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1
CHARGER, CIRCA 1880 silvered metal
40.5cm diameter
Note: See trade catalogue for John Hardman & Co., circa 1885, ‘Alms Basins & Boxes’, Nos. 1-6, where a line drawing for related models are illustrated. £400-600
PAIR OF GOTHIC REVIVAL SIDE CHAIRS,
oak, with later upholstered backs and drop-in
55.5cm wide, 105cm high, 55.5cm deep
From the set of twenty dining chairs supplied in 1844 to Lord Brougham at Brougham
L.N. Cottingham 1787-1847
Architect of the Gothic Revival 1996, p.33, fig. 129
According to Myles (unpublished thesis), Cottingham delivered the twenty chairs to Lord Brougham on 2 August 1844. Other chairs from the set are in the collection of the Victoria and Albert Museum, London (W.2:1, 2-1992) and the
THE NEW PALACE OF WESTMINSTER
RARE GOTHIC REVIVAL COAL BOX, BY BENHAM & FROUD, LONDON, CIRCA 1855 brass and copper, one hinge lid engraved with portcullis cypher and initials H.A/S and b(?)i 33cm wide, 34cm high (handle down), 61cm long £800-1,200
WALL PANEL, CIRCA 1850 carved oak, within later frame 72cm x 36.5cm
Provenance: The Peter Rose and Albert Gallichan Collection
Literature: The John Scott Collection: Architect-Designers from Pugin to Voysey, The Fine Art Society, London 2015, pp. 47-9 where a similar example is illustrated
Note: Gillow won the furniture contract for the New Palace of Westminster project, however it is thought that the panelling was made by Holland & Sons after a Gillows estimate was rejected. Many of the original panels were removed from the building after the Palace was severely damaged by bombing during the Second World War.
£400-600
ENGLISH
GOTHIC REVIVAL CENTRE TABLE, CIRCA 1870 oak, with brass castors 147cm across, 80cm high, 150cm deep £3,000-5,000
5
PAIR OF GOTHIC REVIVAL COMMUNION FLAGONS, 1863 silver, glass, stamped TT&CO., hallmarked Birmingham 1863 (2) 15.5cm high
Note: Thomas Thomason was the foreman at John Hardman & Co., and left the firm to set up on his own, apparently taking several designs from Hardmans with him.
£300-500
7 JOHN R. CLAYTON (1827-1913)
(ATTRIBUTED DESIGNER) FOR CLAYTON & BELL ‘MUSIC’, GOTHIC REVIVAL STAINED GLASS PANEL, CIRCA 1865 painted, stained and leaded glass, later pine frame with brass strengthening bar 86cm square; with frame 94.5cm square £3,000-5,000
Born in Marylebone in 1827, John Richard Clayton was an important maker of stained glass in the latter half of the nineteenth century. A contemporary and friend of the Pre-Raphaelite Brotherhood with a passion for gothic architecture, Clayton began his artistic formation at seventeen with an apprenticeship with Theodore Phyffers who assisted Charles Barry and Augustus Pugin on the sculptural decorations. While producing drawings for G. G. Scott in the mid-1850s, Clayton was encouraged to work with Alfred Bell, and the firm of Clayton & Bell was formed in 1855, going on to become one of the most preeminent stained-glass manufacturers and church decorators in England. While their work was primarily ecclesiastical, the firm also had secular clients and their operation grew so large that by the mid-1860s they employed three hundred employees in their Regent Street workshop. Their stained glass, such as the three present panels, represent excellent examples of the Gothic revival for which the company was highly acclaimed and sought after.
8 JOHN R. CLAYTON (1827-1913)
(ATTRIBUTED DESIGNER) FOR CLAYTON & BELL ‘ART’, GOTHIC REVIVAL STAINED GLASS PANEL, CIRCA 1865 painted, stained and leaded glass within later pine frames with brass strengthening bar 86cm square; with frame 94.5cm square £3,000-5,000
9 JOHN R. CLAYTON (1827-1913)
(ATTRIBUTED DESIGNER) FOR CLAYTON & BELL ‘SCIENCE’: GOTHIC REVIVAL STAINED GLASS PANEL, CIRCA 1865 painted, stained and leaded glass within later pine frames with brass strengthening bar 86cm square; with frame 94.5cm square £3,000-5,000
LIGHT, CIRCA 1890 brass, with associated opalescent glass shades
high, 64cm diameter
CHARLES BEVAN (ACTIVE 1860-CIRCA 1882) (ATTRIBUTED DESIGNER)
GOTHIC REVIVAL OCTAGONAL TABLE, CIRCA 1870
oak, the top inset with parquetry marble and hardstones
across, 69cm high £600-800
ALFRED WATERHOUSE (1830-1905) (DESIGNER), HENRY CAPEL, LONDON (ATTRIBUTED MAKER)
LIBRARY WRITING TABLE, CIRCA 1870 oak, with original tooled leather writing surface 137cm long, 73.5cm high, 91cm deep £1,000-1,500
13
ENGLISH, MANNER OF ALFRED WATERHOUSE
ARTS & CRAFTS
HALLSTAND, CIRCA 1890
with brass fittings and toleware drip trays
wide, 188cm high, 54cm deep
ENGLISH, MANNER OF CHARLES BEVAN GOTHIC REVIVAL WRITING TABLE, CIRCA 1870
ash, specimen wood and ebony inlay with brass fittings
long,
high,
MANNER OF A.W.N. PUGIN GOTHIC REVIVAL FURNISHING FABRIC, CIRCA 1860 made-up as a table cloth, printed velvet panels, plush velvet backing and panels, braid 171cm x 166cm approx £400-600
ENGLISH
GOTHIC REVIVAL CANDLESTICK, CIRCA 1870 brass, set with jewelled cabochons 123cm high £300-500
GOTHIC REVIVAL SIDE CABINET, CIRCA 1870 oak, inset with embossed patinated metal panels, brass fittings, signed to central embossed panel A. ARENS 108cm wide, 167cm high, 42.8cm deep £500-800
GROUP OF FOUR ARCHITECTURAL STUDIES pencil and watercolour, three bearing inscriptions: PADUA/ SEP. 82; CORNER IN SAN MARCO/ SEP 23.82; and VERONA/ PIAZZA S. ANASTASIA SEP 28.82 (4) each approx 19.5cm x 15.3cm £300-500
25 CHRISTOPHER DRESSER (1834-1904)
JAMES COUPER & SONS, GLASGOW ‘CLUTHA’ VASE, CIRCA 1890 green glass, with blue, aventurine and opaque trailed inclusions 21.5cm high
Literature: Lyons H. Christopher Dresser: The People’s Designer, Woodbridge 2005, pp. 164-5, pl. 313 where a comparable example is illustrated.
24
CHRISTOPHER DRESSER (1834-1904)
MODERN ORNAMENTATION
folio, bound in contemporary gold and black stamped maroon cloth, published B.T. Batsford, 52, High Holborn, London, 1886. £300-500
CHRISTOPHER DRESSER (1834-1904) (ATTRIBUTED DESIGNER) FOR MINTON & CO. VASE, CIRCA 1870 glazed earthenware with gilded and enamel highlights
Halén, W. Christopher Dresser: A Pioneer London 1990, p.124, pl. 131 where related Minton & Co artwork is illustrated.
FOR JAMES DIXON & SON, SHEFFIELD TOAST RACK, CIRCA 1878
electroplated silver, stamped facsimile signature CHR. DRESSER/ J.D.&S./ 66/ A.N. 13cm wide, 13.5cm high, 10.5cm deep
Literature: James Dixon and Sons, Cornish Place, Sheffield, Catalogue, 1885, p. 95
Halen W. Christopher Dresser: A Pioneer of Modern Design, Phaidon Press Ltd, London, 1993, pl. 211
Whiteway M. Christopher Dresser 1834-1904, Skira Editore S.p.A., Milan, 2001, pl. 94
Whiteway M. (edit.) Christopher Dresser: A Design Revolution V&A Publications, London, 2004, pl. 195 £2,000-3,000
28
CHRISTOPHER DRESSER (1834-1904)
FOR HUKIN & HEATH, LONDON LETTER RACK, DATED 1881 electroplated, stamped H&H/ 2555, with registration lozenge 12.5cm high £600-800
29
SUGAR BASIN, LONDON 1880
silver, stamped JWD with registration lozenge and hallmarks for London 1880 7cm high
Catalogue 1885, p.96 where an illustration of the complete afternoon tea set of this design is illustrated Decorative Arts 1850-1950: A Catalogue of the British Museum Collection, p.177, pl.21 where an illustration of the matching teapot in electroplate is illustrated.
CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE ART POTTERY SAKE BOTTLE, CIRCA 1880 glazed earthenware, impressed LINTHORPE/ 174 with facsimile signature 13.5cm (5 1/4in) high
The Peter Rose and Albert Gallichan Collection Whiteway, M. (ed), Christopher Dresser, A Design Revolution, London, 2004, p.172 pl. 232 (similar example illustrated).
FOR RICHARD PERRY, SON & CO. KORDOFAN CANDLEHOLDER, 1883 enamelled white metal, with walnut handle, stamped DR DRESSERS DESIGN with registration lozenge 14.2cm high, 19cm wide Literature: Whiteway, M. Christopher Dresser 1834-1904 Skira Editore S.p.A., Milan, 2001, p. 175, plate 214 £300-500
32
CHRISTOPHER DRESSER (1834-1904) FOR AULT POTTERY
PEACOCK VASE, CIRCA 1880 glazed earthenware, impressed ENGLAND, registration no. and applied maker’s mark 41cm high Provenance: The Peter Rose and Albert Gallichan Collection £400-600
33
ELIZA SIMMANCE FOR ROYAL DOULTON SHOULDERED VASE, CIRCA 1905 glazed stoneware, impressed and incised artist’s marks 44cm high £300-500
34
CHRISTOPHER DRESSER (1834-1904) FOR THE OLD HALL EARTHENWARE CO. LTD. JARDINIÈRE, CIRCA 1885 printed and glazed earthenware, with gilt embellishments, painted marks under base 2088, 19cm high; together with a MAJOLICA JARDINIÈRE BY GEORGE JONES, STOKE-ON-TRENT, tin-glazed earthenware, indistinct impressed marks, painted mark 3379/ 11, 17.5cm high (2) £300-500
35
ENGLISH GROUP OF AESTHETIC MOVEMENT TILES, CIRCA 1880 comprising FOUR T&R BOOTE TILES, Ages of Man; CHARLOTTE LOHR FOR MINTON’S, hand-painted tile, signed C.E. LOHR, 17.8cm square; FOUR PILKINGTON’S ART NOUVEAU TILES; and further examples by MAW & Co., MINTON’S etc. (16) £300-500
ORIGINAL DESIGN FOR THE PROSCENIUM FRIEZE AT THE GAIETY THEATRE, LONDON, DATED 1867 watercolour and pencil, initialled lower left HSM, signed and dated lower right in pencil H. S. MARKS/ 1867 10.8cm x 75.8cm
Note: Influenced by the Pre-Raphaelites, Henry Stacy Marks trained at the Royal Academy in 1851 before studying in Paris the following year. Much of his early works focus on Shakespearean and medieval subjects. These works proved popular with many patrons. In the 1860s he undertook work for William Burges, Minton, stained glass manufacturers Clayton & Bell and the artist Lawrence Alma Tadema. During this time, he was also approached by the Gaiety Theatre in London to produce a frieze for the Proscenium Arch. The Theatre began as a music hall but became known for hosting pantomime and musical burlesque performances. From the late 1860s, the venue played an essential role in the development of modern musical comedy, and Mark’s playful and charming compositions were a setting for spectators to marvel at. £300-500
FOR WILLIAM HEINEMANN, LONDON
‘THE SQUARE BOOK OF ANIMALS’, NINE FRAMED PRINTS, 1900 transfer lithograph (9) each 13cm square £300-500
39 Y ENGLISH
oak, with tooled and decorated wrought iron brackets 47cm wide, 88cm high, 49cm deep £400-600
AESTHETIC MOVEMENT OCCASIONAL TABLE, CIRCA 1880
rosewood, inlaid with boxwood lines and bone and specimen wood marquetry 54cm diameter, 65cm high £200-300
40
AESTHETIC MOVEMENT LOW CHAIR, CIRCA 1890 ebonised wood, with a painted panel and later upholstered back and seat 46cm wide, 69cm high, 48cm deep £300-500
ENGLISH
FOUR STAINED GLASS DESIGNS, CIRCA 1890 graphite, pen and wash, bodycolour, depicting Norse gods, bearing inscriptions THOR; LOKI ODIN and JÖRD, each within card mounts each 46.5cm x 15.5cm £400-600
42 FRENCH
ORIENTALIST CENTRE TABLE, CIRCA 1880 ash and mahogany, with parquetry top and ebonised wood inset with Japanese lacquer panels 72.5cm diameter, 75cm high £400-600
MOVEMENT FIREDOGS, CIRCA 1880 wrought iron and brass (2) 36cm wide, 51cm high, 56cm long approx
46 ENGLISH AESTHETIC MOVEMENT FENDER, CIRCA 1880 brass
long, 27cm high, 32cm deep
47
ENGLISH
PAIR OF FIRE DOGS, DATED 1883 cast iron, stamped COPYRIGHTED 1883/ C. A. WELLINGTON/ 4 (2) 26cm wide, 50cm high, 44cm long £200-300
JACKSON & GRAHAM (ATTRIBUTED MAKERS)
ANGLO-MORESQUE OVERMANTEL
CIRCA 1880
boxwood and mirrored glass
wide, 121.5cm high, 23.5cm deep
ENGLISH AESTHETIC MOVEMENT FIRE SURROUND, CIRCA 1880
iron and brass, bears two cast registration
and cast no. 151
108cm wide, 101cm high, 18cm deep
LAURENCE HARRIS (LATE 19TH CENTURY)
PRE-RAPHAELITE FIGURE
and bodycolour, signed lower right LAURENCE HARRIS
x 30cm
PRE-RAPHAELITE SCHOOL, AFTER SIR FRANK BERNARD DICKSEE PAOLO AND FRANCESCA
chalk, unsigned
diameter
50
DANIEL COTTIER (1837-1891) FOR COTTIER & CO. AESTHETIC MOVEMENT STAINED GLASS PANEL, CIRCA 1870-75 stained painted and leaded glass, within later pine frame 70cm x 104cm £1,200-1,800
51
DANIEL COTTIER (1838-1891) FOR COTTIER & CO.
AESTHETIC MOVEMENT DAVENPORT, CIRCA 1870 ebonised wood, brass pulls, raised on castors, with inlaid tooled leather writing surface, painted and gilt panels 80cm high, 70cm wide, 59cm deep £2,000-3,000
The artist, designer, decorator and art dealer Daniel Cottier (1838-1891) is acclaimed for his creative exploitation of the building and decorating boom of the late 19th century and his entrepreneurial founding of an intercontinental business empire in response. Cottier was born and raised in Glasgow, the ‘second city’ of the British Empire, where he established a reputation as an accomplished stained glass designer and business owner and soon became one of Scotland’s most innovative decorators. Encouraged by his growing success, Cottier founded ‘Cottier & Co.’ in London in 1869 with one of its specialities being the design and manufacture of stained glass in churches, public buildings and private homes. In the following decade, Cottier’s glass palette was increasingly marked by the richer and darker colours associated with the Aesthetic Movement, of which he became a key exponent. The peacock, sunflower and lily became popular adornments of ‘The House Beautiful’ during this artistic period, and feature prominently in Cottier’s glass designs. In particular, the peacock became a prevailing icon of the Aesthetic movement for its colour and splendour which perfectly matched the movement’s goal to produce and experience “art for art’s sake”.
52
MANNER OF DANIEL COTTIER
AESTHETIC MOVEMENT OCCASIONAL TABLE, CIRCA 1890 ebonised and painted wood, with gilt embellishments 48cm diameter, 70cm high £250-350
53
COLLINSON & LOCK, LONDON (ATTRIBUTED MAKER)
WALL CABINET, CIRCA 1880
satinwood, the single door enclosing a shelf 71cm wide, 78cm high, 25.5cm wide £300-500
54
AESTHETIC MOVEMENT LAMP TABLE, CIRCA 1870 mahogany
58cm square, 64cm high £300-500
55
AESTHETIC MOVEMENT OCCASIONAL TABLE, CIRCA 1870 chestnut
59.5cm square, 69cm high £300-500
56
DRESSER, CIRCA 1870
oak, with brass fittings, carved inscription CONFIDE/ RECTE/ AGENS 152cm wide, 205cm high, 64cm deep
Literature: Eastlake, C. L. Hints on Household Taste, Longmans, Green & Co., 1878, pl. XI, where a similar ‘Dining-room sideboard’ is illustrated; Cooper, J. Victorian & Edwardian Furniture & Interiors, London, 1987, p. 108, pl. 241 (design drawing illustrating a similar sideboard).
Note: Whilst Eastlake did not directly execute furniture himself, an engraving of this design was published in his Hints on Household Taste and has subsequently been reproduced in Jeremy Cooper’s Victorian & Edwardian Furniture & Interiors. Eastlake advocated simple furniture that was geometric in form with a strong preference for rectangular and square elements and gentle curves. He was reacting against the decorative excesses he felt were widely evidenced at the Great Exhibition of 1851. He also promoted the use of solid wood without elaborate inlays and executed using traditional methods that recalled the work of earlier English makers of the Gothic period. He recommended the use of inspirational mottos on furniture and in this instance the sideboard bears the Latin inscription CONFIDE RECTE AGENS, which can be translated as ‘Have the confidence to do what is right’ or ‘By acting rightly, be confident’.
£2,500-3,500
57
BRUCE J. TALBERT (1838-1881) FOR GILLOW & CO. AESTHETIC MOVEMENT
CANTERBURY, CIRCA 1880 mahogany, stamped to drawer L5358 56cm wide, 49.5cm high, 44cm deep £500-800
BRUCE J. TALBERT (1838-1881), POSSIBLY FOR GILLOW & CO. AESTHETIC MOVEMENT MUSIC CABINET, CIRCA 1870 oak with brass fittings and glazed cupboard door 66cm wide, 110cm high, 44.5cm deep £400-600
59 Y
ENGLISH, MANNER OF BRUCE J. TALBERT ‘MODERN GOTHIC’ SIDE CABINET, CIRCA 1870
rosewood and mahogany, with specimen wood marquetry inlay and brass fittings, with key 121cm wide, 89.5cm high, 51.3cm deep £500-800
60 ENGLISH
AESTHETIC MOVEMENT OCCASIONAL TABLE, CIRCA 1840 mahogany, with sycamore inlay 54.5cm diameter, 68.5cm high £300-500
ENGLISH, MANNER OF LIBERTY & CO., LONDON ANGLO-MORESQUE LOW CHAIR, CIRCA 1870 ebonised wood with velvet and applied beadwork upholstery 50.5cm wide, 93.5cm high, 62.5cm deep £250-350
CLEMENT HEATON (1861-1940)
CHARGER, 1895-1906
cloisonné copper and enamel, marked to reverse CHATOYANT ENAMEL
42.5cm diameter
£1,000-1,500
Clement Heaton, an early member of A.H. Mackmurdo’s Century Guild, set up his company Heatons Cloisonné-Mosaic Ltd at 6 Berners Street, London in 1887, a year after selling his share in his father’s lucrative stained glass business Heaton, Butler & Bayne for £4,800. He patented his enamelling technique in 1886, inspired by medieval techniques that precluded the firing process and instead used coloured cements: a mixture of resin, beeswax, sulphur marble dust and coloured pigments. Hardening over time, these cements could be polished to give the soft matt finish characteristic of Heaton’s work as seen in the present example.
