Design Since 1860 | Auction 17 & 18 April 2024

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.ukv

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.

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

MEET THE SPECIALISTS

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

Philip Smith Senior Specialist philip.smith@lyonandturnbull.com

Ursula Goldsmith Junior Specialist ursula.goldsmith@lyonandturnbull.com

Joy McCall Senior Specialist joy.mccall@lyonandturnbull.com

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

CIRCLE OF ELEANOR FORTESCUE-BRICKDALE (1871-1945)

PRE-RAPHAELITE SCENE

oil on panel

75cm x 46cm (frame size 86cm x 57cm)

£600-800

ENGLISH

PAIR OF ARTS & CRAFTS CURTAINS, CIRCA 1880

woven silk and cotton brocade, lined (2)

262cm x 118cm

£400-600

ENGLISH

GOTHIC REVIVAL SIDE TABLE

oak

51cm wide, 83cm high, 25.5cm deep £300-500

MANNER OF A.W.N. PUGIN

GOTHIC REVIVAL WRITING TABLE, CIRCA 1880

oak, with brass fittings

124cm wide, 74cm high, 66cm deep £600-800

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) 15.4cm square

Note: Encaustic tiles of this pattern were designed by Pugin and made for St. Mary’s convent in Handsworth, Birmingham, which opened in 1841.

£300-500

E.W. PUGIN (1834-1875) FOR GILLOW & CO., LANCASTER, CIRCA 1870

DINING TABLE AND FOUR CHAIRS, CIRCA 1870

oak, comprising a TABLE, stamped 1570, 124.5cm across, 74cm high; and FOUR CHAIRS, each with upholstered seats, stamped GILLOWS, 46cm wide, 84cm high, 46.5cm deep (5)

Provenance: Private Collection, Essex since circa 1920

Literature: V&A Accession no W. 1-1991

£7,000-9,000

Note: Edward William Pugin inherited his father’s architectural practice and followed the same principles when designing furniture. His father had explained his wish to create furniture, which ‘could come moderate and suit gothic homes’. ‘Good bracing’ was to him essential, and ‘The strength of wood-work is attained by bracing the various pieces together on geometrical principles. This is beautifully exemplified in ancient roofs, either in churches or domestic buildings; the constructions of these, so far from being concealed is turned into ornament’. Furniture by Pugin and his son continued to be manufactured by firms such as J. G. Crace, Holland & Son and Gillows of London and Lancaster throughout the 19th century.

These chairs in this group are very closely related to chairs designed by E. W. Pugin for the Grange, his family home, in Ramsgate in about 1864. The Grange was designed and built circa 1843 by his father A. W. N. Pugin who also designed the original furniture. After A. W. N. Pugin’s death in 1852, the house was let until 1864 when the Pugin family returned.

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

7

AFTER A.W.N. PUGIN

PAIR OF GOTHIC REVIVAL

CANDLESTICKS, CIRCA 1890

brass (2) 36cm high £400-600

8

ENGLISH

PAIR OF GOTHIC REVIVAL CONVERTED CANDLESTICKS, CIRCA 1880

patinated bronze, later converted to table lamps, with associated pleated silk shades (2) 45.3cm high to base of fitting £300-500

10

AFTER A.W.N. PUGIN FOR GILLOW & CO., LANCASTER

GOTHIC REVIVAL WRITING TABLE, CIRCA 1860

oak, with green leather top, stamped to the drawer

GILLOWS LANCASTER

92cm wide, 74 cm high, 53 cm deep

Literature: Cooper J. Victorian and Edwardian Furniture and Interiors: From the Gothic Revival to Art Nouveau, Abbeville Press 1987, p. 49, pl. 97 where a similar table is illustrated.

Note: This Gillows table is similar to some of the furniture Pugin designed for Sir Charles Barry from 1844 onwards for the New Palace of Westminster.

£600-800

9

ENGLISH

GLASTONBURY CHAIR, CIRCA 1890

oak

58cm wide, 92cm high, 60cm deep £200-300

11

ENGLISH

GOTHIC REVIVAL WALL MIRROR, CIRCA 1890

oak, embossed brass and mirrored plate 140cm high, 66cm wide

12

MANNER OF VIOLLET-LE-DUC

GOTHIC REVIVAL CLOCK, CIRCA 1870

repoussé decorated, cast and wrought steel, raised on an iron bound oak plinth, the twin train movement striking the hours and half hours on a gong clock 61.5cm high, 32cm wide, 22cm deep, with plinth 68.5cm high £1,200-1,500

13

MANNER OF A.W.N. PUGIN FOR GILLOW & CO.

GOTHIC REVIVAL WRITING TABLE, CIRCA 1880

oak, with green leather top, stamped to the drawer GILLOW (three times)

99cm wide, 75cm high, 60cm deep

£600-800

£600-800

16

17

ENGLISH

SET OF FIVE REFORMED GOTHIC DINING CHAIRS, CIRCA 1870

oak, with replaced green leather seats (5)

43cm wide, 90cm high, 48cm deep £600-800

ENGLISH

PAIR OF ARTS & CRAFTS

EMBROIDERED HANGINGS, CIRCA 1900

wool threads on a hessian ground (2)

231cm x 93cm £600-800

15

ENGLISH

GOTHIC REVIVAL WALL BRACKET, CIRCA 1890

painted and gilded plaster

45cm wide, 30cm high, 35cm deep £250-350

AFTER A.W.N. PUGIN (1812-1852)

GOTHIC REVIVAL STOOL

oak, with later leather-upholstered drop in seat

68cm wide, 41cm high, 64cm deep

£400-600

ENGLISH

SANCTUARY LAMP, CIRCA 1900 gilded brass and copper, with cast inscription ERAT LUX VERA QUAE

ILLUMINAT OMNEM HOMINEM 36.5cm diameter to widest point £300-500

ATTRIBUTED TO GEORGE EDMUND STREET (1824-1881)

BOOKCASE CABINET, CIRCA 1870 mahogany, with painted steel strap work and glazed doors, later adapted to the interior of the upper portion as an illuminated display cabinet 170cm wide, 254cm high, 47.5cm deep £1,000-1,500

21

ENGLISH

ATTRIBUTED TO ROBERT ANNING BELL (1863-1933)

'THE RAISING OF JAIRUS'S DAUGHTER', A STUDY FOR STAINED GLASS pen, ink and watercolour

73cm x 61cm (frame size 94.5cm x 81.5cm) £400-600

GOTHIC REVIVAL DINING CHAIR, CIRCA 1880 oak with later upholstery 47cm wide, 107cm high, 46cm deep

22

GEORGE EDMUND STREET (1824-1881)

THREE SIDE CHAIRS, CIRCA 1880 oak, one with original close-nailed leather upholstered seat, branded marks to two of the three chairs (3) 47cm wide, 89cm high, 49cm deep

Literature: The Illustrated London News, January 6th 1883 where an illustration of the Barristers Room shows these chairs in situ

Note: Street designed these chairs for the Law Courts, now the Royal Courts of Justice (which he also designed), which were opened by Queen Victoria in 1882. £300-500

£250-350

MANNER OF E. W. PUGIN

LIBRARY ARMCHAIR, CIRCA 1880 oak, with later brown leather upholstery 54cm wide, 81cm high, 56cm deep £400-600

24

A. KENRICK & CO., POSSIBLY CHRISTOPHER DRESSER (1834-1904)

GOTHIC REVIVAL HALL STAND, CIRCA 1880 cast iron, cast maker’s mark to top rail KENRICK 57cm wide, 93.5cm high, 21.5cm deep £800-1,200

25

ENGLISH

SET OF SIX GOTHIC REVIVAL

DINING CHAIRS, CIRCA 1880 oak, with later close-nailed upholstery (6) 46cm wide, 88cm high, 47cm deep £400-600

28

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

‘BIRD’ PATTERN PORTIERE, CIRCA 1880

jacquard woven double wool cloth, lined 180.5cm wide, 210cm drop, 222.5cm drop (including added strip)

Literature: Parry L. William Morris Textiles, V&A 2013, pp. 222-223, illus.

Note: This textile, designed by Morris in 1878, was the first handloom jacquard woven at Queen Square in London and later at Merton Abbey. In November 1879, Edward Burne-Jones ordered a set of bed hangings in this textile.

£1,500-2,500

27

MANNER OF CHARLES BEVAN

PAIR OF REFORMED GOTHIC DINING CHAIRS, CIRCA 1870 inlaid satinwood with upholstered seats (2) 44cm wide, 89cm high, 44cm deep £400-600

ENGLISH, MANNER OF HOWARD & SON OCCASIONAL TABLE, CIRCA 1880

oak

54cm wide, 51.5cm high £300-500

29

ENGLISH

ARTS & CRAFTS EMBROIDERED APPLIQUÉ PANEL, CIRCA 1910

coloured silks and metal threads, reserved on a silk ground 71cm x 103cm (frame size 85cm x 117cm)

£400-600

30

ENGLISH

REFORMED GOTHIC FOLD

OVER CARD TABLE, CIRCA 1870 inlaid oak, with brass handle, beize lined interior

open 91cm wide, 76cm high, 91cm deep, closed 91cm wide, 78.5cm high, 45cm deep £500-800

31

ATTRIBUTED TO CHARLES BEVAN (1815-1891)

REFORMED GOTHIC SIDE CHAIR, CIRCA 1870

ebonised wood, inlay walnut with gilded highlights and silk upholstery

43.5cm wide, 85cm high, 47cm deep £500-800

ATTRIBUTED TO CHARLES BEVAN (1815-1891) FOR MARSH & JONES, LEEDS OCCASIONAL TABLE, CIRCA 1870 walnut, with marquetry inlay 45.5cm diameter, 68.5cm high £1,500-2,000

Note: The firm of Marsh and Jones was founded in 1864 when John Marsh and Edward Jones acquired the upholstery and cabinet making business of John Kendall and Co. , 10 West Bar, Leeds. Kendall and Co. was a well-established business and had exhibited furniture at major exhibitions from 1850 onwards. In the early 1860s they had collaborated on work with the London firm of C. Seddon and Co. whose leading designer was John Pollard Seddon (1827-1906), the great-great-grandson of the firm’s founder, George Seddon. A sideboard designed by J. P Seddon and illustrated in J. Cooper, Victorian and Edwardian Interiors, London 1987, pl. 191, was made by the two firms in partnership and bears certain similarities to the above lot.

The design of the ‘Geometric Gothic’ furniture manufacture by Marsh and Jones is usually ascribed to Charles Bevan on the basis of the

renowned bedroom suite (now at Lotherton Hall) supplied by the firm to Titus Salt Jnr. in 1865. The Building News of 1 March 1867 illustrated Bevan’s design for a concert grand piano and describes ‘the whole of Mr Titus Salt’s furniture’ as being designed by Bevan. Research has supported the fact that it may be that the characteristic features of the furniture traditionally attributed to Bevan are in fact features more specific to the firm and it has been suggested that Bevan may have trained under John Seddon and C. Seddon and Co.

It seems likely that Marsh and Jones may have continued the link with Seddon and Co, and were possibly utilising the designs of John Seddon. Later the designer Bruce Talbert who was trained under John Seddon certainly went on to work independently as a designer for Marsh and Jones.

33

CHARLES LOCKE EASTLAKE (1836-1906)

DRESSER, CIRCA 1870

oak, with brass fittings, carved inscription COMEDE CUM LAETITIA CIBUM TUUM ET BIBE ANIMO HILARI VINUM 152cm wide, 205cm high, 64cm deep

Literature: Eastlake, C. L. Hints on Household Taste, Longmans, Green & Co. , 1878, pl. XI, where a similar ‘Dining-room sideboard’ is illustrated; Cooper, J. Victorian & Edwardian Furniture & Interiors, London, 1987, p. 108, pl. 241 (design drawing illustrating a similar sideboard). Note: Whilst Eastlake did not directly execute furniture himself, an engraving of this design was published in his Hints on Household Taste and has subsequently been reproduced in Jeremy Cooper’s Victorian & Edwardian Furniture & Interiors. Eastlake advocated simple furniture that was geometric in form with a strong preference for rectangular and square elements and gentle curves. He was reacting against the decorative excesses he felt were widely evidenced at the Great Exhibition of 1851. He also promoted the use of solid wood without elaborate inlays and executed using traditional methods that recalled the work of earlier English makers of the Gothic period. He recommended the use of inspirational mottos on furniture and in this instance the sideboard bears the Latin inscription COMEDE CUM LAETITIA

CIBUM TUUM ET BIBE ANIMO HILARI VINUM, which can be translated as ‘Eat your bread with joy and drink wine with a cheerful spirit’.

£1,000-1,500

34

WILLIAM DE MORGAN (1839-1917)

ARTS & CRAFTS CHARGER, CIRCA 1880

lustre glazed earthenware, impressed 24 verso 36cm diameter

£600-800

35

WILLIAM DE MORGAN (1839-1917)

ARTS & CRAFTS 6-INCH TILE, LATE FULHAM PERIOD, CIRCA 1898 glazed ceramic, depicting a galleon, impressed maker’s mark 15.4cm square

Literature: Catleugh, J. William de Morgan Tiles Richard Dennis 1983 p. 130, pl. 185 where this design is illustrated

36

JOHN PEARSON (1859-1930)

LARGE ARTS & CRAFTS PLATE, CIRCA 1900

painted earthenware, decorated verso with a cockerel and artist’s monogram and stamp 36cm diameter

OPEN BOOKCASE, CIRCA 1880 oak

102cm wide, 129.5cm high, 27.5cm deep

£600-800

MANNER OF GEORGE FREETH ROPER

£600-800

39

HOLLAND & SONS, LONDON

PAIR OF GOTHIC REVIVAL DINING CHAIRS, CIRCA 1870 oak, with leather upholstery, one stamped HOLLAND & SONS, 47cm wide, 95cm high, 47cm deep; together with another GOTHIC REVIVAL DINING CHAIR, oak, with later leather upholstered seat, 45cm wide, 90cm high, 48cm deep (3) £300-500

38

BRUCE TALBERT (1838-1881) FOR GILLOW & CO., LANCASTER

CANTERBURY, CIRCA 1870

mahogany, with brass fittings, stamped to the drawer

GILLOWS LANCASTER L5771

55cm wide, 50cm high,43cm deep £400-600

ATTRIBUTED TO BRUCE TALBERT (1838-1881)

AESTHETIC MOVEMENT

WASHSTAND, CIRCA 1870

oak, with Longwy tiled upstand and 153.5cm wide, 111.5cm high, 52cm deep

41

WILLIAM DE MORGAN (1839-1917)

ARTS & CRAFTS RUBY LUSTRE 6-INCH TILE, EARLY FULHAM PERIOD, CIRCA 1888

ruby lustre glazed ceramic, depicting a hedgehog, impressed maker’s mark

15cm square

£1,200-1,800

42

WILLIAM DE MORGAN (1839-1917)

ARTS & CRAFTS RUBY LUSTRE 6-INCH TILE, CIRCA 1890

glazed ceramic, depicting two hopping kangaroos, Maw & Co blank 15.5cm square

Literature: Greenwood M. The Designs of William de Morgan, Richard Dennis 2007, p. 127, pl. 1016

£3,000-4,000

43

ATTRIBUTED TO BRUCE TALBERT (1838-1881) FOR GILLOW & CO., LANCASTER

AESTHETIC MOVEMENT WRITING

DESK, CIRCA 1870

walnut and burr walnut, with original tooled leather writing surface, the drawers with carved box panels and brass fittings, the whole with gilded embellishments. Stamped to the drawer

GILLOW & CO LANCASTER/ L 10160 106cm wide, 76cm high, 54.5cm deep

£600-800

45

WILLIAM DE MORGAN (1839-1917)

ARTS & CRAFTS CHARGER, CIRCA 1880

lustre glazed earthenware, impressed 24 verso 36cm diameter

£1,000-2,000

44

WILLIAM DE MORGAN (1839-1917)

ARTS & CRAFTS CHARGER, CIRCA 1880

lustre glazed earthenware, impressed 17 verso

36.5cm diameter

Literature: Greenwood, M, The Designs of William De Morgan, Ilminster, 2007, p. 35, pl. 1143, where a similar example is illustrated.

£1,500-2,000

46

WILLIAM DE MORGAN (1839-1917)

ARTS & CRAFTS CHARGER, CIRCA 1880

lustre glazed earthenware

35.5cm diameter

Literature: Greenwood, M, The Designs of William De Morgan, Ilminster, 2007, p. 209, pl. 48, and p. 68, pl. 1467 where similar examples are illustrated.

£600-800

47

WILLIAM DE MORGAN (1839-1917)

LARGE AND RARE 9-INCH

TILE, EARLY FULHAM

PERIOD, CIRCA 1888

glazed ceramic, impressed maker’s mark

23cm square

Literature: Catleugh, J.

William de Morgan Tiles

Richard Dennis 1983 p. 81, pl. 81 where similar examples are illustrated

£500-800

WILLIAM DE MORGAN (1839-1917)

ARTS & CRAFTS PERSIAN 9-INCH

TILE, EARLY FULHAM PERIOD, CIRCA 1888

glazed ceramic, impressed maker’s mark

23cm square

£300-500

49

BRUCE TALBERT (1838-1881) FOR GILLOW & CO., LANCASTER

AESTHETIC MOVEMENT SIDE CABINET, CIRCA 1875

walnut and burr walnut, ebonised wood, with gilded embellishments, carved hardwood panels, the upstand with brass gallery and with glazed cabinets to the sides, stamped to drawer GILLOW & CO./A617

160cm wide, 139cm high, 40cm deep

£1,000-1,500

50

MANNER OF BRUCE TALBERT

PAIR OF AESTHETIC MOVEMENT WALL

SCONCES, CIRCA 1880

embossed, engraved and cast brass with mirrored backs (2)

38cm x 22.8cm

£400-600

51

BRUCE TALBERT (1838-1881) FOR GILLOW & CO., LANCASTER

FINE DRAWING ROOM CABINET, CIRCA 1870

walnut and burr walnut, with marquetry inlay and gilt embellishments, brass fittings and glazed central doors

214cm wide, 118cm high, 47cm deep

Note: For a related sideboard by Talbert for Gillows see Carnegie Museum of Art collection, Pittsburgh, Accession No. 2007. 25

£2,000-3,000

53

52

MANNER OF BRUCE TALBERT

AESTHETIC MOVEMENT WALL SCONCE, CIRCA 1880 brass, with wooden backboard

46cm x 29cm £300-500

ATTRIBUTED TO ALFRED WATERHOUSE (1830-1905) FOR HENRY CAPEL, LONDON

AESTHETIC MOVEMENT WALNUT CORNER CABINET, CIRCA 1880 walnut, with gilt embellishment, polychrome painted panels inscribed SUMMER and AUTUMN, and incised decoration

77cm wide, 212cm high, 45.5cm deep

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

£800-1,200

54

WILLIAM DE MORGAN (1839-1917)

PAIR OF ARTS & CRAFTS TILES, EARLY FULHAM PERIOD, CIRCA 1888 glazed ceramic, impressed maker’s marks (2) 15.5cm square

Provenance: The Collection of Michael Archer OBE FSA (1936-2022), Keeper, Ceramics and Glass Department,Victoria & Albert Museum, London £300-500

55

WILLIAM DE MORGAN (1839-1917)

THREE ARTS & CRAFTS ‘CARNATION’ TILES, CIRCA 1880

painted and glazed terracotta, Poole

Architectural Pottery blanks (3)

15.3cm square

Provenance: Penicuik House, Midlothian

£300-500

57

WILLIAM DE MORGAN (1839-1917)

ARTS & CRAFTS RUBY LUSTRE 6-INCH TILE, CIRCA 1890

glazed ceramic, framed 15cm square

£500-800

56

WILLIAM DE MORGAN (1839-1917)

ARTS & CRAFTS RUBY LUSTRE 8-INCH TILE, CIRCA 1890

glazed ceramic, depicting a serpent with fruiting branch, Maw & Co blank, framed

20.5cm square

Literature: Greenwood M. The Designs of William de Morgan, Richard Dennis 2007, p. 141, pl. 874 where this design is illustrated

Literature: Whiteway M. and Gere C. Nineteenth Century Design: From Pugin to Mackintosh, Weidenfeld & Nicolson, 1993, p. 213, pl. 266

£2,000-3,000

58

WILLIAM DE MORGAN (1839-1917)

PAIR OF ARTS & CRAFTS 6-INCH TILES, CIRCA 1890

glazed ceramic, depicting a mountain goat and a squirrel, on Wedgwood blanks, 15.4cm square; a MINTON ART POTTERY STUDIO

TILE, depicting a crab and a serpent, framed, impressed and printed maker’s mark, tile 15cm square; and a J C EDWARDS TILE TEAPOT

STAND BY C.F.A. VOYSEY, moulded maker’s mark, 16cm square (4)

£400-600

60

WILLIAM DE MORGAN (1839-1917)

ARTS & CRAFTS 8-INCH

‘ARGYLL’ TILE, EARLY FULHAM PERIOD, CIRCA 1888

glazed ceramic, impressed maker’s mark

20.5cm square

Literature: Catleugh, J. William de Morgan Tiles Richard Dennis 1983, pl. 137 where a similar example is illustrated. £400-600

61

GILLOW & CO., LANCASTER

AESTHETIC MOVEMENT

WRITING TABLE, CIRCA 1880 ebonised mahogany with red leather top, stamped to the drawer GILLOW L5508

76.5 cm wide, 75cm high, 45.5cm deep £300-500

59

ENGLISH

GROUP OF TILES, 1860S-1917

to include; TWO GROUPS OF FOUR TILES BY WILLIAM GODWIN & SONS, HEREFORDSHIRE, CIRCA 1865-1867, each tile 10.5cm square; TWO FURTHER GODWIN TILES, 10.5cm and 15.3cm square; FOUR MINTON GOTHIC REVIVAL TILES, each 15cm square; a MINTON, HOLLINS & CO. OCTAGONAL TILE, made for the Victoria & Albert Museum, South Kensington, 15cm across; a SINGLE GOTHIC REVIVAL TILE, with initials DN, 15cm square; and a SINGLE MOULDED TILE BY NELSON DAWSON, inscribed verso NESON DAWSON/ FECIT/ 1917, 15.7cm square (17)

Provenance: The Collection of Michael Archer OBE FSA (1936-2022), Keeper, Ceramics and Glass Department,Victoria & Albert Museum, London £300-500

62

ENGLISH, POSSIBLY JAMES LAMB, MANCHESTER

AESTHETIC MOVEMENT

WRITING TABLE, CIRCA 1880

ebonised and gilded coromandel, with original incised and gilded leather top 137.5cm wide, 72.5cm high, 66cm deep £600-800

ENGLISH SET OF SIX REFORMED GOTHIC DINING CHAIRS,

1880 oak, with green leather upholstery (6) 47cm wide, 96cm high, 45cm deep

BRUCE TALBERT (1838-1881)

oak inlaid with coromandel wood

CIRCA

£600-800

SIR EDWARD BURNE-JONES (1833-1898) FOR MORRIS & CO.

