DESIGN Since 1860 | Auction 19 April 2023

BUYER'S GUIDE

BUYER’S PREMIUM

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

26% up to £20,000

25% from £20,001 to £500,000 20% thereafter.

VAT will be charged on the premium at the rate imposed by law (see our Conditions of Sale at the back of this catalogue).

ADDITIONAL VAT

† VAT at the standard rate payable on the hammer price

‡ Reduced rate of 5% import VAT payable on the hammer price

Ω Standard rate of import VAT on the hammer price

Lots affixed with ‡ or [Ω] symbols may be subject to further regulations upon export /import, please see Conditions of Sale for Buyers Section D.2.

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

DROIT DE SUITE

§ indicates works which may be subject to the Droit de Suite or Artist’s Resale

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

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

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

REGISTRATION

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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. (Particularly for bidding on lots marked by the high value lot symbol ) By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale (available at the back of every catalogue and on our website).

BIDDING & PAYMENT

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

REMOVAL OF PURCHASES

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

CATALOGUE DESCRIPTIONS

All item descriptions, dimensions and estimates are provided for guidance only. It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction. Our specialists will be happy to prepare condition reports and additional images. These are for guidance only and all lots are sold ‘as found’, as per our Conditions of Sale.

IMPORT/EXPORT

Prospective buyers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to; rhino horn, ivory, coral and tortoiseshell. Accordingly, prospective buyers should familiarise themselves with all relevant customs regulations prior to bidding if they intend to import lots to another country. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale nor any delay in making full payment for the lot.

ENDANGERED SPECIES

Please be aware that lots marked with the symbol Y contain material which may be subject to CITES regulations when exporting outside Great Britain. For more information visit http://www.defra.gov.uk/ ahvla-en/imports-exports/cites

COLLECTION OF PURCHASED LOTS

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

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

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

IMPORTANT INFO FOR ‡ LOTS

Lots affixed with ‡ or [Ω] symbols may be subject to further regulations upon export /import, please see Conditions of Sale for Buyers Section D.2.

Collections of Purchased ‡ Lots:

For items marked with the ‡ (denoting additional VAT payable at a reduced rate of 5% on the hammer price) additional time should be allowed for Customs clearance by HMRC if the item is to remain in the UK. For items being exported out of the UK these items can be shipped via Crown Fine Art or via another approved shipper with a temporary admissions account.

MEET THE SPECIALISTS

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

Olivia Ross Junior Specialist olivia.ross@lyonandturnbull.com

Philip Smith Senior Specialist philip.smith@lyonandturnbull.com

Joy McCall Senior Specialist joy.mccall@lyonandturnbull.com

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

PAIR OF GOTHIC REVIVAL CANDLESTICKS, CIRCA 1880

brass, with associated velvet covered plinths (2) 36cm high excluding plinth; 39.5cm high including plinths

£400‑600

2

ENGLISH

PAIR OF GOTHIC REVIVAL ALTAR CANDLESTICKS, CIRCA 1890

cast brass (2)

78cm high

£300‑500

PAIR

brass each 50.5cm high

£400‑600

MANNER OF JAMES BROOKS

JOHN HARDMAN & CO., BIRMINGHAM (ATTRIBUTED MAKER)

OF GOTHIC REVIVAL CANDLESTICKS, CIRCA 1890

5

4

ENGLISH GOTHIC REVIVAL CORNER CUPBOARD, CIRCA 1890

oak, with patinated metal fittings

54cm wide, 69cm high, 31cm deep £300‑500

GOTHIC REVIVAL ALMS DISH, CIRCA 1890 brass and white metal 51cm diameter £300‑500

6

PAIR OF SIDE CHAIRS, CIRCA 1870

walnut, with later close‑nailed velvet upholstery (2) 46cm wide, 86cm high, 48cm deep

Literature: Shutler P.A. Furniture for the Granville Hotel, DAS Journal No. 42, 2018, p. 19, pl. 23 where a similar chair but with cantilever base is illustrated.

Note: These chairs were designed for the Dining Room at The Granville Hotel, Ramsgate, Kent. £400‑600

E.W. PUGIN (1834‑1875)

ENGLISH REFORMED GOTHIC MANTEL CLOCK, CIRCA 1880 the single train movement with engraved brass dial, within carved oak case

49cm high

£600‑800

8

ENGLISH PAIR OF GOTHIC REVIVAL CANDLESTICKS, CIRCA 1870

brass (2)

25cm high

9

ENGLISH, MANNER OF JOHN HARDMAN & CO., BIRMINGHAM

PAIR OF CANDELABRA, CIRCA 1870 plated metal, one stamped 0/ 10, the other stamped 21/ 22 (2)

34cm high

£300‑500 11

£300‑500 10

E.W.

GOTHIC REVIVAL CANDELABRUM, CIRCA 1880

brass

50.5cm high

Literature: John Hardman & Co. catalogue 1875, where a similar design is illustrated.

£250‑350

ENGLISH GOTHIC REVIVAL LOW TABLE, CIRCA 1900

oak

74cm across, 61cm high

£400‑600

PUGIN (1834‑1875) (ATTRIBUTED DESIGNER) FOR JOHN HARDMAN & SONS

E.W. PUGIN (1834‑1875) (ATTRIBUTED DESIGNER)

GOTHIC REVIVAL TABLE, CIRCA 1870

pine

121cm long, 81cm high, 53cm deep

Provenance: By repute The Cathedral Church of St Colman (Cobh Cathedral), County Cork £400‑600

13

A.W.N. PUGIN (1812‑1852) FOR MINTON, HOLLINS & CO., STOKE‑ON‑TRENT GROUP OF NINE GOTHIC REVIVAL TILES, CIRCA 1860 glazed earthenware, moulded marks verso (9)

each tile 15.2cm square £400‑600

14

ENGLISH

GOTHIC REVIVAL GONG, CIRCA 1900

oak, with brass gong and polychrome decoration

61cm wide, 109cm high, 39cm deep £400‑600

15

GEORGE EDMUND STREET (1824‑1881)

SIDE CHAIR, CIRCA 1880

oak, with original close‑nailed leather upholstered seat, branded marks

47cm wide, 89cm high, 49cm deep

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

£300‑500

16

ENGLISH

VICTORIAN INKSTAND, CIRCA 1850 electroplated metal 23.5cm across £200‑300

AFTER RICHARD WESTMACOTT THE YOUNGER

‘BLUEBELL’; PAIR OF OVAL PANELS, CIRCA 1850 plaster, within glazed overpainted frames (2) panels 44cm x 34cm £300‑500

18

HENRY ALFRED PEGRAM (1862‑1937)

PORTRAIT OF MILLICENT MARGARET FISHER, CIRCA 1897 plaster relief panel, within the period oak frame, relief moulded inscription MILLICENT MARGARET FISHER/ HENRY ALFRED PEGRAM FECIT panel 34.5cm x 19cm £300‑500

19

F. DAVIES AND SONS, NEWCASTLE UPON TYNE

‘ULYSSES FOLLOWING THE CAR OF NAUSICAA’ glazed and printed ceramic, later frame 29.5cm square £300‑500

21

BRUCE J. TALBERT (1838‑1881) (ATTRIBUTED DESIGNER) AESTHETIC MOVEMENT SIDE TABLE, CIRCA 1870

oak

115cm wide, 77cm high, 61cm deep £400‑600

ENGLISH, MANNER OF BRUCE TALBERT PAIR OF AESTHETIC MOVEMENT CANDLE SCONCES, CIRCA 1880

embossed and cast brass (2)

20.5cm wide, 36cm high, 16cm deep approx. £600‑800

22

BRUCE TALBERT (1838‑1881)

AESTHETIC MOVEMENT LIBRARY TABLE, CIRCA 1880

carved oak

168cm long, 74cm high, 80cm deep £1,000‑1,500

AESTHETIC MOVEMENT BUREAU BOOKCASE, CIRCA 1875 mahogany, with brass fittings, the sloping fall opening to reveal a fitted interior, stamped 9551 147cm wide, 198cm high, 61.5cm deep

£2,000‑3,000

CHARLES LOCKE EASTLAKE (1836‑1906) (DESIGNER), JACKSON & GRAHAM (MAKER)

AESTHETIC MOVEMENT SETTEE, CIRCA 1878

ebonised and gilded mahogany, with later felt upholstery

150cm wide, 97cm high, 69cm deep

Literature: Eastlake, Charles L. Hints on Household Taste, Longmans, Green & Co., 1878, where a drawing for the matching armchair is illustrated.

Edwards C. The Firm of Jackson & Graham Furniture History Society, Vol. 34 (1998), pp. 238‑265

Note: One of the contributing factors to the prominence of Jackson & Graham among 19th‑century furniture makers was their employment of superior designers including Owen Jones, Bruce Talbert and Christopher Dresser. Some of Eastlake’s designs were made under licence by the firm, including this settee. Eastlake was not a commercial designer and earned his living as Keeper of the National Gallery.

£5,000‑8,000

W. LAMBERT FOR HOWELL, JAMES & CO., LONDON

‘THE UNDERWORLD’

painted earthenware, later frame painted number verso 652 and later applied plaque

40cm diameter

£600‑800

26

MANNER OF COTTIER & CO.

AESTHETIC MOVEMENT STAINED GLASS PANEL, CIRCA 1880

stained, leaded and painted glass, mounted within a timber frame, glazed to each side

panel 121cm x 39, frame 140cm x 54.5cm

£500‑800

27

MANNER OF DANIEL COTTIER

AESTHETIC MOVEMENT

FIRESCREEN CIRCA 1880

ebonised and gilded wood, double‑sided framed and glazed embroidered silk panel, silk threads on a silk ground

55.5cm wide, 101.5cm high, 41cm deep

£500‑800

28

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

£300‑500

29

DANIEL COTTIER (1837‑1891)

COURT CUPBOARD, CIRCA 1873

stained and carved oak, inset with gilded and painted panels, carved 1873 to frieze 184cm wide, 193cm high, 62cm deep

Literature: Cooper, J., Victorian & Edwardian Furniture & Interiors, Thames & Hudson, London, 1987, p.152, fig. 391 for a cabinet with similar carved decoration.

£1,500‑2,500

ENGLISH AESTHETIC MOVEMENT DISPLAY CABINET, CIRCA 1880 ebonised and gilded wood, with velvet‑lined interior 191cm wide, 191cm high, 48cm deep £800‑1,200

31 §

THOMAS JAMES CLIFF (1873‑1958) FOUR PANELS, CIRCA 1900 bronzed plaster, variously inscribed VER; AESTAS; AUCTUMNUS; HEMS, each signed T J CLIFF, framed each panel 15cm square, frame 21cm x 74cm £250‑350

MANNER OF WALTER CRANE EMBROIDERED PANEL, CIRCA 1910 coloured silks and wool on a lace ground, later framed and mounted

19.5cm x 119cm

£200‑300

ENGLISH PAIR OF CANDLESTICKS, CIRCA 1880 silver‑plate metal, with opalescent and enamelled glass shades, indistinctly marked to base (2)

42.5cm high

£300‑500

ENGLISH, MANNER OF A.W.N. PUGIN GOTHIC REVIVAL ARMCHAIR, CIRCA 1860 oak, with velvet upholstered arm rail 63cm wide, 74cm high, 59cm deep

£250‑350

GEORGE TINWORTH (1843‑1913)

FOR DOULTON & CO., LAMBETH

HAMAN LEADING MORDECAI

THROUGH THE STREETS OF PERSIA, DATED 1884

terracotta relief, within an ebonized wood and gilded frame, incised G. TINWORTH 1884/ DOULTON &CO/ LAMBETH, bearing an inscription from Psalms 2, Chapter 4 23cm x 56cm approx.

Literature: Rose P. George Tinworth: Harriman‑Judd Collection Volume 1, 1982, p. 171

Note: This terracotta panel of 1884 is based on the bible story in Esther Chapter VI. Haman is shown leading the King’s horse, with Mordecai seated on it, through the city street. Onlookers, attracted by Haman’s proclamation, appear from all directions displaying reactions of wonder, envy or gladness.

£800‑1,200 36

GEORGE TINWORTH (1843‑1913)

FOR DOULTON & CO., LAMBETH

THE THIRD HOUR, 1907

terracotta relief, within ebonised wood and gilded frame, incised THE THIRD HOUR 35cm x 19cm

Literature: Rose P. George Tinworth: Harriman‑Judd Collection Volume 1, 1982, pp. 185‑6

Note: This terracotta panel is one of a series of 14 panels started by Tinworth in 1902 and completed in 1907.

£300‑500

37

HOLLAND & SONS, LONDON

DISPLAY CABINET, CIRCA 1890

oak, with glazed doors and velvet‑lined interior, patinated metal fittings, opening to a fitted interior with tooled leather skiver, stamped to cupboard door HOLLAND & SONS/ MOUNT STREET/ LONDON

144cm wide, 189cm high, 46cm deep

Note: For a desk by Holland & Sons with similar characteristics see Sotheby’s, London The Best of British: Design from the 19th and 20th Centuries, 20th March 2008, Lot 106.

£3,000‑5,000

ENGLISH, MANNER OF BRUCE TALBERT PAIR OF AESTHETIC MOVEMENT CANDLE SCONCES, CIRCA 1880

embossed and cast brass (2)

38.5cm x 23cm

£600‑800

39

ENGLISH AESTHETIC MOVEMENT TABLE CLOCK, CIRCA 1870 the twin‑train movement with engraved brass dial, within carved mahogany case with brass fittings with handle 42cm high £1,000‑1,500

40

WILLIAM STEPHEN COLEMAN (1829‑1904) FOR MINTON & CO.

AESTHETIC MOVEMENT TILE, 1870

glazed earthenware, moulded maker’s marks and date lozenge, printed maker’s marks, 20.7cm square; together with THREE BROWN ‑ WESTHEAD, MOORE & CO. TILES, the designs attributed to Pierre Mallet, moulded maker’s marks, 20.2cm square (4)

£300‑500

41

ENGLISH, MANNER OF WILLIAM BURGES GOTHIC REVIVAL FIRE GRATE, CIRCA 1860 cast iron and ceramic fire brick 86cm wide, 54cm high, 46cm deep

£500‑800

HENRY HOLIDAY (1839‑1927)

STUDY FOR THE FIGURE OF VIRTUE black and white chalk on buff paper 50cm x 25cm

Provenance: Moss Gallery, London

Note: This study is thought to be for the stained glass window Henry Holiday designed for St. Salvator’s Chapel in St. Andrews. The window he provided for St Salvator’s is in the pre‑Raphaelite style popularised by Morris & Co. Commissioned as a memorial to Principal Shairp, the window bears the figures of Virtue, Faith and Knowledge of which the current lot is a study for the figure of Virtue.

£600‑800

AFTER SIR EDWARD BURNE‑JONES

DAYS OF CREATION, DAY ONE AND DAY FIVE, CIRCA 1900

fine pyrography and ink on timber, later framed (2) 65cm x 24cm

£600‑800

COLLINSON & LOCK, LONDON

AESTHETIC MOVEMENT DRAWING

ROOM CABINET, CIRCA 1880

mahogany with gilded highlights, inset with a painted panel after Walter Crane, embossed velvet panels and mirrored glass

203.5cm wide, 107cm high, 41.5cm deep

Note: The central painted panel in this cabinet is based on I saw three ships by Walter Crane (1845‑1915), the original illustration appeared in Baby’s Opera published by Messrs. George Routledge & Sons, Ltd. in 1877.

£800‑1,200

45

LEWIS FOREMAN DAY (1845‑1910) FOR HOWELL & JAMES, LONDON

AESTHETIC MOVEMENT MANTEL CLOCK, CIRCA 1880

painted porcelain dial, within carved and pierced mahogany case

24.2cm wide, 36cm high, 13.7cm deep

Literature: For an almost identical clock marked ‘Howell & James’, please see V&A collection, accession no. CIRC.662‑1972

Note: Lewis Day was a teacher and prolific designer within the South Kensington circle, whose books frequently included Japanese examples. Although the design elements of this clock do not conform to traditional Japanese decoration, they would have suggested the Japanese taste to Day’s contemporaries in Britain.

£300‑500

46

MINTON & CO.

GROUP OF EIGHT AESTHETIC MOVEMENT TILES, CIRCA 1880 painted and glazed earthenware, moulded factory marks verso painted monogram TS 0169/11/131 (8)

15.5cm square

£500‑800

47

ENGLISH, MANNER OF THE CENTURY GUILD SIDE TABLE, CIRCA 1900

mahogany, inset with woven silk panel

75.5cm wide, 72cm high, 50cm deep

£600‑800

WILLIAM EDEN NESFIELD (1835‑1888) (DESIGNER), JAMES FORSYTH (1827‑1910) (MAKER)

AESTHETIC MOVEMENT HALL SETTLE, CIRCA 1868

oak

129cm wide, 110cm high, 49cm deep £1,000‑1,500

Provenance: Designed for Henry Vallance, Farnham Park, Farnham Royal, Buckinghamshire (contents sold 1905)

John Bevill Fortescue, Dropmore Park, Burnham, Buckinghamshire

James Gomer Berry, 1st Viscount Kemsley, Dropmore Park, Burnham, Buckinghamshire

Sold Sotheby’s, 18th March 1969, ‘The Valuable Contents of Dropmore’

Holloway Auctioneers, Banbury, Oxfordshire, 2nd December 2014, lot 526

Literature: Eastlake C.L. History of the Gothic Revival, 1872, where an in‑situ line drawing is illustrated.

Cooper, J., Victorian & Edwardian Furniture & Interiors, Thames & Hudson, London, 1987, p. 133, pl. 304 where the above line drawing is also illustrated; and p. 134, pl. 306 where the comparable settle at Cragside is illustrated (in a painting by H.H. Emmerson).

Note: Nesfield designed a similar pair of settles for the dining room at Cragside, William George Armstrong’s country house in Rothbury, Northumberland, which he extended, with Richard Norman Shaw, in 1870‑1872. These are the only other settles of this style known to have been made.

ENGLISH

AESTHETIC MOVEMENT BRASS CANDLE SCONCE, CIRCA 1890

embossed and cast brass

41cm x 31cm

£300‑500

50

JAMES POWELL & SONS, WHITEFRIARS

THREE LIQUEUR GLASSES, CIRCA 1906

pale green glass with pulled decoration (3)

12cm high

Note: Probably part of the service made for the Italian diplomat Count Minerbi in 1906

£200‑300

51

ENGLISH

AESTHETIC MOVEMENT FIREPLACE, CIRCA 1871

cast iron, cast brass, inset with glazed earthenware tiles, with cast registration lozenge (twice) for 1871

External 108.5cm wide, 97.5cm high; grate 99cm wide, 44cm high, 43cm deep

£700‑1,000

52

FREDERICK HOLLYER (1838‑1933) AFTER GEORGE FREDERIC WATTS

‘HOPE’, print, hand coloured with watercolour, framed 42cm x 34.5cm

£300‑500

AESTHETIC MOVEMENT

THE MESSAGE

pen and ink, framed 40cm x 20cm

£300‑500

54

S. GIBBS & MOORE, LONDON

TWO RARE FRAMED TILE PANELS, CIRCA 1880

hand‑painted on Minton blanks, depicting stylised birds and fish, moulded Minton marks and stamped maker’s marks to each (2) each tile 15.5cm square, framed 20cm x 51cm

£500‑800

55

ENGLISH AESTHETIC MOVEMENT FREESTANDING

BUREAU CABINET, CIRCA 1875

oak, marquetry inlaid with burr oak, the drop‑down fall enclosing a fitted interior, with tooled leather skiver

96.5cm wide, 111cm high, 45cm deep

£800‑1,200

ENGLISH

AESTHETIC MOVEMENT HALL TABLE CLOCK, CIRCA 1880

glazed earthenware dial within an oak case, fitted with a brass letterbox

18cm wide, 48cm high, 15.5cm deep £800‑1,200

57

WILLIAM TONKS & SONS, MANNER OF THOMAS JECKYLL

GROUP OF AESTHETIC MOVEMENT DOOR

FURNITURE, CIRCA 1880

comprising FOUR FINGERPLATES, 28cm long; FOUR DOOR HANDLES, 5.5cm diameter; and FOUR ESCUTCHEONS, 6cm long, fingerplates with stamped manufacturer’s mark WT&S (12) £400‑600

58

JAMES SHOOLBRED & CO.

AESTHETIC MOVEMENT STOOL, 1883

oak, with brass mounts, stamped Victorian lozenge mark (twice) for 1883

55cm wide, 61cm high, 30cm deep £600‑800

GEORGE FAULKNER ARMITAGE (1849‑1937) FOR THE FINE ART SOCIETY, LONDON DRAWING, PRINT AND FOLIO TABLE, 1888

mahogany

153cm long, 76cm high, 92cm deep

Provenance: Acquired by The Fine Art Society directly from George Faulkner Armitage in 1888 as part of an overall scheme by the designer for the Entrance Gallery at 148 New Bond Street.

Exhibited: Huddersfield, Huddersfield Technical School, Fine Art and Industrial Exhibition, 1883.

Literature: The Cabinet Maker & Art Furnisher, 1 September 1883, vol. IV, p.42, illus.The Editor, ‘Pen & Ink Notes’

The British Architect, 2 January 1891, p.5 Illustrated in a drawing by T. Raffles Davison published as ‘Rambling Drawing no.171’, ‘The Fine Art Society’s Gallery Anteroom’ £10,000‑15,000

Note: Armitage started his career as a woodcarver and his workshop and design studio were in his home, Stamford House. Carvers in his studio in the 1880s included Arthur Simpson (1857‑1922) who later set up his own studio in Kendal. In 1888 Armitage was commissioned to remodel the front section of the interior of The Fine Art Society, the front of its New Bond Street building having been remodelled in 1881 by E. W. Godwin. The walls were panelled in mahogany and the commission also included furniture, of which the current lot was prominently featured in the scheme.

60

E. W. GODWIN (1833‑1886), PROBABLY MADE BY WILLIAM WATT

AESTHETIC MOVEMENT HANGING CORNER CABINET, CIRCA 1872

mahogany, mirrored glass with patinated brass fitting 69cm wide, 108cm high, 36cm deep

Literature: Soros, Susan Weber, The Secular Furniture of E.W. Godwin, New York, 1999, p. 203, pl. 324.

Note: The original drawing by Godwin for an identical cabinet, with an additional shelf on top, dated November 1872, is in the collection of the Victoria & Albert Museum, London (PD E.229‑1963, fol. 75).

