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VIEWING
Sunday 13 October, 12pm-4pm
Monday 14 October, 10am-4.30pm
Tuesday 15 October, 10am-4.30pm Days of Sale from 9am Lyon & Turnbull 33
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
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DROIT DE SUITE
§ indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, a royalty payment for all qualifying works of art. Under 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. The charge for works of art sold at and above £1,000 and below £50,000 is 4%. For items selling above £50,000, charges are calculated on a sliding scale.
More information on Droit de Suite is available at www.dacs.org.uk.
This sale is subject to our Standard Conditions of Sale (available at the back of every catalogue and on our website). If you have not bought at auction before we will be delighted to help you.
REGISTRATION
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BIDDING & PAYMENT
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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/importsexports/cites
COLLECTION OF PURCHASED LOTS
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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.
John Mackie Head of Sale john.mackie@lyonandturnbull.com
An Aesthetic Interior: The Contents of a London Apartment
British Furniture & Works of Art since 1860 Part I
New Sculpture & Works of Art
THURSDAY, 17TH OCTOBER AT 10AM
A Collection of French Glass
Continental Furniture & Works of Art from 1860-1920
Scottish Furniture & Works of Art since 1860
British Furniture & Works of Art since 1860 Part II
British Furniture & Works of Art by Robert 'Mouseman' Thompson
Post War British & Continental Furniture & Works of Art
AN AESTHETIC INTERIOR: THE CONTENTS OF A LONDON APARTMENT
FREDERICK MACKENZIE (1787–1854)
CHAPEL OF HENRY VII
watercolour, frame inscribed F. MACKENZIE/ CHAP OF HENRY VII/ DEL. J. BRITTON TO T. CUBITT/ 1844
53.5cm x 39cm (frame size 78.5cm x 64cm)
Provenance: Haslam & Whiteway, London
£600-800
2
GEORGE WASHINGTON
JACK (1855-1931) FOR MORRIS & COMPANY
ARTS & CRAFTS TWO-FOLD FIRESCREEN, CIRCA 1890 carved mahogany, each fold inset with embroidered panels of coloured wools on a wool ground each fold 59.5cm wide, 124cm high
£800-1,200
3
WILLAM DE MORGAN (1836-1917)
PERSIAN STYLE TWIN-HANDLED VASE, CIRCA 1890
painted and glazed ceramic, unmarked 22cm high
Provenance: Sotheby’s London, The Best of British: Design from the 19th and 20th Centuries, Paul Reeves Selling Exhibition, 14th - 20th March 2008, PR76
£1,000-1,500
4
W. A. S. BENSON (1854-1924) WALL SCONCE
brass and copper, with two opalescent glass shades, stamped BENSON to backplate
45cm wide, 42cm high, 23cm deep
Literature: Benson Electric Light Fittings, 1902, p. 76, no. 1347/ 1157
£1,000-1,500
5
W. A. S. BENSON (1854-1924)
TABLE LAMP, CIRCA 1900
cast iron and copper, converted to electricity, stamped W.A.S. BENSON, later shade
height to fitting 54.5cm
Literature: Hamerton I. (ed.), W.A.S. Benson: Arts & Crafts Luminary and Pioneer of Modern Design, Antique Collector’s Club 2005, p. 248, pl. 4, where the design for a similar example is illustrated (no. 396).
£600-700
6
ENGLISH
AESTHETIC MOVEMENT MUSIC CABINET, CIRCA 1870
ebonised oak, carved walnut with brass fittings
48cm wide, 131.5cm high, 35cm deep
Provenance: Paul Reeves, London
£600-800
7
8
ENGLISH
PAIR OF AESTHETIC MOVEMENT WALL CABINETS, CIRCA 1880
ebonised and gilded wood, painted panels, velvet panels and faceted glass doors (2)
107.5cm wide, 138cm high, 20cm deep
£1,500-2,000
JAMES LAMB, MANCHESTER
AESTHETIC MOVEMENT CABINET, CIRCA 1880
ebonised wood, amboyna, with painted decoration and brass fittings, stamped to the drawer LAMB/ MANCHESTER/ 37064
83cm wide, 134cm high, 40cm deep
Provenance: The Fine Art Society, London
£500-700
9
PAUL JEAN MILET (1870-1950) FOR SÈVRES
PAIR OF VASES, CIRCA 1905
glazed earthenware, polychrome and gilded decoration, painted MILET/ SÈVRES/ 623 28cm high; a VASE, CIRCA 1905, glazed earthenware, polychrome and gilded decoration, painted, printed and impressed SÈVRES/ 426/ 99.D, 25.5cm high; together with another SÈVRES VASE, polychrome and gilded decoration, printed SÈVRES/ 130, 12.7cm high (4)
Provenance: Haslam & Whiteway, London (Pair of Vases)
£600-800
11
ENGLISH
‘THE ANNUNCIATION’, ARTS & CRAFTS ENAMELLED PANEL, CIRCA 1900
white metal and enamel, inscribed MARIA GRATIA PLENA, framed
26cm x 24cm (frame size 32cm x 31cm)
£1,000-1,500
10
MINTONS
PAIR OF COFFEE CUPS AND SAUCERS, CIRCA 1880 porcelain with gilt embellishment, cups 6cm high; together with MINTON & CO. PLATE, porcelain with gilt embellishment, 1882, 25.5cm diameter (3)
£400-600
12
MINTONS
PAIR OF AESTHETIC MOVEMENT VASES, 1872
glazed ceramic, gilded decoration, stamped MINTON/ 1586, date mark for 1872 (2)
27.5cm high
£500-700
CHRISTOPHER DRESSER (1834-1904) FOR MINTONS
PAIR OF ‘CLOISONNÉ’ VASES, CIRCA 1870
glazed and decorated earthenware, 10.5cm high; ‘CLOISONNÉ’ VASE, glazed and decorated earthenware, 9.5cm high; and a further MINTON & CO. PAIR OF ‘CLOISONNÉ’ VASES, glazed and decorated earthenware, 10cm high (5)
Literature: Whiteway M. Christopher Dresser 1834-1904, Skira Editore S.p.A., Milan, 2001, p.62, pl. 23 where one of the offered models is illustrated.
£600-800
15
ATTRIBUTED TO JAMES HADLEY (1837-1903) FOR ROYAL WORCESTER
ANGLO-JAPANESE VASE, 1872
14
MINTONS
PAIR OF AESTHETIC MOVEMENT MOON FLASKS, CIRCA 1875
porcelain, decorated in silver and gilt, impressed MINTONS/ 2894, 12cm high; together with a ROYAL WORCESTER VASE, painted and moulded porcelain, impressed maker’s mark, 16cm high (3)
Provenance: Paul Reeves, London (Moon Flasks)
£500-700
porcelain, painted with gilt and enamels, printed maker’s marks, dated ‘72, 30cm high; together with a PAIR OF ANGLO-JAPANESE SLEEVE
VASES, CIRCA 1880, glazed earthenware, gilt and bronzed decoration, incised no. 329, 14.5cm high; an AESTHETIC MOVEMENT CACHE
POT, glazed earthenware, 11cm high (4)
Provenance: Collection of John Scott, London
The Fine Art Society (Hadley vase)
Exhibited: London, The Fine Art Society ‘Modern English’: Design from the late 1860s and 1870s: The John Scott Collection, 11th June - 3rd July 2014, no.47 (Hadley vase)
Literature: Whiteway M. and Gere C. Nineteenth Century Design: From Pugin to Mackintosh, Weidenfeld & Nicolson, 1993, p.174, pl. 217 (Hadley vase)
£300-500
16
CHRISTOPHER DRESSER (1934-1904) FOR MINTONS
‘CLOISONNE’ PLATE, 1873
glazed, gilded and silvered porcelain, impressed MINTONS, indistinct date mark 1873, 24cm diameter; together with a pair of MINTON & CO. ‘CLOISONNE’ SOUP PLATES, glazed porcelain, enamel decoration, printed and stamped MINTONS, 28cm diameter (3)
Provenance: Collection of John Scott, London (single plate)
The Fine Art Society
Exhibited: London, The Fine Art Society, Truth Beauty Power: The Designs of Christopher Dresser: The John Scott Collection, 11th September - 2nd October 2014, no. 14 (single plate)
£400-600
18
17
JAMES POWELL & SONS, WHITEFRIARS
PAIR OF GAS-LIGHT WALL LIGHTS, CIRCA 1890
wrought iron and opalescent glass (2)
55cm high
Provenance: Sotheby’s London, The Best of British: Design from the 19th and 20th Centuries, Paul Reeves Selling Exhibition, 14th - 20th March 2008, PR92
£1,000-1,500
ATTRIBUTED TO CHRISTOPHER DRESSER (1834-1904)
PAIR OF AESTHETIC MOVEMENT
ANDIRONS, CIRCA 1879
brass (2)
18.5cm wide, 57cm high, 27cm deep,
Provenance: Haslam & Whiteway, London
Literature: Halén W. Christopher Dresser: A Pioneer of Modern Design, London 1990, p.76, pl.67 where a contemporary drawing of a similar design for The Coalbrookdale Company is illustrated.
£600-800
19
MINTON’S ART POTTERY STUDIO
PAIR OF AESTHETIC MOVEMENT MOONFLASKS, CIRCA 1872
glazed and gilt embellished earthenware, the decoration attributed to William S. Coleman, impressed factory marks, year cypher for 1872 and shape no. 1498, printed Kensington Gore marks, various red and black painted numerals (2)
34.3cm high
Provenance: Christies, London, An Aesthetic Odyssey: The Peter Rose and Albert Gallichan Collection, 30th September 2021, Lot 107
Literature: Coleman B. The Best of British Arts & Crafts, Atglen 2004, pp. 70, 86.
Levy M. Living with antiques: A collection of Victorian Decorative Arts, ‘Antiques’, June 2000, pp. 948-955, p. 950, pl. iii.
£1,200-1,800
21
HARRY POWELL (1853-1922) FOR JAMES POWELL & SONS, WHITEFRIARS
THREE SQUARE DECANTERS, CIRCA 1908
coloured glass (3)
22.5cm high
Provenance: Collection John Scott
Literature: Jackson, L., Whitefriars Glass: The Art of James Powell & Sons, Richard Dennis, 1996, p.113, pl. 77
£300-500
ATTRIBUTED TO HENRY POWELL (1853-1922) AND PHILIP WEBB (1831-1915) FOR JAMES POWELL & SONS, WHITEFRIARS GROUP OF THREE GLASS WARES, LATE 19TH CENTURY
comprising; a ‘TEAR’ WINE GLASS, CIRCA 1899, attributed to Harry Powell, 20.5cm high; a WINE GLASS, CIRCA 1860, attributed to Philip Webb, 12.5cm high; together with a small VASE, CIRCA 1880, 17.5cm high (3)
Provenance: Collection of John Scott, London The Fine Art Society (‘Tear’ wine glass; Philip Webb Glass)
Exhibited: London, The Fine Art Society The John Scott Collection: James Powell & Sons: Whitefriars Glass 1860-1960, June and July 2014, nos. 9 and 48
Literature: Jackson, L., Whitefriars Glass: The Art of James Powell & Sons, Richard Dennis, 1996, p.106, pl. 38, ‘tear’ wine glass; p.104, pl. 33, Philip Webb wine glass
£200-300
22
THOMAS FORESTER & SONS LTD., PHOENIX WARE
PAIR OF ART NOUVEAU REMBRANDT VASES, CIRCA 1900
glazed earthenware, maker’s mark and painted mark to base PRINCESS NO. 2, 23cm high; together with PAIR OF ART NOUVEAU REMBRANDT JUGS, glazed earthenware, maker’s mark to base, 30cm high (4)
£300-500
23
ATTRIBUTED TO HARRY POWELL (1853-1922) FOR JAMES POWELL & SONS, WHITEFRIARS
THREE ‘VENETIAN’ VASES, CIRCA 1890 opalescent glass (3)
30.5cm, 25.5cm, 20.5cm high
Provenance: Collection of John Scott, London The Fine Art Society (30.5cm and 25.5cm vases)
Exhibited: London, The Fine Art Society The John Scott Collection: James Powell & Sons: Whitefriars Glass 1860-1960, June and July 2014, nos. 25 and 41 (30.5cm and 25.5cm vases)
Literature: Jackson, L., Whitefriars Glass: The Art of James Powell & Sons, Richard Dennis, 1996, p.101, pl. 19, where similar examples are illustrated
£500-800
24
ATTRIBUTED TO HENRY POWELL (1853-1922) FOR JAMES POWELL & SONS, WHITEFRIARS
THREE ‘VENETIAN’ VASES, CIRCA 1890 opalescent glass (3)
32.5cm, 25cm, 24cm high
Provenance: Collection of John Scott
Literature: Jackson, L., Whitefriars Glass: The Art of James Powell & Sons, Richard Dennis, 1996, p.101, pl. 19, where similar examples are pictured
£500-800
27
25
WILLIAM S. MYCOCK (1872-1950) FOR PILKINGTON’S TILE & POTTERY CO.
LANCASTRIAN LUSTRE VASE, DATED 1910
lustre-glazed earthenware, painted artist’s monogram and date to the base, impressed makers mark stamped 2866
20.4cm high
£600-800
26
ATTRIBUTED TO C.R. ASHBEE (1863-1942) FOR THE GUILD OF HANDICRAFT
CHARGER, CIRCA 1900
gilded and repoussé-decorated copper
43cm diameter
Provenance: Haslam & Whiteway, London
£500-700
ENGLISH AESTHETIC MOVEMENT
ÉTAGÈRE, CIRCA 1880
ebonised wood
61cm wide, 105cm high, 38cm deep
£500-700
28
BIRMINGHAM GUILD OF HANDICRAFT
TWIN-HANDLED JARDINIÈRE, CIRCA 1900
brass and copper, stamped B.G.H.
31cm wide across handles, 19cm high
£400-600
29
JAMES DROMGOLE LINTON (1840-1916)
PORTRAIT OF MRS. MINNIE SIDNEY, AGED 39, 1898
oil on canvas, signed and dated lower right
J.D.L./ 98, inscribed upper left MINNIE SIDNEY AETAT SUAE 39, framed 44cm x 31.5cm (frame size 71cm x 58.5cm)
Provenance: Christies, London Victorian Pictures and Drawings, 9th June 1995, Lot 369
£1,500-2,000
31
CHRISTOPHER DRESSER (1834-1904) FOR AULT POTTERY
PEACOCK VASE, CIRCA 1880 glazed earthenware, impressed ENGLAND, registration no. and applied maker’s mark 41cm high
Provenance: Collection of Roy Davids Bonhams, London The Old Forge, The Roy Davids Collection of Decorative Arts and Bronzes, 4th March 2015, Lot 57
£500-700
30
ATTRIBUTED TO THE GUILD OF HANDICRAFTS
ARTS & CRAFTS WALL SCONCE, CIRCA 1895 repoussé-decorated copper, steel, 38cm high; together with a PAIR OF AESTHETIC MOVEMENT
LILY LEAF SCONCES, brass, 28cm high (3)
Provenance: Paul Reeves, London (single sconce)
Collection of John Scott, London
The Fine Art Society (pair of sconces)
Exhibited: London, The Fine Art Society A Christmas Spectacular: The John Scott Collection, December 2014, nos. 184 (Pair of sconces)
£300-500
32
SIR WILLIAM REYNOLDS-STEPHENS (1862-1923)
‘CROWN OF THORNS’ ROUNDEL, 1903 patinated copper, signed and dated W. REYNOLDS-STEPHENS/ 1903
62cm diameter
Provenance: Church of Mary the Virgin, Great Warley, Essex Collection of A.R. Dufty, Kelmscott Manor
Literature: The Art Journal, 1905 which illustrates the current lot in situ as part of the altar rail, St. Mary the Virgin, Great Warley
£1,000-1,500
MANNER OF MORRIS & CO.
PAIR OF ARTS & CRAFTS STAINED
GLASS PANELS, CIRCA 1890
stained, painted and leaded glass, each within metal frame (2)
56.5cm x 31cm (frame size 59.5cm x 34.5cm)
£800-1,200
34
W. A. S. BENSON (1854-1924)
TABLE LAMP, CIRCA 1900
brass, with associated period opalescent glass shade 50cm high
£400-600
35
GILLOW & CO.
AESTHETIC MOVEMENT FOLD
OVER CARD TABLE, CIRCA 1880
ebonised wood, with green baize interior, stamped under top GILLOW & CO., LANCASTER
91.5cm wide, 75cm high, 46cm deep closed, 91cm deep open
£400-600
Literature: Hamerton I. (ed.), W.A.S. Benson: Arts & Crafts Luminary and Pioneer of Modern Design, Antique Collector’s Club 2005, p. 259, pl. 15, where the design for a similar example is illustrated (n.1079).
WILLAM DE MORGAN (1836-1917)
ARTS & CRAFTS RUBY LUSTRE CHARGER, CIRCA 1890 lustre glazed earthenware 31cm diameter
Literature: Greenwood M. The Designs of William de Morgan, Richard Dennis 1989, p. 217, pl. 107 illus. for a similar variant.
£1,500-2,000
THE COALBROOKDALE COMPANY, IRONBRIDGE
AESTHETIC MOVEMENT WALL CABINET, CIRCA 1870
cast iron, with embossed copper panels and gilt embellishments, removable ebonised wood shelf, the reverse numbered 376762 and with lozenge mark for 1869
57cm wide, 109cm high, 16cm deep
Provenance: Sotheby’s, London 1000 Ways of Seeing: The Collection of Stanley J. Seeger, 5th March 2014, Lot 846
£1,000-1,500
38
WILLAM DE MORGAN (1836-1917)
ARTS & CRAFTS RUBY LUSTRE
CHARGER, CIRCA 1890
lustre-glazed earthenware
31cm diameter
£1,500-2,000
39
W. A. S. BENSON (1854-1924)
PAIR OF CANDLESTICKS, CIRCA 1900
brass and copper (2)
29.5cm long
Provenance: Christies London, 20th Century
Decorative Arts, 16th November 1994, Lot 164
Literature: Hamerton I. (ed.) W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, ACC 2005, p.253, pl.23 where an illustration of this design is illustrated (204).
£1,000-1,500
40
W. A. S. BENSON (1854-1924)
COMPORT, CIRCA 1890
brass and copper
21cm diameter, 18cm high
£300-500
41
WILLAM DE MORGAN (1836-1917)
PAIR OF MERTON ABBEY PERIOD TILES, CIRCA 1885
decorated and glazed ceramic, impressed Merton Abbey mark (2) each 15.3cm x 23cm
Provenance: Sotheby’s London High Victorian Decorative Arts and Design, 12th and 13th November 1992, Lot 323
Literature: Greenwood M. The Designs of William de Morgan, Richard Dennis 2007, p. 164, pl. 479 for a comparable tile design
£3,000-5,000
42
MANNER OF E.W. GODWIN
AESTHETIC MOVEMENT ÉTAGÈRE, CIRCA 1875
ebonised wood
61cm wide, 117.5cm high, 35cm deep
Provenance: Collection of Roy Davids Bonhams, London The Old Forge, The Roy Davids Collection of Decorative Arts and Bronzes, 4th March 2015, Lot 81
£600-800
43
ENGLISH
ARTS & CRAFTS TEXTILE PANEL, CIRCA 1900
woven cotton, within later velvet border panel 94cm x 128cm, 144cm x 177cm including border
£300-500
44
JAMES RADLEY YOUNG (1867-1933) FOR CARTER’S POTTERY, POOLE
RARE WALL PLAQUE, CIRCA 1920
lustre-glazed earthenware, impressed CARTER’S POOLE
41.5cm diameter
Provenance: Sylvia Powell Decorative Arts
Literature: Atterbury P. & Hayward L. Poole Pottery Richard Dennis Publications 2006, p. 24 where a comparable example is illustrated £1,000-1,500
Note: James Radley Young joined Carters Pottery, Poole in 1893 (later Carter Stabler and Adams, and then Poole Pottery), following his halfbrother Edwin Page Turner, who was head of design at the time. Young left Carters in 1901 to set up Hammer Vale Pottery in Haslemere, Surrey with William Wilson Stallworthy. The project was relatively short-lived however and Young returned to work for Carters in 1911.
45
ALEXANDER RITCHIE (1856-1941), IONA CELTIC REVIVAL TRAY, CIRCA 1925
repoussé-decorated copper
76cm wide across handles, 23cm deep
Provenance: Paul Reeves, London
£300-500
46
JONATHAN CHISWELL JONES (B. 1944)
TWO LUSTRE BOWLS, CONTEMPORARY
lustre-glazed earthenware, comprising a LARGE BOWL, decorated with poppies and cornflowers, signed with monogram, numbered 5577, 41.5cm diameter; together with a LARGE SHALLOW BOWL, signed with monogram, numbered 4181, 40.5cm diameter (2)
Provenance: John Scott Collection, London
The Fine Art Society, London
Exhibited: London, The Fine Art Society A Christmas Spectacular: The John Scott Collection, December 2014, nos. 138 and 140
£400-600
47
ROBERT ANNING BELL (1863-1933)
MOTHER AND CHILDREN, 1906
relief moulded plaster, polychrome decoration 37.5cm x 29cm (frame size 52.5cm x 43.5cm)
Provenance: Christie’s London, British and Continental Decorative Arts, 13th May 1998, Lot 4
Literature: The Studio Volume XLII, p.309 where an example illustrated.
£800-1,200
48
ATTRIBUTED TO CHARLES HARDGRAVE (1848-1920) FOR JAMES POWELL & SONS, WHITEFRIARS
‘OPUS SECTILE’ MOSAIC PANEL, CIRCA 1870
painted coloured glass and mother of pearl, framed 71cm x 29.5 (frame size 73cm x 31.5cm)
Provenance: Collection of John Scott, London
The Fine Art Society
Exhibited: London, The Fine Art Society
The John Scott Collection: James Powell & Sons, Whitefriars Glass 1860-1960, no. 83
Literature: Powell’s Opus Sectile Locations, The Tiles & Architectural Ceramics Society (tilesoc.org.uk)
£500-800
Note: Opus sectile, a decorative technique originally developed in ancient Rome, involves the meticulous inlay of materials such as marble, stone, or mother-of-pearl into walls and floors to create intricate images. This method experienced a revival through the work of Powell & Sons, who introduced their innovative use of coloured and textured glass, expanding upon their established tradition of providing stained glass for ecclesiastical settings. The materials supplied by the firm were often offered as individual elements, such as quarries, or as prefabricated or customdesigned panels.
49
ENGLISH
AESTHETIC MOVEMENT
JARDINIÈRE ON STAND, CIRCA 1880
embossed and patinated copper (2)
107cm high
£500-700
According to analysis by Dr. Dennis Hardley, evidence from Powell’s Cash Window Books demonstrates that Powell & Sons had been producing reredoses, altar panels, and wall panels using the opus sectile technique as early as 1873. By the 1890s, the firm had expanded their operations internationally, exporting these works to countries such as India, the United States, France, Ireland, and Denmark for both religious and commercial commissions.
The lily panel examined in this context is reminiscent of one installed in the Church of the Holy Cross in Owlpen, Gloucestershire, in 1887. This work is attributed to Charles Hardgrave, a key artist in the firm’s production during this period.
Note: During the 18th century there was a growing sentiment that public institutions should be accessible to all. An increasing number had free admission and late opening hours to enable the working classes to visit, principles on which Henry Cole, the first director of what became the V & A, was particularly adamant. In conjunction with this movement however, were changes to the behaviours considered acceptable within the museum space. For example, whereas in the 17th and 18th centuries visitors were encouraged to touch exhibits, by the 19th century this was forbidden and seen as undignified. Victorian guidebooks presented museums as agents of decorum, teaching the crowds how to act within these cultural spaces to which they now had theoretically unlimited access.
Beginning his artistic career in the mid-19th century, Henry Stacy Marks’ work engaged with contemporary debate. In 1862, just three years after he painted this work, he was a founding member of the St John’s Clique. This small group of artists saw the Royal Academy’s continued promotion
50
HENRY STACY MARKS (1829-1898)
‘A FISH OUT OF WATER’ oil on canvas, signed and dated lower right H. STACY MARKS 1858, framed 35cm x 24cm (frame size 47.5cm x 36.5cm)
Provenance: Christies, London Fine Victorian Pictures, Drawings and Watercolours, 9th June 1995, Lot 396 £2,000-3,000
of academic art as archaic, and instead concentrated their efforts on genre painting. They believed art should be judged by the public rather than conforming to pre-existing ideas.
In ‘A Fish Out of Water’ Marks uses art to imitate reality, presenting a member of the working class in simple dress and mud-coated boots, his bemused expression further demonstrating his incongruity in the museum setting. The almost indistinct plaque to the bottom left instructs him how to behave; ‘VISITORS ARE PARTICULARLY REQUESTED NOT TO TOUCH ANY OF THE SCULPTURES’. The painting could be interpreted as a wealthy, upper-class artist mocking this ignorant and awestruck individual. Given Marks’ rebellion against traditional art and the Royal Academy however, it seems more likely that he is commenting on the chasm between expectation and reality. Victorian idealists thought museums capable of spreading good taste to the masses, but achieving this was a far more complex and less easily romanticised venture.
51
RICCIARDO MEACCI (1856-1938)
THE VIRGIN WITH ANGELS
watercolour and gouache, signed lower left R. MEACCI, framed 25.5cm x 12cm (frame size 35cm x 19cm)
Provenance: Christies South Kensington, British and Continental Watercolours and Drawings, 24th April 1997, Lot 194
£800-1,200
Sienese born artist Ricciardo Meacci painted predominantly religious subjects, blending traditional medieval elements from his ‘Purismo’ school training with influences from the Pre-Raphaelite movement. He executed church frescoes as well as works in watercolour and gouache, the latter gaining favour with English royalty and aristocracy. His paintings are further prized for their ornamental frames which incorporate gilt architectural elements.
52
RICCIARDO MEACCI (1856-1938)
LAUDATE DOMINUS
watercolour and gouache, highlighted with gilt, signed lower right R. MEACCI, bears inscription verso BOUGHT BY MRS NEVILLE GRENVILLE FROM MEACCI, FLORENCE 1892
19cm x 25cm (frame size 28cm x 34.5cm)
£1,000-1,500
53
RICCIARDO MEACCI (1856-1938)
PASTORAL PROCESSION
watercolour and gouache, signed lower right R. MEACCI, framed 15cm x 43cm (frame size 21.5cm x 49.5cm)
£600-800
RICCIARDO MEACCI (1856-1938)
THE ANNUNCIATION, 1906
watercolour and gouache, lunette, highlighted with gilt, signed lower right R. MEACCI, framed, bears inscription verso PAINTED BY R. MEACCI OF FLORENCE 1906
30.5cm x 40.5cm (frame size 30.5 x 50.5cm)
Provenance: Christies South Kensington British and Continental Watercolours and Drawings, 29th November 2000, Lot 148
£800-1,200
55
RICCIARDO MEACCI (1856-1938)
THE GARDEN OF THE HESPERIDES
watercolour and gouache, highlighted with gilt, signed lower right R. MEACCI, framed
19.5cm x 33cm (frame size 30cm x 43cm)
Provenance: Christies London, Victorian Pictures, Drawings & Watercolours, 9th June 1995, Lot 261
£1,000-1,500
56
ENGLISH
AESTHETIC MOVEMENT GIRANDOLE MIRROR, CIRCA 1880
ebonised and gilded wood, bevelled mirror plate, with painted panels and applied three branch candle sconce with brass fittings, later converted to electricity
109cm high, 66.5cm wide 28cm deep
Provenance: Paul Reeves, London
£800-1,200
57
OCTAVIUS OAKLEY (1800-1867)
PORTRAIT OF A LADY
watercolour with bodycolour, framed 41.5cm x 28.5cm (frame size 61.5cm x 48.5cm)
Provenance: The Maas Gallery, London
£1,000-1,500
58
EDWARD JOHN GREGORY (1850–1909)
GIRL WITH VIOLETS (MISS RYDER)
watercolour and bodycolour, signed and dated lower right E.J.G./ 06, framed 66cm x 52.5cm (frame size 93cm x 81cm)
£1,000-1,500
COX & SON, LONDON
AESTHETIC MOVEMENT DRAWING ROOM CABINET, CIRCA 1862
ebonised wood, with polychrome and gilt painted panels, gilded embellishments and glazed doors
198.5cm wide, 142cm high, 37.5cm deep
Provenance: Paul Reeves, London
Literature: The Building News, May 31st 1872, p. 439 where an example of this lot is illustrated in a line drawing of the Cox & Son stand (exhibit no. 2781)
Note: Cox & Sons, a prominent London-based firm founded in 1837, initially specialized in church furnishings but expanded their scope in the 1860s and 1870s to include fashionable art furniture and decorative objects. This period marked the height of their success, as they embraced the growing demand for artistic, handcrafted furniture inspired by the Arts and Crafts movement. By 1870 a catalogue of Cox & Son claimed to be able to supply 800 designs of furniture, Gothic metalwork, carpets and hangings by ‘eminent church designers’. The firm worked with leading designers of the time, including B.J. Talbert, S.J. Nicholls, G. Goldie, J. Moyr Smith, O.W. Davis, C. Rossiter and E.W. Godwin. Bruce Talbert, an influential designer and architect, played a significant role in shaping the firm’s aesthetic. Known for his Gothic Revival designs and intricate use of ornamentation, Talbert’s work for Cox & Sons helped solidify their reputation as creators of high-quality, artistic furniture. His influence is particularly evident in the detailed woodwork and decorative panels that became a hallmark of Cox & Sons’ output. John Moyr Smith also contributed to the firm’s artistic offerings, particularly through his tile designs, such as The Winds series, which were incorporated into both tile collections and painted furniture panels. Charles Rossiter provided figurative designs, further enhancing Cox & Sons’ reputation for merging art and utility. By the late 19th century, Cox & Sons had established themselves as leaders in Victorian art furniture design.