65 ENGLISH AESTHETIC MOVEMENT WALL MIRROR, CIRCA 1880 ebonised, gilded and painted wood, with mirrored plate 64.5cm x 48.5cm £200-300
64
ENGLISH, MANNER OF BRUCE TALBERT PAIR OF AESTHETIC MOVEMENT WALL SCONCES, CIRCA 1880 cast and embossed brass (2) 33cm x 20cm £800-1,200
ENGLISH PAIR OF AESTHETIC MOVEMENT WALL SCONCES, CIRCA 1880 brass (2) 38.5cm x 23.2cm £500-800
67
ENGLISH
GROUP OF AESTHETIC MOVEMENT TILES, CIRCA 1880 glazed earthenware, GROUP OF SIX MINTON, HOLLINS & CO. TILES: ‘ALLEGORICAL OF THE SEASONS’15.2cm square; THREE CRAVEN DUNNILL ‘MONTHS OF THE YEAR’ TILES, 15.3cm square; a CAMPBELL BRICK & TILE CO. ‘ZODIAC’ TAURUS TILE, designed by Lewis F. Day, 15.3cm square; and a MINTON, HOLLINS & CO., TILE, decorated with a Cockatoo, 20.5cm square (11) £300-500
68
ENGLISH
GROUP OF AESTHETIC MOVEMENT TILES, CIRCA 1880 glazed earthenware, comprising THREE MINTON, HOLLINS & CO. ‘BIRD SERIES’ TILES, attributed to E. W. Godwin, 15cm square; TWO W. T. COPELAND & SONS ‘MEDIEVAL OCCUPATIONS’ TILES, 15cm square; TWO MINTONS CHINAWORKS MOULDED TILES, designed by Edward Hammond, 20.5cm square; a MAW & CO., TILE, 15.5cm square; TWO WEDGWOOD TILES, 15.3cm square; and a FRAMED CAMPBELL TILE COMPANY TILE, 15cm square (11) £200-300
69
JAMES SHOOLBRED & CO., LONDON
AESTHETIC MOVEMENT ‘JACOBEAN’ ARMCHAIR, CIRCA 1890 beech and walnut, with later-upholstered seat, stamped to leg JAS SHOOLBRED 7840 53cm wide, 99.5cm high, 49.5cm deep £250-350
FOR GILLOW & CO. AESTHETIC MOVEMENT WRITING
DESK, CIRCA 1890 mahogany, with gilt tooled leather skiver and brass fittings 121.5cm wide, 104cm high, 60.5cm deep £1,000-1,500
72 E. W. GODWIN (1833-1886) (ATTRIBUTED DESIGNER)
CHURCH PEW, CIRCA 1860 pine
240.5cm wide, 90cm high, 63cm deep
Soros S. (edit.) The Secular Furniture of E. W. Godwin Aesthetic Movement Architect and Designer, Yale 1999, p. 225-227, fig. 8-5 where a similar bench is illustrated. £300-500
HANNAH BARLOW (1851-1916)
FARMYARD SCENE
oil on paper; together with HEN PROTECTING HER CHICKS, pencil and wash, with a rejected sketch of a horse verso; a FURTHER SHEET, of various farmyard animals; SEVEN VARIOUS PENCIL AND PEN & INK SKETCHES OF GOATS; THREE FURTHER PENCIL, PEN AND WASH SKETCHES OF FARMYARD ANIMALS; and a FURTHER GROUP OF SKETCHES IN PENCIL, PEN AND INK WASH, depicting various subjects; and a further two sketches of children
73 ENGLISH, MANNER OF PHILIP WEBB AESTHETIC MOVEMENT TABLE, CIRCA 1870 oak and pine
152.5cm long, 72cm high, 75.5cm deep £600-800
Note: The form of this table has similarities to the ‘Kelmscott’ table Philip Webb designed in circa 1875, which William Morris had in his study at Kelmscott House, Hammersmith, with its H form stretcher and turned legs. There is a watercolour by Mary A. Sloane (‘May Morris in Tapestry Room at Kelmscott Manor’, 1910-15), which depicts William Morris’ daughter May editing the twentyfour volumes of Collected Works by William Morris at the Kelmscott table. The picture is held in the William Morris Gallery, Waltham Forest, London.
W. RHEAD
FOR DOULTON & CO.
LARGE PAIR OF TILE PANELS, CIRCA
and glazed earthenware, decorated on Minton blanks, signed to
G. W. RHEAD
75cm x 29.2cm
PILKINGTON’S TILE & POTTERY CO.
‘PERSIAN’ TWO-TILE PANEL, CIRCA 1900 glazed earthenware, framed each tile 22.5cm square approx
Blanchett C. 20th Century
Tiles, Schiffer Publishing, p. 455
similar Iznik tiles are illustrated.
collection, accession no. C.203-
for a similar example
PILKINGTON’S TILE & POTTERY CO.
LARGE FRAMED TILE, CIRCA
PAIR OF FRAMED SHAKESPEARE SERIES TILES, CIRCA 1880 glazed ceramic, one with the inscription PAROLLES (from All’s Well that Ends Well), the other inscribed CLOWN/ SHEPHERD/ AUTOLYCUS (from The Winters Tale), each signed lower right J. GOULD (2) 40cm x 20cm £300-500
78 ENGLISH
FRAMED FOUR-TILE PANEL, CIRCA 1890
glazed ceramic, painted with an owl on a branch, each tile 20cm square; together with a FRAMED WEDGWOOD TWO-TILE PANEL, printed and glazed ceramic, each bearing inscription MAY GOOD DIGESTION WAIT ON APPETITE and ENOUGH, MEANS HEALTH: MORE,DISEASE, each tile 15cm square; and a FRAMED TILE, probably Doulton Lambeth, painted and printed glazed ceramic, painted marks verso C.W. 532/ FB/ E.G./ 0,490, 20.2cm square (3) £300-500
79
ARTS AND CRAFTS EMBROIDERED PANEL, CIRCA 1890 coloured silk and metallic threads, on a blue silk ground, later framed 48.5cm high, 42cm wide
Note: Established by Elizabeth and Thomas Wardle in Leek, Staffordshire around 1879-80, the Leek School of Embroidery became renowned for its innovation and fine needlework.
MOVEMENT LOW CHAIR,
AESTHETIC MOVEMENT DISPLAY CABINET, CIRCA 1880
clear glass, bevelled mirrored glass and brass fittings, abalone shell inlay, machine-embroidered fabric, embossed leather paper
wide, 168.5cm high,
deep
Note: During the 1870s Godwin designed a series of furniture for Collinson & Lock, which was then later redesigned for William Watt, which he described as cottage-style. A design drawing for a similar dresser or buffet of demilune form with open side shelves and brass fitments appears in William Watt’s Art Furniture catalogue of 1877 as illustrated in Soros, Susan, The Secular Furniture of E. W. Godwin, New Haven, 1999, p. 221, pl. 354.
82
blue favrile glass, etched to base LOUIS C. TIFFANY/ L. C. T./ D531 13cm high
Literature: Duncan, A., Louis C. Tiffany: The Garden Museum Collection, ACC, 2004, p. 233 where a similarly decorated vase is illustrated. £1,000-1,500
DESSERT SET, 1912
silver, comprising six forks and spoons, boxed, stamped WB, hallmarked London 1912, box gilt printed WAS BENSON & Co. LTD, 82 & 83 NEW BOND ST, LONDON (13) forks 18cm long, spoons 18.5cm long £2,500-3,500
PAIR OF CASED AESTHETIC MOVEMENT SERVERS, CIRCA 1880 engraved electroplated silver, stamped JD&S (2) 25.7cm long
Provenance: Partridge Fine Arts £200-300
The opening up of Japan to the world from 1854 resulted in greater trade between the East and West. As part of this exchange, typical Japanese art such as woodblock prints, ceramics and metalware found their way into the studios of major artists in the United States and Europe during the second half of 19th century, including into the libraries of several esteemed silver factories such as Gorham Manufacturing Co. of Rhode Island and Tiffany & Co. of New York.
By the late 1860s and early 1870s, exuberant flatware patterns were introduced by both firms, including the Japanese and the Vine patterns at Tiffany & Co. Undoubtedly, Japanese woodblock prints offered inspiration for the artists at Tiffany who strived to translate the appearance of movement and fluidity seen in the two-dimensional Japanese art form into their hollow-ware.
The Victorian progressive designer Christopher Dresser undertook an early visit to Japan in 1876–77 which would deepen his understanding of Japanese forms and transform his own work and manufacturing techniques. While en route to Japan, Dresser visited the United States; in New York, he received a commission from Tiffany & Co. to acquire several thousand Japanese artefacts to similarly inform and inspire their designers.
Given the success and desire for their Japanesque works of art, a period of elaborately designed pitchers and household silver items in the style came into production. Tiffany & Co. displayed one of their most prominent shows at the Paris exhibition of 1878 – a show which won the firm the gold medal for their mixed-metal works of art and from which major institutional and private collectors purchased pieces for their collections.
85
‘JAPANESQUE’ TEA CADDY, CIRCA 1875 silver with parcel-gilt, stamped TIFFANY & CO/ STERLING-SILVER/ 3 and numbered 3683 M 8880, the body applied with a gilt flying dragonfly and a spider weaving an engraved web, the cover with chased gilt geometric square design 16.8cm high £6,000-8,000
86
CLARET GLASS, CIRCA 1860 clear glass with applied prunts, 12.5cm high; together with a PAIR OF GLASSES, clear glass, 14cm high (3)
Literature: Jackson L. (ed.), Whitefriars Glass: The Art of James Powell & Sons, Ilminster, 1996, p. 97 pl. 1 (iii) illus.
Rudoe J. and Coutts H. The Table Glass Designs of Phillip Webb and T.G. Jackson for James Powell & Sons, Whitefriars Glassworks, Decorative Arts Society Journal, vol. 16, p.32, fig. iid for a similar glass £300-500
87
RARE WINE GLASS, CIRCA 1904 coloured glass with aventurine inclusions, pulled trailing decoration and applied prunts, later engraved to the foot
19.5cm high
Literature: Jackson, L., Whitefriars Glass: The Art of James Powell & Sons, Richard Dennis, 1996, p. 30, fig. 74 and p. 62, fig. 156 where a similar glass exhibited at the St. Louis exhibition in 1904 is illustrated £600-800
THE MOWER
bronze, signed in the bronze HT 1884 20cm high
Literature: Manning E. Marble & Bronze: The Life of Hamo Thornycroft, Trefoil 1882, p.207, 152b
Note: This figure is the sketch for the life-size original shown in plaster in 1894 and in bronze in 1894. £1,000-1,500
89
TWO LIGHT SHADES, CIRCA 1890 opalescent glass (2)
tallest 22.5cm high, the other 21cm high £300-500
90
SIDE CHAIRS, CIRCA 1890 mahogany, stamped COLLINSON & LOCK/ LONDON/ 5793 (2) 48.5cm wide, 85cm high, 49cm deep £200-300
TABLE CABINET, CIRCA 1880 oak, inset with glazed embroidered silk work panels 52.5cm wide, 50.3cm high, 16.5cm deep £200-300
An example of this model was exhibited at Cartwright’s Memorial Hall, Bradford by the International Society in 1905 (Art Journal, 354/6 (illustrated)), and one is currently held in the Fitzwilliam Museum, Cambridge (accession no. M.14-2015)
& CO.
MOVEMENT FRAMED TILE
CIRCA
three large tiles, decorated with flowering and fruiting orange branches,
MINTON CHINA WORKS/ STOKE
TRENT, painted 1624/
x 29cm, each tile 12in approx.
ARTS
CRAFTS
wool,
In 1875, Morris & Co. began large-scale production of floor coverings, rugs and carpets, designed to complement an ever-popular ‘Morris’ aesthetic in Victorian Britain. A triumph in craftsmanship on an impressive scale, these designs were hailed as some of the finest hand-knotted carpets ever produced in Britain at the time. Morris’ designs were largely inspired by his love of Eastern carpets from Persia Turkey and China, of which he amassed a great deal and used to furnish his own homes, including Red House. Featuring an array of stylised plants and flowers, carefully woven into fields of vibrant colours, the carpets were hugely popular but very expensive to the average customer. As a result, the firm began to manufacture a range of smaller and less costly alternatives to an eager market. Flowerpots were often a feature of these designs, with trailing flowers stemming out from the centre against a cream ground, and a dark blue border. These smaller rugs were frequently used as wall hangings and occasionally placed as bedside rugs in guest bedrooms.
In 1884, Morris & Co. also manufactured several designs for The Century Guild; a group of artists associated with the Arts & Crafts movement, who sought to preserve the integrity of the artistic trade and its craftsmen. These rugs were sold in the Morris & Co. shop and advertised in the Guild’s magazine Hobby Horse. Though Morris never had a hand in designing these, they look back to his earlier Hammersmith pieces, featuring simple patterns of flowers and flowerpots. This rug is thought to have been designed by Herbert Horne, one of the founding members of the Guild, alongside A. H. Mackmurdo and Selwyn Image. Linda Parry comments that of ‘the three designers associated with the Guild it is stylistically closest to the work of Herbert Horne’.
95
GEORGE WASHINGTON JACK (1855-1931) (DESIGNER), LONGDEN & CO., SHEFFIELD (MAKER) ARTS & CRAFTS FIREPLACE, CIRCA 1893
cast iron, plated copper & Cipollino marble, bears cast inscription of a riddle to the left-hand panel THE FIRE MY GLITTERING FATHER IS/ TH’ EARTH’S MY MOTHER KIND / THE SEA MY YOUNGER BROTHER IS/ BUT ME NO MAN CAN FIND, and to the right-hand panel WHO CAN STAND AGAINST HIS COLD cast section 141.5cm wide, 81.5cm high, 33cm deep; repoussé panel: 29cm x 141cm excluding fittings; marble panels: 159.7cm x 10cm x 2.5cm; the other two 111cm x 9.3cm x 2.5cm Provenance: 8, Grand Avenue, Hove, until removed in 2019. £3,000-5,000
George Jack exhibited a fire grate of this design at the fourth annual arts and crafts exhibition in 1893. It was shown in the north room of the New Gallery at 121 Regent Street, London, as item number 169. The Studio magazine reviewed the exhibition, where they commended the ‘quiet unostentation of the chimney piece proper and the iron grate it houses’
At least two other examples of this fireplace are known to have been made. One was supplied in 1895 to the 3rd marquess of Bute’s House of
Falkland, Fife, Scotland for Lady Margaret’s sitting room where it remains today. It differs only by being dated quite visibly on the right-hand panel. Another example (with Carrara marble) was used by the Scottish architect James Miller (1860-1947) in the Royal reception rooms of the Glasgow International Exhibition of 1901. It was possibly then relocated for use in a bedroom at Coupar Grange in Perthshire, also designed by Miller (completed 1902) as it can again be seen there in a photograph of circa 1904.
96
ENGLISH, MANNER OF MORRIS & CO. ARTS & CRAFTS EMBROIDERED PANEL, DATED 1888 silk threads on a cotton ground, silk satin border and backing, embroidered with inscription VGG/ 1888 in silk and gold threads panel 88.5cm x 144cm, total 123cm x 179cm £400-600
97
ARTS AND CRAFTS WASHSTAND, CIRCA 1900 oak with green tiles, stamped to drawer JAS SHOOLBRED &CO/ 9775 104cm wide, 129cm high, 54cm deep Provenance: Fine Art Society, London; Private Collection, London. £500-800
ART NOUVEAU PENDANT, CIRCA 1900 white metal and enamel, with fine link chain, stamped NEWLYN/ ENAMEL
4.7cm long £400-600
101
99
ARTS & CRAFTS WALL MIRROR, CIRCA 1898 copper, oak, bevelled mirror plate 57.5cm x 72.7cm
£1,000-1,500
100
W.A.S. BENSON (1854-1924)
TWO PAIRS OF ARTS & CRAFTS CANDLESTICKS, CIRCA 1900 copper (4) each 19.5cm high Literature: Hamerton I. (edit.) W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, ACC 2005, p. 253, pl. 23 (No. 2A), where one example is illustrated £400-600
ENGLISH, MANNER OF W.A.S. BENSON
LARGE ARTS & CRAFTS DINING TABLE, CIRCA 1900 pitch pine and fruitwood 212cm long, 74cm high 106cm deep £700-1,000
102
ENGLISH, MANNER OF JOHN PEARSON
ARTS & CRAFTS WALL MIRROR, CIRCA 1900 copper, mirror plate 81.3cm x 66.2cm £500-800
103
W.A.S. BENSON (1854-1924) ARTS & CRAFTS ADJUSTABLE STANDARD LAMP, CIRCA 1900 brass and copper, with later card shade, stamped to base WAS BENSON 169cm high to fitting approx £800-1,200
104
FORD MADOX BROWN (18211893) (ATTRIBUTED DESIGNER) FOR MORRIS & CO. TWO ARTS AND CRAFTS ‘SUSSEX’ CORNER ARMCHAIRS, CIRCA 1875 ebonised wood with drop-in seat, later velvet upholstery (2) 40.5cm wide, 70.5cm high, the other 41cm wide, 70cm high £300-500
105
JOHN PEARSON (1859-1930)
ARTS & CRAFTS FIRESCREEN, DATED 1895 repoussé-decorated copper with stained oak frame, signed verso EX JP 1895 Copper panel 45cm x 69.5cm; the whole 77cm
82cm high, 33cm
£700-900
107
ENGLISH, MANNER OF PHILIP WEBB ARTS & CRAFTS BEDROOM
SUITE, CIRCA 1900
oak with brass fittings, comprising a WARDROBE, 255cm wide, 213cm high, 63cm deep; and a DRESSING TABLE, 153cm wide, 161cm high, 60cm deep (2)
Provenance: Arisaig House, Inverness-Shire
106
ENGLISH, MANNER OF MORRIS & CO.