£5,000‑8,000

61

ENGLISH, MANNER OF E. W. GODWIN

AESTHETIC MOVEMENT HANGING WALL SHELVES, CIRCA 1890

mahogany with bevelled glass panel and mirrored back 56cm wide, 76.5cm high, 18cm deep

£400‑600

62

MINTONS LTD

AESTHETIC MOVEMENT PLATE, CIRCA 1890

painted and glazed earthenware, impressed MINTON 25cm diameter

£200‑300

63

E. W. GODWIN (1833‑1886)

AESTHETIC MOVEMENT

‘JACOBEAN’ ARMCHAIR, CIRCA 1880

ebonised wood with later upholstered seat

52cm wide, 88cm high, 51cm deep £400‑600

64

AFTER E. W. GODWIN

AESTHETIC MOVEMENT ‘COFFEE’ TABLE, CIRCA 1880

mahogany

39.5cm square, 70cm high £300‑500

MANNER OF E. W. GODWIN

AESTHETIC MOVEMENT OCCASIONAL TABLE, CIRCA 1880

oak, brass mounted legs, inset with glazed earthenware tiles

46cm square, 43cm high

£400‑600

66

MANNER OF E. W. GODWIN

AESTHETIC MOVEMENT SIDE CHAIR, CIRCA 1880

ebonised wood, with later but period velvet upholstered seat

41cm wide, 81cm high, 36.7cm deep £300‑500

67

ALEXANDER MORTON & CO. PAIR OF ‘MADRAS MUSLIN’ CURTAINS, CIRCA 1880

woven cotton and silk leno (gauze) (2)

314cm drop, 133cm wide £300‑500

68

MANNER OF E. W. GODWIN

AESTHETIC MOVEMENT OCCASIONAL TABLE, CIRCA 1880

mahogany

61cm diameter, 66cm high

£400‑600

69

AFTER E. W. GODWIN

AESTHETIC MOVEMENT ‘COFFEE’ TABLE, CIRCA 1890

walnut

41cm square, 69cm high £250‑350

70

CHRISTOPHER DRESSER (1834‑1904) (PANEL DESIGNER)

AESTHETIC MOVEMENT CORNER CABINET, CIRCA 1880 ebonised and gilded wood, with a polychrome‑painted panel and mirrored glass

70.2cm wide, 120.5cm high, 43cm deep, panel 28.5cm x 43.5cm

Literature: Dresser C. Studies in Design, Cassel Petter & Galpin, London, the plates by A. Goater, Nottingham, 1876, plate II illus. V&A Collection accession no. W.3‑2015, for a related hand screen, decorated with an adaptation of the painted design. Note: This cabinet is a rare example of an object decorated after a published design in Dresser’s most important works, Studies in Design of 1876. Plate II shows two owls standing upright and is captioned “Parental advice”. Dresser wrote in the caption text that the design ‘may be painted on the panel of a door, on the door of a cabinet, or in any recess in a wall, especially suited to a smoking‑room or nursery.” Elsewhere in the text he states that “the sense of humour finds expression in grotesque forms. Plates II (etc…) are illustrations”.

It may be that this corner cabinet was decorated under Dresser’s direction for the Art Furnishers’ Alliance Co. The Art Furnisher’s Alliance was the association of art manufacturers established by Christopher Dresser (1834‑1904) in 1880. The key objective of the alliance was to buy and sell high‑class goods of artistic design and to “complete artistic furnishing of a house”. George Hayter Chubb was appointed as Chairman, and Dresser was the ‘Art Manager’ heading designs for furniture, pottery, glass and metal, aided by Holme and Arthur Liberty.

In his preface to Studies in Design, Dresser hoped that the work would assist to “bring about a better style of decoration” and “aid the designer and the manufacturer of decorated objects, by suggesting to them useful ideas”. Whether or not the current lot was made directly under his instruction, the panel inset into the door of this cabinet was undoubtedly the sort of effect on a design Dresser envisaged when he published Studies in Design

£800‑1,200

CHRISTOPHER DRESSER (1834‑1904) FOR HUKIN

& HEATH, LONDON

GLASS CARRIER, CIRCA 1880

electroplated metal, glass, stamped H&H/ 2268/ DESIGNED BY DR C. DRESSER, with registration lozenge

21cm across, 15cm high

Literature: Whiteway M. Christopher Dresser 1834‑1904 Skira Editore S.p.A., Milan 2001, p. 86, pl. 60 where a similar example is illustrated.

£2,000‑3,000

CHRISTOPHER DRESSER (1834‑1904) FOR JAMES COUPER & SONS, GLASGOW

’CLUTHA’ VASE, CIRCA 1890

glass, etched to base CLUTHA/ DESIGNED BY CD/ REGISTERED

19.5cm high

Literature: See Lyons H. Christopher Dresser: The People’s Designer, 1834‑1904, Woodbridge, 2004, p.164‑5, pl. 313 where similar signed examples are illustrated.

£600‑800

73

CHRISTOPHER DRESSER (1834‑1904) (ATTRIBUTED DESIGNER) FOR HUKIN & HEATH LTD

CLARET JUG, BIRMINGHAM 1909

silver and glass, lid stamped 2521/ 1/ S, hallmarked Birmingham 1909, 20cm high

£300‑500

74

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

PICNIC SET, CIRCA 1880

silver plate, comprising: a kettle and cover, 9cm high; a teapot and cover, 8cm high, the teapot and kettle inscribed NELLIE; a tea caddy and cover incorporating paraffin burner and stand; a sugar bowl; a milk flask and cover; two teaspoons; a pair of sugar tongs; each bears crest, stamped marks ‘H & H 2110’ also with retailers mark ‘Leuchars & Son, London and Paris’, and two blue and white Royal Worcester cups and saucers, contained within a leather‑covered fitted case, inscribed HELEN BRAND case 29cm wide, 19cm high, 15.5cm deep

£1,000‑1,500

CHRISTOPHER DRESSER (1834‑1904) FOR BENHAM & FROUD, LONDON

AESTHETIC

MOVEMENT

FLASK, CIRCA 1885

brass and copper, with original cork stopper and chain, stamped manufacturer’s mark

32.5cm high

Literature: Whiteway M. ed., Christopher Dresser: Design Revolution, London, 2004, pl. 240 where a similar example of this kettle is illustrated. Note: For another known example of this rare model, lacking the stopper and chain, see An Aesthetic Odyssey: The Peter Rose and Albert Gallichan Collection, Christie’s, London September 2021, lot 82. £2,000‑3,000

CHRISTOPHER DRESSER (1834‑1904) (ATTRIBUTED DESIGNER)

ORIGINAL DESIGN FOR A FRIEZE, CIRCA 1870

pen & ink and gouache, with traces of graphite 20cm x 19.5cm

£300‑500

77

CHRISTOPHER DRESSER (1834‑1904) FOR LINTHORPE ART POTTERY TWO VASES, CIRCA 1880

glazed earthenware, one with polychrome streaked glaze, impressed mark LINTHORPE/ HT (Henry Tooth)/ 180 and with facsimile signature CHR. DRESSER, 23cm high; the other with banded decoration, stamped to base 146, 26cm high (2)

£300‑500

78

CHRISTOPHER DRESSER (1834‑1904) FOR LINTHORPE ART POTTERY

TWIN‑HANDED VASE, CIRCA 1880

glazed earthenware, impressed to base LINTHORPE/ 336, with facsimile signature CHR. DRESSER

19.8cm high

£200‑300

79

CHRISTOPHER DRESSER (1834‑1904) FOR WILLIAM AULT & CO. VASE, CIRCA 1895

glazed earthenware, impressed facsimile signature CHR. DRESSER/ 323 22.3cm high

£200‑300

81

PLATE,

32.5cm diameter

£600‑800

80

BOWL, CIRCA 1900

painted earthenware with lustre highlights, painted monogram and hourglass symbol

14.5cm diameter

£300‑500

83

BOOK

oak, with repoussé‑decorated copper panels

36cm wide, 9.8cm high, 14cm deep

£500‑800

82

repoussé‑decorated

38.3cm diameter

£300‑500

JOHN PEARSON (1859‑1930)

JOHN PEARSON (1859‑1930)

CIRCA 1900

painted earthenware, decorated verso with a pelican, fish and artist monogram

MANNER OF JOHN PEARSON ARTS & CRAFTS CHARGER, CIRCA 1900

copper, unmarked

JOHN PEARSON (1859‑1930)

TROUGH, CIRCA 1900

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

‘DOVE AND ROSE’ PATTERN FRAMED PANEL, CIRCA 1879

silk and wool double cloth

57cm x 90cm

Literature: Parry L. William Morris Textiles, V&A 1983, p.153, pl. 34

Note: This cloth was woven by Morris & Co. at Merton Abbey.

£400‑600

85

HENRY WOODYER (1816–1896)

ARTS & CRAFTS REFECTORY TABLE, CIRCA 1870

stained pine

215cm long, 76cm high, 89cm deep

Provenance: House of Mercy, Clewer, Berkshire

Note: 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.

£600‑800

WILLIAM DE MORGAN (1839‑1917)

TWO‑TILE PANEL, CIRCA 1890

glazed earthenware, impressed Sands End mark verso, framed each 15.5cm square, frame 36cm x 20cm

£250‑350

87

WILLIAM DE MORGAN (1839‑1917)

TWO 6‑INCH TILES, CIRCA 1880

to include a DOUBLE CARNATION TILE, impressed Merton Abbey mark, 15.5cm square; and a FOLIATE TILE, impressed maker’s mark, 15.5cm square (2)

£300‑500

88

WILLIAM DE MORGAN (1839‑1917)

8‑INCH DOUBLE CARNATION TILE, LATE 1890S glazed earthenware, impressed Sands End mark 20.4cm square

£400‑600

89

WILLIAM DE MORGAN (1839‑1917)

6‑INCH ‘BBB’ CARNATION TILE, LATE 1890S

glazed earthenware, impressed Sands End mark 15.5cm square

£300‑500

MORRIS & CO.

DESIGN FOR A TILE, ‘THE MINSTREL’ pencil on tracing paper, framed 26cm x 12.5cm

Note: In the painted paper technique of tile decoration the design was drawn on tracing paper which was pasted onto a sheet of glass. On the other side of the glass, a square of thin paper was attached. The sheet of glass was set up in front of a window, so the lines of the pattern were easily visible on the thin paper. The painter then filled the design with pigment. The finished copy was placed face down on the surface of a tile blank, adhered with sodium silicate and sprinkled with powdered glaze before being placed in the kiln. In the kiln, the pigment fused with the glaze and

91

AFTER MORRIS & CO. SET OF EIGHT ‘SUSSEX’ ARMCHAIRS, CONTEMPORARY ebonised beech and oak, with rushed seats (8) 57cm wide, 90cm high, 44cm deep

£2,000‑3,000

ARTS & CRAFTS FIRE GRATE, CIRCA 1900

cast and wrought iron, with later ceramic fire brick backing

88cm wide, 76cm high, 48cm deep

Literature: The Studio Magazine Yearbook, 1896, p. 106 where a fireplace with similar characteristics is illustrated.

Dog‑Grates, a George Wright & Co. catalogue, circa 1900, where this example is illustrated no. 847

£800‑1,200

93

DANTE GABRIEL ROSETTI (BRITISH 1828‑1882) (ATTRIBUTED DESIGNER)

FOR MORRIS & CO.

‘SUSSEX’ SIDE CHAIR, CIRCA 1880 ebonised wood, with rush seat, applied retailer’s label under seat

43cm wide 84cm high, 41cm deep

£250‑350

94

ENGLISH, MANNER OF MORRIS & CO. GROUP OF EIGHT ARTS & CRAFTS STYLE ‘SUSSEX’ CHAIRS, EARLY 20TH CENTURY ebonised wood with rush seats, comprising FIVE CARVERS, 51cm wide, 110cm high, 39cm deep, and THREE SIDE CHAIRS, 43.5cm wide, 109cm high, 38cm deep (8)

£300‑500

WALTER CRANE (1845‑1915) (ATTRIBUTED DESIGNER) FOR THE ROYAL SCHOOL OF NEEDLEWORK

EMBROIDERED PANEL CIRCA 1890

coloured silks and gold thread with applied beads, later frame

35.5cm x 34cm

Note: The original drawing for this design is in the collection of The Royal School of Needlework, RSN Archive D1/29

See also V&A collection accession no. T.774 to D‑1972 where a screen of 1876 demonstrated similar design characteristics.

£500‑700

WILLIAM MORRIS (1834‑1896) FOR MORRIS & CO. ‘THE APPLE TREE’ EMBROIDERED PANEL, CIRCA 1890 coloured silk threads, presented in a later frame 58cm x 57cm

Literature: Parry L. William Morris Textiles, 1983, p. 28 where a similar design for embroidery is illustrated.

£1,500‑2,000 96

W. A. S. BENSON (1854‑1924) EXTENDING STANDARD LAMP CIRCA 1900

brass and copper, stamped to base W.A.S. BENSON, later pleated silk shade

Approx 120cm to fitting closed, 155cm high extended to fitting

Literature: Hamerton, I. (ed.), W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, Woodbridge, 2005, p. 259, pl. 20 where a similar lamp is illustrated.

£800‑1,200

ENGLISH ARTS & CRAFTS MIRROR, CIRCA 1900 repoussé‑decorated copper, with bevelled mirror plate 45.5cm x 30.5cm

£200‑300

MACKAY HUGH BAILLIE SCOTT (1865‑1945) FOR JOHN BROADWOOD & SONS, LONDON

ARTS & CRAFTS ‘MANXMAN’ PIANO AND STOOL, CIRCA 1904

oak, ebonised and ivory keys, brass and wrought steel candle sconces, with STOOL, oak with brass hinges and later but period upholstered seat, bears ivorine label for LIBERTY & CO

piano 148cm wide, 124cm high, 72cm deep, stool 93cm wide, 57cm high, 39cm deep

Provenance: Collection of Gary Kemp, London

Note: Upright pianos were generally perceived as ungainly and over‑complicated designs and it wasn’t until the mid‑1890s that design reformers attempted to reimagine the form. M.H. Baillie Scott’s innovation, thought to derive from the form of an Elizabethan strongbox, was to enclose the keyboard, music stand and candleholders behind broad doors that rationalised the shape of the instrument. The result was a piece of drawing room furniture that is both cleverly functional and aesthetically pleasing. Baillie Scott first exhibited the piano at the Arts & Crafts exhibition of 1896. He moved to the Isle of Man in 1889 and hence this form of the piano is known as the ‘Manxman’. This example has been recently refurbished.

Note: Sold in compliance with UK Government and APHA regulations, with (non‑transferable) exemption registration reference ST7V3G8N.

£3,000‑5,000

100

ARTHUR J. GASKIN (1862‑1928) AND GEORGIE GASKIN (1866‑1934) (ATTRIBUTED MAKER)

PENDANT NECKLACE, CIRCA 1900

white metal, enamel, set with a central mother of pearl cabochons, in a border of opals, turquoise, amethyst, garnet, peridot approx. 48cm long, main medallion 5cm tall £1,000‑1,500

101

ARTIFICERS GUILD (ATTRIBUTED TO)

TWO ARTS & CRAFTS BROOCHES, CIRCA 1900

comprising a BAR BROOCH, white metal set with moonstone and chrysoprase cabochons, 6.6cm long; and a PIN BROOCH, white metal set with moonstone and chrysoprase cabochons, 7.1cm long (2) £300‑500

102

NEWLYN SCHOOL

PENDANT NECKLACE, CIRCA 1900

white metal, enamel and mother‑of‑pearl, with original hand‑crafted chain, stamped NEWLYN/ ENAMEL pendant 3.2cm long; chain 42.5cm £800‑1,200

103

EDWARD SPENCER (1873‑1938) FOR THE ARTIFICERS’ GUILD

ARTS & CRAFTS PRESERVE SPOON & PICKLE FORK, LONDON 1913

silver, with original fitted case, inscribed THE ARTIFICERS’ GUILD LTD. 4 CONDUIT STREET. LONDON. W., hallmarked London 1913 (2) approx. 16cm long £300‑500

104

ARTHUR J. GASKIN (1862‑1928) AND GEORGIE GASKIN (1866‑1934)

ARTS & CRAFTS PENDANT, CIRCA 1910

gold, set with green chalcedony, unmarked 4.5cm long

Note: This pendant is illustrated in a group of Gaskin jewellery from an undated article in Collectors Weekly £400‑600

MADELINE WYNDHAM (1845–1920) (ATTRIBUTED MAKER)

THE ‘SOULS’ SPORTING MEDAL, 1902

enamel on copper, inscribed to front C/ EVAN, and inscribed verso CLOUDS/ EASTER 1902/ GOLF COMPETITION/ A.J. BALFOUR./ ELCHO. P.S.W./ O.LODGE.EGO/ EVAN, within the original silk‑lined leather box

6.5cm diameter

Literature: Dakers C. Clouds: Biography of a Country House, Yale University Press, 1993, pp. 143‑152

Note: The Souls, or ‘The Gang’ as they chose to call themselves before the name ‘Souls’ was coined in 1888 by Lord Charles Beresford, was initially made up of four aristocratic families; the Balfours, Lyttletons, Tennents and Wyndhams. Arthur Balfour was the leading light of the Souls, and as a set they rejected being grouped with other social cliques of the time such as The Marlborough House crowd, preferring rounds of golf and literary discussions to bridge and hunting.

One of these sporting weekends was held at Clouds, the home of Percy and Madeline Wyndham, at Easter in 1902 and is the subject of the current lot. Percy Wyndham bought the Clouds estate in 1876, and he and Madeline set about demolishing the existing late eighteenth‑century house and building a new one, designed by Philip Webb between 1881 and 1885 and decorated by Morris & Co. Madeline Wyndham was an artist in enamels, embroidery and watercolours, however from the mid‑1890s she concentrated on enamelling. Madeline was closely associated with the enamellist Alexander Fisher and became one of his most talented pupils; she also used her influence to further his career. It was an expensive hobby and appealed more to aristocratic women, some of whom installed furnaces in their homes. Indeed, Fisher procured a furnace for Madeline from a Parisian firm and had it installed at Clouds in 1901, where this medal was probably fired. The participants in the Golf Competition at Easter 1902 are inscribed verso on the current lot ‑ they are ‘A.J. Balfour’ (later to be Prime Minister); ‘Elcho’ (Lord Hugo Elcho, 11th Earl of Wemyss & March); P.S.W. (Percy Wyndham); ‘O. Lodge’ (Sir Oliver Lodge); ‘Ego’ (Lord Hugo Elcho) and ‘Evan’ (Evan Charteris, presumably the winner).

£400‑600

106

CLEMENT HEATON (1861‑1940)

ARTS & CRAFTS CHARGER, 1895‑1906

cloisonné copper and enamel, marked to reverse CHATOYANT ENAMEL

42.5cm diameter

Note: 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.

£600‑800

107

CLEMENT HEATON (1861‑1940)

ARTS & CRAFTS JARDINIÈRE, CIRCA 1890 copper with applied cloisonné decoration

20cm high

£600‑800

109

ENGLISH, MANNER OF LIBERTY & CO., LONDON

ARTS & CRAFTS BOOKCASE, CIRCA 1900

oak, each shelf with hinged dust protectors

140cm wide, 145cm high, 35.5cm deep

£1,000‑1,500

108

CHARLES SPOONER (1862‑1938)

DESIGNS FOR A CHAPEL AT LETCHWORTH, HERTFORDSHIRE, CIRCA 1906

pen and ink, watercolour and graphite, inscribed to two CHARLES SPOONER F.R.I.B.A. ARCHITECT/ 23 OLD BUILDINGS LINCOLNS INN W.C. and to the third CHARLES SPOONER

F.R.I.B.A. ARCHITECT/ 17 BEDFORD ROW LONDON W.C. (3)

46cm x 66cm

Note: These plans by Charles Spooner are designs for a church in Letchworth Garden City, St Hugh of Lincoln, 1907‑1908. Father Fortescue claimed it was the ‘only church worth looking at West of Constantinople’. C. R. Ashbee thought that Spooner was one of the four great names of the Arts and Crafts Movement, the other three being W. R. Lethaby, Sidney Barnsley and Ernest Gimson.

£800‑1,200

ENGLISH, MANNER OF SILVER STUDIO

DESIGN FOR WALLPAPER, 1897

watercolour and bodycolour, signed and dated lower right TC/ 1897

50cm x 39cm

£300‑500

111

MARTIN BROTHERS

VASE, CIRCA  1905

glazed stoneware, incised R.W. MARTIN & BROS./ LONDON & SOUTHALL

15.5cm high

£300‑500

112

MARTIN BROTHERS

MINIATURE VASE, DATED 1907

glazed stoneware, incised MARTIN BROS/ LONDON & SOUTHALL/ 7‑1907

12cm high

£600‑800

113

CASSANDRA ANNIE WALKER (1875‑1957) FOR DELLA ROBBIA POTTERY, BIRKENHEAD PLATE, 1897

glazed earthenware, incised DR/ 1897/ C.A.W.

20cm diameter

£500‑700

114

ENGLISH ARTS & CRAFTS DINING TABLE, CIRCA 1900

oak

137cm across, 74cm high, 76cm deep

£500‑800

115

RICHARD NORMAN SHAW (1831‑1912) (ATTRIBUTED DESIGNER) FOR MORRIS & CO.

ARTS & CRAFTS ‘TABARD’ ARMCHAIR, CIRCA 1900

mahogany, with later upholstered drop‑in seat, bears retailer’s ivorine label under seat rail, P. E. GANE/ COLLEGE STREET/ BRISTOL

64cm wide, 116cm high, 44cm deep

£300‑500

116

EDWARD SPENCER (1873‑1938) FOR THE ARTIFICERS’ GUILD CANDLE SCONCE, CIRCA 1910

electroplated metal

38cm tall, 31cm wide, 16cm deep £1,500‑2,000

117

W.A.S. BENSON (1854‑1924) FOR MORRIS & CO. DRAWING ROOM CABINET, CIRCA 1900

mahogany, satinwood, with verde antico marble, gilt brass mounts and glazed doors

135cm wide, 111cm high, 56cm deep

Literature: Morris & Co catalogue, Specimens of Furniture, Upholstery and Interior Decoration, circa 1900, p. 23, no.140 illus.

Hamerton I. W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, AAC 2005, p.159, pl.140‑142A where a similar cabinet is illustrated.

Note: Most of Benson’s furniture designs were made and retailed by Morris & Co. He became a director of Morris & Co. in 1896, following the death of his friend William Morris, and then became chairman in 1905. His furniture designs for Morris & Co. included desks and tables in oak, cabinets with marquetry inlay, and more expensive metal‑mounted tables and cabinets. These more flamboyant pieces used rare and expensive timbers and enabled the designer to showcase his skill in decorative metalwork. £10,000‑15,000

118

ENGLISH ARTS & CRAFTS EMBROIDERED PANEL CIRCA 1900 coloured silks on a silk woven ground

37.5cm x 23cm

£500‑700

119

C.R. ASHBEE (1863‑1942) FOR THE GUILD OF HANDICRAFT LTD. ARTS & CRAFTS PRESERVE SPOON, LONDON 1901 silver, set with chrysoprase, stamped maker’s mark, hallmarked London 1901

12cm long

£600‑800

120

C.R. ASHBEE (1863‑1942) FOR THE GUILD OF HANDICRAFT LTD. BUTTER KNIFE, LONDON 1900

silver, set with agate cabochon, rubbed maker’s marks, hallmarked London 1900

13.5cm long

£1,000‑1,500

121

JOHN PAUL COOPER (BRITISH 1869‑1933)

ARTS & CRAFTS CASKET, CIRCA 1907

silver metal and shagreen, wood‑lined interior

22cm wide, 8cm high, 10cm deep

£1,500‑2,000

122

CHARLES CUNDALL (1890‑1971)

FOR PILKINGTON TILE & POTTERY CO. LUSTRE VASE, DATED 1910

lustre‑glazed earthenware, painted artist’s monogram and date cypher, impressed factory mark

20cm high

£300‑500

123

WILLIAM S. MYCOCK (1872‑1950) FOR PILKINGTON’S TILE & POTTERY CO.

ROYAL LANCASTRIAN LUSTRE VASE, DATED 1927 lustre‑glazed earthenware, painted artist’s marks, impressed maker’s mark

12cm high

£300‑500

124

W. A. S. BENSON (1854‑1924)

CHAMBERSTICK, CIRCA 1900

copper and brass, the repoussé engraved design by Heywood Sumner

22.5cm high

Literature: Hamerton I., W.A.S. Benson, Arts & Crafts Luminary & Pioneer of Modern Design, Woodbridge 2005, p.253, pl.23 and p.125 illus.