‘ABRAHAM’ STAINED GLASS PANEL, 1909

stained, leaded and painted glass 123cm x 44.5cm (frame size 128.5cm x 50cm)

Provenance: The Chapel of Cheadle Royal Hospital, Cheshire

Literature: Sewter A. Charles The Stained Glass of William Morris and his Circle, Yale University Press 1974, nos. 401, 428, 539

Note: The contribution to the medium of stained glass by William Morris and his principal collaborator Edward Burne-Jones marked an epoch in its post-medieval development. By the 1890s, the reputation gained by Morris & Co. for their stained glass was such that a number of their patrons exclusively commissioned windows from the firm, to ensure the visual unity of their buildings. One such commission was from Cheadle Royal Hospital near Manchester, who in 1904 instructed Morris & Co. to glaze all of the windows of their new chapel. The glass was installed over four periods, 1906, 1909, 1911, and finally in 1915. The design for ‘Abraham’ was first employed in the scheme for St John the Devine, Frankby in 1873 at Jesus College Chapel, Cambridge in 1873-4, and further at St Martin’s, Brampton in 1878. The guiding principles that governed the manufacture of the Cheadle windows can be found in an article by Morris in 1890 in which he stressed the importance of clarity of design and colour, ‘The qualities needed in the design […] are beauty and character of outline […] Whatever key of colour may be chosen, [it] should always be clear, bright and emphatic. ’

£5,000-7,000

SIR EDWARD BURNE-JONES (1833-1898) FOR MORRIS & CO. ‘ST. JOSEPH’ STAINED GLASS PANEL, 1909

stained, leaded and painted glass 128cm x 44cm (frame size 134cm x 50cm)

Provenance: The Chapel of Cheadle Royal Hospital, Cheshire

Literature: Sewter A. Charles The Stained Glass of William Morris and his Circle, Yale University Press 1974, p. 117

Note: The design for ‘St. Joseph’ was first employed in the scheme for Church of St Matthew and St James, Mossley Hill, Liverpool in 1883. The original drawing for this window is held in the collections of the Huntington Library, San Marino, California (2000. 5. 1918e William Morris Collection).

£5,000-7,000

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

ARTS & CRAFTS TABLE, CIRCA 1870

oak

183cm long, 76.5cm high, 82cm deep

Literature: Whiteway M. and Gere C. Nineteenth Century Design: From Pugin to Mackintosh, Weidenfeld & Nicolson, 1993, p. 78, pl. 76

Morris & Company Catalogue, circa 1914, p. 27, no. 519 where a line drawing of this table design is illustrated.

Note: This scarce table designed by Philip Webb for Morris & Co. is based on an original design by Webb for Red House in Bexleyheath which he also designed for his friend William Morris in 1859. Two tables were made for the hall, described later by May Morris as ‘the first one’. Early examples of the table, including one made for the Burne-Joneses at the time of their marriage in 1860, were made by major Gillum’s Boy’s Club in the Euston Road. Morris approved of the solid joinery construction, disliking furniture that was ‘so very light as to be nearly imponderable; it should be made of timber rather than walking sticks. The original design was adapted by Webb for sale at Morris & Co. and proved to be an enduring model for the firm, still appearing as a design in their catalogue as late as 1914.

£6,000-8,000

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

‘THE APPLE TREE’ EMBROIDERED PANEL, CIRCA 1890 coloured silk threads, presented in a later frame

61cm x 63cm (frame size 74.5cm x 77cm)

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

£1,000-1,500

RUBY LUSTRE TWIN-HANDLED VASE, CIRCA 1890 lustre-glazed earthenware, painted maker’s marks DM/ FULHAM/ **

24cm high

£800-1,200

70

JOHN PEARSON (1859-1930)

ARTS & CRAFTS CHARGER, 1893 repoussé-decorated copper, signed verso J. PEARSON 1893 51.4cm diameter

£600-800

71

JOHN HENRY DEARLE (1859-1932) FOR

MORRIS & CO.

PAIR OF ARTS & CRAFTS ‘MILLEFLEURS’ PATTERN

CURTAINS, CIRCA 1914

jacquard woven double wool cloth, lined (2) each 209cm x 120cm at the hem

Literature: Parry L. William Morris Textiles, London 1983, catalogue no. 169 £1,500-2,500

72

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

FOUR ARTS & CRAFTS ‘SUSSEX’ CHAIRS, CIRCA 1880

ebonised oak, with rush seats (4) 42cm wide, 83cm high, 35cm deep

£500-800

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

ARTS & CRAFTS ‘SUSSEX’ ARMCHAIR, CIRCA 1880

ebonised oak, with rush seat

48.5cm wide, 85cm high, 40.5cm deep

£300-500

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

ARTS & CRAFTS ‘KELMSCOTT’ TABLE, CIRCA 1875

oak

175.5cm long, 75cm high, 80cm deep

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

£5,000-7,000

75

MAY MORRIS (1862-1938) FOR MORRIS & CO. ‘POPPY’, ARTS & CRAFTS

EMBROIDERED BORDER, CIRCA 1890 coloured silk threads, reserved on a silk ground, framed, 52cm x 91cm (frame size 78cm x 118cm); together with WILLIAM MORRIS (1834-1896) FOR MORRIS & CO., ’OLIVE AND ROSE’ ARTS & CRAFTS

EMBROIDERED PANEL, CIRCA 1880, coloured silks, within a gilt frame, 56.5cm x 51.5cm (frame size 73cm x 68cm) (2)

Literature: Hulse L. et al. May Morris: Arts & Crafts Designer, Thames & Hudson 2017, p. 86 and 89, no. 70 which illustrates a border of the same design made up as a tablecloth. Mason, A. (et. al), May Morris: Arts and Crafts Designer, Thames & Hudson

2017, p. 72-73, pl. 57-58 illus.

76

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

THREE PANELS OF ‘DOVE AND ROSE’ PATTERN FABRIC, CIRCA 1879 woven silk, blue colourway (3) 204cm x 108cm; 50cm x 87cm; 40cm x 87cm

78

JOHN HENRY DEARLE (1859-1932) FOR MORRIS & COMPANY

THREE CUSHIONS, THE MATERIAL CIRCA 1915 jacquard woven wool, later made up as cushions (3) each approx. 45cm x 31cm

Literature: Parry L. William Morris Textiles, London 1983, catalogue no. 169 £250-350

77

JOHN PEARSON (1859-1930)

DISH, 1904

repoussé-decorated copper, signed

£400-600

£300-500

79

PHILIP WEBB (1831-1915)

ARTS & CRAFTS ARMOIRE, CIRCA 1875

oak, with inset ebony panels and applied steel fittings

153cm wide, 227.5cm high, 71cm deep

Provenance: George Howard, 9th Earl of Carlisle, Naworth Castle Private Collection

Note: Naworth Castle in Brampton, Cumberland, was the country home of George and Rosalind Howard. The castle originally dated from the 14th century, and from 1873-79 the Howards employed Webb to make alterations and enlargements that remained in keeping with the historic character of the building. From 1877 Webb was also the official architect to the Naworth Estate.

£4,000-6,000

AFTER PHILIP WEBB

OVAL DINING TABLE, 20TH CENTURY mahogany or satinwood, with ebonised details and inlay 183cm wide, 136cm deep, 77cm high

Literature: Whiteway M. and Gere C. Nineteenth Century Design: From Pugin to Mackintosh, Weidenfeld & Nicolson, 1993, p. 100, pl. 108

Parry L. William Morris, London, 1996, p. 175

Andrews J. Arts and Crafts Furniture, Woodbridge, 2005, p. 50, pl. 45

Note: In 1861 Philip Webb began collaborating with William Morris at Morris, Marshall, Faulkner & Co. (later Morris & Co. ). The design for the current table originally dates to this period, adapted from a table Webb designed for Edward Burne-Jones in the 1850’s. The firm later produced several related examples for high-profile commissions, including Standen House, Sussex for the Beale family, Swan House, Chelsea and for the library at Tangley Manor, where Webb made alterations and additions and Morris provided the decorations. The current lot is also thought to be a variant of the original design, adapted as a special order without the central column which is replaced by a carved boss.

£2,000-3,000

81

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

EMBROIDERED PANEL, CIRCA1880

coloured silks

45.5cm x 46cm (frame size 51cm x 51.5cm)

Literature: Hulse, Lynn et. al, May Morris: Arts & Crafts Designer, Thames & Hudson, London, 2017, p. 81, pls. 65-6 where similar designs for scrolled leaves are illustrated. £600-800

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

ÉTAGÈRE CABINET, CIRCA 1870

mahogany

60.5cm wide, 116.5cm high, 30.5cm deep £1,000-1,500

83

MANNER OF BRUCE TALBERT (1838-1881)

GOTHIC REVIVAL WRITING TABLE, CIRCA 1870

inlaid oak, with green leather and gilt top and brass fittings 96cm wide, 75cm high, 52cm deep £800-1,200

ATTRIBUTED TO A.H. MACKMURDO (1851-1942) OR HERBERT HORNE (1864-1916) FOR THE CENTURY GUILD

FABRIC PANEL, CIRCA 1885 velvet, mounted on board 128cm x 82cm

Literature: Architect - Designers: Pugin to Mackintosh The Fine Art Society, London 1981, p. 42, where a related design manufactured by Simpson & Godlee in 1882 is illustrated.

A. H. MACKMURDO (1851-1942) AND SELWYN IMAGE (1849-1930) FOR THE CENTURY GUILD

SECRETAIRE CABINET, CIRCA 1870

mahogany, with marquetry inlay, the fitted interior with leather skiver to fall

57.5cm wide, 146cm high, 46cm deep

Provenance: Probably Henry Bodington, Pownall Hall, Cheshire

Literature: Evans, S. , Liddiard, J. , Arts and Crafts Pioneers, The Hobby Horse Men and their Century Guild, London, 2021, p. 117, fig. 5. 30 (this example illustrated). Note: This piece was probably made for the drawing room of Pownall Hall in Cheshire. The Century Guild had already decorated the dining room of the property owned by the brewer Henry Boddington. This cabinet was likely designed by Arthur Heygate Mackmurdo and demonstrates the Century Guild’s preference for emphasising verticality over horizontal axis, while the roundel inlay designs by Selwyn Image express something of the Guild’s admiration for French Art Nouveau furniture by the like of Emile Gallé. The design drawings for the roundels are held in the collection of the William Morris Gallery, Walthamstow (cat. no. A 194 a-c) and there is also a table similarly decorated with a tulip roundel (cat. no. G 39).

The Saint Louis Museum of Art holds a related cabinet acquired from Paul Reeves (Stuart Evans, ‘Putting Together the Pieces’, The Decorative Arts Society, no. 31 [2007), fig. 14), and the Colchester and Essex Museum has a Century Guild box with similar inlay (Gillian Naylor, The Arts and Crafts Movement, Norwich, 1980, no. 38g).

£8,000-12,000

86

DONEGAL

LARGE ARTS & CRAFTS CARPET, EARLY 20TH CENTURY tufted wool

685cm x 340cm

£4,000-6,000

ARCHITECTURAL DRAWINGS: PROPOSED ASSIZE COURTS, BRISTOL, 1866 a collection of 9 drawings in ink, pencil and coloured wash, each inscribed ‘Bristol Assize Courts’ on unbleached tracing paper and neatly laid-down onto 9 leaves of thick paper, two framed and glazed comprising:- Front Elevation towards Small Street, Aedes Colstoniana, 34cm x 41cm, frame 54cm x 61.4cm- Section on line C.D., 23.5cm x 61.5cm, frame 54cm x 81cm7 unframed- Section on line A.B., 28cm x 41.4cm, sheet 52.5cm x 79cm- Section on line C.D., Proposed New Assize Courts Bristol, 34cm x 39cm, sheet 52.5cm x 79cm- Front elevation towards Small Street, 36cm x 69cm, sheet 52.5cm x 79cm- First floor plan, 73.4 x 41.5cm, sheet 52.5cm x 79cm- Plan of second floor fronting Small Street and Plan of First Floor, 69.7cm x 41cm, sheet 52.5cm x 79cm- Plan of ground floor, 71cm x 46.4cm, sheet 52.5cm x 79cm- Ground floor plan, 73cm x 47.3cm, sheet 52.5cm x 79cm (9)

Note: Winning the competition to build the new Northampton Town Hall at the age of twenty-nine established Godwin’s reputation as a leading civic architect. He followed this with another winning town hall design for Congleton, a small town near Manchester. These successes prompted his move to London in 1865, and in 1866 Godwin, with his partner Henry Crisp, entered the competition for the building of the new Bristol Assize Courts under the nom de plume ‘1066’ or ‘Ten Hundred and Sixty-Six’. Their designs won first, second and third prizes. Despite this, and amid protestations, a second competition was order by the town council, which Godwin again entered, this time only gaining second place to an entry from Popes & Binden, which was the one finally built.

£4,000-6,000

EDWARD WILLIAM GODWIN (BRITISH 1833-1886)

W. A. S. BENSON (1854-1924)

RARE ARTS & CRAFTS CEILING LIGHT, CIRCA 1900 model 1186/s, gilded brass and copper, opalescent glass shades, stamped twice BENSON fitting 84cm high, 120cm to ceiling rose, diameter 53cm

Literature: Hamerton I. (ed. )

Luminary and Pioneer of Modern Design pl. 2 where this design is illustrated. £10,000-15,000

89

W.A.S. BENSON (1854-1924)

ARTS & CRAFTS TABLE LAMP, CIRCA 1900 brass, with associated opalescent glass shade, indistinctly stamped maker’s mark 69cm high

Literature Hamerton I. (ed. ) W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, Woodbridge, 2005, p. 259, pl. 18, where a similar lamp is illustrated

£700-900

90

91

RICHARD LLEWELLYN RATHBONE (1864-1939)

RARE ARTS & CRAFTS WALL SCONCE, CIRCA 1900 copper and brass, stamped RATHBONE/ LIVERPOOL 44cm x 34.5cm

Note: A relative of W. A. S. Benson, Richard Llewellyn Benson Rathbone was also the cousin of Harold Rathbone, Head of the Della Robbia Pottery in Birkenhead. He initially trained in metalwork with Benson, whose design aesthetic can be seen in this scarce sconce, before setting up his own workshop in 1908. In keeping with the Arts & Crafts aesthetic, Rathbone’s work proved popular and he is known to have produced metalwork designs for Mackmurdo, Heywood Sumner and C. F. A. Voysey. Rathbone also taught metalwork classes at Liverpool University, where Harold Stabler later joined him in 1903. By 1905 he moved to London to take a position as Head of the Art School at the John Cass Institute.

£2,000-3,000

W. A. S. BENSON (1854-1924)

ARTS & CRAFTS TABLE LAMP, CIRCA 1900

model 1194/1307, brass and copper, with later pleated fabric shade, stamped maker’s mark W.A.S. BENSON 40cm high to fitting

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

£1,000-1,500

92

WILLIAM TONKS & SONS, MANNER OF THOMAS JECKYLL (1827-1881)

GROUP OF FOUR AESTHETIC MOVEMENT FINGER PLATES, CIRCA 1880

cast brass, stamped manufacturer’s mark WT&S;, one with registration lozenge for 1878 (4) 28cm long

£400-600

93

W.A.S. BENSON (1854-1924)

ARTS & CRAFTS ADJUSTABLE TABLE/BRACKET LAMP, CIRCA 1900

brass, with opalescent glass shade, stamped maker’s mark BENSON 27cm high

£400-600

94

W. A. S. BENSON (1854-1924)

ARTS & CRAFTS DESK TIDY, 1912

silver, maker’s mark WB, hallmarked London, 1913 19cm long

Note: Examples of Benson’s work in solid silver are rare, with only a few items recorded. For a silver kettle and stand see: Lyon & Turnbull, Decorative Arts: Design since 1860,1st April, 2020, lot 229 £800-1,200

95

ATTRIBUTED TO CHRISTOPHER DRESSER (1834-1904)

FOR R. HODD & SON

HOT WATER JUG, CIRCA 1878

electroplated metal, ebonised wood, stamped LL/ I498 and maker’s mark

12cm high

£500-700

ATTRIBUTED TO JAMES POWELL & SONS, LONDON

ARTS & CRAFTS CEILING LIGHT, CIRCA 1910

patinated wrought steel, opalescent glass

99cm tall

£400-600

97

ATTRIBUTED TO HOWELL & JAMES, LONDON

AESTHETIC MOVEMENT MANTEL

CLOCK, CIRCA 1880 gilt brass set with painted ceramic panels and dial 28.7cm high

£500-800

98

JAMES LAMB, MANCHESTER

AESTHETIC MOVEMENT DRAWING ROOM CABINET, CIRCA 1870

ebonised and gilded wood, with coromandel wood inlay and inset painted panels, the side shelves with silk backing, stamped to door Lamb (twice) Manchester 34154 183cm wide, 94.5cm high, 46.3cm deep

£2,000-3,000

W.A.S. BENSON (1854-1924)

ARTS & CRAFTS TABLE LAMP, CIRCA 1900 copper and brass, with opalescent glass shade, stamped maker’s mark W.A.S. BENSON 45cm high

£600-800

101

AESTHETIC MOVEMENT COFFEE TABLE, CIRCA 1876 rosewood

46cm wide, 61cm high, 45cm deep

Literature: Soros S. The Secular Furniture of E. W. Godwin, Yale University Press, 1999, p. 160, no. 226 and 226. 1 where this table and a sketch for same are illustrated.

Note: A drawing for this table and two others appear in Godwin’s sketchbook dated December 1876.

£3,000-5,000

E. W. GODWIN (1833-1886)

102

HENRY STACY MARKS (1829-1898) FOR MINTON & CO.

AESTHETIC MOVEMENT

TILE, CIRCA 1880

ceramic, stamped maker’s marks to the reverse

29.5cm x 14cm

£300-500

103

W. A. S. BENSON (1854-1924)

PAIR OF CANDLESTICKS, CIRCA 1890

brass, stamped maker’s mark to base BENSON (2) 33.5cm high

Literature: Hamerton I. (ed. ) W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, ACC 2005, p. 121, pl. 98 where similar candlesticks are illustrated. £500-700

COX & SONS, LONDON

AESTHETIC MOVEMENT DRAWING ROOM CABINET, CIRCA 1880 ebonised and gilded wood, with brass fittings, inset glazed and ceramic tiles and glazed doors

167.5cm wide, 103.5cm high, 40cm deep £1,000-1,500

105

W. A. S. BENSON (1854-1924)

TABLE LAMP, CIRCA 1900 silvered brass, with later pleated silk shade 27.5cm high £400-600

108

107

AFTER E. W. GODWIN

COFFEE TABLE, CIRCA 1880 walnut

38cm square, 70cm high £400-600

AFTER E. W. GODWIN

106

EDWARD WILLIAM GODWIN (1833-1886), POSSIBLY FOR WILLIAM WATT, LONDON

AESTHETIC MOVEMENT SIDE TABLE, CIRCA 1880 mahogany

86cm wide, 70cm high, 50cm deep £1,500-2,000

AESTHETIC MOVEMENT COFFEE TABLE, CIRCA 1880 walnut

39cm square, 69cm high £300-500

109

ENGLISH, MANNER OF E.W. GODWIN

PAIR OF AESTHETIC MOVEMENT THEBES-STYLE

SIDE CHAIRS, CIRCA 1880

ebonised ash, with late close-nailed upholstered seat

44.5cm wide, 90cm high, 41cm deep

£400-600

110

HAMO THORNYCROFT (1850-1925)

JOAN, 1896

patinated bronze plaque, inscribed JOAN, signed and dated in the bronze HAMO THORNYCROFT/ 1896 51cm x 35cm

Note: A portrait of the artist’s daughter Joan Thorneycroft (1888-1989)

£600-800

AESTHETIC MOVEMENT DISPLAY CASE, CIRCA 1880

ebonised and gilded wood with two bevelled plate glass sides 71cm square, 176.8cm high

HANNAH BARLOW (1851-1916) FOR DOULTON & CO., LAMBETH BALUSTER VASE, CIRCA 1880 salt-glazed stoneware, impressed maker’s mark and incised artist’s mark

MANNER OF E. W. GODWIN

AESTHETIC MOVEMENT EASY CHAIR, mahogany, upholstery, brass castors 64cm wide, 91cm high, 52cm deep

AESTHETIC MOVEMENT DESK, CIRCA 1890 oak, with black leather top and brass fittings, ivorine retailer’s label to the drawer TRAPNELL & GANE, BRISTOL 122cm wide, 75cm high, 66cm deep £600-800

115

DANIEL COTTIER (1838-1891)

WALL PANEL, CIRCA 1870

painted wood, with applied butterfly in painted wood and peacock feathers, later frame

87cm x 43cm (frame size 101cm x 56.5cm)

£1,000-1,500

117

ENGLISH

PAIR OF AESTHETIC MOVEMENT

ANDIRONS, CIRCA 1880

brass with copper masks (2) 22.5cm wide, 57cm high, 20cm deep

£300-500

DANIEL COTTIER (1838-1891) FOR COTTIER & CO.

PAIR OF AESTHETIC MOVEMENT

DRAWING ROOM CHAIRS, CIRCA 1870

ebonised and painted beech, with later close nailed upholstery

46.5cm wide, 112cm high, 55cm deep

118

ATTRIBUTED TO CHRISTOPHER DRESSER (1834-1904)

CARPET FRAGMENT, CIRCA 1870

tufted wool

67.5cm x 129.5cm

Provenance: Allangate, Halifax

Literature: Morley C. Dresser’s Decorative Designs, C. Beresford 2010, p. 55, pl. 38 illus.

Note: Although Dresser’s studio had a prodigious output of carpet designs there are very few known to survive.

This fragment came from the interiors at Allangate, Halifax which Dresser designed for the MP Thomas Shaw in 1870.

£600-800

119

W.A.S. BENSON (1854-1924)

ARTS & CRAFTS TABLE LAMP, CIRCA 1900 model 864/s, brass, original shade, stamped maker’s mark W.A.S. BENSON

55cm high

£1,000-1,500

120

CHRISTOPHER DRESSER (1834-1904) FOR COALBROOKDALE IRONWORK COMPANY

PAIR OF AESTHETIC MOVEMENT ANDIRONS, CIRCA 1879

brass, copper alloy and patinated, wrought iron (2) 17cm wide, 61cm high, 43cm deep

Literature: Halén W. Christopher Dresser: A Pioneer of Modern Design, London 1990, p. 76, pl. 67 where a contemporary drawing of this design is illustrated.

£1,000-1,500

122

121

CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE ART POTTERY

FIJIAN LIBATION DISH, CIRCA 1880

glazed and unglazed earthenware, impressed factory marks and facsimile signature

LINTHORPE / Chr Dresser / 293 / H

18cm long

Note: The unusual shape of this vessel is included among the advertisements for Linthorpe Pottery in the Furniture Gazette, 22 May, 1880. The dish is based on a Fijian yaqona dish, a priest’s ritual drinking vessel, and named after the narcotic drink used in the ritual. Dresser is likely to have been familiar with the yaqona dish in the form of a male figure acquired by the British Museum in 1842 (1842. 12-10. 127).

