etching in the 1970s.

(1) As quoted in Ronald Alley, Graham Sutherland, London, 1982, p.9

(2) Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1978, p.19

(3) Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, unpaginated

(4) Tassi op.cit., p.20

GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980)

CRAY FIELDS, 1925 (TASSI 19)

Etching, signed in pencil to margin image size 11.5cm (4 1/2in), 12cm (4 3/4in)

Provenance: Mrs A. M. Bernhard-Smith, Twenty-One Gallery, London; Christie’s, South Kensington, 19th May 2016, lot 55.

Literature: Roberto Tassi and Edward Quinn, ‘Graham Sutherland: Complete Graphic Work’, London 1988, no.19.

Gordon Cooke, ‘Graham Sutherland: Early Etchings’, London 1993, no.11.

Gordon Cooke has noted that ‘the Cray is a river, rising at St Mary Cray, near Farningham, where Graham Sutherland moved in 1927’ (op.cit., unpaginated). Roberto Tassi has remarked that in this work ‘the bewitching atmosphere of [Samuel] Palmer…is clearly in the ascendant here, as we can see from the stars, the tall spikes and line of hop-poles’. (op.cit., p. 20).

£800-1,200 284 §

GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980)

THE VILLAGE, 1925 (TASSI 20)

Etching, signed in pencil to margin 17cm (6 3/4in), 22cm (8 3/4in)

Provenance: Christie’s, South Kensington, 16th April 2014, lot 120.

Literature: Roberto Tassi and Edward Quinn, ‘Graham Sutherland: Complete Graphic Work’, London 1988, no.20.

Gordon Cooke, ‘Graham Sutherland: Early Etchings’, London 1993, no. 9.

Gordon Cooke has linked ‘The Village’ to Samuel Palmer’s etching The Bellman of 1879 (op.cit., unpaginated, see Victoria & Albert Museum collection acc. no.E.1465-1926). In contrast, Roberto Tassi detected the influence of Jean-François Millet and declared that ‘The Village’ revealed ‘a new and absolutely original vision... with tilled fields, weary labourers, their wretched cottages and the evening stillness that weighs on everything.’ (op.cit., p. 19) Ronald Alley has explained that the scene depicted was ‘based mainly on scenery around Cudham in Kent, but with elements from Warning Camp in Sussex.’ (Ronald Alley, ‘Graham Sutherland,’ London 1982, p. 58).

£1,500-2,000

GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980)

PECKEN WOOD, 1925 (TASSI 21)

Etching, signed in pencil to margin 13.5cm (5 1/4in), 18cm (7in)

Provenance: Mrs A. M. Bernhard-Smith, Twenty-One Gallery, London; Christie’s, South Kensington, 19th May 2016, lot 51.

Literature: Roberto Tassi and Edward Quinn, ‘Graham Sutherland: Complete Graphic Work’, London 1988, no.21.

Gordon Cooke, ‘Graham Sutherland: Early Etchings’, London 1993, no.10.

Ronald Alley has written about this work that the rural world it depicts ‘is one of the past, the evocation of a mode of village life which had almost completely passed away. The emphasis is on the autumnal fertility of nature, with man living in communion with nature and...the moment depicted is when the sun is setting, or near setting and the stars are beginning to come out.’ (Ronald Alley, ‘Graham Sutherland’, London 1983, p. 59).

£700-1,000 287 §

GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980)

MAY GREEN, 1927 (TASSI 24)

Etching, signed in pencil to margin 11cm (4 1/4in), 16cm (6 1/4in)

Provenance: Christie’s, South Kensington, 16th April 2014, lot 121.

Literature: Roberto Tassi and Edward Quinn, ‘Graham Sutherland: Complete Graphic Work’, London 1988, no.24.

Gordon Cooke, ‘Graham Sutherland: Early Etchings’, London 1993, no.16.

According to Gordon Cooke, this was the only etching which Sutherland made in 1927 (op.cit, unpaginated). He has also explained that it is the last in a series of four etchings, including ‘Cray Fields’ and ‘St Mary Hatch’, ‘which seem to celebrate both religious and rural values, anchoring the scenes to the calendar and particular places.’ £800-1,200

286 §

GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980)

ST. MARY’S HATCH, 1926 (TASSI 22)

Etching, signed in pencil to margin 12cm (4 3/4in), 18cm (7in)

Provenance: Mrs A. M. Bernhard-Smith, Twenty-One Gallery, London; Christie’s, South Kensington, 19th May 2016, lot 52.

Literature: Roberto Tassi and Edward Quinn, ‘Graham Sutherland: Complete Graphic Work’, London 1988, no.22. Gordon Cooke, ‘Graham Sutherland: Early Etchings’, London 1993, no.13.

‘St Mary’s Hatch’ comes from ‘a series of small, densely worked etchings of rural England, thatched cottages and churches, fields with stooks of corn, the setting sun and the first evening stars, which were intensely poetic evocations of a more or less lost world of innocence and religious piety.’ (Ronald Alley, ‘Graham Sutherland’, London 1982, p. 9). £1,000-1,500

The Master Bedroom

288

MANNER OF HARRY DAVOLL

COTSWOLD SCHOOL CHEST OF DRAWERS, CIRCA 1920 cedarwood, with ebony cock beading and feet 96.5cm (38in) wide, 96cm (37 3/4in) high, 58cm (23in) deep Provenance: The Millinery Works Gallery, London, 2005. £1,000-1,500

290

ERNEST

GIMSON

(BRITISH 1864-1919)

CHEST OF DRAWERS, CIRCA 1915 oak, with patinated brass handles by Alfred Bucknell 99cm (39in) wide, 90cm (35 1/2in) high, 48.5cm (19in) deep

Literature: Carruthers A., Greensted M., Roscoe B. ‘Ernest Gimson: Arts & Crafts Designer and Architect’, Yale 2019, p.220, pl. 202 where a drawing for a similar chest is illustrated, and p. 258, pl 243 where line drawings for similar handles are illustrated.