STAINED GLASS PANEL, CIRCA 1890 stained, painted and leaded glass 59cm x 39cm
WOODWARD GROSVENOR & CO. LTD
WILLIAM MORRIS ‘THE LILY’ RUG, MODERN
worsted woven wool, design number 7048, number 76 of 1000, applied maker’s label verso 183cm x 92cm
109
ENGLISH TABLE BOOKCASE, CIRCA 1900 stained beech, inset with cast brass panels, with volumes of Shakespeare 65cm wide, 41cm high, 16cm deep
MORRIS
MORRIS & CO.
MORRIS (1862-1938) (ATTRIBUTED DESIGNER)
CRAFTS EMBROIDERED PANEL, CIRCA
ROWE FOR ARTHUR LEE & SONS,
FURNISHING
graphite and watercolour on squared paper, depicting a flowering foliate repeat pattern, signed and dated in pencil verso C. F. A. VOYSEY/ ARCHT./ APRIL 29/ 1901, and inscribed WORKED, bears printed Tomkinsons Carpets Ltd. stamp 51cm x 46cm
Exhibited: The Fine Art Society et al, London C.F.A. Voysey: Designs for Tomkinson & Adam Carpets, 2013, no. 21 (‘Daisies and Heartsease’)
£2,000-3,000
113
FRAMED DESIGN FOR A CARPET, DATED 1900
watercolour and graphite on squared paper, depicting a stylised bird and foliate repeat pattern, signed verso C. F. A. VOYSEY/ 23 YORK PLACE W., and dated AUG. 23RD 1900, bears printed Tomkinsons Carpets Ltd. stamp
43.5cm x 56cm; framed 64cm x 77cm
Exhibited: The Fine Art Society, Haslam & Whiteway, H. Blairman & Sons, London C.F.A. Voysey: Designs for Tomkinson & Adam Carpets, 2013, no. 20 ‘Purple Bird and Vines’
Literature: Durant S. The Decorative Designs of C.F.A. Voysey, Lutterworth Press 2017, p. 58 illus.
Note: The stylised birds used in this design are found in many of Voysey’s works. In an interview with The Studio magazine in 1893, he stated “I do not see why the forms of birds may not be used, provided they are reduced to mere symbols...”.
£3,000-5,000
115
C. F. A. VOYSEY (1857-1941) FOR
TOMKINSON & ADAM LTD., KIDDERMINSTER
DESIGN FOR A CARPET BORDER, CIRCA 1898 graphite and watercolour on squared paper, depicting acanthus leaves and berries, signed in ink verso C. F. A. VOYSEY/ ARCHITECT/ 6. CARLTON HILL. N.W., bears printed Tomkinsons Carpets Ltd. stamp 35.5cm x 58cm
Exhibited: The Fine Art Society et al, London C.F.A. Voysey: Designs for Tomkinson & Adam Carpets, 2013, no. 28 (‘Leaves and Berries Design’)
Literature: Mayers F.J. Carpet Designs and Designing, F. Lewis (Publishers) Ltd 1934, illustrated plate XIII (B) £2,000-3,000
116
C. F. A. VOYSEY (1857-1941) FOR
TOMKINSON & ADAM LTD., KIDDERMINSTER
DESIGN FOR A CARPET, DATED 1900 graphite and watercolour on squared paper, depicting a fruiting vine repeat pattern, signed and dated in ink verso C. F. A. VOYSEY/ ARCHT./ 23 YORK PLACE W./ JANY. 1900/ NO. 9, and inscribed WORKED, bears printed Tomkinsons Carpets Ltd. stamp 50.5cm x 40.5cm
Exhibited: The Fine Art Society et al, London C.F.A. Voysey: Designs for Tomkinson & Adam Carpets, 2013, no. 18 (‘Grape Vine’) £2,000-3,000
Born in West Derby, Lancashire Richard Llewellyn Benson Rathbone (1864-1939) was the son of Richard Rathbone, a Liverpool merchant and the cousin of Harold Rathbone, chairman of Della Robbia Pottery in Birkenhead. He trained in London with W. A. S. Benson, a family relative. Rathbone set up his own workshop around 1890 and produced metalwork for various designers including A.H. Mackmurdo, Heywood Sumner and C.F.A. Voysey. He continued production until the early 1900s when he became head of the Sir John Cass Institute in London.
120
ARTS & CRAFTS TILE, CIRCA 1920
glazed earthenware
square
Literature: Blanchett C. 20th Century British Tiles, Schiffer Publishing 2006, p. 455 where a similar tile is illustrated.
Livingstone K. et al C.F.A Voysey Arts and Crafts Designer, V&A Publishing, p. 292, pl. 385 where designs for related tiles are illustrated.
ARTS & CRAFTS TILE, CIRCA 1920
glazed earthenware
square
Literature: Blanchett C. 20th Century British Tiles, Schiffer Publishing, p. 455 where a similar tile is illustrated.
Livingstone K. et al., C.F.A.Voysey: Arts and Crafts Designer, V&A Publishing London 2016, p. 292, pl. 385 where designs for related tiles are illustrated.
122
PAIR OF ARTS & CRAFTS HINGES, CIRCA 1900 patinated bronze, each stamped to reverse ELSLEY’S (2) 41cm long including hinge terminal
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.
123
ENGLISH, MANNER OF C.F.A. VOYSEY
ARTS & CRAFTS LETTER BOX, CIRCA 1890
painted to hinged cover LETTERS
wide
126
ENGLISH
ARTS & CRAFTS WALL MIRROR, CIRCA 1900 chased and repoussédecorated copper, ceramic panels, mirrored glass plate 64cm x 92.5cm Provenance: Liberty & Co., London £800-1,200
127
M. H. BAILLIE SCOTT (1865-1945) (ATTRIBUTED DESIGNER)
ARTS & CRAFTS ARMCHAIR, CIRCA 1900 walnut with rush seat 58cm wide, 110.5cm high, 51cm deep
Literature: Furniture Made at the Pyghtle Works, Bedford designed by M. H. Baillie Scott, published by John P. White, where a similar chair is illustrated (No.8) £300-500
128
HENRY WOODYER (1816–1896)
ARTS & CRAFTS REFECTORY TABLE, CIRCA 1870 stained pine 215cm long, 76cm high, 89cm deep Provenance: House of Mercy, Clewer, Berkshire £800-1,200
Born into a wealthy family in Guildford in 1816, Henry Woodyer went on to become a prominent English architect of the nineteenth century. Devoutly religious, Woodyer’s work was primarily linked to the Anglican high church movement, and he restored or designed numerous churches and church interiors throughout his career as a means of serving them and established him as a major name of the Gothic Revival.
ARTS & CRAFTS NECKLACE, CIRCA 1900
metal, enamel, moonstone cabochons
panel drop approx 5.1cm, 41cm total length
ENGLISH
ARTS & CRAFTS BOWL & COVER, DATED 1930 silver and enamel, engraved under the cover ET/ 1930, later hallmarked Britannia standard London 1974, indistinct scratched mark W under base 14cm high £2,000-3,000
PAIR OF ARTS & CRAFTS SERVING SPOONS, 1936 silver, within original box, stamped OR, hallmarked London 1936 (2) each 20.2cm long
135
PAIR OF BEAKER VASES, CIRCA 1910 silver-plate, stamped DSCG with Crown motif (2) each 14cm high £200-300
SOUTH KENSINGTON SCHOOL
FOR A BROOCH, PENDANT AND CLASP, CIRCA 1900 watercolour, inscribed to the mount, embossed blind stamp ESK (Examined South Kensington), 17cm x 25cm; together with a DESIGN FOR A NECKLACE, 8.5cm x 21.5cm; and a DESIGN FOR A BROOCH, 8.4cm square, each in watercolour, inscribed to the mounts and each with embossed blind stamp ESK (Examined South Kensington) (2) £250-350
137 ENGLISH
ARTS & CRAFTS HALL LANTERN, CIRCA 1910 embossed and hammered brass, red glass panels 37cm high £250-350
ARTS & CRAFTS HAND-KNOTTED CARPET
ENGLISH, MANNER OF WILLIAM LETHABY ARTS & CRAFTS
CIRCA 1900
with horsehair
back and seat
high,
ENGLISH, MANNER OF MARY SETON WATTS ARTS & CRAFTS PANEL, CIRCA 1900
gesso and string
panel, bears inscription
IN EXCELSIS
HENRY WALTON
(DESIGNER)
WILLIAM BIRCH, HIGH WYCOMBE (MAKER)
& CRAFTS SETTLE, CIRCA
with later but period Morris & Co., upholstered seats
wide, 101cm high,
WILLIAM BIRCH, HIGH WYCOMBE
ARTS & CRAFTS ARMCHAIR, CIRCA 1910
with rush seat 63cm wide, 98.5cm high, 45cm deep £600-800
ARTS AND CRAFTS
TALL-BACKED CHAIR, CIRCA 1900 inlaid oak, with rush seat 42.5cm wide, 126.5cm high, 40cm deep £500-700
oak, stained and leaded glass, inset with copper roundels and patinated metal fittings, with brass insert and wrought iron fire grate 197cm wide, 209cm high, 30cm deep; internal 96cm x 101.5cm; insert 101.5cm x 110cm £1,000-1,500
148
ARTS & CRAFTS COMPANION SET,
wrought steel, with brass orb finial height of stand 76cm £200-300
ENGLISH, MANNER OF THE GUILD OF HANDICRAFT ARTS & CRAFTS FIRESCREEN, CIRCA 1905 wrought iron and copper 62.5cm wide, 81cm high £300-500
145 ENGLISH
ARTS & CRAFTS MIRROR, CIRCA 1900 copper, set with four enamel roundels and a mirrored glass plate 73cm x 38.5cm £300-500
& CRAFTS
CIRCA 1900
inset with tapestry
H. BAILLIE SCOTT
PAIR OF ARTS & CRAFTS
BACK ARMCHAIRS, CIRCA 1895
with leather upholstery (2)
wide, 120.5cm high, 50cm deep
Wichmann S. Jugendstil Floral Funktional, Bayerische Nationalmuseum, Munich 1984, p. 121, pl. 244
An example of this chair is illustrated on the cover of the guidebook for Blackwell, Windermere, designed by Baillie Scott for Sir Edward Holt in 1898–1900.
151
ENGLISH, MANNER OF KENTON & CO. ARTS & CRAFTS WALL MIRROR, CIRCA 1900 oak, marquetry inlaid with flowering rose tendrils and crowns, bevelled mirror glass 115cm x 85cm
Literature: For related inlay in a cabinet and stand by Kenton & Co. see V&A Collection accession no. CIRC.404:1 to 4-1964 £500-800
152 ENGLISH
‘QUEEN ELIZABETH I’ AND ‘HENRY VIII’: STAINED GLASS PANELS, CIRCA 1900 stained, painted and leaded glass, within original pine frames (2) 104cm x 68cm; 107.5cm x 79.5cm including frame £1,000-1,500
153 ENGLISH
‘TYDAL’ CHAIR, CIRCA 1900 carved oak
50cm wide, 96.5cm high, 49.5cm deep £700-1,000
This chair is a direct copy of a chair first identified in 1878 by archaeologist Nicolay Nicolaysen (1817-1911) in the Tyldal Church in Østerdalen, Hedmark, Norway made circa 1150–1200. He arranged for it to be sent to the Historical Museum in Oslo, Norway where it remains on public display today. Detailed photographs of all four sides of the Tyldal chair were published in 1897 in Vol 10 of The Studio magazine in an article titled ‘Early Scandinavian Carvings’ by J. Romilly Allen, F.S.A. Later, on 7th December 1900, The Building News published a well-observed drawing of the Tyldal chair titled Norwegian Chair from Tyldalen Church Osterdalin
A small number of reproductions of the famous Tyldal chair seem to exist, including a birch example circa 1900 by the carver Johan Borgersen is in the collection of Sverresborg Trøndelag Folk Museum; three variations of the model in limed oak and made in 1925 are in the collection of Bryn Athyn Cathedral Pennsylvania; and a single chair circa 1927 in the collection of The Glencairn Museum, Pennsylvania.
157
SCOTTISH, MANNER OF MARGARET GILMOUR
WALL MIRROR, CIRCA 1910
repoussé decorated brass, with mirrored glass plate 76.5cm x 42cm £300-500
158
MAURICE GREIFFENHAGEN (1862-1931)
MALE NUDE STUDY
pencil, signed lower right MAURICE
GREIFFENHAGEN 29cm x 30.5cm £400-600
PAIR OF ARTS & CRAFTS EXTENDING STANDARD LAMPS, CIRCA 1900
oak and patinated metal, with later shades (2) 211cm high fully extended (to top of fitting), 38cm across
160
ENGLISH
ARTS & CRAFTS
‘CAMBRIDGE UNIVERSITY’ BOOKCASE, CIRCA 1910 oak, with applied cast metal university crest, registered no. RD. NO. 504216 54.5cm wide, 115.5cm high, 30cm deep £800-1,200
JAMES SHOOLBRED &
THE STUDIO, AN ILLUSTRATED MAGAZINE OF FINE AND APPLIED ART COLLECTION OF YEARBOOKS
STUDIO
166 ENGLISH
GROUP OF TILES, CIRCA 1900 glazed earthenware, comprising a CARTER & CO. ‘LONGBOAT’ TILE, 15.2cm square; a CRAVEN DUNNILL LUSTRE TILE, 15.4cm square; a CARTER & CO. PEACOCK TILE, 15cm square; an IZNIK TILE, probably Craven Dunnill, 15cm square; and FOUR VICTORIAN TILES, printed with a poppy design, each with registered number 22570, 15.2cm square (8) £300-500
ARTS AND CRAFTS PLAQUE, CIRCA 1910 enamel, framed, with applied leather panel verso faintly inscribed in white paint 1374/ MASSIE. MARY AGNES/ AGE 28/ DESIGNER, 2**/ 104 plaque 5cm x 7cm, frame 23.5 x 25cm
Hoban S.The Birmingham Municipal School of Art and Opportunities for Women’s Paid Work in the Arts and Crafts Movement, University of Birmingham thesis, 2013, pp.123-4
Note: Born in 1883, Mary Agnes Massie was a designer for the Birmingham jewellers Marples and Beasley.
167 ENGLISH
ARTS & CRAFTS FIREPLACE, CIRCA 1910 oak, patinated copper with repoussé copper panels, cast iron and glazed ceramic tiles, 189cm wide, 133cm high, 21.5cm deep; internal 107cm x 111cm; the insert 56cm wide, 96.5cm high; tile panels 29cm wide, 97.5cm high
FIRE TOOLS, CIRCA 1900 wrought steel, comprising an ASH SHOVEL, cm long; and a PAIR OF COAL NIPPERS, cm long (2) coal nips 72cm long; ash shovel 72cm long
175
FIGURE OF ST. GEORGE, CIRCA 1920
pottery, impressed maker’s mark to base
high
Calvert, H., & Boreham, L., Mary Seaton Watts and the Compton Pottery, PWP, 2019, p. 139, pl. 8.17. illus.
OF ARTS
SUNG FIREBIRD BOWL, CIRCA 1925
ceramic
Royal Doulton mark, painted
NOKE No 730
diameter, 15cm high
W.A.S. BENSON (1854-1924) ARTS & CRAFTS OIL LAMP, CIRCA 1890 brass and copper, stamped BENSON, with opalescent glass shade 47.5cm high to top of fitting; 69.5cm total height £500-800
MANNER OF ARTHUR DIXON FOR THE BIRMINGHAM GUILD OF HANDICRAFT ARTS AND CRAFTS CHANDELIER, CIRCA 1900 brass and copper, with opalescent glass shades 74cm high, 73cm wide approx. £300-500
ARTS & CRAFTS ARMCHAIR, CIRCA 1900 oak, with later upholstered back and seat 68cm wide, 98.5cm high, 45.5cm deep £250-350
CUSHION, THE MATERIAL CIRCA 1920 stencil-painted velvet, with later silk backing, 45cm x 65cm; together with an ENGLISH ARTS & CRAFTS EMBROIDERED CUSHION, THE EMBROIDERY CIRCA 1900, silk threads, on a plush ground with later linen backing, 33cm square; and an ENGLISH ARTS & CRAFTS EMBROIDERED CUSHION, THE EMBROIDERY CIRCA 1900, coloured wools on a linen ground, with later linen backing, 43cm x 49cm (3) £250-350
W.A.S. BENSON (1854-1924)
ARTS & CRAFTS ADJUSTABLE TABLE LAMP, CIRCA 1900 brass and copper, with associated opalescent glass shade by James Powell & Sons, stamped to fitting BENSON 29.5cm high to hinge £400-600
183 ENGLISH
182
RADDIN CRAFT, NEWARK
ARTS & CRAFTS BOX, CIRCA 1916 patinated copper with white metal fittings, fitted wooden interior, signed to the underside RADDIN CRAFT/ NEWARK/ NJ/ SAKS FIFTH AVENUE 36cm wide, 6.5cm high, 25.5cm deep £300-500
ARTS & CRAFTS MANTEL CLOCK, CIRCA 1900 carved oak, with later movement 32.5cm high £600-800
185
ENGLISH
PAIR OF ARTS & CRAFTS CEILING LIGHTS, CIRCA 1900 wrought iron and copper (2) 57.5cm across, 45cm high approx. Provenance: Canongate, Edinburgh £400-600
184 ENGLISH
ARTS & CRAFTS LETTER BOX, CIRCA 1900 copper 24.5cm wide, 38.5cm high, 14.4cm deep £400-600
186 W.A.S. BENSON (1854-1924)
ARTS & CRAFTS TABLE LAMP, CIRCA 1900 brass, stamped BENSON 28cm high to fitting £300-500
187
ENGLISH
ARTS & CRAFTS HANGING LIGHT, CIRCA 1910 brass, with later iridescent glass shades diameter including shades 56.5cm x 59cm high to chain, 104cm high including chain and ceiling rose £400-600
188
ENGLISH, MANNER OF ARTHUR & GEORGIE GASKIN
ARTS & CRAFTS NECKLACE, CIRCA 1900 white metal, enamels, opals 41cm long £500-700
189
MURRLE BENNETT & CO., LONDON
ARTS & CRAFTS PENDANT NECKLACE, CIRCA 1910 gold and blister pearl, stamped MBCo and 9CT 4cm high to chain £500-800
ARTS & CRAFTS HAIR COMB TERMINAL, CIRCA 1905 white metal, enamel and moonstone
For a similar design for a hair comb terminal but with different roundel designs, please see V&A Museum collection accession no. E.669:293-1955. A Buckle and Belt Tag in the same collection (accession no. M.5:1 to 3-2002) shows a roundel with a similar stag design.