£800-1,200

CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE ART POTTERY

LARGE AESTHETIC MOVEMENT VASE, CIRCA 1880

glazed and unglazed earthenware with applied decoration, impressed maker’s marks

LINTHORPE/ 168/ HT (Henry Tooth) with facsimile signature, painted artist’s monogram

48cm high

£1,000-1,500

124

CHRISTOPHER DRESSER (1834-1904)

FOR LINTHORPE ART POTTERY

PAIR OF HANGING VESSELS, CIRCA 1880

glazed earthenware, each with three applied lugs, impressed maker’s mark

LINTHRPE/ HT (Henry Tooth)/ 415, with impressed facsimile signature (2) 20.5cm high

£600-800

123

CHRISTOPHER DRESSER (1834-1904)

FOR LINTHORPE ART POTTERY

TWIN-HANDLED PERUVIAN VESSEL, CIRCA 1880

glazed earthenware, impressed facsimile signature C. DRESSER (indistinct)/ 813 and monogram TH 20cm high

£600-800

125

CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE ART POTTERY

LIDDED WINE JUG, CIRCA 1882

glazed earthenware, with silver mounts, impressed LINTHORPE/ 668/ HT, the silver mounts with stamped maker’s marks, hallmarked London 1882

21.5cm high

£1,000-1,500

127

126

CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE ART POTTERY

FIJIAN LIBATION DISH, CIRCA 1880

glazed and unglazed earthenware, impressed factory marks LINTHORPE / 293 18cm long

£800-1,200

CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE ART POTTERY

PAIR OF CONDIMENT BOTTLES & STOPPERS, CIRCA 1880 glazed earthenware, with silver plated stoppers, stamped LINTHORPE/ HT, with facsimile signature

28cm high

£400-600

128

CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE ART POTTERY

TWIN-HANDLED VASE, CIRCA 1880

glazed earthenware, impressed LINTHORPE/ HT/ 372, with facsimile signature 28cm high

£300-500

129

MANNER OF EDMUND BLAIR LEIGHTON

PRE-RAPHAELITE STUDY

pencil and red chalk

19cm x 14cm (frame size 36cm x 28cm)

£300-500

130

ATTRIBUTED TO CHRISTOPHER DRESSER (1834-1904) FOR BENHAM & FROUD, LONDON

HOT WATER CAN, CIRCA 1885 brass

22cm high

Literature: Lyons H. Christopher Dresser: The Peoples Designer, 2005, p. 212, pl. 418 where a similar example is illustrated.

132

COLLINSON

131

ATTRIBUTED TO CHRISTOPHER DRESSER (18341904) FOR BENHAM & FROUD, LONDON

COAL HOD, CIRCA 1880

copper, brass and patinated, wrought steel 51cm long, 43cm high, 37cm wide

Literature: Whiteway M. (ed. ), Shock of the Old: Christopher Dresser’s Design Revolution, New York, 2004

£300-500

& LOCK, LONDON

AESTHETIC MOVEMENT OCCASIONAL TABLE, CIRCA 1880

mahogany

53.5cm diameter, 73.5cm high

Literature: Edwards, C. Collinson & Lock: Art Furnishers, Interior Decorators and Designers, 1870-1900, Matador 2022, p. 172, pl. 4. 137 where a similar table is illustrated.

£400-600

133

ENGLISH

AESTHETIC MOVEMENT TRAVELLING DESK, CIRCA 1875

oak

open 107cm wide, 76cm high, 34cm deep, closed, 48cm wide, 43cm high, 34cm deep

£300-500

134

WHITING MANUFACTURING COMPANY

SET OF TWELVE BUTTER DISHES, CIRCA 1900

sterling silver with mixed metal details of crab and fishes, stamped maker’s mark STERLING/ 19A (12)

7.5cm diameter

£600-800

POTTER STUDIO, CLEVELAND

‘HARE & TORTOISE’ PORRINGER & SPOON, CIRCA 1900

Sterling silver, enamel, each stamped POTTER STUDIO bowl 19cm diameter, spoon 16.7cm long

The Arts & Crafts Movement in America, 1875-1920, 1987, p.

Horace Potter (1873-1948) graduated from the Cleveland School of Art in 1898, and furthered his studies in Boston and in England with C. R. Ashbee’s Guild of Handicraft. Upon his return to Cleveland, Potter worked in conjunction with Wilhelmina Stephan, showing considerable work at the Art Institute of Chicago in 1905 and the decennial exhibition of the Boston Society of Arts and Crafts in 1907. In 1908 Potter established a studio with a group of assistants, which was to become known as the Potter Studio.

136

ATTRIBUTED TO GABRIEL VIARDOT (1830-1904)

NEST OF FOUR TABLES, CIRCA 1880

rosewood and beech inlaid with mixed metals, bone, mother of pearl and specimen woods (4)

largest table 57cm wide, 74cm high, 36cm deep £600-800

138

KIMBEL & CABUS, NEW YORK

AESTHETIC MOVEMENT WRITING TABLE, CIRCA 1880 incised and brass bound mahogany 56cm wide, 82cm high, 36.7cm deep £500-800

137

ENGLISH SCHOOL MEDIEVAL

SPORTING PURSUITS

watercolour triptych, each panel signed E.

BURNE JONES

72cm x 131.5cm (frame size 83cm x 143cm)

Provenance: From the collection of Arthur Halcrow Verstage £400-600

AMERICAN, MANNER OF COTTIER & CO.

AESTHETIC MOVEMENT TABLE, CIRCA 1870 stained birch, brass 76.5cm wide, 76.5cm high, 56.5cm deep £600-800

140

HERBERT JAMES DRAPER (1863-1940)

DESIGN FOR AN ILLUSTRATION TO ‘THE TAME PARTRIDGE’, 1893

pen and ink, bears initials lower right HJD 24cm x 13cm (frame size 50cm x 33.5cm)

141

HERBERT JAMES DRAPER (1864-1920)

STUDY FOR ‘THE TRAILING CLOUDS OF GLORY’, 1898 chalks

49.5cm x 25.5cm (frame size 81.5cm x 46.5cm)

Provenance: The Maas Gallery, London

142 § HERBERT JAMES DRAPER (1864-1920)

STUDY OF LISTENING

FIGURE FOR ‘THE PIPES OF PAN’ chalks, signed and inscribed lower left TO R.J. GODLEE ESQ. / WITH KIND REGARDS/ HERBERT DRAPER/ 1910

36.5cm x 27cm (frame size 55.5cm x 44cm)

£1,000-1,500

£500-700

£400-600

144

145

JAMES SHOOLBRED & CO.

TWO AESTHETIC MOVEMENT STOOLS, CIRCA 1883

143

ENGLISH, MANNER OF JOHN PEARSON

ARTS & CRAFTS DECORATIVE

PANEL, CIRCA 1900

embossed and patinated copper, with a later frame 54 x 63cm (frame size 73 x 82cm)

£300-500

ENGLISH

ARTS & CRAFTS CEILING LIGHT, CIRCA 1910 repoussé-decorated copper, opalescent glass 90cm high to ceiling rose, light 28cm high £500-800

one oak, with brass mounts, stamped JAMES SHOOLBRED & CO., 55.5cm wide, 63cm high, 36cm deep; the other walnut, also with brass mounts, stamped 5581 and with Victorian lozenge mark for December 1883, 54.5cm wide, 63cm high, 32cm deep (2)

£1,000-1,500

147

EDWARD SPENCER (1872-1938) FOR THE ARTIFICERS’ GUILD, LONDON

PAIR OF ARTS & CRAFTS

148

ATTRIBUTED TO CHRISTOPHER

DRESSER (1934-1904)

FOR MINTON’S LTD

146

SIR ALFRED GILBERT (1854-1934)

‘AN OFFERING TO HYMEN’, 1900

bronze, signed and dated in the bronze A. GILBERT 1900, composition plinth

29cm high

Literature: Dorment R Alfred Gilbert: Sculptor and Goldsmith, Royal Academy of Arts, London, 1986, pls. 25 and 32

Note: An Offering to Hymen of circa 1885 was Gilbert’s first female nude and became one of his most popular figures. It depicts the upright figure of a young woman reverently making a presentation to Hymen, the Greek god of marriage and of the marriage song. There as several variations to this figure, the sculptor producing small changes and variations in the gifts which the girl presents to the god. In this example, the figure is holding a leafy frond and a statue of Anteros, the god of requited love and the avenger of the unrequited. £1,500-2,000

CANDLESTICKS, CIRCA 1909

made by Walter Spencer, wrought steel, each stamped under foot 2397 (2)

51.3cm high

Literature: The Studio Magazine, April 1909, p. 209, where similar candlesticks designed by Spencer are illustrated.

£400-600

CERAMIC VASE, CIRCA 1880

glazed earthenware, impressed makers mark

MINTONS/ 1544

24.5cm high

£400-600

ENGLISH ARTS & CRAFTS

EMBROIDERED PANEL, CIRCA 1900

coloured silks

66cm x 86cm (frame size 82cm x 102cm)

£300-500

150

EDGAR WOOD (1860-1935)

ARTS & CRAFTS ARMOIRE, CIRCA 1896-8 oak, with copper fittings

153cm wide, 226cm high excluding finials, 66cm deep

Note: Born in Middleton, near Manchester in 1860, the architect, artist and draftsman Edgar Wood was a prominent member of the Arts & Crafts Movement. He gained a national and international reputation, and his work was widely published in publications such as The British Architect, The Studio Magazine, Dekorative Kunst and Moderne Bauformen. Wood rejected large-scale commercial practice and worked with a small number of assistants designing furniture, stained glass, sculpture, metal, and plasterwork as well as buildings. Many commissions were from friends and family in Middleton, Huddersfield and Hale, Cheshire. Influenced by the artistic and socialist writings of William Morris, he saw himself as an artisan serving the people of these localities. He was a founder of the Northern Art Workers’ Guild, set up by Walter Crane in 1896, one of the major provincial societies within the Arts and Crafts Movement and was president of the Manchester Society of Architects from 1911–12.

£1,500-2,500

151

ENGLISH

ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1900

coloured silks, within oak frame with Liberty & Co. label verso 21.5cm x 14cm (frame size 49.2cm x 41.5cm)

£500-700

152

JAMES DIXON

MATCHED PAIR OF ARTS & CRAFTS

CANDLESTICKS, 1908/9 silver, stamped maker’s marks, hallmarked Sheffield 1908 and 1909 (2)

153

A. E. JONES (1878-1954)

MATCHED PAIR OF ARTS & CRAFTS

‘WITCHING HOUR’ CANDLESTICKS, CIRCA 1912 silver, hand hammered, each bears inscription NOW IS THE WITCHING HOUR, hallmarked Birmingham 1910 and 1911 (2)

23cm high

£800-1,200

154

BIRMINGHAM GUILD OF HANDICRAFT LTD.

ARTS & CRAFTS BOWL, BIRMINGHAM 1905

silver, stamped maker’s mark, hallmarked Birmingham 1905, 7.3oz

12.4cm wide, 7.2cm high

17.8cm high

£800-1,200

£500-800

155

ATTRIBUTED TO GODFREY BLOUNT (1859-1937) FOR HASLEMERE PEASANT INDUSTRIES

ARTS & CRAFTS TABERNACLE TRIPYCH, CIRCA 1900

carved and polychrome-decorated wood, with inscriptions HE WHO IS NEAR ME IS NEAR THE FIRE, and THE ZEAL OF THE HOUSE HATH

EATEN ME UP

32cm wide closed, 56.3cm high, 10cm deep

156

ENGLISH

ARTS & CRAFTS WALL MIRROR, CIRCA 1890

repoussé-decorated copper, with bevelled mirror plate

56cm x 39cm

157

ATTRIBUTED TO THE GUILD OF HANDICRAFT LTD.

ARTS & CRAFTS CHARGER, CIRCA 1900

repoussé-decorated copper

41cm diameter £600-800

158

ATTRIBUTED TO W. J. NEATBY (1860-1910)

OCCASIONAL TABLE, CIRCA 1900

inlaid mahogany, bares retailer’s label ALLEN & APPLEYARD, LIVERPOOL

63.5cm diameter, 73cm high

£400-600

£400-600

£300-500

ATTRIBUTED TO RAMSAY TRAQUAIR (1874-1952)

WALL-MOUNTED ‘DRAGON’ FIRE-IRON SET, CIRCA 1910 wrought iron, with poker, comprising a bracket, with brush and a pair of tongs bracket 66cm high

£1,200-1,800

160

JOHN PAUL COOPER (1869-1933)

ARTS & CRAFTS CASKET, CIRCA 1907

silver metal and shagreen, wood-lined interior, stamped to each hinge JPC

27.5cm wide, 9.5cm high, 7.5cm deep £2,500-3,000

OMAR RAMSDEN (1873-1939)

WINE COASTER, 1928

161

OMAR RAMSDEN (1873-1939)

ARTS & CRAFTS BOX, 1934

silver, shagreen, with timber lining, applied ‘H’ to lid, stamped maker’s mark OR, inscribed to base OMAR

RAMSDEN ME FECIT, hallmarked London 1934

18.3cm wide

£800-1,200

silver and burr wood, stamped maker’s mark and inscription

OMAR RAMSDEN ME FECIT, hallmarked London 1928

10.8cm diameter, 4.4cm high £1,000-1,500

163

WILLIAM HUTTON & SONS LTD.

PHOTOGRAPH FRAME, 1903

silver and enamel, stamped maker’s mark, hallmarked London 1903

9.5cm x 8.7cm £400-600

164

SHAPLAND & PETTER, BARNSTAPLE

ARTS & CRAFTS BEDROOM

SUITE, CIRCA 1910

oak, with marquetry inlay, comprising a WARDROBE, 200cm wide, 211cm high, 62cm deep; DRESSING CHEST, 122cm wide, 180cm high, 58cm deep; a PAIR OF SINGLE BEDS, 204cm long, 105cm high, 109.5cm wide; a BEDSIDE CUPBOARD, 39.5cm wide, 84cm high, 37.5cm deep, stamped maker’s mark to wardrobe and bedside cabinet R428 (5) £1,500-2,000

ENGLISH

LARGE ARTS & CRAFTS LANTERN, CIRCA 1910

brass, with textured glass shade 53cm high

166

ENGLISH

ARTS & CRAFTS SIDE CHAIR, CIRCA 1900

inlaid mahogany with upholstered seat 44cm wide, 90cm high, 38cm deep

167

SHAPLAND & PETTER, BARNSTAPLE

ART NOUVEAU FIRESCREEN, CIRCA 1900

stained glass, mahogany and repoussé copper, stamped to the base 894 92 76cm wide, 89cm high, 27cm deep £400-600

168

ENGLISH

ART NOUVEAU COAL BOX, CIRCA 1900

copper and hammered steel, set with Ruskin ceramic panels, 51.5cm wide, 24.5cm high, 37cm deep

£400-600

£600-800

£300-500

169

ATTRIBUTED TO JOHN PEARSON (1859-1930)

LARGE ARTS & CRAFTS MIRROR, CIRCA 1900 repoussé-decorated copper, mirrored plate

59.5cm x 94cm

£800-1,200

171

170

W. A. S. BENSON (1854-1924)

ARTS & CRAFTS TABLE LAMP, CIRCA 1900 model 1089/s, brass, opalescent glass shade, stamped maker’s mark W.A.S. BENSON

49cm high

Literature: Hamerton I. (ed. ) W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, ACC 2005, p. 150, pl. 131 where a similar example is illustrated.

£600-800

172

ENGLISH, MANNER OF W.A.S. BENSON

ARTS & CRAFTS TABLE LAMP, CIRCA 1900 brass, with opalescent glass shade

52cm high

£400-600

THE STUDIO, AN ILLUSTRATED MAGAZINE OF FINE AND APPLIED ART

COLLECTION OF YEARBOOKS

hard cloth-bound with gilt-tooling, comprising 1900 ETC.; 1901-02; 1902-03; 1903-04; 1904-05; 190506; 1906-07; 1907-08; 1908-09; 1909-10; 1910-II; 1912-13 (12)

£300-500

173

INDIAN

ARTS & CRAFTS EMBROIDERED HANGING, CIRCA 1900

coloured threads on an unbleached linen ground

229cm x 217cm

£800-1,200

ENGLISH

ARTS & CRAFTS BOOKCASE, CIRCA 1910

oak, fitted with adjustable shelves 48cm wide, 179cm high, 31cm deep £400-600

175

E.G. PUNNETT FOR WILLIAM BIRCH, HIGH WYCOMBE ARMCHAIR, CIRCA 1900

inlaid oak, with drop-in cord seat 63cm wide, 102.5cm high, 46.5cm deep

Literature: Agius P. British Furniture 1880-1915 ACC 1978, pl. 178 illus. £1,500-2,000

176

ENGLISH

ARTS & CRAFTS MIRROR, CIRCA 1900

repoussé-decorated copper, mirror plate

31cm square

£250-350

179

ENGLISH

ARTS & CRAFTS CHARGER, CIRCA 1900

copper and enamel

51.3cm diameter

£500-700

178

ENGLISH

ARTS & CRAFTS ARMCHAIR, CIRCA 1890

inlaid oak with drop-in horse hair upholstered seat 59cm wide, 98cm high, 45cm deep

£400-600

G.E. USHER AND A.H. JEPHCOTT FOR DRYAD METAL WORKS, LEICESTER

ARTS & CRAFTS FOUR-PIECE TEA SERVICE, BIRMINGHAM 1919

silver, set with turquoise cabochons, comprising a TEAPOT, 14cm high; a HOT WATER JUG, 19.3cm high; a SUGAR BOWL, 10cm diameter; and a MILK JUG, 8.4cm high, each with stamped maker’s marks DMW, and hallmarked Birmingham 1919

Literature: The Studio Yearbook, 1917, p. 94, where a similar tea service is illustrated and captioned as ‘Designed by G. E. Usher, executed by A. H. Jephcott in the Dryad Works. ’

Note: Dryad was formed in 1906 by Harry Peach and Benjamin Fletcher, head of Leicester School of Art. Initially producing cane furniture, it soon branched out to produce other Arts & Crafts artefacts. Dryad Metal Works was established in 1912 when William Pick of Collins & Co. , Birmingham, and a former pupil at Leicester School of Art, joined Harry Peach in partnership. From 1917 they produced simple but well-made designs predominantly provided by John Sidney Reeve and other instructors at the Leicester School of Art. John Sidney Reeve was a silversmith who had formally worked for Charles Robert Ashbee and the Guild of Handicraft in Chipping Campden. The Collins and Co. mark was used between 1915 and 1919, after which the DMW stamp was used.

181 ENGLISH

ARTS & CRAFTS HALL LANTERN, CIRCA 1905

brass, copper, ‘cloisonne’ glass panels

47cm high

£1,200-1,800

J. & F. POOL, HAYLE

LARGE ARTS & CRAFTS

CLOCK, CIRCA 1910

hammered and repoussédecorated copper

30.5cm high

£300-500

184

RUTH BARE (1880-1962) FOR DELLA ROBBIA POTTERY, BIRKENHEAD

VASE, 1899

glazed terracotta, incised maker’s marks, incised artist’s initials and date RB/ 1899, 40cm high; together with TWO MUGS, CIRCA 1890, glazed terracotta, decorated by Charles Collis and Jessie Sinclair, incised maker’s marks, incised and painted artist’s marks, 12.5cm high (3)

Provenance: The Collection of Michael Archer OBE FSA (1936-2022), Keeper, Ceramics and Glass Department,Victoria & Albert Museum, London

£1,000-1,500

183

DELLA ROBBIA POTTERY, BIRKENHEAD

ARTS & CRAFTS TWIN-HANDLED VASE, CIRCA 1900

incised and glazed terracotta, incised and painted artists marks for Charles Collis, John Fogo and possibly George Warhurst, incised maker’s marks DR/ BIRKENHEAD/ 55

32.5cm high

£2,000-3,000

HAROLD RATHBONE (1858-1929), DELLA ROBBIA POTTERY, BIRKENHEAD

BOWL, 1896

incised and glazed terracotta, incised factory mark, signed and dated

HAROLD RATHBONE 1896

24.5cm diameter

Provenance: The Collection of Michael Archer OBE FSA (1936-2022), Keeper, Ceramics and Glass Department,Victoria & Albert Museum, London

£500-800

186

MARTIN BROTHERS

MINIATURE BIRD FIGURE, CIRCA 1910 glazed stoneware, incised R.W. MARTIN & BRO./ SOUTHALL/ 613, turned ebonised wood base 8cm high with base

£6,000-8,000

MARTIN BROTHERS

VASE, 1906

salt-glazed stoneware, incised with sea creatures, incised maker’s marks

MARTIN BROS/ LONDON & SOUTHALL/ 3-1906

£3,000-5,000

188

WALTER FRASER MARTIN (1872-1912) FOR SOUTHALL POTTERY

SALT-GLAZED STONEWARE VASE, CIRCA 1880 incised to the base WF MARTIN/ SOUTHALL/ POTTERY/ MIDDX

22.7cm high

£300-500

CLAY PITS POTTERY, EWENNY WASSAIL BOWL & COVER, 1895 red earthenware, thrown, white slip under yellow lead-glaze, incised decoration and with incised inscriptions to cover A MERRY CHRISTMAS/ CYMRU LAN GWLAD-Y-GAM (Wales Land of Song)/ FEED THE CHICKENS/ BIRD ON THE WHEAT/ CYMRU DROO BYTH (Wales Forever)/ THIRSTY/ LET ME TAP IT/ GIVE YOUR WIFE

A GLASS/ FOX/ OES Y BYD I’R IAITH GYMRAEG (Long Live the Welsh Language), dated to base 1895 40cm high

Provenance: The Collection of Michael Archer OBE FSA (1936-2022), Keeper, Ceramics and Glass Department, Victoria & Albert Museum, London

Literature: See Fitzwilliam Museum, Cambridge collection accession no. C. 100 & A-1928 for a similar example marked to the base ‘Made by Evan Jones/at Clay Pitts Pottery/Bridgend/May 1892’

£2,000-3,000

190

C. F. A. VOYSEY (1857-1941) FOR ALEXANDER MORTON & CO.

‘THE DULEEK’ HANGING, CIRCA 1900

Jacquard-woven wool double cloth, with later linen border and lining 260cm x 113cm, 278cm x 128cm including border

Provenance: Phillips, Edinburgh Late 19th and 20th Century Decorative Arts, 26th April 1996, lot 390

Collection of Ann and Gordon Getty

Literature: V&A accession no. CIRC. 886-1967

Note: The design was originally used as a wallpaper and was later adapted by the manufacturer Alexander Morton for this woollen textile, for transparent gauzes and for carpeting. Voysey’s stylised birds and trees became his trademark, and symbolic of the Arts & Crafts movement. The fabric was sold through Liberty’s shop in Regent Street. By the end of the 19th century the shop created what was described as ‘a new English period’ establishing a reputation as the main retailer of British Arts and Crafts goods.

£8,000-12,000

192

C.F.A. VOYSEY (1857-1941) FOR THOMAS ELSEY LTD, LONDON ARTS & CRAFTS FIRESIDE SET, CIRCA 1900

wrought steel, comprising; a COAL SHOVEL 62cm long; a POKER, 61.5cm long; a PAIR OF COAL TONGS, 63cm long, with stand, 89.5cm high

Literature: Livingstone K. et al. , C. F. A. Voysey: Arts and Crafts Designer, V&A Publishing, London 2016, p. 260, pl. 338

Rudoe, J. Decorative Arts 1850-1950; A Catalogue of the British Museum Collection British Museum Press 1991, p. 210

£3,000-5,000

191

FOLLOWER OF EDMUND DULAC ILLUSTRATIONS FROM ‘RUBÁIYÁT OF OMAR

KHAYYÁM’ pen and ink, watercolour and bodycolour, with gold ink (2)

22.5cm x 17.5cm (frame size 44.2cm x 34cm)

£800-1,200

193

C.F.A. VOYSEY (1857-1941) RARE FIRE SURROUND, CIRCA 1905 cast iron

122cm high, 168.3cm wide, 19.5cm deep

Literature: Thomas Elsley Ltd. Catalogue of Designs by C. F. A. Voysey, Architect, no. 330, where this example is illustrated as a line drawing.

Voysey C. F. A. Reason as a basis of art, 1906 p. 24.

£3,500-5,000

Note: Voysey’s fireplace designs exhibit a startlingly modern simplicity, in contrast to the ‘distracting’ ornament which had typified the Victorian hearth. If simplicity pervaded Voysey’s approach, it was enlivened with familiar motifs which he used elsewhere, in this instance the heart and the perched bird. Writing in 1906 he asked his readers to “consider the average fireplace in the average home and count the number of different materials and colours of which it is composed. Is it conducive to restfulness and quiet reflection? Or is this whirl-wind of countless sensations needed to drown out our sober thought? Are bustle and discord necessary to our home life?”