£2,000-3,000
60
ALESSANDRO MAFFEI (1780-1859)
VIEW OF THE INTERIOR OF SIENA CATHEDRAL, CIRCA 1852 watercolour, signed lower left ALESSANDRO MAFFEI, within carved frame attributed to PIETRO GIUSTI (1822-1878)
98.5cm x 73cm (frame size 122.5cm x 97cm)
Provenance: George Vivian (1798–1873)
Haslam & Whiteway, London
Note: This framed watercolour of the interior of Siena Cathedral was made for the English traveller and topographical artist George Vivian circa 1852. The frame, carved by Pietro Giusti, is inspired by the bas reliefs from the Cathedral entrance. Giusti, one of the most successful nineteenth-century designers and sculptors in Tuscany, was known for his elaborately carved frames and furniture in sixteenth-century styles. His frame shown at the International Exhibition in London in 1862 won the gold medal (V&A collection, accession no. 8053:1-1862).
£1,000-1,500
62
61
ENGLISH
TWO AESTHETIC MOVEMENT
OCCASIONAL TABLES, CIRCA 1880
amboyna and ebonised wood (2) 44cm diameter, 70.5cm high and 42.5cm diameter, 66cm high
£600-800
ATTRIBUTED TO JAMES LAMB, MANCHESTER
PAIR OF AESTHETIC MOVEMENT SIDE CHAIRS, CIRCA 1880
ebonised wood, inlaid with amboyna and gilded, incised decoration, the velvet upholstered back and seats with period but associated (2) 44cm wide, 103cm high, 44cm deep
Provenance: Paul Reeves, London
£300-500
63
DAUM FRÈRES, NANCY
SCENT BOTTLE, CIRCA 1905
cased, overlaid and acid-etched mottled glass, acid etched to body DAUM/ NANCY with Cross of Lorraine
11.5cm high
Provenance: Christie’s London, Twentieth Century Decorative Arts, 13th May 1998, Lot 269
£1,200-1,800
66
ÉMILE GALLÉ (1846-1904)
SCENT BOTTLE & STOPPER, CIRCA 1900
enamelled, gilded and acid-etched glass, with plane leaves and applied flowers, signed on the body GALLÉ
15.5cm high
£1,500-2,000
64
TIFFANY STUDIOS., NEW YORK
PAIR OF LAMPS, CIRCA 1900
patinated bronze, favrile glass, the shades etched L.C.T., the bases stamped TIFFANY STUDIOS/ NEW YORK (2)
42.5cm high
Provenance: Sotheby’s London, Applied Arts from 1880, 31st October 1997, Lot 1002
£4,000-6,000
65
DAUM FRÈRES, NANCY
VASE, CIRCA 1910
cased, overlaid and acid-etched mottled glass, vitrified with applied berries, painted to body DAUM/ NANCY with Cross of Lorraine
18.8cm high
£1,000-1,500
67
COMPTON POTTERS’ ART GUILD
PAIR OF BOOKENDS, CIRCA 1920 painted pottery (2) 16cm high
Provenance: Christie’s South Kensington 20th Century British Decorative Arts, 28th June 2001, Lot 94 (part)
£200-300
68
W. A. S. BENSON (1854-1924)
PAIR OF ARTS & CRAFTS CANDLESTICKS, CIRCA 1890 brass and copper (2)
8.5cm high
Literature: Hamerton I. (ed.), W.A.S. Benson: Arts & Crafts Luminary and Pioneer of Modern Design, Antique Collector’s Club 2005, p. 253, pl. 43, where the design for a similar example is illustrated (234).
£300-500
69
HELIOSINE, AUSTRIA TWO JUGENDSTIL VASES, CIRCA 1900 lustre-glazed ceramic, 18cm high and 12cm high; together with a BOHEMIAN, LOETZ-STYLE COMPORT AND STAND, CIRCA 1900, iridescent glass with brass mounts, 22cm wide (3)
£300-500
70
JOHN PEARSON (1859-1930)
ARTS & CRAFTS CHARGER, 1889
repoussé-decorated copper, signed and dated verso J PEARSON/ 1889/ 283
51.5cm diameter
Provenance: Haslam & Whiteway, London
£800-1,200
71
DOULTON & CO, LAMBETH GARDEN STOOL, CIRCA 1880
glazed stoneware, impressed maker’s mark under base
33cm wide, 45.5cm high
£300-500
72
WILLIAM MORRIS, EDITH WHARTON, D.G. ROSSETTI
COLLECTION OF BOOKS comprising Wharton, Edith ITALIAN VILLAS AND THEIR GARDENS, first edition, John Lane, 1904; Morris, William, NEWS FROM NOWHERE, Reeves & Turner, 1891; Morris, William, five cloth-bound volumes of THE EARTHLY PARADISE, Reeves & Turner, 1886; together with Rossetti, Dante Gabriel, five leatherbound VOLUMES OF POEMS, Ellis & Elvey, 1900 (11)
£300-500
73
ENGLISH
ARTS & CRAFTS CHANDELIER, CIRCA 1900
brass
97cm high excluding chain, 71cm diameter
Provenance: Sloan’s Ballroom, Glasgow
Paul Reeves, London
£1,000-1,500
74
ENGLISH
AESTHETIC MOVEMENT
ADJUSTABLE ARMCHAIR, CIRCA 1880
ebonised mahogany and upholstery
62.5cm wide, 104cm high, 76cm deep
Provenance: Paul Reeves, London
£600-800
75
CONTEMPORARY CENTRE STOOL
with ebonised wood frame, covered in original ‘Bird’ fabric by Morris & Co. 93cm long, 43cm high, 48cm deep
£600-800
77
SIR EDWARD COLEY BURNE-JONES (1833-1898) FOR MORRIS & CO.
‘MEDEA’ THREE-TILE PANEL, CIRCA 1870
ENGLISH
AESTHETIC MOVEMENT CORNER CABINET, CIRCA 1880
ebonised mahogany, with gilt embellishments, the door and lower apron inset with Indian miniature watercolour scenes depicting the Taj Mahal and other monuments
61cm wide, 87.5cm high, 40cm deep
Provenance: Paul Reeves, London
£800-1,200
painted and glazed earthenware, framed each tile 15.5cm square (frame size 53.5cm x 23cm)
Provenance: Paul Reeves, London
Literature: Myers, Richard and Hilary William Morris Tiles, Richard Dennis 1996, p. 78-79 and p. 90, fig. 34b where a tile panel of the same design is illustrated.
Note: This Burne-Jones design first produced as a stained glass design in 1864 as one of The Legend of Goode Wimmen series, subsequently transposed to tiles towards the end of the 1860’s.
£3,000-5,000
JESSON, BIRKETT & CO.
ARTS & CRAFTS TABLE LAMP, CIRCA 1900
79
WILLAM DE MORGAN (1836-1917) PERSIAN STYLE TILE, CIRCA 1890
AESTHETIC MOVEMENT DRAWING ROOM ARMCHAIR, CIRCA 1875
ebonised wood, with later upholstery
67cm wide, 99cm high, 51cm deep
Provenance: Paul Reeves, London
£600-800
80
ENGLISH ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1870
wool and metal threads, reserved on a later fabric ground, framed 49cm x 22.5cm (frame size 72.5cm x 46cm)
£800-1,200
82 Y
ENGLISH
ARTS & CRAFTS WALL MIRROR, CIRCA 1920
ebony, inlaid with Celtic decoration in coromandel wood, abalone shell, mother of pearl and ivory, with bevelled mirror plate
52.5cm x 44cm
Note: Sold in compliance with UK Government and APHA regulations, with (non-transferable) exemption registration reference P5PJT4L5.
£800-1,200
83
BURMANTOFTS POTTERY
ANGLO-PERSIAN FAIENCE VASE, CIRCA 1890
glazed and painted earthenware, possibly decorated by Leonard King, unmarked
40.5cm high
£1,000-1,500
84
MANNER OF GILLOW & CO.
AESTHETIC MOVEMENT CORNER CABINET, CIRCA 1875
ebonised oak, with tooled leather panels and mirrored back
64.3cm wide, 132cm high, 43cm deep
Provenance: Paul Reeves, London
£400-600
85
ENGLISH
ARTS & CRAFTS HALL LANTERN, CIRCA 1900
patinated wrought iron with frosted glass shield 140cm high
£500-800
86
GILLOW & CO.
AESTHETIC MOVEMENT HALLSTAND, CIRCA 1890 oak, with mirrored plate, inset Minton & Co. ceramic tiles and brass fittings, with two removable tin tole drip trays, painted with inscription WELCOME YE COME, SPEED YE PARTING GUEST, stamped to lower drawer GILLOW & CO
121.5cm wide, 219cm high, 41cm deep
Provenance: Sotheby’s London, Applied Arts from 1880, 21st October 1988, Lot 108
£500-800
ENGLISH
W. A. S. BENSON (1854-1924)
MISTLETOE CHANDELIER, CIRCA 1900
brass, with associated period opalescent glass shades
79cm diameter including shades, 93cm high to top of fitting, excluding chain and later ceiling rose, later chain and ceiling rose 32cm
PAIR OF ARTS & CRAFTS STAINED GLASS ‘OWL’ PANELS, CIRCA 1880
stained, painted and leaded glass, within associated quarry field in the manner of Morris & Co. (2) each 70.5cm x 39cm
Provenance: John Scott Collection, London
The Fine Art Society, London
Exhibited: London, The Fine Art Society A Christmas Spectacular: The John Scott Collection, December 2014, nos. 10 and 11
£1,500-2,000
90
ENGLISH
GROUP OF FIVE AESTHETIC MOVEMENT FINGER PLATES, CIRCA 1880
brass, comprising TWO PAIRS, 30cm x 7.5cm and 19cm x 7.5cm; together with a SINGLE FINGER PLATE, with pierced decoration, 36cm x 8.6cm (5)
£300-500
91
KESWICK SCHOOL OF INDUSTRIAL ARTS
PAIR OF ALTAR VASES, CIRCA 1900
repoussé-decorated and riveted brass, each stamped K.S.I.A., 24.5cm high; together with an AESTHETIC MOVEMENT PAIR OF CANDLESTICKS, CIRCA 1900, repoussé-decorated brass, 16.5cm high (4)
Provenance: Paul Reeves, London, pair of vases
£300-500
89
ATTRIBUTED TO BURMANTOFTS POTTERY THISTLES, SHAMROCKS & ROSE RELIEF TILE, CIRCA 1890 glazed earthenware
41cm square
Provenance: The Fine Art Society, London, Collection of Andrew McIntosh Patrick, 12th June - 5th July 2007, no.180
£400-600
92
WILLAM DE MORGAN (1836-1917)
PERSIAN STYLE TWO-TILE PANEL, CIRCA 1890
glazed earthenware, framed each tile 20cm square (frame size 46cm x 25.5cm)
£700-1,000
Provenance:
£6,000-8,000
PHILIP WEBB (1831-1915) FOR MORRIS & CO.
ARTS & CRAFTS SECRETAIRE BOOKCASE CABINET, CIRCA 1890
green stained oak, with glazed doors and brass fittings
194cm wide, 248cm high, 50cm deep
Paul Reeves, London
ATTRIBUTED TO JOHN POLLARD SEDDON (1827-1906)
SET OF FOUR GRILLES, CIRCA 1865
cast iron, polychrome and gilt decoration (4)
Collection of John Scott, London
The Fine Art Society
London, The Fine Art Society
Architect-Designers from Pugin to Voysey: The John Scott Collection, 3rd-25th June 2015, no. 67
95
ATTRIBUTED TO HEATON, BUTLER & BAYNE
STAINED GLASS PANEL, CIRCA 1890
painted, leaded and stained glass, the roundel within associated quarry field in the manner of Morris & Co.
82cm x 48cm (chipped)
Provenance: John Scott Collection, London
The Fine Art Society, London
Exhibited: London, The Fine Art Society A Christmas
Spectacular: The John Scott Collection, December 2014, no. 15
£600-800
96
ENGLISH, MANNER OF MORRIS & CO. TWO PAIRS OF ARTS & CRAFTS STAINED GLASS PANELS, CIRCA 1880 stained, painted and leaded glass (4) each 57cm x 17.5cm approximately
£500-700
97
ENGLISH ARTS & CRAFTS STAINED GLASS PANEL, CIRCA 1880
painted, leaded and stained glass, depicting Noah and the Dove of Peace 73cm x 52cm
Provenance: Haslam & Whiteway, London
£400-600
98
LIBERTY & CO, LONDON
CELTIC REVIVAL CENTRE
TABLE, CIRCA 1910
carved oak
61cm wide, 70cm high
£300-500
99
ENGLISH
PAIR OF ARTS & CRAFTS
STAINED GLASS PANELS, CIRCA 1895
stained, painted and leaded glass, reserved on associated quarry field in the manner of Morris & Co. (2)
67cm x 53cm approximately
Provenance: Collection of John Scott
The Fine Art Society
Exhibited: London, The Fine Art Society The John Scott Collection: A Christmas Spectacular, December 2014, no. 19
£800-1,200
100
EMMELINE HALSE (1853-1930)
ARTS & CRAFTS RELIEF PLAQUE, 1917 polychrome terracotta, framed, signed and dated lower right E. HALSE/ 1917 framed, 42cm x 56cm (frame size 59cm x 73.5cm); together with ‘MESSENGERS’, RELIEF ROUNDEL, CIRCA 1910, polychrome terracotta, signed E. HALSE, 42cm diameter (2)
£400-600
101
ENGLISH
ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1890
coloured silk threads on a silk ground, framed 49cm x 51.5cm (frame size 63.5cm x 69.5cm)
£600-800
102
G. E. C. (GENERAL ELECTRIC COMPANY) ARTS & CRAFTS PENDANT CEILING LIGHT, CIRCA 1900 copper and brass, with opalescent glass shade 19cm high excluding chains, 25cm diameter
£600-800
103
AMBROSE HEAL (1872-1959) FOR HEAL & SON ‘OWL’ CABINET, CIRCA 1905 unpolished chestnut, stamped to lock HEAL & SON, model no. 412 112cm wide, 152cm high, 52.5cm deep
Provenance: Hill House Antiques, London
Literature: Heal, Oliver S. Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939, Unicorn 2014, p.179 where a similar example is illustrated along with the original design drawing.
Note: The ‘412’ cupboard was introduced in 1905/ 06 and is now generally known as the ‘Owl Cabinet’ due to it’s characteristic circular door panels.
£4,000-6,000
104
ENGLISH
ARTS & CRAFTS STAINED GLASS ROUNDEL, CIRCA 1890
stained, painted and leaded glass
48.5cm diameter
£400-600
105
DELLA ROBBIA POTTERY, BIRKENHEAD
RELIEF PANEL, CIRCA 1900
glazed terracotta, framed
38.5cm x 30cm (frame size
45.5cm x 37cm)
£400-600
107
ENGLISH
ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1900
coloured silks and metal threads on an unbleached ribbed cotton ground, framed
61cm x 61cm (frame size 66.5cm x 66.5cm)
£500-700
106
ELLEN MARY ROPE (1885-1934)
‘SAINT CECILIA’ modelled plaster, signed, inscribed and dated lower right SAINT CECELIA/ E.M. ROPE 1908
96.5cm x 54cm (frame size 106cm x 63cm)
Provenance: Paul Reeves, London
£500-700
109
ENGLISH, MANNER OF W.A.S. BENSON ARTS & CRAFTS CHANDELIER, CIRCA 1900
brass, with moulded glass shades
108 AFTER DANTE GABRIEL ROSSETTI
THE DAY-DREAM: PORTRAIT OF JANE MORRIS embroidered and painted silk, framed 25cm x 14.5cm (frame size 36cm x 25.5cm)
Provenance: Sotheby’s London Applied Arts, 26th March 1997, Lot 904
£500-700
56cm high excluding chain and ceiling rose, 53cm diameter, chain and ceiling rose 108.5cm high
Provenance: Paul Reeves, London
£600-800
110
ENGLISH GOTHIC REVIVAL SIDE
TABLE, CIRCA 1900
carved oak
121.5cm wide, 84cm high, 59.5cm deep
£400-600
111
FANNY JANE BAYFIELD (FL.1872-97)
TREE PEONIES
watercolour and bodycolour, signed with monogram and dated upper right 1891, framed
53.5cm x 27cm (frame size 76cm x 48.5cm)
£400-600
112
ROBERT FOWLER (1853-1926)
A GRECIAN MAIDEN
watercolour, signed lower left
ROBERT FOWLER, framed 24cm x 34cm (frame size 41cm x 51cm)
Provenance: Christie’s
London Fine Victorian Pictures, Drawings and Watercolours, 5th November 1993, Lot 135
£400-600
113
THOMAS MATTHEWS ROOKE (1842-1942)
BLOSSOMS AND HONEYSUCKLE
nine watercolour studies, mounted into one frame each approx. 20cm x 6.5cm (frame size 57.5cm x 55.5cm)
£200-300
114
CLAYTON & BELL
THREE STAINED GLASS CARTOONS, CIRCA 1898
pencil and coloured washes, to include a STUDY OF TWO ANGELS, lunette, 43cm x 63cm (frame size
69.5cm x 82cm); a STUDY OF AN ANGEL WITH HARP, trefoil, 30cm x 32.5cm (framed size 51cm x 51cm); and a STUDY OF AN ANGEL WITH CYMBALS, trefoil, 30.5cm x 32.5cm (frame size 51cm x 51cm) (3)
60cm x 80cm
Provenance: Clayton & Bell Studio
Rachel Moss Gallery
£600-800
115
CECIL JAMES HOBSON (1874-1918) ROSES
watercolour, signed and dated lower right C.J. HOBSON/ ‘09
55cm x 27cm (frame size 78.5 x 51cm)
Provenance: Campbell Wilson, London
£300-500
117
SYRIAN
NEST OF THREE TABLES, CIRCA 1920
hardwood profusely inlaid with bone, mother of pearl and specimen woods inlaid hardwood (3) the largest 55cm wide, 49.5cm high, 31.5cm deep
Provenance: Sibyl Colefax and John Fowler, London
£300-500
REFORMED GOTHIC POT CUPBOARD
119
W. A. S. BENSON (1854-1924)
PAIR OF WALL LIGHTS, CIRCA 1900
brass, with opalescent glass shades (2)
36cm high
Provenance: Paul Reeves, London
Literature: Benson Electric Light Fittings, 1902, p. 61, no. 1396
£1,000-1,500
118 §
GEORGE EDWARD HUNT (1892-1960)
POPPY NECKLACE, 1933
silver, enamel, chalcedony cabochons, signed on reverse G. HUNT/ 1933
pendant length 7cm, overall length 58cm
Provenance: Tadema Gallery, London
Literature: Karlin E.Z. Jewelry & Metalwork in the Arts & Crafts Tradition, Schiffer 1993, p. 73
£1,000-1,500
120
ENGLISH REFORMED GOTHIC SIDE TABLE, CIRCA 1875
oak
55.5cm diameter, 66cm high
£400-600
121
HEATON, BUTLER & BAYNE
THREE STAINED GLASS CARTOONS, LATE 19TH/ EARLY 20TH CENTURY
to include ‘The Good Samaritan’, watercolour, framed, 18cm x 14.5cm (frame size 37cm x 32cm); ‘Martha’, watercolour, framed, 10.5cm x 9cm (frame size 33cm x 305cm); and ‘Christ and his Disciples’, watercolour, framed, 24.5cmm x 14cm (frame size 44.5cm x 33cm); together with J.B. Payne ‘Presentation in the Temple’ watercolour, framed, 15.5cm x 6.5cm (frame size 36.5cm x 26cm) (4)
Provenance: Moss Galleries at The Maas Gallery, Stained Glass Designs 7th-16th October 1998, no 31 (‘Martha’ and ‘The Good Samaritan’)
£600-800
123
ENGLISH
TWO AESTHETIC MOVEMENT STAINEDGLASS PANELS, CIRCA 1875
stained, painted and leaded glass, framed (2) each 98cm x 37.5 cm
Provenance: Christies, London An Aesthetic Odyssey: The Peter Rose and Albert Gallichan Collection, 30th September 2021, Lot 173
Literature: Coleman B. The Best of British Arts & Crafts, Atglen 2004, p. 163.
Levy M. Living with antiques: A collection of Victorian Decorative Arts, ‘Antiques’, June 2000, pp. 948-955, p. 954, pl. xi (part).
£1,000-1,500
122
W. A. S. BENSON (1854-1924)
ARTS & CRAFTS PENDANT CEILING LIGHT, CIRCA 1900
brass, frosted glass shade
33.5cm diameter excluding lugs, later chains, 20cm high
£600-800
124
TIFFANY STUDIOS, NEW YORK
‘FAVRILE’ GLASS VASE, CIRCA 1900
iridescent glass, traces of original maker’s paper label, etched LCT/ 07805
19.8cm high
£800-1,200
125
ENGLISH
AESTHETIC MOVEMENT STOOL, CIRCA 1875
ebonised wood, with painted decoration and drop in rush seat
31cm square, 47cm high
Provenance: Paul Reeves, London
£300-500
ENGLISH ARTS & CRAFTS
EMBROIDERED PANEL, CIRCA 1890
coloured silks and metal threads on an unbleached linen ground, framed
35cm x 107cm (frame size
47.5cm x 118cm)
£600-800
127
ENGLISH AESTHETIC MOVEMENT WRITING CABINET, CIRCA 1880
ebonised wood, with writing slide inset with tooled leather skiver, brass fittings, 64.5cm wide, 119.5cm high, 45cm deep (closed); together with an associated ENGLISH AESTHETIC MOVEMENT CHAIR, ebonised wood, upholstery, 44cm wide, 86cm high, 46cm deep (2)
£500-700
129
AFTER EDGAR BRANDT
PAIR OF ANDIRONS, LATE 20TH CENTURY
wrought iron (2)
21.2cm wide, 49.5 cm high, 47cm deep
£400-600
128
CANTAGALLI, FIRENZE
LUSTRE VASE, CIRCA 1890
lustre-glazed earthenware, with four applied handles, painted maker’s mark to base
43.5cm high
Provenance: Haslam & Whiteway, London
£600-800
130
CANTAGALLI, FIRENZE
TWO VESSELS, FIRST HALF 20TH CENTURY
tin-glazed earthenware, comprising a LARGE JAR & COVER, maker’s mark to base, 44cm high; together with LARGE JARDINIÈRE, in the style of Castelli maiolica, with three double loop handles, maker’s mark to base, 35cm high (2)
Provenance: The Fine Art Society, London
Exhibited: London, The Fine Art Society, Casa Cantagalli, 13th May-20th June 2002, nos. 71 and 72
£500-700
131
SIR WILLIAM NICHOLSON (1872-1949)
AN ALMANAC OF TWELVE SPORTS, 1898
set of twelve lithographs from the woodblocks, all framed (12)
25cm x 21.5cm (frame size 43.5cm x 39cm)
£1,000-1,500
132
ENGLISH
TWO AESTHETIC MOVEMENT JUGS, CIRCA 1880
one with Elkington marks, 18.5cm high; the other by Brownfield & Co., 17cm high; together with a MINTONS AESTHETIC MOVEMENT JUG, turquoise and cobalt blue, 23.5cm high (3)
£400-600
133
ARTHUR
W. SIMPSON (1857-1922), KENDAL
ARTS & CRAFTS OAK SERVING TRAY, CIRCA 1910
carved oak
71cm long, 9cm high, 35cm deep
Provenance: Paul Reeves, London
£200-300
134
ARTHUR ROMNEY GREEN (1872-1945)
ARTS & CRAFTS WALL MIRROR, CIRCA 1910
Indian laurel, inlaid with mother of pearl, bevelled mirror plate, bears hand-written maker’s label verso
103.5cm x 44cm
Provenance: Paul Reeves, London
£600-800
136
MANNER OF MAY MORRIS
ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1900
coloured silks on a satin ground
122cm x 114cm
£500-800
135
ENGLISH
AESTHETIC MOVEMENT
WARDROBE, CIRCA 1880
bamboo and rattan, with brass fittings
98cm wide, 198cm high, 58cm deep
Provenance: Elizabeth Eaton Ltd., London
£300-500
137
BENJAMIN CRESWICK (1853-1946)
THE BLACKSMITH’S FORGE
terracotta relief, signed lower right B. CRESWICK, bears label verso inscribed
KELMSCOTT MANOR, LECHDALE/ A LITTLE MOMENTO OF WILLIAM MORRIS, GREAT POET AND SOCIALISTBOUGHT AT THE SALE OF HIS EFFECTS
KELMSCOTT JULY 1939, framed
29cm x 46cm (frame size 35cm x 52cm)
Provenance: William Morris, Kelmscott Manor
The Maas Gallery, London
Exhibited: London, The Maas Gallery British Pictures 1840-1940, 4th November-18th December 1998, no. 46
£500-700
138
MANNER OF W.A.S. BENSON ARTS & CRAFTS CEILING LIGHT, CIRCA 1900
copper and brass 32cm wide, 16cm high
£300-500
139
GLASGOW SCHOOL
BLANKET CHEST, CIRCA 1900
painted pine with hinge lid, later tweed upholstery
133cm wide, 54cm high, 53cm deep
£600-800
141
140
MARTIN BROTHERS
SLEEVE VASE, 1884
glazed and incised stoneware, signed and dated 11/84
22.5cm high
£500-700
ELLEN WELBY (BORN CIRCA 1852, ACTIVE 1879-1927)
‘SAINT BRIDGET’ AND ‘SAINT FRIDESWYDE’, CIRCA 1900
silk and metal threads on an unbleached linen ground, framed (2)
75cm x 26.6cm, (frame size 83cm x 33cm)
Provenance: Paul Reeves, London
£300-500
142
WILLAM DE MORGAN (1836-1917)
8-INCH ‘BEDFORD PARK DAISY’ TILE, MERTON ABBEY PERIOD, CIRCA 1885
glazed earthenware, 28cm square; together with a 6-INCH ‘BBB’ CARNATION
TILE, LATE 1890S, glazed ceramic, Poole blank, 15cm square (2)
Literature: Catleugh, J, William De Morgan Tiles, London, 1983, p. 60, pl. VI b. where a similar design is illustrated (Bedford Park Daisy Tile)
£500-700
143 §
CLARE LEIGHTON (1898-1989)
FIVE WOOD ENGRAVINGS comprising; ‘Mending the Nets’, 18cm x 13cm (frame size 42cm x 36.5cm); ‘Lambing’, 18cm x 13.5cm (frame size 42cm x 36.5cm); ‘Barges’, 14.5cm x 16.5cm (frame size 38.5cm x 40cm); ‘Washerwomen’, 14cm x 16cm (frame size 38cm x 40cm; and ‘Breaking up the Barges’, 16.5cm x 18.5cm (frame size 40.5cm x 42.5cm) (5)
£300-500
144
SCOTTISH
CELTIC REVIVAL WALL
MIRROR, CIRCA 1910 repoussé-decorated brass 88cm x 58cm
£400-600
146
LOETZ
PHÄNOMEN VASE, CIRCA 1900 iridescent glass, 14.3cm high; together with a LOETZ VASE, cameo glass, 13cm high; an ART NOUVEAU
FLOWER BOWL, acid etched, gilded and painted glass, 24cm wide, 7.5cm high, 12.5cm deep (3)
£500-700
145
ATTRIBUTED TO CHRISTOPHER DRESSER (1834-1904) FOR JAMES DIXON & SONS
PAIR OF OIL LAMPS, CIRCA 1880 plated metal, with glass shades, stamped J.D.&S./ EPBM/ 3667 (2) 26cm high including shade Provenance: Paul Reeves, London
£300-500
147
ENGLISH ARTS & CRAFTS CHANDELIER
wrought iron, copper with brass shades
90cm diameter including shades, 143cm high to top of fitting
Provenance: Haslam & Whiteway, London
£1,000-1,500
148
MANNER OF LIBERTY & CO. WING ARMCHAIR, CIRCA 1905 mahogany frame with later upholstery
67cm wide, 103cm high, 67cm deep
Provenance: Haslam & Whiteway, London
£300-500
OTHER PROPERTIES
149
ATTRIBUTED TO JOHN HARDMAN & CO.
LARGE PAIR OF GOTHIC REVIVAL ALTAR CANDLESTICKS, CIRCA 1880
brass, set with coloured glass cabochons (2)
63.5cm high
£600-800
150
A.W.N. PUGIN (1812-1852)
FOR JOHN HARDMAN & CO.