Note: Accompanied with authentication from Cheltenham Museum and copies of Gimson’s original design drawings (catalogue number 1941-222-491).

£3,000-5,000

292

HENRY CHARLES BREWER R.I. (BRITISH 1866-1950)

SEGOVIA watercolour, signed and inscribed 69cm (27 1/4in), 47cm (18 1/2in)

Provenance: Abbott and Holder, London, 14th June 1996. £300-500

291 §

ERNEST YARROW JONES (BRITISH 1872-1951)

A TOWN IN PROVENCE

Watercolour; and another, ‘Hillside, Provence,’ watercolour (2) each 24cm (9 1/2in), 35cm (13 1/2in)

Provenance: Abbott & Holder, London. £400-600

293

WALTER HERBERT ALLCOTT (BRITISH

NORTH AFRICAN COASTAL TOWN pastel on buff paper, signed 38cm (15in), 46cm (18in) £200-300

1880-1951)

294 §

HAROLD SPEED (BRITISH 1872-1957)

STUDY FOR CHATEAU GAILLARD, NORMANDY

oil on panel, signed, inscribed with title to label verso 28cm (11in), 43cm (17in)

Provenance: Christie’s, South Kensington, 22nd September 1994, lot 15.

Note: The final painting is in Sheffield Museum. £600-800

296 §

HAROLD KNIGHT (BRITISH 1874-1961)

(ATTRIBUTED TO)

THE BATHERS

oil on canvas, bears signature 33cm (13in), 41cm (16in) £600-800

295

VIOLET MARY BARNEWALL (BRITISH FL.1914-24)

COASTAL CLIFFS, 1924

egg tempera on canvas in original silver leaf art frame, signed and dated 61cm (24in), 46cm (18in)

Provenance: Sotheby’s, London, 9th February 1994, lot 413. £500-800

297

ROBERT ‘MOUSEMAN’ THOMPSON (BRITISH 1876-1955)

CHEST OF DRAWERS, CIRCA 1935-45

adzed oak, carved mouse signature 90.5cm (35 1/2in) wide, 92cm (36 1/4in) high, 44.5cm (17 1/2in) deep £1,500-2,000

298 ROBERT ‘MOUSEMAN’ THOMPSON (BRITISH 1876-1955)

BEDSIDE CABINET, CIRCA 1930-40

adzed oak, patinated metal fittings, bears carved mouse signature 48cm (19in) wide, 69cm (27 1/4in) high, 37.5cm (14 3/4in) deep £500-800

299

ROBERT ‘MOUSEMAN’ THOMPSON (BRITISH 1876-1955)

DOUBLE BEDSTEAD, CIRCA 1935-40 adzed oak, comprising a headboard and a footboard, each with carved mouse signature (2) headboard 137.5cm (54in) wide, 107cm (42in) high, 3cm (1in) deep, footboard 137.5cm (54in) wide, 65.5cm (25 3/4in) high, 3cm (1in) deep £800-1,200

301 §

SAM HERMAN (BRITISH, AMERICAN 1936-2020)

VASE, 1979

iridescent glass, signed, dated and inscribed ‘VAL62’ and with paper label 33cm (13in)

Provenance: The Fine Art Society, London £600-800

302 §

FELICITY AYLIEFF (BRITISH 1954-) VASE, 1982

porcelain, signed and dated 30cm (11 3/4in) high £250-350

The Jewellery Cabinet

STANLEY THOROGOOD (BRITISH 1873-1952)

ARTS & CRAFTS PLAQUE, 1906

enamel with gilt embellishments, signed with monogram in gilt lower left, within oak frame, inscribed and dated in ink to frame verso 8.5cm (3 3/8in), 7.5cm (3in) £300-500

304 Y

BARNET HENRY JOSEPH (B.H. JOSEPH & CO., 1865-1929)

PENDANT NECKLACE, CIRCA 1905 gold, opal and pearl, stamped maker’s mark and ‘9CT’, principal pendant 3cm (1 1/8in) wide; together

305

ARTHUR JOHNSON SMITH,

BIRMINGHAM

PENDANT NECKLACE, BIRMINGHAM 1910 silver, hallmarked Birmingham, probably 1910, the pendant 4cm (1 1/2in) tall; together with TWO RINGS, silver, each of Celtic design, indistinctly hallmarked, ring sizes Q and N/O; and a further TWO RINGS, unmarked, one set with a moonstone cabochon, ring sizes N and P (moonstone) (4) £200-300

BERNARD INSTONE

(BRITISH 1891-1987)

including a brooch of a galleon, stamped ‘SILVER / B.I.’, 5.8cm (2 1/4in) high, two bar brooches, two rings and a pair of earrings, one bar brooch and one ring stamped ‘SILVER / B.I.’, the largest bar brooch 5.7cm (2 1/4in) long (7)

£200-300

310

MURRLE, BENNETT & CO. LTD., LONDON PENDANT NECKLACE, CIRCA 1905-10 partially stamped ‘950’ and ‘MBC’, set with facetted amethysts and yellow enamel principal drop 4cm (1 1/2in) £300-500

311

MURRLE, BENNETT & CO. LTD., LONDON PENDANT NECKLACE, CIRCA 1905 silver, enamel, amethyst and baroque pearl, with associated chain, stamped ‘MBCo’ and ‘950’, pendant 4cm (1 1/2in) tall; together with a MURRLE, BENNETT & CO. LTD. PENDANT NECKLACE, silver gilt, set with a turquoise cabochon, stamped ‘MBCo’ and ‘950’, pendant 2.8cm (1 1/8in) wide (2) £400-600

312

MURRLE, BENNETT & CO. LTD., LONDON

PENDANT NECKLACE, CIRCA 1900

silver, inset with enamel and mother of pearl, and with mother of pearl drop, associated chain, stamped ‘950’ and ‘MBCo’ pendant 3cm (1 1/5in) wide £300-500

313

MURRLE, BENNETT & CO. LTD., LONDON PENDANT NECKLACE, CIRCA 1900

silver, stamped ‘MBCo’ and ‘950’, inset with facetted amethysts principal drop 4.5cm (1 3/4in) long £300-500