196

ENGLISH

ARTS & CRAFTS FENDER, CIRCA 1900

embossed copper with Ruskin ceramic roundels 111cm wide, 23cm high, 46cm deep

£600-800

194

CHARLES ROBERT ASHBEE (1863-1942)

FOR THE GUILD OF HANDICRAFT LTD.

ARTS & CRAFTS PEPPER POT, CIRCA 1900

hammered silver with turquoise cabochons

6.5cm high

£300-500

CHARLES ROBERT ASHBEE (1863-1942)

FOR THE GUILD OF HANDICRAFT

ARTS & CRAFTS PORRINGER, 1905

silver, set with blister pearl, stamped maker’s mark, hallmarked London 1905

10.7cm diameter, 17.5cm long including handle

£1,000-1,500

197

PILKINGTON’S TILE AND POTTERY CO.

LANCASTRIAN LUSTRE VASE, 1909

lustre-glazed earthenware, impressed factory mark, shape number and date

16.5cm high

£400-600

198

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

ROYAL LANCASTRIAN LUSTRE VASE, 1933

lustre-glazed earthenware, impressed factory mark, lustre-painted monogram and date

17cm high

£400-600

199

PILKINGTON’S TILE & POTTERY CO.

ROYAL LANCASTRIAN LUSTRE VASE, CIRCA 1920

painted and glazed earthenware, stamped maker’s mark, incised E.T.R. (Edward Thomas Radford) 16cm high

£400-600

RICHARD JOYCE (1873-1931) FOR PILKINGTON’S TILE AND POTTERY CO.

ROYAL LANCASTRIAN LUSTRE BOWL, CIRCA 1925

lustre glazed and moulded earthenware, impressed makers mark, painted and incised artists marks JR/JOYCE 26.7cm diameter

£400-600

GLADYS ROGERS FOR PILKINGTON’S TILE AND POTTERY CO.

LANCASTRIAN LUSTRE PLATE, 1903-4

lustre glazed earthenware, transfer printed and impressed makers mark

32.5cm diameter

£250-350

202

PILKINGTON’S TILE AND POTTERY CO.

LANCASTRIAN VASE, 1910

‘seaweed’ glazed earthenware, impressed factory mark and date, 20.2cm high; together with TWO LUSTRE VASES IN THE MANNER OF LEWIS F. DAY, 15cm high (3)

£300-500

RICHARD JOYCE (1873-1931) FOR PILKINGTONS ROYAL LANCASTRIAN

LUSTRE VASE, 1911

lustre-glazed earthenware, impressed factory mark and date, lustre-painted monogram

21.2cm high

£500-800

204

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

ROYAL LANCASTRIAN LUSTRE VASE, DATED 1920

painted and glazed earthenware, impressed maker’s mark, painted artist’s initials and dated 1920

15.5cm high

£400-600

RICHARD JOYCE (1873-1931) FOR PILKINGTONS ROYAL LANCASTRIAN

LUSTRE VASE, CIRCA 1920

lustre-glazed earthenware, impressed factory mark and number, lustre-painted monogram

20.5cm high

£400-600

206

PILKINGTON’S TILE & POTTERY CO.

TWO LUSTRE VASES, CIRCA 1910

lustre-glazed earthenware, one with impressed factory mark, the other with lustre-glazed

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

ROYAL LANCASTRIAN LUSTRE ARBARELLO VASE, 1923

lustre-glazed earthenware, painted artist’s monogram and date to the base, impressed makers mark stamped 2533

208

HENRY WILSON (1864-1934)

ARTS & CRAFTS NECKLACE, CIRCA 1905

white metal, enamel, opal cabochons 36.5cm long

Note: Henry Wilson (1864-1934) like many other Arts and Crafts designers, trained as an architect. His interest in metalwork began in the early 1890s and his designs were distinctive with their use of rich coloured enamels and opal stones. Wilson often employed the subject of Diana the huntress in his work, represented here with bow and arrow, and with accompanying stag and hound.

£2,500-3,500

209

JAMES CROMAR WATT (1862-1940)

ARTS & CRAFTS NECKLACE, CIRCA 1905

yellow metal, set with enamels, seed and blister pearls 40cm long

Literature: Gere C. and Munn G. C. Pre-Raphaelite to Arts and Crafts Jewellery, Antique Collectors Club 1996, p. 40, pl. 15

Note: James Cromar Watt was born in Aberdeen. He worked in precious metals and developed particular skills in the ancient techniques of gold granulation and translucent foiled enamelling. His work was exhibited in Turin in 1902 and was illustrated in the Art Journal periodical of the time. Some of his pieces were strongly influenced by the enamel work of Phoebe Traquair and some were designed in association with the painter and stained glass artist, Douglas Strachan. His work is predominantly in the collection of Aberdeen Art Gallery & Museum.

£1,500-2,000

May 15th 1914, p. 300 where a pendant of this design is illustrated silver, set with cabochons of blue chalcedony, green chalcedony and garnets, stamped maker’s mark SD, hallmarked London 1961, pendant including bale 7cm tall, length of later chain 42cm; together with another ARTS & CRAFTS PENDANT, silver with moonstone drops, pendant 5cm tall, 43cm long including chain (2)

214

WILLIAM HATHERELL (1855-1928)

JULIET ‘THE CLOCK STRUCK NINE WHEN I DID SEND THE NURSE; IN HALF AN HOUR SHE PROMISED TO RETURN’

watercolour, signed lower left W. HATHERELL

33cm x 22cm (frame size 67.5cm x 52cm)

Note: This watercolour is one of twenty-two Hatherell painted for the Hodder & Stoughton 1912 edition of Shakespeare’s ‘Romeo and Juliet’

The Tate hold one illustration of Hatherell’s from this set.

£1,500-2,000

215

WILLIAM HATHERELL (1855-1928)

JULIET ‘IN FAIR VERONA

WHERE WE LAY OUR SCENE’

watercolour, signed lower left W. HATHERELL

32cm x 20cm (frame size 65cm x 54.5cm)

£600-800

216

WILLIAM HATHERELL (1855-1928)

CAPULET ‘HANG THEE, YOUNG BAGGAGE! DISOBEDIENT WRETCH! ... GET THEE TO CHURCH O’ THURSDAY’

watercolour, signed lower right W. HATHERELL

31cm x 21.5cm, (frame size 52cm x 41.5cm)

Exhibited: London, Royal Institute of Painters in Watercolours, no. 2 (label to backboard)

£500-800

217

WILLIAM HATHERELL (18551928) (ILLUSTRATOR)

SHAKESPEARE’S TRAGEDY OF ROMEO AND JULIET

London: Hodder & Stoughton, [1912]. First edition thus, deluxe issue, 129 of 250 copies signed by the artist, 4to, original pictorial vellum gilt, top edge gilt, others untrimmed, 22 tipped-in colour plates, ties missing, 28.8cm x 24cm

£200-300

218

CONTINENTAL

JUGENDSTIL PENDANT NECKLACE, 1904

9-carat-gold, with turquoise cabochons, stamped MS/ 375 with import marks for Max Stollsteimer 1904, in a Liberty & Co. box

pendant 5.5cm long, chain length 42cm £500-700

219

MURRLE, BENNETT & CO., LONDON

PENDANT NECKLACE, CIRCA 1905-10

silver, set with enamels, stamped MBCo and 950

pendant 4cm long, chain length 42.5cm £300-500

221

MURRLE BENNETT & CO., LONDON

ART NOUVEAU PENDANT, CIRCA 1905

silver, set with with pink tourmaline, stamped 950/ MBCo

pendant 6cm long, chain length 48cm

220

ATTRIBUTED TO LIBERTY & CO., LONDON NECKLACE, CIRCA 1900

gilt metal, set with enamel and pearl drops, within Liberty & Co. box chain 40cm long

£500-800

222

ATTRIBUTED TO H. G. MURPHY (1884-1939)

ARTS & CRAFTS BROOCH, CIRCA 1930

white metal, with inset garnet cabochon 6.5cm long £400-600

£400-600

224

223

KATE HARRIS (1878-1949) FOR W.G. CONNELL MUSTARD POT, 1900

silver with blue glass liner, maker’s mark WGC, hallmarked London, 1900, registered design no. 322249,inscribed ‘W. G. Connell, 83 Cheapside, London’ 6.5cm high

£300-500

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

MILK JUG, 1901

silver, stamped maker’s mark, hallmarked London 1901, registered design no. 322249 7cm high

£300-500

225

KATE HARRIS (BRITISH 1878-1949) FOR THE ART UNION OF LONDON INKSTAND, 1902

plated copper and brass, signed ART UNION OF LONDON 1902 and KATIE J HARRIS

34.5cm wide, 19.7cm deep

£800-1,200

silver and glass, stamped makers marks hallmarked London 1903 (2) 13cm high

£300-400

silver, stamped maker’s marks, hallmarked London 1899 12.8cm wide, weight 10.8oz

£600-800

228

AFTER ARCHIBALD KNOX

JUGENDSTIL PENDANT, CIRCA 1905

silver, amazonite and seed pearl, with indistinct incised marks verso

pendant 7cm long, chain length 51cm

£400-600

229

LIBERTY & CO., LONDON

‘TUDRIC’ MANTEL CLOCK, CIRCA 1910 pewter, enamel, stamped mark 0367

16.5cm high

£1,500-2,000

230

ARCHIBALD KNOX (1864-1933)

FOR LIBERTY & CO., LONDON

‘CYMRIC’ HAND MIRROR, 1904

silver with bevelled mirror plate, stamped makers marks L&CO;/ CYMRIC, hallmarked Birmingham 1904

26.2cm long

£300-400

231

KATE BARWELL

THE ROYAL BOROUGH OF KENSINGTON, 1934

pen and ink, on vellum, inscribed MAP BY KATE BARWELL/ DONE DURING

DIPLOMA 1934

37.5cm x 64cm (frame size 41.5cm x 68cm)

£400-600

JOHN HASSALL (1868-1948) FOR LIBERTY & CO., LONDON

FOUR ‘PETER PAN’ SERIES NURSERY PRINTS, CIRCA 1905 in oak frames, comprising ‘THE APPROACH OF THE INDIANS’; ’THE DEFEAT OF THE PIRATE’; ‘THE BUILDING OF THE HOUSE’; and ‘THE ARRIVAL OF PETER PAN’ (4)

26.5cm x 70cm (frame size 42cm x 85cm)

£300-500

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

‘CULLODEN’ SIDEBOARD, CIRCA 1906

oak, with leaded and glazed glass and bullseye glass 204cm wide, 186.5cm high, 61.5cm deep

£1,800-2,200

235

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

PAIR OF ‘TUDRIC’ CANDLESTICKS, CIRCA 1905 pewter, stamped makers marks MADE IN ENGLAND/ ENGLISH PEWTER/ LIBERTY & CO/ 0223 (2) 23.5cm high

£500-700

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

TUDRIC TWO-HANDLED POSY VASE, CIRCA 1902

pewter with Clutha glass bowl, by James Couper of Glasgow, stamped mark TUDRIC 0583 10cm high, 13.5cm wide overall

Literature: Martin, Stephen, ‘Archibald Knox’, 2001, p. 204-5, illustrations of similar examples

£300-500

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

TWO ‘TUDRIC’ BOWLS, CIRCA 1900

the larger, pewter with green glass liner, stamped mark ENGLISH PEWTER/ 0924/ MADE IN ENGLAND, 18.5cm wide, the smaller 13cm diameter (2)

£400-600

239

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

‘TUDRIC’ DECANTER, CIRCA 1905

pewter with green glass, stamped maker’s mark

R2427516/ TUDRIC/ 0308

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

‘TUDRIC’ DECANTER AND STOPPER, CIRCA 1905

pewter and glass

30.5cm high

£250-350

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

PAIR OF TUDRIC ‘BULLET’ VASES, CIRCA 1900

pewter, with green glass liners, stamped maker’s marks TUDRIC/ 0226/ MADE IN ENGLAND (2)

17.5cm high

£400-600

240

JOHN HASSALL (1868-1948) FOR LIBERTY & CO., LONDON ‘MORNING’, ‘NOON’ & ‘NIGHT’ , CIRCA 1910

lithographic prints, framed (3) 65cm x 22cm (frame size 75cm x 32.5cm) £600-800

LIBERTY & CO., LONDON

ARTS & CRAFTS BOOKCASE CABINET, CIRCA 1910

oak, with glazed and leaded panels, bears ivorine maker’s label verso LIBERTY LONDON, comes with key 183cm wide, 120cm high, 26.3cm deep £1,000-1,500

ENGLISH

MATCHED SET OF THREE ARTS & CRAFTS CEILING LIGHTS, CIRCA 1910 AND LATER opalescent glass, with later brass elements, comprising a pair and one single similar (3) 43cm high excluding chain, 26cm diameter £500-700

243

ARTHUR W. SIMPSON (1857-1922), KENDAL ARTS & CRAFTS WALL MIRROR, CIRCA 1910 carved oak, with bevelled mirror plate, applied makers label verso 55cm x 39.5cm £400-600

244

ARTHUR W. SIMPSON (1857-1922), KENDAL ARTS & CRAFTS TRAY ON STAND, CIRCA 1910 oak, inset maker’s label under base 61cm diameter, 65.5cm high

245

ARTHUR W. SIMPSON (1857-1922) OF KENDAL PAIR OF ARTS & CRAFTS ARMCHAIRS, CIRCA 1920 oak, with close-nailed leather seats (2) 63.5cm wide, 124.5cm high, 64.5cm deep £600-800

247

ATTRIBUTED TO LIBERTY & CO., LONDON ‘THEBES STYLE SIDE CHAIR, CIRCA 1890 mahogany, with close nailed leather upholstery 45cm wide, 97cm high, 42cm deep

246

ENGLISH

ARTS & CRAFTS WALL MIRROR, CIRCA 1910 repoussé-decorated copper, mirror plate 89.5cm x 77cm

248

ENGLISH

ARTS & CRAFTS COAL BOX/STOOL, CIRCA 1900 mahogany with brass mounts and upholstered hinged lid, with lined interior 35cm square, 41cm high

£400-600

£300-500

£200-400

249

ENGLISH

250

50cm wide, 81cm high, 7cm deep

ARCHIBALD

ARTHUR

58cm diameter, 67.5cm high

70cm wide, 48cm high, 30cm deep £300-500

GARDEN WALL PLAQUE, EARLY 20TH CENTURY

carved stone

£400-600

W. SIMPSON (1857-1922), KENDAL ARTS & CRAFTS OCCASIONAL TABLE, CIRCA 1920

inlaid oak

£400-600

KNOX (1864-1933) FOR LIBERTY & CO., LONDON PAIR OF ‘OTLEY BELLOWS, CIRCA 1920 oak, with close nailed leather 77cm long £300-400

254

ENGLISH

BIRMINGHAM GUILD OF HANDICRAFT

TABLE LAMP, CIRCA 1908 brass, stamped maker’s mark BGH

56cm high

Literature: Crawford A. (edit.)

By Hammer and Hand: The Arts & Crafts Movement in Birmingham, Birmingham Museums 1984, p. 101, pl. 80 where a similar fitting is shown on the Birmingham Guild stand at the Midlands Counties Building Trades Exhibition of 1908.

£1,500-2,000

ARTS & CRAFTS CEILING LIGHT, CIRCA 1900 silvered metal, includes ceiling rose and chain, 64cm diameter, 126cm high excluding chain; together with TWO MATCHING WALL SCONCES ensuite, backplate 37.5cm high, 27cm deep (3)

£800-1,200

255

FRED FOSTER (1885-1968) FOR ARTHUR W. SIMPSON, KENDAL METAMORPHIC OCCASIONAL TABLE, 1930S walnut

closed 56.5cm wide, 59cm high, 30cm deep, open 90cm wide

£800-1,200

256

BIRMINGHAM GUILD OF HANDICRAFT

ARTS & CRAFTS

ADJUSTABLE TABLE

LAMP, CIRCA 1900

hammered and riveted brass, later pleated silk shade

32cm high to fitting £1,000-1,500

257

KESWICK SCHOOL OF INDUSTRIAL ARTS

ARTS & CRAFTS WALL

MIRROR, CIRCA 1900

copper, velvet covered wood, bevelled mirror plate, stamped maker’s marks

81cm x 66cm £700-900

259

ATTRIBUTED TO ARTHUR W. SIMPSON, KENDAL TWO ARTS & CRAFTS RECLINING LOUNGE CHAIRS, CIRCA 1910

258

MANNER OF BIRMINGHAM GUILD OF HANDICRAFT

TABLE LAMP, CIRCA 1900

brass, with opalescent glass shade 48cm high £400-600

one mahogany, with rush seat, stamped to the seat rail 2004, 76.5cm wide, 100cm high, 78cm deep; the other mahogany with ebony inlaid initials

HIP to back, rush seat, 70.5cm wide, 97.5cm high, 83cm deep (2)

Literature: Agius P. British Furniture 1880 -1915 p. 104 for an example by Simpson, Kendal.

Note: This Studio armchair and its near pair with the initials HIP inlaid in ebony on the back, is close to a design by Arthur Simpson, exhibited in the 1896 Arts and Crafts Exhibition. The chair with the inlaid initials was bought in Bearnes, Torquay on 3rd October 1990 for £800. £600-800

260

ARTHUR W. SIMPSON (1857-1922), KENDAL PAIR OF ARTS & CRAFTS BELLOWS, CIRCA 1920 oak, close-nailed leather 83cm long

261

ARTHUR W. SIMPSON (1857-1922), KENDAL OCCASIONAL TABLE, CIRCA 1920

carved oak

51.5cm diameter, 51cm high £400-600

262

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; an 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.

£600-800

£300-400

264

STANLEY WEBB DAVIES (1894-1978)

ARTS & CRAFTS ARMCHAIR, 1925

263

STANLEY WEBB DAVIES (1894–1978)

OCCASIONAL TABLE, 1955

oak, incised maker’s mark and date SWD/ 1955, with cabinetmaker’s monogram

40.5cm square, 71cm high

oak with woven leather drop-in seat, carved designer’s monogram and artisan’s monogram, dated 1925

62.3cm wide, 95.5cm high, 52cm deep £800-1,200

TWO STOOLS, CIRCA 1920

oak with leather seat, both with maker’s label, one stamped 7816, 41cm wide, 31.5cm deep, 31cm high, the other 8000, 41cm wide, 30.5cm deep, 51cm high (2)

266

ARTHUR W. SIMPSON (1857-1922), KENDAL

SMALL DROP-LEAF OCCASIONAL TABLE, CIRCA 1930

45.5cm square open, 49.5cm high

£300-500

oak

£300-400

£500-700

DAY TWO: THURSDAY 18 APRIL 2024 FROM 10AM

267

WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY

LARGE ‘LATE FLORIAN’ VASE, 1919

glazed earthenware, stamped maker’s mark, signed and dated W. MOORCROFT/ 1919, with associated hardwood stand 40cm high

Literature: Atterbury P. Moorcroft 1897-1993 Richard Dennis 2002, p. 87, fig. 3 where this vase is illustrated.

£3,000-5,000

WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY

LARGE AND RARE ‘SPANISH’ PATTERN GINGER JAR LAMP BASE, 1914

glazed earthenware, impressed maker’s marks, signed and dated to base, W. MOORCROFT/ 1914, with associated hardwood stand 33cm high

Literature: Atterbury P. Moorcroft 1897-1993 Richard Dennis 2002, p. 83, fig. 2 where this vase is illustrated.

£2,000-3,000

AMBROSE HEAL (1872-1959)

FOR HEAL & SON, LONDON

DINING ROOM SUITE, CIRCA 1918

mahogany and ebonised wood, comprising; DINING TABLE, 122cm long closed, 122cm deep, 76cm high, 229cm long fully extended; TWO CARVERS, 51cm wide, 51cm deep, 92cm high and SIX SIDE CHAIRS, 46cm wide, 46cm deep, 88cm high (9)

Literature: Heal, Oliver S. Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939, Unicorn 2014, p. 189, where a ‘678’ sideboard with similar ‘ebonized trellis-work design’ is illustrated.

272

HEAL & SON, LONDON

CABINET ON STAND, CIRCA 1930

oak with brass fittings, stamped twice to reverse 1844, inset maker’s label to drawer, key present

96cm wide, 140.5cm high, 50cm deep

£1,200-1,800

270

WILLIAM MOORCROFT (1872-1945)

FOR MOORCROFT POTTERY

FLAMBÉ VASE, CIRCA 1930

glazed earthenware, impressed maker’s mark, signed W. MOORCROFT, applied paper label

25.5cm high

£300-500

WILLIAM MOORCROFT (1872-1945)

FOR MOORCROFT POTTERY

‘SPANISH’ PATTERN VASE, CIRCA 1925

painted and glazed earthenware, impressed maker’s mark, signed W. MOORCROFT

26cm high

£800-1,200

HEAL & SON, LONDON

ARTS & CRAFTS BOOKCASE, CIRCA 1920

53.3cm wide, 120cm high, 17.5cm deep

HEAL & SON, LONDON

ARTS & CRAFTS BOOKCASE, CIRCA 1920

50cm wide, 120cm high, 17.5cm deep £300-500

276

HEAL & SON, LONDON

ARTS & CRAFTS ‘LETCHWORTH’ CHEST OF DRAWERS, CIRCA 1905

Cuban mahogany, brass fittings

125cm wide, 74cm high, 50cm deep

Literature: Heal, Oliver S. Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939, Unicorn 2014, p. 175 where a similar example is illustrated. £500-800

275

ATTRIBUTED TO GORDON RUSSELL (1892-1980)

CHEST OF DRAWERS, CIRCA 1920

oak

91cm wide, 84cm high, 46.5cm deep £600-800

277

WILLIAM MOORCROFT (1872-1945) FOR LIBERTY & CO., LONDON AND SHREVE & CO., SAN FRANCISCO

ASSEMBLED THREE-PIECE TEA SERVICE, CIRCA 1905

comprising a TEAPOT, MILK JUG and SUGAR BOWL, glazed earthenware and white metal, signed (to base), the teapot with manufacturer’s stamp and numbered 482777 (3)

the teapot 17cm high (6 ¾in high)

£3,000-5,000

278

WILLIAM MOORCROFT (1872-1945)

FOR JAMES MACINTYRE & CO.

‘FLORIAN WARE’ VASE, CIRCA 1900

glazed earthenware, printed maker’s mark signed in green 14.5cm high

FOR MOORCROFT POTTERY

‘BIG POPPY’ PATTERN BOX AND COVER, 1926 glazed earthenware, signed and dated and with manufacturer’s stamp (to base) 11cm high, 16cm wide

Provenance: Collection of Hugh Edwards

Literature: Atterbury P. Moorcroft Pottery 1897-1993, Richard Dennis and Hugh Edwards 2008, p. 121 fig. 1.