SET OF GOTHIC REVIVAL FIREIRONS, CIRCA 1850
brass, comprising a POKER, 70cm long; an ASH SHOVEL, 73.5cm long; and a PAIR OF COAL TONGS, 71.5cm long (3)
Note: See Historic Furniture& Decorative Arts Collection, Houses of Parliament, London, no. POW 05245 for related fire irons (heritagecollections.parliament.uk/ collections/getrecord/HOP_POW_05245)
£500-800
151
A. W. N. PUGIN (1812-1852)
OR E. W. PUGIN (1834-1875)
NEEDLEWORK WOOL RUG, CIRCA 1850
wool, with later linen backing, with later cotton binding to each end, the panel a section of a larger carpet 215cm x149cm
Provenance: St. Leonards - Mayfield Chapel, Mayfield, Sussex, England.
Note: The remains of a medieval palace, formerly belonging to the Archbishops of Canterbury, were converted into Mayfield School of the Holy Child by Edward Welby Pugin between 1863 and 1866. One notable feature from this period is a needlework rug that originally spanned the entire length of the Chapel. Owing to the scale of the project, the rug was crafted in small, panelled sections, which were later stitched together to form the complete carpet. This hand-stitched work was produced by the sisters of Mayfield Chapel for Mother Cornelia Connelly, the founder of the Society of the Holy Child Jesus. As with other projects, E.W. Pugin is believed to have utilised decorative designs originally created by his father, which may have been employed in this instance.
£1,500-2,000
A.W.N. PUGIN (1812-1852) FOR MINTONS NEW STONE ‘GOTHIC’ PATTERN PART DINNER SERVICE, CIRCA 1850
printed and glazed earthenware, comprising ELEVEN DINNER PLATES, 26.7cm diameter; ELEVEN SOUP PLATES, 26.3cm diameter; TWO VEGETABLE TUREENS & COVERS, 29cm wide; a SOUP TUREEN, COVER AND STAND, stand 38cm wide, tureen 27cm high; and a LARGE SERVING DISH, 47cm long, each printed GOTHIC, impressed NEW STONE/ BB (28)
Literature: Atterbury P. and Wainwright C. Pugin: A Gothic Passion, London 1994, p. 150, pl. 278 where a comparable service is illustrated.
£400-600
153
MANNER
OF E. W. PUGIN
GOTHIC REVIVAL SIDEBOARD, CIRCA 1880
carved oak, with steel fittings and mirror plates 250cm wide, 180cm high, 80cm deep
Literature: London, The Fine Art Society A Christmas Spectacular: The John Scott Collection, December 2014, no. 50 where a sideboard of similar configuration by E.W. Pugin is illustrated.
£2,000-3,000
154
JOHN HARDMAN & CO.
GOTHIC REVIVAL SANCTUARY LAMP, CIRCA 1880 brass lamp excluding chain and rose, 45cm high
£600-800
Please see page 65 for a view of the John Hardman & Co. showroom showing a similar lamp in situ
155
GROUP OF POSTERS
MUSEUM POSTERS AND PRINTS, 1972-2001
comprising; VICTORIAN CHURCH ART, Victoria and Albert Museum, 1972, 73.5cm x 48cm; HENRY HOLIDAY, William Morris Gallery, 59cm x 42cm (2); MORRIS & COMPANY TILES, William Morris Gallery, 1996-7, 59.5cm x 42cm; THE STRANGE GENIUS OF WILLIAM BURGES, Victorian and Albert Museum, 1981-2, 76cm x 50cm; and many more, please see online catalogue for details. (27) sold as seen, not subject to return
£300-500
156
ENGLISH, MANNER OF A.W.N. PUGIN
GOTHIC REVIVAL DRESSING
TABLE MIRROR, CIRCA 1890 oak, with mirrored plate, the uprights with carved initial F 70cm wide, 76.5cm high, 35cm deep
£200-300
157
COALBROOKDALE IRONWORK COMPANY
GOTHIC REVIVAL STICK STAND, CIRCA 1880 painted cast iron, with removable tole wear drip tray
60cm wide, 60.5cm high, 35cm deep
£500-700
158
ENGLISH APPLIQUÉ EMBROIDERY, CIRCA 1880
coloured silks and metal threads, reserved on a silk damask ground, framed 83cm x 99cm (frame size 92.5cm x 108.5cm)
£500-800
159
A.W.N. PUGIN (1812-1852) FOR MINTON, HOLLINS & CO., STOKE-ON-TRENT
GROUP OF NINE GOTHIC REVIVAL TILES, CIRCA 1860
glazed earthenware, moulded maker’s 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
160
ENGLISH GOTHIC REVIVAL GATES, CIRCA 1890
painted cast and wrought iron (2) right hand gate 76cm wide, 132cm high (height of cross), left hand gate 76cm wide, 117cm high
£300-500
161
GILLOW & CO.
GOTHIC REVIVAL CENTRE
TABLE, CIRCA 1880
mahogany, with incised decoration, stamped to base L 387
121.5cm diameter, 74.5cm high
Provenance: Sotheby’s, Chester
£800-1,200
162
ATTRIBUTED TO CHARLES BEVAN, FOR GILLOW & CO.
GOTHIC REVIVAL SIDE CHAIR, CIRCA 1880
mahogany, with close nailed leather upholstery and cotton fringing, with brass caps and caster, stamped under seat L2456, bears warehouse label
42cm wide, 94cm high, 47cm deep
Provenance: Blairman, London
£800-1,200
163
MANNER OF CHARLES BEVAN REFORMED GOTHIC DESK, CIRCA 1875
inlaid oak, with brass fittings
137cm wide, 77cm high, 53cm deep
£600-800
164
CHARLES BEVAN (1815-1891) FOR MARSH, JONES & CRIBB
REFORMED GOTHIC ADJUSTABLE ARMCHAIR, CIRCA 1870
inlaid maple and birds eye maple, upholstery, brass fittings, the ratchet movement stamped COPE & COLLINSON
63cm wide, 91.5cm high, 75cm deep
Literature: H. Blairman & Son Modern Gothic Furniture by Charles Bevan
£2,000-3,000
Note: Bevan’s work was significantly influenced by John Pollard Seddon, and his furniture frequently exhibited clear signs of Seddon’s stylistic impact. A notable dispute arose concerning the design of reclining chairs, such as the example discussed here.
In August 1865, The Building News published an article titled “Bevan’s New Registered Reclining Chair.” The following month, Seddon publicly accused Bevan of plagiarism in a letter to the publication, asserting that the reclining chair design in question had originally been conceived by Richard Holmes. Seddon further claimed that a similar chair had already been patented by him (V&A, D.1628-1896), with production being undertaken by his brother’s firm, J. Seddon & Co., located at 50 South Molton Street.
Despite these accusations, Bevan had already established his own professional reputation. He was operating out of 66 Margaret Street, the London showrooms of Marsh & Jones of Leeds. During this period, Marsh & Jones were the exclusive manufacturers of Bevan’s “Registered” reclining chair, a fact corroborated by an advertisement in The Building News from August 1865. This controversy highlights the complexities of the 19th-century design industry, where the boundaries between influence, originality, and intellectual property were frequently contested, especially among leading designers of the time.
166
JOHN POLLARD SEDDON (1827-1906)
CENTRE TABLE, CIRCA 1870
oak, with marquetry inlay, two frieze drawers, stamped to each drawer SEDDON MANUFACTURER 1911, bears paper label to underside C. SEDDON & CO/ 58
SOUTH MOLTON STREET/ LONDON
132.5cm wide, 73.5cm high, 71cm deep
£1,000-1,500
165
CHARLES BEVAN (1815-1891) FOR MARSH & JONES
REFORMED GOTHIC POT CUPBOARD, CIRCA 1875
walnut, with marquetry inlay and brass fittings, bears traces of maker’s label to rear 36cm wide, 83cm high, 37.5cm deep
Provenance: The Country Seat
Literature: London, The Fine Art Society A Christmas Spectacular: The John Scott Collection, December 2014, no. 70 where a similar example is illustrated £500-700
168
167
ENGLISH
ARTS & CRAFTS EMBROIDERED OWL PANEL, CIRCA 1900
coloured silks on a silk ground, framed
46cm x 45cm (frame size 62cm x 62cm)
£400-600
ATTRIBUTED TO WILLIAM BURGES (1827-1881) FOR HART, SON, PEARD & CO.
PAIR OF GOTHIC REVIVAL ANDIRONS, CIRCA 1875
cast iron and brass, marked behind boss finial 1433 (2)
63.5cm high, 33cm wide, 48cm deep
£1,200-1,800
169
HENRY OGDEN & SON
AESTHETIC MOVEMENT DRAWING ROOM CABINET, CIRCA 1870
Literature: Illustrated Catalogue, Examples of metal work for ecclesiastical and domestic use: section 6: domestic furniture manufactured by Hart, Son, Peard & Co; March 1877, P.199, no. 557
Note: Henry Ogden & Son, based in Manchester, were prominent cabinet makers and upholsterers in the late 19th century, mainly active from 1862 to 1882. They earned a reputation for their high-quality, intricately carved furniture, often designed in the Renaissance and Aesthetic styles. Their main workshop was at 126 Deansgate, with additional facilities in Cornbrook.
The company gained recognition by showcasing their craftsmanship at various international exhibitions. At the 1862 International Exhibition in London, they displayed an intricately carved sideboard designed by Adam Broach. They also took part in the 1878 Paris Exhibition, presenting a rosewood cabinet by H. W. Batley and a satinwood piano forte, earning a silver medal for their work.
walnut, burr walnut and ebonised walnut, inlaid with bone and specimen woods, with gilded embellishments and composition stone cabochons, the glazed central door with tooled leather and velvet interior, stamped to right hand door H. OGDEN/ MANCHESTER/ 4310
176cm wide, 139cm high, 51cm deep
Provenance: Paul Reeves, London
£1,000-1,500
ATTRIBUTED TO BRUCE TALBERT (18381881) FOR MARSH, JONES AND CRIBB REFORMED GOTHIC BEDROOM SUITE, CIRCA 1875
walnut, with marquetry inlay and ebonised decoration, brass fittings, comprising; WARDROBE, bears paper maker’s label verso MARSH, JONES & CRIBB (LATE KENDELL & CO. NO. 63332, workman’s name GODSELL), 245cm wide, 251.5cm high, 65cm deep; DRESSING CHEST, 180.5cm wide, 76.5cm high, with mirror 190cm high, 51cm deep; CHEST OF DRAWERS 121.5cm wide, 130cm high, 58cm deep; BED, includes a button upholstered chintz headboard, 170cm wide, 157cm high, 211cm long; POT CUPBOARD, label verso MARSH, JONES & CRIBB (LATE KENDELL & CO. NO. 63336, workman’s name EARNEST LANE)
43.5cm wide, 83.5cm high, 40cm deep (5)
£1,000-1,500
Note: Marsh, Jones and Cribb enjoyed great success and gained particular renown during the 1860s and 1870s, coinciding with a period when the company employed some of the foremost gothic revival designers of the time. Perhaps most notable among these important creative figures were Charles Bevan and Bruce Talbert, who both championed their own highly distinctive reformed gothic style.
172
171
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
ATTRIBUTED TO BRUCE TALBERT (1838-1881) FOR MARSH, JONES & CRIBB
AESTHETIC MOVEMENT DESK ARMCHAIR, CIRCA 1870
oak, with ebonised decoration, bears paper maker’s label under seat 59cm wide, 93cm high, 48cm deep
£400-600
173
ENGLISH
ENCAUSTIC TILE, CIRCA 1890
inlaid ceramic
22.7cm square
£200-300
174
ATTRIBUTED TO BRUCE TALBERT (1838-1881) FOR GILLOW & CO., LONDON AND LANCASTER
REFORMED GOTHIC BUFFET, CIRCA 1875
oak, with ebonised mouldings
106.5cm wide, 107cm high, 51cm deep
Provenance: David Pickup
£600-800
175
ENGLISH
PAIR OF AESTHETIC MOVEMENT HANGINGS, CIRCA 1880
cotton and wool, unlined (2)
306cm x 119cm
£300-500
176
ATTRIBUTED TO BRUCE TALBERT (1838-1881) FOR GILLOW & CO. SET OF SIX HALL CHAIRS, CIRCA 1880
carved oak with marquetry inlaid panels of the dove of peace and upholstered seats, each stamped GILLOWS (6)
48cm wide, 125cm high, 48.5cm deep
£1,200-1,800
177
ATTRIBUTED TO BRUCE TALBERT (1838-1881)
GOTHIC REVIVAL CENTRE TABLE, CIRCA 1870
oak inlaid with coromandel wood
111.5cm diameter, 70cm high
£600-800
178 WALTER CRANE (1845-1915) FOR MAW & CO., JACKFIELD ‘SKOAL’ TWIN-HANDLED VASE, CIRCA 1889
Note: This is one of a series of vases that Crane designed for Maw & Co. around 1889 when they first appear listed in the catalogue of the Arts and Crafts Exhibition Society in London of that year, described along with a series of tiles that Crane also designed for the firm. The vases demonstrate Crane’s interest in all historical forms and decoration, especially those of classical antiquity and of the Islamic world, with the current example a celebration of Viking fraternity.
179
MANNER OF BRUCE TALBERT AESTHETIC MOVEMENT CANDLE SCONCE, CIRCA 1880 brass, 36cm x 21cm; together with an AESTHETIC MOVEMENT CANDLE SCONCE, CIRCA 1875, brass, with mirror plate, 44.5cm x 21cm (2)
£300-500
180
COX & SON, LONDON SIDEBOARD, CIRCA 1875
ebonised wood, with red painted decoration, and brass fittings, the upstand inset with gilt and polychrome panels, some depicting Aesop’s fables, possibly by John Moyr Smith
137cm wide, 151.5cm high, 50.5cm deep
£1,500-2,000
181
MINTON ART POTTERY STUDIO, KENSINGTON GORE
‘GERBOA’ TILE, CIRCA 1880 painted and glazed terracotta, inscribed GERBOA, with artist’s mark WF and numbered 581, printed and moulded factory marks
tile 20.5cm square (frame size 28cm square)
£500-700
182
ATTRIBUTED TO W.B. SIMPSON & SONS
THREE AESTHETIC MOVEMENT TILES, CIRCA 1875 painted and glazed earthenware, framed (3) tiles 19.5cm square (frame size 32.5cm square)
£600-800
183
ATTRIBUTED TO JAMES LAMB, MANCHESTER
AESTHETIC MOVEMENT
CENTRE TABLE, CIRCA 1880 mahogany and ebonised wood, the top parquetry inlay in native woods, the supporting brackets carved with elephant’s heads 142cm diameter, 74cm high
£3,000-5,000
184
ENGLISH
LARGE AESTHETIC MOVEMENT OVERMANTLE
MIRROR, CIRCA 1880
ebonised wood with incised gilt decoration, bevelled mirror plates
185cm wide, 170cm high, 23cm deep
£700-1,000
185
ATTRIBUTED TO JAMES HADLEY (1837-1903) FOR ROYAL WORCESTER
PAIR OF ANGLO-JAPANESE VASES, CIRCA 1875
painted and glazed porcelain, gilt embellishments, printed and impressed maker’s marks, numbered 190 (2)
28.5cm high
Literature: Whiteway M. and Gere, C. Nineteenth Century Design: From Pugin to Mackintosh, Weidenfeld & Nicolson, 1993, p.174, pl. 217
£500-800
186
EDWARDS & ROBERTS
AESTHETIC MOVEMENT FOLDOVER CARD TABLE, CIRCA 1880
ebonised mahogany, with incised gilt decoration and baize lined interior, stamped to inside edge EDWARDS & ROBERTS
90cm wide, 73cm high, 48cm deep (closed), 96cm deep (open)
£300-500
187
SELWYN IMAGE (1849–1930)
PRINCESS BY THE SEA, 1873
watercolour and bodycolour, signed with initials and dated lower right, 14.5cm x 6cm (frame size 28cm x 19.5cm); together with EDGAR WILSON (1861-1918) PEACOCK IN A GARDEN, CIRCA 1898, pen and ink, 21cm x 6cm (frame size 28.5cm x 18cm) (2)
Provenance: Estate of the late Dr. Susan Beattie
£300-500
188
ENGLISH
AESTHETIC MOVEMENT WALL MIRROR, CIRCA 1880
ebonised wood, with removable polychrome decorated panels and mirror plate
73.5cm wide, 80cm high, 12cm deep
£300-500
189
ATTRIBUTED TO BRUCE TALBERT FOR GILLOW & CO.
AESTHETIC MOVEMENT SIDE CHAIR, CIRCA 1875
ebonised wood with incised gilt decoration, carved and inlaid walnut, amboyna, later but period close-nailed upholstery
42cm wide, 82.5cm high, 49cm deep
£400-600
190 Y
ATTRIBUTED TO GEORGE FAULKNER ARMITAGE (1849-1937)
AESTHETIC MOVEMENT OCCASIONAL TABLE, CIRCA 1880
rosewood, inlaid with walnut and engraved boxwood, mother of pearl, copper, pewter, bone and abalone shell
79cm long, 74cm high, 50.5cm deep
£800-1,200
191
SELWYN IMAGE (1849-1930)
ARTS & CRAFTS CREWELWORK PANEL, CIRCA 1900
wool threads on a linen ground, framed 57cm x 57cm (frame size 70cm x 69.5cm)
Literature: The Studio The Work of Mr Selwyn Image, No. 63, June 1898, p. 3 where this design is illustrated
£600-800
192
MINTONS
LARGE AESTHETIC MOVEMENT CHARGER. 1874
enamelled and glazed earthenware, stamped MINTONS, impressed date cypher, painted retailer’s mark T. GOODE & CO./ LONDON
57.3cm diameter
£600-800
193
GILLOW & CO
AESTHETIC MOVEMENT SMALL WRITING TABLE, CIRCA 1880
ebonised wood with incised gilt decoration, brass fittings and tooled leather top, the lower tier with hinged lid, stamped to drawer GILLOW & CO
49cm wide, 65.5cm high, 38cm deep
£300-500
194
ENGLISH
AESTHETIC MOVEMENT SIDE TABLE, CIRCA 1875
mahogany with brass fittings, bears cabinet maker’s label under drawer Edward S Richards
89.5cm wide, 73.5cm high, 58cm deep
Note: Ink note under drawer reads, “This Table made from a remarkably fine walnut tree embraced all that flourished during the childhood of Joseph Foster (of…before him do) and under which I spent many an hour during childhood…grew on mound at Bl Hall…great part blew down in about 1875/ JJ Foster Pontlands”. Pontlands, near Chelmsford in Essex, was built for Joseph Foster in 1879 by local architect Fredrick Chancellor, £300-500
195
ENGLISH
AESTHETIC MOVEMENT DRAWING
ROOM CABINET, CIRCA 1880
ebonised wood, with incised gilt decoration, bevelled mirrored plates, amboyna and marquetry inlaid satinwood
137cm wide, 202cm high, 45cm deep
£800-1,200
196
ENGLISH
AESTHETIC MOVEMENT
FENDER, CIRCA 1880
brass
142cm wide, 36.5cm deep, 21cm high (exterior), 137.5cm wide, 30cm deep (interior)
£600-800
Illustration showing the couch designed by Rhoda and Agnes Garrett and a settee by Morris & Co., both exhibited at the first Arts and Crafts Society Exhibition, 1888. From The Arts and Crafts Exhibition Society Exhibition, The Cabinet Maker and Art Furniture, 1 December 1888, pp. 143–144
RHODA GARRETT (1841-1882) AND AGNES GARRETT (1845-1935)
RARE AESTHETIC MOVEMENT CHAISE LONGUE, CIRCA 1875 mahogany with upholstery and loose squab cushion 57.5cm wide, 94cm high, 130cm long
Literature: The Furniture History Society: British and Irish Furniture Makers Online (bifmo.furniturehistorysociety.org) £600-800
Note: Rhoda and Agnes Garrett were trailblazers in British interior design, becoming the first women to establish their own firm, R. & A. Garrett House Decorators, in 1874. Originally working as a governess and housekeeper, they began their careers with apprenticeships under Jean McKean Brydon in the London office of Cottier & Co. After completing their three-year training, they embarked on a tour of English country houses, which informed their design aesthetic, giving them the confidence to start their own business in London.
The Garretts’ firm offered interior design services and created furniture, wallpapers, and textiles. Their designs reflected principles of the Arts & Crafts Movement, emphasizing the use of authentic materials and craftsmanship. Their 1876 book Suggestions for House Decoration in Painting, Woodwork, and Furniture was aimed at middle-class households, promoting the idea that “every material has in itself a beauty,” encouraging natural aesthetics rather than imitation.
Their most notable clients included James and Margaret Beale, for whom they designed pieces for their home at 32 Holland Park. These pieces, including the daybed of the same design as the current lot, were later moved to the Beales’ country house Standen, which remains a National Trust property (see NT 1214057). The Garretts also worked on the homes of notable family members, including Elizabeth Garrett Anderson and Millicent Garrett Fawcett, pioneers in medicine and suffrage, respectively. The sisters were committed to advancing women’s rights, particularly through their involvement in the Women’s Suffrage Movement. Agnes served as the joint honorary secretary of the Central Committee of the National Society for Women’s Suffrage in 1872, actively advocating for women’s right to vote. Rhoda was also a powerful public speaker, delivering speeches at meetings and rallies. In one of her speeches in 1876, she emphasised the role of women in improving household art, arguing that through their contributions to home design, women
could positively impact society. Their activism extended beyond suffrage; Agnes trained female apprentices in her design firm, providing women with professional opportunities in a field that had traditionally excluded them. Through their work and activism, the Garrett cousins played a pivotal role in promoting both gender equality and women’s rights in the professional and domestic spheres.
After Rhoda’s death in 1882, Agnes continued the firm, managing a skilled team of workers and training apprentices, including women, which was uncommon at the time. She exhibited her designs at major events like the Arts and Crafts Exhibition Society in 1888, further cementing the Garretts’ influence.
Their contribution to furniture design is regarded as significant due to its focus on craftsmanship and accessibility for the middle class, and their pioneering role as women in business and design. Through their work and activism, they left an enduring legacy in both the design world and the women’s rights movement.
198
ENGLISH SCHOOL
‘ALL WORDLY JOYUES GO LESSE’ 1889 watercolour and gouache, inscribed ALL WORDLY JOYUES GO LESSE/ TO THE ONE JOY OF DOING KINDNESSES, 44.5cm x 80.5cm (frame size 48cm x 84cm); together with a companion by the same hand, watercolour and gouache, indistinctly inscribed after William Blake JOYS UPON OUR BRANCHES SIT/ CHIRPING LOUD AND SINGING SWEET/ LIKE GENTLE STREAMS BENEATH OUR FEET/ INNOCENCE AND VIRTUE MEET, signed with monogram and dated 1889, 45.5cm x 81cm (frame size 48cm x 84cm) (2)
Provenance: Estate of the late Dr. Susan Beattie
£600-800
199
WEDGWOOD
PAIR OF AESTHETIC MOVEMENT VASES, CIRCA 1880 painted and glazed porcelain, with gilt embellishment, printed maker’s mark WEDGWOOD (2)
15.5cm high
£300-500
200
CHARLES LOCKE EASTLAKE (1836-1906)
CENTRE TABLE, CIRCA 1870
walnut
58cm square, 63cm high
Literature: Eastlake, Charles L. Hints on Household Taste, Longmans, Green & Co., 1878, p. 178 where a similar table is illustrated.
£400-600
202
ATTRIBUTED TO SELWYN IMAGE (1849-1930)
ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1900
coloured silks on a cotton ground, framed
59.5cm x 59.5cm (frame size 73.5cm x 73.5cm)
£400-600
201
MORTIMER MENPES (1855-1938)
‘FLOWER-PLACING’, 1901
watercolour, oil and pencil, signed lower right
40.5cm x 25cm (frame size 59.5cm x 43.5cm)
£300-500
MORTIMER MENPES, framed
203
W. A. S. BENSON (1854-1924) ROSE BOWL, CIRCA 1900
brass, copper, stamped to one foot BENSON
26.5cm diameter, 16.5cm high
204
ENGLISH
AESTHETIC MOVEMENT
FOLD OVER CARD
TABLE, CIRCA 1875
walnut, with baize top closed 71cm wide, 74.5cm high, 38cm deep, open 76cm square
£400-600
Literature: For a similar rose bowl, see Hamerton, I. (ed). W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, p. 90, pl. 64
£300-500
ATTRIBUTED TO WALTER CRANE (18451915) FOR THE ROYAL SCHOOL OF ART NEEDLEWORK
ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1880
coloured silks and metal threads, reserved on a silk ground, framed 118cm x 74cm (frame size 129cm x 85.5cm)
Note: The designer Walter Crane had a great interest in classical and Renaissance ornament and often used it as the basis of his designs. For a related example thought to have been exhibited at Royal School of Art Needlework’s section at the Philadelphia Exposition in the USA of 1876 see V&A Collection accession no. T.774 to D-1972.
£2,000-3,000
206
JAMES SHOOLBRED & SON
AESTHETIC MOVEMENT
HALLSTAND, CIRCA 1875
mahogany with brass fittings and removable tole wear drip tray, applied registration mark verso 57cm wide, 115cm high, 25.5cm deep
£400-600
207
ENGLISH, AFTER E. W. GODWIN
AESTHETIC MOVEMENT
OCCASIONAL TABLE, CIRCA 1880 ebonised wood
42.5cm square, 66cm high
£300-500
208
ATTRIBUTED TO CHRISTOPHER DRESSER (1834-1904) FOR LIBERTY & CO., LONDON SIDE CHAIR, CIRCA 1875
oak, with later close-nailed linen upholstery
51.5cm wide, 116cm high, 43cm deep
Literature: Kirkland Museum, Denver, accession no. 2018.24.001 where a similar example is held, attributed to Christopher Dresser
Lyons H. Christopher Dresser: The People’s Designer: 1834-1904, Woodbridge 2005, pp. 144 and 145
Note: Christopher Dresser designed furniture for Liberty’s Anglo-Moresque range in the early 1880’s, although these designs may have been originally destined for the Art Furnisher’s Alliance, Dresser’s ill-fated retailing project which collapsed into bankruptcy in 1883 and in which Arthur Liberty was an investor. The current chair with its distinctive turnings and five legs has been attributed as possibly part of this group of designs.
£1,800-2,200
209
CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE ART POTTERY
URCHIN VESSEL, CIRCA 1880
glazed earthenware, impressed LINTHPORPE / 312, with facsimile signature
17cm high
Literature: The Furniture Gazette, June 12th 1880, for an advertisement showing an example of the current lot
Lyons H. Christopher Dresser: The People’s Designer: 18341904, Woodbridge, 2005, p. 39 illus.
British Museum Collection, museum number 1980,0306.1
£2,000-3,000
210
CHRISTOPHER DRESSER (1834-1904) FOR AULT POTTERY
PAIR OF ‘PROPELLOR’ VASES, CIRCA 1880 glazed earthenware, unmarked (2)
18cm high
Literature: Whiteway, M. Christopher Dresser 1834-1904, Skira 2001, p. 191, pl. 234 where a similar pair of Ault vases are illustrated.
£400-600
211
CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE ART POTTERY
VASE, CIRCA 1880
glazed earthenware, impressed facsimile signature CHR. DRESSER/ LINTHORPE (indistinct)/ 180 and monogram HT
23cm high
£300-500
212
CHRISTOPHER DRESSER (1834-1904)
RARE AESTHETIC MOVEMENT DRAWING ROOM CABINET, CIRCA 1875
ebonised wood, with glazed doors, traces of two original paper maker’s labels for William Booty, London, two original keys
155.5cm wide, 214cm high, 46cm deep
Literature: The Fine Art Society, Truth Beauty Power: The Designs of Christopher Dresser: The John Scott Collection, Exhibition Catalogue 2014, nos. 136 and 137 where cabinets by Booty with corresponding design elements are illustrated.
Lyons H. Christopher Dresser: The People’s Designer, 1834-1904, ACC, 2004, pl.142, pl.256, were a cabinet of similar form illustrated. Whiteway, M. Christopher Dresser 1834-1904, Skira 2001, p. 161, pl. 193
£8,000-12,000
Little is known about the working relationship between Christopher Dresser and the Notting Hill-based furniture maker William Booty. Booty’s workshops were 400 yards from Dresser’s home so it would have been convenient for Dresser to inspect the progress of his commissions. Several pieces of furniture were made by Booty for Dresser’s great domestic scheme, Bushloe House in Wigston Magna, Leicestershire, and he was also a supplier to the short-lived Art Furnisher’s Alliance (1880-1883)
Only a handful of similar examples to the cabinet offered here are known: two formerly in the collection of John Scott and two slightly larger cabinets, one in the collection
of the Carnegie Museum of Art, Pittsburgh and another formerly with Oscar Graf, Paris. The current example bears many characteristics of these cabinets including the arrangement of the doors with their Mashrabiya turnings, the scrolled finials and characteristic turned and blocked legs with arched bracket details in various configurations. Two wings added to each side extend the cabinet beyond the rectangular outline of the other cabinets. This example also differs from the others in its plain unadorned surface, in keeping with other examples found at Bushloe House and furniture retailed by the Art Furnishers Alliance. Each adhere to Dresser’s design principles with regards to furniture: utility, strength, simple lines and restrained ornamentation.