314

MURRLE, BENNETT & CO. LTD., LONDON BROOCH, CIRCA 1904

15ct gold and turquoise, stamped ‘MBCo’ and ‘15CT’, bears later inscription ‘AH TO EMW 9. FEB. 1904’, 3.2cm (1 1/4in) wide; together with a MURRLE, BENNETT & CO. LTD. BROOCH, gold, stamped ‘MBCo’, ‘9CT’ and ‘RD DESIGN’, 3.8cm (1 1/2in) wide; and another MURRLE, BENNETT & CO. LTD. BROOCH, gold, set with opal, stamped ‘MBCo’ and ‘9CT’, 3.4cm (1 3/8in) wide (3) £300-500

316

ARCHIBALD KNOX (BRITISH 1899-1933)

FOR LIBERTY & CO. LTD. BROOCH, CIRCA 1905 silver and enamel, manufacturer’s mark and stamped ‘SILVER’ 5cm (2in) wide

Literature: Martin, Stephen A. ‘Archibald Knox’, Art Media Press, London, 2001 p. 267, Model 1309. £400-600

315

ARCHIBALD KNOX (BRITISH 1899-1933)

FOR MURRLE, BENNETT & CO. LTD., LONDON BROOCH, CIRCA 1905 silver and enamel, stamped ‘MBCo’ and ‘SILVER’ 4.5cm (1 3/4in) wide

Literature: Martin, Stephen ‘Archibald Knox’, ArtMedia 2001, p. 267 where a similar example is illustrated. £400-600

317

ARCHIBALD KNOX (BRITISH 1899-1933)

FOR LIBERTY & CO., LONDON CARD CASE, BIRMINGHAM 1904 silver, and enamel set with a turquoise, stamped ‘L&CO’, hallmarked Birmingham 1904 8.5cm (3 3/8in) wide £400-600

clasp stamped ‘9ct’, the central pendant and drop 4cm (1 1/2in) long; and a MURRLE, BENNETT & CO. LTD. BRACELET, silver and enamel, stamped ‘SILVER / MB&C’, each rectangular panel with enamel detail, 19cm (7 1/2in) long (2) £300-500

321

OLIVER

320

CHARLES HORNER OF HALIFAX

PENDANT NECKLACE, CHESTER 1909

silver and enamel, stamped C.H., hallmarked Chester 1909, pendant 3.8cm (1 1/2in) wide; together with a CHARLES HORNER BROOCH, silver and enamel, stamped C.H., hallmarked Chester 1911, 2.3cm (7/8in) wide; and an ART NOUVEAU PENDANT NECKLACE, in the manner of Charles Horner, white metal, enamel and blister pearl, with associated chain, unmarked, 3.9cm (1 1/2in) wide (3)

Literature: Arwas, Victor ‘Liberty Style’, Parco 1983, p. 85 where a similar Charles Horner pendant is illustrated, J.101. £250-350

BAKER (BRITISH 1856-1939) (ATTRIBUTED TO)

FOR LIBERTY & CO., LONDON BROOCH, CIRCA 1904 white metal, enamel and pearl, unmarked, 3.8cm (1 1/2in) tall; together with a W.H. HASELER LTD. BROOCH, silver and enamel, stamped ‘SILVER’ and maker’s mark WHH, 3cm (1 1/4in) wide (2) 3.2cm (1 1/4in) wide, 2.8cm (1 1/8in) wide £500-800

322 FRANCES MACDONALD MCNAIR (1874-1921)

(ATTRIBUTED TO)

PENDANT NECKLACE, CIRCA 1900 white metal and enamel, incised with a stylised ‘R’ to reverse pendant 3.7cm (1 1/2in) long

Note: Frances Macdonald and her sister Margaret were skilled in metalware, jewellery and enamelling however few executed pieces of jewellery are known. A group of jewellery, attributed to McNair and engraved to the reverse with the letter R, as in the present lot, was sold at Christie’s, London, in 1992.

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

£600-800

323 JESSIE MARION KING (BRITISH 1875-1949)

(ATTRIBUTED TO), PROBABLY FOR LIBERTY & CO., LONDON

PENDANT NECKLACE, CIRCA 1910 silver and enamel, stamped ‘925’, 3cm (1 11/4in) tall, the central pendant 5cm (2in) long / 2.8cm (1 1/8in) long; together with a PENDANT ATTRIBUTED TO CHARLES HORNER, silver and enamel, stamped ‘SILVER’ and registration number ‘549090’, 5cm (2in) tall (2)

£300-500

324

THE ROKESLEY SHOP, CLEVELAND, OHIO PENDANT NECKLACE, CIRCA 1910 silver and enamel, stamped ‘ROKESLEY / STERLING’ pendant 4.1cm (1 5/8in) long £500-700

325

CHRISTIAN FERDINAND MORAWE (POLISH 1865-1931) FOR THEODOR FAHRNER PENDANT NECKLACE, CIRCA 1905-10 silver, set with semi-precious stone cabochons, stamped manufacturer’s and artist’s marks, ‘935’ and ‘DEPOSE’ pendant 7.5cm (3in) long £400-600

326

THEODOR FAHRNER (GERMAN 1859-1919) BROOCH, CIRCA 1900-05 silver and boulder opal, stamped maker’s mark, ‘950’ and ‘REG.D’ 3.5cm (1 3/8in) wide £300-500

327

CONTINENTAL

ART NOUVEAU PENDANT NECKLACE, CIRCA 1904 9ct gold, set with turquoise, stamped 9/375, import marks for Max Stollsteimer London 1904, pendant 4cm (1 1/2in) tall; together with an ART NOUVEAU PENDANT NECKLACE, gold, set with opal cabochon stones, stamped 9CT, with maker’s mark ‘JA&S’, possibly John Atkins & Sons, pendant 4cm (1 1/2in) tall; and another ART NOUVEAU PENDANT NECKLACE, gilt metal, set with garnets and seed pearls, pendant 3.3cm (1 1/4in) tall (3) £300-500