192
MURRLE BENNETT & CO., LONDON
ARTS & CRAFTS RING, CIRCA 1910 silver, with turquoise cabochon, stamped M.B.C/ 950 £400-600
193
BARNET HENRY JOSEPH (B.H. JOSEPH & CO., 1865-1929)
PENDANT, CIRCA 1900 gold, with turquoise cabochon and pearl drop, stamped B.H.J./ 9CT, 3cm across; and another BROOCH, ATTRIBUTED TO BARNET HENRY JOSEPH, gold, with turquoise cabochon and pearl drop, stamped 9CT, 3.8cm across (2) £500-800
197
MAGAZINE RACK, CIRCA 1900 mahogany and mother of pearl inlay, stamped ‘R2456/89’ to the underside 54cm wide, 74.5cm high, 25.5cm deep £400-600
SEATED LADY TENDING FLOWERS watercolour on paper, signed and inscribed lower left 24.5cm x 13.5cm £600-800
196
HALLSTAND, CIRCA 1900 oak, inset with copper panels and lined tray 53.5cm wide, 104.5cm high, 26.5cm deep £400-600
OVERMANTEL MIRROR, CIRCA 1910 mahogany with marquetry inlay, bevelled mirror plate stamped 91 74cm x 136cm
Literature: Bennett D. Shapland & Petter Ltd. of Barnstaple: Arts & Crafts Furniture, 2005, p.47, fig.4.17, where a mirror with similar marquetry inlay is illustrated. £500-800
STUART & SONS, STOURBRIDGE
GROUP OF SIX ART NOUVEAU VASES, CIRCA 1910
clear glass with applied and trailing decoration, comprising a METAL-MOUNTED VASE, stamped MW&S/ 1248, 23cm high; TWO SMALL SQUAT VASES, 9.5cm and 10.5cm high; a TAPERED VASE, with trailing peacock decoration, 14.5cm high; a TALL TAPERED VASE, 18cm high; and a LARGE SQUAT VASE, with broad rim and trailing peacock decoration, 26cm across (6) £300-500
199
GEORGE MONTAGUE ELLWOOD (1875-1955) FOR J.S. HENRY, LONDON
SET OF EIGHT DINING CHAIRS, CIRCA 1910 oak, inlaid with pewter and copper, with later but period upholstered seats, two chairs with stamped number 3272 (8)
Carvers 62cm wide, 115.5cm high, 45cm deep; chairs 42cm wide, 106cm high, 42.5cm deep £600-800
200
GEORGE MONTAGUE ELLWOOD (1875-1955) FOR J. S. HENRY, LONDON (ATTRIBUTED MAKER)
ARTS & CRAFTS OAK SETTLE, CIRCA 1900 oak, with raised velvet upholstery 145cm wide, 161cm high, 60.5cm deep
Literature: The Studio, Volume 16, 1899, p. 246 where a line drawing of a similar example is illustrated as part of a feature, Scheme of Decoration for a Bachelor’s Room.
201 ENGLISH
CHANDELIER, CIRCA 1910 brass, with period opalescent glass shades including shades 66cm diameter; 50cm high to chain; 106cm high including chain £400-600
202 §
RIVERSCAPE
watercolour on paper, unsigned 13cm x 37cm £300-500
203 §
LÉON-VICTOR SOLON (1872-1957)
CATALOGUE COVER DESIGN, 1899 pencil, pen and watercolour on paper, 18.5cm x 13.5cm; together with a COVER DESIGN FOR THE STUDIO MAGAZINE, coloured lithograph, 23cm x 15cm (2) £300-500
ARTHUR W. SIMPSON (1857-1922), KENDAL
ARTS & CRAFTS WALL SHELVES, CIRCA 1910
oak
wide, 71cm high, 19cm deep
ARTS & CRAFTS TRIPTYCH FIRESCREEN, CIRCA 1900 carved oak frame, with glazed embroidered panels, possibly by Annie Garnett
93.5cm wide, 80cm high Note: Annie Garnett (1864-1942) was a key Arts and Crafts Movement figure in the revival of hand spinning and weaving in the English Lake District. Garnett was acquainted with the Simpson family through the Keswick School of Industrial Arts and based her geometric patterns on natural forms, notably exhibiting a peacock feather embroidered screen at the Arts and Crafts Exhibition Society in 1903.
206
DRESSING CHEST, CIRCA 1910
with bronze handles by Rathbone & Co.
wide, 91cm high, 55.5cm deep
207
MANNER OF ARTHUR SIMPSON, KENDAL
ARTS & CRAFTS LOW STOOL/BOX, CIRCA 1900 carved oak and woven leather, opening to a void interior 38cm wide, 19.5cm high, 31cm deep
208
ARTHUR W. SIMPSON (1857-1922), KENDAL (ATTRIBUTED MAKER)
ARTS & CRAFTS LETTER BOX, CIRCA 1900 carved oak, inscribed LETTERS, with later working key 36cm wide, 28cm high, 21.5cm deep
209
ARTHUR W. SIMPSON (1857-1922), KENDAL
ARTS & CRAFTS LETTER RACK, CIRCA 1900 oak, with bronze handles by Rathbone & Co., and with two ceramic inkwells 51cm wide, 24.5cm high, 11cm deep
210
ARTHUR W. SIMPSON (1857-1922), KENDAL
TWO ARTS & CRAFTS STOOLS, CIRCA 1920 oak, with woven leather seat, one with applied maker’s label (2) 40.5cm wide, 31cm high, 30.5cm deep £400-600
211
ARTHUR W. SIMPSON (1857-1922), KENDAL (ATTRIBUTED MAKER)
ARTS & CRAFTS TWO-FOLD SCREEN, CIRCA 1900 carved oak each fold 99cm high, 40.5cm wide
212
ARCHIBALD KNOX (1864-1933)
FOR LIBERTY & CO., LONDON
WALL MIRROR, CIRCA 1905 patinated copper, with Ruskin roundels, mirrored glass, traces of paper label verso 61cm x 92cm £2,000-3,000
213
MANNER OF LIBERTY & CO., LONDON
ANGLO-MORESQUE JARDINIÈRE STAND, CIRCA 1880 mahogany
top 26cm square, 91cm high £300-500
214 ENGLISH
ANGLO-MORESQUE OCCASIONAL TABLE, CIRCA 1880 marquetry-inlaid, with mother-of-pearl 38cm square, 52cm high £300-500
215
MANNER OF
LIBERTY & CO., LONDON
AESTHETIC MOVEMENT SIDE TABLE, CIRCA 1890 mahogany 84cm wide, 80.5cm high, 46cm deep £300-500
217
LIBERTY & CO., LONDON
‘TUDRIC’ CLOCK, MODEL NO. 0382, CIRCA 1902-5 pewter and enamel, stamped under base TUDRIC 0382 25.5cm high £3,000-5,000
ARTS & CRAFTS PENDANT NECKLACE, CIRCA 1900 white metal, enamel, opal, seed pearl pendant including fittings 4.5cm tall £300-500
FOR LIBERTY & CO., LONDON ARTS & CRAFTS NECKLACE, CIRCA 1900 silver and enamel, stamped L&Co./ SILVER 46cm long £400-600
220
JESSIE MARION KING (1875-1949) FOR LIBERTY & CO., LONDON
ARTS & CRAFTS PENDANT NECKLACE, CIRCA 1900
white metal, enamel, blister pearl pendant 5.5cm high including fittings £300-500
JESSIE MARION KING (1875-1949) FOR LIBERTY & CO., LONDON
ARTS & CRAFTS RING, CIRCA 1900
white metal, enamel, blister pearl, with associated box ring size K £200-300
222
ENGLISH, MANNER OF LIBERTY & CO., LONDON PAIR OF ‘THEBES’ STOOLS, CIRCA 1920 walnut (2) 41.5cm wide, 39cm high, 36cm deep £300-500
223
LIBERTY & CO., LONDON WALL MIRROR, CIRCA 1910 beaten pewter frame, mirrored plate 52cm x 64cm £300-500
224
ENGLISH, MANNER OF LIBERTY & CO., LONDON PAIR OF ARTS & CRAFTS CANDLESTICKS, CIRCA 1900 pewter, set with abalone panels (2) 16cm high £200-300
225
LIBERTY & CO., LONDON (ATTRIBUTED MAKER)
WALL MIRROR, CIRCA 1910 repoussé-decorated and hammered copper, mirrored glass 45.5cm x 30.3cm £300-500
H. Haseler, stamped W.H.H./ SILVER 2.8cm high
Literature: Martin S. Archibald Knox, ArtMedia 2001, p. 265 £600-800
227
JESSIE MARION KING (1875-1949) FOR LIBERTY & CO., LONDON ARTS & CRAFTS NECKLACE, CIRCA 1900 15 carat gold, enamel, seed pearls, stamped to clasp 15CT 38cm long £600-800
228
WILLIAM HAIR HASELER FOR LIBERTY & CO., LONDON BROOCH, CIRCA 1900 silver and enamel, stamped W.H.H./ SILVER 3.4cm across £300-500
229
MURRLE BENNETT & CO., LONDON BROOCH, CIRCA 1910 silver and enamel, stamped MBCo/ SILVER 4cm across £300-500
230
MANNER OF LIBERTY & CO., LONDON OCCASIONAL TABLE, CIRCA 1900 mahogany, inlaid with mother-of-pearl 61cm diameter, 75cm high £200-300
231
MANNER OF LIBERTY & CO., LONDON ARTS & CRAFTS TUB ARMCHAIR, CIRCA 1900 oak, with later leather upholstered seat 59cm wide, 75cm high, 48cm deep £300-500
235
DAVID VEASEY FOR LIBERTY & CO., LONDON ARTS & CRAFTS ‘TUDRIC’ TWIN-HANDLED ROSE BOWL, CIRCA 1910 pewter, bearing inscription AND THE MUSK OF THE ROSE IS BLOWN AND THE WOODBINE SPICES ARE WAFTED ABROAD, stamped TUDRIC/ 011 24.5cm diameter £400-600
232
ARCHIBALD KNOX (1864-1933)
FOR LIBERTY & CO., LONDON
JEWELLERY BOX, 1902 silver, later suede-lined interior, indistinctly stamped L&Co/ CYMRIC, indistinctly hallmarked Birmingham 1902 16.8cm wide, 16.5cm deep, 3.5cm high
Note: This rare box will be included in the forthcoming monograph on Archibald Knox, edited by Stephen Martin.
£3,000-5,000
233
W.H. HASELER LTD. VESTA, 1924 silver and enamel, stamped W.H.H., hallmarked Birmingham 1924 5.8cm across £300-500
234
ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON ‘TUDRIC’ AND ‘CLUTHA’ CENTREPIECE, CIRCA 1905 pewter stand and ‘Clutha’ glass bowl with aventurine inclusions, manufactured by James Couper & Sons, Glasgow, stamped TUDRIC/ 0276
ARTS & CRAFTS ‘347’ DRESSING TABLE CIRCA 1902
oak, with brass fittings and chequered inlay, mirrored glass plate
106.5cm wide, 140cm high, 53cm deep
Literature: Heal, Oliver S. Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939, Unicorn 2014, p.163 where a similar example is illustrated.
£600-800
ARTS & CRAFTS ‘347’ DWARF WARDROBE, CIRCA 1902
oak, with brass fittings and chequered inlay, stamped to the drawer HEAL & SON/ LONDON, with original key also stamped HEAL & SON (2)
182.5cm wide, 181cm high, 50.5cm deep
Literature: Heal, Oliver S. Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939, Unicorn 2014, p.16p.163 where a similar example is illustrated.
Note: Only 12 sets of the ‘347’ were made before the range ceased production in 1908.
£1,500-2,500
240
AMBROSE HEAL (1872-1959)
FOR HEAL & SON, LONDON
ARTS & CRAFTS WARDROBE, CIRCA 1900 oak, with iron fittings and mirrored glass plate, applied oval metal label HEAL & SON/ 196/ TOTTENHAM CT/ LONDON 167cm wide, 202.5cm high, 58.3cm deep £2,000-2,500
238
HEAL & SON, LONDON
ARTS & CRAFTS CENTRE TABLE, CIRCA 1920 oak, applied ivorine label HEAL & SON, LONDON 106cm diameter, 76cm high £500-800
241
HEAL & SON, LONDON
ARTS & CRAFTS LAUNDRY BASKET, CIRCA 1910 oak, with later cotton liner, branded marks HEAL & SON/ REGD. NO. 473023 30.5cm square, 81cm high £300-500
239
AMBROSE HEAL (1872-1959)
FOR HEAL & SON, LONDON CHEST OF DRAWERS, CIRCA 1920 chestnut
61cm wide, 122cm high, 53cm deep £1,500-2,000
245
AMBROSE HEAL (1872-1959) FOR HEAL & SON, LONDON
ARTS & CRAFTS ‘MANSFIELD’ PRESS, CIRCA 1899 no. ‘235’, possibly made by the Guild of Handicraft, oak, with copper fittings 108cm wide, 234cm high, 55.5cm deep
Literature: Heal, Oliver S. Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939, Unicorn 2014, cover illustration, also p.157 where a similar example with iron fittings is illustrated.
Note: Ambrose Heal turned to C.R. Ashbee and the Guild of Handicraft workshops in Essex Road, Mile End to produce much of his earliest bedroom furniture output. The Guild produced eleven of these ‘Gentleman’s Wardrobes’ before the production moved to their own workshops circa 1899.
£1,000-1,500
246
HEAL & SON, LONDON BOOKCASE TABLE, CIRCA 1930 oak 58cm across, 58cm high £400-600
247
HEAL & SON, LONDON (ATTRIBUTED MAKER)
ARTS & CRAFTS
BUREAU, CIRCA 1930 limed oak 74cm wide, 105cm high, 41.5cm deep
Provenance: The Millinery Works, London £300-500
248
ANN MACBETH (1875-1948)
GLASGOW SCHOOL COLLAR, CIRCA 1900 padded silk ground, with appliqué of silk, embroidered in silk threads in satin stitch and couching 54cm wide, 45cm high, approximate depth 19.5cm Exhibited: The Crafts Exhibition, Old Bluecoat School, Liverpool, 1912 Literature: The Studio Yearbook, 1908, p. 291, where illustrated £3,000-5,000
An inspiring artist, teacher and women’s rights activist, ANN MACBETH’S embroideries continue to charm and captivate those who set their eyes upon them. Skilfully executed, her work typically features young female figures encased within an array of stylised roundels and openwork banding. However, as a teacher at the School of Art, she continued to uphold Jessie Newbery’s views and encouraged students to explore women’s fashion and artistic dress. This rare surviving example of a collar, very likely worn by her for a portrait taken in 1900, captures the organic essence and vibrancy of the Glasgow style.
In an age of rapid change and industrialisation, Glasgow was transforming into a prosperous city; a model of pioneering design and manufacturing, especially within the shipbuilding and textile
industries. Whilst the School of Art’s main focus was to foster fresh young designers to strengthen city’s key trades, the director Fra Newbery equally believed in the importance of nurturing individuality amongst his students. A hub of exciting creative experimentation, Ann Macbeth enrolled at the School in 1897 and immersed herself in this stimulating and progressive environment; a space in which women could actively pursue an artistic career and financial independence.
By the late nineteenth century, embroidery was enjoying somewhat of a revival, however, the country’s contribution to the medium was largely machine-made. Handcrafted embroideries were limited to Berlin wool work: sold as ready-made printed designs for the consumer to stitch onto with coloured wools.
Unimaginative, laborious and completely lacking in originality, embroidery was reduced to a stereotypical domestic craft of no real artistic merit. With Jessie Newbery at the helm of the School’s Embroidery department, she sought to transform such ideas and teach embroidery as a design subject in a variety of forms, including artistic dress.
Arguably Jessie Newbery’s most talented student, Ann Macbeth’s striking embroideries were a regular feature in The Studio and the present lot was no exception. Well-received and much admired, it was illustrated in the Magazine’s 1908 edition on page 291.
The design of this collar illustrates both Newbery and Macbeth’s interest in producing non-restrictive womenswear of an artistic aesthetic. Far removed from the tight-corseted dresses which shaped bodies into the desired aesthetic under a male gaze, Macbeth advocated designs for free-flowing garments that gave way to a natural waistline. Belts, collars and cuffs were a particular focus for the pair since they offered women several options to accessorise a variety of outfits; a highly economical approach to emerging fashions of the day.
As a teacher, taking inspiration from William Morris’ Arts & Crafts ideals, Macbeth encouraged students to be inspired by nature as a source of ideas, a view which is clearly demonstrated in the design of this collar. Filled with friezes of intertwined leaves, petals and stylised rosebuds, Macbeth looks to traditional stitching methods of the past in a bid to achieve an expressive, yet elegant garment; the design of which is entirely original.
Whilst Newbery’s earlier pieces take inspiration from the simple and delicate designs of the Renaissance, Macbeth tended to embellish her pieces with elaborate metal clasps and other decorative fastenings. Richly embroidered in brightly coloured threads, her pieces became popular for their practicality as well as their beautiful designs.
In 1908, Macbeth succeeded Newbery as Head of the Needlework and Embroidery Department at the School; she also taught bookbinding and ceramic decoration in the years that followed.
Ann Macbeth, circa 1900, very likely wearing the present lot © CSG CIC Glasgow Museums Collection
Both women designers held strong views that art embroidery should be accessible to all classes and often encouraged the use of cheaper materials in their designs, such as hessian and less expensive silk threads. A champion of honest and original designs, executed with a good level of craftsmanship, her students’ work was both stylistically distinctive and of very high quality.
It must be said that whilst this design of this collar may appear simple to the eye it is deceptively so, as it demands a remarkable level of skill and creativity from the embroiderer. The arrangement of abstracted plant forms and expressive linear patterns come together in perfect symmetry and sit in harmony with the pastel-coloured silk threads chosen. The complexity of the stitching techniques employed also speak to the unique skills and knowledge of the embroiderer. Each component in the design has been worked with a great deal of silk threads and yet every rose bud and petal appears entirely uniform: the expressive stitching no doubt helps the design achieve a certain feeling of weight and energy which brings the piece to life. A careful balance of practicality and beautiful decoration, this rare collar showcases the enchanting designs of Ann Macbeth which were a significant contribution in the evolution of the iconic Glasgow style.