ATTRIBUTED TO CHRISTOPHER DRESSER (1834-1904) FOR COALBROOKDALE IRONWORK COMPANY
AESTHETIC MOVEMENT SIDE CHAIR, CIRCA 1870
cast iron, painted black with gilt embellishments
44cm wide, 133.5cm high, 34cm deep
Literature: Cooper J. Victorian and Edwardian Furniture and Interiors: From the Gothic Revival to Art Nouveau, Hong Kong 1998, p.34, pl. 70.
Note: Dresser was an adept and versatile designer who delighted in working in a broad spectrum of materials. He produced designs for The Coalbrookdale Ironwork Company between 1867 and 1872 and became their lead designer during this period. The highly stylised foliate forms and Gothic details in the present lot relate to his interest and close study of botany and the wide array of styles that influenced his designs.
£2,000-3,000
214
ATTRIBUTED TO CHRISTOPHER DRESSER (1834-1904) FOR MINTON & CO.
ANGLO-JAPANESE VASE, 1871
glazed, slip-decorated and gilded earthenware, incised MINTON & CO./ 1871
42.5cm high
Literature: Morley C. Dresser’s Decorative Designs, 2010, p. 132-133, pl. 215 illus.
£1,000-1,500
215
CHRISTOPHER DRESSER (1834-1904), FOR ELKINGTON & CO., BIRMINGHAM
SUGAR BASIN AND CREAM JUG, 1884
silver, hallmarked Birmingham 1884 (2)
sugar basin 8cm wide
£300-500
216
CHRISTOPHER DRESSER (1834-1904) FOR HUKIN & HEATH, LONDON DECANTER, CIRCA 1880
silver plate, glass, stamped to lid H&H
22cm high
Literature: Whiteway M. Christopher Dresser 1834-1904, Skira Editore S.p.A., Milan, 2001, p. 99, pl. 86 where a similar decanter is illustrated.
£600-800
217
CHRISTOPHER DRESSER (1834-1904) FOR BENHAM & FROUD WATER JUG, CIRCA 1880
brass, stamped maker’s marks under base
34cm high
£300-500
218
CHRISTOPHER DRESSER (1834-1904) FOR JAMES DIXON & SONS, SHEFFIELD
AFTERNOON TEAPOT, CIRCA 1881
silver plate, later applied spout and handle insulation, facsimile signature mark ‘Chr Dresser’, maker’s mark, JD&S/ bugle/ EP; and no. 2293
Literature: Lyons H. Christopher Dresser: The People’s Designer: 1834-1904, Woodbridge 2005, p. 109 illus.
£600-800
220
ATTRIBUTED TO CHRISTOPHER DRESSER, FOR JAMES COUPER & SONS, GLASGOW CLUTHA VASE, CIRCA 1905 glass
8cm high
£200-300
221
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
LINTHORPE/ HT (Henry Tooth)/ 415, with impressed facsimile signature (2)
20.5cm high
£400-600
ATTRIBUTED TO CHRISTOPHER DRESSER (1834-1904)
RARE AESTHETIC MOVEMENT PITCHER, 1881
silver, stamped maker’s mark for William Hunter & Son, London, hallmarked London 1881
24cm high
Literature: Rudoe J. Decorative Arts 1850-1950; A Catalogue of the British Museum Collection, British Museum Press 1991, p. 42 and p. 183 (illus.)
British Museum Collection. no. 1983,1010.1
London, The Fine Art Society, Truth Beauty Power: The Designs of Christopher Dresser: The John Scott Collection, exhibition catalogue, p. 66, no. 126, where an Ault Pottery vase of the same design is illustrated.
Whiteway, M. Christopher Dresser 18341904, Skira 2001, p. 110, pl. 101
£3,000-5,000
Note: This silver pitcher is derived from designs created by Christopher Dresser during his tenure as ‘Art Superintendent’ at Linthorpe Art Pottery. Known for their bold forms and rich glazes, Dresser’s designs for Linthorpe, where he served as director from 1879 to 1882, are highly distinctive. The shape of the current piece is likely influenced by Minoan or Cycladic pottery, which were frequent sources of inspiration for Dresser’s work at Linthorpe and later at Ault Pottery. His designs also drew on a wide range of cultural motifs, including Asian, Mexican, Peruvian, Fijian pottery, and prehistoric artifacts discovered in Yorkshire. This reflects Dresser’s broader interest in integrating diverse cultural elements into his work.
A related silver artifact based on one of Dresser’s designs for Linthorpe is held in the British Museum Collection. Produced in 1881, this tray or figural dish was featured in advertisements for Linthorpe Pottery in the Furniture Gazette in May 1880. The tray is shaped like a Fijian drinking vessel, with a head modelled directly from a Japanese stoneware figure of the monk-poet Saigyō—both of these items are part of the British Museum Collection (museum numbers Franks 1838 and 1842. 12-10.127). A rare silver version of the tray was produced by Thomas Johnson, a London firm known for manufacturing traditional small wares, similar to the work of William Hunter & Son, London, who made the present lot. It remains uncertain whether other Dresser designs were also produced in silver during this period, suggesting that these rare pieces may have been specially commissioned.
224
GEORGE WASHINGTON JACK (1855-1931)
FOR MORRIS & CO.
ARTS & CRAFTS ‘SAVILLE’ ARMCHAIR, CIRCA 1890
mahogany, re-upholstered in original period Morris & Co fabric
66cm wide, 91.5cm high, 70cm deep
Literature: Anscombe I. & Gere C. Arts and Crafts in Britain & America, Academy Editions 1978, p. 39, pl. 37
Note: A similar ‘Saville’ armchair with turned legs can be found in the entrance hall of Standen, Sussex.
£3,000-5,000
223
ATTRIBUTED TO MAY MORRIS (1862-1938)
FOR MORRIS & CO.
ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1900
coloured silks, framed
50.5cm x 41cm (frame size 62.5cm x 52.5cm)
£400-600
225
GEORGE WASHINGTON JACK (1855-1931) FOR MORRIS & CO.
ARTS & CRAFTS OCCASIONAL TABLE, CIRCA 1900
mahogany
70cm diameter, 72cm high
Literature: Morris & Company Catalogue, circa 1914, p. 24, no. 370 illus.
£600-800
226
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. ‘THE APPLE TREE’ EMBROIDERED PANEL, CIRCA 1890
coloured silks on a linen ground, period frame 60cm x 60cm (frame size 67.2cm x 67.2cm)
Literature: Parry L. William Morris Textiles, London 1998, p.28 where this design illustrated.
£1,000-1,500
227
FRED PASSENGER FOR WILLIAM DE MORGAN (1839-1917)
TWIN-HANDLED IZNIK-STYLE VASE, CIRCA 1890 painted and glazed earthenware, impressed maker’s mark, painted artist’s initials F.P. 20.8cm high
£800-1,200
228
PHILIP WEBB (1831-1915) FOR MORRIS & CO. SIDE CABINET, CIRCA 1870 mahogany
70.7cm wide, 117.5cm high, 34cm deep
£1,000-1,500
231
W. A. S. BENSON (1854-1924)
ARTS & CRAFTS TABLE LAMP, CIRCA 1900
229
ATTRIBUTED TO MAY MORRIS (1862-1938)
FOR MORRIS & CO.
ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1900
coloured silks, framed 50cm x 41cm (frame size 62.3cm x 52.7cm)
£400-600
230
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
copper and brass, stamped W.A.S. BENSON, 48cm high to fitting; together with an ATTRIBUTED TO W. A. S. BENSON (1854-1924), ARTS & CRAFTS TABLE LAMP, CIRCA 1900, brass and copper, with period opalescent glass shade, converted to electricity, 26.5cm high (including shade) (2)
Literature: Hamerton I. (ed.) W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, ACC 2005, p. 259, pl. 20 where a variant of this design is illustrated (1195) (large example)
£400-600
232
MANNER OF MAY MORRIS
ARTS & CRAFTS EMBROIDERED FAN, CIRCA 1918
coloured silks reserved on a silk satin ground, with paper backing and bone sticks, with original box inscribed IN COMPETITION FOR THE OWEN JONES PRIZES, bears paper label with indistinct artist’s name FENTON
fan 38.5cm wide (open), sticks 21.5cm long
£300-500
234
W. A. S. BENSON (1854-1924)
ARTS & CRAFTS DESK TIDY, 1913
233
W. A. S. BENSON (1854-1924)
ADJUSTABLE TABLE/ WALL LAMP, CIRCA 1900
brass, with later glass shade
27cm high
£300-500
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
236
235
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
£600-800
ATTRIBUTED TO DANTE GABRIEL
ROSSETTI FOR MORRIS & CO. ARMCHAIR, CIRCA 1880
elm, with rush seat
51cm wide, 91cm high, 47cm deep
£500-700
237
WILLIAM DE MORGAN (1839-1917)
ARTS & CRAFTS 8” TILE, CIRCA 1890 glazed earthenware, mounted in an oak frame tile 20.5cm square, frame 27cm square
Literature: Catleugh J. William de Morgan Tiles Richard Dennis 1983 p. 159, pl. 251 where similar examples are illustrated £800-1,200
238
W. A. S. BENSON (1854-1924)
PAIR OF CANDLESTICKS, CIRCA 1900 copper, each stamped to the base
W.A.S. BENSON (2)
27.5cm high
£600-800
239
GEORGE WASHINGTON JACK (1855-1931) FOR MORRIS & CO.
ARTS & CRAFTS SECRETAIRE
BOOKCASE, CIRCA 1900 mahogany, with ebony and boxwood inlay and astragal glazed doors, the fall opening to reveal fitted interior with leather skiver
125cm wide, 209.5cm high, 45cm deep
Literature: Morris & Company Catalogue, circa 1914, p. 17, no. 409 where a line drawing of a related cabinet is illustrated.
£3,000-5,000
243
ATTRIBUTED TO MAY MORRIS (1862-1938) FOR MORRIS & CO. EMBROIDERED PANEL, CIRCA 1890
coloured silks, framed 30.5cm x 19.5cm, (frame size 45.5cm x 34cm)
£300-500
241
MANNER OF W. A. S. BENSON ARTS & CRAFTS STANDARD LAMP, CIRCA 1910
brass and copper, converted to electricity, associated shade 148cm high to fitting, 225cm high fully extended to fitting
£400-600
242
W. A. S. BENSON (1854-1924)
PAIR OF CANDLESTICKS, CIRCA 1900
brass and copper, each stamped W. A. S. BENSON (2)
37.5cm long
Literature: Hamerton, I. (ed.) W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, ACC, 2005, p.120, pl. 96 where similar pair of candlesticks are illustrated.
£600-800
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
£300-500
245
W. A. S. BENSON (1854-1924)
ARTS & CRAFTS OIL LAMP, CIRCA 1890
silvered brass, copper, etched and frosted glass, stamped W.A.S. BENSON
68cm high (including associated shades)
Literature: Hamerton I. (ed.) W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, ACC 2005, p. 248, pl. 3 where this design is illustrated (223).
£500-700
244
MAY MORRIS (1862-1938)
FOR MORRIS & CO.
‘WESTWARD HO’
EMBROIDERED PANEL, CIRCA 1885
coloured silks, reserved on a silk ground, framed 85cm x 44cm (frame size 101.7cm x 60.5cm)
Note: See William Morris Society collection accession no. T117 for a similar example embroidered by Jane Morris (1839–1914)
£1,000-1,500
246
WILLIAM MORRIS (1834-1896)
FOR MORRIS & CO.
‘TULIP AND ROSE’ FRAMED
PANEL, CIRCA 1880
woven wool 3-ply cloth, framed 86cm x 78cm, (frame size 90.5cm x 82.5cm)
Literature: Parry L. William Morris Textiles, V&A 2013, p. 210, no. 18
£300-500
247
DELLA ROBBIA POTTERY, BIRKENHEAD
WALL MIRROR, 1901
incised and glazed terracotta, mirror plate, painted artist’s and factory marks, DR/ 19.01/ L.W. (Lizzie Wilkins), impressed maker’s mark DR/ 1901, painted mark DELLA ROBBIA/ POTTERY/ BIRKENHEAD
50cm x 44.5cm
£3,000-5,000
248
DELLA ROBBIA POTTERY, BIRKENHEAD
TWIN-HANDLED VASE, CIRCA 1895
glazed terracotta, incised maker’s marks DR and painted artist’s mark W (possibly Willie Williams)
29.9cm high
£500-700
249 ENGLISH
ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1890 coloured cotton threads on a woven cotton ground, lined with cotton, braided edge 78cm x 104.5cm
£400-600
250
GEORGE TINWORTH AND MARTIN BROTHERS
TWO REFERENCE BOOKS, 1883 AND 1936
comprising Gosse E.W. A Critical Essay on the Life and Works of George Tinworth, The Fine Art Society Limited, London, 1883, 84 pages, illustrated with 30 plates (each with a tissue guard), also with a black and white frontispiece First Edition, vellum boards, top of page edges gilt, 26cm x 40.5cm; together with Beard C.R. A Catalogue of the Collection of Martinware Formed by Mr. Frederick John Nettlefold Together With A Short History of the Firm of R.W. Martin and Brothers of Southall, Waterlow & Sons Limited, London, 1936, brown cloth hardcover with gold impressing. 31 colour plates pasted to page and 38 black & white plates printed to page (2)
£250-350
251
MARTIN BROTHERS
‘WALLY-BIRD’ JAR AND COVER, 1899 glazed stoneware, on ebonised wooden plinth, incised to base and to collar of cover RW MARTIN & BROS/ LONDON & SOUTHALL/ 4.1899
23.8cm high
Provenance: The private collection of the late David Hutcheson, sold in aid of St Mary’s Music School Trust Ltd, SC014611
£8,000-12,000
252
MARTIN BROTHERS
JUG, CIRCA 1880
glazed stoneware, incised R.W. MARTIN/ LONDON & SOUTHALL/ 4-8*
26.5cm high
Provenance: Open Eye Gallery, Edinburgh, 1986
The private collection of the late David Hutcheson, sold in aid of St Mary’s Music School Trust Ltd, SC014611
£600-800
253
JAMES CROMAR WATT (1862-1940)
ARTS & CRAFTS MEDIEVALIST
PENDANT, CIRCA 1905
yellow metal, set with seed pearls and sapphire, star sapphire and star ruby cabochons, engraved monogram JCW, import hallmarks to later clasp pendant and drop 7cm, chain 38cm
£1,500-2,000
255
COLLECTION OF REFERENCE BOOKS AND CATALOGUES
JEWELLERY AND SILVER
comprising; a collection of reference books for 19th and 20th century jewellery and silver to include; Becker, Vivienne, ART NOUVEAU JEWELLERY, Thames and Hudson 1985; Farnettie, Deanna (ed.), JEWELS OF FANTASY; COSTUME JEWELLERY OF THE TWENTIETH CENTURY, Harry N Abrams, 1992; Dormer, Peter and Turner, Ralph, THE NEW JEWELERY, Thames & Hudson, 1994; Drutt, Helen W. and Dormer, Peter, JEWELERY OF OUR TIME; ART, ORNAMENT & OBSESSION, Thames & Hudson, 1995; Hughes, Graham, MODERN JEWELERY, Studio Vista, 1968; Hughes, Graham, MODERN SILVER, Crown, 1967 etc.; together with a collection of exhibition, museum and auction catalogues to include; Tate, Hugh (ed.) THE ART OF THE JEWELLER, A CATALOGUE OF THE HULL GRUNDY GIFT TO THE BRITISH MUSEUM, British Museums Publications Limited, 1984; RECENT ACQUISITIONS BY THE GOLDSMITH’S COMPANY, 1975-1985; Goldsmith’s Hall London; LOOT, Minneapolis Catalogue, Minneapolis Institute of Art, July 14-30 1978; Rutherford, Jessica and Beddoe, Stella, ART NOUVEAU, ART DECO AND THE THIRTIES; THE CERAMIC, GLASS AND METALWORK COLLECTIONS AT BRIGHTON MUSEUM, The Royal Pavilion, Art Gallery and Museums, Brighton, 1986; FINE JEWELS AND WATCHES FROM THE ATELIER OF LEON HATOT, Christie’s Geneva, May 10 1989 etc. (qty)
£400-600
254
ATTRIBUTED TO SIR RICHARD HOLMES (1835-1911)
SIX ILLUMINATED PAGES (ALFRED
LORD TENNYSON, SELECTIONS FROM TENNYSON’S IDYLLS OF THE KING)
pen and ink, watercolour, bodycolour and gilt, framed, to include ‘The Song the novice sang at Amesbury’; ‘The Song of Vivien’; ‘Oh now what hearts have men!’; ‘How Prince Geraint heard Enid sing…’; The Song of Love and Death which Elaine sang’; and ‘The Song of Enid’ (6)
33cm x 23.5cm (frame size 46.5cm x 37cm)
Literature: Cardiff University Special Collections and Archives Exhibition ‘Tennyson’s Women’, August 2016 (https://scolarcardiff.wordpress. com/2016/08/31/tennysons-women/)
£700-900
Note: Sir Richard Rivington Holmes (18351911) became an assistant in the manuscripts department of the British Museum in 1854 after his father’s death. In 1867 he was appointed archaeologist to Lord Napier’s Abyssinian Expedition to Maqdala. During the expedition he purchased a collection of material on behalf of The British Museum. He was librarian at Windsor Castle between 1870 and 1906. In 1898 he was nominated Sergeant-at-arms to Queen Victoria and made M.V.O in 1897, C.V.O in 1901 and K.C.V.O in 1905.
Holmes was also a draughtsman and examples of his drawings are in the collections of The British Museum.
ARTHUR J. GASKIN (1862-1928)
AND GEORGIE GASKIN (1866-1934)
ARTS & CRAFTS PENDANT NECKLACE, CIRCA 1900
white metal, set with moonstone cabochons
pendant 4.7cm tall, chain 39.5cm long
Literature: The Studio, no. 254, May 1914: Wainwright A.S. The Jewellery of Mr & Mrs A. Gaskin, pp. 254 - 301 where jewellery with similar characteristics is illustrated.
£1,200-1,800
257 §
DAPHNE ALLEN (1899-1985)
ARTS & CRAFTS CASSONE, CIRCA 1920
walnut, inset with allegorical panels, Visited by Angels, Gathering Spring Flowers, and Among Children, oil on board, the front panel signed DAPHNE ALLEN
The cassone 143cm wide, 66cm high, 60cm deep; the central panel 29.2cm x 72.4cm, the side panels each 29.2cm x 35.5cm
£6,000-8,000
Note: Daphne Allen was the daughter of Hugh Allen, and possibly the granddaughter of Ruskin’s publisher George Allen. She was educated at Streatham College for Girls and continued to live in that area of South London into adulthood. While still a child, Allen produced watercolours inspired by the New Testament, published in 1912 by George Allen as A Child’s Visions. The same year, they were exhibited as A Child’s Visions and Fancies at the Dudley Galleries. In 1913, a second group was published as The Birth of the Opal; A Child’s Fancies, and again exhibited at the Dudley Galleries. Through her teens, Allen illustrated volumes by other authors for Headley Brothers: John Oxenham’s The Cradle of Our Lord (1916), A Garden of Love from
Herrick & the Other Poets of the 17th Century (1917), and Janet Dykes and Christine Standing’s The Man Who Chose Poverty – The Story of St Francis (1917). She also exhibited alongside Annie French and others at the Burlington Gallery in December 1919. Later exhibitions include one of ‘landscapes and imaginative watercolours’ at B F Stevens & Brown (1928) and another of paintings at the Little Burlington Gallery (1937).
Her further activities included painting memorials (including one for Christ Church, Newcastle, New South Wales), designing stained glass (for Scotby Church, Northumberland), and producing drawings for the Illustrated London News (at least until the end of 1952).
258
MARY ELEANOR (NELLIE) WHICHELO (1862-1959)
FOR THE ROYAL SCHOOL OF ART NEEDLEWORK
ARTS & CRAFTS CREWELWORK HANGING, CIRCA 1900
wool threads on a linen ground, within later border panel 134.5cm x 108.5cm, with border 160cm x 133cm
Note: Originally from a set of three, an early image of this hanging is held in the archive of the Royal School of Needlework. The image is stamped ‘Royal School of Art Needlework, Exhibition Road, South Kensington/ designed N Wicelo (sic)’. Nellie Whichelo was the longest serving member of staff at the School, working there from 1879-1939. She joined the Royal School of Art Needlework with her sister Georgiana in 1879 when Louisa Anne Wade was the leading figure. She exhibited at the Arts & Crafts Exhibition Society’s 2nd exhibition at the New Gallery in Regent Street in 1889 and in their third exhibition the following year.
The current lot and its companion pieces were exhibited by the School at the Exposition Universelle, Paris in 1900 where they won a gold medal.
£400-600
259
ENGLISH
ARTS & CRAFTS EMBROIDERED CREWELWORK TRIPTYCH, CIRCA 1880
silk threads on a linen ground, stained wood hanging poles top and bottom (3) each 153cm x 61cm
£600-800
260
NEWLYN SCHOOL
ARTS & CRAFTS WALL MIRROR, CIRCA 1900
repoussé-decorated metal, bevelled mirror plate
49cm x 41cm
£600-800
261
ATTRIBUTED TO THE GUILD OF HANDICRAFT LTD.
ARTS & CRAFTS CHARGER, CIRCA 1900
repoussé-decorated copper 41cm diameter
£400-600
262
JOHN PEARSON (1859-1930)
ARTS & CRAFTS CHARGER, 1893 repoussé-decorated copper, signed verso J. PEARSON 1893
51.4cm diameter
£400-600
263
MACKAY HUGH BAILLIE SCOTT (1865-1945) FOR JOHN P. WHITE, THE PYGHTLE WORKS, BEDFORD ARTS & CRAFTS ‘DAFFODIL’ DRESSER, CICA 1901
oak, painted wood, with beech inlay, bronze, bears label to reverse, G. H. MORTON & SON LTD, BOLD STREET, LIVERPOOL, retains original keys
170cm wide, 168cm high, 59cm deep
Provenance: Sotheby’s London The Fine Art Society; 142 Years on New Bond Street, 5th February 2019, Lot 272
£8,000-12,000
Exhibited: London, Fischer Fine Art ‚ Truth, Beauty and Design: Victorian, Edwardian and later Decorative Art, May-June, 1986
Cumbria, Blackwell Arts and Crafts House, The Lake District and beyond: Arts and Crafts Designs and Interiors by MH Baillie Scott and CFA Voysey, July-October, 2011
Literature: Furniture made at the Pyghtle Works, Bedford by John P. White designed by M.H. Baillie Scott, Pyghtle Works sales catalogue, 1901, fig. 18
Gotch J.A. ‘Modern Furniture’, The Art Journal, January 1904, p. 133
Adrian J. Tilbrook and Fischer Fine Art Limited, Truth, Beauty and Design: Victorian, Edwardian and Later Decorative Art, exhibition catalogue, Fischer Fine Art Limited, London, 1986, p. 66, fig. 163
The Fine Art Society Spring 1990, exhibition catalogue, The Fine Art Society, London, 1990, illustrated p. 51, fig. 50
The son of a wealthy Scottish landowner, Baillie Scott was born at Beards Hill, near Broadstairs in Kent. the second of ten children. His rural upbringing and deep love for nature profoundly influenced his later work. Initially, Baillie Scott pursued agricultural studies at Cirencester Agricultural College, but soon shifted his focus to architecture.
In 1893, Baillie Scott moved to the Isle of Man, where he lived for several formative years. This period was crucial in shaping his architectural and design philosophy. While on the island, Baillie Scott established his architectural practice and began to gain recognition for his innovative designs. The Isle of Man, with its rugged landscapes and natural beauty, further deepened his connection to nature, a recurring theme in his work. It was during this time that he began to publish his ideas on domestic architecture, advocating for homes that were both functional and aesthetically in harmony with their surroundings. His designs from this period often incorporated local materials and reflected the Arts and Crafts ethos of simplicity and craftsmanship. His work on the Isle of Man helped establish his reputation.
Baillie Scott began his professional relationship with John P. White, head of the Pyghtle Works in Bedford, in 1898. White’s workshop was known for producing high-quality Arts and Crafts furniture, and Baillie Scott’s designs were perfectly suited to this ethos. The two men formed a close friendship, and in 1901, Baillie Scott moved with his family to Bedford, where White’s workshop was located. This collaboration marked one of the most fruitful periods of Baillie Scott’s career.
The present lot, crafted in John White’s workshop, is a prime example of Baillie Scott’s furniture design from this era, around the time he was completing his architectural masterpiece, Blackwell, a country house near Windermere. Completed in 1900, Blackwell remains one of the finest examples of Arts and Crafts architecture, and the present furniture piece echoes the same focus on craftsmanship, nature-inspired motifs, and functionality.
264
DONEGAL
ARTS & CRAFTS
CARPET, CIRCA 1900
hand-knotted wool
443cm x 558cm
£7,000-9,000
265
ARCHIBALD KNOX (1864-1933)
FOR LIBERTY & CO.
WALL MIRROR, CIRCA 1900
copper, mirror plate
61.5cm high, 92cm wide
£800-1,200
266
LEONARD WYBURD (1865-1958) FOR LIBERTY & CO.
‘CULLODEN’ SIDEBOARD, CIRCA 1906
oak, with leaded and glazed glass and bullseye glass
204cm wide, 186.5cm high, 61.5cm deep
£1,000-1,500
267 Y
ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO.
RARE ‘CYMRIC’ COFFEE POT, 1901
silver, inset with turquoise cabochons, ivory insulators, maker’s mark L&Co., hallmarked Birmingham, 1901, stamped CYMRIC 21.5cm high
Note: Sold in compliance with UK Government and APHA regulations, with (non-transferable) exemption registration reference X6D7BKUJ.
£4,000-6,000
268 Y
ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO.
‘TUDRIC’ PEWTER CLOCK, CIRCA 1900
pewter, inlaid with abalone shell tablets, stamped TUDRIC/ 0252
16cm high
Literature: Liberty Pewter Sketch Book, Westminster City Archives, London, n.d., p. 57, no. 0252
Tilbrook A. J. The Designs of Archibald Knox for Liberty & Co., London 1995, p.106, no. 88 Martin S. A. Archibald Knox, Art Media Press, London, 2001, pp. 240 and 241
£4,000-6,000
270
LIBERTY & CO.
‘THEBES’ STOOL, CIRCA 1890
mahogany, with leather upholstered seat
55cm square, 43.5cm high
Literature: Bennett D. Liberty’s Furniture 18751915: The Birth of Modern Interior Design, AAC 2012, p. 96, pls. 4.13 and 4.15 where similar examples are illustrated.
Note: The design of this stool is based on an example in the British Museum (museum number EA2472), said to be from Thebes, Egypt, and made in 1400-1300 BC. This Liberty version was registered at the Patent Office in 1884.
£1,500-2,000
269
CHARLES FLEETWOOD VARLEY (1828-1883) FOR LIBERTY & CO.
‘TUDRIC’ BOX, CIRCA 1905
pewter, enamel, enamel signed lower right VARLEY, stamped to base J / MADE IN ENGLAND/ 01021/ TUDRIC 17.2cm wide, 5.5cm high, 9cm deep
£1,500-2,000
271
ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO. ‘TUDRIC’ STRUT CLOCK, CIRCA 1902
pewter, enamel, stamped 0482
10cm square
£300-500
272
ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO. ‘TUDRIC’ INKWELL, CIRCA 1900
pewter and enamel with glass insert, stamped TUDRIC/ 0141
9cm high, 15.2cm wide
£600-800
273
WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY
‘MOONLIT BLUE’ POWDER BOX & COVER, CIRCA 1930
glazed earthenware, impressed MOORCROFT MADE IN ENGLAND/ 272, signed W. MOORCROFT
15cm diameter
£600-800
274
WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘PLUM WISTERIA’ FLAMBÉ VASE, CIRCA 1930
glazed earthenware, impressed MOORCROFT/ MADE IN ENGLAND, signed W. MOORCROFT, 23cm high; together with a ‘POMEGRANATE’ PATTERN MOORCROFT POTTERY VASE, impressed MOORCROFT/ BURSLEM/ ENGLAND, signed W. MOORCROFT, 21cm high (2)
£500-700
275 Y
LIBERTY & CO. (ATTRIBUTED RETAILER)
OCCASIONAL TABLE, CIRCA 1920
stained beech, inlaid with specimen woods, ivory and bone 57cm wide, 72cm high
Note: Sold in compliance with UK Government and APHA regulations, with (non-transferable) exemption registration reference RZQRZQNZ.
£1,000-1,500
276
ATTRIBUTED TO BERNARD CUZNER (1877-1956) FOR LIBERTY & CO. ‘TUDRIC’ CLOCK, CIRCA 1902 pewter, stamped TUDRIC 33.5cm high
£1,000-1,500
277
LIBERTY & CO. STOOL, CIRCA 1915
stained oak
45.5cm wide, 52cm high, 28.5cm deep
Literature: Bennett D. Liberty’s Furniture, Woodbridge 2012, p.290, pl. 7.112 where a similar stool is featured within an advertisement dated 1915. £400-600
278
W. R. LETHABY (1857-1931) FOR LIBERTY & CO. ARTS & CRAFTS ARMCHAIR, CIRCA 1900
oak, with close nailed leather upholstery
63.5cm wide, 113cm high, 48.5cm deep
£300-500
HENRY WILSON (1864-1934), W.E. MICKLEWRIGHT (MAKER)
ARTS & CRAFTS ‘ZODIAC’ CHEST, CIRCA 1920
oak, with twelve relief carved Zodiac panels, each with inscription, cast brass lock plate
Purchased from his workshop by the father of the current owner.