£300‑500

DAPHNE ALLEN (1899‑1985)

ARTS & CRAFTS CASSONE, CIRCA 1920

walnut, inset with allegorical panels, Visited by Angels, Gathering Spring Flowers, and Among Children, oil on board, the front panel signed DAPHNE ALLEN

The cassone 143cm wide, 66cm high, 60cm deep; the central panel 29.2cm x 72.4cm, the side panels each 29.2cm x 35.5cm

Note: Daphne Allen was the daughter of Hugh Allen, and possibly the granddaughter of Ruskin’s publisher George Allen. She was educated at Streatham College for Girls and continued to live in that area of South London into adulthood. While still a child, Allen produced watercolours inspired by the New Testament, published in 1912 by George Allen as A Child’s Visions. The same year, they were exhibited as A Child’s Visions and Fancies at the Dudley Galleries. In 1913, a second group was published as The Birth of the Opal; A Child’s Fancies, and again exhibited at the Dudley Galleries.

Through her teens, Allen illustrated volumes by other authors for Headley Brothers: John Oxenham’s The Cradle of Our Lord (1916), A Garden of Love from Herrick & the Other Poets of the 17th Century (1917), and Janet Dykes and Christine Standing’s

The Man Who Chose Poverty – The Story of St Francis (1917). She also exhibited alongside Annie French and others at the Burlington Gallery in December 1919. Later exhibitions include one of ‘landscapes and imaginative watercolours’ at B F Stevens & Brown (1928) and another of paintings at the Little Burlington Gallery (1937).

Her further activities included painting memorials (including one for Christ Church, Newcastle, New South Wales), designing stained glass (for Scotby Church, Northumberland), and producing drawings for the Illustrated London News (at least until the end of 1952).

£10,000‑15,000

ENGLISH SCHOOL

‘YESTREEN I GATHERED ROSES THREE...’ pen and ink, watercolour and graphite on vellum, signed lower right with initials DMW 26cm x 18.5cm

127

ENGLISH ARTS & CRAFTS ‘GALLEON’ CENTREPIECE, CIRCA 1910 white metal, enamel, shell, coloured stones

40cm high

£2,000‑3,000

128

MANNER OF HEAL & SON

ARTS & CRAFTS CENTRE TABLE, CIRCA 1920 oak

121cm diameter, 76cm high

£500‑800

129

ENGLISH

ARTS & CRAFTS EMBROIDERED PANEL CIRCA 1900 coloured silks on an unbleached linen ground, presented in a period frame

17.5cm x 132cm

£500‑800

ENGLISH

ARTS & CRAFTS

‘CAMBRIDGE UNIVERSITY’ BOOKCASE, CIRCA 1910 oak, fitted with cast metal shield and later‑adapted glazed door

59.5cm wide, 120cm high, 30cm deep

£400‑600

130

MARY R. PERCY (DESIGNER)

ARTS & CRAFTS WALL SHELVES, DATED 1904 carved oak, 99cm wide, 67.5cm high, 12cm deep; together with a NORTHUMBERLAND HANDICRAFTS GUILD MEDALLION 1905‑07, silvered metal, within original case, inscribed MARY R. PERCY 1905‑07, 5cm diameter, and a PHOTOGRAPH OF THE MAKER

£300‑500

132

ENGLISH THREE PAIRS OF ARTS & CRAFTS CURTAINS, CIRCA 1900 printed velvet, lined (6) each panel approx. 324cm x 152cm

£500‑800

133

ENGLISH TWO PAIRS OF ARTS & CRAFTS CURTAINS, CIRCA 1900

woven cotton, with applied braid, lined (2)

254cm drop, 171cm wide

£500‑800

135

ENGLISH

ARTS & CRAFTS OVERMANTEL MIRROR, CIRCA 1910

oak, with bevelled mirror plate, carved inscription TOIL COMES WITH THE MORNING AND REST WITH THE NIGHT

137cm wide, 76cm high, 14cm deep

£300‑500

137

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

£300‑500

JESSON, BIRCKETT & CO

ARTS & CRAFTS WALL LIGHT, CIRCA 1900

patinated copper, on a stained pine back plate, with associated but period opalescent glass shade back plate 22cm tall, 28cm deep approx.

£400‑600

136

ENGLISH

ARTS & CRAFTS TRIPTYCH, DATED 1912

embossed and coloured leather, within walnut frame, bears paper label verso Property of A. Neville‑Rolfe, Lt. 5th Gurkhas/ Leather panel by Ada Neville‑Rolfe/ Beacham, Norfolk/ Framed by The Sandringham

Workshops 1912

with frame 91cm x 131.5cm

Note: The Sandringham workshops were established by Princess Alexandra, later Queen Alexandra, following her marriage in 1863 to Edward, Prince of Wales, later Edward VII. Originally intended as a ‘Technical School of Woodwork’ for the children of the Estate workers, it later became Her Majesty Queen Mary’s ‘Carving School’ for ex‑servicemen and local workers. Items produced were retailed at Sandringham and through various London department stores and shown at the Ideal Home Exhibitions.

£300‑500

138 §

ROBIN TANNER (1904‑1988)

MARTIN’S HOVEL

Etching, 13/50, signed and numbered in pencil, unframed

30cm x 34cm

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

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

£200‑300

139

ENGLISH ARTS & CRAFTS

FIREPLACE

SURROUND, CIRCA 1900

repoussé‑decorated brass

exterior 69cm x 97cm, interior 40cm x 65cm

£500‑700

140

ENGLISH, MANNER OF W. A. S. BENSON

TWO ARTS & CRAFTS

TABLE LAMPS, CIRCA 1900

brass and patinated metal, each with associated opalescent glass shades (2)

47cm and 37cm high

£300‑500

141

C.F.A. VOYSEY (1857‑1941) FOR PILKINGTON’S TILE & POTTERY CO. ARTS & CRAFTS TILE, CIRCA 1920

glazed earthenware

15.5cm 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.

£1,000‑1,500

142

C.F.A. VOYSEY (1857‑1941) FOR PILKINGTON’S TILE & POTTERY CO.

ARTS & CRAFTS TILE, CIRCA 1920

glazed earthenware

15.5cm square

£600‑800

143

C.F.A. VOYSEY (1857‑1941) FOR PILKINGTON’S TILE & POTTERY CO. ARTS & CRAFTS TILE, CIRCA 1920

glazed earthenware

15.5cm square

£600‑800

144

C.F.A. VOYSEY (1857‑1941) (DESIGNER), ARTHUR W. SIMPSON (1857‑1922) (ATTRIBUTED MAKER)

ARTS & CRAFTS MIRROR, CIRCA 1906

oak, glass, patinated brass 58cm wide, 55.5cm high, 19.3cm deep

Provenance: The Essex & Suffolk Equitable Insurance Company, Capel House, New Broad Street, London (for whom made)

E. H. Brooks Esq.

The Victorian Society Private Collection

Exhibited: 1. C.F.A. Voysey: architect and designer 1857‑1941, Brighton Art Gallery & Museum, 11th July‑3rd September 1978; Wolverhampton Art Gallery, 8th January ‑ 12th February 1979; Glasgow City Art Gallery, 5th April

‑ 27th May 1979, exhibit no. C7

2. From Arts and Crafts to the Bauhaus, Bröhan‑Museum, Berlin, 24th January ‑ 5th May 2019, exhibit no. 27

Literature: Decorative Kunst, volume I, 1897, p. 258

The Artist, volume XXVI, 1899, p. 178

The Studio, volume XVIII, 1899, p. 45

Livingston, K., Max Donnelly, M., Parry, L. C.F.A. Voysey, Arts and Crafts designer V&A 2016, p. 178

Note: This mirror formed part of the furnishings designed for the offices of The Essex & Suffolk Equitable Insurance Company commissioned from Voysey in 1906 by General Manager Sydney Claridge‑Turner. Voysey also designed ‘The Homestead’ and Frinton‑on‑Sea for Turner in 1905 and the mirror may have first been used there. The insurance company offices were taken over by stockbroker Chase, Henderson and Tennant who retained the furnishings and fittings. When some Voysey furnishings were stripped out of the premises in the 1960s, one of the partners, E.H. Brooks, found suitable homes for as many pieces as possible. Recipients included Charles and Lavinia Handley‑Read, the Victoria & Albert Museum and the William Morris Gallery. The Victorian Society received a side table and the mirror being sold in this lot.

Original drawings for this mirror in the RIBA collections are dated 1906 and 1908 (versions with one and two knobs on each drawer) and include examples with mouldings around the drawers, as in the current lot, which has a RIBA reference SB116/VOY [392]. This mirror matches another example illustrated in the bedroom of Holly Mount, a house designed by Voysey in Buckinghamshire, and photographed in 1907. Contemporary photographs in The Studio and Decorative Kunst show examples of mirrors in other styles made in the 1890s.

£5,000‑7,000

C. F. A. VOYSEY (1857‑1941) FOR TOMKINSON & ADAM LTD., KIDDERMINSTER

FRAMED DESIGN FOR A CARPET, DATED 1900

watercolour on four conjoined sheets of squared paper, depicting garden flowers in a repeat pattern, each sheet signed verso C. F. A. VOYSEY ARCHITECT/ 6 CARLTON HILL N.W. and with printed Tomkinsons Carpets Ltd. stamp

77.5cm x 67.5cm

Exhibited: The Fine Art Society et al, London C.F.A. Voysey: Designs for Tomkinson & Adam Carpets, 2013, no. 31 (‘Garden Design (Four Sheets)’)

Literature: Durant S. The Decorative Designs of C.F.A. Voysey, Lutterworth Press 2017, p. XX, no. 56 illus.

Note: Carpet designs by Voysey for Tomkinsons were designed to set up a Jacquard weaving machine. The colour sequence would have been transferred to a sequence of punched cards by a technician, who would use, in this instance, 14 strands of different coloured wools to produce the design shown. Each minute square represents a single carpet tuft.

£10,000‑15,000

Illustrated left.

146

C. F. A. VOYSEY (1857‑1941) FOR TOMKINSON & ADAM LTD., KIDDERMINSTER

DESIGN FOR A CARPET, 1899

watercolour and graphite on two conjoined sheets of squared paper, depicting a floral repeat design, signed and dated in ink verso C. F. A. VOYSEY/23 YORK PLACE/ BAKER ST./ W NOV 3 1899, bears printed Tomkinsons Carpets Ltd. stamp

46cm x 92cm

Exhibited: The Fine Art Society, et al, London C.F.A. Voysey: Designs for Tomkinson & Adam Carpets, 2013, no. 14 (‘Floral Design’)

£3,000‑5,000

147

C. F. A. VOYSEY (1857‑1941) FOR TOMKINSON & ADAM LTD., KIDDERMINSTER

‘THE SWALLOW’, DESIGN FOR A CARPET, 1898

watercolour and graphite on squared paper, depicting a bird on a branch, signed and inscribed in ink C. F. A. VOYSEY/ ARCHT/ 6. CARLTON HILL. N.W./ THE SWALLOW, JULY 15, 1898 and with inscribed colour key, bears printed Tomkinsons Carpets Ltd. stamp verso

41cm x 38cm

Exhibited: The Fine Art Society et al, London C.F.A. Voysey: Designs for Tomkinson & Adam Carpets, 2013, no. 8 (‘Dove and Olive Branch’)

£2,000‑3,000

148

C. F. A. VOYSEY (1857‑1941) (ATTRIBUTED DESIGNER)

FURNISHING FABRIC PANEL, CIRCA 1890

woven cotton, stitched onto board with later fabric backing, unframed 114cm x 72cm

£400‑600

151

C.F.A. VOYSEY (1857‑1941) FOR PILKINGTON’S TILE & POTTERY CO.

PAIR OF ARTS & CRAFTS TILES, CIRCA 1920

glazed earthenware, moulded P to reverse (2) each 15.5cm square

£200‑300

149

C.F.A. VOYSEY (1857‑1941) FOR THOMAS ELSLEY & CO. HANDLE, CIRCA 1900

brass, stamped ELSLEYS

21.5cm long

£300‑500

150

SILVER STUDIOS (ATTRIBUTED TO)

PAIR OF ARTS & CRAFTS CUSHIONS, THE MATERIAL CIRCA 1900

woven wool with later linen backing and stuffing (2) each 39cm x 57cm

£300‑500

152

SILVER STUDIO (ATTRIBUTED TO)

PAIR OF ARTS & CRAFTS CUSHIONS, THE MATERIAL CIRCA 1900

woven wool with later linen backing and stuffing (2) each 39cm x 57cm

£300‑500

C. F. A. VOYSEY (1857‑1941) FOR ARTHUR H. LEE & SONS, BIRKENHEAD

RARE FABRIC PANEL, CIRCA 1890

woven wool, later frame

29cm x 61cm

£300‑500 154

C.F.A. VOYSEY (1857‑1941) (DESIGNER), F. C. NIELSON, LONDON (ATTRIBUTED MAKER) ARTS & CRAFTS ARMCHAIR, CIRCA 1905 oak, with drop‑in rush seat 61.3cm wide, 98.5cm high, 51cm deep

Literature: Livingstone K., Donnelly M., and Parry L

C.F.A. Voysey, Arts & Crafts Designer V&A 2016, pp.194‑5, plates 248 and 249 where similar examples of this chair are illustrated.

£2,000‑3,000

ARTHUR W. SIMPSON (1857‑1922), KENDAL ARTS & CRAFTS ARMCHAIR, CIRCA 1910

oak, with close‑nailed leather upholstery, together with the book The Simpsons of Kendal: Craftsmen in Wood 1885‑1952, by Eleanor Davidson, published University of Lancaster 1978 (2)

73cm wide, 98cm high, 54cm deep

Provenance: Inherited by the current vendor from Barbara Henderson, the niece of Arthur Simpson.

Literature: Davidson E. The Simpsons of Kendal: Craftsmen in Wood 1885‑1952, University of Lancaster 1978, p. 72, fig. 11 where a view of the 1st‑floor showroom, circa 1912, appears to show an example of the current lot in the display.

Note: After honing his skills during an early apprenticeship with Gillows of Lancaster, Arthur Simpson worked in a number of workshops until setting up his own in Kendal in 1885, known as the Handicrafts. Simpson secured a large volume of ecclesiastical as well as domestic commissions for furniture, and while he often catered to client tastes, his furniture designs follow a distinctive elegant aesthetic.

Locally sourced, high‑quality woods are used to form bold yet simple structures with practicality at the heart of their design. Shelving units were often fitted with dust flaps, cleverly concealing variations in book height for a well‑proportioned and clean‑cut appearance. Simpson’s chair designs often showcase sleek curved forms for comfort, outstretched armrests terminate with broad surfaces to serve as a drink or book rest when relaxing. Carving is usually crisp but is used sparingly to create a striking balance for the eye to appreciate the simplicity of form and the elegance of the decoration applied across his designs.

Simpson exhibited widely and in 1889 an example of his work was accepted by the Arts and Crafts Exhibition Society. It was there that he would meet the architect Charles Voysey who became a great influence; over time his designs became more architectural and simpler with less carving. By 1912, Simpson was exhibiting alongside Voysey and Walton in the Ideal Home Exhibition at Olympia. His entire stand was sold to one client. Later, he was commissioned to carve panels for Blackwell House, designed by Baillie Scott for Sir Edward Holt and such was his skill he was entrusted by Voysey to make a number of furniture commissions.

Whilst primarily a wood carver and cabinet‑maker, Simpson was also a lecturer and taught classes at his summer home in Windemere, in a bid to further promote the importance of the Arts & Crafts ideology as an effective approach to design. Pupils included Richard Rathbone, Ann Macbeth and Harry Stabler.

Although some designs were readily available, such as kettle stands and small stools, other pieces are far less common and were made on request, slightly differing in their design or shape. The following lots wonderfully showcase the exquisite carvings and simple, distinctive forms that have come to characterise Simpson’s work. With a focus on high‑quality craftsmanship, it is not surprising that Simpson’s work continues to be popular amongst collectors today.

£700‑1,000

156

ARTHUR W. SIMPSON (1857‑1922), KENDAL ARTS & CRAFTS WALL‑MOUNTED BOOKSHELF, CIRCA 1910

oak, applied makers label verso and stamped serial number 6927

77cm wide, 33.5cm high, 17cm deep

Provenance: Inherited by the current vendor from Barbara Henderson, the niece of Arthur Simpson. £400‑600

158

ARTHUR W. SIMPSON (1857‑1922), KENDAL ARTS & CRAFTS CHEST OF DRAWERS, CIRCA 1910

oak, with Rathbone handles, bears maker’s label to base 122cm wide, 99cm high, 68cm deep

Provenance: Inherited by the current vendor from Barbara Henderson, the niece of Arthur Simpson. £1,500‑2,500

157

ARTHUR W. SIMPSON (1857‑1922), KENDAL ARTS & CRAFTS HALLSTAND, CIRCA 1920

oak, with mirrored panel and Rathbone handle, the base with removable tole drip trays 87.5cm wide, 176cm high, 38cm deep £400‑600

159

ARTHUR W. SIMPSON (1857‑1922), KENDAL SET OF FOUR ARTS & CRAFTS SIDE CHAIRS, CIRCA 1910

oak, with close nailed leather seats, each with applied maker’s label (4)

44.2cm wide, 102cm high, 47.5cm deep

Provenance: Inherited by the current vendor from Barbara Henderson, the niece of Arthur Simpson.

£800‑1,200

160

ARTHUR W. SIMPSON (1857‑1922), KENDAL ARTS & CRAFTS TRIVET, CIRCA 1910

oak, inset with a riveted copper panel, stamped 7182

36.6cm x 21.3cm

Provenance: Inherited by the current vendor from Barbara Henderson, the niece of Arthur Simpson.

£300‑500

161

ARTHUR W. SIMPSON (1857‑1922), KENDAL ARTS & CRAFTS EXTENDING DINING TABLE, CIRCA 1910

oak

91cm square, 75cm high; extended 152cm long, 75cm high, 91cm wide

Provenance: Inherited by the current vendor from Barbara Henderson, the niece of Arthur Simpson.

£1,000‑1,500

162

LARGE ARTS & CRAFTS

WALL‑MOUNTED BOOKSHELF, CIRCA 1910

oak, with plate rack groove to top, applied maker’s label and stamped serial number 089

149cm wide, 45cm high, 20cm deep Provenance: Inherited by the current vendor from Barbara Henderson, the niece of Arthur Simpson.

£500‑700

163

DRESSER,

oak

142cm wide 200cm high, 53cm deep £1,000‑1,500

ARTHUR W. SIMPSON (1857‑1922), KENDAL

ARTHUR W. SIMPSON (1857‑1922), KENDAL ARTS & CRAFTS

CIRCA 1920

164

ARTHUR W. SIMPSON (1857‑1922), KENDAL

ARTS & CRAFTS WALL MIRROR, CIRCA 1910

oak frame, with bevelled mirror plate, applied makers label verso 113cm x 46cm

Provenance: Inherited by the current vendor from Barbara Henderson, the niece of Arthur Simpson.

£400‑600

165

ARTHUR W. SIMPSON (1857‑1922), KENDAL

ARTS & CRAFTS DRESSING TABLE, CIRCA 1910

oak, with bevelled mirror plate, Rathbone brass handles, applied maker’s label 106cm wide, 135cm high, 55cm deep

Provenance: Inherited by the current vendor from Barbara Henderson, the niece of Arthur Simpson.

£600‑800

166

ARTHUR W. SIMPSON (1857‑1922), KENDAL

ARTS & CRAFTS BED, CIRCA 1910

oak, with applied maker’s label to headboard, stamped 7558

Headboard 117.5cm wide, 124cm high, 202cm long

Provenance: Inherited by the current vendor from Barbara Henderson, the niece of Arthur Simpson.

£1,000‑1,500

167

ARTHUR W. SIMPSON (1857‑1922), KENDAL ARTS & CRAFTS FREESTANDING BED, CIRCA 1920

oak, with applied maker’s label to footboard

137cm wide 103cm high, 202cm long

Provenance: Inherited by the current vendor from Barbara Henderson, the niece of Arthur Simpson.

£400‑600

168

ARTHUR W. SIMPSON (1857‑1922), KENDAL WARDROBE, CIRCA 1930

oak

88cm wide 175cm high, 50cm deep

Provenance: Inherited by the current vendor from Barbara Henderson, the niece of Arthur Simpson.

£400‑600

170

BATH CABINETMAKERS

ARTS & CRAFTS SIDEBOARD, CIRCA 1900

oak, with brass and copper fittings

144.5cm wide, 190cm high, 55.5cm deep £1,800‑2,200

169

ENGLISH

ARTS & CRAFTS WALL MIRROR, CIRCA 1900

repoussé‑decorated pewter, with mirror plate

64.5cm x 46.5cm

£300‑500

171

MAW & CO.

NINE‑TILE PANEL, CIRCA 1900

glazed earthenware, framed each tile 15.2cm square

£300‑500

See illustration on previous page.

172

CRAVEN DUNNILL

NINE‑TILE PANEL, CIRCA 1900

glazed earthenware, framed each tile 15.3cm square £250‑350

173

A. E. JONES (1878‑1954)

TWIN‑HANDLED FOOTED BOWL, BIRMINGHAM 1919

silver, hallmarked Birmingham 1919

24cm across including handles

£300‑500

175

CHARLES L. HARTWELL R.A. (1873‑1951)

THE CALL OF THE SEA, 1920 verdigris bronze, on an ebonised plinth, signed in the bronze HARTWELL **

39cm high; including base 50cm high £800‑1,200

174

GEORGE DUNCAN MACDOUGALD (1880‑1945)

MOTHER AND CHILD

bronze, signed and dated in the bronze 1922, raised on an ebonised wood plinth 10.5cm high excluding base, 12cm high including base £400‑600

176

ENGLISH SCHOOL RESURRECTION

bronze, mid‑brown patina, associated wooden base 28cm high, 35cm high including base £400‑600

177

GEORGE WALTON (1867‑1933) (ATTRIBUTED DESIGNER) FOR J.S. HENRY, LONDON

THREE‑PIECE PARLOUR SUITE, CIRCA 1910

inlaid mahogany, with original close‑nailed upholstered seats, comprising a SETTEE 103cm wide, 97cm high, 46cm deep; and TWO ARMCHAIRS, 58cm wide, 99cm high, 49cm deep (3)

Literature: Cooper, J., Victorian & Edwardian Furniture & Interiors, Thames & Hudson, London, 1987, p. 233, pls. 634 and 635

Note: Walton designed the 1903 Arts & Crafts Exhibition Society stand for J.S. Henry, and, it is thought, this parlour suite.

£1,500‑2,000

178

ENGLISH SCHOOL

THE SEASONS, FOUR ARTS & CRAFTS EMBROIDERED PANELS, CIRCA 1900 coloured silks and watercolour, reserved on an unbleached linen ground, variously inscribed SPRING; SUMMER; AUTUMN; WINTER, framed (4) each 37cm x 18cm £1,000‑1,500

179

MCVITIE & PRICE

BISCUIT BOX, CIRCA 1910

brass and copper, with Ruskin ceramic roundels, stamped MCVITIE & PRICE/ LONDON AND EDINBURGH

18cm across

£300‑400

180

J. S. HENRY, LONDON

ART NOUVEAU ARMCHAIR, CIRCA 1910

carved oak, with velvet upholstered seat and arm rest

64cm wide, 121cm high, 49cm deep

Note: This celebrated chair shows distinct characteristics of the designs of the Century Guild with its linear Art Nouveau lines and swollen square section uprights.