In 1898, early in the career of renowned Scottish architect CHARLES RENNIE MACKINTOSH (1868-1928), entrepreneur Catherine Cranston - known simply as Miss Cranston - commissioned him to furnish her new rooms at her tearooms on Argyle Street, Glasgow. Miss Cranston was to be an important patron for the young architect, who came to rely on a relatively small number of patrons throughout his career. The commission afforded Mackintosh a new freedom to experiment, whilst leading to further projects, including the Ingram Street Tea Rooms (1900) and the Willow Tea Rooms (1903).
The work at Argyle Street followed on from his previous work at Miss Cranston’s new Buchanan Street Tea Rooms, which had been conceived two years earlier in 1896, in collaboration with designer George Walton who designed the furnishings. In this new undertaking, however, Mackintosh found himself in a role reversal, being fully in charge of the furnishings whilst Walton was preoccupied with designing the interiors. Walton had just opened his new offices in London and his involvement with new projects in the south probably curtailed his ability to take on the commission of designing all of the furniture for Miss Cranston’s new venture.
The furniture Mackintosh designed for these new rooms exhibit a new, more robust evolution of his repertoire and established a style for much of his work up to 1900.
249
CHARLES RENNIE MACKINTOSH (1868-1928) FOR MISS CRANSTON’S ARGYLE STREET TEAROOMS CHAIR, 1898
oak, with original drop-in rushed seat 48cm wide, 99.5cm high, 43cm deep Provenance: Private Collection, Glasgow Literature: Billcliffe, R. Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings & Interior Designs, Cameron & Hollis 2009, pp.62 and 63, 1898.45, ‘Chair with curved top rail for the Argyle Street Tea Rooms’ (with later horsehair seat), illustrated.
Combining English Arts & Crafts and Scottish vernacular design, Mackintosh produced furniture in a bold and simple aesthetic which marked him out from his contemporaries. The distinctive furniture he produced was also employed to define and separate the rooms as designed by Walton. Their collaboration suggested that they were ‘moving away from each other’. The rather delicate refinement of Walton’s scheme was not emulated by Mackintosh, and his furniture for the Argyle Street Tea Rooms demonstrates a far more robust manner. All the pieces are made of oak with an emphasis on broad, unmoulded planes, the timber being clear-varnished or, more usually, dark-stained and waxed as in the present example. The use of broad laths to the backs and subtle tapered elements to the top rail and legs enliven the rectangular blocked outline.
Used at one end of the Luncheon Room about twenty chairs of the present design appear in contemporary photographs, of which five are known to survive. Mackintosh went on to develop this chair design for a chair at Ingram Street. Related chairs, probably produced as replacements but with design differences including a kidney-shaped handle, were produced later but it is thought not with Mackintosh’s involvement. The Argyle Tea Rooms closed in 1920, and much of the furniture was dispersed.
oak
91cm diameter, 70cm high Provenance: Messrs Coopers Tearooms (Ingram Street Tearooms), Glasgow, from whom purchased by the present owner, circa 1960.
Literature: Billcliffe, R., Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings & Interior Designs, Cameron & Hollis 2009, p. 249-251, illus. 1909.16 and 16A £8,000-12,000
This table formed the base of a writing table made by Frances Smith for the Ladies’ Rest Room at Miss Cranston’s Ingram Street Tearoom in 1909. The Rest Room formed one of two new adjacent rooms created by Mackintosh for the Ingram Street Tea Rooms: The Oval Room and the Ladies Rest Room. This latter room was dark stained and panelled with recesses for couches and other furniture. The fireplace was surrounded by gold mosaic tiles and open columns supported the mezzanine of the Oval Room above. The desk originally had a superstructure with dividers which allowed for four people to sit at the desk at any time and may in any case have been removable. Although the original layout of the room is not known, it may be that the circular writing desk offered here sat in the bow window next to the fireplace at one end of the room.
251
CHARLES RENNIE MACKINTOSH (1868-1928)
CERTOSA DI PAVIA: A SHEET OF STUDIES OF DETAILS OF AN ENTRANCE GATEWAY pencil, inscribed DETAILS OF ENTRANCE GATEWAY/ CERTOSA DI PAVIA with notes 31cm × 23.5cm
Provenance: The Dr. Thomas Howarth Collection, Christie’s, London 17th February 1994, Lot 59
Exhibited: Charles Rennie Mackintosh, 1868-1928: A memorial exhibition sponsored by the Art Gallery of Ontario and arranged by Dr. Thomas Howarth, 18 November 31 December 1978, no. 74 £1,000-1,500
252
CHARLES RENNIE MACKINTOSH (1868-1928) CERTOSA DI PAVIA, STUDIES OF BRONZE OUTLETS IN LAVATORY pencil, inscribed SKETCHES OF BRONZE OUTLETS/IN LAVATORY CERTOSA DI PAVIA, and with notes 22cm x 16.8cm
Provenance: The Dr. Thomas Howarth Collection, Christie’s, London 17th February 1994, Lot 59
Exhibited: Charles Rennie Mackintosh, 1868-1928: A memorial exhibition sponsored by the Art Gallery of Ontario and arranged by Dr. Thomas Howarth, 18 November 31 December 1978, no. 73 £1,000-1,500
The Certosa di Pavia is a Carthusian monastery built in the 15th century with a 16th-century façade. Mackintosh visited here as part of his three-month sketching tour of Italy on 7th July 1891. He had won the Alexander Thomson Memorial Travelling Studentship in 1890 and the prize was £60 to fund a sketching tour, the results of which had to be written up and presented to the Thomson Trustees on completion. He made at least 24 drawings and watercolours of various aspects of the Certosa including this and the following lot. In a lecture given to the Glasgow Architectural Association on 6 September 1892, Mackintosh enthused: “The facade of this edifice, by Ambrogio Borgnone, an example of the riches/Renaissence (sic) style, is entirely covered with marble of different colours, and most tastefully decorated. At the base are medallions of Roman Emperors, and above them scenes from sacred history, beyond them are the magnificent windows, which for beauty & delicacy of workmanship cannot be equalled anywhere. The interior which has a very gorgeous effect was also decorated by Borgnone. Every chapel contains valuable pictures & other objects of interest and are separated from the nave, as is the transepts & choir, by beautiful iron & brass screens. The choir stalls are covered with intersia (sic) which is perhaps the best in Italy. A beautiful door to the right of the choir leads to the Lavatorio where there is an exquisite marble fountain, which perpetuates the memory of the architect of this noble pile. The cloisters which are got at through/ another beautiful door, are surrounded by marble columns and charming decorations, in terracotta.”
253
with 40 drawings in colour by Carton Moore Park published by Gay and Bird 1900. Inscription in pencil to front endpaper: TO HENRY STEEL DAVIDSON FROM/ MARGARET MACDONALD MACKINTOSH AND/ CHARLES RENNIE MACKINTOSH CHRISTMAS 1900, together with a folded 4-page notepaper headed ‘Windyhill/ Kilmacolm’ containing a handwritten list of “Kitty’s Books” from 1883 to 1928 (2)
Literature: Davidson, Hamish R. Memories of Charles Rennie Mackintosh, Scottish Art Review, 11, no. 4, 1968, from p. 2. £800-1,200
Charles Rennie Mackintosh became acquainted with the Davidson family around 1894/95 and was commissioned in 1900 to design their new home, Windyhill in Kilmacolm. The Davidson’s remained lifelong friends and supporters of Mackintosh and his wife Margaret MacDonald.
William and Jean Davidson had three sons, William Cameron (1890–1975); Hamish Reid (1893–1972) and Henry Steel (1896–1915), who was killed in action in France. From 1898 (or earlier) until 1905 (or later) Mackintosh gave Mr and Mrs Davidson and each of their sons, Christmas gifts of books inscribed by Mackintosh until 1899 and, following their marriage, inscribed by Charles and Margaret Mackintosh from 1900.
In 1968, looking back more than 60 years, Hamish Reid Davidson refers to some of these books in his Memories of Charles Rennie Mackintosh. Up to 1899, gifts to the boys were from “Uncle Tosh” and from 1900 were inscribed by Charles and Margaret in the form as can be seen in ‘A Book of Elfin Rhymes’. He also says that the joint inscription from 1900 was probably by Margaret rather than Charles as it was less flamboyant than the earlier Uncle Tosh inscriptions.
In 1967, Hamish Davidson compiled a list of seven Mackintosh inscribed books then in his possession (but since dispersed), a copy of which is in the Glasgow School of Art collections. This is very incomplete as the books given over the years by the Mackintoshs to the Davidson family must have numbered more than thirty. The list of seven includes only one for 1900 (to Hamish); A Child’s London by Hamish Hendry, published in 1900, with the same illustrator as A Book of Elfin Rhymes, Carton Moore Park; and only one gift to his youngest brother, Henry Steel Davidson for 1902. A Book of Elfin Rhymes is not among the seven on the list, nor are the gifts for 1900 to Mr and Mrs Davidson or William Cameron.
Other than the book in this lot, only one other Christmas gift to any member of the Davidson family appears to have survived which has a pasted-in inscription for Christmas 1899 from Mackintosh to Mr and Mrs Davidson. It was donated to the Glasgow School of Art in 2014.
With the book in this lot is a folded 4-page notepaper on Windyhill, Kilmacolm letterhead, headed “Kitty’s Books” and with a handwritten list of one book title each year from 1883 to 1928 and concluding with the words “The forty-fifth milestone of our friendship. The End”. How the notepaper and the book are connected is unclear. One possible, but unproven, explanation is that Mrs Davidson kept the Mackintosh-inscribed book after the death in 1915 of her youngest son Henry, and that like the Mackintosh exchange of books, the Davidsons were also in the habit of giving books to friends and the notepaper records one such series of annual gifts.
Frederick William Carton Moore Park (1876-1956) was born in Stewarton, Ayrshire. He was a student at the Glasgow School of Art from 1893-97. He exhibited a painting in Vienna at the 1900 Secession Exhibition which also provided Charles and Margaret Mackintosh with their first major European exposure. His early career focused on the illustration of children’s books. In a letter of 24th December 1898 from Mackintosh to the 8 years old Cameron Davidson, he says….”I am sending you this little book of animals which has been illustrated by a young friend of mine in Glasgow…..”. Perhaps this anonymous illustrator is Carton Moore Park and the book An Alphabet of Animals, newly published by Blackie.
MARGARET’,
CHARLES RENNIE MACKINTOSH (1868-1928)
A
SACRUM’,
J. HERBERT MCNAIR
GLASGOW INSTITUTE OF THE FINE ARTS, 1897
lithograph, printed by Imprimerie Chaix and published by G. Boudet for the French periodical
Affiches Étrangères, France
Examples of the original poster of circa 1895-
the
by Carter and Pratt, Glasgow can be
Art
Art Gallery, Glasgow and the
& Museum,
257
TALWIN MORRIS (1865-1911)
GLASGOW SCHOOL DOORPLATE, CIRCA 1895 brass with repoussé decoration
72.3cm x 8cm
Provenance: Walter W. Blackie, Glasgow Christie’s, Glasgow
Private Collection
£2,000-3,000
After spending part of his early career working as an art editor in London, TALWIN MORRIS took up a post as Arts Manager for Glasgow publisher Blackie & Son in 1898, a position he held until his death in 1911. He quickly became acquainted with Charles Rennie Mackintosh and the circle of artists associated with Blackie and the Glasgow School of Art, which had a significant influence on his work. Perhaps best known for his book designs, Morris also produced pieces of furniture, textiles and metalwork, which were incorporated into many of his decorative schemes, including his own home at Dunglass Castle and the refurbishment of W.W. Blackie’s Printing Works where this panel formed part of the decorative scheme. The panel demonstrates the key characteristics of the ‘Glasgow Style’, with its stylised and linear plant forms and Glasgow roses.
258
BENCH, CIRCA 1900 stained cypress
98.5cm long, 48cm high, 26cm deep
Provenance: By repute from Queens Cross Church, Glasgow £400-600
ERNEST ARCHIBALD TAYLOR (1874-1951)
260 §
BY THE SHORE
watercolour, signed and dated lower right ELIZABETH MARY WATT/ 1939 25.8cm x 35.3cm £300-500
261
satin birch, stained and leaded glass, with silvered metal fittings, bears ivorine label verso GEORGE WALTON & CO. / 150 AND 152 WELLINGTON STREET GLASGOW, lined interior 142cm wide, 195cm high, 56cm deep
Literature: Moon, K. George Walton: Designer and Architect, White Cockade 1993, pages 64-70
Agius P. British Furniture 1880-1905, ACC 1978, page 102, pl. 105
Note: This wardrobe demonstrates all of the characteristics of the furniture produced for Elm Bank, York by Walton & Co. in 1898 for Sydney Leetham. The furniture is inlaid with bold geometric chevron banding, a type of decoration that had been revived and popularised by George Jack at Morris & Co., however, the use of this technique at Elm Bank was altogether bolder and more expansive. This bedroom suite also demonstrates stained glass detailing derived from plant forms, with metal and wood also inset, relating to techniques being produced by Charles Rennie Mackintosh at the same time.
£2,000-3,000
ERNEST ARCHIBALD TAYLOR (1874-1951)
DISPLAY CABINET, CIRCA 1900
inlaid
metal
wide,
263
SCOTTISH, MANNER OF JOHN EDNIE ARTS & CRAFTS DOMINO TABLE, CIRCA 1905
264
GLASGOW SCHOOL WARDROBE, CIRCA 1900 walnut, with copper fittings
wide, 203.5cm high, 64cm deep
265
SCOTTISH, MANNER OF GEORGE HENRY WALTON SETTEE, CIRCA 1910
mahogany frame with fabric upholstered back sides and seat 170cm wide, 109cm high, 74cm deep
Literature: See Moon, K., George Walton: Designer and Architect, White Cockade 1993, p.107, pl. 142 where a similar settee by Walton is illustrated.
266
SCOTTISH, MANNER OF GEORGE HENRY WALTON STOOL, CIRCA 1900 oak
diameter, 45cm high
GROUP OF WARES, EARLY 20TH CENTURY painted earthenware, comprising a VASE, 11.5cm high; a POT & COVER, 10cm high; a PLATE, 24.5cm diameter; and a SAUCER, 13.8cm diameter, all with painted initials JMK and Greengate and Rabbit cyphers (4) £400-600
267
THE BIRDCAGE
pen & ink and watercolour
11cm x 13cm
Provenance: Sir James French, the artist’s brother. £300-500
IN THE GARDEN pen & ink
12cm x 20cm
Provenance: Sir James French, the artist’s brother. £300-500
JESSIE MARION KING (1875-1949)
OLD TIMBER FRONTED HOUSE’
and ink on vellum, an original illustration for ‘The Grey City of the North’, signed lower right JESSIE M. KING 18cm x 13cm
JESSIE MARION KING (1875-1949)
GROUP OF SEVEN ILLUSTRATIONS FOR ‘SEVEN HAPPY DAYS’ CIRCA 1913 facsimile editions, comprising ‘THE SEA VOICES’; ‘I PRAY YOU HEAR MY SONG OF A NEST’; ‘BUTTERFLIES ALL BLUE’; ‘LOVE’S GOLDEN DREAM’; ‘THE WOODLANDS’; ‘THE LAMBS PLAY ALWAYS’ and ‘THE GARDEN’, each later framed, 17cm x 23cm (7) £300-500
JESSIE MARION KING (1875-1949)
‘GIVING BREAD TO THE POOR’
and pencil study
x 10cm
The Estate of the Artist’s Daughter, Merle Taylor in Greengate, Kirkcudbright
at Auction by Sotheby Parke Bernet & Co in Glasgow, June 1977 High Street Gallery, Kirkcudbright
273
MUMMY’S BEDTIME STORY BOOK, BY “MARION”, FIRST EDITION, 1929 colour illustrations including 14 full-page by Jessie M. King; also THE ENCHANTED CAPITAL OF SCOTLAND, by Isobel K. Steele, pub. Plaid, Edinburgh; and HOW CINDERELLA WAS ABLE TO GO TO THE BALL, London, G T Foulis [1924], 1st edition; together with a BOOKPLATE FOR CHARLES D. EDWARDS BY JESSIE M. KING, printed paper, 14.8cm x 10.5cm
£400-600
274
L’HABITATION FORCEE, BY RUDYARD KIPLING pub. Editions Rene Kieffer, Paris, 1921, 28 hand-coloured pochoir illustrations; COMUS, A MASQUE. pub. London, George Routledge & Sons, 1906, 8vo, contemporary cloth; THE BOOK OF BRIDGES, published by Gowans & Gray, London & Glasgow, 1911; THE LITTLE WHITE TOWN OF NEVER WEARY, pub. George Harrap, 1917; A HOUSE OF POMEGRANATES, SIXTH EDITION BY OSCAR WILDE, pub. Methuen 1915, rebound in blue leather with gilt tooling; and THE STUDIO MAGAZINE, December 15th 1915 (Volume 60, No. 249) including ‘Seven Happy Days’ prints (6)
GROUP OF ILLUSTRATED BOOKS
to include EIGHT SOFT-BACKED BOOKS, CIRCA 1909, pub. T.N. Foulis THE GREY CITY; THE CITY OF THE WEST; THE GREY CITY; DWELLINGS OF AN OLD WORLD TOWN; and pub. Gowans and Gray, EVERYMAN; KIRKCUDBRIGHT A ROYAL BURGH (2 copies); THE DEFENCE OF GUENEVERE & OTHER POEMS BY WILLIAM MORRIS, orig. dec. red cloth gilt. 1904; RUBAIYAT OF OMAR KHAYYAM, tooled suede binding, Routledge, 1903; ISABELLA OR THE POT OF BASIL, pub. T.N. Foulis, c. 1910; POEMS OF SPENSER, Caxton Publishing Co., c. 1907; DRAWINGS OF PARIS BY JESSIE M. KING, pub. The Fine Art Society, 1977; THE ENCHANTED WORLDS OF JESSIE M. KING BY COLIN WHITE, pub. Canongate 1989; and A GUIDE TO THE PRINTED WORK OF JESSIE M. KING BY COLIN WHITE, pub. The British Library 2007 (15)
276
JESSIE MARION KING (1875-1949)
‘THE CARRÉS D’ATALANTE IN THE TUILERIES GARDENS’ pen and ink on paper, initialled lower right JMK 11cm x 21cm
Provenance: Bourne Fine Art, Edinburgh £300-500
279
JESSIE MARION KING (1875-1949)
277
JESSIE MARION KING (1875-1949)
‘PLACE DAUPHINE NO.19’ pen and ink 15.5cm x 10.5cm £400-600
278
JESSIE MARION KING (1875-1949)
THE SHEPHERDESS
pen & ink with wash and watercolour 41cm x 33cm £300-500
STUDY FOR ‘COMUS, A MASQUE’ pencil on vellum, indistinctly inscribed CAROL HER GOODNESS LOUD IN RUSTIC LAYS/ AND THROW SWEET GARLAND WREATHS INTO HER STREAM/ OF PANSIES, PINKS, AND GAUDY DAFFODILS/ DAFFODILS 18.5cm x 11.5cm
Note: Jessie King illustrated Comus, a masque by John Milton for George Routledge & Sons in 1906 (see lot 274).