Literature: The Studio, vol. 86. 1923, p. 265 where a similar chest, exhibited at the British Institute of Industrial Art of the same year is illustrated.
£4,000-6,000
The Arts & Crafts designer Henry Wilson trained initially as an architect under J. D. Sedding (1838-1891), who had himself been apprenticed to the leading Gothic revival architect George Edmund Street (1824-1881). Wilson continued his architectural commissions as his career progressed, but worked increasingly in metalwork, sculpture and jewellery. The Zodiac chest was illustrated in the Studio Magazine, Vol 86, 1923, and the relief carved panels are said to foreshadow the more sculptural bronzes Wilson designed in the final decade before his death in 1934.
This chest was executed by W.E. Micklewright of Nortonsub-Hamdon, Somerset. Henry Wilson’s connection to the small village began in 1894 when he was engaged to design restoration work required for the parish church, St Mary the Virgin. Another chest by Micklewright still sits at the end of the church’s west aisle. The workshop responsible for completing Wilson’s church designs was Charles Trask &
Sons, with whom Sedding and Wilson had collaborated from as early as 1869, on St Martin’s Church, Low Marple near Stockport.
When Wilson first came to Norton-sub-Hamdon Micklewright was manager of the Charles Trask & Sons workshop, but by the 1920’s he owned and ran the premises. A surviving W. E. Micklewright catalogue illustrates items including the zodiac chest, a clock, cabinet and bed. According to the account of Mr Reg. Sweet, an apprentice in the workshop from 1923-25, the business employed at least eight craftsmen carrying out work predominantly in oak and of a religious nature. Sweet recalls Micklewright’s perfectionist tendencies but lack of business sense, the latter a factor presumably behind the workshop’s premature closure in 1925. The current lot was purchased at this time and, until now, has not left Norton-sub-Hamdon.
280
ROWLEY GALLERY
‘ST FRANCIS’ MIRROR, CIRCA 1920
marquetry inlaid stained and grained oak, mirror plate, bears maker’s label verso 54cm x 28.5cm
Provenance: Purchased from Rowley Gallery, Kensington Church Street, 1931
The private collection of the late David Hutcheson, sold in aid of St Mary’s Music School Trust Ltd, SC014611
£300-500
281
MINTONS LTD.
GROUP OF ‘SECESSIONIST’ WARES, CIRCA 1907
relief moulded and glazed earthenware comprising; a PAIR OF VASES, painted maker’s mark and shape MINTONS LTD/ NO 1, incised MINTON 3334, 24.5cm high; a VASE, painted maker’s mark and shape MINTONS LTD/ NO 12, 20.5cm high; a VASE, painted maker’s mark and shape MINTONS LTD/ NO 1, incised MINTON 3503, 30.5cm high (4)
£250-350
282
MINTONS LTD.
GROUP OF ‘SECESSIONIST’ WARES, CIRCA 1907 relief moulded and glazed earthenware comprising; a JARDINIÈRE, impressed ‘Minton’, incised 13, painted maker’s mark and shape MINTONS LTD/ NO 71, 28cm high; a VASE, painted maker’s mark and shape MINTONS LTD/ NO 29, 23cm high; a PAIR OF VASES, incised 3548, painted maker’s mark and shape, MINTONS LTD/ NO 46, 16cm high (4)
£250-350
MINTONS LTD.
GROUP OF ‘SECESSIONIST’ WARES, CIRCA 1907 relief moulded and glazed earthenware comprising; a VASE, 1903, impressed date cypher and ‘Minton’, incised 3535, 20cm diameter; a VASE, painted maker’s mark and shape MINTONS LTD/ NO 28, 19cm high; a VASE, painted maker’s mark and shape, MINTONS LTD/ NO 49 and ‘Mintons’, 10cm high; a BOWL, painted maker’s mark and shape MINTONS LTD/ NO 32, 18cm diameter; a BOWL, painted maker’s mark and shape MINTONS LTD/ NO 32, 24cm diameter (5)
Literature: Jones, Joan, ‘Minton; the First Two Hundred Years of Design and Production’, Swan Hill Press 1993, p. 246, where shape 3535 is illustrated; p. 250 where shape No 32 is illustrated
£250-350
284
MINTONS LTD.
GROUP OF ‘SECESSIONIST’ WARES, CIRCA 1907
relief moulded and glazed earthenware comprising; a VASE, painted maker’s mark and shape MINTONS LTD/ NO 9, 24.5cm high; a VASE, painted maker’s mark and shape MINTONS LTD/ NO 46, incised MINTON 3548, 16cm high; a PAIR OF VASES, painted maker’s mark and shape MINTONS LTD/ NO 41, incised 3551, 17.5cm high; a VASE, incised MINTON, 12.5cm high; a VASE, incised MINTON, 13cm high (6)
£300-500
285
MINTONS LTD.
GROUP OF ‘SECESSIONIST’ WARES, CIRCA 1907
relief moulded and glazed earthenware comprising; a VASE, painted maker’s mark and shape MINTONS LTD/ NO 17, 13cm high; TWO VASES, painted maker’s mark and shape, MINTONS LTD/ NO 5, 10.5cm high; a VASE, painted maker’s mark and shape MINTONS LTD/ NO 20, 13.5cm high; a VASE, painted maker’s mark and shape MINTONS LTD/ NO 9, 13cm high; a VASE, painted maker’s mark and shape MINTONS LTD/ NO 7, 13.5cm high (6)
£250-350
286
MINTONS LTD.
GROUP OF ‘SECESSIONIST’ WARES, CIRCA 1907
relief moulded and glazed earthenware comprising; a PLATE, 25.5cm diameter; TEN LARGE PLATES, 23cm diameter; THREE SERVING DISHES, the largest 28cm wide; TWO SIDE PLATES, 18cm diameter; TWO SMALL PLATES, 13.5cm diameter (18)
£300-500
287
MINTONS LTD.
GROUP OF ‘SECESSIONIST’ WARES, CIRCA 1907
relief moulded and glazed earthenware comprising; a VASE, 1905, impressed date cypher and ‘Minton’, incised 3573, 46cm high; a PAIR OF VASES, 1908, painted maker’s mark and shape MINTONS LTD/ NO 26, impressed date cypher and ‘Minton’, incised 5260, 27.5cm high; a EWER, painted maker’s mark and shape, MINTONS LTD SECESSIONIST/ NO 5, 31cm high (4)
£250-350
288
ENGLISH
LARGE ARTS & CRAFTS
CHANDELIER, CIRCA 1910
brass, with five opalescent glass shades
76cm diameter (including shades), height of fitting 92cm
£1,200-1,800
290
PIERRE MALLET (1836–1898) FOR BURMANTOFTS POTTERY
LARGE WALL PLAQUE, CIRCA 1890
glazed earthenware, signed lower left MALLET, stamped BURMANTOFTS FAIENCE, 61cm diameter; together with a BURMANTOFTS POTTERY, LEEDS, JARDINIÈRE ON STAND, CIRCA 1890, glazed earthenware, impressed marks BURMANTOFTS FAIENCE/, jardinière 23.5cm high, stand 66.4cm high (2)
£200-300
289
BEST & LLOYD
TABLE LAMP, CIRCA 1880
cast iron (adapted from a larger light base), later modern shade, cast mark to base BEST & LLOYD/ HANDSWORTH/ BIRMM
53cm high to base of fitting Note: Best & Lloyd was founded in 1840 in Birmingham, England, manufacturing candle lamps and by 1900 had become the largest lighting manufacturer in the world with showrooms in London, Paris and New York. In 1928, founder Robert Best’s grandson Robert Dudley Best designed the iconic Bestlite range, still in production today.
£300-500
291
SCANDINAVIAN
CELTIC REVIVAL HALL SETTLE, CIRCA 1900
carved pine 116cm wide, 119.5cm high, 56cm deep
£600-800
292
ATTRIBUTED TO SILVER STUDIO PAIR OF ARTS & CRAFTS
CURTAINS, CIRCA 1900
silk rayon, lined (2) each 209cm x 230cm
£300-500
293
ENGLISH PAIR OF CHINOISERIE
CURTAINS, CIRCA 1920
cotton chenille, lined (2) each 322cm x 168cm
£300-500
294
ENGLISH
TWO PAIRS OF ARTS & CRAFTS CURTAINS, CIRCA 1910 woven cotton, with tasselled edging, unlined (4) each 311cm x 173cm
£500-700
295
ENGLISH
ARTS & CRAFTS WRITING
TABLE, CIRCA 1900
oak, with inset tooled leathercloth skiver and embossed metal fittings
76cm wide, 75cm high, 45.5cm deep
£300-500
296
MANNER OF EDGAR WOOD
ARTS & CRAFTS CABINET, 1900
oak, with marquetry inlay, patinated brass fittings, the doors carved with Roses, Shamrocks and Thistles, with inscription AD 1900
131cm wide, 155.5cm high, 41cm deep
£800-1,200
ENGLISH
ARTS & CRAFTS CEILING LIGHT, CIRCA 1910
copper, with associated but period opalescent glass shades
diameter including shades 64cm, height of fitting 57cm
£400-600
299
MURRLE BENNETT & CO.
ART NOUVEAU BON-BON DISH, 1903
silver, stamped MB&Co, London, import hallmarks for 1903
13.5cm wide
£300-500
300
ALFRED E. LEWIS (ACTIVE 1893-1901)
‘ECHO’, CIRCA 1901
bronze, signed in the bronze ALFRED E. LEWIS/ 190*
48cm high
£300-500
298
ENGLISH
ARTS & CRAFTS
PANEL, CIRCA 1890 carved oak, gilding 41cm x 294.5cm, decorated width 284.5cm
£1,000-1,500
301
JAMES DIXON & SONS
MATCHED PAIR OF ARTS & CRAFTS CANDLESTICKS, 1908/9
silver, stamped maker’s marks, hallmarked Sheffield 1908 and 1909 (2)
23cm high
£500-700
302
ENGLISH
ARTS & CRAFTS ROSEBOWL
copper and enamel, embossed around the rim with quotation from American Poet, William Bryant, ‘THE ROSE THAT LIVES ITS LITTLE HOUR IS PRIZED BEYOND THE SCULPTURED FLOWER’ 23cm wide
£250-350
303 §
SOPHIA ROSAMOND PRAEGER (1867-1954)
‘THE CHILD FRANCIS OF ASSISI’, RELIEF PANEL painted plaster, signed lower right S R PRAEGER, framed 28cm x 13cm, (frame size 29.5cm x 24.5cm)
£300-500
ENGLISH, POSSIBLY HOME ARTS & INDUSTRIES ASSOCIATION
ARTS & CRAFTS SIDE CABINET, CIRCA 1890
carved oak, with patinated steel fittings 84.5cm wide, 138cm high, 31cm deep
Note: The Home Arts and Industries Association, founded in 1884 by Eglantyne Louisa Jebb, aimed to revive traditional British handicrafts and provide employment opportunities for rural communities. The association promoted various crafts such as woodwork, pottery, weaving, and metalwork. It sought to preserve traditional skills while empowering individuals, particularly in rural areas, to achieve economic independence through craftsmanship. The movement was part of a larger Arts & Crafts revival that emphasized the value of handmade goods in response to industrialisation. The association also held annual exhibitions and craft competitions, fostering both artistic expression and social improvement.
£600-1,000
305
WILLIAM S. MYCOCK (1872-1950) FOR PILKINGTON’S TILE & POTTERY CO.
GORDON FORSYTH (1879–1952) FOR PILKINGTON’S TILE & POTTERY CO.
308
WILLIAM S. MYCOCK (1872-1950) FOR PILKINGTON’S TILE & POTTERY CO.
ROYAL LANCASTRIAN LUSTRE VASE, 1926
lustre-glazed earthenware, impressed factory mark, painted artist’s mark and dated 1926, 11cm high; together with a ROYAL LANCASTRIAN LUSTRE MINIATURE VASE, 1926, lustre-glazed earthenware, impressed factory mark, painted artist’s mark and dated 1926, 8.6cm high; a GORDON FORSYTH (1879–1952) FOR PILKINGTON’S TILE & POTTERY CO.,
GORDON FORSYTH (1879–1952) FOR PILKINGTON’S TILE & POTTERY CO.
LANCASTRIAN LUSTRE TWIN-HANDLED VASE, 1907
lustre-glazed earthenware, painted artist’s monogram and date cypher, impressed factory marks, shape number and date
23.5cm high
£800-1,200
311
ANNIE BURTON FOR PILKINGTON’S TILE & POTTERY CO.
LANCASTRIAN LUSTRE BOWL, CIRCA 1910
lustre-glazed earthenware, impressed factory mark, painted artist’s mark, 22.8cm diameter; together with a ROYAL LANCASTRIAN LUSTRE VASE, CIRCA 1920, lustreglazed earthenware, impressed factory mark, painted artist’s mark, 12.2cm high (2)
£300-500
312
WILLIAM S. MYCOCK (1872-1950) FOR PILKINGTON’S TILE & POTTERY CO.
LANCASTRIAN LUSTRE VASE, 1908
lustre-glazed earthenware, impressed factory marks, painted artists mark and date cypher
13.5cm high
£300-500
313
CHARLES CUNDALL (1890-1971) FOR PILKINGTON’S TILE & POTTERY CO.
LANCASTRIAN LUSTRE VASE, 1909
lustre-glazed earthenware, impressed factory marks, painted artist’s mark and date cypher
19.8cm high
£400-600
315
314
WILLIAM S. MYCOCK (1872-1959) FOR PILKINGTON’S TILE & POTTERY CO.
TWO-HANDLED LANCASTRIAN LUSTRE VASE, CIRCA 1912
lustre-glazed earthenware, painted artist’s monogram and date cypher, impressed factory marks
21.5cm high
£600-800
RICHARD JOYCE (1873-1931) FOR PILKINGTON’S TILE AND POTTERY CO.
ROYAL LANCASTRIAN LUSTRE VASE, CIRCA 1920
lustre-glazed earthenware, impressed factory mark, painted artist’s mark
14.5cm high
£400-600
THOMAS NELSON MACLEAN (1845-1894)
MEDITATION, 1883
marble, signed and dated T. NELSON MACLEAN/ SCULPT 1883
61cm high
Provenance: Estate of the late Dr. Susan Beattie
Literature: Beattie S. The New Sculpture, Yale University Press, 1983, p. 141, pl. 131 where this work is illustrated.
£600-800
NEW SCULPTURE
New Sculpture was an English artistic movement of the late 19th century, reacting against the stagnant sculptural scene of Victorian Britain. Works in the style began appearing at Royal Academy exhibitions from 1880, but the movement was not christened until Edmund Gosse’s 1894 Art Journal article, ‘The New Sculpture’. Gosse cited Lord Frederick Leighton’s Athlete Wrestling with a Python as an archetypal example. This dynamic bronze figure, bursting with vitality epitomised the ‘imaginative realism’ praised in exhibition reviews. Leighton and other leading sculptors such as Alfred Gilbert and Hamo Thornycroft revived the Italian Renaissance art of ‘lost wax’ bronze casting to finely render surface details like musculature and facial expressions in a more naturalistic manner. New Sculpture rejected the stylised neo-classical works in white marble which had previously dominated the sculptural scene. Formerly subjects had been more traditionally didactic or taken from allegory. New Sculpture practitioners drew inspiration from poetry and myth, introducing Symbolism to the sculptural medium and conveying ideas over purely accurate representation.
This change in style and subject should also be considered within the wider societal and artistic landscape. The second half of the 19th century saw the emergence of an educated middle class with disposable income to spend on art. This
317
MARGARET M. GILES (1868-1949)
‘HERO’, 1895-6
bronze, inscribed and with foundry mark in the bronze, HERO/ FOUNDED BY J.W. SINGER & SONS
LTD/ PUBLISHED BY THE ART UNION OF LONDON
51cm high
Provenance: Estate of the late Dr. Susan Beattie
Literature: Beattie S. The New Sculpture Yale University Press, 1983, p. 198, pl.199 where this example is illustrated
£400-600
development coincided with a marked increase in artists producing both paintings and sculptures, perhaps seeing the business potential in broadening their practice. Artists working across media bridged the divide between high and decorative art, elevating the status and desirability of the latter. Until the 1860s sculpture was primarily limited to the marble portrait bust or large classical figure, but smaller bronze casts were the perfect choice for the more modest middle-class home. Sculpture further enjoyed an increase in popularity through the cult of the statuette; a feature in late Victorian and Edwardian architectural design which enabled the classical heroic figure to fulfil a new decorative role within a domestic setting.
Lots 316-324, 330, 187 and 198 come from the estate of the Late Dr. Susan Beattie. A historian and architecture specialist, Dr. Beattie wrote the seminal ‘The New Sculpture’, published in 1983 by the Paul Mellon Centre, and still consulted today as the authority on this subject. Beattie’s work explores the movement’s protagonists, their motivations and work anew, shedding light on a hitherto neglected and largely unacknowledged topic. Where previously Alfred Gilbert had been seen as a figure working in isolation, Beattie’s work illustrates the collaborative environment of the New Sculpture group and their quest to redefine art and its role in society.
318
ALFRED STEVENS (1817-1875)
STUDIES FOR THE FIGURE OF ‘VALOUR’
red chalk and pencil on paper (designs for a monument in pencil verso)
26cm x 27cm (frame size 50cm x 58cm)
Provenance: The Fine Art Society, London Estate of the late Dr. Susan Beattie
Note: These studies are for the figure of ‘Valour’, part of the Wellington Monument designed by Stevens in 1857 and made circa 1866 for St Pauls Cathedral, London.
£400-600
320
ALFRED STEVENS (1817-1875)
STUDIES OF A MALE NUDE
red chalk and pencil (with further studies verso), 31cm x 26cm (frame size 50cm x 41cm); a STUDY OF A FEMALE NUDE, red chalk and pencil (with further studies verso), 32.5cm x 26cm (frame size 49.5cm x 41cm), each with gallery label verso; together with two further FRAMED STUDIES, probably by the same hand, one of a FEMALE NUDE, red chalk, 35.5cm x 16.5cm (frame size 54.5cm x 33.5cm) and another STUDIES OF AN ARM, red chalk and pencil, 24.5cm x 21.5cm (frame size 37.5cm x 45cm) (4)
Provenance: Leicester Galleries, London (first two studies)
R.J. Gunther
Estate of the late Dr. Susan Beattie
£400-600
319
ALFRED DRURY (1856-1944)
STUDIES OF THE FEMALE FORM, 1911
red chalk and pencil, inscribed, signed and dated to the mount TO MY FRIEND SIR GEORGE FRAMPTON RA/ ALFRED DRURY 1911, 31.5cm x 25.5cm (frame size 52.5cm x 40cm); together with STUDY FOR A MONUMENT, charcoal and white chalk, 43cm x 23cm (frame size 59cm x 38.5cm) (2)
Provenance: Estate of the late Dr. Susan Beattie
£400-600
321
SIR GEORGE JAMES FRAMPTON (1860-1928)
PLAQUE FOR THE ROYAL SOCIETY OF BRITISH ARTISTS, 1906 patinated copper, cast signature and date GEO. FRAMPTON/ 1906, 38cm x 26cm; together with a ‘MENTION HONORABLE’, printed paper with ink, from the Société des Artistes Francais inscribed A MONSIEUR FRAMPTON (Georges) and signed by the President and Secretary of the Société, 36.5cm x 51cm (frame size 38cm x 52.5cm) (2)
Provenance: Estate of the late Dr. Susan Beattie
£300-500
322
SIR GEORGE FRAMPTON (1860-1928)
‘CHRISTABEL’, 1898
enamels and gilt on copper panel, signed, inscribed and dated G.F./ CHRISTABEL/ APRIL 1898
14.3cm x 11.4cm (frame size 30cm x 36.5cm)
Provenance: Estate of the late Dr. Susan Beattie
Literature: The Studio, volume XVI, pp.249-252, this lot illustrated p. 253 £600-800
323 §
LUCY GWENDOLIN
WILLIAMS (1870-1955)
‘QUEEN OF DREAMS’, CIRCA 1905-6
bronze, signed in the bronze LGW, marble socle
bronze 20cm high, with socle 27.5cm high
Provenance: Estate of the late Dr. Susan Beattie
Literature: Beattie S. The New Sculpture, Yale University Press, 1983, p. 197, pl.197 where this example is illustrated
£400-600
Note: This panel probably depicts the artist’s wife, the artist Christabel Cockerell, Lady Frampton (1864-1951). Frampton married Christabel in 1893 and the couple set up home together at St John’s Wood in London. Together they designed a decorative frieze for the interior of the house and Frampton began to design household fittings and jewellery in enamel and precious metals. Frampton mastered a number of techniques in his career, which helped him in his interest in using several media to create work.
324
ALFRED STEVENS, SIR GEORGE FRAMPTON, SIR ALFRED GILBERT ET AL AN ARCHIVE OF ‘NEW SCULPTURE’ NOTES AND PHOTOGRAPHS FROM THE COLLECTION OF SUSAN BEATTIE
large collection of photographs and notes relating to the work of Alfred Stevens (two box files); folders of same on Harry Bates; Alfred Drury; William Reynolds Stephens; ‘Women in Art/ Sculpture’; and Sir George Frampton; a further folder of work on a variety of artists including G.F. Watts, Jules Dalou, Sir Alfred Gilbert etc.; together with a copy of Beattie S. Alfred Stevens: Catalogue of the Drawings Collection of the Royal Institute of British Architects, Gregg International, 1975; and a copy of ‘The New Sculpture’ by Susan Beattie, published by New Haven, Yale University Press, 1983, with dedication to the author’s husband John to the title page. Archive sold as seen and not subject to return.
Provenance: Estate of the late Dr. Susan Beattie
£200-300
325
FREDERIC, LORD LEIGHTON (1830-1896)
‘THE SLUGGARD’ bronze, dark brown patina, signed LORD LEIGHTON and titled THE SLUGGARD, this cast circa 1910-20. 53cm high
Provenance: Alan Boyle (Antique Dealer), Brighton, 1970
The Peter Rose and Albert Gallichan Collection
Literature: Frederic Leighton: 18301896, Harry N. Abrams/Royal Academy 1996, pp. 202-203, fig. 93
Read B. Leighton as a sculptor: Releasing sculpture from convention, Apollo, London, February 1996, pp. 65-69.
£8,000-12,000
Note: The Sluggard by Frederic Leighton, created in 1885-1886, is a pivotal piece in the New Sculpture movement, which emphasised naturalism and a departure from the rigidity of earlier Victorian art. The sculpture portrays a young male nude stretching lazily, capturing a moment of languid awakening. The work was inspired by a spontaneous gesture of Leighton’s model, Giuseppe Valona, who stretched and yawned during a modelling session, prompting Leighton to immediately sketch the pose in clay.
Initially titled An Athlete Awakening from Sleeping, the piece was later renamed The Sluggard to emphasize its relaxed, almost indolent posture, contrasting with Leighton’s earlier, more dynamic work, An Athlete Wrestling with a Python. The sculpture was widely acclaimed and exhibited at the Royal Academy in 1886, earning further recognition at the Paris Exposition Universelle in 1889, where it was awarded a medal of honour.
The influence of contemporary French sculptors, particularly the naturalism of Rodin, is evident in this work. The Sluggard remains one of Leighton’s most celebrated sculptures, symbolising a significant shift towards more expressive and realistic forms in late 19th-century British art
326
GILBERT BAYES (1872-1953)
‘AN INVOCATION’, CIRCA 1902 bronze, dark brown patina, unsigned 70cm high
Literature: Irvine L. and Atterbury P. Gilbert Bayes: Sculptor 1872-1953, Richard Dennis, 1988, p. 104-105, p. 104 illus.
The Studio, 1902 Vol 25, p. 278, illus.
Koch A. (ed.) Sculptures from “Academy Architecture”, Academy Architecture, London 1905, p. 37, no. 838
£10,000-15,000
Note: Gilbert Bayes’ long and illustrious career began as a student under Sir George Frampton and Harry Bates at the Royal Academy Schools. As a result he became associated with the British New Sculpture movement and its focus on architectural sculpture, and was particularly influenced by Frampton and also by Alfred Gilbert. Like them, he was interested in polychromy in sculpture, the use of mixed materials and, especially in his early years, in Arthurian, Wagnerian and medieval subjects, as found in the present example.
This rare and possibly unique figure in bronze was exhibited at The Fine Art Society in 1902 (where the plaster version sold for £40); Birmingham 1903; Glasgow, Portrait Painters 1905; Royal Academy, Wolverhampton 1912; Leicester Galleries 1914; and Sculpture Gallery 1915 where sold.
327
HAMO THORNYCROFT (1850-1925)
‘GRAY’S ELEGY’, CIRCA 1880 bronze plaque, indistinctly signed lower right, and dated 188*, mounted on oak panel with inscribed plaque bronze 10cm x 22.7cm, oak panel 20cm x 28cm
£400-600
328
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
£1,000-1,500
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.
329
ALBERT TOFT (1862-1959)
‘PEACE’, CIRCA 1912
bronze, marble plinth, signed in the bronze A. TOFT bronze 15cm high, with plinth 19cm high
Note: This bronze by Toft is a reduction of Peace, which forms part of his memorial to Edward VII, currently standing in Centenary Square, Birmingham. The full-size version was originally paid for by the readers of the Birmingham Mail after the King’s death in 1910 and unveiled in Victoria Square in 1913, before moving to Highgate Park in 1951. It was removed from the park in 2009 and, after restoration, installed in Centenary Square.
The memorial depicts a stone standing figure of the King in Field Marshal’s uniform and Garter Robes set on high sandstone plinth with bronze groups of Education and Progress (including youth and boy with model of Tower Bridge) on the left side and Peace on the right.
£800-1,200
SIR WILLIAM BLAKE RICHMOND (1842–1921)
STUDY FOR ‘THE RESURRECTION’: SLEEPING ROMAN SOLDIER, LATE 1890’S
black and white chalk on brown paper, framed 26cm x 43cm (frame size 41cm x 59cm)
Provenance: Estate of the late Dr. Susan Beattie
Note: Between 1899 and 1904, four quarter-dome mosaics were added to the dome of St. Paul’s Cathedral, based on designs by William Blake Richmond. These mosaics, produced and installed by James Powell and Sons, marked a significant departure from the smooth, flat, and nonreflective tesserae style used in earlier designs of G.F. Watts in 1866. Richmond instead embraced a more dynamic and vibrant aesthetic, utilising jagged, irregular glass pieces set at angles to the plaster to catch and reflect light. This innovative technique was inspired by Richmond’s study of Byzantine and early Christian mosaics in Ravenna, Monreale, and Rome. The current lot, a depiction of a sleeping Roman soldier, is a study for part of the quarter-dome composition entitled “The Resurrection”.
£500-800
331 §
SIR WILLIAM REID DICK (1878-1961)
HEAD OF A BOY
bronze, on marble socle, signed in the bronze REID DICK
28cm high
£1,000-1,500
332
CHARLES SIMS (1873-1928)
‘CRAFTS’, CIRCA 1915
oil sketch on board, inscribed lower left ARTS & CRAFTS EXHIBITION 1916, and lower right CHARLES SIMS/ M. ASHER/ J. MARTINDALE/ T. EMSLIE/ F. BROWN
35.5cm x 80.5cm (frame size 42.5cm x 87.2cm)
£800-1,200
Note: This is a preparatory study for the artist’s mural ‘Crafts’, made for the Municipal Hall at the Royal Academy’s Arts and Crafts Exhibition of 1916. Four of the most successful large decorative panels: Maurice Greiffenhagen’s, The Arts of Peace; George Clausen’s The Ancient Arts; Robert Anning Bell’s The Awakening; and Charles Sims’ Crafts. On these walls the Academy had fielded its strongest team, each was a consummately skilled practitioner, highly experienced in the art of mural painting. These artists, with others, would receive major public commissions after the war, notably in the Palace of Westminster, thus fulfilling, in this area at least, the goal of the exhibition organiser and President of the Society, Henry Wilson. Believed the have been lost, Sims’ vast mural canvas (30 feet wide) was recently found rolled up in the basement of the Academy. Sims was aided in the painting by a group of female students from the Royal Academy Schools: Rosalie Emslie, Florence Asher, Margaret Brown and Veronica Martindale, all credited in this sketch albeit with their initials entered the wrong way around.
333
STEPHEN MAKEPEACE WIENS (1893-1945)
GIRL AND LIZARD, 1911
bronze, raised on a marble plinth, signed S M WIENS and dated 1911
50cm long
£1,000-1,500
Note: Edward Reginald Frampton was an English painter known for his distinctive blend of medievalism and symbolism. Born in London, Frampton was influenced by his father, a stained-glass artist, and this impact is evident in his use of flat, decorative forms and vibrant colour schemes reminiscent of stained-glass windows.
Frampton’s work often depicted religious or allegorical subjects, characterized by serene, contemplative figures, often set against idyllic landscapes. His style drew heavily from the Pre-Raphaelite Brotherhood and French Symbolist art, especially Puvis de Chavannes. Many of his paintings, such as The Passing of Summer and The Vision of St. Joan of Arc, exemplify his focus on purity, spirituality, and timeless beauty.