328

JULIUS DOLL, PFORZHEIM (ATTRIBUTED TO)

JUGENDSTIL PENDANT NECKLACE, CIRCA 1900 silver, plique-à-jour enamel, paste, pink tourmaline and pearl, stamped ‘935’, ‘DEPOSE’ and with maker’s mark ‘JD’ pendant 3.8cm (1 1/2in) wide £300-500

329

NIELS ERIK FROM (DANISH 1908-1982)

BRACELET, CIRCA 1960-65 silver, stamped maker’s mark, ‘STERLING DENMARK’, sponsors mark ‘DSD’ for Danish Silver Designs and import mark for London 1976, 18cm (7in) long; together with a NECKLACE BY NIELS ERIK FROM, silver with tiger’s eye pendant, stamped maker’s mark, ‘STERLING / DENMARK / 925S’ and import marks for London 1966, 28cm (11in) long; and another NECKLACE BY NIELS ERIK FROM, silver, stamped ‘STERLING / DENMARK / N. E. FROM / 925S’, 44cm (17 1/2in) long (3) £250-350

330

VOLMER BAHNER (DANISH 1912-1995)

NECKLACE, CIRCA 1975 the necklace silver and red enamel, stamped ‘VB’ and ‘STERLING / DENMARK’, internal length of the necklace approx. 12cm (4 3/4in), with a pair of associated EARRINGS, the earrings unmarked; together with a NECKLACE BY ORLANDO ORLANDINI (ITALIAN 19051986), silver and coral, stamped ‘O. P. ORLANDINI’, ‘925’ and ‘BREV’, internal length approximately 11.7cm (4 5/8in); and a SCANDINAVIAN SCHOOL NECKLACE, white metal with coloured glass cabochons, unmarked, internal length approx.14cm (5 1/2in) (4) £250-350

EDVARD KLINT-LARSON (DANISH 1901-1982) FOR GEORG JENSEN BRACELET AND NECKLACE, CIRCA 1960 silver, the bracelet, model number 104A, stamped manufacturer’s mark, ‘STERLING DENMARK’ and import marks for London; the necklace, silver, model 104B, stamped manufacturer’s mark and ‘925S / DENMARK’ (2) bracelet internal width approximately 5.5cm (2 1/8in); necklace internal width approximately 12cm (4 3/4in) £300-500

HENNING KOPPEL (DANISH 1918-1981) FOR GEORG JENSEN

silver, model number 321, stamped manufacturer’s marks, ‘STERLING DENMARK/ 321’ and import marks for London 1961, 5cm (2in ) wide; together with a PAIR OF EARRINGS, silver, model number 118, stamped manufacturer’s marks ‘STERLING DENMARK/

333

HENNING KOPPEL (DANISH 1918-1981)

FOR GEORG JENSEN

PAIR OF EARRINGS, CIRCA 1960

silver, model number 119, stamped manufacturer’s marks and ‘STERLING / DENMARK’, 2.5cm (1in) across; together with a RING BY HENNING KOPPEL FOR GEORG JENSEN, silver, model number 89, stamped manufacturer’s mark and import marks, ring size K/L, and a RING BY HENNING KOPPEL

FOR GEORG JENSEN, model number 125, silver, stamped manufacturer’s mark and import marks, ring size O (4) £250-350

334

BJÖRN WECKSTRÖM (FINNISH 1935-) FOR LAPPONIA, FINLAND

‘MONOLITH’ NECKLACE, CIRCA 1978 silver and acrylic, stamped ‘925’ and ‘LAPPONIA’ necklace 37.5cm (14 3/4in) long £250-350

336

BJÖRN WECKSTRÖM (FINNISH 1935-) FOR LAPPONIA, FINLAND

‘KANG’S CHAIN’ BRACELET, 1976 silver, stamped ‘925’ and ‘LAPPONIA’, internal width approximately 5.5cm (2 1/8in); together with a PAIR OF EARRINGS BY BJÖRN WECKSTRÖM FOR LAPPONIA, silver, stamped ‘925’, ‘BJORN’ and ‘STERLING / FINLAND / LAPPONIA’ and with import marks for London, 6.3cm (2 1/2in) long; and a BROOCH/ PENDANT BY EMILE SOUPLY (BELGIAN 1933-2013), silver, stamped ‘A925’, ‘Souply’ and ‘15’, 6.5cm (2 1/2in) wide (3) £400-600

335

MARIANNE BERG (NORWEGIAN B. 1935) FOR UNI DAVID ANDERSEN, NORWAY BROOCH, CIRCA 1970 silver, stamped ‘UNI D-A NORWAY’, ‘925S STERLING’, ‘INV. M.B.’, 5.5cm wide (2 1/8in) wide; together with another BROOCH BY MARIANNE BERG FOR UNI DAVID ANDERSEN, silver and enamel, stamped ‘UNI D-A NORWAY’, ‘925S STERLING’, ‘INV. M.B.’ and import marks for London 1970, 5.3cm wide (2 1/8in wide); and a PENDANT NECKLACE BY EINAR MODAHL, NORWAY, silver, stamped maker’s mark and ‘925S’ (to pendant and collar), the pendant 7.3cm (2 7/8in) long; the internal width of the collar approximately 12cm (4 3/4in) (3)

The Guest Bedroom

337 §

CHARLES MARCH GERE R.A., R.W.S. (BRITISH 1869-1957)

CADAIR IDRIS - 1937

egg tempera on silk, signed and dated 26.5cm (10 1/2in), 39.5cm (15 1/2in)

Provenance: The Fine Art Society, London. £500-800

338

NORMAN LITTLE (ATTRIBUTED TO) (BRITISH EXH. 1907-1909) SAUNTON SANDS, DEVON, 1913 watercolour, signed and dated 26cm (10 1/4in), 36cm (14 1/4in) £200-300