£1,000-1,500

280

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

‘FLORIAN’ VASE, CIRCA 1910

glazed earthenware, printed maker’s mark, stamped 348, signed W. MOORCROFT 19cm high

£600-800

283

HEAL & SON, LONDON

ARTS & CRAFTS CHEST OF DRAWERS, CIRCA 1910

oak with iron fittings, bears Maple & Co. retailer’s label to drawer

105cm wide, 103cm high, 50.5cm deep

£600-800

WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY

'POMEGRANATE' PATTERN ASSEMBLED AND BOXED COFFEE SET, CIRCA 1914

glazed earthenware, silver, comprising six cups, six saucers, and six spoons, impressed maker’s marks, signed with initials W.M., and signed W. MOORCROFT, one dated 1914, the spoons hallmarked for Sheffield 1919, all within fitted box with printed retailer’s mark MARTIN WILKINSON, MANSFIELD

smaller cups 4.8cm high, 4.7cm diameter, larger cups 5.1cm high, 4.8cm diameter; saucers 10cm diameter

Literature: Atterbury P. Moorcroft Pottery 1897-1993, Richard Dennis and Hugh Edwards 2008, P. 144, fig. 1 £800-1,200

282

HEAL & SON, LONDON

ART & CRAFTS ‘LETCHWORTH’ DRESSING CHEST, CIRCA 1910

limed oak with mirrored plate

76cm wide, 141.5cm high, 47.5cm deep

£500-800

284

HEAL

& SON, RETAILER REFORMED GOTHIC CHEST OF DRAWERS, CIRCA 1890

ash, with parquetry inlay and brass fittings, stamped to the top drawer HEAL & SON LONDON

122cm wide, 107.5cm high, 54.5cm deep

£500-700

285

HEAL & SON, LONDON

PAIR OF BEDSIDE CABINETS, CIRCA 1930

oak and oak ply, maker’s label inset to top drawer of one cabinet (2)

RACHEL BISHOP (B. 1979) FOR MOORCROFT POTTERY JARDINIÈRE AND STAND,

glazed earthenware, stamped maker’s marks, signed R. J.

TALLBOY CHEST, CIRCA 1930

limed oak, with inset maker’s label to top drawer

91cm wide, 152.5cm high, 48cm deep

£1,200-1,800

288

HEAL & SON, LONDON

SIDEBOARD, CIRCA 1920

oak, bears ivorine maker’s label to the drawer

122cm wide, 105cm high, 47cm deep

£300-500

289

CHARLES RENNIE MACKINTOSH (1868-1928)

‘GRASS HYACINTHE’, 1915 pencil and watercolour, signed with initials CRM and MMM, inscribed and dated lower centre GRASS

HYACINTHE/ WALBERSWICK/ 1915

27cm x 20cm (frame size 42cm x 35cm)

Provenance: Cyril Gerber Fine Art, Glasgow

Collection of Donald and Eleanor Taffner

Private Collection

£20,000-30,000

Note: Charles Rennie Mackintosh is today celebrated as a leading pioneer of modernism and his 1915 enigmatic pencil and watercolour sketch ‘Hyacinthe’, dates from a period of great change and turbulence for the artist. In June 1914, he and his wife Margaret Macdonald travelled from Glasgow to the Suffolk coastal town of Walberswick, economic recession having rendered Mackintosh’s home city increasingly hostile to his architectural business. The firm of which he was a partner had completed the celebrated Glasgow School of Art in 1909, but by the mid 1910’s was struggling to find work. Having split from the firm, Mackintosh journeyed to East Anglia for a countryside escape. ‘Hyacinthe’ is one of around thirty to forty similar works executed during his stay. It has been suggested that the series was commissioned by a German publisher, the progress of the prospective publication halted by the advent of World War I. Like many coastal towns in Britain, Walberswick became an artists’ retreat during the summer months, providing solace and inspiration to creatives including Philip Wilson Steer, E. A. Walton and Mary Newbery. Mary Newbery, was the daughter of Frances Newbery, headmaster at the Glasgow School of Art and friend of Mackintosh. It is thought that the Newberys encouraged Mackintosh to paint to help him come to terms with his disappointment and to heal his soul. Pencil and paper sketches were not a novel form to

Mackintosh, and in many ways represented a return to his former oeuvre. From his student days in the 1880s, he used sketches to process design ideas. His early drawings were more technical and regularly harnessed by the young artist as a means of experimenting with stylised plant forms to create patterns. Furthermore, nature-based subjects were familiar to the artist, having sketched the flora of his surroundings whilst on holidays in Britain and beyond from 1901. The Walberswick sketches, however, represent a shift in artistic style. Gone are the architectural explorations, replaced instead with a marriage of the technical botanical drawing and free, creative expression of the natural world. ‘Hyacinthe’ bears not only the monogram signature of Charles but also that of his wife Margaret, confirming her presence at the time of painting. The misspelled plant name is a common feature in his work, leading to speculation that he was dyslexic. The stay at Walberswick lasted fourteen months, its end only prompted by Charles’ arrest on suspicion of being a German spy, such was his tendency to study the East Anglian coastal landscape which aroused the suspicions of the local community. Artistically however it provided the artist with an opportunity to sharpen the clarity of his artistic vision, with many followers believing the Walberswick sketches to be amongst his finest works.

290

CHARLES RENNIE MACKINTOSH (1868-1928)

SKETCH FOR A BLOCK OF STUDIOS AND FLATS FOR THE ARTS LEAGUE OF SERVICE, GLEBE PLACE, CHELSEA pencil and bodycolour on tracing paper, laid down on board 13cm x 12.5cm (frame size 24cm x 28.5cm)

Provenance: The artist, by whom given to Major Desmond Chapman-Huston, by whom given to Francis Webb Private Collection

Exhibited: Glasgow, McLellan Galleries, Mackintosh Memorial Exhibition, May 1933. £15,000-20,000

Note: In early 1920, Mackintosh received several commissions for buildings on the site of Old Chelsea House, including designs for three studios for Arthur Cadogan Blunt, Harold Squire and Francis Derwent Wood. The Arts League of Service also commissioned this block of studios and flats for the south side of Glebe Place, facing Upper Cheyne Row. Founded in a spirit of idealism after the First World War, the Arts League of Service set itself the task of ‘placing within the reach of everyone higher forms of entertainment, and opportunities for the enjoyment of any art or craft’, and set out to bring the arts into everyday life. The dramatic design was never executed as the Arts League ran out of money, but its experimental form is one of Mackintosh’s most compelling late schemes.

291

CHARLES RENNIE MACKINTOSH (1868-1928)

BOOKPLATE: EX LIBRIS JOHN KEPPIE

print, signed CRM, inscribed EX LIBRIS - JOHN KEPPIE, on paste-down endpaper of Catalogue of the National Museum of Antiquities of Scotland, 1892, cloth covered boards with pasted title to spine

10.1cm x 6.3cm

£500-800

293

ANNA MUTHESIUS (1870-1961)

DAS EIGENKLEID DER FRAU, 1903

292

MARGARET MACDONALD MACKINTOSH (1865-1933)

BOOKPLATE FOR JOHN EDWARDS, 1896

printed paper, pasted into the inside cover of THE WORKS OF GEOFFREY CHAUCER, edited by WW Skeat, Clarendon Press, Oxford, 1894

11.8cm x 9cm

£500-800

84 pp., with 14 plates, cover illustration and remains of original green silk ties. Krefeld, Kramer & Baum, 1903. 16cm x 12.8cm

Note: This book bears an Art Nouveau binding designed by Frances Macdonald McNair, who with her husband J. Herbert McNair, Charles Rennie Mackintosh and Margaret Macdonald Mackintosh made up a group of radical artists and designers known as ‘The Four’. The author Anna Muthesius and her husband Hermann, the architectural writer, became close friends with the ‘The Four’ after several trips to Glasgow and the Willow Tearooms. The book is considered a seminal text in the development of early twentiethcentury women’s fashion. Muthesius believed women should have the freedom to choose their own clothes, styling and fabrics. Emphasis was placed on the rejection of the heavy, restrictive Victorian fashions of the day. The movement was also political in its aims, and part of wider societal moves to liberate women in both the public and private spheres. The book and the form of dressing that it championed represented an outlet for radical expression for women and aligned itself well with McNair’s artistic representation of the female form. The dresses were usually made by their designers and the book includes plates showing the Macdonald sisters wearing such dresses along with similar examples designed by Jessie Newbery and worn by her daughters, Mary and Elsie. The original pencil drawing for the cover image was sold in these rooms on 3rd November 2020, lot 361.

£600-800

CHARLES RENNIE MACKINTOSH (1868-1928)

EASEL FOR THE GLAGSOW SCHOOL OF ART, CIRCA 1910

76cm wide, 238cm high, 73cm deep

Billcliffe R. Charles Rennie Mackintosh, The Complete Furniture, Furniture Drawings and Interior Designs, Moffatt 2009, pp. 258-9, 1910. 10 illus.

295

GLASGOW SCHOOL OF ART STOOL, CIRCA 1910

oak

36.5cm wide, 48cm high, 22cm deep

Note: Seen in a contemporary image of the studios at the School of Art, these stools with their simple planked construction and arched bracket supports are designed in keeping with other elements of the original commission. £300-500

296

ATTRIBUTED TO ANN MACBETH (1875-1948)

GLASGOW SCHOOL EMBROIDERED APPLIQUÉ PANEL, CIRCA 1900

coloured silks reserved on a silk satin ground, worked with a verse from Samuel Taylor Coleridge’s Rhyme of the Ancient Mariner, HE PRAYETH BEST WHO/ LOVETH BEST ALL

THINGS/ BOTH GREAT AND SMALL/ FOR THE GREAT GOD WHO LOVETH US HE/ MADE AND LOVETH ALL

45.5 x 52cm, (frame size 55.5 x 62cm)

£1,500-2,000

297

ATTRIBUTED TO TEMPLETONS, GLASGOW

PAIR OF GLASGOW SCHOOL RUGS, CIRCA 1910

tufted wool (2)

88.5cm x 158cm

£600-800

SCOTTISH

PAIR OF GLASGOW SCHOOL CANDLE

SCONCES, CIRCA 1910

repoussé-decorated brass (2)

‘PHILIPPINES’ SIDE CHAIR, CIRCA 1902 walnut, with gilt embellishment, caned seat and back 124cm high

Literature: Moon K. George Walton: Designer and Architect, Oxford 1993, p. 120, pl. 157

Note: Walton decorated the drawing-room at The Philippines from 1902, and the scheme marked a change of direction in his work to a more formal, classical style.

£1,000-1,500

SET OF CHAIRS FOR JOHN ROWNTREES CAFE, SCARBOROUGH, CIRCA 1900

comprising two carvers and four side chairs, carver 62.5cm wide, 92cm high, 49cm deep, side chair 45.5cm wide, 91cm high, 44cm deep

Literature: Moon K. George Walton: Designer and Architect, Oxford 1993, page 47-48, illus. no. 54

Note: These chairs were made for John Rowntree’s cafe in Scarborough where Walton developed a new style of furniture based on the French 17th century ‘caquetoire’ style. This French renaissance style was popular in Scotland in the 16th century and the strong links between the two countries ensured the style flourished well into the 17th century. These chairs would still have been seen in the more aristocratic homes in Scotland in the late 19th century and Walton here has taken the basic form and adapted it with the use of rushing to lighten the effect of the construction.

£800-1,200

301

GEORGE WALTON (1867-1933)

WALL PANEL, CIRCA 1890

repoussé-decorated copper, pewter, coloured glass, bears painted maker’s mark lower right

GEORGE WALTON & CO., LTD/ DECORATORS, GLASS STAINERS/ AND CABINETMAKERS/ GLASGOW, later frame 53cm x 45.4cm (frame size 64.5cm x 56.5cm)

Literature: Moon K. George Walton: Designer and Architect, White Cockade 1993 Glasgow Museums - Collections Navigator, collections. glasgowmuseums. com, 2016 ‘Miss Cranston’, Glasgowlife. org. uk, 2016 £1,500-2,000

Note: This rare wall panel by George Walton (1867-1933) is characteristic of his work as a designer and decorator in the context of Glasgow’s artistic avant-garde during the late 19th century. Walton was a pioneering influence on the distinctive ‘Glasgow Style’, experimenting with mixed media wall panels and stained glass, such as this example of a glass mosaic overlaid with copper and pewter. Similar examples can be seen in his work for Miss Cranston’s tearooms at Argyle Street, for which he was commissioned, together with Charles Rennie Mackintosh (1868-1928), to redesign the interior in 1888. Walton’s panels combined coloured glass with bright beaten copper, creating light and reflective three-dimensional surfaces. Walton chose coloured glass for its distinct material characteristics which did not need to be overpainted.

Following this, George Walton & Co, Ecclesiastical and House Decorators, expanded to include the design and production of woodwork, furniture and stained glass. Walton, influenced by William Morris (1934-1896) and James Whistler (1834-1903), went on to work in almost every area of the decorative arts including; stencilling, fabrics, fireplaces, carpets, glassware and graphics to name a few, before finishing his diverse and innovative career as an architect.

303

SCOTTISH

THREE GLASGOW SCHOOL

FINGER PLATES, CIRCA 1900

repoussé-decorated brass (3) each 46.5cm x 8.5cm

302

MARGARET GILMOUR (1860-1942)

GLASGOW SCHOOL FITTED BOX, CIRCA 1910

repoussé-decorated brass, set with enamel, with wood-lined and brass fitted interior, signed with monogram MG 29cm wide, 13.5cm high, 19.5cm deep £1,000-1,500

305

304

GLASGOW SCHOOL SHALLOW DISH, CIRCA 1910

repoussé-decorated brass, stamped MG monogram, 19.5cm square; together with a GLASGOW SCHOOL PLANTER, repoussé-decorated brass, with applied ring handles, 23cm across (2)

£250-350

MARGARET GILMOUR (1860-1942)

£300-500

308 SCOTTISH

306

AGNES BANKIER HARVEY (1873-1947)

PERSONAL PHOTOGRAPH ALBUM

including images of Jessie M. King, Agnes B. Harvey and E. A. Taylor and the Greengate coterie at home, dressing up, sailing etc.

307

AGNES BANKIER HARVEY (1873-1947)

LARGE GLASGOW SCHOOL WALL

SCONCE, CIRCA 1900

repoussé-decorated brass 16cm wide, 38cm high, 9cm deep

GLASGOW SCHOOL PLANTER, CIRCA 1900

repoussé-decorated white metal, with removeable liner 35cm across

309

AGNES BANKIER HARVEY (1873-1947)

GROUP OF THREE GLASGOW SCHOOL WALL

SCONCES, CIRCA 1900

repoussé-decorated brass (3) 30.5cm high

£300-500

£600-800

£300-500

£300-500

COLLECTION OF BOOKS AND CATALOGUES

E. A. TAYLOR (1874-1951) FOR WYLIE & LOCHHEAD, GLASGOW

RARE OAK BUREAU CHEST, CIRCA 1900

oak, stained, mirrored and leaded glass, with silvered metal fittings and leather writing surface

72cm wide, 134cm high, 50cm deep

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. He worked for Wylie & Lochhead from around this time where his furniture designs 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. This rare cabinet by Taylor combines his skills as a furniture maker and stained glass designer.

£4,000-6,000

Blair, Matthew, The Paisley Thread, Paisley: Alexander Gardner; Howarth, Thomas, Charles Rennie Mackintosh and the Modern Movement, Glasgow University Publications; Scottish Art Review, vol. XIV no.4, Glasgow Art Gallery and Museums Association; ‘Charles Rennie Mackintosh (1868-1928): Architecture, Design and Painting’ (Exhibition Catalogue, Edinburgh Festival, 1968); Billcliffe, Roger, Mackintosh Watercolours, Glasgow Art Gallery in association with The Fine Art Society; Charles Rennie Mackintosh, Five Flower Drawings, 915/1000, published May 1979 by Alexander Woodrow & Son Ltd; Burkhauser Jude (ed.), Glasgow Girls: Women in Art and Design 1880-1920, Canongate; White, Colin, The Enchanted World of Jessie M. King, Canongate; McCardel, James, New Kilpatrick Parish and its Story, Bell and Bain Limited, Glasgow;‘Jessie M. King (1875-1949)’ 1971-2, The Scottish Arts Council; ‘The Royal Glasgow Institute of The Fine Arts, Catalogue of the Seventy-Fourth Exhibition’, 1935, McLellan Galleries, Glasgow; ‘Glasgow Society of Lady Artists, in 1882’, Glasgow Society of Women Artists; Holme, C. Geoffrey, Artists’ Country, London: The Studio Ltd.; ‘Jessie Marion King’, Barclay Lennie Fine Art Ltd, 1989; Holme, Charles (ed.) Paris Past and Present, Special Autumn Number of ‘The Studio’ 1915; The Studio, Special Winter-Number 1899-1900; The Studio Magazine, vols. 60-61 (10) (17)

£300-500

ATTRIBUTED TO JAMES SALMON (1874-1924) HALLSTAND, CIRCA 1890

oak, bevelled mirror plate and brass fittings 109.5cm wide, 210.5cm high, 47cm deep £600-800

oak, marble with silvered metal fittings, doors inset with painted plaster panels inscribed ‘wake up’ and ‘good night’ 107cm wide, 82.3cm high, 56cm deep £600-800 312

313

E. A. TAYLOR (18741951) FOR WYLIE & LOCHHEAD

GLASGOW SCHOOL

BEDSIDE CABINET, CIRCA 1900

mahogany, with silvered brass fittings 85cm wide, 41cm high £300-500

314

E. A. TAYLOR (1874-1951) FOR WYLIE & LOCHHEAD

GLASGOW SCHOOL WASHSTAND, CIRCA 1900

315

JESSIE KEPPIE (SCOTTISH, 1868-1951)

‘PANSIES’

watercolour, signed and dated JESSIE KEPPIE 1895 45.5cm x 32.5cm (frame size 57cm x 43cm)

£500-800

316

ATTRIBUTED TO MARGARET THOMSON WILSON (1864–1912)

GLASGOW SCHOOL STANDING CLOCK, CIRCA 1900

repoussé-decorated brass dial, stained beech case dial 50.5cm x 47cm, case 78cm wide, 211cm high, 41cm deep

Note: Margaret Thomson Wilson attended Glasgow School of Art where she met fellow art student James Hamilton Mackenzie (1875-1826); the pair married in 1907 and set up a home and studio at 24 Sandyford Place. They travelled to Italy to paint and exhibited at the RSA, RGIFA and RSW. Margaret also designed jewellery, embroidery, and metalwork. One of her best-known works is a standing clock, similar to the present lot, and held by Glasgow Museums (Collection, ID Number E. 2003. 2)

£1,000-1,500

318

SCOTTISH

ARTS & CRAFTS WALL MIRROR, CIRCA 1910 repoussé-decorated tin, set with glazed ceramic panels, bevelled mirror plate

71cm x 83.5cm

£400-600

317

MANNER OF PETER WYLIE DAVIDSON

WALL CLOCK, CIRCA 1900

copper, brass, the pierced chapters with tiled backs

40cm wide, 51cm high excluding pendulum

£400-600

319

GLASGOW SCHOOL

EMBROIDERED

PANEL, CIRCA 1900

coloured silks on an unbleached linen ground

53cm x 43cm (frame size 61cm x 51cm)

£400-600

320

WYLIE & LOCHHEAD, GLASGOW

ARTS & CRAFTS TUB CHAIR, CIRCA 1920 oak, bears maker’s label, stamped 8223/15 51cm wide, 63cm high, 48cm deep

£300-500

321

JESSIE

MARION KING (1875-1949)

FRONTISPIECE FOR ‘L’EVANGILE DE L’ENFANCE’, 1902

pen and ink on vellum

29cm x 20cm (frame size 45.5cm x 35.2cm)

Provenance: Collection of Major J. R. Abbey

Paul Grinke Esq., London

Private Collection

Exhibited: The Scottish Arts Council Jessie M King 1875–1949, touring exhibition, 1971, no. 3a

Literature: The Studio, volume XXVI, 1902, p. 185 illustrated

White C. The Enchanted World of Jessie M King, Canongate 1989, p. 33, pl. 28 illustrated

£20,000-30,000

Note: This remarkable Art Nouveau drawing by Jessie M. King was the frontispiece design for ‘L’Evangile de L’Enfance’, for which she designed the binding and illustrations circa 1902. The book was entered as part of the Scottish Section of the 1902 International Exhibition of Decorative Art in Turin, which was organised by Fra Newbery, director of The Glasgow School of Art and Charles Rennie Mackintosh. The binding, a striking Art Nouveau design tooled in gilt on white vellum, was executed by the Glasgow book binders, MacLehose and won the coveted Gold Medal for book binding at the exhibition. The certificate was made out to ‘Signor Jessie King’ such was the assumption that a man would be the recipient of the award. This success however brought with it a raft of publicity and commissions as articles about her work appeared in art journals around Europe.

Her achievement is all the more remarkable given the early point in her career. From 1899 her work was already beginning to attract attention, being selected for an exhibition at the Venice Biennale and illustrated regularly in The Studio magazine. This was followed by the offer of a teaching position in the department of Book Decoration and Design at the Glasgow School of Art, a role she undertook whilst a student at the same institution. This was a time of stylistic experimentation and evolution for King, as her characteristic two dimensional figures surrounded by halos and orbiting stars became increasingly abstract. At their furthest progression, her designs were entirely devoid of figural representation. This was the case in an 1899 cover design for ‘Rund um Berlin’ in which the spirits of her ethereal subjects are suggested purely through fine circles of ornamentation.

This frontispiece demonstrates the influence of continental and Scottish artists on King’s designs. The symmetrical arrangement of her figures possesses not only a German orderliness but also echoes the work of her Glasgow contemporaries, whilst retaining her particular sense of fantasy, which she maintained in her work throughout her career.

322

JESSIE MARION KING (1875-1949)

A JAPANESE STILL LIFE

pen and ink on vellum, signed lower right JESSIE M. KING

18.4cm x 13cm (frame size 39cm x 30.4cm)

Provenance: The Collection of Miss Merle Taylor, sold Sotheby’s, Glasgow June 21st 1977, lot 202

Note: This interesting work by Jessie King features the bronze figure ‘Mädchen Mit Reif’, By Bernhard Hoetger, an example of which is offered as the next lot.

£1,000-1,500

323

BERNHARD HOETGER (1874-1949)

‘MÄDCHEN MIT REIF’, CIRCA 1901 bronze, signed in the bronze with monogram 19cm high

£1,500-2,000

Note: After studying at the Düsseldorf Art Academy under Karl Janssen, Bernhard Hoetger travelled to Paris and settled there from 1900 to 1907. He became acquainted with artists such as Paula Modersohn-Becker, Käthe Kollwitz, Karl Hofer and Henri Rousseau. He was most interested by Rodin’s work, which strongly influenced his visual language in this early phase. As early as 1901, Hoetger achieved his artistic breakthrough with the sculpture “L’Aveugle (The Blind Man)”. This led to the first contact with Julius Meier-Graefe, director of the Art Nouveau gallery “La Maison Moderne”, who included Hoetger’s sculptures in the gallery’s sales catalogue alongside works by George Minne, Charpentier and others. His time in Paris, during which the present example was also created, ended in 1909 with Hoetger’s appointment as a professor at the Darmstadt artists’ colony.

ALEXANDER KOCH (1860-1939)

EXPOSITION DE TURIN 1902

L’exposition Internationale des arts decoratifs modernes a Turin 1902. Darmstadt: Alexander Koch, 1902. 4to, pp.[8],340, [1], publisher’s adverts., French text, text by George Fuchs and F.H. Newbery, illustrated throughout, 4 coloured plates, 2 tinted, Jessie M. King decorative title for Scottish section, on different paper, the “Papier de garde” (end papers) supplement are used as end papers, original Art Nouveau designed vellum gilt

30cm x 22.6cm

Extremely rare in this fine condition, this book was published in connection with the first international exhibition of modern decorative art, Turin 1902, which included architecture, interior design, painting, ceramics, metal works, book illustrations, typefaces, glass, etc. Participants included Holland, Scotland (the book includes an extensive article on Charles Rennie Mackintosh and the Glasgow School), Germany, Austria, Hungary, Italy, Belgium, France, USA, Denmark, Sweden, England, and Japan. A special emphasis on the German contribution, with designs and typographical arrangement by Peter Behrens is also included.