Although Frampton exhibited at venues like the Royal Academy and became widely admired during his lifetime, his career was cut short when he died unexpectedly in 1923. Today, his work is recognized as part of the broader British Symbolist movement.
334
EDWARD REGINALD FRAMPTON (1870-1923)
CHRIST IN MAJESTY
oil on canvas
139cm x 76.5cm (frame size 167.5cm x 101cm)
£2,000-3,000
335
ROBERT ANNING BELL (1863-1933)
TWO ANGELS, BLOWING HORNS, 1912
oil on board, signed and dated lower right R. AN’ BELL/ 1912, framed
22.5cm x 13.5cm (frame size 41cm x 32cm)
£300-500
336
MANNER OF ALFRED DRURY THE VIOLIN
bronze, dark brown patina, unsigned 28cm high
£300-500
END OF DAY ONE
DAY TWO: THURSDAY 17TH OCTOBER AT 10AM
A COLLECTION OF FRENCH GLASS
337
EUGÈNE MICHEL (1848-1910)
PAIR OF IRIS VASES, CIRCA 1900
pink glass overall in green, acidetched and carved, one engraved
E. MICHEL, one unmarked (2)
15.8cm high
£2,500-3,000
338
L’ESCALIER DE CRISTAL (1804-1923)
EWER, CIRCA 1885
clear crystal, carved, applied gilt decoration, and metal mount, wheel-engraved EDC
36cm high
£2,500-3,000
339
EUGÈNE ROUSSEAU (1827-1890)
BIRDS, INSECTS AND PRUNUS VASE, CIRCA 1880
clear, silvered and gilt, with applied lugs, engraved and enamelled E. ROUSSEAU PARIS
26.3cm high
£2,000-2,500
340
EUGÈNE ROUSSEAU (1827-1890)
BAMBOO VASE, CIRCA 1880
moulded glass, engraved E. ROUSSEAU PARIS
18.5cm high
£800-1,200
341
ÉMILE GALLÉ (1846-1904)
BOTTLE AND STOPPER, CIRCA 1870
clear and engraved glass, engraved GALLÉ À NANCY (2)
10cm high
£800-1,200
342
ÉMILE GALLÉ (1846-1904)
PERSIAN KNIGHT GOBLET AND COVER, 1880S
clear glass, engraved, with black enamel, engraved GALLÉ and EG (2)
39.5cm high
£2,000-3,000
343
ÉMILE GALLÉ (1846-1904)
GOBLET, 1897
clear glass, enamelled with gilt highlights, enamelled E GALLÉ 1897 18cm high
£1,000-1,500
345
ÉMILE GALLÉ (1846-1904)
344
ÉMILE GALLÉ (1846-1904)
DRAGONNE LIQUEUR FLASK AND STOPPER, CIRCA 1885 clear and tinted glass, enamelled with gilt highlights, enamelled ÉMILE GALLÉ NANCY (2) 16.5cm high including stopper
£1,500-2,000
FLOWERING STEMS TWIN-HANDLED VASE, CIRCA 1890
clear glass, enamelled with gilt highlights, engraved GALLÉ
21cm high
£1,000-1,500
346
CRISTALLIER DE ÉMILE GALLÉ
ORCHIDÉE HANDLED VASE, CIRCA 1900
green glass with some mottling, acidetched, applied and enamelled details, engraved CRISTALLIER DE ÉMILE GALLÉ NANCY MODÈLE ET DÉCOR DÉPOSÉS
14cm high
£2,500-3,000
347
ÉMILE GALLÉ (1846-1904)
ARAIGNÉE VASE, CIRCA 1900
green glass, acid-etched, enamelled, with gilt highlights and silver mount, engraved E. GALLÉ NANCY
37.8cm high
£2,500-3,000
348
ÉMILE GALLÉ (1846-1904)
DAHLIAS DECANTER AND STOPPER, CIRCA 1895 smoky glass, enamelled, applied details and gilt highlights, engraved ÉMILE GALLÉ CRISTALLIER DE GALLÉ NANCY, MODÈLE ET DÉCOR DEPOSÈS, decanter and stopper engraved 27 (2)
26cm high overall
£2,500-3,000
349
ÉMILE GALLÉ (1846-1904)
CHARDONS VASE, CIRCA 1884
smoky glass, enamelled, with gilt highlights, enamelled E. GALLÉ NANCY DEPOSÉ
21cm high
£3,000-3,500
350
ÉMILE GALLÉ (1846-1904)
FLACON AND STOPPER, CIRCA 1890
smoky glass, acid-etched, enamelled with gilt highlights and applied decoration, engraved E GALLÉ NANCY (2)
£2,500-3,000
351
ÉMILE GALLÉ (1846-1904)
SAUTERELLES VASE, CIRCA 1895
smoky glass, acid-etched, enamelled with gilt highlights, enamelled E GALLÉ NANCY DEPOSÉ
8.8cm high, 16.5cm wide
£2,000-3,000
ÉMILE GALLÉ (1846-1904)
FAIENCE COFFEE POT AND COVER, 1880S glazed earthenware, painted with flowering stems and insects, painted E. GALLÉ NANCY (2)
353
BURGUN, SCHVERER & CIE
DAHLIAS VASE, CIRCA 1900 glass, overlaid, acid-etched, carved, martelé and gilt highlights, printed VERRERIE
D’ART DE LORRAINE S & C DÉPOSÉ
22cm high
£3,000-5,000
354
ÉMILE GALLÉ (1846-1904)
LOTUS PEKING VASE, CIRCA 1897 glass, overlaid, with deep acid-etching and fire-polished, cameo GALLÉ
31.3cm high
£2,500-3,000
355
ÉMILE GALLÉ (1846-1904)
LA MYRTILLE DE BOIS
PARLANT VASE, CIRCA 1900
green glass decorated with a snail, overlaid and deep acidetching, moulded LA MYRTILLE DE BOIS, cameo GALLÉ
18cm high
£2,000-2,500
356
J. & L. LOBMEYR (EST. 1823)
TRAY, DESIGNED BY MACHYTKA & SCHMORANZ, CIRCA 1880
clear shaped glass with gilt and enamelled design including Kufic text, engraved cypher mark
34.7cm diameter
£1,500-2,000
357
BOHEMIAN
AQUATIC VASE, CIRCA 1905
mottled iridescent green glass, acid-etched and enamelled, unsigned
designed 1919, pâte-de-verre, impressed mark (lacks cover)
11.5cm diameter
£600-800
360
AMALRIC WALTER (1870-1959)
ROSE BOX AND COVER, CIRCA 1920
pâte-de-verre, intaglio A WALTER NANCY
5.5cm high, 6.5cm diameter
£400-600
362
FRANÇOIS-ÉMILE DÉCORCHEMENT (1880-1971)
DEUX MASQUES ET NERVURES BOWL, NO. 253
designed 1925, pâte-de-verre, impressed mark
6.5cm high, 8cm diameter
£600-800
FRANÇOIS-ÉMILE DÉCORCHEMENT (1880-1971)
COUPE DEUX ANSES LAURIERS MASQUES, MODEL BC, 1909-11
pâte d’email, numbered 2 from an edition of 16, impressed Décorchement mark, BC 2 14.2cm wide, 4.8cm high
Literature: Ayroles V. François Décorchemont, Maître de la pâte de verre 1880-1971, Paris, 2006, p. 226 (other example illustrated)
£3,000-5,000
Whilst we expect to see only one example of numbered BC2 in this instance there are two. One in the Museum of Applied Arts in Cologne and this present work. The designer’s notebook references two examples one in reddish-brown and one in orange (which must be this lot). One is mentioned as having a cancelled mark however we have to assume this never happened as neither of the bowls has a cancelled cypher.
Lyon & Turnbull would like to thank both Véronique Ayroles, Assistant Curator at the Musée des arts décoratifs, Paris, and author of François Décorchemont, Maître de la pâte de verre 18801971, Paris, 2006, and Dr Patricia Brattig, Curator at the Museum of Applied Arts, Cologne, for their assistance in cataloguing this lot.
364
GALLÉ
FLOWERING BRANCHES VASE, CIRCA 1920-36
glass, overlaid and acid-etched, cameo GALLÉ
13.5cm high
£600-800
366
GALLÉ
ROSES VASE, CIRCA 1920-36
glass, overlaid and acidetched, cameo GALLÉ
17.4cm high
£700-900
365
GALLÉ
CYCLAMEN VASE, CIRCA 1920-36
glass, overlaid and acid-etched, cameo GALLÉ
16cm high
£600-800
367
GALLÉ
ANEMONE VASE, CIRCA 1928-36
glass, overlaid and acid-etched, cameo GALLÉ
21cm high
£1,200-1,800
369
GALLÉ
FLOWERING STEMS VASE, CIRCA 1920-1936
glass, overlaid and acidetched, cameo GALLÉ
15cm high
£600-800
368
GALLÉ
HORTENSIA VASE, 1920-36
glass, overlaid and acid-etched, cameo GALLÉ
15cm high
£600-800
371 GALLÉ
FLOWERING BRANCHES
VASE, CIRCA 1925-1936
glass, overlaid and acidetched, cameo GALLÉ 22cm high
£1,200-1,800
370
GALLÉ
CLEMATIS VASE, 1925-36
glass, overlaid and acidetched, cameo GALLÉ
20.2cm high
£1,500-2,000
372
GALLÉ
LIBELLULE BOX AND COVER, 1908-20
glass, overlaid and acid-etched, cameo GALLÉ (2)
5cm high, 11cm diameter
£500-700
373
GALLÉ
PAYSAGE DE MONTAGNE VASE, CIRCA 1908-20
glass, overlaid and acidetched, cameo GALLÉ
32.8cm high
£1,500-2,000
374
GALLÉ
PAYSAGE VASE, CIRCA 1908-20
glass, overlaid and acid-etched, cameo GALLÉ
18.3cm high
£1,000-1,500
375
GALLÉ
PAYSAGE DE MONTAGNE VASE, CIRCA 1908-20
glass, overlaid and acidetched, cameo GALLÉ
22cm high
£1,500-2,000
376
GALLÉ
ANEMONE VASE, CIRCA 1908-20
glass, overlaid and acid-etched, cameo GALLÉ
24cm high
£600-800
377
GALLÉ
DELPHINIUMS VASE, 1925-36
glass, overlaid and acid-etched, cameo GALLÉ
43.5cm high
£2,000-3,000
378
GALLÉ
PRIMEVÈRE VASE, CIRCA 1920-36
glass, overlaid and acid-etched, acid-etched GALLÉ
19.7cm high
£700-900
379 GALLÉ
FLOWERING STEMS VASE, CIRCA 1928-36
glass, overlaid and acid-etched, cameo GALLÉ
26cm high
£600-800
380 GALLÉ
LILAS VASE, CIRCA 1925-36 glass, overlaid and acidetched, cameo GALLÉ 25.3cm high
£1,800-2,200
381
GALLÉ
HOUX TWIN-HANDLED VASE, CIRCA 1928-36
glass, overlaid and acid-etched, cameo GALLÉ
26cm high
£2,500-3,000
382
DAUM FRÈRES
THE SWING SCENT BOTTLE AND STOPPER, CIRCA 1892 glass, acid-etched, enamelled and gilt, with silver and silver gilt mounts, gilt DAUM NANCY with Cross of Lorraine (2)
13.5cm high
Note: The motif of the swing occurs on other pieces similarly as a small cameo type scene painted in black.
£1,000-1,500
383
DAUM FRÈRES
PAYSAGE SCENT BOTTLE AND STOPPER, CIRCA 1895
glass, acid-etched, applied roundels, enamelled with gilt highlights and metal mounts, gilt DAUM NANCY with Cross of Lorraine (2)
18.5cm high
£1,500-2,000
384
DAUM FRÈRES
LIBELLULE ATOMISER, CIRCA 1900
mottled glass, vitrified, acid-etched with applied details, later atomiser fitment, wheel-engraved DAUM NANCY with Cross of Lorraine, with traces of gilding 22cm high, including fitment
£2,500-3,000
385
SCHNEIDER
LIBELLULES VASE, CIRCA 1920
mottled glass, with pulled top rim, and applied details, engraved SCHNEIDER
10.5cm high
£1,200-1,800
386
DAUM FRÈRES
TULIPES BOWL, CIRCA 1895
mottled glass, acid-etched, enamelled, with gilt highlights, gilt DAUM NANCY with Cross of Lorraine
6.5cm high, 12.4cm diameter
£700-900
387
DAUM FRÈRES
TULIPES SCENT BOTTLE AND STOPPER, CIRCA 1895
mottled glass, acid-etched, enamelled with gilt highlights, gilt DAUM NANCY with Cross of Lorraine (2)
19cm high
£2,000-3,000
388
DAUM FRÈRES
AUX CHARDONS
VASE, CIRCA 1895
yellow glass, overlaid, acid-etched, enamelled, with gilt highlights, gilt
DAUM NANCY with Cross of Lorraine
23cm high
£800-1,200
389
DAUM FRÈRES
TULIPES VASE, CIRCA 1895
mottled glass, acid-etched, enamelled with gilt highlights, traces of gilt
DAUM NANCY with Cross of Lorraine
23.3cm high
£1,000-1,500
391
DAUM FRÈRES
390
DAUM FRÈRES
ANCOLIS VASE, CIRCA 1910
mottled glass, overlaid and acid-etched, cameo DAUM NANCY with Cross of Lorraine
12.3cm high
£600-800
COEURS SAIGNANTS VASE, CIRCA 1910 mottled glass, vitrified and acid-etched, cameo DAUM NANCY with Cross of Lorraine 12cm high
£800-1,200
392
DAUM FRÈRES
AUX COQUELICOTS VASE, CIRCA 1904
mottled glass, overlaid, vitrified, acid-etched, with gilthighlights, cameo DAUM NANCY with Cross of Lorraine 12cm high
£800-1,200
393
DAUM FRÈRES
AUX JACINTHES SAUVAGES VASE, 1890-96 mottled glass, overlaid, vitrified, acid-etched, painted DAUM NANCY with Cross of Lorraine 12.1cm high
£1,200-1,800
394
DAUM FRÈRES
PAYSAGE D’HIVER MINIATURE BOWL, CIRCA 1900
mottled glass, acid-etched and enamelled, enamelled
DAUM NANCY with Cross of Lorraine
3cm high, 5.2cm diameter
£700-900
396
DAUM FRÈRES
AUX MONTBRÉTIAS VASE, CIRCA 1910 mottled glass, acid-etched and enamelled, cameo
DAUM NANCY FRANCE with Cross of Lorraine
6cm high, 12cm diameter
£700-900
395
DAUM FRÈRES
PAYSAGE D’HIVER MINIATURE VASE, CIRCA 1900 mottled glass, acid-etched and enamelled, enamelled DAUM NANCY with Cross of Lorraine
3.9cm high
£400-600
397
DAUM FRÈRES
PLUMES DE PAON BOWL, CIRCA 1910 mottled glass, overlaid, vitrified, acid-etched with applied details, cameo DAUM NANCY with Cross of Lorraine
18cm diameter, 10cm high
£1,500-2,000
398
DAUM FRÈRES
FLOWERING FOLIAGE VASE, CIRCA 1895 frosted blue glass, acid-etched, enamelled, with gilt highlights, gilt DAUM NANCY with Cross of Lorraine 12cm high
£700-900
400
DAUM FRÈRES
COQUELICOT ET LIBELLULE VASE, CIRCA 1900 glass, acid-etched, enamelled with gilt highlights, enamelled DAUM NANCY with Cross of Lorraine 12cm high
£1,500-2,000
401
DAUM FRÈRES
BLEUETS VASE, CIRCA 1895
mottled glass, acid-etched, enamelled with gilt highlights, gilt DAUM NANCY with Cross of Lorraine 20cm high
£2,000-3,000
399
DAUM FRÈRES
TRÈFLE JUG, CIRCA 1895 opalescent glass, overlaid and acid-etched, with enamelled and gilt highlights, gilt DAUM NANCY with Cross of Lorraine 9cm high
£800-1,200
402
DAUM FRÈRES
COEURS SAIGNANTS VASE, 1904-14
mottled and vitrified glass, overlaid, acid-etched and carved, wheelengraved DAUM NANCY with Cross of Lorraine
18.5cm high
£2,500-3,000
403
DAUM FRÈRES
NICOTIANE VASE, 1895-1900
frosted glass, overlaid and carved, engraved DAUM NANCY with Cross of Lorraine
22.5cm high
£2,000-3,000
404
DAUM FRÈRES
FOLIAGE AND BUDS VASE, CIRCA 1900 glass overlaid, acid-etched, carved and martéle engraved DAUM NANCY with Cross of Lorraine
18.5cm high
£2,500-3,000
405
DAUM FRÈRES
CORNOUILLER VASE, CIRCA 1910
mottled glass, overlaid and vitrified, acid-etched, cameo DAUM NANCY with Cross of Lorraine
31cm high
£1,800-2,200
406
SCHNEIDER FOR LE VERRE FRANÇAIS
EWER, CIRCA 1927
mottled and clear glass, acid-etched and engraved, with applied handle and foot, engraved LE VERRE FRANÇAIS
26cm high
£800-1,200
407
DAUM FRÈRES
IRIS CLAIR DE LUNE VASE, CIRCA 1900
opalescent glass, overlaid, acidetched, carved and martelé, engraved with traces of gilding DAUM NANCY with Cross of Lorraine
14.3cm high
£1,800-2,200
408
DAUM FRÈRES
ANEMONE VASE, CIRCA 1899
opalescent glass, overlaid, acidetched, carved and martelé, engraved with traces of gilding DAUM NANCY with Cross of Lorraine
26.2cm high
£3,000-5,000
409
DAUM FRÈRES
JAPONICA VASE, CIRCA 1920
mottled glass, overlaid and acid-etched applied detail, cameo DAUM NANCY
FRANCE with Cross of Lorraine
35.5cm high
£1,800-2,200
410
DAUM FRÈRES
DAPHNE VASE, CIRCA 1910
mottled glass, overlaid, vitrified, and acid-etched, cameo DAUM NANCY with Cross of Lorraine
33.3cm high
£1,800-2,200
411
DAUM FRÈRES
GIROFLÉE VASE, CIRCA 1905
mottled glass, overlaid, vitrified, acid-etched, cameo DAUM NANCY with Cross of Lorraine
34.5cm high
£1,800-2,200
412
DAUM FRÈRES
CLEMATIS VASE, 1904-1914
mottled glass, overlaid, acidetched, carved, and martelé, wheel-engraved DAUM
NANCY with Cross of Lorraine
26.5cm high
£2,000-3,000
413
DAUM FRÈRES
POPPY VASE, 1904-1914
mottled glass, overlaid, acid-etched, carved and with martelé, wheel-engraved DAUM
NANCY with Cross of Lorraine
28.8cm high
£2,500-3,000
414
DAUM FRÈRES
CYCLAMEN VASE, 1904-1914
mottled glass, overlaid, acid-etched, carved and with martelé, wheel-engraved DAUM
NANCY with Cross of Lorraine
27.2cm high
£2,000-3,000
415
DAUM FRÈRES
FRUITING VINE VASE, CIRCA 1903
mottled glass, overlaid and vitrified, acid-etched with applied foilbacked insects, engraved DAUM NANCY with Cross of Lorraine
17.2cm high
£2,000-3,000
416
DAUM FRÈRES
EGLANTIER VASE, CIRCA 1910
mottled glass, overlaid, vitrified, and acid-etched, enamelled DAUM NANCY FRANCE with Cross of Lorraine
24.5cm high
£1,500-2,000
417
DAUM FRÈRES
MYTHOLOGIE VASE, CIRCA 1894-97
mottled glass, overlaid, acid-etched and engraved, enamelled DAUM NANCY with Cross of Lorraine
25.5cm high
£2,500-3,000
418
DAUM FRÈRES
EGLANTIER VASE, CIRCA 1910
mottled glass, overlaid, vitrified, and acid-etched, cameo DAUM NANCY with Cross of Lorraine
15.3cm high
£1,000-1,500
419
DAUM FRÈRES
PISSENLITS VASE, CIRCA 1910
frosted glass, double overlaid and acid-etched, acid-etched DAUM NANCY with Cross of Lorraine
40.6cm high
£2,500-3,000
END OF COLLECTION
421
420
J. BAUBIEN
PAIR OF ART NOUVEAU VASES, CIRCA 1900
gilt bronze, enamel, each signed J. BAUBIEN (2)
12.5cm high
£400-600
RENZO COLOMBO (1856-1885)
‘BOHEMIENNE ORIENTALE’, CIRCA 1884
bronze, inset coloured glass cabochons, signed in the bronze COLOMBO
40cm high
£800-1,200
422 §
GUSTAV GURSCHNER (1873-1970)
ART NOUVEAU BELL PUSH, CIRCA 1900
bronze, signed in the bronze GURSCHNER
17cm tall
£300-500
423
JÉRÔME MASSIER (1830-1916)
ART NOUVEAU VASE, CIRCA 1900
lustre-glazed earthenware, signed to the side JÉRÔME MASSIER FILS, and to the base JÉRÔME MASSIER FILS/ VALLAURIS (A.M.)
31.5cm high
£400-600
424
CONTINENTAL
ART NOUVEAU STRUT MIRROR, CIRCA 1910
gilt bronze, bevelled mirror plate
46cm x 29cm
£1,500-2,500
425
JACOBUS WILLEM VAN ROSSUM (1881-1963) FOR ROZENBURG
BOTTLE VASE, 1902
painted and glazed egg-shell porcelain, painted artist’s monogram, date symbol and numbered 982, printed ROZENBURG/ DEN HAAG
15.2cm high
£600-800
426
JEANNE JOZON (1868-1946)
ART NOUVEAU FLAGON, CIRCA 1900
patinated bronze, inscribed to base of body J. JOZON/ SALON DES BEAUX ARTS/ 1772, with foundry stamp
BRONZE GARANTI AU TITRE/ L.V. DEPOSÉE
22.3cm high
£600-800
427
DELPHIN MASSIER (1836-1907)
WALL PLATE, CIRCA 1900
lustre-glazed earthenware, signed verso
DELPHIN MASSIER/ VALLAURIS (A.M.)
39.5cm diameter
£400-600
429
CLÉMENT MASSIER (1845-1917)
VASE, CIRCA 1900
lustre-glazed earthenware, signed to base C.M./ GOLFE JUAN/ A.M., 21cm high; together with an ART NOUVEAU VASE, ATTRIBUTED TO CLÉMENT MASSIER, CIRCA 1900, lustre-glazed earthenware, peacock feather decoration, marked to base H.M ET CIE/ PARIS, 19cm high (2)
£400-600
430
DELPHIN MASSIER (1836-1907)
PITCHER, CIRCA 1900
lustre-glazed earthenware, signed verso
DELPHIN MASSIER/ VALLAURIS (A.M.)
25.4cm high
£500-700
428
ZSOLNAY
VASE, CIRCA 1900
‘eosin’ lustre-glazed ceramic, applied maker’s seal mark
ZSOLNAY, PÉCS 3595/ 36 26cm high
£400-600
431
AMPHORA
ART NOUVEAU GRES BIJOU SEMIRAMIS VASE, CIRCA 1905
painted, glazed and gilded earthenware, decorated with butterflies and spiders webs, stamped to base AMPHORA/ AUSTRIA, indistinctly numbered 17.2cm high
£600-800
433
AMPHORA
‘DRAGON’ VASE, CIRCA 1910
432
AMPHORA
‘BAT’ VASE. CIRCA 1905 painted, glazed and gilded earthenware, stamped AMPHORA/ AUSTRIA/ 4543/ 52 26cm high
£800-1,200
glazed and painted earthenware, stamped to base 5149/ 25 31cm high
£400-600
434
AMPHORA
ART NOUVEAU VASES, CIRCA 1905
painted, glazed and gilded earthenware, stamped AMPHORA/ AUSTRIA/ 2154/ 65, 17cm high; together with TWO ALEXANDRA PORCELAIN WORKS, ROYAL VIENNA VASES, printed and incised maker’s marks, 16cm and 14.5cm high (3) 17cm high
£300-500
435
FRANZ XAVER BERGMAN (1861-1936)
‘BEDUIN TENT’ LAMP, CIRCA 1900
cold-painted bronze, stamped maker’s mark
33cm high
£800-1,200
436
FRANZ XAVER BERGMAN (1861-1936)
HORSE RIDER, CIRCA 1900
bronze, stamped maker’s marks
16.5cm high
£300-500
437
CARLO BUGATTI (1856-1940)
SETTEE, CIRCA 1900
walnut, inlaid with brass and pewter, applied, patinated and embossed copper, cast brass insect motifs, painted vellum and silk tassels
117cm wide, 75cm high, 49cm deep
Literature: Philippe Dejean, Carlo-Rembrandt-Ettore-Jean Bugatti, Paris, 1981, p. 84, where a similar example is illustrated
£3,000-5,000
438 ‡
GABRIEL ARGY-ROUSSEAU (1885-1953)
FLOWER BOWL, CIRCA 1920
pate de verre, signed G. ARCY. ROUSSEAU
9cm diameter
£600-800
439 §
GABRIEL ARGY-ROUSSEAU (1885-1953)
‘OGIVES’ VASE, CIRCA 1925
pâte de verre, moulded intaglio signature G. ARGY-ROUSSEAU
17.5cm high
£1,000-1,500
440
GABRIEL ARGY-ROUSSEAU (1885-1953)
‘FEUILLAGES MODERNES ET FLEURS’ VASE, CIRCA 1925
pâte de verre, moulded intaglio signature G. ARGY-ROUSSEAU
21cm high
£1,500-2,000
441
AMPHORA
ART NOUVEAU VASE, CIRCA 1900
gilded, painted and enamelled earthenware, impressed AMPHORA/ AUSTRIA/ 11618
37.8cm high
£300-500
442 ‡ §
445 PRIOL
GIRL WITH FAWN, CIRCA 1930
MAURICE
GUIRAUD-RIVIÈRE (1881–1947)
DANSEUSE ESPAGNOL, CIRCA 1925
patinated bronze, on a marble base, signed M. GUIRAUD.RIVÈRE
41.5cm high (including base)
£3,000-5,000
443
BRUNO ZACH (1891-1935)
EROTIC FIGURE, CIRCA 1900
bronze, on later onyx ‘dice’ base, bronze 15cm high, with base 21.5cm high; together with another EROTIC FIGURE BY BRUNO ZACH, bronze, on later onyx ‘dice’ base, bronze 17cm high, with base 21.5cm high (2)
silvered and patinated bronze and ivory, on an onyx base, etched to the base A. GUERVAL
bronze 29.5cm, with plinth 33.5cm high
Note: Sold in compliance with UK Government and APHA regulations, with (non-transferable) exemption registration reference K18XJ669.
£800-1,200
bronze, with marble plinth, signed in the bronze PRIOL, bronze 22cm high, with plinth 24cm high; together with a TWO SLEEPING CHILDREN, bronze, unsigned, on marble plinth, bronze 13cm high; with plinth 16cm high (2)
£400-600
446 Y GEORGES VAN DER STRAETEN (1856-1928)
FIGURE OF A LADY
bronze and ivory, raised on marble plinth, signed to plinth VAN DER STRAETEN, 17.5cm high; together with FIGURE OF A BOY by SOLANGE
BERTRAND (1913-2011), bronze and ivory, raised on a marble plinth, signed to plinth S. BERTRAND/ FRANCE, 16.2cm high (2)
Note: Sold in compliance with UK Government and APHA regulations, with (nontransferable) exemption registration references HAP9ZQ4B and NJUNPAL2
£400-600
447 Y JOSEPH D’ASTE (1881-1945)
GATHERING ROSES
gilt bronze and ivory, marble plinth, signed in the bronze J. D’ASTE
29cm high
Note: Sold in compliance with UK Government and APHA regulations, with (non-transferable) exemption registration reference KXYQSL47.
£600-800
448 ‡ DEMÉTRE CHIPARUS (1886-1947)
ACCIDENT DE CHASSE, CIRCA 1925
gilt and cold-painted bronze, on a marble base, signed D. H. Chiparus
42cm wide, 25cm high, 19cm deep
£3,000-5,000
449
TIFFANY STUDIOS, NEW YORK
‘CROCUS’ TABLE LAMP, CIRCA 1900 leaded glass, patinated bronze, stamped to reservoir underside with Tiffany Glass and Decorating Company monogram, further stamped TIFFANY STUDIOS/ NEW YORK, numbered D888, arms stamped
T.G.&D. Co., converted to electricity 55cm high (with cap), 40cm diameter
Provenance: Sotheby’s London Fine Decorative Arts & Design from 1870, 6th May 2005, Lot 44
Literature: Duncan A. Tiffany Lamps and Metalware, ACC 2007, p. 28, pl. 73 where the base, no. 181, is illustrated and p. 26, pl. 62 where the shade, no. 1458, is illustrated.