£300-500
HELEN PAXTON BROWN (1876-1956)
DUTCH
ink and watercolour, signed lower left H. PAXTON BROWN 9cm x 4.5cm
§
KATHERINE CAMERON (1874-1965)
FLOWER OF THE HEATHER pencil, watercolour and gouache, signed lower left K. CAMERON, bears artist’s label verso 28.5cm x 15.8cm
Provenance: Ewan Mundy Fine Art, Glasgow £400-600
SCOTTISH
GLASGOW SCHOOL LOG BOX, CIRCA 1900 repousse-decorated copper with glazed ceramic panel 42.5cm wide, 27.5cm high, 30cm deep £400-600
PETER WYLIE DAVIDSON (1870-1963)
PAIR OF CELTIC BROOCHES, CIRCA 1910 white metal, one stamped P.W.D. 3cm diameter
MANNER OF PETER WYLIE DAVIDSON
WALL CLOCK, CIRCA 1910 brass, with two matching weights 42cm x 25.5cm
(DESIGNER) WILLIAM WHEELER, ARNCROACH
RARE ARTS & CRAFTS ARMCHAIR, CIRCA 1910
, Regional
Furniture Society 2017, p.75, pl. 6 where a similar chair, in the collection of the National Trust for Scotland at Kellie
286
SIR ROBERT LORIMER (1864-1929)
ARTS & CRAFTS THREE-BRANCH CHANDELIER, CIRCA 1900
polished and cast brass alloy 38cm diameter; 38cm high to chain; 139cm high including ceiling rose and associated chain
Literature: Savage P. Lorimer and the Edinburgh Craft Designers, London 1980, p. 72
Note: For cast light fittings Lorimer would normally use Henshaws of Edinburgh, however, he also used the Bromsgrove Guild of Craftsmen for cast lead tanks, garden figures and some light fittings. £600-800
287
HALL TABLE, CIRCA 1930 walnut with bronze handles, stamped to drawer WHYTOCK & REID, EDINBURGH 167cm wide, 76cm high, 43cm deep £600-800
288
MARY THEW (1876-1953) (ATTRIBUTED MAKER)
ARTS & CRAFTS PENDANT NECKLACE, CIRCA 1915 white metal, water opal cabochons 7.2cm high including bale £200-300
289
DRINKS TROLLEY, CIRCA 1920 red lacquered wood and gilt gesso decoration
70.5cm wide, 76cm high, 38cm deep £400-600
291
CELTIC REVIVAL MIRROR, CIRCA 1910 brass, mirrored glass
41cm x 67.5cm
Literature: MacArthur, Mairi E. Iona Celtic Art, Iona 2003, p.
Fig No. 7b where this design is illustrated on a brass charger.
patinated plaster, 28cm high; together with a NUDE STUDY, painted plaster maquette, 31cm high; and an UNDRESSING FIGURE, plaster maquette, signed to base BENNO SCHOTZ 1927 with edition */10, 43.5cm high (3)
Provenance: Benno Schotz Studio Sale, Christie’s Glasgow, 24th September 1997, Lots 45 and 60 £800-1,200
CELTIC REVIVAL CHEST, CIRCA 1900 oak, with original key and hand-beaten copper lock cover 124cm wide, 77cm high, 55cm deep
Literature: MacArthur, Mairi E. Iona Celtic Art, Iona 2003, p. 53, Fig. No.16c where the quatrefoil leaf design with central rosette motif found carved on this piece is illustrated on a copper salver. £500-800
295 RICHARD RIEMERSCHMID (1868-1957)
GAMES TABLE, CIRCA 1905 mahogany
72cm long, 74.5cm high, 60cm deep
Literature: Nerdinger W. Richard Riemerschmid. Vom Jugendstil zum Werkbund, Munich 1982, p.202, fig.135
Note: Heavily regarded as one of the leading designers of the Jugendstil movement, Richard Riemerschmid initially trained as a painter before turning his attention to furniture and architecture in 1895. Inspired by the ideology of the Arts & Crafts movement, he produced a number of designs for furniture, textiles, ceramics and glass using simple forms and materials to create pieces that very much conveyed a functional aesthetic. In 1897 Riemerschmid was co-founder of the Deutsche Werkstãtten für Kunst und Handwerk and the Deutscher Werkbund in 1907 and pioneered the machine production of artistically designed wooden furniture. He championed low-cost material, and simple yet solid craftsmanship, to advocate affordable design for everyday living.
£300-500
296
PROBABLY GERMAN JUGENDSTIL JARDINIÈRE, CIRCA 1900
pewter, with copper liner 17.8cm high, 54.5cm wide
£300-500
297
PAIR OF JUGENDSTIL TWIN-HANDLED VASES, CIRCA 1900
iridescent glass, pewter
high
298
JUGENDSTIL ‘PAPILLON’ TWIN-HANDLED VASE, CIRCA 1900
iridescent glass, pewter, stamped on base 1680 20cm high £400-600
140cm wide,
300
EMILE-ANDRÉ BOISSEAU (1842-1923)
‘OUTGOING CHILD OF THE EGG’ patinated bronze, on a slate plinth, signed in the bronze BOISSEAU, foundry stamp for Thiébaut Frères 13.5cm high; total height 15.5cm high £300-500
‘GRETE’, THE ARTIST’S DAUGHTER, 1909 bronze, signed in the bronze UF., raised on a marble plinth 20.5cm high, including plinth £400-600
302
AMEDEO GENNARELLI (1881-1943)
BACCHANALIAN CHILD wood, signed to the base GENNARELLI 20cm high £400-600
FRIEDRICH KÖNIG (1857-1941)
STUDY WITH PIERROT
watercolour,
with monogram
KONSTANTIN KOROVIN (1861-1939) ‘PRINCE IGOR’ COSTUME DESIGN pen, ink and watercolour, with painted silver highlights, various inscriptions, numbered 100/93 33.5cm x 21cm
Donated by a pupil of Winifred Cecil (mezzo-soprano), and from Cecil’s estate.
AUSTRIAN GROUP OF TABLE
GLASSWARES, EARLY 20TH CENTURY to include FOUR HOCK GLASSES, olive green glass, 19.2cm high; SIX HOCK GLASSES, textured and clear glass, green glass rim, 16.1cm high; SIX WINE GLASSES, etched green glass, clear glass, 20cm high; and FOUR HOCK GLASSES, pale green and clear glass, 17.5cm high (20)
306
AUSTRIAN GROUP OF TABLE
GLASSWARES, EARLY 20TH CENTURY to include EIGHT HOCK GLASSES, clear and amber glass, 18.2cm high; FOUR WINE GLASSES, clear glass with cut bands to the bowls, 20cm high; and FOUR WINE GLASSES, clear glass, with twisted stems and shaped bowls, 19.2cm high (16) £300-500
SUITE OF ‘PATRICIAN’ DRINKING GLASSES, INTRODUCED CIRCA 1920 hand-blown amber glass, comprising FIVE WATER GOBLETS, 18cm high; FIVE CHAMPAGNE COUPES, 15.5cm high; SIX WINE GLASSES, 11.5cm high; FOUR WINE GLASSES, 13cm high; a FURTHER WINE GLASS, 12cm high; and SIX SHERRY GLASSES, 11.8cm high (27)
Note: See MOMA, New York, object number 106.1948.1-9, for a similar suite of glassware £400-600
308
MICHAEL POWOLNY (1871-1954) FOR LOETZ
VASE, CIRCA 1930 painted and overlaid glass, 16.5cm high; and a MOSER VASE, DESIGNED BY JOSEF HOFFMANN, cut glass, 14cm high (2) £300-500
BOWL, CIRCA 1918 coloured glass; together with JOSEF HOFFMANN (1870-1956) FOR WIENER WERKSTÄTTE bowl, circa 1910, coloured glass, manufactured by Moser, Karlsbad, etched stamp WW/ MOSER KARLSBAD, 19.5cm diameter; together with a BOWL BY MICHAEL POWOLNY (1871-1954) FOR LOETZ, glass, 25.5cm diameter (2) 25.5cm diameter
£300-500
CUPBOARD, CIRCA 1910 oak, with patinated brass fittings 123cm wide, 171.5cm high, 56.5cm deep £500-800
PORZELLAN-MANUFAKTUR (KPM), BERLIN JUGENDSTIL PORCELAIN VASE, CIRCA 1910 porcelain, printed maker’s mark, painted mark 300/ 1755 and impressed mark 958* 32cm high £500-700
DER MORGEN
bronze, signed in the bronze HANNS ANKER and inscribed DER MORGEN 39.5cm high £300-500
313 HERMANN BÖHM, VIENNA
NECKLACE, CIRCA 1890 white metal, enamel, blister pearl, garnet and turquoise stones, signed with the A for Vienna and HB in numerous places, including clasp 42.5cm long £700-1,000
314
HEINRICH LEVINGER, PFORZHEIM JUGENDSTIL NECKLACE, CIRCA 1900 gilt metal and plique-àjour enamel, pearl drops, stamped verso HL/ DEPOSE/ 900 54.5cm long £1,200-1,800
315
MANNER OF HEINRICH LEVINGER PENDANT NECKLACE, CIRCA 1900 white metal, facetted stones and plique-à-jour enamel, stamped 900 pendant 3.3cm tall £300-500
316
MANNER OF LUDWIG KNUPFER JUGENDSTIL PENDANT NECKLACE, CIRCA 1910 white metal and amethyst pendant 6cm tall £400-600
317
‘AMPHORA’ PORTRAIT VASE, CIRCA 1900 porcelain, polychrome glazed with gilt highlights, red printed RStK TURIN TEPLITZ BOHEMIA, impressed 139/ 28 22.5cm high £1,200-1,800
319 AMPHORA
TWIN-HANDLED VASE, CIRCA 1910 glazed porcelain with gilt highlights, impressed AMPHORA 3600/ 1C 43.5cm high £300-500
320
RIESSNER, STELLMACHER & KESSEL ‘AMPHORA’ PORTRAIT VASE, CIRCA 1900 porcelain, polychrome glazed with gilt highlights, red printed RStK TURIN TEPLITZ BOHEMIA, MADE IN AUSTRIA, impressed and green painted AMPHORA 468, signed Odiloc 25cm high £2,000-3,000
ART DECO FIGURE, CIRCA 1925 silvered bronze, raised on a green onyx base, stamped to foot R. LO* 28.5cm high £700-900
ART DECO FIGURE, CIRCA 1925 gilt-bronze, applied white metal trophy plaque, raised on a marble base, signed in the bronze PRF. POERTZEL 33.5cm high including base; figure 24cm high £500-700
bronze, ivory, on marble base 19.3cm high including base
Note: Sold in compliance with UK Government and APHA regulations, with (non-transferable) exemption registration reference 9Q77WE91. £400-600
327
FRÉDÉRIC DANTON (1874-1932)
VASE, CIRCA 1905
lustre-glazed earthenware, indistinct impressed AUBUSSON 20cm high
Provenance: The Peter Rose and Albert Gallichan Collection Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 220 (illustrated). £300-500
VASE, 1910
pâte nouvelle porcelain, polychrome decorated, with gilt highlights, black printed red printed MANUFACTURE RF NATIONALE DÉCORÉ A SÈVRES 1910, incised D 10 8 PN III 33cm high
Provenance: The Peter Rose and Albert Gallichan Collection
Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 218 (illustrated). £500-700
329
EDOUARD COLONNA (1862 – 1948)
FOR GÉRARD, DUFRAISSEIX & ABBOT BOX & COVER, CIRCA 1900 porcelain, printed E. COLONNA/ ABN/ LEUCONOE, impressed 7, painted 2 13cm across £300-500
‘IKORA’ VASE, CIRCA 1930 plated brass, stamped maker’s marks WMF/ IKORA 30cm high £300-500
VASE, CIRCA 1895
lustre-glazed earthenware, painted CLEMENT MASSIER, impressed CLEMENT MASSIER/GOLFE/ JUAN/ (AM)/ L. LEVY 38cm high
Provenance: The Peter Rose and Albert Gallichan Collection Literature: Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 213 (illustrated). £800-1,200
334
GEORGES ENGRAND (1852-1936)
ART NOUVEAU TAZZA, CIRCA 1910 patinated bronze, signed in the bronze ENGRAND 35.5cm high £500-700
332
GEORGES PIERRE (GIP), PARIS
UNUSUALLY LARGE ART NOUVEAU BROOCH, CIRCA 1900 horn, set with turquoise cabochon and with black glass drop, signed to reverse GIP, within Liberty & Co card box. 15.7cm wide £250-350
ART NOUVEAU MAIDEN, CIRCA 1900 bronze, on marble base 26cm high; total height 34.5cm £500-700
SOLIFLEUR VASE, CIRCA 1900 high-fired glazed ceramic, indistinct mark CLÉMENT MASSIER/ GOLFE-JUAN 40cm high £300-500
MINIATURE LANDSCAPE VASE, CIRCA 1910 painted and frosted glass, painted DAUM/ NANCY with Cross of Lorraine 4cm high £300-500
MINIATURE FIRE POLISHED ‘IRIS’ VASE, CIRCA 1900 cameo glass, acid-etched and overlaid, cameo signature GALLÉ 10cm high £800-1,200
339 GALLÉ
CAMEO VASE, CIRCA 1910 glass, acid-etched and overlaid, cameo signature 16.5cm high £600-800
340 GALLÉ
CAMEO ‘HYDRANGEA’ VASE, CIRCA 1910 glass, acid-etched and overlaid, cameo glass signature 17cm high £300-500
342 ‡
DEMETRE CHIPARUS (1886-1947)
DANCER OF LEBANON, CIRCA 1925 patinated bronze on an onyx base, signed CHIPARUS 24.5cm high, total height 37cm £4,000-6,000
GIRL WITH MIRROR, CIRCA 1925
patinated and gilt bronze, raised on an onyx base, signed to the base CHIPARUS
34cm high; total height 43cm high
Literature: A. Shayo, ‘Chiparus Master of Art Deco’, Abbeville Press, 1999, p.102 where this design is illustrated £4,000-6,000
344
MADONNA & CHILD, CIRCA 1925 gilt bronze on a stepped black onyx base, signed in bronze D.H. CHIPARUS/ BRONZE
Total height 38.5cm £2,000-3,000
MESSENGER OF LOVE, CIRCA 1925 patinated bronze, on a marble base, signed to the base LE FAGUAYS figure 28cm high; total height 45.5cm high £2,500-3,000
CAT DANCER, CIRCA 1925 patinated bronze, ivory, marble, signed to base H. MOLINS 40.2cm high with base
Note: Sold in compliance with UK Government and APHA regulations, with (non-transferable) exemption registration reference AQGU9WNT. £800-1,200
PAIR OF ‘LE VERRE FRANCAIS’ TABLE LAMPS, CIRCA 1920 glass, steel, etched to base and shade LE VERRE FRANCAIS with Cross of Lorraine symbol (2) each 46.3cm high £500-700
350
SCHNEIDER GLASSWORKS
‘LE VERRE FRANCAIS’ HANGING LIGHT, CIRCA 1920 glass, patinated metal, each shade etched SCHNEIDER 73cm high, 59cm diameter £400-600
ART DECO SIDE CABINET, CIRCA 1925 coromandel, marquetry inlaid with specimen woods and mother-of-pearl, with key
353
PENDANT LIGHT SHADE, CIRCA 1930 frosted and moulded glass, etched MULLER & LUNÉVILLE 25.5cm high £300-500
354
RENÉ LALIQUE (1860-1945)
CEYLAN VASE, NO. 905, DESIGNED 1924 opalescent and blue stained glass, wheel-engraved R. LALIQUE FRANCE 24cm high £1,500-2,000
355
‘COQUILLES’ BOWL NO. 3201, DESIGNED 1924 opalescent glass, wheel etched R. LALIQUE/ FRANCE, script etched No. 3201 21cm diameter £300-500
358
opalescent and frosted glass, etched SABINO/ PARIS 21.3cm high £200-300
painted glass, signed on the body LAMARTINE, bears retailer’s label to base 33.5cm high £400-600
FOUR PLATES, CIRCA 1930 painted, printed and glazed ceramic, signed to reverse, one with CG monogram (4) 24.5cm diameter £300-500
359 §
MAURICE DAURAT (1880-1969)
ART DECO VASE, CIRCA 1935 pewter, stamped monogram MD/ M. DAURAT 20.5cm high £800-1,200
360 DAUM, FRANCE
TABLE LAMP, SECOND HALF 20TH CENTURY clear and frosted glass, pâte de verre, with brass mounts, script etched signature DAUM FRANCE 58cm high £600-800
361 JAEGER-LECOULTRE
ART DECO DOUBLE-SIDED DESK CLOCK, CIRCA 1930
patinated metal, mirrored and clear glass, slate, marked to the dial on each side JAEGER-LECOULTRE/ 8 DAYS/ SWISS, and to the slate plinth to each side JAEGER-LECOULTRE/ SWISS 22cm wide, 19.2cm high, 8cm deep £400-600
362
Australian walnut
38cm wide, 107cm high, 40cm deep £5,000-7,000
PETER WAALS was already an experienced Dutch cabinetmaker when he moved to London in 1901. Around this time was employed by Ernest Gimson and Ernest Barnsley, shortly after the two had established a workshop in Daneway House near Sapperton, Gloucestershire and became foreman of the workshop. Waals was able to hone his skills as a craftsman and developed a good eye for timber. He was often tasked with selecting fine specimen woods and exotic veneers for the workshop. Gimson regularly involved Waals in discussions about his designs and methods of construction, and he acknowledged the great debt he owed to Waals for his assistance. After Gimson’s death in 1919, Waals acquired the stock of seasoned timber and equipment from his executors and established his own workshop in Chalford producing domestic furniture. He continued many of the traditional working methods he had employed at Sapperton and, conscious to protect Gimson’s reputation and legacy, agreed with Gimson’s family that he would not reproduce any experimental designs and inlaid patterns but would focus instead on the plainer domestic pieces. He commented that if he received orders for these pieces, rather than copying, he felt himself in the position of “foreman continuing in his master’s workshop”. Latterly, Waals received significant commissions for work from Leicester University and Eton College, as well as high-profile locals such as the Goddard and Pick families in Leicester. His works remain highly collectable and can be found in numerous important private and public collections such as the Victoria & Albert Museum, London and The Wilson – Cheltenham Art Gallery and Museum.