J.S. Henry was a wholesale manufacturer of Art Furniture based in Old Street, London and was established circa 1880. Most of their furniture output was Art Nouveau in mahogany and satinwood with decorative inlay. At the Arts & Crafts Exhibition Society in 1903 the company showed designs by George Walton and W.A.S. Benson. G.M. Ellwood was their most prolific designer, and although they used designs by C.F.A. Voysey, E.G. Punnett and W.J. Neatby, few designers were named. Examples of this chair are held at the Kelvingrove Museum and Art Gallery in Glasgow and MAK Applied Arts Museum in Vienna.

£800‑1,200

181

GEORGE MONTAGUE ELLWOOD (1875‑1955) (ATTRIBUTED DESIGNER)

FOR J. S. HENRY, LONDON

ART NOUVEAU OCCASIONAL TABLE, CIRCA 1910

mahogany, inlaid with specimen woods and mother‑of‑pearl

68cm diameter, 71cm high

£600‑800

182

ENGLISH

TILE PANEL, CIRCA 1900

glazed ceramic, with tube‑lined monogram, the oak frame with copper plaques to the angles

tile 44.5cm x 14cm

£250‑350

186

183

SHAPLAND AND PETTER, BARNSTAPLE

TRIPLE OVERMANTEL MIRROR, CIRCA 1900

oak, inset with polychrome painted roundels with bevelled mirror plates

122cm wide, 88cm high

£800‑1,200

184

TOM BROWNE (1870‑1910) ‘SKETCHES’

watercolour and bodycolour, signed lower right TOM BROWNE, framed 56cm x 38cm

Note: Tom Browne was a member of the London Sketch Club along with artists such as John Hassall, Edmund Dulac, and W. H. Robinson. £300‑500

185

SHAPLAND & PETTER, BARNSTAPLE

ARTS & CRAFTS STICK STAND, CIRCA 1910

oak, with repoussé‑decorated copper panels and patinated metal tray

57cm wide, 105cm high 27cm deep £400‑600

ENGLISH

ARTS & CRAFTS MIRROR, CIRCA 1900

pewter, set with Ruskin ceramic cabochon and glass cabochons, with mirror plate 35cm x 30cm

£250‑350

188

GEORGE HEYWOOD SUMNER (1853‑1940) FOR THE FITZROY PICTURE SOCIETY ‘THE BEE GARDEN’

chromolithographic print, printed by James Ackerman, London 73cm x 66cm

£300‑500

187

JOHN MACALLAN SWAN (1847‑1910)

HEAD OF A BEAR bronze, mounted on an ebonised wood shield bronze 11cm long

£500‑700

189

MANNER OF FLORENCE STEELE FOR FATTORINI & SONS LTD. OF BRADFORD MEDALLION PLAQUE, CIRCA 1910 bronze, in glazed frame, the mount inscribed MANUFACTURED BY FATTORINI & SONS LTD., BRA. medallion 24cm diameter

£300‑500

190

ENGLISH SCHOOL

‘POLYCHROME’ AND ‘MONOCHROME’, CIRCA 1900

watercolour design, examined South Kensington, ESK stamp, framed, polychrome 22.5cm diameter; monochrome 43cm x 19.5cm (2)

£400‑600

191

WILLIAM REYNOLDS‑STEPHENS (1862‑1943)

HEAD OF A GIRL

bronze, signed in the bronze, raised on a granite base 11cm high excluding base, 28.5cm high including base

£400‑600

192

G.H. CLARKSON (ACTIVE 1903 – 1923) (ATTRIBUTED TO)

BUST OF AN EGYPTIAN QUEEN, 1918 bronze, signed and dated in the bronze CLARKSON/ 1918

38cm high including plinth

£500‑700

193

DEXTER WEATHERPROOFS

ADVERTISING SIGN, CIRCA 1900 embossed and patinated metal frame, enclosing a lithographic print

76cm x 72.5cm

£600‑800

194 §

ELYSE ASHE LORD (1900‑1971)

‘ARABIAN NIGHTS’

hand‑coloured etching, signed in pencil lower right and numbered 42/75

35cm x 32cm

£300‑500

white

2.7cm long

£300‑500

ART NOUVEAU PENDANT, CIRCA 1900

15ct gold, set with opal cabochons, stamped 15CT/ MB&CO pendant 3cm tall

£300‑500

BRACELET, CIRCA 1900

silver and enamel, stamped MBCO/ 950, within associated Liberty & Co lined box

19cm long

£600‑800

MURRLE, BENNETT & CO. LTD., LONDON

196 FLEETWOOD CHARLES VARLEY (1863‑1942) BROOCH, CIRCA 1910

metal and enamel, within Liberty & Co fitted box

197 MURRLE, BENNETT & CO. LTD., LONDON

KATE HARRIS SILVER

KATE, or Katie, Harris, is broadly considered one of the most important designers for the London‑based firm, William Hutton & Sons. From 1899 to around 1905, she produced exquisite designs for artistic silver. We are pleased to offer this wonderful selection of pieces, which demonstrate the exquisite breadth of work she produced for the firm, and which is still very much sought‑after by collectors.

Sinuous botanical motifs and enchanting organic forms dominate her work, serving both a decorative and structural purpose for the piece itself. Perhaps Harris’ best‑known designs, however, are those featuring a classically stylised figural form, typically austere in feeling and with fewer erotic overtones than Continental Art Nouveau counterparts. The skilled craftsmanship needed to bring these designs to life showcases the sheer elegance and simple beauty that is now synonymous with Harris’ work. The period between 1880 and 1914 offered fresh opportunities to women artists in training and employment, and there was a growing number of women artist‑designers’ names published in popular art magazines at the time. Harris gained critical acclaim after regularly featuring in The Studio Magazine; soon several companies began to retail her popular silverwares, including Goldsmiths and G. L. Connell. While Harris may have been one of Hutton & Sons brightest talents, it was commercial standard practice for designs to be attributed to the firm itself, and not the individual designer. As a consequence, even successful artists would remain largely anonymous and it became challenging, particularly for women, to forge a prosperous artistic career. Though her biography remains vague, her accomplishments in silverware design are continually recognised and reflected in the high prices her work commands in the art market today.

198

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

CENTREPIECE, LONDON 1900

silver, with green glass liner, hallmarked London 1900, stamped MAPPIN & WEBB, incised 46587 48.5cm wide, 18.5cm high £3,000‑5,000

199

KATE HARRIS (1878‑1949) FOR R. H. HALFORD & SONS

TWIN‑HANDLED DISH, LONDON 1900

silver, with green glass liner, hallmarked London 1900 37cm across £1,000‑1,500

200

KATE HARRIS (1878‑1949) FOR G. L. CONNELL LTD., LONDON

THREE PIECE TEA SERVICE, LONDON 1902

silver, comprising a TEAPOT, with ebonised handle, 14cm high; a MILK JUG, 8cm high; and a TWIN‑HANDLED BOWL, 9cm high, all with stamped manufacturer’s mark and hallmarked LONDON 1902 (3) £5,000‑8,000

201

KATE HARRIS (1878‑1949)

FOR G. L. CONNELL LTD, LONDON

SERVING DISH, BIRMINGHAM 1911

silver, hallmarked Birmingham 1911

35.5cm diameter

£1,000‑1,500

203

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

QUAICH, LONDON 1901

silver with blue glass liner, hallmarked London 1901

17.5cm across £600‑800

202

KATE HARRIS (1878‑1949)

FOR WILLIAM HUTTON & SONS LTD.

CIRCULAR CASKET, LONDON 1903

silver, with blue glass liner, hallmarked London 1903 16cm diameter

£2,000‑3,000

204

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

MINIATURE PILL BOX, LONDON 1903

silver and enamel, hallmarked London 1903

5.7cm across £800‑1,200

205

KATE HARRIS (1878‑1949) FOR WILLIAM HUTTON & SONS LTD

SNUFF BOX, LONDON 1901

silver and silver‑gilt, hallmarked London 1901, engraved EM to base 7.5cm diameter £300‑500

206

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

SMALL BOX, BIRMINGHAM 1906

silver and silver‑gilt, hallmarked Birmingham 1906 9cm across £700‑1,000

207

KATE HARRIS (1878‑1949)

FOR WILLIAM HUTTON & SONS LTD.

JEWELLERY CASKET, LONDON 1902

silver, and copper, with wood‑lined interior, stamped RD

NO 343549, hallmarked London 1902

16cm wide, 7cm high, 9.7cm deep

£1,000‑1,500

208

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

THREE‑PIECE COFFEE SET, LONDON 1902

silver, comprising a COFFEE POT, with mother‑of‑pearl handle, 18cm high; a TWIN‑HANDLED SUGAR BOWL, 16cm across including handles; and a MILK JUG, 7cm high, each hallmarked London 1902 and stamped RD352424 (3) £4,000‑6,000

212

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

TWIN‑HANDLED JARDINIÈRE, CIRCA 1900

brass with clear glass liner, stamped BRITISH HUTTON MAKE/ W34184

33cm across including handles

£300‑500

209

KATE HARRIS (1878‑1949) FOR GOLDSMITHS & SILVERSMITHS CO. LTD., LONDON

PHOTOGRAPH FRAME, LONDON 1902

silver, with velvet‑lined backing, hallmarked London 1902, stamped GOLDSMITHS & SILVERSMITHS COMPANY LTD/ 112 REGENT ST LONDON, inscribed *lice

27.5cm x 16.2cm

£1,000‑1,500

210

KATE HARRIS (1878‑1949) FOR G. L. CONNELL LTD., LONDON

BON BON DISH, LONDON 1902

silver, stamped manufacturer’s marks and hallmarked London 1902 (indistinct)

13cm across, 7cm high

£200‑300

211

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

INKWELL, LONDON 1903

cut glass with silver mount, hallmarked London 1903

6.5cm high

£300‑500

213

KATE HARRIS (1878‑1949) FOR G. L. CONNELL LTD., LONDON

TWIN‑HANDLED CHRISTENING BOWL, LONDON 1903

silver, with blue glass liner, inscribed THEODORE WATERHOUSE FEB 18TH

1904/ FROM HIS GODMOTHER MARY CREWDSON, hallmarked London 1903

25.5cm across

£1,500‑2,000 214

KATE HARRIS (1878‑1949) FOR WILLIAM HUTTON & SONS LTD

TRINKET BOX, LONDON 1900

silver, hallmarked London 1900

9.5cm wide, 5.5cm high, 5.5cm deep

£500‑800 215

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

FLOWER VASE, LONDON 1901

silver, hallmarked London 1901

19cm high

£300‑500

217

ARCHIBALD KNOX (1864‑1933) FOR LIBERTY & CO., LONDON

‘TUDRIC’ TWIN‑HANDLED BOWL, CIRCA 1900

pewter, with green glass liner, stamped TUDRIC/

9/ MADE IN ENGLAND/ 0317R

22cm diameter

£300‑500

219

ARCHIBALD KNOX (1864‑1933)

‘MANNIN: A JOURNAL OF MATTERS PAST AND PRESENT RELATING TO MANN’

published by Ynches Haght, Gailckagh, The Manx Language Society, Peel, 1913 etc., with cover design and initial letters by Archibald Knox; Issue No. 7, May 1916 has an article on Knox with two black & white illustrations of his metalwork, ten issues and Index booklet (qty)

£200‑300

216

ARCHIBALD KNOX (1864–1933)

FOR LIBERTY & CO., LONDON

PAIR OF ‘TUDRIC’ CANDELABRA, CIRCA 1904 pewter, stamped MADE BY LIBERTY & CO/ MADE IN ENGLAND/ PEWTER/ 2/ TUDRIC/ 0530 (2)

28.2cm high

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

£2,500‑3,500

218

ARCHIBALD KNOX (1864‑1933) FOR LIBERTY & CO., LONDON

PAIR OF ‘TUDRIC’ BULLET CANDLESTICKS, CIRCA 1900

pewter, stamped MADE IN ENGLAND/ J/ ENGLISH PEWTER/ 0221/ P/ MADE BY LIBERTY & CO. (2)

16cm high

£300‑500

220

MANNER OF ARCHIBALD KNOX

UNUSUAL SET OF FOUR FURNITURE HANDLES, CIRCA 1910

patinated metal, stamped RD556263 (4)

9.3cm across

Literature: Martin, Stephen, Archibald Knox, Second Edition 2001, p.271, illustration of various buttons with matching characteristic Knox boss motif

£200‑300

ARCHIBALD KNOX (1864‑1933) FOR LIBERTY & CO., LONDON

‘TUDRIC’ CRUCIFORM CLOCK, CIRCA 1902

pewter, with abalone inlay, stamped TUDRIC/ 097

36cm high

Literature: Stephen A. Martin (ed.), Archibald Knox, London, 2001, p. 235

Note: Archibald Knox’s designs for Liberty & Co. are very well documented, especially his designs for their ‘Tudric’ and ‘Cymric’ ranges. Knox was known to have produced only a few very large clocks during his Liberty period and, at a towering 36cm, this is one such example.

His work draws on the rich cultural heritage of his native Isle of Man. As with many of the larger clocks that are known to exist, their monumental and minimalist forms are reminiscent of the standing Celtic stones which populate the island’s countryside and that Knox spent a lifetime exploring. The decoration on this example, stripped of superfluous ornament, incorporates abalone shell inlay as a repeating series of roundels; a stark and striking visual effect that signals a modernist approach to the design. This impressive clock fulfils Knox’s desire to bring together two worlds which he valued deeply: the ancient Celtic tradition and the new, modern world of design, which was undergoing the development of a new and innovative aesthetic.

£10,000‑15,000

222

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

£400‑600

223

ARCHIBALD KNOX (1864‑1933) FOR LIBERTY & CO., LONDON

‘CYMRIC’ NOTECASE HOLDER, LONDON 1899

silver and enamel, stamped maker’s marks and hallmarks for London 1899

5cm x 7cm

£300‑500

224

ARCHIBALD KNOX (1864‑1933) FOR LIBERTY & CO., LONDON

MUSTARD POT & SPOON, BIRMINGHAM 1917

silver, set with three turquoise cabochons, hallmarked Birmingham 1917, stamped 492

5.5cm high

£300‑500

225

A. E. JONES (1878‑1954)

ARTS & CRAFTS ROSE BOWL, BIRMINGHAM, 1903

silver, with four applied Ruskin pottery ovals, hallmarked

Birmingham 1903

16cm diameter

Literature: Illustrated in the Studio Yearbook, 1906

£1,000‑1,500

226

LIBERTY & CO., LONDON

‘KNIGHT’S CASTLE’ FRAMED FABRIC PANEL, CIRCA 1960 printed linen, marked to selvedge HAND‑PRINTED VAT COLOURS

LIBERTY OF LONDON

119cm x 109cm

£300‑500

227

LIBERTY & CO., LONDON

ARTS & CRAFTS BUREAU BOOKCASE, CIRCA 1910

oak, with applied copper alloy fittings and leaded glass panelled doors, tooled leather skiver, bears applied inscription to cornice BY NATURE COMES TO WRITE AND READ

106.5cm wide, 211.5cm high, 50cm deep £1,000‑1,500

228

WILLIAM MOORCROFT (1872‑1945)

FOR JAMES MACINTYRE & CO.

GROUP OF ‘EIGHTEENTH CENTURY’ PATTERN WARES, CIRCA 1910

glazed earthenware with gilded highlights, comprising a BALUSTER VASE, 32cm high; a TWIN‑HANDLED VASE, 21cm high, a FURTHER TWIN‑HANDLED VASE, 13.5cm high; and a SMALL BOWL, 12cm diameter, all with green painted signature (4)

£300‑500

229

LIBERTY & CO., LONDON

WALL MIRROR, CIRCA 1910

plated copper, mirrored glass

63.5cm x 39cm

£300‑500

230

LIBERTY & CO., LONDON (ATTRIBUTED MAKER)

PAIR OF ARMCHAIRS, CIRCA 1900

carved oak, with close‑nailed leather upholstered seats (2)

64cm wide, 119cm high, 53cm deep

Provenance: These chairs were used by The Prince and Princess of Wales at the opening of the Glasgow Garden Festival in 1988.

£600‑800

231

LIBERTY & CO., LONDON

ARTS & CRAFTS THREE‑FOLD SCREEN, CIRCA 1900

carved oak, with later printed fabric panels, applied

ivorine maker’s label

Each fold 52cm wide, 178cm high

£500‑800

232

LIBERTY & CO., LONDON (ATTRIBUTED MAKER)

ARTS & CRAFTS CABINET, CIRCA 1900

stained and carved oak, with three sliding doors to a shelved interior

163cm wide, 107cm high, 50cm deep

Provenance: Previously from The Millinery Works Collection.

£300‑500

234

ARCHIBALD KNOX (1864‑1933) FOR LIBERTY & CO., LONDON

‘TUDRIC’ CLOCK, CIRCA 1900

pewter, inlaid with abalone shell, stamped TUDRIC 0252 17cm high

Literature: Liberty Pewter Sketch Book, Westminster City Archives, London, n.d., p. 57, no. 0252

Tilbrook, Adrian J. The Designs of Archibald Knox for Liberty & Co., London, 1995, p. 106, no. 88

Martin, Stephen A. Archibald Knox, Art Media Press, London, 2001 pp. 240 and 241

£4,000‑6,000

233

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, 3.5cm high, 16.5cm deep

Note: This rare box will be included in the forthcoming monograph on Archibald Knox, edited by Stephen Martin.

£2,000‑3,000

235

ARCHIBALD KNOX (1864‑1933) FOR LIBERTY & CO., LONDON

‘TUDRIC’ GOBLET, CIRCA 1900

pewter, with green glass bowl, stamped MADE IN ENGLAND/ 7/

TUDRIC/ PEWTER/ 0956

15.5cm high

£400‑600

236

ATTRIBUTED TO LIBERTY & CO., LONDON

ANGLO‑MORESQUE OCCASIONAL TABLE, CIRCA 1900

47cm wide, 72cm high

LIBERTY & CO., LONDON (ATTRIBUTED RETAILER)

ANGLO‑MORESQUE TABLE, CIRCA 1900

inlaid and ebonised wood, with mother‑of‑pearl

49cm across, 49cm high

£300‑500

238

LIBERTY & CO., LONDON (ATTRIBUTED RETAILER)

ANGLO‑MORESQUE TABLE, CIRCA 1890

inlaid and ebonised wood, with mother‑of‑pearl

61cm across, 61cm high

£400‑600

239

LEONARD WYBURD (1865‑1958) FOR LIBERTY & CO., LONDON

ARTS & CRAFTS TABLE, CIRCA 1900 oak

59cm wide, 79.5cm high, 34cm deep

£300‑500

240

LIBERTY & CO., LONDON PAIR OF BOOKCASES, CIRCA 1910

oak (2)

57cm wide, 97.5cm high, 19.7cm deep

£400‑600

241

MANNER OF LIBERTY & CO., LONDON CANTERBURY, CIRCA 1900

carved walnut

61cm wide, 34cm deep, 66cm high

£400‑600

242

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

‘FLORIAN WARE’ JARDINIÈRE, CIRCA 1900

glazed earthenware, painted WM/ DES in green, printed ‘Florian Ware’ factory stamp, impressed marks (indistinct), 14.5cm diameter; together with a ‘DUBARRY WARE’ PLATE, for James Macintyre & Co., glazed earthenware, printed factory stamp, registration number 211991, 27cm diameter (2) £300‑500

ARCHIBALD KNOX (1899‑1933)

AUTUMN TREES, CIRCA 1905

watercolour on paper, framed 65.7cm high, 90.7cm wide including frame

£1,800‑2,500

244

ARCHIBALD KNOX (1864‑1933) FOR LIBERTY & CO.,

LONDON

PAIR OF FLOWER VASES, BIRMINGHAM 1909

silver, stamped marks for W. H. Haseler, hallmarked Birmingham 1909 (2)

14.8cm high

£400‑600

245

ARCHIBALD KNOX (1899‑1933) FOR LIBERTY & CO., LONDON

PAIR OF ‘CYMRIC’ BRUSHES, BIRMINGHAM 1925

silver and enamel, made by William H. Hasler, stamped marks and hallmarked Birmingham 1925, within fitted box (2)

7.5cm diameter

£400‑600

246

ARCHIBALD KNOX (1864‑1933) FOR LIBERTY & CO.,

LONDON

CASED SET OF SIX SPOONS, BIRMINGHAM 1903

silver and enamel, each with maker’s mark L&CO, hallmarked Birmingham 1903, within a fitted case with silk and brushed suede lining, stamped LIBERTY & CO. LTD/ REGENT ST./

LONDON (6)

each spoon 11.6cm long

£500‑800

247

ARCHIBALD KNOX (1864‑1933) FOR LIBERTY & CO., LONDON

‘TUDRIC’ CLOCK MODEL NO. 096, CIRCA 1902‑5

pewter and abalone, stamped under base 096

29.5cm high

Literature: Martin S. Archibald Knox, London 2001, p. 235 illus. £12,000‑18,000

248

LEONARD WYBURD (1865‑1958) (ATTRIBUTED DESIGNER) FOR LIBERTY & CO., LONDON SET OF EIGHT ‘ARTHURIAN’ DINING CHAIRS, EARLY 20TH CENTURY

oak, with later upholstery (8)

73cm wide, 90cm high, 49cm seat depth

Provenance: Jimmy Page

Paul Reeves: The Best of British Design from the 19th & 20th Centuries, Sotheby’s, 20th March 2008, lot 79

Private collection

Literature: Bennett, D. Liberty’s Furniture, Woodbridge 2012, p.48

Note: Leonard Wyburd, principal designer for Liberty & Co. from 1883, was inspired by ‘themes of chivalry and visions of a golden past’ which were so prevalent in 19th century art and design. His Handbook of Sketches of 1885 made references to knights and armour, and he was still using this theme to great effect in his watercolour studies at the Royal Academy in 1904.

£1,500‑2,000

CHARLES RENNIE MACKINTOSH (1868‑1928)

CABINET FOR THE BLUE BEDROOM, HOUS’ HILL, 1904

oak, with brass handles and mother‑of‑pearl inlay 38cm (15in) wide, 168cm (66 1/8in) high, 33.6cm (13 1/4in) deep

Literature: Billcliffe, R. Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings & Interior Designs, Cameron & Hollis 2009, pp. 195‑197, 1904.J period photograph of the Blue Bedroom illus.; pp. 207 and 208, 1904.65 ‘Design and layout of furniture for the Blue Bedroom’; 1904.67 ‘Cabinet for the Blue Bedroom, Hous’hill’; 1904.67 illus.

Arwas V. Art Nouveau in Britain from Mackintosh to Liberty: The Birth of a Style, Andreas Papadakis, 2000, p.41, where this cabinet is illustrated.

Note: In 1903‑04, after working together on the Willow Tearooms in Glasgow for his patron Kate Cranston, Charles Rennie Mackintosh was invited to redecorate and refurbish her home ‘Hous’hill’, on the city’s outskirts. At this stage in his career, Mackintosh was in the throes of an innovative phase of creativity: experimenting with new materials, textures and forms, and how these contrasting elements could work coherently within a particular space. The ideas manifested at Hous’hill would inform future furniture designs and interiors, culminating in the commission for the second phase of The Glasgow School of Art in 1910.