The Turin Exposition of 1902 was the first to celebrate the emergence of the Art Nouveau style in Italy and is considered the first international exhibit of modern decorative art. Turin was a centre of liberal ideas and creativity and thus a receptive environment for Imported modernism with work exhibited by Behrens, Mackintosh, Olbrich, et al. Italian artisan workshops and individual craftsmen such as Carlo Bugatti were also featured. The exposition was concerned also with the renewal of Italian architecture. A bold, exuberant, stylistically appropriate setting was created by Raimondo D’Aronico, at that time the chief architect to the Sultan in Constantinople. His work for the exposition was influenced by a visit to the Darmstadt Artist’s Colony designed by Joseph Olbrich. His entrances, pavilions and exhibition and administrative buildings are illustrated in the first section of the present book, which deals with architecture.

£1,500-2,000

325

JESSIE MARION KING (1875-1949), ERNEST ARCHIBALD TAYLOR (1874-1951) & MERLE TAYLOR (1909-1977)

AN ARCHIVE FROM THE COLLECTION OF MERLE TAYLOR

Letters to Merle Taylor from her mother, Jessie Marion King 1949 Christmas card designed by J.M. King, signed “from the E.A. J.M.K.T. Kirkcudbright” and “Greengate” motif; ALS to Merle Taylor from her mother, J.M. King, 2pp; and another on Greengate letterheaded paper, signed ‘B.H. and J.M.’ and ‘love from B.H. and me’ respectively; and three further notes, one dated 1946; Six leaves of unsigned pencil sketches of figures in costume; Letters to Merle Taylor, presumably from her father, Ernest Archibald Taylor, but signed “B.A. June 11th 1951, autograph letter, 4pp., referring to Cardon Holme, near Biggar; Oct 2nd 1951, autograph letter, 4pp.; and another dated the following day, 4pp, regarding Anna and a cottage; And further ephemera relating to E.A. Taylor, including art examination certificates; Letters written to or from Merle Taylor from friends Signed autograph note from Merle Taylor to her mother: “Arrived safely. The small boy fed me with chocolate the way up…”; ALS from Charles Oppenheimer to Merle Taylor, 2pp., dated 1952: “The weather has been so cold & the daylight so soon gone for my own work on these shortest winter days that I have not been able to do much in your father’s studio…” ALS to Merle Taylor from Dorothy [Dorothy Johnstone?], 4pp., writing about an art exhibition at the Constitution Hall; ALS to Merle Taylor from her ‘Auntie’ Adah, 5pp.; and a large quantity of others, some from Scottish artists, including several letters of sympathy on the death of E.A. Taylor; Two female artist’s smocks one in blue with an open back; the second produced by Lilla, 7 Lower Grosvenor Place, London, in blue of a lace-up shirt design with smocking on the breast; And a large quantity of other items, including: C.80 loose photographs from Merle Taylor’s collection, several featuring her parents; a folder of correspondence to Merle Taylor from auctioneers, museums and galleries; a collection of personal effects from the King / Taylor household including a paintbrush, pens, weights in a white metal case, a pair of glasses, an Ilford colour filter, and a pipe; All contained in a metal document case (quantity)

Note: A fascinating insight into the life of Merle Taylor, and her relationship with her parents, the artists Jessie Marion King and Ernest Archibald Taylor. The archive contains intimate familial letters, alongside well wishes and expressions of sympathy from friends. Two painter’s smocks, presumably having belonged to J. M. King, are also featured.

£2,000-3,000

327

JESSIE MARION KING (1875 – 1949) (ILLUS.)

FOUR BINDINGS

comprising; Evans Sebastian (translator), The High History of the Holy Grail, J.M. Dent & Co; Kingston, William, H. G. (ed.) The Swiss Family Robinson, George Routledge and Sons; Morris, William The Defence of Guenevere and Other Poems, the Bodley Head; Wood, Rev. J. G. Illustrated Natural History, George Routledge and Sons (4) £300-500

326

JESSIE MARION KING (1875-1949) (ILLUS.)

‘THE BOOK OF BRIDGES’

published by Gowans & Gray, London and Glasgow, 1911; together with THE LITTLE WHITE TOWN OF NEVER WEARY, pub. George Harrap, 1917; and THE ENCHANTED CAPITAL OF SCOTLAND, published, Plaid Stationery Ltd (no dust cover) (3) £200-300

comprising; Coolidge, Susan What Katy Did, London & Glasgow, Collins’ Clear Type Press; Alcott, Louisa M. Good Wives, London & Glasgow, Collins’ Clear Type Press; The Arabian Knights, London & Glasgow, Collins’ Clear Type Press; Wood, Mrs Henry, Danesbury House, London & Glasgow, Collins’ Clear Type Press; Buchanan, A. Gordon, Jephthaa Drama, Alex Gardner Paisley; two volumes by Milton with photogravures after Jessie King, George Routledge & Sons; five volumes of poetry, London & Glasgow, Collins’ Clear Type Press, including Drinkwater, John, The Way of Poetry, and Farjeon, Eleanor, All the Year Round; six volumes of poetry, Caxton Publishing Co., including Poems of Shelley and Poems of Spenser; Kennedy, Mrs J. Alexander (translator), ‘Tis Love That Makes the World Go Round, first, second and third series, T. N. Foulis, Edinburgh & London; Burnett, George, A Book of Scottish Verse, Methuen & Co. Ltd.; and four further volumes (26) £200-300

329

JESSIE MARION KING (1875-1949) (ILLUS.)

COLLECTION OF BOOKS AND PAMPHLETS

Kirkcudbright: a Royal Burgh, Gowans and Gray, London & Glasgow; Budding Life, Gowans and Gray, London & Glasgow (2); The City of the West, T. N. Foulis, Edinburgh and London; three booklets of A Carol, Good King Wenceslas, one signed in ink JESSIE M. KING; The Studio; The Enchanted Capital of Scotland, Plaid Stationery of Scotland; four pamphlets Tableaux de la Nature, Album de Photographies (7) £500-800

330

JESSIE MARION KING (1875-1949) (ILLUS.)

COLLECTION OF BOOKS AND PAMPHLETS

comprising; four copies of Kirkcudbright: a Royal Burgh, Gowans and Gray, London & Glasgow; four copies of Budding Life, Gowans and Gray, London & Glasgow (2);three copies of the City of the West, T. N. Foulis, Edinburgh and London;two copies of Dwellings of an Old World Town, Gowans and Gray, London & Glasgow; two copies of Memories, T. N. Foulis, Edinburgh and London; The Grey City of the North, T. N. Foulis, Edinburgh and London; Songs of Innocence, London and Glasgow Collins Clear-Type Press; ‘The Saut Box Galloway Pageant, Newton Stewart’ no. 3, 6th July 1935, Brochure & Souvenir Programme; five volumes from Gowans International Library and further(30)

331

JESSIE MARION KING (1875-1949) (ILLUS.)

COLLECTION OF PRINTED ILLUSTRATIONS AND CARDS

comprising; ‘Wild Things’, 11cm x 10.2cm; ‘Greengate Greeting’ 11.3cm x 14.7cm; two programmes for ‘Ayrshire School’s Concert’ Saturday 26th January 1946 and a further cover illustration; five prints of ‘Good Greeting 1949’, 16.5cm x 10.5cm; three sheets of annotated, illustrated designs for ‘Cinderella’ (13) £600-800

333 §

ANNIE FRENCH (1872-1965)

BOOKPLATE: EX LIBRIS ARCHIBALD CRAIG print, 11cm x 7.5cm (frame size 31.7cm x 28cm); together with another BOOKPLATE, EX LIBRIS FRED J M CHRISTIE designed by JESSIE MARION KING (1875-1949), print, 12cm x 11cm (frame size 31.5cm x 28cm) (2)

£250-350

332

JESSIE MARION KING (1875-1949)

‘THE BLACK BULL INN’, DESIGN FOR A PUB SIGN

watercolour on paper, laid down on board, signed and inscribed JESSIE M KING/ THE BLACK BULL INN/ KILLEARN/ A HANGING SIGN PAINTED ON WOOD OR METAL, blacked tape ‘frame’ 31.5cm x 34cm

£600-800

334

JESSIE MARION KING (1875-1949)

GROUP OF PRINTED ILLUSTRATIONS

comprising; ‘Kirkcudbright a Royal Burgh’, 21.9cm x 12.1cm; ‘Greetings from the Green Gate’, 18.5cm x 13cm; ‘Greetings from the Green Gate’ 1934, 17.5cm x 10.7cm; ‘Good Greeting’ 1949, 16.5cm x 10.5cm; ‘Greeting from E. A. Taylor & JMK

Taylor’’, 9.6cm x 11.7cm (5)

£300-500

335

JESSIE MARION KING (1875-1949)

‘NORTH SANNOX BURN’

charcoal and watercolour, signed lower left JESSIE M. KING, 24cm x 32.5cm (frame size 46cm x 56cm); and by the same hand MOUNTAIN SKETCH, watercolour, unsigned, 14.5cm x 19.3cm (frame size 31cm x 38cm) (2)

Provenance: Glasgow, Sotheby’s, 5th February 1986, lot 35 (part)

Glasgow, Sotheby’s Jessie M. King and E.A. Taylor, auction 21st June 1977, Lot 242 (part)

£300-500

337

JESSIE MARION KING (1875-1949)

COTTAGE AT HIGH CORRIE, ARRAN coloured inks on paper, signed lower right JESSIE M. KING, 17.5cm x 25.3cm (frame size 36cm x 42cm); together with, by the same hand THE FAIRY-TALE COTTAGE IN REAL LIFE, coloured inks on paper, signed lower right JESSIE M. KING, 15.7cm x 15.5cm (frame size 41cm x 44cm) (2)

Provenance: Glasgow, Sotheby’s, 5th February 1986, lot 35 (part)

Exhibited: The Scottish Arts Council, Jessie M. King 18751949, touring exhibition, March 1971-January 1972, nos. 69 and 65

336

JESSIE MARION KING (1875-1949)

THE ENCHANTED CAPITAL OF SCOTLAND, PRELIMINARY SKETCH FOR A BOOK COVER

pen and ink, pencil

29.5cm x 21.5cm (frame size 50.5cm x 43cm)

Provenance: Glasgow, Sotheby’s Jessie M. King and E.A. Taylor, auction 21st June 1977, Lot 150 (part)

£300-500

£400-600

339

JESSIE MARION KING (1875-1949)

KIRKCUDBRIGHT, A ROYAL BURGH

graphite and watercolour

24.5cm x 14cm (frame size 19.2cm x 35.2cm)

Provenance: Barclay Lennie Fine Art, Glasgow.

Exhibited: Glasgow, Barclay Lennie Fine Art Jessie Marion King Exhibition 2nd-25th November 1989, no. 37

Glasgow Museums and Art Galleries Glasgow Girls: Women in Art and Design 1880-1920, 24th August-21st October 1990

Literature: Burkhauser J. (ed. ) Glasgow Girls: Women in Art and Design 1880-1920, Edinburgh 1990, p. XX, fig. XX, where this lot is illustrated.

£600-800

E. A. TAYLOR (1874-1951)

THE BEND ON THE SANNOX ROAD

charcoal and watercolour, signed lower left E.A. TAYLOR, 22cm x 27.5cm (frame 43.5cm x 54.3cm); and another by the same hand ARRAN COTTAGES, etching, signed in pencil lower left E.A. TAYLOR, 17cm x 19cm (frame 42.5cm x 53cm) (2)

£400-600

340

JESSIE MARION KING (1875-1949)

VERSAILLES. LE PARC- LE CHAR D’APOLLON

pen and ink on vellum, signed with initials lower right J.M.K.

8.5cm x 17cm (frame size 31cm x 37.5cm)

Exhibited: Glasgow, Barclay Lennie Fine Art ’Jessie M King Exhibition, 2nd-25th November 1989, no. 28

£400-600

341

JESSIE MARION KING (1875-1949)

GROUP OF CERAMICS, CIRCA 1935

painted and glazed earthenware comprising; a VASE, 15cm high, a PLATE, 25cm diameter, a JUG, 8cm high, each with rabbit, gate and initial JMK under base (3)

Exhibited: Vase exhibited Glasgow Barclay Lennie Fine Art, ‘Jessie Marion King Exhibition’ 2nd-25th

342

JESSIE MARION KING (1875-1949) (ILLUS.)

THREE ILLUSTRATED BOOKS

to include: The Little White Town of Never Weary. London: George G. Harrap and Company, [1917?] First edition, 8vo, 4 tipped-in plates and other illustrations by Jessie M. King, original pictorial green cloth; The City of the West. Edinburgh: T.N. Foulis, 1911. 8vo, original jacket; and Budding Life. London: Gowand and Gray Ltd., 1907. Fourth edition, 8vo, with glassine wrapper (3) £300-400

GROUP OF THREE TRIOS, CIRCA 1935

painted and glazed earthenware, comprising three cups, saucers and plates, each with painted rabbit and gate and initialled JMK (9) plate 18cm diameter, saucer, 14cm diameter, cup, 6.5cm high £400-600

345

WILLIAM MILES JOHNSTON (1893-1974)

GROUP OF WARES, CIRCA 1940

to include a ZOO POTTERY BOWL, 31cm diameter; and a ZOO POTTERY VASE, 21.5cm high, each painted and glazed earthenware with painted maker’s marks; a WALL MOUNTED SPILL HOLDER, painted and varnished wood, 25cm high; a CANDLESTICK, painted and varnished wood, 13cm high; and an OVERPAINTED GLASS JAR, 7cm high (5)

£400-600

344

AFTER JESSIE MARION

KING

GATHERING FLOWERS

watercolour and ink

15cm x 20.5cm, (frame size 37.5cm x 43.7cm)

£300-500

WILLIAM MILES JOHNSTON (1893-1974)

‘ZOO’ POTTERY VASE, CIRCA 1940

painted and glazed earthenware, painted maker’s marks, 22cm high; together with a GINGER JAR BY CATHERINE BLAIR (1872-1946)

FOR MAK’ MERRY POTTERY, DATED 1928, painted and glazed earthenware, painted maker’s marks, artist’s initials and dated 1928, 22.5cm high (2)

£300-500

347

JESSIE MARION KING (1875-1949)

CHIVERS VELLUCENT BINDING, 1902

Rosalynde by Thomas Lodge, number 20 of 30 copies on Japanese vellum, signed by the illustrator, 10 plates by Edmund Sullivan, contemporary vellucent vellum by Chivers of Bath (gilt-stamped inside lower cover), with pictorial upper cover, and decorations on lower cover and spine by Jessie M. King, with some gilt ornamentation on upper cover, gilded to upper page edges and gilt panel to inside covers, 8vo, George Newnes, 1902, with slipcase

Literature: White C. The Enchanted World of Jessie M King, Canongate 1989, p. 32, pl. 27, where a similar example is illustrated

£3,000-5,000

Note: Two near identical versions of this design exist, the key difference being on the other version a knight is given an extravagant moustache. This has led to the supposition that King made use of this embellishment to disguise an accidental ink blot in the making of the binding. Almost contemporaneous to this work is the binding for ‘L’Evangile de L’Enfance’. The latter was entered into the Turin Exhibition of 1902, where it received such acclaim as to be awarded a Gold Medal. For a woman to receive this accolade was highly unusual, as is demonstrated by the certificate being made out to ‘Signor Jessie King’. King’s achievement is all the more remarkable given the early point in her career, as she was at this time both teaching and studying at the Glasgow School of Art.

SCOTTISH

GLASGOW SCHOOL MIRROR, CIRCA 1910

repoussé-decorated copper, mirror plate

54.5cm x 74.5cm

£400-600

349

SIR ROBERT LORIMER (1864-1929) FOR WHYTOCK & REID, EDINBURGH

ARTS & CRAFTS TABLE, CIRCA 1920

oak and burr walnut

84cm square, 71cm high

Provenance: Sir James Norton, Cragiehall, Edinburgh and by family descent Private Collection.

Literature: Morton J. Three Generations in a Family Textile Firm, Routledge & Kegan Paul Ltd 1971, pp. 314-315.

Note: Cragiehall was leased for the first time by James Morton in 1926 who stayed there for 21 years. This table, which stood in the entrance hall, was an addition by Sir Robert Lorimer, who was commissioned to work on the house from 1926-1927.

£2,000-3,000

SCOTTISH

GLASGOW SCHOOL MIRROR, CIRCA 1910

repoussé-decorated brass, mirrored plate

53cm x 73.5cm

352

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

ARTS & CRAFTS THRONE CHAIR, CIRCA 1910

oak, bears makers label under seat rail SCOTT MORTON AND TYNCASTLE CO. LTD, MUIRIESTON ROAD EDINBURGH

65cm wide, 118cm high, 47.5cm deep

353

SIR ROBERT LORIMER (1864-1929), POSSIBLY FOR LIBERTY & CO., LONDON

ARTS & CRAFTS SIDEBOARD, CIRCA 1920

oak, with wrought steel fittings

182cm wide, 76cm high, 55cm deep

Note: The design of this sideboard relates to a group of Arts & Crafts furniture made in the early 1920s for Liberty & Co’s magnificent Tudor building in Great Marlborough Street, London and completed in 1924.

£1,500-2,000

£400-600

£600-800

354

PHOEBE ANNA TRAQUAIR (1852-1936)

‘SEEK YE MY FACE’ ENAMEL TRIPTYCH, DATED 1906 enamel with foil on copper, within a patinated copper frame and stand, probably designed by Ramsay Traquair (1874-1952) and made by J.M Talbot, inscribed in gilt to the front in the enamel SEEK YE MY FACE/ THY FACE

LORD WILL I SEEK, signed twice with artist’s monogram and dated 190*, inscribed verso in the copper I WILL LAY ME DOWN/ IN PEACE, AND TAKE/ MY REST, FOR IT IS THOU,/ LORD, ONLY, THAT MAKEST/ ME TO DWELL IN SAFETY with artist’s monogram and date, 1906 overall height 16.8cm, central enamel panel 3.5cm x 5.3cm, side panels 3.5cm x 2.4cm

Literature: Cumming E. Phoebe Anna Traquair 1852-1936, 1993, p. 81, no. 96 and p. 36, no. 89, illus. £6,000-8,000

Note: Phoebe Anna Traquair (1873-1936) was an Edinburgh-based artist who was an important member Arts and Crafts Movement. She was one of few late Victorian women who managed to balance her traditional family responsibilities with a successful, internationally recognised artistic career. This is emphasised in the fact that she was the first woman to be given honorary membership of the Scottish Royal Academy, in 1920. Her specialities included mural painting, manuscript illumination and enamelling.

This devotional triptych is almost identical to one in the collection of the V&A Museum (V&A M. 189-1976). It is thought Traquair made four versions of this triptych, two of which were originally owned by the Carmichael family. The enamelled scenes represent ‘Love, Comforter of the Night’, flanked by ‘Evening’ and ‘Morning’, all of which Traquair also produced as single enamels set as pendants. The reverse of the central panel has an engraved message taken from the Bible: ‘I will lay me down in peace and take my rest for it is thou, Lord, only, that makest me to dwell in safety’ (Psalm 4:8). The exterior surface of the side-panels is also enamelled and shows a quotation from Psalm 27:8, ‘Seek ye my face; They Face Lord will I seek’.

The triptych is dated 1906, when Traquair was at the height of her enamelling career. It is estimated that she produced around 150 enamels over the course of her career, with at least 80 made between 1901 and 1906. She was particularly attracted to enamel work because of the bright colours that it created, which she further heightened through the use of metal foil fragments.

The form, subject and style of this triptych are entirely typical of Traquair’s work. They reflect her belief in the moralising purpose of art and her love of Italian Renaissance artists such as Fra Angelico. The central panel’s red flowers against a green ground and the rainbow sky, indicating dawn or dusk, are features repeatedly used by Traquair and can be seen on another of her triptychs The Red Cross Knight, of which there are two known versions. The copper mount for the present example, like her others, would have been designed by her son, Ramsay, based on Renaissance metalwork forms that they researched together.

355 ‡

WMF (WURTTEMBERGISCHE

TWO JUGENDSTIL

CANDLESTICKS, CIRCA 1900

plated metal, stamped manufacturer’s mark WMF, R AS (2)

25.5cm high

£1,200-1,800

357

WMF (WÜRTTEMBERGISCHE

TWO JUGENDSTIL FLOWER VASES, CIRCA 1900

plated metal with glass liners, stamped maker’s marks, moulded nos. 331a and 331b (2)

36.3cm high

Illustrated The Wurtemberg Electro Plate Co. , Catalogue, 1906, pg. 107 £600-800

METALLWARENFABRIK)

WMF (WURTTEMBERGISCHE METALLWARENFABRIK)

METALLWARENFABRIK)

CONTINENTAL

TABLE LAMP, CIRCA 1920

stained glass, bronze 48.5cm high

ERHARD & SOHNE

THREE JUNGENDSTIL WARES, CIRCA 1900

rosewood with brass inlay, comprising; a STATIONERY BOX with mahogany carcass, 23.3cm wide; a TAZZA 22.5cm diameter; and a PHOTOFRAME, 13.2cm x 10.9cm (3) £300-500

£400-600

362

361

CARL SIGMUND LUBER (1896-1934)

JUGENDSTIL CLOCK, CIRCA 1900

glazed earthenware with painted enamel dial and single train movement, incised verso 1608 31.8 cm high

£400-600

CARL SIGMUND LUBER (1896-1934)

TWO JUGENDSTIL FRAMED PANELS, CIRCA 1900

glazed earthenware with tube line decoration, later framed (2) 15cm x 26.5cm (frame size 21cm x 32.7cm) 26.5cm x 15cm (frame size 33cm x 21cm)

£400-600

363

WMF (WURTTEMBERGISCHE METALLWARENFABRIK)

GONDOLA CENTREPIECE, CIRCA 1900

plated metal, glass, stamped maker’s mark

364

THONET

BENTWOOD ROCKING CHAIR, CIRCA 1900

ebonised beech, with later plush upholstery

58cm wide, 111cm high, 120cm deep

£300-500

CONTINENTAL

SECESSIONIST WALL MIRROR, CIRCA 1900

oak, with bone inlay and bevelled mirror plate

185cm x 97.5cm

£600-800

366

FOLLOWER OF ALPHONSE MUCHA ROSE

pen, ink, watercolour and bodycolour

72.5cm x 26cm (frame 92.5cm x 42.5cm)

£400-600

367

£400-600 365

FOLLOWER OF ALPHONSE MUCHA LILY

watercolour and bodycolour

72.5cm x 26.2cm (frame

92.5cm x 45.8cm)

368

AUSTRIAN

JUGENDSTIL TABLE LAMP, CIRCA 1910

brass, with frosted glass shade and polychrome beaded fringing, 38cm high; together with another JUGENDSTIL TABLE LAMP, brass, with pierced brass, glass and silk shade, 43cm high (2) £400-600

369

AUSTRIAN SECESSIONIST

CLOCK, CIRCA 1910

copper, brass, glass, M & Sohn movement 29cm high

£1,000-1,500

371

CONTINENTAL

TABLE LAMP, CIRCA 1900

hammered brass, with opalescent glass shade 48.5cm high £300-500

372

WALTER SCHERF & CO., NUREMBERG

‘OSIRIS’ JUGENSTIL LIDDED PITCHER, CIRCA 1900

pewter with applied ruby glass beads, stamped “OSIRIS” 941, with maker’s stamp

37.2cm high £400-600

370

FRIEDRICH

GOLDSCHEIDER (1845-1897)

ART NOUVEAU BUST, CIRCA 1900

patinated terracotta, signed FAGOLI DONATELLO, impressed and moulded makers marks

SCULPTURE/ FRIEDRICH

GOLDSCHEIDER/ WIEN/ 2090/ 120/ 32 58cm high £500-700

CONTINENTAL

ART NOUVEAU PENDANT, CIRCA 1900

white metal, enamel and gem set pendant 3.6cm long, chain length 49cm

374

WILHELM FÜHNER, PFORZHEIM

ARTS & CRAFTS PENDANT, CIRCA 1900

hammered silver, set with carnelian roundel and drops, stamped maker’s marks WF/ 950 pendant 5.5cm long, chain length 49.5cm

375

THEODOR FAHRNER (1859-1919)

JUGENDSTIL PENDANT, CIRCA 1905

silver gilt, set with opal cabochons, stamped maker’s marks TF/ 935/ DEPOSE pendant 5cm long, chain length 46cm £1,000-1,500

377

LOETZ, AUSTRIA

TWIN-HANDLED VASE, CIRCA 1910

iridescent glass

19.5cm high

376

MICHAEL POWOLNY (1871-1954)

FOR LOETZ

VASE, CIRCA 1920

cased orange and black glass, 20cm high; and a SMALL VASE, cased orange and black glass, 11cm high (2)

£400-600

£400-600

£400-600

£400-600

378

J.W. MIJNLIEFF (1862-1940) FOR FAYENCE EN

TEGELFABRIEK, UTRECHT

PAIR OF ART NOUVEAU TWIN-HANDLED VASES, CIRCA 1900

glazed earthenware, painted makers marks to each base JM/ UTRECHT/ HOLLAND/ .350 J.1 (2)

38.5cm high

£400-600

380

JOHANN HEINRICH VOGELER (1872-1942) FOR THE WORPSWEDER WERKSTÄTTE

TABLE AND TWO CHAIRS, CIRCA 1910

oak, the chairs with drop in rush seats, incised marks H V/ W chairs 47cm wide, 100cm high, 46cm deep, table 90.5cm long, 72cm high, 75cm deep

Note: Vogeler was a painter, designer and architect and a central member of the original artist colony in Worpswede, which he joined in 1894. He and his brother Franz set up the Worpsweder Werkstätte to produce well designed household objects.