339 §

CHARLES MARCH GERE R.A., R.W.S. (BRITISH 1869-1957) WELSH MOUNTAINS Pencil and watercolour 20cm (7 3/4in), 32.5cm (12 3/4in) £300-500

340 §

ALFRED BERGIER (FRENCH 1881-1971)

MEDITERRANEAN COAST, OFF PROVENCE watercolour, signed 36cm (14in), 56cm (22in) £200-300

341

FRANK RICHARDS R.B.A. (BRITISH 1863-1935)

OFF THE COAST, 1888 oil on canvas, signed and dated 26.5cm (10 1/2in), 36.5cm (14 1/4in) £300-500

342

ERNEST YARROW JONES (BRITISH 1872-1951)

PROVENCAL TOWN watercolour, signed; and another, ‘Olive Trees, Provence,’ Watercolour (2) 24cm (9 1/2in), 36cm (4in) and 22cm (8 1/2in), 29cm (11 1/2in)

Provenance: Abott & Holder, London. £300-500

343

ERNEST GIMSON (BRITISH 1864-1919)

PAIR OF LADDERBACK ARMCHAIRS oak and elm, with rushed seats, stamped ‘J M’ to rear right legs (2)

58cm (22 3/4 in) wide, 116cm (45 3/4 in) high, 50cm (19 3/4 in) deep

Literature: Carruthers A., Greensted M., Roscoe B. ‘Ernest Gimson: Arts & Crafts Designer and Architect’, Yale 2019, p. 259, pl. 244.

Naylor, Gillian ‘The Arts & Crafts Movement’, Studio Vista 1971, item 61.

£800-1,200

344

GORDON RUSSELL (BRITISH 1892-1980)

‘STOW’ DRESSING TABLE AND ASSOCIATED CHAIR, 1930 English oak, with mirror plate and brass fittings, paperlabel under drawer inscribed, ‘Design Number 621/1210, Designer Gordon Russell, Foreman F Shilton, Cabinetmaker C Hill, Timber Used English Oak, Date 27/06/30’, the chair stamped ‘Gordon Russell Ltd.’ under seat rail (2) dressing table 141cm (51 1/2in) wide, 138cm (54in) high, 49cm (19 1/4in) deep; seat 40cm (15 3/4in) wide, 80cm (41 1/2in) high, 29.5cm (15 1/2in) deep £600-800

345

ROBERT ‘MOUSEMAN’ THOMPSON (BRITISH 1876-1955)

PAIR OF BEDSIDE CABINETS, 1990

adzed oak, patinated metal fittings, bears carved mouse signature (2)

48cm (18 3/4in) wide, 69.5cm (27 1/4in) high, 37.5cm (14 3/4in) deep

Provenance: Purchased from Robert Thompson’s Craftsmen, 19th November 1991. £1,000-1,500

346 GORDON RUSSELL (BRITISH 1892-1980)

‘STOW’ DOUBLE WARDROBE, 1930

chestnut, bears a paper label inscribed ‘Design Number: 101/1283, Designer Gordon Russell, Foreman F Shilton, Cabinet Maker P Wade, Timber Used Chestnut, Date 27/11/30’, stamped ‘E A Darley’ 99cm (39in) wide, 193.5cm (76 1/4in) high, 56cm (22in) deep £3,000-5,000

347

GORDON RUSSELL (BRITISH 1892-1980) ‘STOW’ CHEST OF DRAWERS, CIRCA 1925-30 oak, stamped ‘E A Darley’ (cabinetmaker), bears depository label (verso) ‘Barnaby, Bendall & Co., Cheltenham’ 101cm (37 3/4in) wide, 107.3cm (42 1/4in) high, 52cm (20 1/4in) deep £2,000-3,000

DAVID HOCKNEY O.M., C.H., R.A. (BRITISH 1937-) IN AN OLD BOOK, 1966 [DETAIL, MODIFIED]

Etching | £5,000-7,000 For

contact Simon Hucker | 0207 930 9115 simon.hucker@lyonandturnbull.com

FOR BUYERS (UK)

These Conditions of Sale and the Saleroom Notices as well as specific Catalogue terms, set out the terms on which we offer the Lots listed in this Catalogue for sale. By registering to bid and/or by bidding at auction You agree to these terms, we recommend that You read them carefully before doing so. You will find a list of definitions and a glossary at the end providing explanations for the meanings of the words and expressions used. Special terms may be used in Catalogue descriptions of particular classes of items (Books, Jewellery, Paintings, Guns, Firearms, etc.) in which case the descriptions must be interpreted in accordance with any glossary appearing in the Catalogue. These notices and terms will also form part of our terms and conditions of sales.

In these Conditions the words “Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd, the singular includes the plural and vice versa as appropriate.

“You”, “Your” means the Buyer. Lyon & Turnbull Ltd. acts as agent for the Seller. Lyon & Turnbull Ltd. acts as agent for the Seller. On occasion where Lyon & Turnbull Ltd. own a lot in part or full the property will be identified in the catalogue with the symbol (��) next to its lot number.

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.

(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.

(iv) For jewellery sales, all Estimates are based on the information in any gemmological report or, if no gemmological report is available, You should assume that the gemstones may have been treated or enhanced.

(b) Clocks & Watches: All Lots are sold “as seen”, and the absence of any reference to the condition of a clock or watch does not imply the Lot is in good condition and without defects, repairs or restorations. Most clocks and watches will have been repaired during their normal lifetime and may now incorporate additional/newer parts. Furthermore, we make no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, Buyers should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. Buyers should also be aware that we cannot guarantee a watch will remain waterproof if the back is removed. Buyers should be aware that the importing watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches cannot be shipped to the USA and only imported personally. Clocks may be sold without pendulums, weights or keys.

(c) Alcohol: may only be sold to persons aged of 18 years and over. By registering to bid, You affirm that You are at least that age. All collections must be signed for by a person over the age of 18. We Reserve the right to ask for ID from the person collecting. Buyers of alcohol must make appropriate allowances for natural variations of ullages, conditions of corks and wine. We can provide no guarantees as to how the alcohol may have been stored. There is always a risk of cork failure and allowance by the Buyer must be made. Alcohol is sold “as is” and quality of the alcohol is entirely at the risk of the Buyer and no

warranties are given.