£10,000-15,000
450
ROMAIN DE TIRTOFF (ERTÉ) (1892-1990)
LOGE DE THEATRE
screen print, signed in pencil ERTÉ, editioned
CXXXIII/CL, framed
66cm x 53cm, (frame size 92cm x 77cm)
Provenance: Collection of Donald and Eleanor Taffner, New York
£300-500
451 ‡
ETLING
‘NUE AU BRAS TENDU’, CIRCA 1925 opalescent glass, moulded ETLING FRANCE 50
20.5cm high
£1,000-1,500
452
CHRISTIAN F. HEISE, DENMARK
BOX AND COVER, 1920
silver, polished wood, cut glass, assayer’s mark for Christian F. Heise, date mark for 1920
12cm diameter
£400-600
453
EDGAR BRANDT (1880-1960)
STRUT MIRROR, CIRCA 1925 patinated wrought steel, signed to the front (lower right) E. BRANDT 28cm x 20cm £800-1,200
454 ‡
JACQUES ADNET (1900-1984)
TANTALUS, CIRCA 1935
chromium-plated metal frame, glass carafes, original key
29.5cm wide, 25.5 high, 12cm deep
£600-800
455
FRENCH SCHOOL (20TH CENTURY)
FIGURE KNEELING WITH A BIRD charcoal on tracing paper with pouncing ready for transfer, initialled lower right P.L., framed 30.5cm x 22cm (frame size 42cm x 32cm)
Note: Bears label verso ‘Original design by French artist for the liner ”Normandie”.’
£300-500
456 ‡
JACQUES ADNET (1900-1984)
TANTALUS, CIRCA 1935
chromium-plated metal frame, mirrored base, glass carafes, original key 20cm wide, 25.5 high, 10.5 deep
£500-700
457 §
AAGE WEIMAR (1902-1986) THREE PIECE TEA SERVICE, 1930S Sterling silver, stained wood, comprising a TEAPOT, 16.3cm high; a HOT WATER JUG, 15cm high; and a CREAMER, 14cm wide, including handle, each with stamped maker’s marks (3)
458
JOSEF LORENZL (1892-1950)
FIGURE OF A DANCER, CIRCA 1925
patinated bronze, raised on an onyx base, signed in the bronze LORENZL
28.2cm high
£500-700
460
JOSEF LORENZL (1892-1950)
ART DECO FIGURE, CIRCA 1925
bronze, raised on a bronze and onyx plinth, signed in the bronze LORENZL
bronze 20.3cm high, with plinth 29cm high
£600-800
459
JOSEF LORENZL (1892-1950)
ART DECO FIGURE, CIRCA 1925
cold-painted bronze, decorated with flowers by Crejó, onyx plinth, signed in the bronze LORENZL bronze 34.2cm high, with plinth 41.5cm high
£1,500-2,000
461
JOSEF LORENZL (1892-1950)
ART DECO FIGURE, CIRCA 1925
bronze, raised on a bronze and onyx plinth, signed in the bronze LORENZL
bronze 20.2cm high, 29.5cm high
£600-800
463
FRANZ IFFLAND (1862-1935)
JOSEF LORENZL (1892-1950)
ART DECO FIGURE, CIRCA 1925 cold-painted bronze, raised on an onyx plinth, signed in the bronze LORENZL bronze 33cm high, with plinth 40cm high
‘BUTTERFLY DANCER’, CIRCA 1930
bronze, marble plinth, signed in the bronze IFFLAND bronze 17.3cm high, with plinth 24cm high
£400-600
464 §
ROMAIN DE TIRTOFF (ERTÉ) (1892-1990)
FIVE ALPHABET SUITE PRINTS, 1976
unframed screen prints, each signed in pencil ERTÉ, three numbered in pencil XXXII/XC and two numbered in pencil 19/350 (5) each sheet 52.5cm x 39.5cm
£500-700
465 Y § PIERRE LE FAGUAYS (1892-1962)
‘CYMBALS DANCER’, CIRCA 1930
bronze and ivory, marble plinth, signed to plinth LE FAGUAYS
51cm high
Note: Sold in compliance with UK Government and APHA regulations, with (non-transferable) exemption registration reference QN2ZKLYN.
£800-1,200
466 ‡ § DEMÉTRE CHIPARUS (1886-1947)
DIANA, CIRCA 1925
patinated spelter, on a composite stone base
60cm wide, 56.5 high, 12.5cm deep (including base)
£2,500-3,000
467
FRENCH
WALLPAPER FRIEZE, CIRCA 1910
block-printed paper, depicting early aeronautical machines including Zeppelins and Bi-planes, framed
48.5 x 145.5cm, 66.5cm x 152.5cm (frame size)
£300-500
469 §
468 §
PIERRE LE FAGUAYS (1892-1962)
‘GIRL WITH HOOPS’, CIRCA 1925
patinated bronze, marble, stamped foundry mark LE VERRIER to the base and inscribed FAYRAL, 31.5cm high including base; together with ‘GIRL WITH A HOOP’ by PIERRE LE FAGUAYS, patinated spelter, marble, signed to the base FAYRAL, 46cm high including base (2)
Provenance: Collection of Donald and Eleanor Taffner, New York
£500-700
PIERRE LE FAGUAYS (1892–1962)
‘MESSAGE OF LOVE’, CIRCA 1930
Silvered bronze, marble plinth, signed on the plinth LE FAGUAYS
bronze 28.5cm high, with plinth 45.3cm high
£1,000-1,500
470 ‡
MICHEL DECOUX (1837-1924)
PANTHÈRE, CIRCA 1930
patinated bronze, on a marble base, signed DECOUX
36cm wide, 14.5cm high, 12cm deep
£1,200-1,800
471 Y
JOSEF LORENZL (1892-1950)
ART DECO FIGURE, CIRCA 1925
bronze and ivory, raised on a slate and onyx plinth, signed in the bronze LORENZL
bronze 21cm high, with plinth 28.3cm high
Note: Sold in compliance with UK Government and APHA regulations, with (non-transferable) exemption registration reference SXSR3KGK.
£800-1,200
473
* LEIFERT
ART DECO FIGURE, CIRCA 1925
patinated bronze, on marble and slate base, signed in the bronze bronze 36.5cm high, with plinth 40cm high
£400-600
472
JOSEF LORENZL (1892-1950)
ART DECO FIGURE, CIRCA 1925
green-patinated bronze, raised on ebonised wood socle and onyx plinth, signed in the bronze LORENZL
bronze 25cm high, with plinth and socle 36.3cm high
£400-600
474
JOSEF LORENZL (1892-1950)
GIRL WITH A PARROT, CIRCA 1925
cold-painted bronze, raised on onyx tray base, signed in the bronze LORENZL
bronze 21cm high, tray 18cm square
£400-600
RAMON DILLEY (B. 1932) ‘LES MÉCHETILDES’
oil on canvas, signed bottom right R. DILLEY, and signed and inscribed verso, A MONSIEUR ET MADAME/ DON AND ELEANOR/ TAFFNER/ EN TOUTE SYMPATHIE/ DILLEY/ 2 MAI 92, framed
60cm x 30cm (frame size 83cm x 52.5cm)
477
Provenance: Collection of Donald and Eleanor Taffner, New York
£600-800
£1,000-1,500 475
476
DAUM FRÈRES
TABLE LAMP, CIRCA 1930 mottled glass with foil inclusions, signed DAUM/ NANCY, with Cross of Lorraine 48cm high
DAUM FRÈRES
TABLE LAMP, CIRCA 1930
clear, frosted and acid-etched glass, signed DAUM/ NANCY/ FRANCE with the Cross of Lorraine
31cm high
£800-1,200
478
MULLER FRÈRES
CEILING LIGHT, CIRCA 1925 acid-etched cameo glass, depicting fruiting vines, wrought metal, cameo mark MULLER FRÈS./ LUNÉVILLE
plafonnier diameter 45.5cm, total diameter 75cm, height to ceiling rose 50cm
£1,200-1,800
479
DAUM FRÈRES
PLAFONNIER, CIRCA 1920
mottled glass cased and overlaid and acid-etched with leafy branches of Pasque flowers, signed in cameo DAUM NANCY, with Cross of Lorraine 42cm diameter, 12cm high, height to ceiling rose 43cm
£2,000-3,000
480 MULLER FRÈRES
CEILING LIGHT, CIRCA 1925
wrought iron and frosted and coloured glass, acid-stencilled MULLER FRÈS./ LUNÉVILLE
62cm diameter
£800-1,200
481
DAUM FRÈRES
PLAFONNIER, CIRCA 1920
mottled glass cased and overlaid and acid-etched with leafy branches of Crested Cockscomb, signed in cameo DAUM NANCY, with Cross of Lorraine
45cm diameter, 13cm high
£3,000-5,000
Note: 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.
482
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
£1,000-1,500
483
GEORG KLIMT (1867-1931) FOR WIENER KERAMIK
VASE & COVER, CIRCA 1905
painted and glazed earthenware, incised to base G. KLIMT/ 3990
44.5cm high
Literature: Neuwirth W. Wiener Keramik, Klinkhardt & Biermann 1974, p.194 where a related vase is illustrated
£600-800
486
485
484
LOETZ
‘LAVA’ BOTTLE VASE, PHÄNOMEN
GRE 377, CIRCA 1900
cobalt blue and iridescent glass 20.5cm high
£600-800
MORITZ HACKER (1849-1932)
JUGENDSTIL SHELL TABLE LAMP, CIRCA 1900
silvered pewter with shell shade, stamped 3 to the base 26cm high
£1,500-2,000
FRIEDRICH ADLER (1878-1942) FOR WALTER SCHERF & CO.
‘ISIS’ JUGENDSTIL TABLE LAMP, CIRCA 1910
polished pewter, with Loetz iridescent glass shade “ISIS”/ 4288
44cm high
£800-1,200
487
LOETZ
‘LAVA’ VASE, PHÄNOMEN
GRE 377, CIRCA 1900
cobalt blue and iridescent glass, etched to base
LOETZ/ AUSTRIA
24cm high
£1,000-1,500
488
LOETZ
TWO VASES, CIRCA 1900
iridescent glass, 16cm high and 12cm high; and a LOETZ STYLE VASE, iridescent glass, 7.5cm high (3)
£300-500
489
ALPHONSE MUCHA (1860-1939) FOR F. CHAMPENOIS, PARIS ‘LA DAME AUX CAMÉLIAS: SARAH BERNHARDT’, 1896
lithographic print in two sections, marked to base IMP. F. CHAMPENOIS. PARIS, framed
207cm x 75.5cm (frame size 211.5cm x 79.5cm)
Note: This poster advertises the great French actress Sarah Bernhardt in the play La Dame aux Camélias, first performed at the Théâtre de la Renaissance, Paris, in 1896. The play was based on the novel published in 1848 by Alexander Dumas (1824-1895). The tragic role of Marguerite Gautier was one of Bernhardt’s greatest successes, and she used this poster again when touring the play in the United States. Bernhardt loved Alphonse Mucha’s exotic and romantic vision of her, and in 1895 she contracted him for six years to design posters, sets and costumes for her productions. This is the rare version before text, and before the addition of the final colour plate, violet.
£6,000-8,000
490
ATTRIBUTED TO THEODOR FAHRNER (1859-1919)
JUGENDSTIL PENDANT NECKLACE, CIRCA 1900
white metal, round cut amethyst pendant 9cm, chain 49cm
£400-600
491
JOSEF HOFFMANN (1870-1956) FOR WIENER WERKSTÄTTE
BROOCH, CIRCA 1910 enamel on copper, stamped WW maker’s mark verso 3cm square
£800-1,200
492
493
MORITZ HACKER (1849-1932)
JUGENDSTIL TABLE LAMP, CIRCA 1900 plated metal, glass shade 41cm high
£1,000-1,500
HERMANN HAUSSLER FOR THEODOR FAHRNER
JUGENDSTIL BUCKLE, 1910
silver and enamel, importer’s mark, H.T.&CoY., Birmingham import marks for 1910, in fitted case 6.8cm wide
£200-300
494
PAUL LUDWIG KOWALCZEWSKI (1865-1910)
ART NOUVEAU FIGURE, CIRCA 1910
bronze, on marble plinth, signed in the bronze P. KOWALCZEWSKI
bronze 26cm high, with plinth 28cm high
£300-500
495
AUSTRIAN
SECESSIONIST CLOCK, CIRCA 1910
copper, brass, glass, M & Sohn movement
29cm high
£600-800
496
WMF (WURTTEMBERGISCHE METALLWARENFABRIK)
JUGENSTIL VASE, CIRCA 1900
silver plated metal, stamped maker’s marks
35.5cm high
£600-800
497
HUGO LEVEN (1874-1956)
FOR J. P. KAYSER SOHN
KAYSERZINN THREE-BRANCH ‘BAT’
CANDELABRUM, CIRCA 1900
pewter, converted to electricity, model number 4506, cast mark KAYSERZINN 4506
30.5cm high
£500-800
498
CONTINENTAL SCHOOL
RECLINING NUDE
patinated bronze, slate base
31cm long, 13cm high
£300-500
499
CARL SIGMUND LUBER (1896-1934)
JUGENDSTIL TILE, CIRCA 1900
glazed earthenware, incised verso 860, framed 26.5 x 15.5cm (frame size 44.5cm x 33cm)
£300-500
500
ATTRIBUTED TO HANS VOLLMER (1878-1969)
SECESSIONIST MUSIC CABINET, CIRCA 1900
walnut, stained and leaded glass, brass fitting
76cm wide, 125cm high, 27.5cm deep
£600-800
501 CONTINENTAL
LARGE PAIR OF JUGENDSTIL, CANDLESTICKS, CIRCA 1900
plated metal, stamped 49 (2)
40cm high
£400-600
502
ANN MACBETH (1875-1948)
‘THE MORT D’ARTHUR’ PLAQUE, CIRCA 1900
painted and glazed earthenware, signed with initials verso AMcB
28.9cm diameter
£500-800
503
HANNAH MOORE WALTON (1863-1940)
EIGHT FINGER BOWLS, CIRCA 1910
painted glass, signed with initials HW (8) each 12.5cm diameter
Literature: Burkhauser J. ed. Glasgow Girls: Women in Art and Design 1880-1920, Edinburgh 1990, p.166
Note: Hannah Walton worked from the family home at 5 Belmont Terrace in Hillhead, Glasgow, where her sister Helen had established her studio in 1881. The sisters specialised in this type of painting on commercial glassware, and chose decorative subjects associated with water.
£1,200-1,800
504
GEORGE WALTON (1867 - 1933)
‘BRUSSELS’ ARMCHAIR, CIRCA 1900
mahogany, with penwork and marquetry inlay, close nailed upholstered seat
62.5cm wide, 122cm high, 50cm deep
Literature: Moon K. George Walton, White Cockade 1993, p.104, pl. 137, illus.
£1,500-2,000
Designed for the Kodak showrooms in Brussels, this elegant armchair sees Walton subvert traditional style of country seating furniture. Inspired by the form of the ‘fiddleback’ chair, Walton elongates the back as the curved top rail meets the open arms in a manner similar to late 18th century methods of furniture construction. Later exhibited in Glasgow at the 1901 International Exhibition, the iconic ‘Brussels’ armchair exemplifies Walton’s radical approach to furniture design.
505
ATTRIBUTED TO GEORGE WALTON (1867-1933)
LOW BOOKCASE, CIRCA 1900
walnut, with glazed doors and steel fittings
469cm wide, 141cm high, 61cm deep
£3,000-5,000
In 1898, early in Mackintosh’s career entrepreneur Catherine Cranston - known as Miss Cranston - commissioned him to furnish her new rooms at her tearooms on Argyle Street, Glasgow. Miss Cranston was to be an important patron for the young architect, who came to rely on a relatively small number of patrons throughout his career. The commission afforded Mackintosh a new freedom to experiment, whilst leading to further projects, including the Ingram Street Tea Rooms (1900) and the Willow Tea Rooms (1903)
The work at Argyle Street followed on from his previous work at Miss Cranston’s new Buchannan Street Tea Rooms, which had been conceived two years earlier in 1896. mackintosh was commissioned to decorate the walls with designer George Walton the furnishings. In this new undertaking, however, Mackintosh found himself in a role reversal, being fully in charge of the furnishings whilst Walton was preoccupied with designing the interiors.
The furniture Mackintosh designed for these new rooms exhibit a new, more robust evolution of his repertoire and established a style for much of his work up to 1900. The bold and simple aesthetic of the designs marked him out from his contemporaries, and for the first time the distinctive furniture he produced was also employed to define and separate the rooms as designed by Walton.
506
CHARLES RENNIE MACKINTOSH (1968-1928) FOR MISS CRANSTON’S ARGYLE STREET TEA ROOMS
STOOL, 1898
stained oak
44.5cm wide, 38.5cm high, 38cm deep
Provenance: Private Collection, Glasgow
Literature: Billcliffe R. Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings & Interior Designs, Cameron & Hollis, 2009, pp. 10-12, 55, 56 and 59., 1898.H where the stools are illustrated in situ, and 1898.34 where this example is illustrated
Howarth T. Charles Rennie Mackintosh and The Modern Movement Routledge and Kegan Paul 1952, pl. 49B
£4,000-6,000
This rare stool, one of five seen in contemporary photographs, was part of a group of furniture he designed for the Billiards and Smoking Rooms, which occupied the building’s top two floors above the tea and luncheon rooms. The tearooms were a haven from the city for both men and women, however the Smoking and Billiards Rooms were purely a masculine domain and the design and construction of the furniture is a reflection of that fact.
Combining English Arts & Crafts and Scottish vernacular design, Mackintosh produced three types of sturdy and generous seating for these rooms; a ladderback armchair, its long, rectangular back rail adorned with ascending wooden slats; a cube shaped armchair, a version of the previous chair without the tall back; and a stool, only seen in the Smoking Room from contemporary photographs. All of the furniture was either clear-varnished or dark-stained and waxed.
The construction of the stools is traditional, although the panelling and distinctively shaped cut-out handles to each side certainly not. The shaped seat is reflected in the other seating in these rooms.
The Argyle Street Tea Rooms closed in 1920, and much of the furniture was dispersed. The robust construction of the furniture has helped them withstand many years of use, however it is their beautiful and functional design which has stood the test of time.
507
MARGARET MACDONALD MACKINTOSH (1865-1933)
BOOKPLATE FOR JOHN EDWARDS, 1896 printed paper, printed artist’s mark lower left MARGT.
MACDONALD/ INVT. ET DELT.
11.8cm x 8.9cm
£600-800
508 §
MARGARET DE COURCY LEWTHWAITE DEWAR (1878-1959)
‘RAMASAY IN CEYLON’ SKETCHBOOK, CIRCA 1920 comprising; sixteen watercolour and pencil portraits, 22.5cm x 16cm; one print, 22cm x 16cm; all signed by the artist lower right and mounted in a hardback sketchbook, with hand-painted cover, 37cm x 27.5cm; also containing three loose pencil and chalk portraits, 25.5cm x 17.5cm
£1,000-1,500
JESSIE MARION KING (1875-1949)
TEA SERVICE, CIRCA 1948
painted and glazed earthenware, comprising a TEAPOT & COVER, 12.5cm high; FIVE CUPS; FIVE SAUCERS; FIVE SIDE PLATES, each 17cm diameter; a MILK JUG, 10cm high; a SUGAR BOWL, 11.5cm diameter; and a BREAD PLATE, 24.5cm diameter, each painted to base with rabbit, Greengate and artists initials JMK; together with the ORIGINAL RECIEPT, drawn in pen and ink by the artist with amusing scene and dated January 1949, 11.5cm x 18cm (20)
Exhibited: Jessie M King 1875–1949
Scottish Arts Council touring exhibition, 1971
£1,500-2,000
510 §
MARY NEWBERY STURROCK (1892-1985)
SKETCHBOOK, 1939
pencil, pen, watercolour, 80 sheets, 35 with illustrations, inscribed to the first page MARY NEWBERY STURROCK, 2 MANSFIELD PLACE, EDINBURGH, SPRING 1939
28cm x 22cm
£400-600
511
JESSIE MARION KING (1875-1949)
‘THE QUEEN OF HEARTS’ GREETINGS CARD, 1906 framed, 14.5cm x 9.5cm (frame size 18.5cm x 14cm); together with ‘Greetings from the Taylors’, 27cm x 11.5cm; ‘The Classical English Drama’, 19cm x 25.5cm; ‘Good Greeting from The Green Gate, Kirkcudbright’, 23.5cm x 16cm (4)
£300-500
513
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.
£600-800
512
CIRCLE OF ANN MACBETH GLASGOW SCHOOL EMBROIDERED PANEL, CIRCA 1910
coloured silks, framed 27cm x 21.5cm (frame size 29cm x 23.5cm)
£300-600
514
JESSIE MARION KING (1875-1949)
ARTIST’S ADDRESS BOOK, CIRCA 1940
leather bound, gilt inscription to front HERE IT IS, indexed, hand-written on lined paper in ink and pencil, including the address details of figure such as Anna Hotchkis, Dorothy Johnstone, Gordon Forsyth, William Gillies, Mrs Newbery, Oscar Paterson, Ronald Searle, Cecile Walton, Wendy Wood, Elizabeth Amour Watson, George Wragge and many others, interspersed with occasional notes ‘Liberty Bodice in 5 sizes’; ‘Pageant Talk Gleneagles 5 o’clock Oct 26th Wed’ etc.
Exhibited: Glasgow School of Art Jessie M. King Anniversary Exhibition, 27 July - 3 September 1999, cat no. 148
£500-800
515
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; together with a COLLECTION OF BOOKS AND PAMPHLETS, illustrated by Jessie M. King, to include 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 (8) £500-700
517
JESSIE MARION KING (1875-1949) (ILLUSTRATOR)
COLLECTION OF BOOKS
516
JESSIE MARION KING (1875-1949) (ILLUSTRATOR)
COLLECTION OF BOOKS
to include; a signed copy of King, Jessie, KIRKCUDBRIGHT A ROYAL BURGH, Gowans and Grey, 1934; DWELLINGS OF AN OLD WORLD TOWN, Gowans and Grey, 1909; BUDDING LIFE, Gowans and Grey, 1907; THE CITY OF THE WEST, T. N. Foulis, 1911; three copies of THE GREY CITY OF THE NORTH, T. N. Foulis, 1910; THE GREY CITY OF THE NORTH, McLagan & Cumming, 1925; five copies of Stevenson, Robert Louis, MEMORIES, T. N. Foulis, three 1912, two 1919; three copies of OUR TREES AND HOW TO KNOW THEM, Gowans & Gray, 1916; two copies of Williams, A. M., A BUNDLE OF YARNS, TALES AND MEMORIES, Gowans and Grey, 1931; Materlinck, Maurice, THE INTRUDER, Gowans and Grey, 1913; EVERYMAN, Gowans and Grey, 1906; Cockerell, Maud, THE INNKEEPER’S SHIRT, Gowans and Grey, 1925; Marquess of Graham, A WHIP AT THE MAST, James McElvie & Sons, 1911; Browning, Robert, RABBI BEN EZRA, T. N. Foulis, c. 1921; AUCASSIN & NICCOLETTE, Kate Cameron (Illus.), McLagan & Cumming (24)
£300-500
to include; five copies of Steele, Isobel K. C., THE ENCHANTED CAPITAL OF SCOTLAND, Plaid Stationery, one copy signed, inscribed and with illustration ‘to Dr. W Macdonall/ en route for the Antarctic, from the artist/ Jessie M King’; Burnett, George, ‘A Book of Scottish Verse’, Methuen & Co., 1937; A BOOK OF SUNDIALS, T. N. Foulis; two Collin’s Bumper Reward Books comprising; Carroll, Lewis ALICE IN WONDERLAND and Coolidge, Susan WHAT KATY DID AT SCHOOL; CORNERS OF GREY OLD GARDENS, Waterfield, Margaret (Illus.), T. N. Foulis, 1917; THE HUNDRED BEST LATIN HYMNS, Gowans & Gray, cover by E.A. Taylor, 1926; McCardel, James, THE PARISH OF NEW KILPATRICK, Robert Maclehouse and Company Limited, 1949 (12)
£400-600
518
JESSIE MARION KING (1875-1949) (ILLUSTRATOR)
COLLECTION OF BOOKS
to include; RUND UM BERLIN, 1899; five Routledge cloth bound volumes comprising; two copies of Swift, Jonathan, GULLIVER’S TRAVELS, 1905; two copies of Bunyan, John PILGRIM’S PROGRESS, 1905 and THE ARABIAN NIGHT’S ENTERTAINMENTS, 1904; Crawford, J. H., WILDFLOWERS, T. N. Foulis, 1909; Evans, Sebastian (trans.), THE HOLY GRAAL, Turnbull & Spears, 1903; THE ETTRICK SHEPHERD, T. N. Foulis; two Caxton cloth-bound volumes of poetry, to include W. B. Yeats and Shelley; THE STUDIO, 15th June 1898, containing Jessie M. King Illustrations; Provand’s Lordship Club Heraldic Exhibition catalogue 24th November 1913 to 28th February 1914, back cover illustration by Jessie M King (12)
£300-500
519
SCOTTISH GLASGOW STYLE EMBROIDERY
PANEL, CIRCA 1900
coloured silks on an unbleached linen ground, framed 41cm x 56cm (frame size 62cm x 82cm)
£300-500
520
SCOTTISH, POSSIBLY ALEXANDER MORTON & CO. BEDSPREAD, CIRCA 1920
coloured silks on a Madras muslin cotton ground 268cm x 268cm
Literature: Morton J. Three Generations in a Family Textile Firm, Routledge and K. Paul, 1971, pp. 295-6
Note: James Morton set up a ‘fringe’ activity to his business at ‘The Huts’ to the west of Edinburgh, later christened ‘Scottish Folk Fabrics’, creating ‘high-class embroidery, tapestry and rug weaving’.
£1,000-1,500
521
SCOTTISH
GLASGOW SCHOOL MIRROR, CIRCA 1910
repoussé-decorated copper, mirror plate
54.5cm x 74.5cm
£300-500
522
SCOTTISH
GLASGOW SCHOOL MIRROR, CIRCA 1910
repoussé-decorated brass, mirrored plate, 53cm x 73.5cm; a GLASGOW SCHOOL SHALLOW DISH by MARGARET
GILMOUR (1860-1942) 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 (3)
£500-800
523
SCOTTISH
GLASGOW SCHOOL ARMCHAIR, CIRCA 1900
oak, with upholstered back and seat
57.5cm wide, 124.5cm high, 61cm deep
£400-600
524
E. A. TAYLOR (1874-1951) FOR WYLIE & LOCHHEAD
GLASGOW SCHOOL SIDE CHAIR, CIRCA 1900
oak, with later upholstered seat
42.5cm wide, 91cm high, 41cm deep
£300-500
525
GEORGE BAIN (1881-1968)
FOR QUAYLE & TRANTER LTD.
SMALL CELTIC REVIVAL ‘HUNTING’ WOOL RUG, CIRCA 1948 machine-woven wool
193cm x 116.5cm
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.
£600-800
526
MANNER OF SIR ROBERT LORIMER
ARTS & CRAFTS REFECTORY TABLE, CIRCA 1910
limed oak
183cm long, 75.5cm high, 75cm deep
Provenance: Private Collection, Scotland
£600-800
527 §
WILLIAM MILES JOHNSTON (1893-1974)
TWO ‘ZOO’ SHALLOW BOWLS, CIRCA 1940 painted and glazed earthenware, painted artist’s monogram, inscribed ZOO (2) each 30.5cm diameter
£400-600
528
SIR ROBERT LORIMER (1864-1929)
ARTS & CRAFTS TABLE, CIRCA 1920
oak and burr walnut, made by Whytock & Reid, Edinburgh 84cm square, 71cm high
Provenance: Sir James Norton, Cragiehall, Edinburgh and by family descent
Private Collection.
529
SIR ROBERT LORIMER (1864-1929) (DESIGNER)
WILLIAM WHEELER, ARNCROACH (MAKER)
‘GOSSIP’ CHAIR, CIRCA 1930
oak, with upholstered drop-in seat
43cm wide, 86cm high, 36cm deep
Note: A similar oak chair is held by the National Trust for Scotland at Kellie Castle, the Lorimer family home in Fife.
£600-800
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.
£1,000-1,500
530
ROBERT BURNS (1869-1941)
‘AND SHE HAS MADE FOR THEM A BED’ (THE WYFE OF USHERS WELL)
pencil, one inscribed verso ROBERT BURNS ARSA 1869-1941 ‘AND SHE HAS MADE FOR THEM A BED’ (THE WYFE OF USHER’S WELL), framed (2) each 28cm x 20cm, (frame size 47cm x 59.5cm)
£400-600
531 §
PHYLLIS BONE (1894-1972)
SKYE TERRIER, 1932
bronze, raised on an ebonised wood plinth, signed and dated in the bronze PHYLLIS M. BONE/ 1932
bronze 21cm high, with plinth 24cm high
Note: This unexhibited work by Phyllis Bone bears close similarity to the statue of ‘Greyfriars Bobby’, modelled by William Brodie (1815-1881) in 1873, and may be Bone’s version of the famous dog.