£400-600

379

FRIEDRICH ADLER (1878-1942) FOR WALTER SCHERF & CO., NUREMBERG ‘ISIS’ JUGENDSTIL TABLE LAMP, CIRCA 1910

polished pewter, with Loetz iridescent glass shade “ISIS”/ 4288 44cm high

£1,200-1,800

PIERRE LE FAGUAYS (1892-1962)

FOR MAX LE VERRIER, PARIS

ART DECO FIGURAL LAMP, CIRCA 1925

silvered bronze on a slate base, frosted glass shades, marked to the side FAYRAL, signed verso LE VERRIER, also stamped LE VERRIER, PARIS

383

CONTINENTAL

ART NOUVEAU

ARMCHAIR, CIRCA 1900

walnut, with original cut and uncut moquette fabric

53.5cm wide, 123cm high, 55cm deep

£300-500

382

GEORGES CHARLES

COUDRAY (1862-1932)

LES NENUPHARS (WATERLILIES)

marble, signed on the base

GEORGES COUDRAY

64cm high

£1,000-1,500

384

AFFORTUNATO GORY (FL. 1895-1925)

‘LA CURIEUSE’, CIRCA 1905

bronze, with later gilt patination, marble, raised on a moulded marble base 43cm high (figure), 52cm high (including base) £3,000-5,000

385

PAUL FOLLOT (1877-1941) FOR METALLWARENFABRIK F. W. QUIST, ESSLINGEN TEA SET, CIRCA 1902

comprising a TEAPOT, MILK JUG and SUGAR BOWL, silverplated metal, stamped maker’s marks, signed P. FOLLOT (3)

JOE DESCOMPS (1869-1950)

CROUCHING FIGURE, CIRCA 1925

patinated bronze, raised on a marble plinth, signed JOE DESCOMPS

SCULPTEUR/ MD. D’OR, stamped foundry mark R.PATROUILLEAU/EDIT PARIS

figure 45cm high, including plinth 52cm high

£3,000-5,000

387

PAUL FOLLOT (1877-1931) OR SERGE CHERMAYEFF (1900-1996) FOR WARING & GILLOW

ART DECO CONSOLE TABLE, CIRCA 1925

walnut, ebonised and silvered wood, black glass, bears maker’s label WARING & GILLOW LIMITED, LANCASTER

106cm wide, 83cm high, 45cm deep

Provenance:

£2,500-3,000

388 ‡ AURORE ONU

‘HOOP DANCER’, CIRCA 1925

patinated bronze on a marble base, signed AURORE ONU

47.5cm high

£1,200-1,800

389 ‡

CLAIRE JEANNE ROBERTE COLINET (1880-1950)

‘SNAKE DANCER’, CIRCA 1925 bronze on a marble base, signed J COLINET 35.5cm high £700-900

390

EDGAR BRANDT (1880-1960)

‘SIMPLICITÉ’ CONSOLE

TABLE, CIRCA 1925

wrought steel, marble

150.5cm wide, 87.5cm high, 45.5cm deep £5,000-8,000

391 Y

JOSEF LORENZL (1892-1950)

FIGURE OF A DANCER, CIRCA 1925 patinated bronze, ivory, raised on an onyx base, signed in the bronze LORENZL figure, 30cm high, including base 49.2cm high

Note: Sold in compliance with UK Government and APHA regulations, with (non-transferable) exemption registration reference PZ3ACSYZ.

£4,000-6,000

PROFESSOR OTTO POERTZEL (1876-1963)

‘BUTTERFLY DANCER’, CIRCA 1925 patinated bronze, raised on a marble plinth, signed in the bronze PROF. POERTZEL figure 49.5cm high, including plinth 62cm high £5,000-7,000

394 Y

JOSEF LORENZL (1892-1950)

FIGURE OF A DANCER, CIRCA 1925

bronze and ivory, raised on an onyx and slate plinth, signed to the base LORENZL 22cm high

Note: Sold in compliance with UK Government and APHA regulations, with (non-transferable) exemption registration reference UFE8HRPR £300-500

393 ‡

MOLJINE

ART DECO FIGURE, CIRCA 1920

patinated spelter on a marble and onyx base, signed to the base MOLJINE

67cm high including base, base 15cm across £2,500-3,000

395 ‡

LOUIS SOSSON (FL. 1905-1930)

ART DECO SCULPTURE OF A DANCER, CIRCA 1910

bronze on a marble base, signed to the base L SOSSON, 21.5cm high; together with an ART NOUVEAU SCULPTURE OF A NUDE, bronze on a marble base, 21.5cm high (2) £600-800

396

DAUM FRÈRES, NANCY

ART DECO VASE, CIRCA 1930

clear, frosted and acid etched glass, etched DAUM NANCY FRANCE, with cross of Lorraine 41cm high

£400-600

398

ATTRIBUTED TO JAQUES ADNET (1900-1984)

ART DECO TANTALUS, CIRCA 1930

chromium-plated metal, glass, Macassar ebony 36cm wide, 28.5 high, 24cm deep £500-800

399

DAUM FRÈRES, NANCY

ART DECO VASE, CIRCA 1930

A. GILBERT

‘SLEEP OF THE PIERROT’, CIRCA 1925

patinated bronze, ivory, stepped black marble plinth base figure 15cm high, including base 16cm high

Literature: Catley B. Art Deco and Other Figures, ACC 2003, p. 156, where an example of this figure is illustrated. Note: Sold in compliance with UK Government and APHA regulations, with (non-transferable) exemption registration reference CXQPQMBP. £1,000-1,500

clear, frosted and acid etched glass, etched DAUM NANCY FRANCE, with cross of Lorraine 44.5cm high

£400-600

400

JOSEF LORENZL (1892-1950)

ART DECO CLOCK, CIRCA 1925 patinated bronze, onyx, with later movement figure 26.5cm high, including base 30cm high £4,000-6,000

401

FRENCH

ART DECO CENTRE TABLE, CIRCA 1930

marble and wrought steel 62cm diameter, 72cm high £300-500

402

M. LEDUCQ (1879-1955)

ART DECO FIGURE OF A PANTHER, CIRCA 1930 patinated metal, on a marble plinth, signed M. LEDUCQ

403 Y

JOE DESCOMPS (1869-1950)

‘BEAUTY OF PARIS’, CIRCA 1920

bronze, ivory, raised on a rouge marble plinth, signed in the bronze JOE DESCOMPS figure 29.5cm high, including plinth 46.3cm high

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

£4,000-6,000

404 ‡ ETLING, PARIS

‘NUE AU BRAS TENDU’, CIRCA 1925

opalescent glass, moulded ETLING FRANCE 50 20.5cm high

£1,200-1,800

405 Y

DEMÉTRE CHIPARUS (1886-1947)

‘THE SQUALL’, CIRCA 1930 bronze, ivory, raised on an onyx plinth figure 28cm high, including plinth 31cm high

Literature: Shayo A. Chiparus Master of Art Deco, Abberville Press 1993, p. 71, where a similar model is illustrated.

Note: Sold in compliance with UK Government and APHA regulations, with (non-transferable) exemption registration reference BY2S6WH8.

£3,000-4,000

406

DAUM FRÈRES, NANCY

‘SNOWDROP’ VASE, CIRCA 1900 wheel-carved, cameo and martelé glass, etched to base DAUM/ NANCY with Cross of Lorraine 30.7cm high

£1,500-2,000

407

DAUM FRÈRES, NANCY

PEDESTAL VASE, CIRCA 1930

glass, with foil inclusions, etched to base

‘DAUM NANCY FRANCE’, with cross of Lorraine 22cm high

£400-600

GABRIEL ARGY-ROUSSEAU (1885-1953)

FLOWER BOWL, CIRCA 1920

pate de verre, signed G. ARCY. ROUSSEAU 9cm diameter

£800-1,200

410

CLÉMENT MASSIER (1844-1917)

BOTTLE VASE, CIRCA 1880

painted and glazed earthenware, signed to the base D’EAUBONNE 27.5cm high

LANDSCAPE VASE, CIRCA 1920 cameo glass, cameo signature GALLÉ 35cm high

£1,500-2,500

411 DAUM FRÈRES, NANCY

SALAD BOWL, CIRCA 1900

clear frosted and acid etched glass, with gilded embellishments and silvered metal mounts, etched maker’s mark under base DAUM NANCY, with Cross of Lorraine 22.5cm diameter

Provenance: Penicuik House, Midlothian

£250-350

£300-500

412

DAUM FRÈRES, NANCY

TWO CAMEO GLASS VASES, CIRCA 1910

comprising ‘Monnaie du Pape’, the mottled orange glass acid etched, signed DAUM/ NANCY with Cross of Lorraine, 12cm high; together with DAUM, NANCY CAMEO GLASS VASE, CIRCA 1910, mottled orange glass acid etched, signed DAUM/ NANCY with the Cross of Lorraine, 414

413

D’ARGENTAL

VASE, CIRCA 1920

amber and ruby cameo glass, signed in the body D’ARGENTAL

20.4cm high

£250-350

JEAN BAROL (1873-1976)

ART DECO LUSTRE VASE, CIRCA 1930

lustre glazed earthenware, signed to the side J BAROL

19.5cm high

£300-500

415

BOCH FRERES, BELGIUM

ART DECO VASE, CIRCA 1930

earthenware, printed, painted and impressed maker’s marks D.2519 MADE IN BELGIUM 894

23.5cm high

£300-500

417

416

ZSOLNAY, PÉCS

PLANTER, CIRCA 1900

‘eosin’ lustre-glazed ceramic, applied maker’s seal mark

ZSOLNAY, PÉCS indistinctly numbered 644/ 66

23cm wide, 17cm high

£600-800

ZSOLNAY, PÉCS

TALL VASE, CIRCA 1900

‘eosin’ lustre-glazed ceramic, with three applied handles, applied maker’s seal mark

ZSOLNAY, PÉCS 6820/ 21

29.5cm high

£1,000-1,500

CARLO BUGATTI (1856-1940)

JARDINIÈRE STAND, CIRCA 1910

walnut, repoussé decorated copper, vellum, with pewter inlay and cotton tassels

419 AMPHORA

ART NOUVEAU ‘JEWELLED’ VASE, CIRCA 1905 lustre-glazed earthenware, with inset coloured glass, impressed maker’s mark AMPHORA/ AUSTRIA/ 3663

‘eosin’ lustre-glazed ceramic, with three twisted open supports, applied maker’s seal mark ZSOLNAY, PÉCS 6181/M/23

ZSOLNAY, PÉCS VASE, CIRCA 1900

‘eosin’ lustre-glazed ceramic, applied maker’s seal mark ZSOLNAY, PÉCS 5092/ 2/ M/ 27

18.5cm high

£600-800

CONTINENTAL SCHOOL

RECLINING NUDE, CIRCA 1920

bronze, raised on a marble plinth figure 31cm long

£300-500

423

GEORG JENSEN (1866-1935)

CENTREPIECE, MODEL 383, 1925-1932

sterling silver, stamped marks under base GEORG JENSEN/ 925S/ 383/ STERLING/ DENMARK, import marks London 1927

26cm high, 31cm diameter

£10,000-15,000

424

GUSTAF MÖLLENBORG, STOCKHOLM

PAIR OF CHAFING DISHES & COVERS, CIRCA 1920

GEORG JENSEN (1866-1935)

CHOCOLATE POT, MODEL 80A, 1933-1944

sterling silver, ebonised wood, stamped 925S/ GJ/ 80A/ STERLING/ DENMARK

14cm high, 21cm long, including handle

£300-500

427

sterling silver, ebonised wood, 18cm diameter, 29.5cm long including handle; together with a TWIN-HANDLED SERVING DISH BY J.E. TORSK, STOCKHOLM, Sterling silver, 16.5cm diameter, 21cm wide across handles, all with stamped maker’s marks (3)

£500-800

425

GEORG JENSEN (1866-1935) FOR GEORG JENSEN, COPENHAGEN

THREE BROOCHES

all stamped with manufacturer’s mark and STERLING DENMARK, to include MODEL NUMBER 165, post 1945, 4cm diameter; MODEL NUMBER 217B, post 1945 7cm long; MODEL NUMBER 165 213A, 191527, 2cm x 3cm (3)

GEORG JENSEN (1866-1935)

SMALL COMPORT, MODEL 17A, 1933-1944

sterling silver, stamped 925S/ GJ/ 17A/ STERLING/ DENMARK, 11cm diameter, 10.5cm high

£300-500

428

GEORG JENSEN (1866-1935)

PAIR OF ‘ACORN’ PATTERN SERVERS, POST 1945

sterling silver and stainless steel, 20cm long; a GEORG JENSEN CHEESE SLICER, 20.5cm long, each stamped GEORG JENSEN/ STERLING/ DENMARK, 2cm high, 16.2cm wide; together with GUNDORPH ALBERTUS (DANISH 1887-1969) FOR GEORG JENSEN & WENDEL, DISH, silver, stamped 925S / STERLING / DENMARK (4)

£250-350

429

ABELE JACOPI (1882-1957) FOR LENCI, ITALY

‘AI MONDI’, CIRCA 1930

polychrome decorated pottery, painted and impressed marks to base LENCI/697

44.3cm high

Literature: Panzetta A. Le Ceramiche Lenci, Umberto Allemandi & C. , p. 244, no. 849 where a similar example is illustrated.

£600-800

430

CARL-ALBERT ANGST (1875-1965)

GROUP OF WORKS

to include MALE AND FEMALE ATHLETES, bronze, 39.5cm high and 42cm high, each signed in the bronze C ANGST; together with a NUDE STUDY, 1918, charcoal, signed and dated lower right C. ANGST 1918, 25cm x 34.5cm (frame size 33cm x 43cm); and another by the same hand, charcoal and chalk, 39cm x 29cm (frame size 52.5cm x 43cm) (4)

£600-800

The first few decades of the twentieth century were a turbulent era for Columbian art. Bogota born sculptor Romulo Rozo (18991964) sat at the heart of this changing artistic climate, educated within and inspired by both European and indigenous artistic traditions. His work’s incorporation of Pre-Columbian motifs and myth resulted in him becoming an enduring figurehead for the art of his homeland and its distinctive identity. Colonial activities in Colombia and movement of artists between Europe and Latin America fostered strong Spanish and French influences in the art scene in Columbia at the conclusion of the 19th century. The founding of the School of Bogota at the start of the 20th century however, heralded a desire to free Colombian art from European models. Nevertheless, just a couple of decades later and under political pressure to promote Spanish heritage as a model for society and the arts, the pendulum swung back the other way, as the Circle of Fine Arts was established. This organisation favoured artists following the academic tradition seen in Madrid. Rozo was born in Bogota in 1899 and first enrolled at the National School of Fine Arts in his home city. As was politically popular, he then followed a European training route, travelling to Spain where he studied for four years, before completing his education in Paris. Here he worked with sculptors including Paul Landowski, known for his work Christ the Redeemer in Rio de Janeiro, and Antoine Bourdelle. This mixture of European and Latin American training is evident in his work La Musica. Executed in 1925, during his time in France, it reflects the two locations of Rozo’s training; the impressed decoration and highly textural protrusions have visual parallels in indigenous Columbian art, but the figure’s contrapposto pose and realistic form draw heavily on the European classical tradition. Executed in the same year as La Musica, the granite sculpture Bachué would become his most celebrated and famous work. To the indigenous Muisca people of modern-day Colombia, Bachué is the mother goddess of humanity. Rozo’s sculpture depicts the two parts of the Muiscan origin of humanity myth; the goddess emerging from the water holding a child and snakes returning to the lake having populated the earth. The sculpture reached its zenith at the 1929 Ibero-American Exposition in Seville, an extended exhibition celebrating the links between Spain and Latin

431 §

RÓMULO ROZO (1899–1964)

‘LA MUSICA’, 1925

bronze, raised on a slate plinth, inscribed in the bronze plinth RÓMULO, signed with monogram and dated in the bronze plinth (twice) RR/ PARIS/ 1925, signed, inscribed and dated to the reverse RR/ 1925/ ESVENO, with foundry stamp MARONI RADICE/ CIRE PERDUE/ PARIS bronze 31.5cm high, with plinth 36cm high

£3,000-5,000

America. It sat in a fountain at the heart of the Columbian pavilion, the carvings and façade scheme of which were also designed by Rozo. Such was the impactful presentation of the almost life-size work that it was awarded a prize. This exposure and recognition thrust Rozo into the artistic spotlight and cemented Bachué as a landmark in Colombian art. Rozo’s sculpture was adopted as a symbol for what was later named the Bachué Group; artists and writers in the late 1920s looking to champion indigenous concerns within contemporary Colombian art. In June 1930 they published ’Monografia del Bachué’ in the newspaper El Tiempo, adocument regarded by some as their quasi-manifesto. The group sought a return to their country’s roots by putting local and indigenous culture foremost in the arts. The legacy of their work survives today under the Proyecto Bachué, a platform for managing activities related to Colombian arts and acting to promote and support contemporary creative enterprises. Bachué represented a pivotal moment in Rozo’s personal artistic development, by cementing the Pre-Columbian visual language in which he primarily would work for the rest of his life. Thus, La Musica provides a touchstone with Rozo’s period of self-discovery, as he experimented with combining European and Latin American models before fully embracing his roots. Further, the sculpture illustrates the wider cultural interests of the man behind the chisel. In addition to his artistic contributions, Rozo was involved in the Columbian musical offering at the 1929 Ibero-American Exposition. He performed disguised as a peasant with the Columbian duo Wills and Escobar, their act showcasing another form of indigenous art. La Musicadepicts a musician deep in reverie, a state with which Rozo was perhaps familiar. After his success in Paris, Rozo relocated to Mexico in 1931 where he worked for ten years as a member of the Columbian government’s cultural department. Surrounded by Mayan culture, Rozo incorporated these influences into various projects, most notably in Monumento a La Patria in Mérida (1956). Despite his early acclaim, he died a poor man in Yucatan in 1964. Throughout his life he used art to pursue his indigenous ancestors with a tenacity bordering on the obsessive, La Musicarepresenting a crucial part of his search for an authentic creative identity.

432 §

SIR FRANK BRANGWYN (1867-1956)

STREET OF LETOJANNI

mixed media, signed with initials and dated lower right FB 1910

48.5cm x 56.7cm (frame size 74cm x 81cm)

Exhibited: The Fine Art Society 1910, part of the Messina Earthquake series.

Note: In 1908 there was a massive 7. 1 earthquake in the southern tip of Italy and Northern Sicily in which up to 82,000 lives were lost. After the earthquake, Brangwyn went to Messina, and created fifty watercolours recording his experiences of the event.