(d) Books-Collation: If on collation any named item in the sale Catalogue proves defective, in text or illustration the Buyer may reject the Lot provided he returns it within 21 days of the sale stating the defect in writing. This, however, shall not apply in the case of unnamed items, periodicals, autographed letters, music M.M.S., maps, drawings nor in respect of damage to bindings, stains, foxing, marginal worm holes or other defects not affecting the completeness of the text nor in respect of Defects mentioned in the Catalogue, or at the time of sale, nor in respect of Lots sold for less than £300.

(e) Electrical Goods: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given.

(f) Upholstered items: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations (items manufactured prior to 1950 are exempt from any regulations). Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. We provide no guarantee as to the originality of any wood/material contained within the item.

B. REGISTERING TO BID

1. NEW BIDDERS

(a) If this is Your first time bidding at Lyon & Turnbull or You are a returning Bidder who has not bought anything from us within the last two years You must register at least 48 hours before an auction to give us enough time to process and approve Your registration. We may, at our discretion, decline to permit You to register as a Bidder. You will be asked for the following:

(i) Individuals: Photo identification (driving licence, national identity card or passport) and, if not shown on the ID document, proof of Your current address (for example, a current utility bill or bank statement)

(ii) Corporate clients: Your Certificate of Incorporation or equivalent document(s) showing Your name and registered address together with documentary proof of directors and beneficial owners, and;

(iii) Trusts, partnerships, offshore companies and other business structures please contact us directly in advance to discuss requirements.

(b) We may also ask You to provide a financial reference and/or a deposit to allow You to bid. For help, please contact our Finance Department on +44(0)131 557 8844.

2. RETURNING BIDDERS

We may at our discretion ask You for current identification as described in paragraph B.1.(a) above, a finance reference or a deposit as a condition of allowing You to bid. If You have not bought anything from us in the last two years, or if You want to spend more than on previous occasions, please contact our Finance Department on +44(0)131 557 8844.

3. 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.

C. DURING THE SALE

1. ADMISSION TO OUR AUCTIONS

We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. We may refuse admission at any time before, during or after the auction.

2. RESERVES

Unless indicated by an insert symbol (∆), all Lots in this Catalogue are offered subject to a Reserve. A Reserve is the confidential Hammer Price established between us and the Seller. The Reserve is generally set at a percentage of the low Estimate and will not exceed the low Estimate for the Lot.

3. AUCTIONEER’S DISCRETION

The maker of the highest bid accepted by the Auctioneer conducting the sale shall be the Buyer and any dispute shall be settled at the Auctioneer’s absolute discretion. The Auctioneer may move the bidding backwards of forwards in any way he or she may decide or change the order of the Lots.

The Auctioneer may also; refuse any bid, withdraw any Lot, divide any Lot or combine any two or more Lots, reopen or continuing bidding even after the hammer has fallen.

4. BIDDING

The Auctioneer accepts bids from:

(a) Bidders in the saleroom;

(b) Telephone Bidders, and internet Bidders through Lyon & Turnbull Live or any other online bidding platform we have chosen to list on and;

(c) Written bids (also known as absentee bids or commission bids) left with us by a Bidder before the auction.

5. BIDDING INCREMENTS

Bidding increments shall be at the Auctioneer’s sole discretion.

6. CURRENCY CONVERTER

The saleroom video screens and bidding platforms may show bids in some other major currencies as Well as sterling. Any conversion is for guidance only and we cannot be bound be any rate of exchange used. We are not responsible for any error (human or otherwise) omission or breakdown in providing these services.

7.

SUCCESSFUL BIDS

Unless the Auctioneer decides to use their discretion as set out above, when the Auctioneer’s hammer falls, we have accepted the last bid. This means a contract for sale has been formed between the Seller and the successful Bidder. We will issue an invoice only to the registered Bidder who made the successful bid. While we send out invoices by post/or email after the auction, we do not accept responsibility for telling You whether or not Your bid was successful. If You have bid by written bid, You should contact us by telephone or in person as soon as possible after the auction to get details of the outcome of our bid to avoid having to pay unnecessary storage charges.

8. RELEVANT LEGISLATION

You agree that when bidding in any of our sales that You will strictly comply with all relevant legislation including local laws and regulations in force at the time of the sale for the relevant saleroom location.

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

1. THE PURCHASE PRICE

For each Lot purchased a Buyer’s Premium of 26% of the Hammer Price of each Lot up to and including £20,000, plus 25% from £20,001 to £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.

AUTHENTICITY GUARANTEE

We guarantee that the authorship, period, or origin (collectively, “Authorship”) of each Lot in this Catalogue is as stated in the BOLD or CAPITALISED type heading in the Catalogue description of the Lot, as amended by oral or written saleroom notes or announcements. We make no warranties whatsoever, whether express or implied, with respect to any material in the Catalogue other than that appearing in the Bold or Capitalised heading and subject to the exclusions below.

In the event we, in our reasonable opinion, deem that the conditions of the authenticity guarantee have been satisfied, it shall refund to the original purchaser of the Lot the Hammer Price and applicable Buyer’s Premium paid for the Lot by the original purchaser. This Guarantee does not apply if: (a) The Catalogue description was in accordance with the opinion(s) of generally accepted scholar(s) and expert(s) at the date of the sale, or the Catalogue description indicated that there was a conflict of such opinions; or (b) the only method of establishing that the Authorship was not as described in the Bold or Capitalised heading at the date of the sale would have been by means or processes not then generally available or accepted; unreasonably expensive or impractical to use; or likely (in our reasonable opinion) to have caused damage to the Lot or likely to have caused loss of value to the Lot; or (c) There has been no material loss in value of the Lot from its value had it been in accordance with its description in the Bold or Capitalised type heading. This Guarantee is provided for a period of one year from the date of the relevant auction, is solely for the benefit of the original purchaser of the Lot at the auction and may not be transferred to any third party. To be able to claim under this Authenticity Guarantee, the original purchaser of the Lot must: (a) notify us in writing within one month of receiving any information that causes the original purchaser of record to dispute the accuracy of the Bold or Capitalised type heading, specifying the Lot number, date of the auction at which it was purchased and the reasons for such dispute; and (b) return the Lot to our registered office in the same condition as at the date of sale to the original purchaser of record and be able to transfer good title to the Lot, free from any third party claims arising after the date of such sale.