PEDESTAL DESK, CIRCA 1930-1940 walnut, with leather writing surface 141cm wide, 82cm high, 70cm deep £5,000-7,000
BOOKCASE CABINET, 1962 yew wood and oak 102cm wide, 196cm high, 44.5cm deep £1,000-1,500
BOOKCASE, CIRCA 1934
Cuban mahogany and Macassar ebony
141cm wide, 104cm high, 30.3cm deep
Provenance: The Goddard Family, Leicester
Note: In the first half of the 20th century, the Goddard family, who patented Goddard’s silver cleaner in the 19th century, were great patrons of the arts. In the 1920s and 30s, the family commissioned furniture from Peter Waals for their home Lyndwood in Leicester. Part of the family subsequently moved to Biniemyre in Galashiels. This fine bookcase is mentioned in the schedule of handmade furniture at Biniemyre, in the morning room, item no.34, purchase price £47 17s 6d. £7,000-9,000
FOR RUSSELL & SONS, BROADWAY CHEST OF DRAWERS, DATED 1929 Cuban mahogany, inlaid with cherry and ebony, model 598, with maker’s label under drawer DESIGNER: GORDON RUSSELL/ FOREMAN: EDGAR TURNER/ CABINET MAKER: R. FRANCE/ DATE: MAY 22ND 1929 76cm wide, 91cm high, 54.5cm deep £1,500-2,500
ARTS & CRAFTS BOOKCASE oak bookcase
38cm wide, 88.5cm high, 17cm deep
Note: During the First World War Stanley Webb Davies built huts in France for refugees, but after the War in 1920 he worked in the Romney Green’s workshop. In 1923 he established his own workshop in Windermere in the Lake District where he worked until his retirement in 1961. He celebrated the physical demands of handmade furniture believing that it benefitted the whole person and largely undertook work for commissions. His archive is held by the Abbot Hall Art Gallery in Kendal. £500-800
369 ENGLISH COTSWOLD SCHOOL BOOKCASE CABINET, CIRCA 1930 oak 92cm wide, 99.5cm high, 35.5cm deep £400-600
370
EDWARD BARNSLEY (1900-1987)
(ATTRIBUTED MAKER)
TABLE, CIRCA 1940 oak
77cm high, 96cm wide, 167cm long £800-1,200
SET OF SIX ARTS & CRAFTS DINING CHAIRS, EARLY 20TH CENTURY
English walnut, inlaid with ebony and holly, leatherette, comprising two armchairs and four side chairs (6) armchair 58cm wide, 103.5cm high, 51cm deep, side chair 52cm wide, 95cm high, 42cm deep
Literature: Andrews J. Arts & Crafts Furniture, ACC 2015, pl.95 Yates S. Encyclopaedia of Chairs, Wellfleet 1991, p.85, pl.136a (similar example illustrated)
Note: The original design drawings for the side chairs in this set, signed by Ernest Gimson and dated Dec 31st 1908 and 1909, are held in the Cheltenham Museum Archive (The Wilson) (1941.222.160 and 1941.222.453). £6,000-8,000
with leather upholstery, two branded CORONATION with St. Edwards Crown;
branded GR with Crown; the remaining four branded with a Crown
wide, 95cm high,
deep; Chair 49cm wide,
high,
deep
often thought to have been designed by Edward Barnsley
chairs and
the coronation of Edward
and
in
design remained in production for
373 ENGLISH PAIR OF COTSWOLD SCHOOL BOOKCASE CABINETS, CIRCA 1920 oak, with macassar ebony handles (2) 40.5cm wide, 156cm high, 34cm deep £1,000-1,500
374
COTSWOLD SCHOOL METAMORPHIC OCCASIONAL TABLE, 1930’S walnut
extended 91cm wide, 57cm high, 56cm deep
Note: ‘Fred’ Foster was a founding member of the Gloucestershire Guild of Craftsmen and worked for Peter Waals at Daneway House and then Haliday Mill, Chalford.
WORKSHOP OF ERNEST GIMSON (1864-1919)
ARTS & CRAFTS HANGING BOOKCASE, CIRCA 1910 oak, plyboard, brass 81cm wide, 114cm high excluding brackets, 16.5cm deep including brackets
Provenance: Sidney Gimson (brother of Ernest Gimson), and by family descent
Private collection £300-500
COTSWOLDS SCHOOL CORNER CHAIR, CIRCA 1920 oak, with drop-in rush seat 42cm square, 69cm high £300-500
ENGLISH
COTSWOLD SCHOOL TABLE, CIRCA 1920 oak and walnut 52.5cm diameter, 52cm high £300-500
379
378
WILLIAM BIRCH, HIGH WYCOMBE
‘WINDSOR’
ARMCHAIR, CIRCA 1890 mahogany
57cm wide, 99cm high, 45cm deep £400-600
EDWARD BARNSLEY (1900-1987)
OCCASIONAL TABLE, 1962 walnut with sycamore inlay, stamped BARNSLEY
61cm diameter, 46cm high £500-800
380 ENGLISH
COTSWOLD SCHOOL TABLE, CIRCA 1900 walnut
153cm wide, 77cm high, 76cm deep £600-1,000
381
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
LARGE ASHTRAY, CIRCA 1950S beech or pearwood, with carved mouse signature
382
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) MATCHED PAIR OF ASHTRAYS, 1940S AND 1970S oak, each with carved mouse signature (2) each 10cm x 7.5cm £150-250
383
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
CHEESEBOARD, CIRCA 1940S/50S oak, with carved mouse signature 37.5cm long £300-500
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
BOWL, CIRCA 1940S/50S oak, with carved mouse signature to the exterior 24cm diameter
385
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) KIDNEY-SHAPED CHEESEBOARD, CIRCA 1990S oak, with carved mouse signature 39cm across including handle £200-300
386
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
LARGE BOWL, CIRCA 1970S oak, carved mouse signature to the centre 31cm diameter £300-500
387
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
BOOK TROUGH, CIRCA 1980S/90S oak, with carved mouse signature 45.2cm wide, 20cm high, 20cm deep £250-350
388
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
MANTEL CLOCK, CIRCA 1935 oak, with carved mouse signature, fitted with an original Smith’s dashboard clock movement 24cm wide, 15.5cm high, 6cm deep £2,500-3,500
389
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
OCTAGONAL WALL CLOCK, CIRCA 1980S
oak, fitted a Barigo movement, carved mouse signature 19cm across £250-350
391
ALAN ‘ACORNMAN’ GRAINGER THREE CHAIRS, CIRCA 1960
oak with close-nailed later upholstery, carved acorn signature, comprising an ARMCHAIR AND TWO SIDE CHAIRS (3) armchair 65cm wide, 85cm high, 40cm deep; side chair 42cm wide, 85cm high, 42cm deep £300-500
390
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
NEST OF THREE TABLES, CIRCA 1970S/80S
oak, with carved mouse signature to each (3)
largest 61cm wide, 47cm high, 38cm deep; medium 50cm wide, 42cm high, 32cm deep; smallest 39.5cm wide, 36cm high, 26.5cm deep
392
SID POLLARD, BAGBY BLANKET BOX, CIRCA 1960S
oak, with patinated metal fittings 109cm wide, 53.5cm high, 40cm deep £1,000-2,000
394
ALAN ‘ACORNMAN’ GRAINGER
PAIR OF BEDSIDE CABINETS, CIRCA 1960S/70S oak, with patinated steel fittings, each with carved acorn signature (2) 41.5cm wide, 69cm high, 35cm deep £700-1,000
393
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
BREADBOARD, CIRCA 1960 oak, with carved mouse signature 31cm across £200-300
395
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
ARTS & CRAFTS OCTAGONAL CENTRE TABLE, CIRCA 1950 oak, with carved mouse signature 148.5cm across, 74.5cm high £2,000-3,000
EIGHT DINING
CIRCA
398 §
hand-coloured etching, signed and numbered 30/75 25cm x 19.5cm £200-300
There is a note attached to the back of the frame which states the painting was gifted to the previous owner’s uncle by the artist herself when she resided in Robin Hood’s Bay on the Yorkshire Coast.
ART DECO DISPLAY CABINET, CIRCA 1930 walnut, with removable glass shelves 96cm wide, 145cm high, 34cm deep
401
DAISY MAKEIG-JONES (1881-1945) FOR WEDGWOOD
SMALL ‘FAIRYLAND’ LUSTRE BOWL, CIRCA 1925
lustre-glazed earthenware, printed and painted in gilt and coloured enamels, printed factory stamp, painted Z4968 10.2cm diameter £300-500
‘FAIRYLAND’ LUSTRE BOWL, CIRCA 1925 lustre-glazed earthenware, printed and painted in gilt and coloured enamels, printed factory stamp, painted Z5360 14cm diameter
STAMFORD ‘TEA FOR TWO’ SET, CIRCA 1930 painted and glazed earthenware, comprising a TEAPOT & COVER, 12cm high; TWO CUPS & SAUCERS, a PLATE; a MILK JUG; and a SUGAR BOWL, each printed BIZARRE BY CLARICE CLIFF; together with THREE HAND-PAINTED POTTERY WARES, 1930’s (11) £300-500
BEDROOM SUITE, CIRCA 1910
inlaid oak, with Bakelite handles with corresponding inlay, comprising a CHEST OF DRAWERS, 91cm wide, 87cm high, 47cm deep; a CHAIR, with caned seat, 39cm wide, 96cm high, 36cm deep; and a DRESSING TABLE AND MIRROR, 98cm wide, 136cm high, 45cm deep (3) £400-600
409
TWO MARQUETRY PANELS, CIRCA 1925
include ‘RIVERSIDE’, marquetry inlaid specimen
painted wood, within walnut frame, 68cm x 53cm;
‘THE DUCK POND’, marquetry inlaid specimen woods within walnut frame, 44cm x 37cm,
ARTS & CRAFTS MIRROR, CIRCA 1920
with specimen wood inlay and mother-of-pearl,
ART DECO CABINET, CIRCA 1928
sycamore veneer on mahogany construction with silver, ebonised and green lacquered
wide, 169cm high; 53cm
Herbert Press
p.188,
410
OF ART DECO ‘SPORTING’
COVERED TRINKET BOXES, CIRCA 1930
silver, cloisonne enamel (2)
wide
CRAWFORD JOHNSON (1882–1937) FOR CUBE TEAPOTS LTD
”THE CUBE” TEA SET, DESIGNED 1916 silver plated metal, wicker, comprising a TEAPOT, 11cm high; a COFFEE POT, 13.5cm high; a CHOCOLATE POT, 8.5cm high; a MILK JUG, 6cm high; and a SUGAR BOWL, 7cm high, manufacturer’s stamp to each (5)
‘THE MATADOR’, DATED 1995 glazed earthenware, printed factory stamp, painted HN2324/
AUTOMOBILIA INTEREST:
NOVELTY WHISKY DECANTER, 1907 etched and cut glass, with silver ‘wheel’ stopper and collar, etched inscription to glass “WHEN TYRED, SCOTCH”, stamped maker’s marks, hallmarked Birmingham 1907, stamped registration no. 500577 25.5cm high £1,000-1,500
CABINET, CIRCA 1930 walnut, ivorine handles, with fitted interior 113cm wide, 147cm high, 34cm deep £1,000-1,500
415 ENGLISH
ARTS & CRAFTS THREEFOLD SCREEN, CIRCA 1930 crewelwork embroidery, wool threads on a linen ground stretched on a timber frame £300-500
416 DORRIE NOSSITER (1893-1977) (ATTRIBUTED MAKER)
PAIR OF DRESS CLIPS, CIRCA 1930 jade, turquoise, blue zircons and pearls (2) 3.7cm across £500-800
LC4 CHAISE LONGUE, DESIGNED 1929, MODERN
chromium-plated frame, black enamelled base, leather upholstery
177cm long approx, 68.5cm high, 62cm deep £500-800
SET OF TEN ‘MR’ CHAIRS, ORIGINALLY DESIGNED 1927, CONTEMPORARY polished chrome, black cowhide upholstery, two with cast mark and signature KNOLL STUDIOS/ LUDWIG MIES VAN DER ROHE (10) 50cm wide, 81.5cm high, 69cm deep
‘BARCELONA’ CHAIR & OTTOMAN, DESIGNED 1929, MODERN chrome and leather (2) chair 75cm wide, 77cm high, 78cm deep, ottoman 56cm wide, 37cm high, 62cm deep £300-500
BOWMAN BROTHERS, CAMDEN TOWN TALLBOY, CIRCA
ALVAR AALTO
FOR FINMAR LTD.
PIECES OF FURNITURE
422 SCANDINAVIAN
TAPESTRY HANGING, DATED 1948 wool, cotton, woven makers mark and initials MHT/ 1948 (maker’s symbol ‘S’ with a cross), with hanging rings excluding fringe 180cm x 137cm £300-500
423
HANS WEGNER (1914-2007)
FOR PP MØBLER, DENMARK ‘THE CHAIR’ MODEL JH501 ash and caning, branded PP MØBLER/ DANMARK/ DESIGN HANS J WEGNER 63cm wide, 75cm high, 48cm deep £700-1,000
424 §
ALVAR AALTO (1898-1976) MODEL Y805A COFFEE TABLE, DESIGNED 1946 birch ply, glass 80cm square, 45.5cm high £300-500
425
BJÖRN WECKSTRÖM (B.1935) FOR LAPPONIA, FINLAND
PENDANT NECKLACE, CIRCA 1974
sterling silver, acrylic, stamped 925/ LAPPONIA/ Y7, pendant 5cm tall, chain 62cm long; also TWO LAPPONIA RINGS BY BJÖRN WECKSTRÖM, CIRCA 1974, sterling silver, acrylic, each stamped 925/ LAPPONIA, one stamped V7, the other Y8 (3) £400-600
426
HARALD NIELSEN (1892-1977) FOR GEORG JENSEN
TORCH, NO.300, CIRCA 1950
sterling silver, stamped GEORG JENSEN & WENDELS/ 925 S/ 300/ HN 7.7cm long £600-800
427
GEORG JENSEN (1866-1935)
TWIN-HANDLED DISH, NO.544, CIRCA 1928 sterling silver, stamped GEORG JENSEN/ GI 925 S/ STERLING/ 544/ DENMARK 26cm across £800-1,200
428
GUNDOLPH ALBERTUS (1887-1970) FOR GEORG JENSEN
CIGAR BOX, CIRCA 1940
sterling silver, engraved initials to cover JTH, stamped DESSIN/ GA/ 925. S/ DENMARK/ STERLING/ GJ (indistinct)/ 507 C 14.5cm across £300-500
HENNING KOPPEL (1918-1981) FOR GEORG JENSEN TWO PENDANT NECKLACES model 121 and 368, silver, stamped manufacturer’s marks (2) £300-500
432 HENNING KOPPEL (1918-1981)
FOR GEORG JENSEN
TWO PENDANT NECKLACES
model 340 and 153, silver, each stamped GEORG JENSEN/ 925S/ DENMARK/ 340 and 153 (also stamped HK) (2) 7.1cm and 6.5cm wide £250-350
HENNING KOPPEL (1918-1981)
model 375, 339 and 322, stamped GEORG JENSEN/ DENMARK/ 375 (import marks for 1999), 339 (import marks for 1964) and 322 (3)
434 HENNING KOPPEL (1918-1981)
FOR GEORG JENSEN TWO BROOCHES
model 369 and 340, silver, stamped GEORG JENSEN/ 925S/ DENMARK/ 369 (with import marks for 1974) and 340 (2) 6cm and 7.1cm across £250-350
440
GEORG JENSEN NECKLACE, CIRCA 1960
sterling silver, stamped GEORG JENSEN/ STERLING/ DENMARK/ 60B, import marks for 1960 38cm long £400-600
439
GEORG JENSEN (1866-1935) ‘TULIP’ NECKLACE
sterling silver, stamped GEORG JENSEN/ 925S/ DENMARK/ 100B 38cm long £400-600
441 HENNING KOPPEL (1918-1981)
FOR GEORG JENSEN BROOCH
sterling silver, stamped GEORG JENSEN/ 925S/ DENMARK/ 339, 6cm across; and a GEORG JENSEN ‘KNEELING FAWN’ BROOCH, sterling silver, stamped marks JG/ STERLING/ 256, IMPORT MARKS FOR 1957, 4.6cm across (2) £200-300
ARNO MALINOWSKI (1899-1976)
FOR GEORG JENSEN BROOCH
sterling silver, stamped GJ/ STERLING/ DENMARK/ 250, 3.6cm across; HENNING KOPPEL (1918-1981) FOR GEORG JENSEN
BROOCH, sterling silver, stamped GEORG JENSEN/ 925S/ DENMARK/ 339, 6cm across; and a GEORG JENSEN ‘KNEELING FAWN’ BROOCH, sterling silver, stamped marks JG/ STERLING/ DENMARK/ 256, 4.6cm across (3)
443
GEORG JENSEN (1866-1935)
BOXED ‘LAPWING’ BROOCH, 1963 sterling silver, stamped marks GEORG JENSEN/ STERLING/ DENMARK/ 297, import marks for 1963, 5.5cm diameter; also a GEORG JENSEN ‘KNEELING FAWN’ BROOCH,
444
GEORG JENSEN (1866-1935)
VASE NO.295A, DATED 1922 sterling silver, stamped with three towers motif, also stamped GEORG JENSEN/ STERLING / 295A/ 1922/ CFH 12cm high £250-350
GEORG JENSEN (1866-1935)
SET OF NINE ‘ACORN’ SPOONS, 1926 sterling silver, stamped GEORG JENSEN/ 925S, import marks for 1926, 14.5cm long; and a DESSERT SPOON, sterling silver, stamped GJ/ 925S, import marks for 1931, 17.2cm long (10) £200-300
GEORG JENSEN (1866-1935)
CASED SET OF ‘LILY OF THE VALLEY’ SPOONS, 1938 sterling silver, comprising a caddy spoon and eight coffee spoons, stamped GJ/ STERLING/ DENMARK, import marks for 1938, caddy spoon 11cm long; and SIX GLASS COASTERS, HARALD NIELSEN (1892-1977) FOR GEORG JENSEN & WENDEL, sterling silver, stamped GEORG JENSEN & WENDEL/ STERLING/ DENMARK/ 51A, 6cm diameter (2) £300-500
MARIO LOGLI (1933-2000)
WALL PLATE,
448 §
SCOTTIE WILSON (1890-1972)
AFRICAN MASK
449 § SCOTTIE WILSON (1890-1972)
‘BUTTERFLIES’
ITALIAN
PAIR OF EASY CHAIRS, CIRCA 1955 beech frame with later felt upholstery (2) 91cm wide, 96cm high, 58.5cm deep £1,000-1,500
450
OLIVER MESSEL (1904-1978) CEILING LIGHT, CIRCA 1960 gilded metal 60cm diameter, 21cm high £600-800
LARGE CENTREPIECE FOOTED VASE, MID-20TH CENTURY
clear glass with aventurine inclusions, etched signature SEGUSO/ V. L’ARTE 41cm diameter, 30cm high
457
FRANÇOIS MONNET (B.1946)
FOR KAPPA
BOTTLE HOLDER, 1970S
brushed steel
44cm high, 25cm wide (17 1/4in high, 9 7/8in wide)
£300-500
FOR CASSINA
PAIR OF ‘DUC 405’ ARMCHAIRS, DESIGNED 1976
grey leather, each bears cloth label CASSINA MADE IN ITALY (2) 91cm wide, 71cm high, 83cm deep
459
MANNER OF MICHAEL BOYER
OCCASIONAL TABLE, CIRCA 1970
smoked glass and brushed aluminium 120cm long, 33.5cm high, 50cm deep
£300-500
460
‘DUC 405’ TWO-SEATER SOFA, DESIGNED 1976 black leather, woven maker’s mark to cushions 160cm wide, 58.5cm high, 80cm deep £800-1,200
461 B & B ITALIA (ATTRIBUTED MAKER)
COFFEE TABLE, CIRCA 1980 marble and aluminium 122cm long, 21cm high, 89cm deep £600-800
462
ENGLISH FREEFORM SOFA, MODERN mahogany and wool upholstery 220cm wide, 100cm high, 83cm deep £1,000-1,500
463
JIMI MITCHELL ROOM DIVIDER, 1986
lacquered wood, signed and dated 214cm high £800-1,200
464
MAISON PHILIPPE HUREL
‘LUCCA 2’ DESK
birch and wrought steel, leather skiver 125cm wide, 110cm high, 60.5cm deep £300-500
465
MARIO BELLINI (B.1935) FOR CASSINA
‘DUC 405’ THREE-SEATER SOFA, DESIGNED 1976 black leather, woven maker’s mark to cushions
237.5cm wide, 71cm high, 84cm deep £1,000-1,500
466
467 §
JACK CUNNINGHAM (B.1953)
‘A SENSE OF PLACE, KELVINGROVE’ BROOCH, CIRCA 1998
white metal, watermelon tourmaline, aventurine quartz, green hardstone, on a hardwood stand, stamped maker’s mark JRC brooch 11.5cm long, on stand 20.5cm high £300-500
468 §
BALLET DANCER
patinated and gilded bronze, signed to the base C/ T MERRIFIELD/ 15/25 27cm high; total height 30.5cm £500-800
FOOTED BOWL stoneware with black glaze splashes, impressed artist’s and pottery seals 29cm diameter £300-500
471 §
BOWL, CIRCA 2000 tenmoku-glazed stoneware 27cm diameter £250-350
ALEXANDER STODDART (B.1959)
THE DNIEPER
plaster maquette, incised DNIEPER / A. STODDART / PAISLEY /MAY 2022, inscribed in pencil to top edge DNIEPER/ A. STODDART/ SC. PAISLEY 2022 3/5 69.5cm high, 65cm wide £300-500
472
DOVECOT STUDIOS, EDINBURGH
‘TE AA NO AREDIS’ (AFTER PAUL GAUGUIN), CIRCA 1986-87
coloured wools, woven by David Cochrane, Fred Mann O. B. E. and Harry Wright F. R. S. A., woven initials verso DC/ FM/ HW 142.5cm x 110.5cm
Provenance: Bought directly from Dovecot Studios in 1995
Note: Fred Mann was a Master Weaver at Dovecot Studios, Harry Wright became Head Master Weaver in 1995 £600-800
473 CONTEMPORARY
STAINED GLASS PANEL
stained leaded and painted glass, within fitted box
x 32cm
474
WALL SHELVES, CIRCA 1990 painted wood, signed to reverse GRAHAM CARR
475
TIM STEAD (1952-2000)
CENTRE TABLE & TWO ‘CORSET’ CHAIRS, CIRCA 1990
ash and burr elm, the table 84cm wide, 73cm high, 82cm deep; the chairs, 36cm wide, 110cm high, 43cm deep, each chair stamped and inscribed (3)
silver and enamel, stamped NG, hallmarked Edinburgh 1975 pendant 9cm diameter £400-600
476 §
NORMAN GRANT (1943-2017)
‘EXOTIC FISH’ SERIES BROOCH, 1973-4
silver, enamel, stamped NG, hallmarked Edinburgh 19734, 7cm across; together with another NORMAN GRANT ‘EXOTIC FISH’ BROOCH, stamped NG, hallmarked Edinburgh 1973-4, 7cm across (2)
£300-500
NORMAN GRANT was born in Forres, Moray in 1943 and studied at Gray’s School of Art in the 1960s. He was a student of David Hodge who established a goldsmithing and jewellery course at Gray’s in 1954, leading the department until he retired in 1975. Hodge remembered Grant as one of the students who made his teaching career memorable.