£1,200-1,800

§

433

SIR FRANK BRANGWYN (1867-1956)

PAIR OF ARMCHAIRS, CIRCA 1930

oak, with upholstered drop in seats, stamped under stretcher SALLE JACQUES CARTIER, together with two pieces of red fabric and an accompanying book 58cm wide, 89cm high, 50cm deep

Literature: Turner G. Empress of Britain, Canadian Pacific’s Greatest Ship, Boston Mills Press, 1992, pp. 32, 48 and 172, illustrating the chairs in situ in the Salle Jacques Cartier

Leeds Museums and Galleries ‘Frank Brangwyn 1867-1956’, 2006 exhibition catalogue, 2006, p. 149

Andrews, John ‘Arts & Crafts Furniture’, Antique Collectors Club, 2005, p. 201, plate 216

Note: This armchair was designed by Brangwyn for the Salle Jacques Cartier of the Canadian Pacific liner SS Empress of Britain, and made by H. H. Martyn & Co. , Cheltenham in 1930. The ship was launched by Edward, Prince of Wales, later Edward VIII) in 1931. £1,500-2,000

434

QUENTIN BELL (1910-1996) FOR FULHAM POTTERY

VIRGINIA WOOLF COMMEMORATIVE PLATE, 1986

glazed earthenware, inscribed VIRGINIA WOOLF 1882-1982, incised makers marks FULHAM POTTERY QUENTIN BELL/X10/86

23cm diameter

£250-350

435

COTSWOLD SCHOOL

ARTS & CRAFTS CABINET ON STAND

chestnut and oak, with polychrome painted interior, bears label to base ARTS & CRAFTS EXHIBITION

SOCIETY/GLEESON/ 34 RUSSELL COURT/ CORAM ST/ WC1

57cm wide, 101cm high, 40.5cm deep

£800-1,200

436

EDWARD BARNSLEY (1900-1987)

ARTS & CRAFTS ARMCHAIR, CIRCA 1950

walnut with drop-in rush seat

54cm wide, 90cm high, 45cm deep

£400-600

437

GORDON RUSSELL (1892-1980)

STANDARD LAMP, CIRCA 1930

inlaid oak

137cm high to fitting

439

COTSWOLD SCHOOL

ARTS & CRAFTS FIRESIDE

SET, CIRCA 1930

wrought and polished steel, comprising a poker, 63cm high; a brush, 63cm high, a pair of tongs, 64cm high and an ash shovel 63.5cm high, the stand 75cm high £400-600

438

COTSWOLD SCHOOL

ARTS & CRAFTS

BUREAU BOOKCASE, CIRCA 1930

walnut with ebony and box chequer inlay and glazed astragals

110cm wide, 216cm high, 58cm deep £1,000-1,500

£400-600

440

ENGLISH

ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1920 coloured wools

58cm x 55cm (frame size 66.5cm x 64cm)

441

GORDON RUSSELL (1892-1980)

ARTS & CRAFTS CHEVAL MIRROR, CIRCA 1929

inlaid walnut, with brass fittings and bevelled mirror plate 52.5cm wide, 136cm high, 42cm deep £3,000-4,000

442 §

ELYSE ASHE LORD (1900-1971)

SIX COLOURED ETCHINGS to include ‘BIRD & PEONY, 27/75, 33.5cm x 32cm (frame size 56cm x 52cm); MUSICIAN, 22/75, 31cm x 26cm (frame 60cm x 49cm); ’THE IMMORTALS NO.2’, 62/75, 44cm x 57cm (frame size 64cm x 76cm); CHRYSANTHEMUMS, 26/100, 30cm x 30cm (frame size 40.5cm x 45cm); THE DOLL WOMAN, 41/75, 14.5cm x 17cm (frame 41cm x 38cm); and FIGURES BY A BLOSSOMING TREE, 55/75, 43cm x 35cm (frame size 64cm x 52cm), each inscribed, and signed in pencil lower right (6)

£400-600

£400-600

443

ARTS & CRAFTS WARDROBE, CIRCA 1930

walnut, with ebonised handles, the interior with mirrored plate and sliding drawers 136cm wide, 191cm high, 48.5cm deep

£3,000-5,000

GORDON RUSSELL (1892-1980)

444 §

ELYSE ASHE LORD (1900-1971)

FOUR COLOURED ETCHINGS

comprising ‘K’o ssu’, signed, inscribed and editioned 71/75, 33.5cm x 31.5cm, (frame size 55cm x 47cm); ‘K’o ssu’, signed, inscribed and editioned 54/75, 39cm x 27.5cm, (frame size 58cm x 45cm); ‘K’o ssu’, signed, inscribed and editioned 16/75, 33cm x 31cm, (frame size 55cm x 47.5cm); untitled, signed editioned in pencil 29/50, 10.3cm x 18cm, (frame size 29.5cm x 36.5cm) (4)

£300-500

ARTS & CRAFTS WARDROBE, cherry and cedar, with mirror inside door bears maker’s label

verso DESIGN NUMBER 743/

CABINET MAKER C BEADLE/

DATED AUGUST 26TH 1929

127cm wide, 183cm high, 58.3cm deep

£1,500-2,500

GORDON RUSSELL (1892-1980)

447

446

ATTRIBUTED TO EDWARD GARDINER (1903-1958)

SET OF FOUR ARTS & CRAFTS

CHAIRS, CIRCA 1950

oak, with rush seats (4) 46cm wide, 99.5cm high, 40cm deep £400-600

448

ENGLISH,

PAIR OF ARTS & CRAFTS SINGLE BEDS, CIRCA 1900

ATTRIBUTED TO ERNEST GIMSON (1864-1919) AND ALFRED BUCKNELL (MAKER) WALL SCONCE, CIRCA 1906 brass

oak, with painted steel rails, pencil inscription to the base of the back of one headboard ‘18 6 1902 no 1813 sk, complete’ (2) 106cm wide, 134cm high, 203cm long £600-800

MANNER OF W.R. LETHABY

COTSWOLD SCHOOL

ARTS & CRAFTS EASY CHAIR, CIRCA 1925

walnut, with drop in rush seat

61cm wide, 87cm high, 83cm deep

450

ARTS & CRAFTS WARDROBE, CIRCA 1925

walnut

99cm wide, 197.5cm high, 60.5cm deep

£800-1,200

PETER WAALS (1870-1937)

453

THORNTON & DOWNER

COTSWOLD SCHOOL

CANDLESTICK, CIRCA 1910

ATTRIBUTED TO ERNEST GIMSON (1864-1919)

PAIR OF ARTS & CRAFTS ‘CLISSETT’

ARMCHAIRS, CIRCA 1900

elm, with rush seats (2) 58cm wide, 115cm high, 44cm deep £600-800

452

ROBIN NANCE (1907-1990)

STANDARD LAMP, CIRCA 1950

oak, signed under base 154cm high, base 34cm across £300-500

454

ERNEST GIMSON (1864-1919)

ARTS & CRAFTS ROCKING CHAIR, CIRCA 1900

elm with rush seat

85cm wide, 116cm high, 67cm deep £500-700

455

NEVILLE NEAL (1925-2000)

DINING ROOM SET, CIRCA 1950S

comprising a set of FIVE CHAIRS, including one carver chair, oak with rush seats and later tie-on upholstered cushions, the carver 60cm wide, 114cm high, 45cm deep, the side chairs 42cm wide, 101cm high, 40cm deep, and a DINING TABLE, oak 167cm long, 74cm high, 75cm deep £1,000-1,500

ATTRIBUTED

TO ERNEST GIMSON (1864-1919)

THREE ARTS & CRAFTS ‘CLISSETT’ SIDE CHAIRS, CIRCA 1900 elm with rush seats, 46cm wide, 106cm high, 42cm deep, together with an ARTS & CRAFTS STOOL, oak with rush seat, 34cm square, 33cm high (4) £300-500

457

COTSWOLD SCHOOL

ARTS & CRAFTS SIDE TABLE, CIRCA 1930

oak

91.5cm wide, 67.7cm high, 41.cm deep £400-600

458

ARTHUR ROMNEY GREEN (1872-1945)

ARTS & CRAFTS OPEN BOOKCASE, CIRCA 1920

oak, with brass fittings and incised decoration

87.5cm wide, 113.5cm high, 23cm deep

Provenance: Arthur Romney Green’s niece £500-800

ATTRIBUTED TO GORDON RUSSELL (1892-1980)

COTSWOLD SCHOOL SETTLE, CIRCA 1930

204cm wide, 133cm high, 47cm deep £800-1,200

ARTHUR ROMNEY GREEN (1872-1945)

ARTS & CRAFTS DINING ROOM SUITE, CIRCA 1920

oak, chairs with leather drop-in seats, comprising; a TABLE, 132cm long, 71cm high, 81cm deep, and SIX CHAIRS, 43cm wide, 80cm high, 44cm deep (7)

Provenance: Arthur Romney Green’s niece

£1,500-2,000

461

ARTHUR ROMNEY GREEN (1872-1945)

ARTS & CRAFTS STANDARD LAMP, CIRCA 1920

oak

141cm high to fitting, base 28cm square

462

MANNER OF ERNEST GIMSON

ARTS & CRAFTS FENDER, CIRCA 1910

463

NORMAN AND ERNEST SPITTLE

TWO ARTS & CRAFTS COAL BUCKETS, CIRCA 1900

copper, with patinated wrought iron fittings (2) 46cm and 49cm high, excluding handles £400-600

£300-600

464

ROYAL DOULTON

PAIR OF FLAMBÉ VASES, CIRCA 1920

glazed earthenware, printed maker’s marks, painted mark OCK (2)

29cm high

£500-700

465

BARRY PARKER (1867-1947) AND SIR RAYMOND UNWIN (1863-1940)

SET OF WALL SHELVES, CIRCA 1930

green stained beech, (base shelves lacking)

141cm wide, 214cm high, 29.5cm deep £600-800

466

DAISY MAKEIG-JONES (1881-1945) FOR WEDGWOOD

‘FAIRYLAND’ LUSTRE ‘ELVES IN A PINE TREE’ PLAQUE, CIRCA 1920

Z5154, glazed earthenware, printed and painted in gilt and coloured enamels, printed maker’s marks

27cm x 19.5cm

£3,000-4,000

468

467

DAISY MAKEIG-JONES (1881-1945) FOR WEDGWOOD

‘FAIRYLAND’ LUSTRE ‘PILLAR’ VASE, CIRCA 1920

glazed earthenware, printed and painted in gilt and coloured enamels, printed maker’s marks Z4968

30.5cm high

£4,000-6,000

DAISY MAKEIG-JONES (1881–1945) FOR WEDGWOOD

‘IMPS ON A BRIDGE’ FAIRYLAND LUSTRE VASE, CIRCA 1925

lustre-glazed earthenware, printed and painted in gilt and coloured enamels, printed factory stamp, painted Z5462 28.7cm high

£1,500-2,500

469

ROWLEY GALLERY, LONDON

WALL MIRROR, CIRCA 1920

painted wood, mirror plate, bears maker’s label verso 69cm x 39.5cm

£300-500

470

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

‘CHANG’ VASE, CIRCA 1930

flambé glazed earthenware, painted maker’s marks NOKE/ HN/ CHANG/ ROYAL DOULTON

18.4cm high

£1,200-1,800

471

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

‘CHANG’ VASE, CIRCA 1930

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

18.5cm high

£1,200-1,800

W. J. PALMER-JONES (1887-1974) FOR THE ROWLEY GALLERY, LONDON

‘DANCING FIGURE’, FRAMED MARQUETRY PANEL

specimen woods and pewter within a gilded frame, maker’s paper label verso oval 89.4cm x 56cm

(frame size 112cm x 79cm)

£300-500

473

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, 29.3cm x 22.9 cm

Provenance: Cecil Beaton

£400-600

475

DAME LAURA KNIGHT (1877-1970)

FOR FOLEY POTTERY

‘DOVE AND FLOOD’ PART TEA-SERVICE, CIRCA 1934

lustre glazed earthenware, comprising six cups, six saucers, six side plates, a sugar bowl and a milk jug, printed maker’s marks (20)

sugar bowl 12cm diameter

Provenance: The Collection of Michael Archer OBE FSA(1936-2022), Keeper, Ceramics and Glass Department,Victoria & Albert Museum, London

£250-350

474

GORDON RUSSELL (1892-1980)

STRUT MIRROR, CIRCA 1930

oak, mirror plate

57cm x 48.5cm

£300-500

477

FOUR CHAIRS,

1980

wide, 85.5cm high, 41cm deep

478

ROBERT

EARLY TABLE, CIRCA 1935 oak, with carved mouse signature 137cm long, 68cm high, 67cm deep

Provenance: Reeds School, Cobham, Surrey

ROBERT ‘MOUSEMAN’ THOMSON (1876-1955) BOWL, 1930S oak, with carved mouse signature 24.5cm diameter

‘MOUSEMAN’ THOMPSON (1876-1955)

£4,000-6,000

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

CIRCA

oak, with close-nailed leather seats, with carved mouse signature (4) 44.2cm

£2,000-3,000

479

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

BOWL, CIRCA 1850

oak, 15.5cm diameter; and an ASHTRAY, oak, 10cm across, each with carved mouse signature (2)

480

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

PAIR OF BOOKENDS, 1970S-80S

oak, with carved mouse signature (2) each 8.6cm wide, 15.2cm high, 8.6cm deep

481

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

THERMOMETER/ BAROMETER/ HYGROMETER, 1970’S

oak, mounted with three brass-cased dials, with carved mouse signature 43cm x 18.8cm

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

COW STOOL, 1940S-50S

oak, with carved mouse signature 39cm wide, 45.5cm high, 31.5cm deep

£200-300

£300-400

£400-600

483

SET OF EIGHT DINING CHAIRS, 1950’S oak, with carved mouse signature, close-nailed leather upholstery 41.5cm wide, 72.5cm high, 41cm deep

Provenance: Purchased from the vendor’s uncle and aunt from the maker, circa 1950

OCTAGONAL DINING TABLE, 1950’S oak, with carved mouse signature

Purchased from the vendor’s uncle and aunt from the maker, circa 1950

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

ROBERT ‘MOUSEMAN’ THOMPSON

485

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

BOOK TROUGH, 1970S-80S

oak, with carved mouse signature

45.2cm wide, 20.8cm high, 20.7cm deep

£300-500

486

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

BENCH, CIRCA 1930

oak, with carved mouse signature

206.5cm wide, 81.5cm high, 46.5cm deep

£1,500-2,000

THOMPSON (1876-1955)

COFFEE TABLE/ STOOL, 1950’S

oak, with carved mouse signature

91.2cm long, 41.5cm high, 35cm deep

Provenance: Purchased from the vendor’s uncle and aunt from the maker, circa 1950

oak, each with carved mouse signature (2)

wide, 15cm high,

491

oak and burr oak, with carved mouse signature

40.3cm wide, 37.5cm high, 27cm deep

490

oak, with carved mouse signature

the largest table 45.5cm wide, 50.5cm high 35.5cm deep

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) PAIR OF BOOKENDS, 1950’S

9.1cm

9.1cm deep £300-500

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) CALF STOOL, 1950S-60S

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

NEST OF THREE TABLES, 1930S-40S

£1,000-1,500

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) STOOL, CIRCA 1930

£1,200-1,800

492

DAVID LONGSTAFF, OAK LEAF MAN

OCCASIONAL TABLE, CIRCA 1980

oak, carved oak leaf signature

107cm wide, 46cm deep, 46cm high £300-500

493

COLIN ‘BEAVERMAN’ ALMACK (1930-1996)

ARTS & CRAFTS DINING ROOM SUITE, CIRCA 1950

comprising a TABLE, 151cm long, 73cm high, 83cm deep, together with FOUR DINING CHAIRS, including one carver, each with leather upholstered drop-in seats, carver 61cm wide, 88.5cm high, 50cm deep, each with carved beaver signature (5) £800-1,200

497

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

TRINKET BOX, 1950S

oak, with carved mouse signature 18.3cm wide, 8.2cm high, 11.2cm deep

£300-500

495

ATTRIBUTED TO ROBERT

‘MOUSEMAN’ THOMSON (1876-1955)

FIREPLACE BRUSH, 1920S-30S

oak and horse hair

63cm long

£300-400

JOHN MONCRIEFF LTD., PERTH

LARGE ‘MONART’ VASE, CIRCA 1930 glass, red and black colourway with aventurine inclusions, traces of paper label to base 34.5cm high

£600-800

JOHN MONCRIEFF LTD., PERTH ‘MONART’ GINGER JAR & COVER, CIRCA 1930

cased glass, 20cm high; together with a MONART STYLE TABLE LAMP, butterscotch glass, with brass fittings, 23cm high (2)

£400-600

498

JOHN MONCRIEFF LTD., PERTH

FOUR ‘MONART’ VASES, CIRCA 1930

red and black colourway, three with aventurine inclusions (4)

16cm; 12.5cm; 11.5cm and 12.5cm high

499

JOHN MONCRIEFF LTD., PERTH

FOUR ‘MONART VESSELS, CIRCA 1930

pink and yellow colourways, some with aventurine inclusions, to include TWO VASES, one bears paper label, 22cm and 20.5cm high; and TWO BOWLS, each 21.3cm diameter (4)

500

JOHN MONCRIEFF LTD., PERTH

FOUR ‘MONART’ VASES, CIRCA 1930

green colourway, variously with black, orange and aventurine inclusions (4)

28cm; 21cm; 17.5cm and 16cm high

£300-500

£300-500

£300-500

501

GEORGE BAIN (1881-1968) FOR QUAYLE & TRANTER LTD., KIDDERMINSTER CELTIC ‘HUNTING’ CARPET, CIRCA 1948 machine-woven wool, bears maker’s label 270cm x 360cm

Exhibited: Rosemarkie, Black Isle Groam House Museum The Celtic Art of Geoge Bain, 2003, no. 11

Note: George Bain was born in Scrabster in northern Scotland, and was an art teacher who almost single-handedly revived interest in Celtic and Insular art. His book ‘Celtic Art: The Methods of Construction’ was published in 1951. Although it had little impact at the time, its re-issue in 1971 introduced a generation to Celtic knotwork, the Pictish stones, the Book of Kells and the Book of Durrow. As well as describing and illustrating over 200 historical examples, his book was notable for giving detailed instructions on creating similar interlace, spiral, and trumpet designs, and encouraging their use in craftwork.

£1,500-2,000

502

ALEXANDER RITCHIE (1856-1941), IONA

CELTIC REVIVAL TWIN-HANDLED CUP, 1921

repoussé-decorated silver, stamped maker’s marks, hallmarked Glasgow 1921

11.5cm high

Literature: MacArthur, Mairi E. Iona Celtic Art, Iona 2003, p. 45, no. 11a similar example illustrated £500-800

503

ALEXANDER RITCHIE (1856-1941), IONA

CELTIC REVIVAL CIRCULAR DISH, 1926

repoussé-decorated silver, stamped maker’s mark, hallmarked Glasgow 1926 20.5cm diameter

Literature: MacArthur, Mairi E. Iona Celtic Art, Iona 2003, p. 80 similar example illustrated. £400-600

504

ALEXANDER RITCHIE (1856-1941), IONA

CELTIC REVIVAL BRUSH AND MIRROR, CIRCA 1918

repoussé-decorated silver, set with bristles and mirrored plate, stamped maker’s marks, the mirror hallmarked Birmingham 1918, the brush hallmarked Chester 1912 (2) mirror 25.5cm long, brush 24cm long £300-500

505

PETER HALL FOR HEAL & SON, LONDON

PAIR OF ‘ROSETTI’ PATTERN CURTAINS, CIRCA 1974

printed cotton, lined and interlined (2) 228cm x 226cm

£300-500

GERARD DE WITT (1884-1976)

FOR FULHAM POTTERY

FLOWER VASE, CIRCA 1940 glazed earthenware, stamped THE FULHAM POTTERY LONDON

MADE IN ENGLAND

23cm high

£300-500

507 §

ROGER CAPRON (1922-2006)

PLATE, CIRCA 1950S

painted CAPRON/ VALLAURIS (to reverse), painted and glazed earthenware

32cm diameter

£300-500

508

509

PAIR OF CURTAINS, 1950S

printed cotton, unlined (2)

233cm x 354cm

FIGURE OF A GIRL carved beech, signed on the base, N J FORREST and raised on a marble plinth

total height 68.5cm

510

WILLIAM JOHN MARRINER (1881-1967) FOR FULHAM POTTERY

TWIN-HANDLED VASE, CIRCA 1940

glazed earthenware, impressed maker’s marks

23.5cm high

£300-500

MANNER OF JOHN PIPER

£400-600

§ NORMAN JOHN FORREST (1898-1972)

£400-600

511

MURANO, ITALY

PAIR OF TABLE LAMPS, CIRCA 1950 glass, with silver foil inclusions and patinated brass mounts (2) 41cm high to fitting £400-600

512

VENINI, MURANO

TWIN-HANDLED VASE, CIRCA 1950

cased lustre glass, etched to base MURANO 4/3 VENINI

PAIR OF MID-CENTURY ARMCHAIRS, CIRCA 1960 cherrywood, with upholstered seats and loose back cushions (2) 63.5cm wide, 78cm high, 63.5cm deep £1,500-2,000

514

MID-CENTURY

THREE HANGING LIGHTS, CIRCA 1960

opalescent glass, brass hanging chains (3) shades 45cm diameter, 18cm high

£800-1,200

516

MARIANNE BRANDT (1893-1983) FOR RUPPELWERK METALLWARENFABRIK, GOTHA

NAPKIN HOLDER, CIRCA 1930

enamelled metal, printed maker’s marks 19.6cm wide, 11cm high

Literature: The Times Magazine, 16 March 2002, p. 51

Nest: A Quarterly of Interiors, Spring 2002, where this lot is illustrated in Andrew McIntosh Patrick’s home at 34 Craven Street, near Trafalgar Square, London. £300-500

MANNER OF MAISON JANSEN, PARIS PALM TREE SCULPTURE, CIRCA 1960

143cm high, diameter approximately 138cm

Note: Marianne Brandt was a German painter, sculptor, photographer, metalsmith, and designer who studied at the <a href=”https://en. wikipedia. org/ wiki/Bauhaus”>Bauhaus</a> art school in <a href=”https://en. wikipedia. org/ wiki/Weimar”>Weimar</a> and later became head of the Bauhaus <em>MetallWerkstatt</em> (Metal Workshop) in <a href=”https://en. wikipedia. org/wiki/ Dessau”>Dessau</a> in 1928. She joined Ruppelwerk GmbH in Gotha in 1929 as head of the “design department for metal goods in coated steel panel”. Besides making new designs, she was also in charge of revising the Ruppelwerk’s artisan products. It was her declared goal to “bring the confusing and uncharming product range of the Ruppelwerk in line with the Bauhaus philosophy”.

and smoky quartz, each stamped manufacturer’s mark, TORUN/ 925S/ DENMARK/ 132 and 160

20.5cm long, 15.5cm wide £600-800

518

ERIK HÖGLUND (1932-1998) FOR BODA

HANGING LIGHT, CIRCA 1965 patinated iron, glass 46cm diameter, fitting 41cm high, with five chain links, each 26cm long £600-800

EVA ENGLUND (1937-1998) FOR ORREFORS ‘GRAAL VASE’, 1986

decorated glass, etched ORREFORS 945330/EVA ENGLUND/GRAAL/1-86

26.5cm high

£800-1,200

VIVIANNA TORUN BÜLOW-HÜBE

520

GIO PONTI (1891-1979) FOR RICHARD GINORI

IL RACCOLTO’ AND ‘LA PIGIATUREA’ TILES, CIRCA 1930

from the Harvest series, manufacturer’s moulded and stamped marks

RICHARD-GINORI / S. CRISTOFORO / MILANO / MADE IN ITALY to each tile each 14.5cm x 14.5cm £500-800

521

MURANO, ITALY

TABLE LAMP, CIRCA 1960

green, clear and iridescent glass, brass base 49cm high £400-600

522

CARL AUBÖCK II (1900-1957)

NUTCRACKER, CIRCA 1950

brass, stamped maker’s mark to the base AUBÖCK MADE IN AUSTRIA

9cm high closed £300-500

524 §

JANET LEACH (1918-1997)

LEACH POTTERY

VESSEL

stoneware, with poured glaze, stamped seal marks, painted to base

JANET LEACH/ 15

22cm high

£500-700

523 §

JAMES MORE (1946-2011)

FOR DOVECOT STUDIOS, THE EDINBURGH TAPESTRY CO.

UNTITLED, 1987 wool

146cm x 207cm

Note: This tapestry was designed for Dunedin Fund Managers Ltd. by James More, Managing Director of the Edinburgh Tapestry Company in July 1987. It depicts various subjects (noted below) connected with the history of the investment industry together with the Dunedin logo. The subjects include a quill pen, an inkwell & a judge’s wig; the fanlight of a Victorian doorway; an upright telephone; a 19th-century American locomotive; a piece of engineering equipment; Sisyphus, a character from Greek mythology endlessly pushing the stone uphill.

£1,000-1,500

525 §

JANET LEACH (1918-1997)

AT LEACH POTTERY

VESSEL

glazed stoneware, impressed seal marks

30cm high

£500-700

526 §

RICHARD BATTERHAM (1936-2021)

VASE, CIRCA 1990

glazed stoneware

20cm high

Provenance: The Collection of Michael Archer OBE FSA(1936-2022), Keeper, Ceramics and Glass Department,Victoria & Albert Museum, London

£250-350

527 §

CHARLES JENCKS (1939-2019)

CUSTOMISED EXTENDING DINING TABLE, CIRCA 1990

white over-painted wood with beech top, the carved frieze with two drawers, the pull-out top with two additional leaves, 31.4cm and 32cm long 179.5cm long, 80cm high, 98.5cm deep

Provenance: The Estate of Charles Jencks, Portrack House

Note: Charles Jencks was an American landscape designer, architectural historian and cultural theorist, who published over thirty books and was famous as a theorist of Postmodernism. £800-1,200

The present lot in situ in the kitchen and dining room of Portrack House, Dumfriesshire

528 §

FRED BAIER (B. 1949)

BUTLER’S TRAY, 1988

stained and lacquered sycamore 76cm high, 60cm wide, 68cm deep

Provenance: Private Collection, London.

Exhibited: Sotheby’s, Decorative Arts Award Exhibition, 1988.

Literature: Houston J. Fred Baier, Furniture in Studio. Kent: Bellew Publishing, 1990, p. 46, illustrated. £500-800

CONDITIONS OF SALE 22.3

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.