Prior to his work on Hous’hill, many of Mackintosh’s interior schemes were white: elegant, white‑painted furniture adorned open white spaces which he decorated with flashes of coloured glass or stencilled roses. White interiors were also employed at Hous’hill however in the Blue Bedroom the furniture was typically stained or waxed and served as devices to break up what was a rather ordinary rectangular room. Stylised organic forms and Glasgow rose motifs were used sparingly; photographs and preliminary plans of

the bedroom indicate that decoration of this kind was minimal and largely reserved for the stained glass on a few basket lamps which were carefully positioned around the room.

This striking bedside cabinet, one of two produced for the bedroom, is decidedly rigid in form and follows a preference for simple geometric outlines. The elongated rectangular structure is further emphasised by a series of rectangular inlets for storing books and magazines. This effect is enhanced by the fine graining of the timber, which flows upwards in the direction of the exterior panelling. The decoration is relatively restrained and relies on a precise arrangement of cut‑out and inlaid squares, some of which have been inset with mother‑of‑pearl. Mackintosh’s preference for geometric linearity was carefully balanced with the subtle use of a curved stained‑glass panel, originally located in the central alcove of the cabinet, but now absent. By staining the cabinet as opposed to painting it white, Mackintosh allows the timber to play a role in its simple decoration. Contrasting textures of glass, brass, mother‑of‑pearl and the grain of the timbers work in harmony to create an innovative design which evokes an elegant yet restrained level of decoration. Other examples of furniture in the bedroom follow these new ideas to create a visually arresting interior scheme which would dominate some of his later commissions.

The two bedside cabinets were made for the Blue Bedroom by Francis Smith, one of Mackintosh’s regular cabinetmakers. His original designs for the interior show this example standing tall on the left‑hand facing side of the bed, closely positioned by the bed for ease of use and with a chair alongside each to balance the room. However, period photographs indicate Miss Cranston opted to position the cabinets slightly further away from the bed than initially intended, and the chairs were moved elsewhere. The other bedside cabinet now resides in a private collection.

£30,000‑50,000

A period photograph of the Blue Bedroom showing the current lot in situ

Image courtesy of the Glasgow School of Art

By 1914, Mackintosh’s professional fortunes were dwindling and life in Glasgow became unbearably oppressive. Following the completion of the Glasgow School of Art in 1909, Honeyman, Keppie & Mackintosh’s business received very little work, much like their competitors, as the city was grappling with a recession. Mackintosh resigned as partner of the firm in December 1913, supposedly with the intention of setting up his own company, yet sadly nothing came of this. Clearly requiring some rest and recuperation from this drastic turn of events, the Mackintoshes left Glasgow for a summer break to Walberswick in June 1914, but the uncertainty of the First World War and a rather unstable economic climate persuaded them to remain in the village for fifteen months.

Like a number of coastal villages across the UK, Walberswick became a hub of artistic creativity in the summer months. Bright blue skies, endless coastal cliffs and colourful fields as far as the horizon brought the likes of Philip Wilson Steer, E. A. Walton and Mary Newbery Sturrock to this charming fishing and boatyard community. Mary Newbery was the daughter of Frances Newbery, Headmaster of the Glasgow School of Art at the time Mackintosh designed its new premises. The two men had formed a very close friendship during their time in Glasgow. Mary was convalescing in Walberswick while the Mackintoshes were staying in the village, close to her family’s villa there. Every day they would venture over to her studio and it is thought that Mackintosh was encouraged by the Newberys to turn to painting during this time, in his search for solace and seclusion.

Over the next ten months or so, Mackintosh made over forty botanical watercolour studies using a variety of species: from wild plants such as willow catkins and kingcups to garden favourites fuchsias and petunia, as well as flowers from local fields and hedgerows such as sorrel and chicory. From 1901 Mackintosh had been sketching similar plants and flowers whilst on holiday within Britain, and further afield in Italy and Portugal. These earlier studies are more technical in composition; the background is almost completely abstract as alternating and overlapping perspectives of botanical cross‑sections are illustrated. The focus of these sketches was analytical: investigating ways in which certain plant forms could be stylised to create abstract patterns on the page.

250

CHARLES RENNIE MACKINTOSH (SCOTTISH 1868‑1928)

IVY SEED, WALBERSWICK

pencil and watercolour, inscribed, signed and dated lower right IVY SEED/ WALBERSWICK/ 1915/ CRMMMM

22.5cm x 18.2cm

Provenance: Acquired after the Memorial Exhibition, 1933, by R. W. B. Morris, a partner in Charles Macdonald’s legal firm and an executor of Margaret Macdonald Mackintosh’s estate

The Fine Art Society, London Private Collection (1977‑present)

Exhibited: The Fine Art Society, London, The Flower Drawings of Charles Rennie Mackintosh, May/June 1977

Literature: Billcliffe R. Charles Rennie Mackintosh and the Art of the Four, Quarto 2017, pp. 194 198 and 211 219

Billcliffe R. Mackintosh Watercolours Glasgow Art Gallery, London 1978, p. 38, no. 139 £30,000‑50,000

At Walberswick, the studies are decorative depictions, delicately drawn in a naturalistic manner. It is likely that Mackintosh worked with pressed specimens, perhaps picked on his walks to Sturrock’s studio, giving him an already flattened section to work from. In Ivy Seed, the plant is positioned off‑centre as the coloured leaves pointing towards the cartouche draw the eye into the complex structure of the branch itself. Mackintosh was clearly meticulous in his approach: connected stems and foliage are interwoven and overlaid in a beautiful display; there is a careful balance of tension and delicacy in the delineation of the leaves. The vibrancy of colour, subtly deployed across the page, breathes life into the work and helps capture the decorative beauty of his peaceful new environment.

The initials of Margaret Mackintosh appear frequently on many of these watercolours, and it was previously suggested that she contributed to the studies in some way. However, there is no stylistic evidence that correlates with Margaret’s own watercolour techniques. Mary Newbury Sturrock has stated that her initials merely indicate that she was there when the studies were made, thereby highlighting her constant presence in Charles’ life and art.

Mackintosh’s time spent studying the coastline and nature in and around Walberswick subsequently led to his arrest in 1915 when he was mistaken for a German spy. After a thorough search of their home led to discoveries of their artistic endeavours in Germany and Austria, Charles and Margaret were forced to leave the area with immediate effect. They eventually settled in London, where his deeply personal connections with nature formed the basis for further watercolours and some innovative textile commissions.

The spectacular series of Walberswick studies marks an interesting point in Mackintosh’s career. His intense personal and professional struggles prompted a search for solace in nature: these careful, naturalistic renderings of his surroundings are captivating in their simple beauty, evoking the serenity and contemplation he longed for.

251

MARGARET MACDONALD MACKINTOSH (1865‑1933)

BOOKPLATE FOR JOHN EDWARDS, 1896 printed paper

11.5cm x 9cm

Note: This image was also published in the ‘Studio’ magazine in 1897 and the Austrian Secession Movement periodical ‘Ver Sacrum’ in 1901.

£500‑800

252 §

JAMES HERBERT MACNAIR (1868‑1955) & CHARLES J. ALLEN (1862‑1956) FOR THE LIVERPOOL SCHOOL OF TROPICAL MEDICINE MARY KINGSLEY MEDAL, DESIGNED CIRCA 1903

silver, inscribed and engraved around the rim, signed J H MACNAIR/ C J ALLEN, stamped marks for Turner & Simpson, hallmarked Birmingham 1968, with fitted case

9.5cm x 5.6cm

£400‑600

253 §

MARGARET DE COURCY LEWTHWAITE DEWAR (1878‑1959)

COLLECTION OF BOOKPLATES, CIRCA 1900‑1910

printed paper, comprising 34 bookplates, each tipped into a bound sketchbook, largest 19.5cm x 13cm, smallest 11cm x 7cm, together with 8 further bookplates, various designers including E.D. French; together with The Bookplate, 1924; Bookplate Magazine, 1919; and Weeds, an illustrated calligraphic manuscript, on five sheets of thick card bound in concertina format

Literature: The Studio Yearbook, 1908, p.317 where two of these bookplates are illustrated.

£600‑800

254

THE GLASGOW SCHOOL OF ART TWO COPIES OF THE SCHOOL PROSPECTUS

1907‑08 and 1908‑09 editions, printed by Begg, Currie & Russell Printers, Glasgow (2)

£400‑600

255

CHARLES RENNIE MACKINTOSH AND MARGARET MACDONALD MACKINTOSH INTEREST MEMORIAL EXHIBITION CATALOGUE 1933

McLellan Galleries, Glasgow, 4‑27th May

1933, printed by Begg Kennedy & Elder Printers, Glasgow

£600‑800

256

CHARLES RENNIE MACKINTOSH (1868‑1928)

TEXTILE DESIGN, CIRCA 1920

pencil and watercolour heightened with white, on tracing paper, signed and inscribed

C.R. Mackintosh./2 Hans Studio/43 A Glebe Place

Chelsea SW3 lower right, on the backing sheet, overmounted

17.5cm. x 16cm

Provenance: The Fine Art Society, London, 1989

Exhibited: The Fine Art Society, London, 1994

Mackintosh and the Glasgow Style, Travelling Exhibition in Japan, September 2000 ‑ February 2001, p. 137, Cat. No. 140.

Literature: Billcliffe R. Charles Rennie Mackintosh. Textile Designs, San Francisco 1993, p. 84 (‘Ochre, Black and White’) and p. 85 (‘Cyclamen’)

Billcliffe R. Charles Rennie Mackintosh and the Art of the Four, Quarto 2017, pp. 219 225, pl. 260

£10,000‑15,000

Note: In 1916 the Mackintoshes left Walberswick for London where they made their new home in rented lodgings in Chelsea and two adjacent small studios in nearby Glebe Place. The war had ended any idea of Charles setting up an architectural practice either in Glasgow or London, where he lacked the contacts or the money to do so.

The series of wildflower studies that Mackintosh produced at Walberswick suggested a new way forward as an artist. In London, he began a series of cut flower watercolours and textile designs. The first of these flower paintings to be exhibited, Anemones, appeared at the ISSPG (The International Society of Sculptors, Painters and Gravers) in May 1916. A piece of fabric made from one of his designs can be seen in the background, suggesting he had begun working for the textile roller printers, William Foxton Ltd and William Sefton & Co. before this date. His early textile designs developed from his later work in Glasgow and from the Viennese designers he had admired before the war. Later, he drew on his intimate knowledge of the natural world, to produce abstracted repeat patterns, as in the current example. A variation of this design also provides the backdrop for Cyclamen, a watercolour of around 1922‑23.

By 1920 Mackintosh had built an impressive body of work and had become one of the leading textile designers of the period. His diary entry for this year recorded income of £200 from the sale of designs for voiles, chintzes and handkerchiefs. Despite this relative success, fabric designs did not bring him the recognition he needed to attract further work or commissions as his name would not have been associated with the designs at this time.

In 1916 Mackintosh did however receive a commission from the engineering and toy model manufacturer W.J. Bassett‑Lowke for his house at 78 Derngate in Northampton, where he was able to use some of his printed textiles. However, apart from this and a small commission for Miss Cranston in Glasgow no other architectural work was forthcoming and painting remained his alternative career until his death in 1928.

MARION HENDERSON WILSON (1869‑1956) (ATTRIBUTED DESIGNER)

GLASGOW SCHOOL WALL MIRROR, CIRCA 1910 repoussé‑decorated brass, bevelled mirror plate 60cm x 32cm

£400‑600

258

GLASGOW SCHOOL

PAIR OF STAINED GLASS WINDOWS, CIRCA 1900 stained and leaded glass within mahogany frames (2) glass 89cm x 35cm £400‑600

259

ERNEST ARCHIBALD TAYLOR (1874‑1951) FOR WYLIE & LOCHHEAD, GLASGOW SIDEBOARD, CIRCA 1902

inlaid oak, with patinated metal fittings

191cm wide, 132cm high, 68cm deep

Note: Initially apprenticed in the Glasgow shipbuilding industry, E. A. Taylor trained as an artist at the Glasgow School of Art, where he met Jessie M. King around 1898. Taylor joined the Glasgow cabinetmakers and retailers Wylie & Lochhead as a trainee designer in 1893. His furniture designs for the firm brought him great acclaim with exhibitions at the 1901 Glasgow International Exhibition and, with his fiancée Jessie King, a series of stained‑glass panels for the Turin International Exhibition of Modern Decorative Art in 1902. Taylor went on to lecture in furniture design at the Glasgow School of Art from 1903 to 1905. In 1908 he married Jessie King and moved to Manchester to manage and design for George Wragge Ltd where he produced many designs for stained glass. Between 1911 and 1914 the Taylors lived in Paris where they established an art school – the Shealing Atelier. This rare sideboard by Taylor demonstrates his skills as a furniture designer, the inlaid panels characteristic of the burgeoning ‘Glasgow Style’, the mouldings and cut‑out features enlivening the solid form. This example is similar in form to a sideboard designed by Taylor for William Douglas Weir (later Lord Weir) in Glasgow around 1901, following the success of his room for Wylie & Lochhead at the Glasgow International Exhibition the same year.

£3,000‑5,000

260

HANNAH MOORE WALTON (1863‑1940)

TWO FINGER BOWLS, CIRCA 1910

painted glass, signed with initials HW (2) 12.5cm diameter

Literature: Burkhauser J. ed. Glasgow Girls: Women in Art and Design 1880‑1920, Edinburgh 1990, p. 166

Note: Hannah Walton worked from the family home at 5 Belmont Terrace in Hillhead, Glasgow, where her sister Helen had established her studio in 1881. The sisters specialised in this type of painting on commercial glassware, and chose decorative subjects associated with water.

£300‑500

261 GLASGOW SCHOOL

EMBROIDERED TEA COSY, CIRCA 1910

coloured silks and gold threads, the design worked on both sides reserved on a cushioned silk satin ground

36cm wide, 26cm high

£300‑500

262

AGNES BANKIER HARVEY (1873‑1947) (ATTRIBUTED DESIGNER)

PAIR OF GLASGOW SCHOOL WALL SCONCES, CIRCA 1900

repoussé‑decorated brass (2)

16cm wide, 38cm high, 9cm deep

£400‑600

263

JAMES HERBERT MCNAIR (1868‑1955) (ATTRIBUTED DESIGNER)

‘OWL’ THREE‑FOLD SCREEN, CIRCA 1900

oak, linen, green glass, with brass hinges

Each fold 167cm x 50.5cm

£800‑1,200

264

SCOTTISH ARTS & CRAFTS MIRROR, CIRCA 1910 repousse‑decorated brass

67.5cm x 53.5cm

£300‑500

265

THE GLASGOW SCHOOL OF PAINTING DESIGN FOR A BOOK COVER

gold paint on a painted green ground

48.5cm x 28.5cm

Provenance: The Fine Art Society, London

£200‑300

266

GEORGE HENRY WALTON (1867‑1933) (ATTRIBUTED DESIGNER) SIDE TABLE, CIRCA 1900

walnut

56cm wide, 72.5cm high, 44.5cm deep

£300‑500

267

ERNEST ARCHIBALD TAYLOR (1874‑1951) (ATTRIBUTED DESIGNER) FOR WYLIE & LOCHHEAD, GLASGOW

CHEST OF DRAWERS CIRCA 1900

stained beech, with brass panels, stamped 115628 to reverse, 106cm wide, 90.5cm high, 45.3cm deep; together with an ASSOCIATED CHAIR, mahogany, with drop‑in upholstered seat, 44cm wide, 101cm high, 46cm deep (2)

£400‑600

268

JESSIE MARION KING (1875‑1949)

KITE FLYING

pen and watercolour on paper, signed lower right JESSIE M. KING

34cm x 42.5cm

Provenance: The Fine Art Society London, 1972 £3,000‑5,000

269

JESSIE MARION KING (1875‑1949)

ARTIST’S COTTAGE, ARRAN watercolour, signed lower left JESSIE M. KING

23.5cm x 15cm

£800‑1,200

270

CELTIC REVIVAL COAL BOX, CIRCA 1910

repoussé‑decorated brass

50cm wide, 30.5cm high, 35cm deep £250‑350

271

MARGARET GILMOUR (1860‑1942) (ATTRIBUTED TO)

GLASGOW SCHOOL BLOTTER, CIRCA 1910

repoussé‑decorated brass, card

29.5cm x 45.5cm

£300‑500

272

JESSIE MARION KING (1875‑1949)

PATH THROUGH WOODLAND COTTAGES

pencil and watercolour on buff paper

36.5cm x 26cm

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

£1,000‑1,500

273 §

ANNIE FRENCH (1872‑1965)

LADY WALKING IN A GARDEN pen and ink on paper, framed 10cm x 12cm

Provenance: Sir James French

Ewan Mundy Fine Art, Glasgow £300‑500

274

JESSIE MARION KING (1875‑1949)

‘YOUR DEAR HEAD BOW’D TO THE GILLIFLOWER BED’

pen and ink and graphite on vellum, framed

26.5cm x 13.5cm

£500‑800

275 §

ANNIE FRENCH (1872‑1965)

TWO POSTCARDS, CIRCA 1900

printed by Alexander Baird & Co., series no. 1021 and 1024, framed each 11.5cm x 7cm

Provenance: Ewan Mundy Fine Art, Glasgow £400‑600

277

ERNEST ARCHIBALD TAYLOR (1874‑1951)

COASTAL SCENE

oil on board, unsigned

29cm x 27.5cm

£600‑800

276 § KATHARINE CAMERON (1874‑1965)

DAISIES AND DELPHINIUMS

pencil and watercolour, signed upper right K. CAMERON

54cm x 36.5cm

£1,000‑1,500

278 §

ELIZABETH MARY WATT (1885‑1954)

BEAUTY PARADE

ink, watercolour and bodycolour on wood, signed lower left

ELIZABETH MARY WATT

41.4cm x 24.5cm

£700‑1,000

279 §

ELIZABETH MARY WATT (1885‑1954)

ADMIRING GLANCES

ink and watercolour, with bodycolour, signed lower right

ELIZABETH MARY WATT

34cm x 24cm

£600‑800

280

SCOTTISH

GLASGOW SCHOOL LOG BOX, CIRCA 1900

repoussé‑decorated copper with glazed ceramic panel

42.5cm wide, 27.5cm high, 30cm deep

£300‑500

281

GLASGOW SCHOOL

CELTIC REVIVAL WALL MIRROR, CIRCA 1900

repoussé‑decorated brass, with mirror plate

35cm x 70cm

£300‑500

282

SCOTTISH

GLASGOW SCHOOL MIRROR, CIRCA 1910 repousse‑decorated brass, with mirror plate

46.5cm x 66cm

£300‑500

283 §

MARGARET ISOBEL WRIGHT (1884‑1957)

LES PETITES DANSEUSES

watercolour on paper, signed lower right M. WRIGHT, signed, dated and titled on artist’s label verso, 63.5cm x 49.5cm

Provenance: Whittington Fine Art, Old Amersham

Note: Margaret Wright was influenced by the ‘Glasgow Boys’. Born in Ayr in 1884 she studied at the Glasgow School of Art from 1902‑1908. She enlisted at the Glasgow Institute, the Royal Scottish Academy and the Paisley Institute. £2,000‑3,000

284 §

MAJEL DAVIDSON (1885‑1969)

LE BAOU DE SAINT JEANNET

oil on canvas

64cm x 56cm

£600‑800

286 §

KATHARINE CAMERON (1874‑1965)

DAISIES & BEES, 1897

watercolour, signed and dated lower centre right 23cm x 35cm

Provenance: Bourne Fine Art, Edinburgh

£500‑700

285 §

KATHARINE CAMERON (1874‑1965)

DANDELIONS & BUTTERFLIES

watercolour on blue paper, signed lower left 37cm x 26cm

Provenance: Ewan Mundy Fine Art, Glasgow

£600‑800

287

ORIVIT, COLOGNE

JUGENDSTIL STRUT MIRROR. CIRCA 1900

plated metal and mirrored glass, stamped 2280/ E.P. 38cm x 31cm

£300‑500

288

ORIVIT, COLOGNE

PAIR OF JUGENDSTIL CANDELABRA, CIRCA 1900

pewter, stamped ORIVIT 2210

31cm high

£400‑600

289

ORIVIT, COLOGNE

TWO JUGENDSTIL WINE DECANTERS, CIRCA 1900

cast pewter and glass, unmarked (2)

29.5cm high

£300‑500

290

WMF (WURTTEMBERGISCHE METALLWARENFABRIK)

JUGENDSTIL STRUT MIRROR, CIRCA 1900

silver plated metal, reserved on a beech ground and enclosing mirror plate, unmarked

57cm x 43cm

£400‑600

291

CONTINENTAL SECESSIONIST CIGARETTE CASE, CIRCA 1910 white metal, set with step‑cut rubies, stamped maker’s marks, 800/ 287, inside engraved LEONARD ROOME

9cm x 7.5cm £300‑500

292

MICHAEL POWOLNY (1871‑1954) FOR LOETZ FOOTED BOWL, CIRCA 1920

cased orange glass with applied trailing decoration

12.5cm diameter

£200‑300

293

JOSEF HOFFMANN (1870‑1956) FOR J. & J. KOHN, VIENNA OCCASIONAL TABLE, CIRCA 1910 stained beech, stamped J&J KOHN/ WIEN/ AUSTRIA

58cm across, 74cm high, 45cm deep £600‑800

294

CONTINENTAL BEDSIDE CABINET, CIRCA 1900 carved oak, with marble top 39cm wide, 80.5cm high, 45cm deep £250‑350

295

KARL MASSENETZ FOR J. & L. LOBMEYR, VIENNA PAIR OF WINE GLASSES, CIRCA 1914 with enamelled and gilt decoration (2)

23.7cm high

£1,500‑2,000

296

RENI SCHASCHL (1895‑1979) FOR WIENER WERKSTÄTTE

FIGURE OF A WOMAN, CIRCA 1925 glazed earthenware, impressed maker’s mark WW, MADE IN AUSTRIA, 870 and painted cypher to the base

46.5cm high

£1,500‑2,000

297

WIENER WERKSTÄTTE

FOOTED BOWL & COVER, CIRCA 1920 green and yellow painted glass, decorated with country scenes, painted maker’s mark WW, applied paper label 14cm high, 13cm diameter

£500‑800

298

KOLOMAN MOSER (1868‑1918) FOR WIENER WERKSTÄTTE BROOCH, CIRCA 1900

silver and enamel, stamped hallmarks

3.2cm across

£400‑600

299

HEINRICH LEVINGER, PFORZHEIM

JUGENDSTIL BROOCH, CIRCA 1900

white metal with plique‑a‑jour enamel and pearls, stamped HL/900/DEPOSE

4cm long

£250‑350

300

GERMAN

JUGENDSTIL TWIN PEDESTAL DESK, CIRCA 1890

oak, with wrought steel fittings, later tooled leather skiver

140cm wide, 75.5cm high, 85cm deep

£800‑1,200

ALEXANDRE CHARPENTIER (1856–1909) AND

TONY SELMERSHEIM (1871‑1971)

‘LA FUITE DE L’HEURE’: FINE ART NOUVEAU

TABLE CLOCK, 1898

padouk and gilt bronze, the twin train movement striking the hour and half hour, the surmount signed in the bronze ALEXANDRE CHARPENTIER, the panels to the sides and front signed with monogram

87cm high, the surmount 32.5cm high

Literature: Alexandre Charpentier (1856‑1909): Naturalisme et Art Nouveau, Exhibition catalogue, Musée d’Orsay, pp. 115‑116 illus.