£1,000-1,500
532 §
ELIZABETH ANNA CLAPP (1885-1974)
CHILDREN AT PLAY, 1919
bronze, signed and dated in the bronze E.A. CLAPP/ 1919
55.5cm high
£400-600
533
WILLIAM CAMPBELL NICHOLSON (1880-1965)
CLYDE COAST AND LOCH LOMOND, 1955
lithographic poster, framed
100.3cm x 250.2cm
Provenance: The Fine Art Society
£500-700
534
TERENCE CUNEO (1907-1996)
TAY BRIDGE, SEE SCOTLAND BY RAIL, 1957
lithographic poster, framed
101.6cm x 127cm
Provenance: The Fine Art Society
£600-800
C. F. A. VOYSEY (1857-1941) FOR ALEXANDER MORTON & CO.
ARTS & CRAFTS ‘FINTONA’ DONEGAL CARPET, CIRCA 1905
wool, hand-knotted
497cm x 432cm
£8,000-12,000
Note: See The Metropolitan Museum of Art Collection, accession number: 1976.389.3, for a similar example in red colourway. This pattern was originally displayed at Grafton Gallery, London during a Liberty’s exhibition in 1903.
537
ATTRIBUTED TO THE GUILD OF HANDICRAFT
MUFFIN DISH, CIRCA 1910 plated metal, the finial set with feldspar cabochon
22.5cm diameter
£400-600
536
ATTRIBUTED TO C.R. ASHBEE (1863-1942) FOR THE GUILD OF HANDICRAFT LTD FOUR SPOONS, 1901-1902
planished silver, stamped maker’s marks GofH Ltd, three hallmarked London 1902, one hallmarked London 1901 (4) each 18.5cm long
£400-600
538
C.R. ASHBEE (1863-1942) FOR THE GUILD OF HANDICRAFT PAIR OF ARTS & CRAFTS ARMCHAIRS, CIRCA 1900 oak, reupholstered with close-nailed original Silver Studios fabric seats
74.5cm wide, 110cm high, 61cm deep
Literature: Der Moderne Stil, 1905, vol. 7, pl. 8, fig. 6 (for an example with inlaid splat);
The Studio Yearbook of Decorative Art, 1907, p. 47 (for an example photographed within a Cheyne Walk interior);
Exhibited: Compton Verney The Arts & Crafts House: Then and Now, 27 June - 13 September 2015; Chipping Campden, Court Barn Women in the Arts & Crafts Movement, July 27th - October 28th 2018
£2,000-3,000
Note: The architect C. R. Ashbee was a leading figure in the Arts & Crafts movement in Britain, but also had considerable influence in Europe particularly with the Wiener Werkstatte in Vienna. He founded the Guild of Handicraft in 1888 and created most of its furniture designs. It was in about 1900 that he began designing chairs which are characteristically simple in form, typically composed of solid elements softened by some curved feature – in this instance the back splat and subtle splay of the feet.
539
RITA TOWNSEND
PORTRAIT OF A LADY watercolour on silk, signed lower right RITA TOWNSEND, framed
38.5cm x 28cm (frame size 42.5cm x 32cm)
£600-800
540
ALFRED OR LOUISE POWELL
ARTS & CRAFTS BOWL, CIRCA 1920
painted and glazed earthenware, indistinctly painted artist’s marks 41.5cm diameter
Provenance: The private collection of the late David Hutcheson, sold in aid of St Mary’s Music School Trust Ltd, SC014611
£600-800
541
GORDON RUSSELL (1892-1980)
ARTS & CRAFTS CHEVAL MIRROR, CIRCA 1930
walnut, with brass fittings and bevelled mirror plate
53.5cm wide, 135cm high, 43cm deep
£1,000-1,500
542
GORDON RUSSELL (1892-1980)
ARTS & CRAFTS STOOL, CIRCA 1930
walnut, with drop in leather seat, applied label RUSSELL & SONS/ BROADWAY. WORCS.
38cm square, 37cm high
£700-900
543
MANNER OF THE GUILD OF HANDICRAFT
PAIR OF ARTS & CRAFTS
CANDLE SCONCES, CIRCA 1910
repoussé-decorated brass (2)
26.3cm wide, 30cm high, 11.6cm deep
£800-1,200
544
GORDON RUSSELL (1892-1980)
ARTS & CRAFTS ‘STOW’ WARDROBE, CIRCA 1930 design no. 133, walnut, with ebonised handles, the interior with mirrored plate and sliding drawers
136cm wide, 191cm high, 48.5cm deep
£2,000-3,000
545
ENGLISH
GROUP OF THREE ARTS & CRAFTS CURTAINS, CIRCA 1890 cotton and wool (3) each 188cm x 92.5cm
£300-500
546
MANNER OF ERNEST GIMSON
SET OF FOUR ARTS & CRAFTS WALL SCONCES, CIRCA 1920 brass (4)
25cm wide, 21cm high, 15.5cm deep
£800-1,200
547
GORDON RUSSELL (1892-1980) ARTS & CRAFTS REFECTORY TABLE, CIRCA 1928
walnut
182cm long, 76cm high, 83cm deep
£1,000-2,000
549
THORNTON & DOWNER
COTSWOLD SCHOOL
CANDLESTICK, CIRCA 1910
wrought steel
52.5cm high
£400-600
551
550
GORDON RUSSELL (1892-1980)
CHEVAL MIRROR, CIRCA 1929
inlaid walnut, with brass fittings and bevelled mirror plate
52.5cm wide, 136cm high, 42cm deep
£2,500-3,000
PETER WAALS (1870-1937)
ARTS & CRAFTS STOOL, CIRCA 1930
548
ENGLISH
CEILING LIGHT, CIRCA 1920
stained, leaded and opalescent glass
39cm diameter, 18cm high, 75cm high (including chains)
£300-500
walnut, with upholstered seat
47cm wide, 47cm high, 34.5cm deep
£500-700
553
ENGLISH
ARTS & CRAFTS FIRE BACK, CIRCA 1900 cast iron, marked to reverse 60.3cm x 87cm
£300-500
552
STANLEY WEBB DAVIES (1894-1978)
ARTS & CRAFTS CORNER CABINET, CIRCA 1930 elm
53.5cm wide, 76.5cm high, 36cm deep
£1,000-1,500
554
STANLEY WEBB DAVIES (1894–1978)
ARTS & CRAFTS FREE STANDING LOW SIDE CABINET, 1927
oak, signed and dated 1927 and with craftsman’s mark
137cm wide, 71cm high, 50.5cm deep
Provenance: Phillips, London
£1,000-1,500
£700-1,000
DONEGAL
ARTS & CRAFTS RUG, CIRCA 1905
wool, hand-knotted
219cm x 162cm
556
ENGLISH
PAIR OF ARTS & CRAFTS HALL LANTERNS, CIRCA 1900
patinated copper, frosted glass (2)
60cm high, 38cm diameter
£600-800
558
ARTHUR W. SIMPSON (1857-1922), KENDAL PAIR OF ARTS & CRAFTS BELLOWS, CIRCA 1920 oak, close-nailed leather 83cm long
£200-300
559
EDWARD BARNSLEY (1900-1987)
ARTS & CRAFTS CHEST OF DRAWERS, CIRCA 1940 walnut, with boxwood inlay, oak and cedar drawer linings, stamped BARNSLEY
122cm wide, 74.5cm high, 56.5cm deep
£1,000-1,500
557
ARTHUR W. SIMPSON (1857-1922), KENDAL OCCASIONAL TABLE, CIRCA 1920 carved oak
51.5cm diameter, 51cm high
£300-500
560
ARTHUR W. SIMPSON, KENDAL
ARTS & CRAFTS OCCASIONAL TABLE, CIRCA 1900 carved oak
33cm wide, 62.5cm high
£300-500
561
EDWARD BARSNLEY ARMCHAIR, CIRCA 1970
walnut, with leather upholstered back and drop in seat
58.5cm wide, 87cm high, 50cm deep
£300-500
562
EDWARD BARNSLEY (1900-1987)
ARTS & CRAFTS TWIN PEDESTAL DESK, CIRCA 1960
walnut and black walnut, sycamore drawer lining, stamped to lower drawer BARNSLEY
138cm wide, 75.5cm high, 58cm deep
£2,000-3,000
563
ENGLISH
TWO ARTS & CRAFTS WALL LIGHTS, CIRCA 1910 comprising; one copper, wrought iron and oak, with opalescent glass shade, 72cm high (including back plate and shade); the other in anodised copper, brass, stained beech, with frosted glass shade, 49cm high (including back plate and shade) (2)
£500-800
565
CHRISTINE ANGUS (1877-1920)
‘PEACE’, ARTS & CRAFTS EMBROIDERED PANEL
564
ATTRIBUTED TO WALTER CAVE (1863-1939)
PAIR OF ARTS & CRAFTS SIDE CHAIRS, CIRCA 1910 oak, with drop in upholstered seats (2)
42cm wide, 100cm high, 38cm deep
£300-500
coloured silks reserved on an unbleached linen ground, period frame
48cm x 26cm, 52cm x 30.5cm (frame size)
£400-600
Note: Christine Angus was a British illustrator and embroiderer. Her designs were often figurative and included illustrations of children. She made several pieces for the furniture designer Ambrose Heal and was married to the painter Walter Sickert from 1911 until her death in 1920.
566
SHAPLAND & PETTER
WRITING DESK, CIRCA 1900
mahogany, with stained and leaded glass panel, tooled leather skiver and brass fittings, stamped to lock S & P/ B
99cm wide, 102cm high, 50.5cm deep
£1,000-1,500
567
ENGLISH
ARTS & CRAFTS CEILING LIGHT, CIRCA 1910
brass, with opalescent glass shades
40cm diameter, fitting 57cm high (including shades)
£700-900
569
SHAPLAND & PETTER
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)
£1,000-1,500
568
H. DAVIS RICHTER (1874 - 1955) FOR BATH CABINET MAKERS
DRESSING CHEST, CIRCA 1910
oak, with marquetry inlay, patinated metal handles and mirror plate, stamped verso 1319/3508/5
129cm wide, 145cm high, 60.5cm deep
£400-600
570
FRANK BRANGWYN (1867-1956)
PUT STRENGTH IN THE FINAL BLOW, BUY WAR BONDS, C. 1914
lithographic poster, framed
152.4cm x 101.6cm
Provenance: The Fine Art Society
£500-700
571
OMAR RAMSDEN (1873–1939) AND ALWYN CARR (1872-1940)
INKWELL, 1917
silver, set with moonstone cabochons, original glass inkwell, the cover inscribed REX, LEX, LUX, PAX, stamped maker’s mark RN & CR, hallmarked London 1917
15.5cm diameter, 6.5cm high
£600-800
572
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 (6)
£600-800
573
CHARLES J. NOKE (1858-1941)
ELLEN TERRY AS QUEEN CATHERINE, CIRCA 1893 moulded terracotta maquette, plaster base
12cm high
£300-500
574
WILLIAM BIRCH LTD, HIGH WYCOMBE PAIR OF ARTS & CRAFTS OCCASIONAL TABLES, CIRCA 1900
oak, inset with tiled panels (2)
50.5cm diameter, 75cm high
£400-600
575
WILLIAM BIRCH LTD, HIGH WYCOMBE SET OF FOUR ARTS & CRAFTS DINING CHAIRS, CIRCA 1900
oak, with cord seats (4)
41.3cm wide, 98cm high, 39cm deep
£300-500
576
MARGARET E. THOMPSON (1889-1926) FOR DOULTON, LAMBETH
‘THE FOUR SEASONS’ TILE PANEL, CIRCA 1920
glazed earthenware, one tile signed verso M.E.T., framed, each tile 15cm square (frame size 17.5cm x 64.5cm); together with a FRENCH RELIEF TILE PANEL, glazed earthenware, framed, each tile 15cm square (frame size 18cm x 49cm) (2)
£400-600
577
AMBROSE HEAL (1872-1959) FOR HEAL & SON
ARTS & CRAFTS WARDROBE, CIRCA 1910
unpolished chestnut, model 392
165.5cm wide, 203cm high, 59cm deep
Provenance: From The Millinery Works Collection.
Literature: Heal, Oliver S. Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939, Unicorn 2014, p.173 where this lot is illustrated along with the original drawing
£3,000-5,000
579
578
CLARICE CLIFF (1899-1972)
‘AUTUMN’ ISIS JUG, CIRCA 1930
painted and glazed earthenware, moulded ISIS, printed maker’s mark 24.5cm high
Provenance: The private collection of the late David Hutcheson, sold in aid of St Mary’s Music School Trust Ltd, SC014611
£300-500
HEAL & SON
TALLBOY, CIRCA 1930
oak and coromandel wood, inset ivorine maker’s label
HEAL & SON LTD, LONDON W, stamped verso 67/7/15
78.5cm wide, 130cm high, 47.5cm deep
£1,000-1,500
580
AMBROSE HEAL (1872-1959) FOR HEAL & SON PAIR OF BEDSIDE TABLES, CIRCA 1910
unpolished chestnut, model 392 (2)
42.5cm wide, 77cm high, 38.5cm deep, 71cm long extended
Provenance: From The Millinery Works Collection.
Exhibited: Brighton Museum Beauty’s Awakening, the Centenary Exhibition of the Art Workers Guild, 1984
£2,000-3,000
581
AMBROSE HEAL (1872-1959) FOR HEAL & SON
DRESSING TABLE & STOOL, CIRCA 1910
unpolished chestnut, the stool with later-upholstered seat pad, model 392 (2)
Literature: Heal, Oliver S. Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939, Unicorn 2014, p.173 where this lot is illustrated along with the original drawing
£1,000-1,500
582
JOHN HASSALL (1868-1948) FOR LIBERTY & CO. ‘LESSON TIME’ AND ‘PLAY TIME’, CIRCA 1900 lithographs, signed lower right HASSALL, framed (2)
70.5cm x 27cm (frame size 78cm x 34cm)
£300-500
583
HEAL & SON
SET OF THIRTEEN DINING CHAIRS, CIRCA 1930
limed oak, with rush seats, includes four carver chairs (13) carver 58.5cm wide, 100cm high, 43cm deep, side chair 44cm wide, 100cm high, 38cm deep
£1,200-1,800
584
PHILIP TILDEN (1887-1956) AND AMBROSE HEAL (1872-1959) FOR HEAL & SON ‘148’ REFECTORY TABLE, 1922-1925
limed oak, inset ivorine maker’s label under top HEAL & SON LTD LONDON W 198cm long, 75cm high, 89.5cm deep
£1,000-1,500
585
AMBROSE HEAL (1872-1959) FOR HEAL & SON
‘ST. IVES’ ARTS & CRAFTS WARDROBE, CIRCA 1897
oak, with patinated steel fittings and bevelled mirror plate
125.3cm wide, 195.5cm high, 55.8cm deep
Literature: Heal, Oliver S. Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939, Unicorn 2014, p. 151 where a similar example is illustrated.
£800-1,200
586
HEAL & SON
COFFEE TABLE, CIRCA 1940
oak, with inset ivorine maker’s label
HEAL & SON LTD, LONDON W
84cm long, 46cm high, 53cm deep
£200-300
587
HEAL & SON
TWO ARTS & CRAFTS BOOKCASES, CIRCA 1920
one oak, 53.3cm wide, 120cm high, 17.5cm deep; the other mahogany, 50cm wide, 120cm high, 17.5cm deep (2)
£400-600
588
MANNER OF HEAL & SON
ARTS & CRAFTS PIER BOOKCASE, CIRCA 1920
oak, five fixed shelves
38cm wide, 191cm high, 22cm deep
Provenance: The Millinery Works London
£500-800
589
HEAL & SON
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.
£300-500
590
TRUDA CARTER (1890-1958) FOR CARTER STABLER ADAMS LTD., POOLE
TWIN-HANDLED VASE, CIRCA 1930
painted and glazed earthenware, decorated by Margaret Holder, painted artist’s mark, impressed maker’s mark CARTER STABLER ADAMS LTD/ POOLE ENGLAND
17.8cm high
Provenance: The private collection of the late David Hutcheson, sold in aid of St Mary’s Music School Trust Ltd, SC014611
Literature: Atterbury P. (ed.) Poole Pottery: Carter and Co. and Their Successors, 1873-1995, Richard Dennis 1995, p. 66 where a similar vase is illustrated
£300-500
591
HEAL & SON
WASHSTAND, CIRCA 1910
oak
75cm wide, 113.5cm high, 45cm deep
£400-600
592
HEAL & SON
CABINET, CIRCA 1920
limed oak, with manufacturer’s label to the interior of one drawer
78.5cm wide, 130cm high, 47.5cm deep
Provenance: Liberty & Co., London Private Collection, London.
£1,000-1,500
594
593
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
ARMCHAIR, CIRCA 1970
oak, with later close nailed leather upholstery, carved mouse signature
62.5cm wide, 80.5cm high, 46cm deep
£600-800
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
FIRESCREEN, CIRCA 1930
oak, with embroidered and glazed panel, carved mouse signature, carved initials verso G/ MO
53.5cm wide, 89cm high, 31.5cm deep
£800-1,200
595
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
GAMES TABLE, 1936
oak, with beech and ebony inlay, incised to one side T W F T 1936, with carved mouse signature
68cm wide, 61cm high, 45.3cm deep
£1,000-1,500
596
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
PIN TRAY/NUT BOWL, CIRCA 1960’S
oak, with carved mouse signature 17cm diameter
£250-350
597
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
CHEESEBOARD, CIRCA 1920’S/30’S
oak, with carved mouse signature 37cm long, 18cm wide
£500-800
598
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
FRUIT BOWL, CIRCA 1990’S
oak, with carved mouse signature 30cm diameter
£300-500
599
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
PAIR OF BOOKENDS, CIRCA 1930’S/1940’S
oak, each with large, well-carved mouse signature (2) 15cm wide, 10cm high, 10cm deep
£500-800
600
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
PAIR OF BOOK TROUGHS, CIRCA 1950’S/1960’S
oak, each with carved mouse signature (2) 45cm wide, 20cm high, 20cm deep
£700-1,000
601
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
SET OF FOUR DINING CHAIRS, CIRCA 1970
oak, with close-nailed leather upholstery, each with carved mouse signature (4)
44.5cm wide, 88.5cm high, 41cm deep
£1,500-2,500
602
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
OCTAGONAL COFFEE TABLE, CIRCA 1960’S
burr oak, with carved mouse signature
56.5cm diameter, 47cm high
£1,000-1,500
603
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
FIVE WALL LIGHTS, CIRCA 1970
oak, with card fitting covers, each with carved mouse signature (5)
31cm wide, 19.5cm high
(excluding fittings)
£500-700
604
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
KIDNEY-SHAPED STOOL, CIRCA 1950’S
oak, with rare full burr seat, carved mouse signature
30cm wide, 36.5cm high, 24cm deep
£800-1,200
605
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
COFFEE TABLE, CIRCA 1970’S/ 1980’S
oak, with carved mouse signature
91cm long, 44.5cm high, 37cm deep
£500-800
607
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
FOOTSTOOL, CIRCA 1950
606
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
OCCASIONAL TABLE, CIRCA 1940
oak and burr oak, with carved mouse signature
89cm wide, 73cm high, 65cm deep
£1,000-1,500
oak, with woven leather seat, carved mouse signature 34cm wide, 18.5cm high, 24cm deep
£250-350
608
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
MAGAZINE RACK, CIRCA 1970
oak, with carved mouse signature 43cm wide, 46cm high, 27cm deep
£300-500
609
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
PAIR OF BOOKENDS, CIRCA 1950’S/1960’S
oak, each with carved mouse signature (2)
15cm wide, 10cm high, 10cm deep
£300-500
611
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
CHEESE BOARD, CIRCA 1970
oak, with carved mouse signature
39.5cm long
£250-350
610
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
LARGE FRUIT BOWL, CIRCA 1960’S
oak, with carved mouse signature
32cm diameter
£400-600
613
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
KIDNEY-SHAPED TRAY, CIRCA 1970
oak, with carved mouse signature
46cm wide, 33cm deep
£300-400
612
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
BOOK TROUGH, CIRCA 1970
oak, with carved mouse signature
46cm wide, 19.5cm high, 20cm deep
£250-350
615
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
RARE SMALL TABLE, CIRCA 1935-1945
burr oak, with carved mouse signature
42cm wide, 43.5cm high, 41cm deep
£1,200-1,800
614
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
PAIR OF TABLE LAMPS, CIRCA 1960’S/1970’S
oak, each with carved mouse signature and original paper shade (2) 26.5cm high to base of fitting, 45cm high to top of shades
£700-1,000
616
ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)
STOOL, CIRCA 1950
oak, with woven leather seat, carved mouse signature 34cm wide, 36cm high, 26.3cm deep
£250-350
617
DEREK ‘LIZARDMAN’ SLATER DINING ROOM SUITE, CIRCA 1960
oak, with close nailed leather upholstery, comprising; SIX DINING ROOM CHAIRS, 49.5cm wide, 89cm high, 47cm deep and a DINING TABLE, each with carved lizard signature, 181.5cm long, 73.5cm high, 80cm deep (7) £1,000-1,500
620 §
LORNA GRAVES (1947-2006) ‘ANIMAL’ raku
21cm long, 13cm high
£200-300
621
JOHN PIPER (19031992) FOR A. SANDERSON & SONS
‘THE GLYDERS’ PATTERN CURTAIN, 1960’S
screen printed ‘Sanderlin’ textile, green colourway
177cm x 229cm
£250-350
618
DOVECOT STUDIOS, EDINBURGH
DEAN VILLAGE, EDINBURGH
embroidered wool tapestry, signed with artist’s symbol lower right, woven weaver’s initial verso, 158cm x 204cm; together with the cartoon for the tapestry, signed with artist’s symbol lower right, 63cm x 82cm (2)
£300-500
619
MANNER OF TIM STEAD FREE FORM ARMCHAIR, CONTEMPORARY
ash and elm
77cm wide at widest point, 117cm high, 101cm deep
£1,000-1,500
622 §
SCOTTIE WILSON (1889–1972)
BIRD TREE WITH FISH
pen, watercolour and gouache, signed lower right SCOTTIE, framed
26cm x 36cm (frame size 52.5cm x 59cm)
£700-1,000
623 §
SCOTTIE WILSON (1890-1972)
STYLISED FLORAL STUDY pencil, signed lower right SCOTTIE, framed 27.5cm x 37.5cm (frame size 43cm x 52cm)
£500-700
624
ALAN CAIGER-SMITH (1930-2020) THREE VESSELS
lustre-glazed earthenware, comprising a BOWL, 23cm diameter; a small BOWL, 17.5cm diameter; a VASE, 19cm high; together with another ALDERMASTON POTTERY BOWL, 21cm diameter; each with painted maker’s marks (4)
£200-400
625 §
JOHN MALTBY (1936-2020)
THREE FIGURES, CONTEMPORARY
stoneware, each with impressed maker’s mark
the largest 23.6cm high, 20cm wide; 23cm high, 14cm wide; 21cm high, 10cm wide
£300-500
626
DAVID LINLEY
BOOKCASE, CONTEMPORARY
inlaid and carved sycamore with marquetry inlay, with keys
217.5cm wide, 305cm high, 54cm deep
£4,000-6,000
627 § BERNAT KLEIN (1922-2014)
‘SEA AND SKY’
mixed threads, signed, dated and inscribed verso SEA AND SKY/ BERNAT KLEIN/ 71
99.5cm x 101cm
£400-600
628
BOB CROOKS (B. 1965)
TWO VASES, CONTEMPORARY
coloured and applied glass, etched BOB CROOKS (2) larger 53cm high, smaller 34cm high
£400-600
629
DAVID LINLEY
FIRE SURROUND, CONTEMPORARY inlaid sycamore
Internal 98.5cm x 64cm; exterior 132cm long, 129cm high, 20cm deep
£2,000-3,000
631 §
HANNAH FRANK (1908-2008)
SIX PRINTS
to include; off-set lithographic print, ‘Girl at Window’ 1952, signed in pencil lower right, unframed, 34.5cm x 27cm; off-set lithographic print, ‘Woman with Birds’ 1947, signed in pencil lower right, unframed, 34.5cm x 28.5cm; off-set lithographic print, ‘Spring Frieze’ 1945, signed in pencil lower right, unframed, 38.5cm x 28cm; off-set lithographic print, ‘Woman and Trees’ 1931, signed in pencil lower right, unframed, 33cm x 22.5cm; off-set lithographic print, ‘Night’ 1930, signed in pen lower right, unframed, 31.5cm x 24cm; off-set lithographic print, ‘Dance’ 1950, signed in pen lower right, unframed, 35cm x 24.5cm (6) £600-800
630
§
NORMAN
GRANT (1943 - 2024)
GROUP OF FIVE PENDANT NECKLACES, 1970S comprising a ‘MOLECULAR STRUCTURE OF PLANKTON’ NECKLACE, silver and enamel, indistinct maker’s mark, hallmarked 1977, pendant 8cm diameter; together with TWO PENDANT NECKLACES, each silver and enamel, each with maker’s stamp, hallmarked Edinburgh 1976 (one indistinct), pendants 6cm and 7cm tall; another PENDANT NECKLACE, white metal wire, pendant 11.5cm tall; and a PENDANT & CHAIN, silver, indistinctly hallmarked, pendant 3.5cm diameter, chain length 36cm (5)
£800-1,200
632
SIR BASIL SPENCE (1907-1976) FOR H. MORRIS & CO. TWO ‘ALLEGRO’ ARMCHAIRS, DESIGNED 1947-1948 laminated wood, maker’s label MORRIS MADE / GUARANTEED TRADE MARK / GLASGOW (2) 85cm high, 52cm wide, 50cm deep Literature: Studio Yearbook of Decorative Art, 1949, p. VIII (advertised); Austerity to Affluence: British Art & Design 1945-1962, The Fine Art Society, London, 1997, p. 14 and p. 22, cat. no. F27; Long P. and Thomas J. (ed.), Basil Spence, Architect National Galleries of Scotland in Association with RCAHMS, Edinburgh 2008, p. 52 and p. 54, fig 55, illustrated.
£800-1,200
633
AVEM, MURANO
LARGE ZANFIRICO ‘TUTTI FRUTTI’ VASE, CIRCA 1960 glass
634
IN THE STYLE OF PAOLO BUFFA (1903-1970)
PAIR OF MID-CENTURY ARMCHAIRS, CIRCA 1960 cherrywood, with upholstered seats and loose back cushions (2)
63.5cm wide, 78cm high, 63.5cm deep
£1,200-1,800
51cm high
£800-1,200
635
PIERO DE MARTINI (B. 1939) FOR CASSINA
BARCA DINING TABLE, DESIGNED 1975 ash
225cm long, 74cm high, 74cm deep (closed), 71cm high, 148cm deep (open)
£600-800
637
ARNE HOVMANDOLSEN (1919-1989) FOR MOGENS KOLD SURFBOARD TABLE, 1960’S
teak, inset maker’s label
152cm long, 50cm high, 52cm deep
£400-600
636
ACHILLE CASTIGLIONI (1918-2002) FOR FLOS ‘ARCO’ FLOOR LAMP, DESIGNED 1962
marble and steel
194cm high, 204cm wide
£300-500
638
MARCEL BREUER (1902-1981)
LONG CHAIR, DESIGNED 1936 birch ply, with woven woollen upholstered seat, bears maker’s label to back ISOKONPLUS
60cm wide, 84cm high, 130cm long
£500-700
639
PETER LØVIG NIELSEN (1929-2007) SIDEBOARD, 1960’S
teak, with brass fittings, branded maker’s mark to reverse
120cm wide, 71cm high, 45cm deep
£800-1,200
640
OLE WANSCHER (1903-1985) FOR FRANCE & SON
ROCKER, CIRCA 1950
model FD110, teak, and wool upholstery, inset maker’s label
66cm wide, 98cm high, 82cm deep
£800-1,200
641
ARNE JACOBSEN (1902-1971)
FOR FRITZ HANSEN DINING TABLE, 1978
grey-stained wood, steel, maker’s label FRITZ HANSEN/ DENMARK/ 1978
156cm diameter, 71cm high
£300-500
642 Y
CHARLES EAMES (1907-1978) AND RAY EAMES (1912-1988)
FOR HERMAN MILLER
670 LOUNGE CHAIR AND 671 OTTOMAN, DESIGNED 1956, CIRCA 1980
For more information please contact Philip Smith | philip.smith@lyonandturnbull.com
Simon Hucker | simon.hucker@lyonandturnbull.com
MODERN, POST-WAR & CONTEMPORARY ART, DESIGN, CRAFT & STUDIO CERAMICS, FEATURING A COLLECTION OF CONTEMPORARY SILVER
AUCTION 31 OCTOBER & 01 NOVEMBER 2024
LIVE AT THE MALL GALLERIES LONDON & ONLINE
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. The charge for works of art sold at and above £1,000 and below £50,000 is 4%. For items selling above £50,000, 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. 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 antimoney laundering legislation, consent to us relying on this due diligence, and You will retain for a period of not less than five years the documentation evidencing the due diligence. You will make such documentation promptly available for immediate inspection by a third party auditor upon our written request to do so;
(ii) The arrangements between You and the ultimate Buyer (s) in relation to the Lot or otherwise do not, in whole or in part, facilitate tax crimes, and;
(iii) You do not know, and have no reason to suspect that the funds used for settlement are connected with the proceeds of any criminal activity, including tax evasion, or that the ultimate Buyer (s) are under investigation or have been charged with or convicted of moneylaundering, 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 payment whichever is later. Please note we do not accept cheques. 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://
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.