We have discretion to waive any of the above requirements. We may require the original purchaser of the Lot to obtain, at the original purchaser of Lot’s cost, the reports of two independent and recognised experts in the field. The reports must be mutually acceptable to us and the original purchaser of

the Lot. We shall not be bound by any reports produced by the original purchaser of the Lot, and Reserves the right to seek additional expert advice at its own expense. It is specifically understood and agreed that the rescission of a sale and the refund of the original Purchase Price paid (the successful Hammer Price, plus the Buyer’s Premium) is exclusive and in lieu of any other remedy which might otherwise be available as a matter of law. Lyon & Turnbull and the Seller shall not be liable for any incidental or consequential damages incurred or claimed, including without limitation, loss of profits or interest.

3. YOUR WARRANTIES

(a) You warrant that the funds used for settlement are not connected with any criminal activities, including tax evasion and You are neither; under investigation, have been charged with or convicted of money laundering, terrorist activities or other crimes.

(b) Where You are bidding on behalf of another person You warrant that: (i) You have conducted appropriate customer due diligence on the ultimate Buyer(s) of the Lot(s) in accordance with all relevant anti-money laundering legislation, consent to us relying on this due diligence, and You will retain for a period of not less than five years the documentation evidencing the due diligence. You will make such documentation promptly available for immediate inspection by a third party auditor upon our written request to do so;

(ii) The arrangements between You and the ultimate Buyer(s) in relation to the Lot or otherwise do not, in whole or in part, facilitate tax crimes, and;

(iii) You do not know, and have no reason to suspect that the funds used for settlement are connected with the proceeds of any criminal activity, including tax evasion, or that the ultimate Buyer(s) are under investigation or have been charged with or convicted of money-laundering, terrorist activities, or other crimes.

F. PAYMENT

1. MAKING PAYMENT

(a) Within 7 days of a Lot being sold You will pay to us the Total Amount Due in cash or by such other method as is agreed by us. We accept cash, bank transfer (details on request), debit cards and Visa or MasterCard credit cards. Please note that we do not accept cash payments over £5,000 per Buyer per year.

(b) Any payments by You to us can be applied by us towards any sums owing by You to us howsoever incurred and without agreement by You or Your agent, whether express or implied.

(c) We will only accept payment from the registered Bidder. Once issued, we cannot change the Buyer’s name on an invoice or re-issue the invoice in a different name.

(d) The ownership of any Lots

purchased shall not pass to You until You have made payment in full to us of the Total Amount Due. The risk in and the responsibility for the Lot will transfer to You from whichever is the earlier of the following:

(i) When You collect the Lot; or

(ii) At the end of the 30th day following the date of the auction, or, if earlier, the date the Lot is taken into care by a third party unless we have agreed otherwise with You in writing.

(e) You shall at Your own risk and expense take away any Lots that You have purchased and paid for not later than 7 working days following the day of the auction or upon the clearance of any cheque used for payment whichever is later. We can provide You with a list of shippers. However, we will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us.

(f) No purchase can be claimed or removed until it has been paid for.

(g) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time.

the Total Amount Due by You and to exercise a lien over any of Your property in our possession for any purpose until the debt due is satisfied. You will be deemed to have granted such security to us and we may retain such property as collateral security for Your obligations to us; we may decide to sell Your property in any way we think appropriate. We will use the proceeds of the sale against any amounts You owe us and we will pay any amount left from that sale to You. If there is a shortfall, You must pay us the balance; and

(i) Take any other action we see necessary or appropriate.

G. COLLECTION & STORAGE

(1) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time. Information on collection is set out in the Catalogue and our Website

(2) Unless agreed otherwise, You must collect purchased Lots within seven days from the auction. Please note the Lots will only be released upon full payment being received.

2.

IN THE EVENT OF NON-PAYMENT

If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the Sellers and on their behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies:

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

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

(c) To resell the Lot(s) (by auction or private treaty) in which case You shall be responsible for any resulting deficiency in the Total Amount Due (after crediting any part payment and adding any resale costs).

(d) To remove, store and insure the Lot in the case of storage, either at our premises or elsewhere and to recover from You all costs incurred in respect thereof;

(e) To charge interest at a rate of 5% a year above the Bank of Scotland base rate from time to time on all sums outstanding for more than 7 working days after the sale;

(f) To retain that or any other Lot sold to You until You pay the Total Amount Due;

(g) To reject or ignore bids from You or Your agent at future auctions or to impose conditions before any such bids shall be accepted;

(h) To apply any proceeds of sale of other Lots due or which become due to You towards the settlement of

(3) If You do not collect any Lot within seven days following the auction we can, at our discretion;

(i) Charge You storage costs at the rates set out on our Website.

(ii) Move the Lot to another location or an affiliate or third party and charge You transport and administration costs for doing so and You will be subject to the third party storage terms and pay for their fees and costs.

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

H. TRANSPORT & SHIPPING

1. TRANSPORT AND SHIPPING

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/importsexports/cites

We accept no liability for any Lots which may be subject to CITES but have not be identified as such.

I. OUR LIABILITY TO YOU

(a) We give no warranty in relation to any statement made, or information give, by us, our representatives or employees about any Lot other than as set out in the authenticity warranty and as far as we are allowed by law, all warranties and other terms which may be added to this agreement by law are exclude. The Seller’s warranties contained in paragraph E.1 are their own and we do not have a liability in relation to those warranties.