Art et Décoration, 1899, pp. 101‑102 (illustrated).

Paris, Le Musée d’Orsay, 22nd January ‑ 13th April 2008, Brussels, Le Musée d’Ixelles 29th May ‑ 31st August 2008 Alexandre Charpentier (1856‑1909): Naturalisme et Art Nouveau, no. 79

“It is necessary to make art part of contemporary life. To make the ordinary objects that surround us into works of art”. Paul Greenhalgh (ed.), Art Nouveau 1890‑1914, V & A Publications, London, 2002, p. 20.

Alexandre Charpentier and Tony Selmersheim belonged to Les Cinq (which later changed its name to Les Six Les Huit as new members joined) who advertised their ambitions, in an 1898 Paris exhibition, as to integrate art into present‑day life and to make everyday items beautiful and meaningful. They, like Emile Gallé, believed in the transformative and redemptive power of the arts to change not just an individual but society more broadly, and even the national economy. Charpentier created the sculptural components of this clock. Originally conceived as a larger figural group it is here employed at half the size. Besides the change in scale, the other difference between the two figural groups is the inclusion of a scythe in this present piece.

Charpentier had begun his career working for a medal maker and this clock incorporates three panels representing the Fates. He was very much at the forefront of the revival of interest in medal‑making and low‑relief plaques of the period. This art form very much suited the Art Nouveau ethos and the fascination for whip‑lash lines.

While Charpentier created the sculptural elements, it was the architect and decorator Tony Selmersheim who designed the case of the clock. Regarded as one of the leading Art Nouveau furniture makers, he worked alongside Victor Horta, Maurice Dufrêne and Henry van de Velde on La Maison Moderne, before forming a highly successful partnership with Charles Plumet. As is the case here, his work was characterised by simple forms that emphasised the structure of the piece, and by flowing elongated stem‑like lines that reference nature.

Like so many Art Nouveau works, this clock explores recurring Symbolist themes. The sculptural group surmounting the clock can be seen to represent Time, Age and Love. A young man kisses his lover whilst holding her aloft. Concurrently the man grasps the scythe being wielded by the old man, trying to keep him and it at bay. He represents not only old age but with the scythe offers a reminder of human mortality. Life is a cycle, and the bas‑relief panels below depict the Fates from Greco‑Roman mythology. In the front panel, Clotho holds a distaff, the left panel depicts Lachesis operating the spindle and on the right Altropos cuts the thread. This imagery is in keeping with the representation of time in the figural group surmount with a beginning and an end determined by another force. Instead of using classical models, Charpentier chose contemporary figures, and in so doing draws a clear link between art and modern life. Art is relevant and should speak to the present. This functional clock has been transformed and elevated by Charpentier and Selmersheim into a meaningful work of art.

£30,000‑40,000

“It is necessary to make art part of contemporary life. To make the ordinary objects that surround us into works of art”.

Promotional quotation from “Les Six”

302

MAURICE DUFRÈNE (1876–1955)

DOUBLE INKWELL, CIRCA 1900

silvered bronze, with two glass liners, signed DUFRÈNE, underside of base stamped ARG

35cm wide, 15cm deep

£600‑800

303

DAUM FRÈRES, NANCY

TIGER LILY VASE, CIRCA 1900

mottled glass, overlaid and acid‑etched, cameo signature

DAUM NANCY, FRANCE with Cross of Lorraine

305

MYRSTEDT & STERN, STOCKHOLM

GROUP OF FOUR SIDE CHAIRS, CIRCA 1900

beech and ebonised beech, with original kelim close‑nailed upholstered seats, maker’s label under seat (4)

46cm wide, 91cm high, 43cm deep

£400‑600

GEORGES DE FEURE (1868‑1943)

ART NOUVEAU ARMCHAIR, CIRCA 1900

walnut, with later close‑nailed upholstery

67.5cm wide, 87cm high, 53cm deep

306

LOUIS COMFORT TIFFANY (1848‑1933)

‘FAVRILE’ VASE, CIRCA 1910

iridescent glass, etched L.C. TIFFANY FAVRILE H3736

10cm high

£200‑300

307

MULLER FRÈRES, LUNÉVILLE, FRANCE

‘POPPIES’ PLAFONNIER, CIRCA 1920

cameo glass, with an indistinct cameo signature, with chain supports 44.5cm diameter, 13.5cm high

Provenance: Phillip’s, Glasgow Decorative Arts, April 1993, Lot 15

£2,000‑3,000

309

LOUIS MAJORELLE (1859‑1926)

‘OLGA’ ART NOUVEAU SALON TABLE, CIRCA 1900

mahogany, with gilt bronze cast sabots, bears paper label 30154

66.5cm across, 75cm high

Literature: Duncan A. Louis Majorelle: Master of Art Nouveau

Design New York: Abrams, 1991, p.206, where a comparable salon table is illustrated.

£2,500‑3,000

308

GEORGES DE FEURE (1868‑ 1943)

ART NOUVEAU CHAMBERSTICK, CIRCA 1900

silvered bronze modelled as a lily 15cm high, 22cm wide £600‑800

311

LEON NOEL DELAGRANGE (1872‑1910)

LOIE FULLER (SCARF DANCER)

patinated bronze, signed in the bronze DELAGRANGE, with foundry stamp

36cm high

£3,000‑5,000

310

FRENCH

PAIR OF ART NOUVEAU

WALL PANELS, CIRCA 1900

Gouache (2)

148cm x 46cm

£500‑800

312

FRENCH

ART NOUVEAU DISPLAY

CABINET, CIRCA 1900

walnut with brass fittings and bevelled mirror plate, interior fitted with adjustable shelves

85cm wide, 184cm high, 45cm deep

£500‑800

313

ENGLISH, MANNER OF J.S. HENRY

PLANT STAND, CIRCA 1900

mahogany, inlaid with specimen woods and pewter

26cm diameter, 114.5cm high

£200‑300

314

LUDWIG MAROLD (1865‑1898)

FEMME AUX NENUPHARS

engraving, after a painting of 1897 106cm x 50cm

£500‑700

315

CONTINENTAL PAIR OF JUGENDSTIL CANDELABRA, CIRCA 1900 pewter, later finished in gold (2)

25.5cm high

£400‑600

316

MANNER OF OTTO WAGNER SECESSIONIST DRESSING TABLE, CIRCA 1900

stained mahogany, walnut, mirrored glass and marble

131cm wide, 174cm high, 43cm deep £300‑500

317

ROYAL DUX, BOHEMIA BEDOUIN FIGURE GROUP, EARLY 20TH CENTURY

painted porcelain, impressed 1731, painted 44, applied pink triangle with impressed factory mark 44cm high

£200‑300

318‡

THÉODORE DECK (1823‑1891)

FAÏENCE VASE, CIRCA 1880

glazed ceramic, signed to base TH. DECK 48.7cm high

Note: Born in Guebwiller, Haut‑Rhin, Théodore Deck moved to Vienna as a young man, training as a stove‑maker and producing work for Schönbrunn Palace. He returned to France in 1847 and, impressed by the majolica wares shown by the Minton factory at the Exposition Universelle of 1855, Deck was moved to produce his own. In 1856 he established his faïence workshop Joseph‑Théodore Deck Ceramique Française, initially producing ceramics in the Islamic and Turkish Iznik style. Throughout the 1880s Deck’s pottery began to reflect elements of japonisme, a popular element of the Aesthetic Movement in the late 19th century.

Working with notable artists such Raphaël Collin, Deck developed a number of his own glazes, the most familiar being bleu de Deck, used in this pair of baluster vases.

Deck’s obituary in the New York Times recognises that it was “at the Exhibitions of Decorative Arts, in Paris in 1880 and 1884, [that] he attained world‑wide celebrity with his vases, red, turquoise, Deck blue, and other colors (sic), limpid, profound, and dazzling.” A committed aesthete, “Deck died at Sèvres, in the little pavilion‑with rooms of gold, satin, and velvet, filled with vases painted in manganese violet and eel yellow colors (sic), lacquers, netsukes, and swords of Japan…. He was inseparable from his surroundings; he wore the air of their art and charm as if he had been born among them.”

£6,000‑8,000

CAMILLE GAUTHIER (1870‑1963) (ATTRIBUTED TO) ART NOUVEAU DINING SUITE, CIRCA 1900

tulipwood, bronze, comprising an EXTENDING DINING TABLE, with four later leaves, 127cm long (closed), 323cm long (open), 74cm high, 124cm deep; a SIDEBOARD CABINET, with marble top and cast bronze handles, 172cm wide, 165cm high, 49cm deep; and SEVEN DINING CHAIRS, each with later close‑nailed leather upholstery, 44cm wide, 91cm high, 37cm deep (9)

Note: Camille Gauthier began his career with Louis Majorelle in 1893, as a draftsman in the design office. At this point in his career, Majorelle was producing reproductions of Louis XV furniture. These he exhibited in 1894 at the Exposition d’Art Décoratif et Industriel in Nancy, but the influence of the glass and furniture‑maker Emile Galle (1846 ‑ 1904) inspired him to take his production in new directions.

As a draftsman for the firm Gauthier will have been absorbed in producing designs for marquetry, carved details and the sinuous lines of the Art Nouveau style. By 1900 he decided to set up his own company and in 1904 joined forces with industrialist and upholsterer Paul Poinsignon.

The firm was immediately successful, appealing to a wide market and producing high‑quality furnishings in their mechanized workshops. Their production adhered to the principles of the School of Nancy (L’École de Nancy). The School was part of a wider effort to dissolve the divide between the ‘major’ arts of painting and sculpture and the ‘minor’ decorative arts. Set up by Émile Gallé in 1901, it was principally supported by designers Louis Majorelle, Victor Prouvé, and the glassmakers August and Jean‑Antonin Daum. Camille Gauthier was on the steering committee. They aimed to enhance the artistic content of industrially produced articles through the intervention of the craftsman, building on the legacy of the writings of John Ruskin and William Morris in Britain. £10,000‑15,000

320

CHARLES REPELIN (1860‑1934)

ART NOUVEAU PORTRAIT OF A GIRL oil on canvas, signed and dated lower right CH. REPELIN 1897

79cm x 72cm £1,000‑1,500

321

LOUIS MAJORELLE (1859‑1926)

ART NOUVEAU CABINET, CIRCA 1900 walnut, with specimen wood marquetry inlay, pokerwork signature L. MAJORELLE/ NANCY 56.5cm wide, 150cm high, 46cm deep £4,000‑6,000

322

DAUM FRÈRES, NANCY

VASE, CIRCA 1900

painted cameo glass, decorated with flowering aquilegia, signed to the body DAUM/ NANCY with Cross of Lorraine

8.7cm high

Provenance: Sotheby’s, New York, Arcade Art Deco, 18th March 1994, Lot 44

£500‑700

323

DAUM FRÈRES, NANCY

VASE, CIRCA 1900

painted cameo glass, decorated with flowering lilies, signed to the body DAUM/ NANCY with Cross of Lorraine

8.7cm high

Provenance: Christie’s, South Kensington Decorative Arts 1850 to the Present Day, March 1993, Lot 67 £500‑700

324

EMILE GALLÉ (1846‑1904)

MINIATURE FIRE POLISHED

‘IRIS’ VASE, CIRCA 1900

cameo glass, acid‑etched and overlaid, cameo signature GALLÉ

10cm high

£600‑800

325

GALLÉ

‘CLEMATIS’ VASE, CIRCA 1910

cameo glass, cameo signature to body GALLÉ

17.5cm high

£300‑500

326

EMMANUEL VILLANIS (1858–1914)

L’AMOUR DE L’ART

bronze, inscribed L’AMOUR DE L’ART, signed E. VILLANIS 67cm high

£600‑800

327

GEORGES ENGRAND (1852‑1936)

ART NOUVEAU TAZZA, CIRCA 1910

patinated bronze, signed in the bronze ENGRAND

35.5cm high

£300‑500

328

WILHELM HAVERKAMP (1864‑1929) DER BOCKSPRUNG (LEAPFROG)

bronze, on marble plinth, signed and dated in the bronze W. HAVERKAMP, ROM 1891 52cm high, including plinth

£800‑1,200

329

FRITZ SCHMOLL VON EISENWORTH (1883‑1963) FOR BRUCKMANN & SÖHNE, HEILBRONN COFFEE POT, CIRCA 1913

silver and ebonised wood, stamped LEUS WERNER/ 800 28cm high

Note: An example of this coffee pot is also in the British Museum (1995,0716.1)

£800‑1,200

DAUM FRÈRES, NANCY

VASE, CIRCA 1930

cameo and overlaid glass, decorated with parrots, etched to foot DAUM NANCY

FRANCE

30cm high

£4,000‑6,000

330

R.

ART DECO MANTEL CLOCK, CIRCA 1925

silver plated bronze, unsigned

35cm high

£800‑1,200

TERRAS

331‡

334Y FRENCH

ART DECO TWIN PEDESTAL DESK, CIRCA 1935

mahogany, with ivory handles

179cm wide, 79cm high, 78cm deep

Note: Sold in compliance with UK Government and APHA regulations, with (non‑transferable) exemption registration reference YGZ72WDW.

£1,000‑1,500

332 §

LOUIS ICART (1888‑1950)

‘MON MODÈLE’ 1933

etching and drypoint, with hand‑colouring, signed and inscribed in pencil, with the artist’s blindstamp

53cm x 41cm

£600‑800

333

JULES LELEU (1883 –1961)

PAIR OF EASY CHAIRS, CIRCA 1930

Macassar ebony frames, later upholstered (2)

84cm wide, 78cm high, 82cm deep

£2,000‑3,000

335‡

DAUM FRÈRES, NANCY

TABLE LAMP, CIRCA 1930

acid‑etched glass, wrought steel mounts, wheel‑etched to base and shade DAUM NANCY FRANCE

48cm high

Literature: Lesieutre, A. The Spirit and Splendour of Art Deco, New York, 1974, n.p., cat. no. 220

Daum, N. Daum: Maitres Verriers, Lausanne, 1985, p. 150 (for a related example)

Bacri, C. Daum: Masters of French Decorative Design, New York, 1992, pp. 206 209 (for related examples)

Esveld, T. Daum Art Deco Glass: A Private Collection, Brasschaat, Belgium, 2015, p. 238

£5,000‑7,000

336‡

ORFÈVRERIE GALLIA

BOXED SET OF TWELVE ANIMAL AND BIRD KNIFE RESTS, CIRCA 1930

cast metal, stamped GALLIA, box with printed mark

337

MANNER OF SUE ET MARE

ART DECO STOOL, CIRCA 1925

gilded wood, with later silk upholstery and matching squab cushion

63cm diameter, 45cm high

£400‑600

338

MANNER OF EDGAR BRANDT ART DECO CONSOLE

TABLE, CIRCA 1930

marble, wrought steel

137cm wide, 82cm high, 36cm deep

£1,000‑1,500

339

ALFRED DAGUET (1875‑1942)

FISH ROUNDEL PLAQUE, CIRCA 1900

repoussé decorated copper, with applied patination, monogram mark AD

50cm diameter

Note: Alfred Daguet’s atelier was situated above Siegfried Bing’s famous showroom, Maison de l’Art Nouveau, that displayed his works as well as those by Louis Comfort Tiffany, and numerous other Art Nouveau artists such as Clément Massier, Eugène Gaillard and Georges de Feure. Bing was a major proponent of the Art Nouveau movement and his pavilion at the Exposition Universelle of 1900 in Paris signified to the world the importance of this new style. £4,000‑6,000

340‡ DEMETRE CHIPARUS (1886‑1947)

ACCIDENT DE CHASSE

gilt and cold‑painted bronze, variegated marble base, signed in cast D. H. Chiparus, applied plaque ACCIDENT de CHASSE Par D.H. Chiparus (Récompensé au Salon) 25cm high, 42cm long, 19cm deep £3,000‑5,000

342

FRENCH, MANNER OF EDGAR BRANDT

ART DECO STRUT MIRROR, CIRCA 1930

wrought steel, bevelled mirrored glass

44.5cm x 74cm

£500‑800

343

FRENCH, MANNER OF EDGAR BRANDT

ART DECO TABLE LAMP, CIRCA 1930

wrought steel, with moulded frosted glass shade, indistinctly signed to base

50cm high

£1,500‑2,000

341

FRENCH, MANNER OF EDGAR BRANDT

ART DECO WALL MIRROR, CIRCA 1930

wrought steel, with bevelled mirror plate

45.5cm x 112cm

£400‑600

344

PIERRE‑ADRIEN DALPAYRAT (1844‑ 1910)

INKWELL, CIRCA 1890

high‑fired glazed stoneware, with pewter lid, signed DALPAYRAT to base

10.5cm wide, 8.5cm high, 10.5cm deep

£500‑800

345‡

CAMILLE FAURÉ (1872‑1944) FOR LIMOGES

THREE VESSELS, CIRCA 1930

enamelled metal, comprising a large shallow bowl, miniature vase and small bowl, the former two signed C. FAURE LIMOGES, latter signed C. FAURE LIMOGES FRANCE (3)

27.5cm diameter, 7cm high, and 15.2cm diameter respectively

£600‑800

346Y

MANNER OF JULES LELEU

ART DECO CABINET, CIRCA 1935

stained mahogany, sycamore with line inlay, with ivory escutcheons, interior fitted with adjustable shelves 160cm wide, 150cm high, 43cm deep

Note: Sold in compliance with UK Government and APHA regulations, with (non‑transferable) exemption registration reference BX4JNTB1.

£500‑800

347

KARL HAGENAUER (1898–1956)

WALL MASK, 1940S

carved wood, bronze, horsehair, stamped verso HAGENAUER WIEN/ MADE IN AUSTRIA

28cm tall

£400‑600

348

JOSEF LORENZL (1892‑1950) FOR GOLDSCHEIDER, AUSTRIA

ART DECO FIGURE, CIRCA 1935

glazed earthenware, printed factory marks, painted artist signature, impressed 7904 27.5cm high

£800‑1,200

349

SANDRO VACCHETTI (1889‑1976) FOR ESSEVI, TURIN

ART DECO FIGURE, CIRCA 1930

glazed ceramic, painted ESSEVI/ N53/ N282, incised LZA (indistinct)

26cm high, 32cm wide

£800‑1,200

350

HELEN CREETH (1859‑1941)

AUSTRALIAN ARTS & CRAFTS BROOCH, CIRCA 1910 sterling silver, porcelain, inscribed to reverse LESCHENAULTIA, W.A., CREETH, the silver rim mount stamped STG. SILVER 5cm diameter

£200‑300

351 §

ASTRID BEGAS (1905‑1997)

DANCER, CIRCA 1950

gilded metal, on a marble base, signed to base of figure A. BEGAS

figure 17cm high; total height 23.5cm £300‑500

352

JOSEF LORENZL (1892‑1950) (ATTRIBUTED TO)

ART DECO DOUBLE LADY TABLE LAMP, CIRCA 1925 patinated metal, raised on an alabaster plinth and with opaque glass shade

51cm high

£600‑800

353Y

ANTOINE BOURAINE (1886‑1948)

THE SEALION

bronze, ivory, raised on onyx plinth, cast La Stele foundry mark

31cm high

Note: Sold in compliance with UK Government and APHA regulations, with (non‑transferable) exemption registration reference MY7SNAWY.

£600‑800

354

ROYAL DUX

ART DECO FIGURE, CIRCA 1930 painted and glazed earthenware, applied manufacturer’s label, stamped 3103

34cm high

£1,500‑2,000

CLAIRE HERCZEG (1906‑1997) FOR GOLDSCHEIDER, AUSTRIA ART DECO FIGURINE, CIRCA 1935

glazed earthenware, traces of applied maker’s label, printed factory marks and artist signature, impressed 8204/ 177/ 10

31cm high

£500‑700

356

THEO A. VOS (1887‑1948)

FOR HUTSCHENREUTHER A.G. DANCER, CIRCA 1925

glazed porcelain, with gilded highlights, printed factory and maker’s marks, gilded number 56 28cm high

£600‑800

357

CONTINENTAL, MANNER OF KOLOMAN MOSER PAIR OF ART NOUVEAU CABINET DOORS, CIRCA 1910

stained and leaded glass, within pitch pine frames (2) Including frame 137cm x 83.5cm £300‑500

358

GUSTAV HAUBER BRACELET, CIRCA 1900

white metal, set with turquoise cabochons, stamped maker’s mark/ 800 approx. 18cm long

£250‑350

359 §

ASHLEY HAVINDEN (1903–1973)

ART DECO CARPET, CIRCA 1930

hand‑knotted wool, bears applied label verso

245cm x 152cm

Note: Ashley Havinden was a painter, typographer, graphic and textile designer. In 1922, when he joined W.S. Crawford – one of London’s largest advertising agencies – he had not received any formal art training. He subsequently took evening classes in design and drawing at Central School of Arts & Crafts (1922‑23) and received private drawing lessons from Henry Moore in 1933. The London Gallery held Havinden’s first solo exhibition in 1937. Two years later he was one of the nine British artists to feature in an exhibition of abstract paintings held at the Lefevre Gallery. He remained with W.S. Crawford for forty‑five years becoming art director in 1929 and vice‑chairman in 1960. During this time, Havinden was given full freedom to develop his distinctive style, working on campaigns for Martini, Liberty’s and Chrysler, amongst others. Meanwhile, he produced rug and textile designs for Duncan Miller Ltd and Edinburgh Weavers. For the V&A’s 1946 exhibition Britain Can Make It, he designed the Men’s Wear displays, as well as the exhibition catalogue cover. Havinden received an OBE for his services to British Design in 1951.

£2,000‑3,000

360 §

CHARLES D’ORVILLE PILKINGTON JACKSON (1887‑1973)

‘DAWN’, 1925

bronze, signed and dated in the bronze PILKINGTON JACKSON/ 1925, raised on a stepped slate plinth 63cm high, 76cm high including plinth Provenance: Stanley Cursiter and by descent

Note: The sculptor Charles Pilkington Jackson set up his first studio in 1912 with the founder William McDonald. Commissions included collaborations with Sir Frank Mears and Sir Robert Lorimer. After the First World War, he set up on his own at 12, Church Lane, Edinburgh (now Gloucester Lane).

During the 1920s Pilkington Jackson principally worked on memorials, among these the Elsie Inglis Memorial with Sir Frank Mears in 1922 and the Alloa War Memorial with Sir Robert Lorimer in 1925. He also produced some portraiture and allegorical work during this period including the current lot. ‘Dawn’ was cast by McDonald and Creswick between July 24th and March 1925, and the orb of the sun was cast separately. The marble base was supplied by Galbraith and Winton. Never on the open market before now this is the only example of this figure known to have been cast. The figure was given by Pilkington Jackson to the Orcadian artist Stanley Cursiter, in exchange for two oil paintings which the artist produced of Pilkington Jackson’s studio at 12, Church Lane.

The work of Carl Milles was an important influence on Pilkington Jackson, who visited the Swedish sculptor in 1929. After the Second World War, he continued to work, his career culminating in the monumental sculpture The Bruce at Bannockburn, cast in 1964.