In the late 1960s, Grant began to design jewellery, initially working in a shed in his garden. His preferred medium was translucent enamel which he combined with sterling silver. Having originally studied graphic design before switching to silversmithing, Grant often maintained that he was influenced by the natural forms of the coastal landscape he had grown up with. Inevitably these influences found their way into his early jewellery designs; microscopic plant cell structures, petals, stamens, seed heads, trees, driftwood, shells, seaweed, anemone-like forms and later fish, wave and cloud motifs can all be seen in his work.
Grants’ work began to be sought by London shops such as Liberty’s and Harrods and was also picked up by Bonwit Teller & Co. and Marshall Field in America. His jewellery became synonymous with the Art Nouveau revival of the early 1970s. Its distinctive shapes and colourful plant-based forms provided the ideal accessories for contemporary designers such as Mary Quant and Biba.
In 1976 Norman Grant founded Dust Jewellery, established in its own workshops in Lundin Links in Fife, Scotland. Grant himself left to work for DeBeers in the early 1980s however Dust Jewellery continued producing jewellery into the 1990s. Several examples of his work are held in Aberdeen Art Gallery & Museum.
478
NORMAN GRANT (1943-2017)
‘CELL STRUCTURE’ SERIES
CIRCA
and enamel, stamped
pendant
479
‘MICROSCOPIC PLANT CROSS SECTION’ SERIES PENDANT NECKLACE, 1973-4 silver and enamel, 4.5cm across; another NORMAN GRANT ‘MICROSCOPIC PLANT CROSS SECTION’ SERIES PENDANT NECKLACE, 1973-4, silver and enamel, 4.5cm across, each stamped NG, hallmarked Edinburgh 1973-4; together with a NORMAN GRANT ‘MICROSCOPIC PLANT CROSS SECTION’ SERIES BROOCH, silver and enamel, stamped NG, hallmarked Edinburgh 1973-4, 4.5cm across (3) £400-600
480
NORMAN GRANT (1943-2017)
‘MICROSCOPIC PLANT CROSS SECTION’ SERIES BRACELET, 1973-4
and enamel, stamped NG, hallmarked Edinburgh
NORMAN GRANT (1943-2017)
‘TREE OF SEASONS’ SERIES PENDANT NECKLACE, 1978 silver, enamel, stamped NG/ STERLING SILVER, hallmarked Edinburgh 1978, 4.1cm diameter; a ‘CROSS SECTION PLANT STAMEN’ SERIES BROOCH/PENDANT, silver, enamel, stamped NG, hallmarked Edinburgh 1970, 5.5cm diameter; a NORMAN GRANT ‘HONESTY PLANT’ SERIES BROOCH/PENDANT, silver, enamel, stamped NG, hallmarked Edinburgh 1972, 5.5cm diameter; and a PAIR OF ‘PYRAMID’ SERIES EARRINGS, white metal and enamel, unmarked, 5.5cm tall (4)
482 § NORMAN GRANT (1943-2017)
FOUR PILL BOXES & COVERS, 1970’S silver, enamel, comprising ‘CELTIC KNOT’ SERIES, hallmarked Edinburgh 1976; ‘SWEET PEA CROSS SECTION’, hallmarked Edinburgh 1972; ‘MOSAIC’ SERIES, hallmarked Edinburgh 1973-4; and ‘TWELVE-PETAL DAISY’ SERIES, hallmarked Edinburgh 1975, each stamped NG (4) each 4.5cm diameter £300-500 483 §
NORMAN GRANT (1943-2017)
‘HONESTY’ SERIES BROOCH, 1976 silver, enamel, stamped NG, hallmarked Edinburgh 1976, 4.1cm diameter; a NORMAN GRANT ‘FROG SPAWN’ SERIES BROOCH, silver, enamel, stamped NG, hallmarked Edinburgh 1973-4, 5.3cm tall; a NORMAN GRANT ‘MEXICAN BLANKET’ BROOCH, silver, enamel, stamped NG, hallmarked Edinburgh 1973-4, 4.8cm across; and a NORMAN GRANT ‘FLORAL MOTIF’ SERIES PENDANT NECKLACE, silver, enamel, stamped NG, hallmarked Edinburgh 1972, pendant 7cm tall (4) £300-500
484 §
NORMAN GRANT (1943-2017)
‘WORM-EATEN DRIFTWOOD’ SERIES PENDANT NECKLACE, 1973-4 silver, stamped NG, hallmarked Edinburgh 1973-4, pendant 6cm tall; a NORMAN GRANT ‘STICKY PINE NEEDLES’ SERIES PENDANT, silver, stamped NG, hallmarked Edinburgh 1972, 3.5cm diameter; a PAIR OF NORMAN GRANT ‘FRUIT CROSS SECTION’ SERIES EARRINGS, silver stamped NG, hallmarked Edinburgh 1971, 5cm tall; and a NORMAN GRANT RING, white metal and enamel, stamped NG, 3cm long (4) £250-350
‘DAISY’ SERIES PENDANT NECKLACE, 1972 silver and enamel, stamped NG, hallmarked Edinburgh 1972, pendant 6.6cm diameter; also a NORMAN GRANT ‘FLORAL MOTIF’ SERIES PENDANT, silver and enamel, stamped NG, hallmarked Edinburgh 1973-4, pendant 5cm diameter; and a PAIR OF ‘PYRAMID’ SERIES EARRINGS, silver and enamel, stamped NG, hallmarked Edinburgh 1972, 5.5cm drop (3) £300-500
‘MELON SEED’ SERIES BROOCH, 1976 silver, enamel, stamped NG, hallmarked Edinburgh 1976, 5.5cm diameter; a NORMAN GRANT ‘MICROSCOPIC PLANT CROSS SECTION’ SERIES BROOCH, silver, enamel, stamped NG, hallmarked Edinburgh 1976, 5.5cm diameter; and a NORMAN GRANT ‘STYLISED NINE PETAL FLOWERHEAD’ SERIES BROOCH, silver, enamel, stamped NG, hallmarked Edinburgh 1976, 5.5cm diameter; and a PAIR OF EARRINGS, each stamped NG, hallmarked Edinburgh 1971, 5.5cm tall (4)
£300-500
487 §
THREE PAIRS OF CUFFLINKS, 1971-2 silver, enamel, comprising a PAIR OF ‘HONESTY’ SERIES CUFFLINKS, stamped NG, hallmarked Edinburgh 1972, 3cm diameter; a PAIR OF ‘BAMBOO BARK’ SERIES CUFFLINKS, stamped NG, hallmarked Edinburgh 1971, 2.1cm across; and a PAIR OF GEOMETRIC PATTERN CUFFLINKS, stamped NG, hallmarked Edinburgh 1971, 2.5cm across (3)
£200-300
DAVID LINLEY, LONDON
TABLE, CONTEMPORARY
LINLEY, LONDON
OF TEN DINING CHAIRS, CONTEMPORARY
DAVID LINLEY, LONDON
OF BEDSIDE CABINETS, CONTEMPORARY
sycamore
wide,
high,
deep
492
DAVID LINLEY, LONDON
PAIR OF CONSOLE TABLES, CONTEMPORARY inlaid sycamore, each stamped LINLEY (2) 115cm wide, 80cm high, 50cm deep £800-1,200
DAVID LINLEY, LONDON
PAIR OF ‘MAX’ ARMCHAIRS, CONTEMPORARY walnut, with leather upholstery, each stamped LINLEY (2) 76.5cm wide, 64.5cm high, 69cm deep £1,500-2,000
494
DAVID LINLEY, LONDON FIRE SURROUND, CONTEMPORARY inlaid sycamore
Internal 98.5cm x 64cm; exterior 132cm long, 129cm high, 20cm deep £1,000-1,500
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.
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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.
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(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.
(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.
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.
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.
(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.
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.
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.
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.
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.
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.
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.
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.
Bidding increments shall be at the Auctioneer’s sole discretion.
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.
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.
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.
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.
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.
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.
(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 antimoney 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.
(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.
If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the Sellers and on their behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies:
(a) To proceed against You for damages for breach of contract;
(b) To rescind the contract for sale of that Lot and/or any other Lots sold by us to You;
(c) To resell the Lot(s) (by auction or private treaty) in which case You shall be responsible for any resulting deficiency in the Total Amount Due (after crediting any part payment and adding any resale costs).
(d) To remove, store and insure the Lot in the case of storage, either at our premises or elsewhere and to recover from You all costs incurred in respect thereof;
(e) To charge interest at a rate of 5% a year above the Bank of Scotland base rate from time to time on all sums outstanding for more than 7 working days after the sale;
(f) To retain that or any other Lot sold to You until You pay the Total Amount Due;
(g) To reject or ignore bids from You or Your agent at future auctions or to impose conditions before any such bids shall be accepted;
(h) To apply any proceeds of sale of other Lots due or which become due to You towards the settlement of the Total Amount Due by You and to exercise a lien over any of Your
property in our possession for any purpose until the debt due is satisfied.
You will be deemed to have granted such security to us and we may retain such property as collateral security for Your obligations to us; we may decide to sell Your property in any way we think appropriate. We will use the proceeds of the sale against any amounts You owe us and we will pay any amount left from that sale to You.
If there is a shortfall, You must pay us the balance; and
(i) Take any other action we see necessary or appropriate.
(1) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time.
Information on collection is set out in the Catalogue and our Website
(2) Unless agreed otherwise, You must collect purchased Lots within seven days from the auction. Please note the Lots will only be released upon full payment being received.
(3) If You do not collect any Lot within seven days following the auction we can, at our discretion;
(i) Charge You storage costs at the rates set out on our Website.
(ii) Move the Lot to another location or an affiliate or third party and charge You transport and administration costs for doing so and You will be subject to the third party storage terms and pay for their fees and costs.
(iii) Sell the Lot in any way we think reasonable.
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.
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.
Please be aware that all Lots marked with the symbol Y may be subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http:// www.defra.gov.uk/ahvla-en/imports-
We accept no liability for any Lots which may be subject to CITES but have not be identified as such.
(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.
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.
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.
You may not grant a security over or transfer Your rights of responsibilities under these terms on the contract of sale with the Buyer unless we have given our written permission. This agreement will be binding on Your successors or estate and anyone who takes over Your rights and responsibilities.
6. REPORTING ON WWW.LYONANDTURNBULL.COM
Details of all Lots sold by us, including Catalogue disruptions and prices, may be reported on www.lyonandturnbull. com. Sales totals are Hammer Price plus Buyer’s Premium and do not reflect any additional fees that may have been incurred. We regret we cannot agree to requests to remove these details from our Website.
(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.
All members of the public on our premises are there at their own
risk and must note the lay-out of the premises, safety and security arrangements. Accordingly, neither the Auctioneer nor our employees or agents shall incur liability for death or personal injury or similarly for the safety of the property of persons visiting prior to, during or after a sale.
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.
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.
(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.
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.
“Auctioneer” Lyon & Turnbull Ltd
(Registered in Scotland No: 191166
| Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) or it’s authorised representative conducting the sale, as appropriate;
“Bidder” a person who has completed a Bidding Form
“Bidding Form” our Bidding Registration Form our Absentee Bidding Form or our Telephone Bidding Form.
“Buyer” the person to whom a Lot is knocked down by the Auctioneer. The Buyer is also referred to by the words
“You” and “Your”
“Buyer’s Premium” the sum calculated on the Hammer Price at the rates stated in Catalogue.
“Catalogue” the Catalogue relating to the relevant Sale, including any representation on our Website
“Condition Report” the report on the physical condition of a Lot provided to a Bidder or potential Bidder by us on behalf of the Seller.
“Estimate” a statement of our opinion of the range within the hammer is likely to fall.
“Hammer Price” the level of bidding reached (at or above any Reserve) when the Auctioneer brings down the hammer;
“High Cumulative Value of Lot” several Lots with a total lower Estimate value of £30,000 or above;
“High Value Lot” a Lot with a lower Estimate of £30,000 or above;
“Lot” each Item offered for sale by Lyon & Turnbull;
“Purchase Price” is the aggregate of Hammer Price and any applicable Buyer’s Premium, VAT on the Hammer Price (where applicable), VAT on the Buyer’s Premium and any other applicable expenses;
“Reserve” the lowest price below which an item cannot be sold whether at auction or by private treaty;
“Sale” the auction sale at which a Lot is to be offered for sale by us.
“Seller” the person who offers the Lot for Sale. We act as agent for the Seller.
“Total Amount Due” the Hammer Price in respect of the Lot sold together with any premium, Value Added Tax or other taxes chargeable and any additional charges payable by a defaulting Buyer under these Conditions;
“VAT” value added tax at the prevailing rate at the date of the sale in the United Kingdom.
“Website” Lyon & Turnbull’s Website at www.lyonandturnbull.com
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.
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.
At the Sale Registered bidders will be assigned a bidder number and given a paddle for use at the sale. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. To place your bid, simply raise your paddle until the auctioneer acknowledges you. Please ensure that the auctioneer repeats your bidder number correctly when confirming the sale. If there is any doubt at this stage as to the hammer price or buyer it must be brought to the auctioneer’s attention immediately. All lots will be invoiced to the name and address given on your registration form, which is non-transferable.
A limited number of telephone lines are available for bidding by phone through a Lyon & Turnbull representative.
Phone lines must be reserved in advance. All bid requests must be received an hour before the sale. All telephone bids must be confirmed in writing, listing the relevant lots and appropriate number to be called. We recommend that a covering bid is also left in the event that we are unable to make the call. We cannot guarantee that lines will be available, or that we will be able to call you on the day, but will endeavour to undertake such bids to the best of our abilities. This service is available entirely at our discretion and at the bidder’s risk.
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.
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.
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:
Account details are included on any invoices we issue or upon request from our accounts department.
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.
No cash payments will be accepted for this auction.
Please refer to page 2 of this catalogue.