(b) (i) We are not responsible to You for any reason whether for breaking this agreement or any other matter relating to Your purchase of, or bid for, any Lot other than in the event of fraud or fraudulent misrepresentation by us other than as expressly set out in these conditions of sale; or

(ii) We do not give any representation, warranty or guarantee or assume any liability for a kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance, except as required by local law, any warranty of any kind is excluded by this paragraph.

(c) in particular, please be aware that our written and telephone bidding services, Lyon & Turnbull Live, Condition Reports, currency converter and saleroom video screens are free services and we are not responsible for any error (human or otherwise) omission or breakdown in these services.

(d) We have no responsibility to any person other than a Buyer in connection with the purchase of any Lot

(e) If in spite of the terms of this paragraph we are found to be liable to You for any reason, we shall not have to pay more than the Purchase Price paid by You to us. We will not be responsible for any reason for loss of profits, business, loss of opportunity or value, expected savings or interest, costs damages or expenses.

J. OTHER TERMS

1.

OUR ABILITY TO CANCEL

In addition to the other rights of cancellation contained in this agreement, we can cancel the sale of a Lot if;

(i) Any of our warranties are not correct, as set out in paragraph E3, (ii) We reasonably believe that completing the transaction is or may be unlawful; or

(iii) We reasonably believe that the sale places us or the Seller under any liability to anyone else or may damage

our reputation.

2. RECORDINGS

We may videotape and record proceedings at any auction. We will keep any personal information confidential, except to the extent disclosure is required by law if You do not wish to be videotaped, You may make arrangements to bit by telephone or a written bid or bid on Lyon & Turnbull Live instead. Unless we agree otherwise in writing, You may not videotape or record proceedings at any auction.

3.

COPYRIGHT

We own the copyright in respect of all images, illustrations and written material produced by or for us relating to a Lot. (Including Catalogue entries unless otherwise noted in the Catalogue) You cannot use them without our prior written permission. We do not offer any guarantee that You will gain any copyright or other reproductions to the Lot.

4.

ENFORCING THIS AGREEMENT

If a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as deleted and the rest of this agreement will remain in force.

5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES

You may not grant a security over or transfer Your rights of responsibilities under these terms on the contract of sale with the Buyer unless we have given our written permission. This agreement will be binding on Your successors or estate and anyone who takes over Your rights and responsibilities.

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

“You” and “Your”

“Buyer’s Premium” the sum calculated on the Hammer Price at the rates stated in Catalogue.

“Catalogue” the Catalogue relating to the relevant Sale, including any representation on our Website

“Condition Report” the report on the physical condition of a Lot provided to a Bidder or potential Bidder by us on behalf of the Seller.

“Estimate” a statement of our opinion of the range within the hammer is likely to fall.

“Hammer Price” the level of bidding reached (at or above any Reserve) when the Auctioneer brings down the hammer;

“High Cumulative Value of Lot” several Lots with a total lower Estimate value of £30,000 or above;

“High Value Lot” a Lot with a lower Estimate of £30,000 or above;

“Lot” each Item offered for sale by Lyon & Turnbull;

“Purchase Price” is the aggregate of Hammer Price and any applicable Buyer’s Premium, VAT on the Hammer Price (where applicable), VAT on the Buyer’s Premium and any other applicable expenses;

“Reserve” the lowest price below which an item cannot be sold whether at auction or by private treaty;

“Sale” the auction sale at which a Lot is to be offered for sale by us.

“Seller” the person who offers the Lot for Sale. We act as agent for the Seller.

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

(a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law (b) Jurisdiction: The Buyer agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply.

K. DEFINITIONS & GLOSSARY

The following words and phrases used have (unless the context otherwise requires) the meaning to given to them below. The go Glossary is to assist You to understand words and phrases which have a specific legal meaning which You may not be familiar with.

1. DEFINITIONS

“Auctioneer” Lyon & Turnbull Ltd (Registered in Scotland No: 191166 | Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) or it’s authorised representative conducting the sale, as appropriate;

“Bidder” a person who has completed a Bidding Form

“Bidding Form” our Bidding Registration Form our Absentee Bidding Form or our Telephone Bidding Form.

“Buyer” the person to whom a Lot is knocked down by the Auctioneer. The Buyer is also referred to by the words

“Total Amount Due” the Hammer Price in respect of the Lot sold together with any premium, Value Added Tax or other taxes chargeable and any additional charges payable by a defaulting Buyer under these Conditions;

“VAT” value added tax at the prevailing rate at the date of the sale in the United Kingdom.

“Website” Lyon & Turnbull’s Website at www.lyonandturnbull.com

2. GLOSSARY

The following have specific legal meaning which You may not be familiar with. The following glossary is intended to give You an understanding of those expressions but is not intended to restrict their legal meanings:

“Artist’s Resale Right” the right of the creator of a work of art to receive a payment on Sales of that work subsequent to

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

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

“Risk” the possibility that a Lot may be lost, damaged, destroyed, stolen, or deteriorate in condition or value.

“Title” the legal and equitable right to the ownership of a Lot.

GUIDE TO BIDDING & PAYMENT

REGISTRATION

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

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

2 – Proof 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.

BIDDING OUTSIDE THE SALEROOM

BY PHONE

A limited number of telephone lines are available for bidding by phone through a Lyon & Turnbull representative. Phone lines must be reserved in advance. All bid requests must be received an hour before the sale. All telephone bids must be confirmed in writing, listing the relevant lots and appropriate number to be called. We recommend that a covering bid is also left in the event that we are unable to make the call. We cannot guarantee that lines will be available, or that we will be able to call you on the day, but will endeavour to undertake such bids to the best of our abilities. This service is available entirely at our discretion and at the bidder’s risk.

IN WRITING

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

ON THE INTERNET - ABSENTEE BIDDING

Leave a bid online through our website, call us on 0131 557 8844 or email info@lyonandturnbull.com

- BID LIVE ONLINE

Bid live online, for free, with Lyon & Turnbull Live. Just click the button from the auction calendar, sale page or any lot page online to register.

PAYMENT

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.

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 4 of this catalogue.