£6,000‑8,000

361

SYBIL DUNLOP (ATTRIBUTED DESIGNER)

BAR BROOCH

white metal, set with chrysoprase and pink quartz cabochons, 7.5cm long; together with a PAIR OF EARRINGS, white metal set with chrysoprase and pink quartz cabochons, stamped SILVER, 2.5cm diameter; and a further PAIR OF EARRINGS, white metal, set with coloured stones, 1.1cm diameter (5)

£250‑350

362

KATE EADIE (ATTRIBUTED DESIGNER)

ARTS & CRAFTS BAR BROOCH, CIRCA 1900

white metal, set with oval and cushion‑cut amethysts

7.2cm long

£300‑500

363

BERNARD INSTONE (1891‑1987) (ATTRIBUTED TO)

THREE PIECES OF JEWELLERY, CIRCA 1920

comprising a RING, silver set with an amethyst stone, size N/O; a FURTHER RING, white metal, set with an amethyst stone, size L; and a CLIP BROOCH, white metal, set with synthetic rubies and sapphires, 4cm long (3)

£250‑350

364

DORRIE NOSSITER (1893‑1977)

NECKLACE, CIRCA 1930

white metal, the clasp set with citrines, to a strand of rose quartz and hardstone beads

47cm long

£400‑600

365

CHARLES VYSE (1882‑1971)

‘THE SLEEPER AWAKES’, CIRCA 1931 painted and glazed pottery, incised C. VYSE/ CHELSEA

30.5cm high

£700‑1,000

366

CHARLES VYSE (1882‑1971)

‘THE MACAW’, A CHELSEA POTTERY FIGURE, INTRODUCED IN 1923 painted pottery, painted maker’s marks under base CV/ CHELSEA/ ENGLAND/ 1924

33cm high

£800‑1,200

367

CHARLES VYSE (1882‑1971)

FIGURE OF A PANTHER, CIRCA 1930

glazed stoneware, incised CHARLES VYSE/ CHELSEA

24.5cm high

£250‑350

371

STELLA

368

STELLA R. CROFTS (1898‑1964)

FIGURE OF A CLOUDED LEOPARD, CIRCA 1925 glazed terracotta, incised STELLA R. CROFTS, painted DEERSBANK/ NORSEY WOOD/ BILLERICAY/ LOCAL CLAY

10cm high

£250‑350

369

STELLA R. CROFTS (1898‑1964)

‘AMERICAN BISON’, DATED 1925 unglazed stoneware, incised S.W./ S.G./ STELLA R. CROFTS/ 1925/ AMERICAN BISON

14cm high

£250‑350

17cm high

£250‑350

370 §

CLARISSE LEVY‑KINSBOURG (1896‑1959)

BUST OF A GIRL

terracotta, signed CLARISSE LEVY/ KAZAL FRANCE

34.5cm high

£300‑500

R. CROFTS (1898‑1964)

FIGURE OF A FOX, CIRCA 1925 glazed stoneware, incised STELLA R. CROFTS

373

ENGLISH ART DECO TIERED OCCASIONAL TABLE, CIRCA 1930

walnut and ebonised wood

60cm across, 70cm high

£300‑500

374

ENGLISH ART DECO TIERED TABLE, CIRCA 1930

burr walnut veneer and brass

86cm wide, 80cm high, 40cm deep

£400‑600

372 §

SIR

WILLIAM REID DICK (1878‑1961)

‘CONTROLLED ENERGY’; PAIR OF FIGURES, CIRCA 1930 bronze, mounted on green marble plinths as book ends (2) 11cm high, 9cm wide, 12.7cm deep excluding base, 12.5cm high, 10.5cm wide, 16.5cm deep including base

Note: The Art Deco headquarters for the Unilever Group, Unilever House was built in 1930‑31 to a design by J. Lomax‑Simpson with Burnet, Tait and Lorne. The building is noted for its monumental facade, mounted with a large pair of statues by Sir William Reid Dick entitled ‘Controlled Energy’. Other artists involved in the project included Eric Gill and Gilbert Ledward. These rare figures by Reid Dick are reductions of the figures on the facade. At the inauguration of Unilever House on 18 July 1932, a pair of small models of these groups in bronze, designed to form book ends were presented to the Lord Mayor and Lord Leverhulme. Another pair, the only other known apart from the current lot, is now in a London private collection.

£1,000‑1,500

375 HEAL & SON, LONDON WRITING DESK, CIRCA 1931

mahogany, with brass fittings, with original pencil design

108.5cm wide, 101cm high, 62.5cm deep

Note: The original pencil design for this desk, with instructions on how to open the secret drawers and dated 1931 is stuck to the inside of the central drawer. In addition, early Heal’s label included with this lot, registration number R. 4759 £2,000‑3,000

376

ENGLISH

TWO BOOKS OF FASHION SKETCHES, 1927

watercolour, pencil and mixed media, the first with 30 sheets, each with single designs, 14 sheets have works verso (44 works in total, with 2 inserts), one inscribed in pencil Mrs P Carter Act II, another inscribed Mrs Whitty Act 1., contained in a date embossed canvas bound Windsor and Newton series 26 sketchbook, with a printed stamp to the cover Spring 1927; the second with 27 sheets, each with single designs, 7 sheets with works verso (34 drawings, with 3 inserts), within canvas bound Windsor and Newton series 26 sketchbook, with a printed stamp to the cover Autumn 1927, 29.3 x 22.9 cm (2)

Provenance: Cecil Beaton

£400‑600

377

CLARICE CLIFF (1899‑1972)

‘MELON’ (‘PICASSO FRUIT’) PATTERN PLATE, CIRCA 1930 glazed earthenware, printed ‘BIZARRE’ and factory marks 34cm diameter

£200‑300

378

HARRY & LOU EPSTEIN, LONDON

ART DECO ‘CLOUD’ ARMCHAIR, CIRCA 1935

later white leather upholstery, with burr walnut inlay

74cm wide, 82cm high, 68cm deep

£400‑600

379

ENGLISH

ART DECO WALL CLOCK, CIRCA 1935

chrome‑plated and patinated metal, glass

25.5cm x 29cm

£200‑300

380

ALFRED POWELL (1865‑1960) FOR WEDGWOOD

VASE, CIRCA 1925

lustre‑glazed earthenware, painted with views of Tetbury, Gloucestershire, painted lustre monogram/ 3497, impressed WEDGWOOD/ MADE IN ENGLAND

20.5cm high

£300‑500

381

HEAL & SON, LONDON

ARTS & CRAFTS ‘465’ TABLE, CIRCA 1900

oak

121.5cm wide, 118cm extended, 74.5cm high

Literature: Heal, Oliver S. Sir Ambrose Heal and the Heal Cabinet Factory 1897‑1939, Unicorn, 2014, p. 167 where a line drawing for a similar example is illustrated.

£400‑600

382

GORDON RUSSELL (1892‑1980)

DRESSING TABLE, CIRCA 1930

oak, with mirror plate 143cm wide, 135.5cm high, 48cm deep

£1,200‑1,800

383

ALFRED POWELL (BRITISH 1865‑1960) FOR WEDGWOOD FOOTED BOWL & COVER, CIRCA 1920

painted and glazed earthenware, impressed WEDGWOOD

30cm high

£500‑800

384

ROBERT WEIR SCHULTZ INTEREST

DROP LEAF ARCHITECTS TABLE, CIRCA 1920

walnut

closed 85cm wide, 74cm high, 106cm deep, open 151cm wide

Note: By repute, this table came from the offices of the Arts and Crafts architect, artist, landscape designer and furniture designer Robert Weir Schultz (1860–1951)

£500‑800

385

COTSWOLDS SCHOOL

ARTS & CRAFTS DROP‑LEAF TABLE, CIRCA 1910

maple

Open 106.5cm across, 68.5cm high, 76cm deep; closed 43cm across £400‑600

386

ENGLISH

ARTS & CRAFTS TOILET MIRROR, CIRCA 1900

oak, with mirrored glass plate

70cm wide, 54.5cm high, 25cm deep

£200‑300

CHARLES

VYSE (1882‑1971)

TWO VASES, 1930S

glazed stoneware, each incised

C. VYSE/ CHELSEA (2)

11.5cm and 8cm high

£250‑350

PILKINGTON’S TILE & POTTERY CO.

TWO VASES, CIRCA 1910

glazed earthenware, impressed factory mark (2)

26cm high and 23cm high

£250‑350

ENGLISH, MANNER OF HEAL & SON, LONDON PAIR OF SMALL BOOKCASES, CIRCA 1930

limed oak, with glazed doors (2) 46cm wide, 103.5cm high, 20cm deep

£400‑600

388

389

387

390

CHARLES NOKE (1858‑1941) AND HARRY NIXON (1886‑1955) FOR ROYAL DOULTON

‘CHANG’ MINIATURE VASE, CIRCA 1930

flambé‑glazed earthenware, painted NOKE/ HN/ CHANG/ ROYAL DOULTON

9cm high

£250‑350

391

CHARLES NOKE (1858‑1941) FOR ROYAL DOULTON

‘SUNG’ VASE, CIRCA 1925

flambé‑glazed earthenware, painted SUNG, with printed factory mark

14.5cm high

£250‑350

392

BERNARD MOORE (1850‑1935)

HIGH‑FIRED VASE, CIRCA 1910

glazed earthenware, painted BERNARD

MOORE/ E6, impressed 1170

15cm high

£250‑350

393

HEAL & SON, LONDON

ARTS & CRAFTS OCCASIONAL TABLE, CIRCA 1920

oak, applied makers label and branded serial number

63cm diameter, 51cm high

£300‑500

394 Y

RUSKIN POTTERY

POT POURRI BOWL AND COVER, CIRCA 1910

lustre‑glazed earthenware, ivory

18.3cm diameter, 18cm high

Note: Sold in compliance with UK Government and APHA regulations, with (non transferable) exemption registration reference GW6KTZUX.

£200‑300

NEVILLE NEAL (1925‑2000), AFTER ERNEST GIMSON

ROCKING CHAIR, CIRCA 1920

oak, with rush seat

53.5cm wide, 109cm high, 67cm deep £600‑800

PAIR OF COTSWOLD SCHOOL BOOKCASE

CABINETS, CIRCA 1920

oak, with macassar ebony handles (2)

40.5cm wide, 156cm high,

397

HEAL & SON, LONDON

BEDROOM SUITE, CIRCA 1930

oak, comprising a WARDROBE, oak, 91cm wide, 183cm high, 51cm deep; a DRESSING TABLE, oak with mirrored plate, 92cm wide, 142cm high, 47cm deep; a ‘952’ SIDE CHAIR, with rush seat, 40cm wide, 91cm high, 42.5cm deep; an OCCASIONAL TABLE, 41cm square, 69cm high; a STOOL, 52cm wide, 61cm high, 28cm deep; and TWO SINGLE BEDS, headboards (including modern divan mattresses and bases) 91cm wide, 105cm high; footboards 91cm wide, 67cm high (7)

Literature: Heal, Oliver S. ‘Sir Ambrose Heal and the Heal Cabinet Factory 1897‑1939’, Unicorn, 2014, p.247 where a line drawing for the ‘952’ chair is illustrated.

£1,200‑1,800

398

JOHN MONCRIEFF LTD., PERTH ‘MONART’ VASE, CIRCA 1930 glass, with aventurine inclusions

21.5cm high

£300‑500

399

JOHN MONCRIEFF LTD., PERTH ‘MONART’ VASE, CIRCA 1930 glass, with aventurine inclusions, 20cm high; together with a SHALLOW DISH, 31cm diameter (2)

£300‑500

400

JOHN MONCRIEFF LTD., PERTH TWO ‘MONART’ VASES, CIRCA 1930 glass, with polychrome inclusions, one with traces of original paper label V1 A.187, each 19cm high; together with a SHALLOW DISH, 32.5cm diameter (3)

£300‑500

401

SIR ROBERT LORIMER (1864‑1929) (ATTRIBUTED DESIGNER) FOR SCOTT MORTON & CO., EDINBURGH

ARTS & CRAFTS THRONE CHAIR, CIRCA 1910 oak, carved with a design of the burning bush, bears a maker’s label under the seat rail SCOTT MORTON AND TYNECASTLE CO. LTD, MURIESTON ROAD EDINBURGH

65cm wide, 118cm high, 47.5cm deep

£500‑700

402

ALEXANDER RITCHIE (1856‑1941)

IONA HEART‑SHAPED BOX & COVER, CHESTER 1908

silver, stamped maker’s marks and hallmarked 1908

5.6cm across

£400‑600

403 §

HANNAH FRANK (1908‑2008)

FOUR LITHOGRAPHIC PRINTS comprising ‘NIGHT FORMS’, 1932, signed in pen lower right, 40.2cm x 29.3cm; ‘FLIGHT’, 1939, signed in pencil lower right, 44cm x 30.5cm; ‘WOMAN WITH BIRDS’, 1947, signed in pencil lower right, 44.5cm x 34.2cm; and ‘MOON BALLET’, 1934, signed in pencil lower right, 43cm x 29.3cm, all unframed (4)

£500‑700

404 §

BENNO SCHOTZ (1891‑1984)

STUDY OF CHRISTOPHER WITH APPLE bronze, signed in the bronze BENNO SCHOTZ, on wood plinth

55cm high, with plinth 58cm high

£600‑800

405

GEORGE BAIN (1881‑1968) FOR QUAYLE & TRANTER LTD., KIDDERMINSTER

CELTIC ‘HUNTING’ WOOL RUG, CIRCA 1948 machine‑woven wool

193cm x 120cm

£700‑1,000

406 PETER WAALS (1870‑1937) (ATTRIBUTED MAKER)

KNEEHOLE DESK, CIRCA 1920

walnut

122cm wide, 124.5cm high, 56cm deep £4,000‑6,000

407

EDWARD BARNSLEY (1900‑1987)

CHEST OF DRAWERS, CIRCA 1976

yew, with ebony inlay

91.5cm wide, 80cm high, 47.5cm deep

Provenance: John Hemingway, 1 Ash Hill Garden, Leeds

Note: The cabinetmaker for this chest of drawers was assistant Oskar Dawson, under foreman Herbert Upton. £4,000‑6,000

408

EDWARD BARNSLEY (1900‑1987)

SIDEBOARD, CIRCA 1958

Australian black bean, with burr oak back and sycamore line inlay

198cm wide, 95cm high, 52cm deep £3,000‑5,000

409

EDWARD

PAIR OF BOW‑FRONT CABINETS, CIRCA 1956

African mahogany (2)

96cm wide, 88.5cm high, 53.5cm deep £3,000‑5,000

BARNSLEY (1900‑1987)

410 PETER WAALS (1870‑ 1937) BOOKCASE, CIRCA 1935 oak

162.5cm wide, 178cm high, 30cm deep £4,000‑6,000

411

ROBERT ‘MOUSEMAN’ THOMPSON (1876‑1955)

CORNER CUPBOARD, CIRCA 1930

oak with carved mouse signature, patinated steel fittings

108cm wide, 148cm high, 68cm deep

Provenance: Collection of Robert Lawrie.

Note: Robert Lawrie (1903–1982) commissioned Robert Thompson to make several pieces for his home in the 1930’s and early 1940’s. He was a British alpine and polar equipment specialist and racing driver born in Burnley. He trained as a shoe and boot maker at his father’s firm which he later ran.

By the late 1920s he had become an accomplished climber and alpinist, and he started to design, manufacture and supply mountaineering boots to his own design. His boots proved popular and he was commissioned to supply boots for the 1933 Everest expedition led by Hugh Ruttledge. He provided boots, climbing and mountaineering equipment to many expeditions including John Hunt’s successful 1953 Everest campaign.

£4,000‑6,000

413

ROBERT ‘MOUSEMAN’ THOMPSON (1876‑1955)

STOOL, LATE 1920S‑EARLY 1930S

oak, with dense burr oak seat, turned on a lathe, with carved mouse signature

43cm wide, 35cm high, 28cm deep

£2,000‑3,000

412

ROBERT ‘MOUSEMAN’ THOMPSON (1876‑1955)

MANTEL CLOCK, CIRCA 1930

oak, with carved mouse signature, fitted with an 8‑day movement

23.5cm wide 17.5cm high

£2,000‑3,000

415

ROBERT ‘MOUSEMAN’ THOMPSON (1876‑1955)

WALL CLOCK, CIRCA 1990

oak, with carved mouse signature, fitted with a later movement 19cm across

£300‑400

416

ROBERT ‘MOUSEMAN’ THOMPSON (1876‑1955)

LARGE BOWL, CIRCA 1960S‑70S adzed oak, with carved mouse signature to the exterior 27.5cm diameter

£400‑600

417

ROBERT ‘MOUSEMAN’ THOMPSON (1876‑1955)

PAIR OF SPINNING STOOLS, CIRCA 1980

oak, each with carved mouse signature (2) 31cm wide, 84cm high, 27cm deep

£300‑500

414

ROBERT ‘MOUSEMAN’ THOMPSON (1876‑1955)

BOOK TROUGH, CIRCA 1940S‑50S adzed oak, with carved mouse signature 46.5cm wide, 20cm high, 20.2cm deep

£300‑500

SET OF EIGHT DINING CHAIRS, CIRCA 1970

oak, with close nailed leather seats, each with carved mouse signature (8)

44.5cm wide, 84.5cm high, 41cm deep £1,500‑2,000

CIRCULAR DINING TABLE, CIRCA 1970 adzed oak, with carved mouse signature 137cm diameter, 74cm high £1,500‑2,000

418

ROBERT ‘MOUSEMAN’ THOMPSON (1876‑1955)

419 ROBERT ‘MOUSEMAN’ THOMPSON (1876‑1955)

ROBERT ‘MOUSEMAN’ THOMPSON (1876‑1955) CORNER CUPBOARD, CIRCA 1930 oak and burr oak, with carved mouse signature and ‘G’ 75cm wide, 193cm high, 42cm deep approx

421 STAN ‘WOODPECKER’ DODDS (1928‑2012)

CARVED ELEPHANT FIGURE, CIRCA 1980

oak, with carved woodpecker signature 16cm wide, 17cm high

Provenance: From the estate of Stan Dodds £2,000‑3,000

422 STAN DODDS (1928‑2012) (ATTRIBUTED MAKER) FOR ROBERT ‘MOUSEMAN’ THOMPSON (1876‑1955)

CARVED OWL, CIRCA 1960S‑70S

oak, with carved mouse signature 33cm high £3,000‑5,000

423 STAN ‘WOODPECKER’ DODDS (1928‑2012)

CARVED BOAR AND SOW, CIRCA 1970

oak, each with carved woodpecker signature to each base

boar 16cm wide; sow 17.3cm wide

Provenance: From the estate of Stan Dodds £2,500‑3,500

425

ROBERT ‘MOUSEMAN’ THOMPSON (1876‑1955)

TWO ASHTRAYS, CIRCA 1950S‑1960S

oak, each with carved mouse signature, 10cm across; together with TWO NAPKIN RINGS, 1980s‑1990s, oak with carved mouse signature to each, 5cm high (4) £300‑400

424

ROBERT ‘MOUSEMAN’ THOMPSON (1876‑1955)

CHEESEBOARD, CIRCA 1960S‑1970S

oak, with carved mouse signature

37cm across including handle £300‑400

426

ROBERT ‘MOUSEMAN’ THOMPSON (1876‑1955)

LARGE KIDNEY‑SHAPED TRAY, CIRCA 1970

oak, with carved mouse signature to each end 46cm across £300‑500

427

ROBERT ‘MOUSEMAN’ THOMPSON (1876‑1955)

SMALL DISH, CIRCA 1980S

oak, with carved mouse signature to the centre 17cm diameter £250‑350

428

ROBERT ‘MOUSEMAN’ THOMPSON (1876‑1955)

BOOK TROUGH, CIRCA 1990S

oak, with carved mouse signature

46.5cm wide, 20.5cm high, 20.5cm deep £250‑350

429

ROBERT ‘MOUSEMAN’ THOMPSON (1876‑1955)

CHEESEBOARD, CIRCA 1950

oak, with carved mouse signature

37.5cm long

£200‑300

430

THOMAS ‘GNOMEMAN’ WHITTAKER (1912‑1991)

CARVED FLOWER, CIRCA 1960 burr oak, with carved gnome signature 22cm diameter £250‑350

OPEN BOOKCASE, CONTEMPORARY oak and burr oak with adjustable shelves and carved mouse signature 142cm wide,

86cm high, 35cm deep £2,000‑3,000

433

NEIL MORRIS FOR H. MORRIS & CO. LTD., GLASGOW

‘CLOUD TABLE’, CIRCA 1947

mahogany plywood, Betula wood, applied makers plaque and retailer’s paper label 103cm wide, 48cm high £800‑1,200

432

J. L. LEGORRETA, MEXICO, AFTER HANS J. WEGNER

PAIR OF FOLDING CHAIRS, CIRCA 1960S

walnut, with woven rush upholstery, each with retailer’s metal tag impressed J.L. LEGORRETA, MEXICO CITY, MEUBLES TROPICALES (2)

59cm wide, 75cm high, 70cm deep

£300‑500

434

ALVAR AALTO (1898‑1976) FOR ARTEK

36/401 ARMCHAIR, DESIGNED 1933 birch ply with upholstered sprung seat and back 63cm wide, 91.5cm high, 68cm deep £500‑700

435

ARNO MALINOWSKI (1899‑1976) FOR GEORG JENSEN

THREE BROOCHES, 1933‑1944

model no. 256, 4.2cm wide; model no. 239, 4cm wide; together with model no. 311, 4.8cm wide; and model 318, 4cm square, each with stamped maker’s marks (3)

£400‑600

436

ARNO MALINOWSKI (1899‑1976) FOR GEORG JENSEN

PENDANT NECKLACE, 1933‑1944

model no.95, with link chain, 4.2cm wide; together with another PENDANT NECKLACE BY ARNO MALINOWSKI FOR GEORG JENSEN, model no. 97, with a link chain, 4cm wide; and a BROOCH BY ARNO MALINOWSKI FOR GEORG JENSEN, model no. 311, 4.8cm wide, each with stamped maker’s marks (3)

£400‑600

437

GEORG JENSEN (1866‑1935)

NECKLACE, 1933‑1944

model no.15, sterling silver, set with amethyst cabochons, stamped GEORG JENSEN/ STERLING/ DENMARK/ 15 50cm long including chain

£600‑800

440

GEORG JENSEN (1866‑1935)

BROOCH, CIRCA 1920

model 82, sterling silver, 2.8cm diameter; together with a PAIR OF BUTTONS, model 28, 1.9cm diameter; PAIR OF EARRINGS, model 47, set with green chrysoprase cabochons, 1.1cm diameter; and THREE BUTTONS, model 103, 2cm diameter, each stamped with maker’s marks (8)

£250‑350

438

GEORG JENSEN (1866‑1935)

NECKLACE, POST‑1945

model no.1, first designed 1904, sterling silver, set with blue hardstone cabochons, stamped GEORG JENSEN/ STERLING/ DENMARK/ 1

36cm long

£800‑1,200

439

HENRY HEERUP (1907‑1993) FOR GEORG JENSEN

‘MOTHER & CHILD’ PENDANT NECKLACE

model 150, silver and enamel, stamped maker’s marks, 5.8cm x 6cm; together with a GEORG JENSEN TIMEPIECE, silver and enamel, amber dial marked GEORG JENSEN/ SWISS, 3.7cm tall (2)

£200‑300

441

HENNING KOPPEL (DANISH 1918‑1981) FOR GEORG JENSEN BROOCH, DESIGNED 1954

model 315, silver and green enamel, 4.3cm wide; together with an AMORPHIC BROOCH BY HENNING KOPPEL FOR GEORG JENSEN, DESIGNED 1956, model 323, sterling silver and black enamel, 7cm across, each with stamped maker’s marks (2)

£300‑500

443

AFRA SCARPA (1937‑2011) AND TOBIA SCARPA (B. 1935) FOR MAXALTO ‘ARTONA’ MODEL CENTRE TABLE, CIRCA 1975

walnut, burr walnut parquetry inlay, ebony inlay to the rim and base, base with brass trim

139.5cm wide, 69.5cm high, 139.5cm deep

Literature: Gramigna G. Repertorio del Design Italiano 1950‑2000 per L’Arredamento Domestico, Umberto Allemandi 2021, p. 232 £2,000‑3,000

442

CARLO SCARPA (1906‑1978) FOR VENINI ‘POLIEDRI’ CHANDELIER, CIRCA 1955 glass, painted metal light, 56cm high, 45cm diameter, total height 118cm £1,000‑1,500

444

MARIO BELLINI (B. 1935) 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 £600‑800

445

PAUL KINGMA (1931‑2013)

TABLE, CIRCA 1990

slate, inlaid with brass and copper, facsimile signature to top 114.5cm long, 48cm high, 71cm deep £300‑500

446

CARLO SCARPA (ITALIAN 1906‑1978) FOR VENINI PAIR OF ‘POLIEDRI’ CEILING LIGHTS, CIRCA 1955 glass, painted metal (2) light 33cm high, 19.5cm diameter, total height 65cm £800‑1,200

447 §

BERNARD HESLING (1905‑1987)

ABSTRACT ROUNDEL

enamel on steel, painted HESLING, mounted in gilt frame 42cm square in frame

£600‑800

448

METAFORM, ITALY CENTRE TABLE, MODERN

Carrara Gioia marble, on patinated steel base 140cm diameter, 73cm high £500‑800

449

EDINBURGH WEAVERS

WOVEN FABRIC PANEL, CIRCA 1960

printed linen, marked to selvedge with manufacturer’s mark

310cm x 124cm

£200‑300

451 §

ALICE MACFARLANE STUDIO‑POTTERY VASE, CIRCA 1990S

glazed stoneware, apparently unmarked

67.5cm high

Note: Two large pottery vases by Alice Macfarlane of Stirling, from the collection of Sir Nicholas Goodison ‑ British Art: Innovation and Craftsmanship, were sold at Christie’s 25th May 2022, lot 44

£300‑500

450 §

JOHN PIPER (1903‑1992) FOR WEDGWOOD

‘THE GREEN MAN’ PLATE, 1989‑1990

black basalt, with printed decoration, printed marks verso, within the original box, with documentation

31cm diameter

Note: One of a series of six plates commissioned by the Art Fund and Wedgwood in editions of 500

£300‑500

452

MANNER OF ROBERT CLATWORTHY

FIGURE OF A DOG

bronze, raised on an ebonised wood plinth

bronze 16cm long; total height including plinth 22cm high

£400‑600

453 §

SCOTTIE WILSON (1891‑1972)

UNTITLED ‑ SW36

pen, ink and gouache, signed lower right SCOTTIE, unframed 51cm x 63.5cm

Provenance: Gimpel Fils, London

£800‑1,200

454 §

NORMAN GRANT (B. 1943)

‘MOLECULAR STRUCTURE OF PLANKTON’ NECKLACE, CIRCA 1973

white metal, enamel, stamped maker’s mark NG pendant 9cm diameter

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

£300‑500

455 §

NORMAN GRANT (1943‑2017)

‘MICROSCOPIC PLANT CROSS SECTION’ SERIES BRACELET, EDINBURGH 1971

silver and enamel, stamped NG, hallmarked NG Edinburgh 1971

18cm long

£700‑900

456

DAVID LINLEY, LONDON

CONSOLE TABLE, 2001

walnut, with inlays of burr walnut and Indian ebony, stamped LINLEY; together with THE ORIGINAL PRINTED DESIGN (2)

152cm across, 87.5cm high, 54cm deep £800‑1,200

457

DAVID

PEDESTAL, 2001

walnut with inlays of burr ash and Indian ebony, stamped LINLEY (twice), together with THE ORIGINAL PRINTED DESIGN (2)

40cm square, 121cm high

£400‑600

LINLEY, LONDON

DESIGN SINCE 1860

19 APRIL EDINBURGH

TRAVEL & VINTAGE POSTERS

26 APRIL LONDON

LALIQUE

27 APRIL LONDON

MODERN MADE MODERN & POSTWAR ART & DESIGN

28 APRIL LONDON

CONDITIONS OF SALE

FOR BUYERS (UK)

These Conditions of Sale and the Saleroom Notices as well as specific Catalogue terms, set out the terms on which we offer the Lots listed in this Catalogue for sale. By registering to bid and/or by bidding at auction You agree to these terms, we recommend that You read them carefully before doing so. You will find a list of definitions and a glossary at the end providing explanations for the meanings of the words and expressions used. Special terms may be used in Catalogue descriptions of particular classes of items (Books, Jewellery, Paintings, Guns, Firearms, etc.) in which case the descriptions must be interpreted in accordance with any glossary appearing in the Catalogue. These notices and terms will also form part of our terms and conditions of sales. In these Conditions the words “Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd, the singular includes the plural and vice versa as appropriate. “You”, “Your” means the Buyer. Lyon & Turnbull Ltd. acts as agent for the Seller. Lyon & Turnbull Ltd. acts as agent for the Seller. On occasion where Lyon & Turnbull Ltd. own a lot in part or full the property will be identified in the catalogue with the symbol (��) next to its lot number.

A. BEFORE THE SALE 1. DESCRIPTIONS OF LOTS

Whilst we seek to describe Lots accurately, it may be impractical for us to carry out exhaustive due diligence on each Lot. Prospective Buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a Lot. Prospective Buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or Estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and only accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the Auctioneer or our employees or agents accept liability for the correctness of such opinions and no warranties, whether relating to description, condition or quality of Lots, express, implied or statutory, are given. Please note that photographs/ images provided may not be fully representative of the condition of the Lot and should not be relied upon as indicative of the overall condition of the Lot. All dimensions and weights are approximate only.

2. OUR RESPONSIBILITY FOR OUR DESCRIPTION OF LOTS

We do not provide any guarantee in relation to the nature of a Lot apart from our authenticity warranty contained in paragraph E.2 and to the extent provided below.

(a) Condition Reports: Condition Reports are provided on our Website or upon request. The absence of a report does not imply that a Lot is without imperfections. Large numbers of such requests are received shortly before each sale and department specialists and administration will endeavour to respond to all requests although we offer no guarantee. Any statement in relation to the Lot is merely an expression of opinion of the Seller or us and should not be relied upon as an inducement to bid on the Lot. Lots are available for inspection prior to the sale and You are strongly advised to examine any Lot in which You are interested prior to the sale. Our Condition Reports are not prepared by professional conservators, restorers or engineers. Our Condition Report does not form any contract between us and the Buyer. The Condition Reports do not affect the Buyer’s obligations in any way.

(b) Estimates: Estimates are placed on each Lot to help Buyers gauge the sums involved for the purchase of a particular Lot. Estimates do not include the Buyer’s Premium or VAT. Estimates are a matter of opinion and prepared in advance. Estimates may be subject to change and are for guidance only and should not be relied upon.

(c) Catalogue Alterations: Lot descriptions and Estimates are prepared in advance of the sale and may be subject to change. Any alterations will be announced on the Catalogue alteration sheet, made available prior to the sale. It is the responsibility of the Buyer to make themselves aware to any alterations which may have occurred.

3. WITHDRAWAL

Lyon & Turnbull may, at its discretion, withdraw any Lot at any time prior to or during the sale of the Lot. Lyon & Turnbull has no liability to You for any decision to withdraw.

4. JEWELLERY, CLOCKS & OTHER ITEMS

(a) Jewellery:

(i) Coloured gemstones (such as rubies, sapphires and emeralds) may have been treated to enhance their look, through methods such as heating and oiling. These methods are accepted practice but may make the gemstone less strong and/or require special care in future.

(ii) All types of gemstones may have been improved by some method. You may request a gemmological report for any Lot which does not have a report if the request is made to us at least three weeks before the date of the sale

and You pay the fee for the report in advance of receiving said report.

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

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

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

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

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

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

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

B. REGISTERING TO BID

1. NEW BIDDERS

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

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

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

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

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

2. RETURNING BIDDERS

We may at our discretion ask You for current identification as described in paragraph B.1.(a) above, a finance

reference or a deposit as a condition of allowing You to bid. If You have not bought anything from us in the last two years, or if You want to spend more than on previous occasions, please contact our Finance Department on +44(0)131 557 8844.

3. FAILURE TO PROVIDE THE RIGHT DOCUMENTS

If in our opinion You do not satisfy our Bidder identification and registration procedures including, but not limited to, completing any anti-money laundering and/or anti-terrorism financing checks we may require to our satisfaction, we may refuse to register You to bid, and if You make a successful bid, we may cancel the contract between You and the Seller.

4. BIDDING ON BEHALF OF ANOTHER PERSON

(a) As an authorised Bidder: If You are bidding on behalf of another person, that person will need to complete the registration requirements above before You can bid, and supply a signed letter authorising You to bid for him/her.

(b) As agent for an undisclosed principal: If You are bidding as an agent for an undisclosed principle (the ultimate Buyer(s)) You accept personal liability to pay the Purchase Price and all other sums due, unless it has been agreed in writing with us before commencement of the auction that the Bidder is acting as an agent on behalf of a named third party acceptable to us and we will seek payment from the named third party.

5. BIDDING IN PERSON

If You wish to bid in the saleroom You must register for a numbered bidding paddle before You begin bidding. Please ensure You bring photo identification with You to allow us to verify Your registration.

6. BIDDING SERVICES

The bidding services described below are a free service offered as a convenience to our clients and we are not responsible for any error (human or otherwise), omission or breakdown in providing these services.

(a) Phone bids

Your request for this service must be made no later than 12 hours prior to the auction. We will accept bids by telephone for Lots only if our staff are available to take the bids. If You need to bid in a language other than English You should arrange this Well before the auction. We do not accept liability for failure to do so or for errors and omissions in connections.

(b) Internet Bids

For certain auctions we will accept bids over the internet. For more information please visit our Website. We will use reasonable efforts to carry out online bids and do not accept liability for equipment failure, inability to access the internet or software malfunctions related to execution of online bids/ live bidding.

(c) Written Bids

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

C. DURING THE SALE

1. ADMISSION TO OUR AUCTIONS

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

2. RESERVES

Unless indicated by an insert symbol

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

3. AUCTIONEER’S DISCRETION

The maker of the highest bid accepted by the Auctioneer conducting the sale shall be the Buyer and any dispute shall be settled at the Auctioneer’s absolute discretion. The Auctioneer may move the bidding backwards of forwards in any way he or she may decide or change the order of the Lots. The Auctioneer may also; refuse any bid, withdraw any Lot, divide any Lot or combine any two or more Lots, reopen or continuing bidding even after the hammer has fallen.

4. BIDDING

The Auctioneer accepts bids from:

(a) Bidders in the saleroom;

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

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

5. BIDDING INCREMENTS

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

6. CURRENCY CONVERTER

The saleroom video screens and

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

7. SUCCESSFUL BIDS

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

8. RELEVANT LEGISLATION

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

D. THE BUYER’S

PREMIUM, TAXES AND ARTIST’S RESALE ROYALTY

1. THE PURCHASE PRICE

For each Lot purchased a Buyer’s Premium of 26% of the Hammer Price of each Lot up to and including £20,000, plus 25% from £20,001 to £500,000, plus 20% from £500,001 thereafter. VAT at the appropriate rate is charged on the Buyer’s Premium. No VAT is payable on the Hammer Price or premium for printed books or unframed maps bought at auction. Live online bidding may be subject to an additional premium (level dependent on the live bidding service provider chosen). This additional premium is subject to VAT at the appropriate rate as above.

2. VALUE ADDED TAX

Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by Buyers of relevant Lots.

(a) Lots affixed with (†): Value Added Tax on the Hammer Price is imposed by law on all items affixed with a dagger

(†). This imposition of VAT maybe because the Seller is registered for VAT within the European Union and is not operating under a Margin Scheme.

(b) Lots affixed with (*): A reduced rate of Value Added Tax on the Hammer Price of 5% is payable. This indicates that a Lot has been imported from outwit the European Union. This reduced rate is applicable to Antique items.

(c) Lots affixed with [Ω]: Standard rate of Value Added Tax on the Hammer Price and premium is payable. This applies to items that have been imported from outwit the European Union and do not fall within the reduced rate category outlined above.

3. ARTIST’S RESALE ROYALTY (DROIT DE SUITE)

This symbol § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, which took effect in the United Kingdom on 14th February 2006. We are required to collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012 this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the Buyer on the Hammer Price and in addition to the Buyer’s Premium. It will not apply to works where the Hammer Price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale. All royalty charges are paid to the Design and Artists Copyright Society (‘DACS’) and no handling costs or additional fees are retained by the Auctioneer. Resale royalties are not subject to VAT. Please note that the royalty payment is calculated on the rate of exchange at the European Central Bank on the date of the sale. More information on Droit de Suite is available at www.dacs.org.uk.

E. WARRANTIES

1. SELLER’S WARRANTIES

For each Lot, the Seller gives a warranty that the Seller;

(a) Is the owner of the Lot or a joint owner of the Lot acting with the permission of the other co-owners, or if the Sellers is not the owner of or a joint owner of the Lot, has the permission of the owner to sell the Lot, or the right to do so in law, and;

(b) Had the right to transfer ownership of the Lot to the Buyer without any restrictions or claims by anyone else. If either other above warranties are incorrect, the Seller shall not have to pay more than the Purchase Price (as defined in the glossary) paid by You to us. The Seller will not be responsible to You for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages or expense. The Seller gives no warranty in relation to any Lot other than as set out above and, as far as the Seller is allowed by law, all warranties from the Seller to You, and all obligations upon the Seller which may be added to this agreement by law, are excluded.

2. AUTHENTICITY GUARANTEE

We guarantee that the authorship, period, or origin (collectively, “Authorship”) of each Lot in this Catalogue is as stated in the BOLD

or CAPITALISED type heading in the Catalogue description of the Lot, as amended by oral or written saleroom notes or announcements. We make no warranties whatsoever, whether express or implied, with respect to any material in the Catalogue other than that appearing in the Bold or Capitalised heading and subject to the exclusions below.

In the event we, in our reasonable opinion, deem that the conditions of the authenticity guarantee have been satisfied, it shall refund to the original purchaser of the Lot the Hammer Price and applicable Buyer’s Premium paid for the Lot by the original purchaser. This Guarantee does not apply if:

(a) The Catalogue description was in accordance with the opinion(s) of generally accepted scholar(s) and expert(s) at the date of the sale, or the Catalogue description indicated that there was a conflict of such opinions; or

(b) the only method of establishing that the Authorship was not as described in the Bold or Capitalised heading at the date of the sale would have been by means or processes not then generally available or accepted; unreasonably expensive or impractical to use; or likely (in our reasonable opinion) to have caused damage to the Lot or likely to have caused loss of value to the Lot; or

(c) There has been no material loss in value of the Lot from its value had it been in accordance with its description in the Bold or Capitalised type heading. This Guarantee is provided for a period of one year from the date of the relevant auction, is solely for the benefit of the original purchaser of the Lot at the auction and may not be transferred to any third party. To be able to claim under this Authenticity Guarantee, the original purchaser of the Lot must:

(a) notify us in writing within one month of receiving any information that causes the original purchaser of record to dispute the accuracy of the Bold or Capitalised type heading, specifying the Lot number, date of the auction at which it was purchased and the reasons for such dispute; and

(b) return the Lot to our registered office in the same condition as at the date of sale to the original purchaser of record and be able to transfer good title to the Lot, free from any third party claims arising after the date of such sale.

We have discretion to waive any of the above requirements. We may require the original purchaser of the Lot to obtain, at the original purchaser of Lot’s cost, the reports of two independent and recognised experts in the field. The reports must be mutually acceptable to us and the original purchaser of the Lot. We shall not be bound by any reports produced by the original purchaser of the Lot, and Reserves the right to seek additional expert advice at its own expense. It is specifically

understood and agreed that the rescission of a sale and the refund of the original Purchase Price paid (the successful Hammer Price, plus the Buyer’s Premium) is exclusive and in lieu of any other remedy which might otherwise be available as a matter of law. Lyon & Turnbull and the Seller shall not be liable for any incidental or consequential damages incurred or claimed, including without limitation, loss of profits or interest.

3. YOUR WARRANTIES

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

(b) Where You are bidding on behalf of another person You warrant that:

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

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

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

F. PAYMENT

1. MAKING PAYMENT

(a) Within 7 days of a Lot being sold

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

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

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

(d) The ownership of any Lots purchased shall not pass to You until You have made payment in full to us of the Total Amount Due. The risk in and the responsibility for the Lot will

transfer to You from whichever is the earlier of the following:

(i) When You collect the Lot; or

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

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

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

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

2. IN THE EVENT OF NONPAYMENT

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

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

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

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

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

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

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

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

(h) To apply any proceeds of sale of other Lots due or which become due to You towards the settlement of the Total Amount Due by You and to exercise a lien over any of Your property in our possession for any purpose until the debt due is satisfied.

You will be deemed to have granted such security to us and we may retain such property as collateral security for Your obligations to us; we may decide to sell Your property in any way we think appropriate. We will use the proceeds of the sale against any amounts You owe us and we will pay any amount left from that sale to You. If there is a shortfall, You must pay us the balance; and

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

G. COLLECTION & STORAGE

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

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

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

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

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

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

H. TRANSPORT & SHIPPING

1. TRANSPORT AND SHIPPING

We will include transport and shipping information with each invoice sent to You as well as displayed on our Website. You must make all transport and shipping arrangements.

2. EXPORT OF GOODS

Buyers intending to export goods should ascertain;

(a) Whether an export licence is required; and

(b) Whether there is any specific prohibition on importing goods of that character, e.g. items that may contain prohibited materials such as ivory or rhino horn. It is the Buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale not any delay in making full payment for the Lot.

3. CITES: ENDANGERED PLANTS AND ANIMALS LEGISLATION

Please be aware that all Lots marked with the symbol Y may be subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http:// www.defra.gov.uk/ahvla-en/importsexports/cites

We accept no liability for any Lots

which may be subject to CITES but have not be identified as such.

I. OUR LIABILITY TO YOU

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

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

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

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

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

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

J. OTHER TERMS

1. OUR ABILITY TO CANCEL

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

(i) Any of our warranties are not correct, as set out in paragraph E3,

(ii) We reasonably believe that completing the transaction is or may be unlawful; or

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

2. RECORDINGS

We may videotape and record

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

3. COPYRIGHT

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

4. ENFORCING THIS AGREEMENT

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

5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES

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

6. REPORTING ON WWW.LYONANDTURNBULL.COM

Details of all Lots sold by us, including Catalogue disruptions and prices, may be reported on www.lyonandturnbull. com. Sales totals are Hammer Price plus Buyer’s Premium and do not reflect any additional fees that may have been incurred. We regret we cannot agree to requests to remove these details from our Website.

7. SALE BY PRIVATE TREATY

(a) The same Conditions of Sale (Buyers) shall apply to sales by private treaty.

(b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers.

(c) We undertake to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids.

(d) For the purposes of a private treaty sale, if a Lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale.

8. THIRD PARTY LIABILITY

All members of the public on our premises are there at their own risk and must note the lay-out of the premises, safety and security arrangements. Accordingly, neither the Auctioneer

nor our employees or agents shall incur liability for death or personal injury or similarly for the safety of the property of persons visiting prior to, during or after a sale.

9. DATA PROTECTION

Where we obtain any personal information about You, we shall use it in accordance with the terms of our Privacy Policy (subject to any additional specific consent(s) You may have given at the time Your information was disclosed). A copy of our Privacy Policy can be found on our Website www. lyonandturnbull.com or requested from Client Services, 33 Broughton Place, Edinburgh, EH1 3RR or by email from data enquiries@lyonandturnbull.com.

10. FORCE MAJEURE

We shall be under no liability if they shall be unable to carry out any provision of the Contract of Sale for any reason beyond their control including (without limiting the foregoing) an act of God, legislation, war, fire, flood, drought, failure of power supply, lock-out, strike or other action taken by employees in contemplation or furtherance of a dispute or owing to any inability to procure materials required for the performance of the contract.

11. LAW AND JURISDICTION

(a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law

(b) Jurisdiction: The Buyer agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply.

K. DEFINITIONS & GLOSSARY

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

1. DEFINITIONS

“Auctioneer” Lyon & Turnbull Ltd

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

“Bidder” a person who has completed a Bidding Form

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

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

”

“You” and “Your

“Buyer’s Premium” the sum calculated on the Hammer Price at the rates

stated in Catalogue.

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

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

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

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

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

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

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

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

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

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

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

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

“VAT” value added tax at the prevailing rate at the date of the sale in the United Kingdom.

“Website” Lyon & Turnbull’s Website at www.lyonandturnbull.com

2. GLOSSARY

The following have specific legal meaning which You may not be familiar with. The following glossary is intended to give You an understanding of those expressions but is not intended to restrict their legal meanings:

“Artist’s Resale Right” the right of the creator of a work of art to receive a payment on Sales of that work subsequent to

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

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

“Risk” the possibility that a Lot may be lost, damaged, destroyed, stolen, or deteriorate in condition or value.

“Title” the legal and equitable right to the ownership of a Lot.

GUIDE TO BIDDING & PAYMENT

REGISTRATION

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

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

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

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

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

BIDDING IN THE SALEROOM

At the Sale Registered bidders will be assigned a bidder number and given a paddle for use at the sale. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. To place your bid, simply raise your paddle until the auctioneer acknowledges you. Please ensure that the auctioneer repeats your bidder number correctly when confirming the sale. If there is any doubt at this stage as to the hammer price or buyer it must be brought to the auctioneer’s attention immediately. All lots will be invoiced to the name and address given on your registration form, which is non-transferable.

BIDDING OUTSIDE THE SALEROOM BY PHONE

A limited number of telephone lines are available for bidding by phone through a Lyon & Turnbull representative. Phone lines must be reserved in advance. All bid requests must be received an hour before the sale. All telephone bids must be confirmed in writing, listing the relevant lots and appropriate number to be called. We recommend that a covering bid is also left in the event that we are unable to make the call. We cannot guarantee that lines will be available, or that we will be able to call you on the day, but will endeavour to undertake such bids to the best of our abilities. This service is available entirely at our discretion and at the bidder’s risk.

IN WRITING

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

ON THE INTERNET

- ABSENTEE BIDDING

Leave a bid online through our website, call us on 0131 557 8844 or email info@lyonandturnbull.com

- BID LIVE ONLINE

Bid live online, for free, with Lyon & Turnbull Live. Just click the button from the auction calendar, sale page or any lot page online to register.

PAYMENT

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

Payment is due within seven (7) days of the sale. Lots purchased will not be released until full payment has been received. Payment may be made by the following methods:

BANK TRANSFER

Account details are included on any invoices we issue or upon request from our accounts department.

ONLINE CREDIT OR DEBIT CARD PAYMENTS

We no longer accept card payments by phone. Please use our online payment service (provided by Opayo).

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

CASH

No cash payments will be accepted for this auction.

COLLECTION OF PURCHASED LOTS

Please refer to page 2 of this catalogue.

Inside Back Cover: Lot 234 [detail]