Makers & Creators: Selected Works from the Hugo Burge Collection | Auction 19 March 2025 by Lyon & Turnbull

Photograph taken in Hugo Burge’s apartment, Marchmont House, Berwickshire

Makers & Creators

SELECTED WORKS FROM THE HUGO BURGE COLLECTION

WEDNESDAY 19 MARCH 2025 FROM 10AM

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Sale Number LT837

Front Cover Lot 233

Left Lots 83 & 84

Photographs taken in Hugo Burge’s apartment, Marchmont House, Berwickshire

Lyon & Turnbull 33 Broughton Place

EDINBURGH EH1 3RR

VIEWING

Saturday 15th March, 12noon-4pm Sunday 16th March, 12noon-4pm Monday 17th March, 10am-4.30pm

Tuesday 18th March, 10am-4.30pm Day of Sale from 9am

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BUYER'S

GUIDE

BUYER’S PREMIUM

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

26% up to £20,000

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

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

ADDITIONAL VAT

† VAT at the standard rate payable on the hammer price

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

Ω Standard rate of import VAT on the hammer price

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

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

DROIT DE SUITE

§ indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, a royalty payment for all qualifying works of art. Under 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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1 – Government issued photo ID (Passport/Driving licence)

2 – Proof of address (utility bill/bank statement). We may, at our option, also ask you to provide a bank reference and/ or deposit. (Particularly for bidding on lots marked by the high value lot symbol ) By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale (available at the back of every catalogue and on our website).

BIDDING & PAYMENT

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

REMOVAL OF PURCHASES

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

CATALOGUE DESCRIPTIONS

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

IMPORT/EXPORT

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

ENDANGERED SPECIES

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

COLLECTION OF PURCHASED LOTS

All collections will be by appointment only (this applies to both carriers and personal collections). To make an appointment call 0131 557 8844 or email info@lyonandturnbull.com. Please ensure payment has been made prior to collection. This can be done by bank transfer, and debit/credit card online (powered by Opayo) - details will be shown on your invoice. Please note we are unable to take payments over the phone.

MEET THE SPECIALISTS

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

Douglas Girton Furniture & Works of Art douglas.girton@lyonandturnbull.com

Carly Shearer Fine Art carly.shearer@lyonandturnbull.com

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 condition of a lot, or just want to find out more about the auction process.

Alice Strang Fine Art alice.strang@lyonandturnbull.com

Joy McCall Design joy.mccall@lyonandturnbull.com

Tsai Yiing Ing Asian Works of Art tsai.yiinging@lyonandturnbull.com

Philip Smith Design philip.smith@lyonandturnbull.com

Charlotte Riordan Fine Art charlotte.riordan@lyonandturnbull.com

Ursula Goldsmith Sale Co-ordinator ursula.goldsmith@lyonandturnbull.com

Hugo Burge in the Foundation’s Creative Spaces Common Room.

Photo: Colin Hattersley

Hugo Burge: Maker & Creator

Hugo Burge (1972-2023) always wanted to leave a ‘dent in the universe’: to create an impression that changed and improved the world. He was one of the great entrepreneurs and philanthropists of his generation, a digital pioneer who at the same time had a lifelong passion for fine art and traditional craftsmanship. His extraordinary collection reflected his wideranging interests, from Old Masters to emerging artists, from 17th-century oak furniture to 21st-century ceramics.

From the moment he stepped inside Ernest Gimson’s great library at Bedales school, Hugo was captivated by the Arts and Crafts movement. The first thing he bought after graduating from Cambridge in 1994 was a set of six Gimson-designed rush-seated chairs that he cherished for the rest of his life. He became an avid collector of Arts and Crafts furniture and decorative objects, amassing one of the finest private collections in the country. Many such treasures, including two exceptional writing cabinets by Peter Waals and a large William Morris embroidery that once adorned his dining room, are offered for sale here.

Hugo’s dedication to the arts was only equalled by his love of nature. He spent countless hours hiking through the countryside of Scotland, taking particular delight in the many ancient trees around his home in the Scottish Borders. He planted trees all over his estate, commissioned a number of artists to make arboreal works and purchased many pictures of trees, spanning four hundred years of art history, which he hung together, like little vertical forests, on the walls of his sitting room. The highlight of this collection is undoubtedly Rembrandt’s 1643 etching The Three Trees, widely considered to be one of the artist’s greatest landscapes.

Much of Hugo’s collection was until recently displayed at Marchmont House, a splendid eighteenth-century mansion that had once been home to the great Scottish artist and musician Rory McEwen. When Hugo and his father Oliver purchased the property in 2005 it was in a state of disrepair, having recently served as a Sue Ryder care home. They spent the best part of a decade returning the house to its former glory, winning a prestigious Historic Houses Restoration Award in 2018. But Hugo couldn’t resist imposing his irreverent personality on the

building. He filled the house and gardens with modern British sculpture, replacing stuffed stags’ heads with abstracted busts, and installing an imperious Antony Gormley on the roof.

Hugo also set to work transforming Marchmont’s dilapidated walled garden into a wonderland, now open to the public through the Hugo Burge Foundation. He restored and re-imagined the complex of Victorian glasshouses as an unforgettable Orientalist folly, which opened up onto a Zeninspired rock garden. These light-filled spaces prompted the final phase in Hugo’s collecting odyssey. Over a period of a few productive years, he filled the glasshouses with an impressive array of Japanese objects, creating walkways with monumental Imari vases while hiding historic gongs and censers among the flowering plants.

Hugo came to think of Marchmont House as a ‘home for makers and creators’ –an engine for imaginative, sustainable enterprise and local regeneration. He opened its doors to artists and craftspeople, charities and community groups, hoping to inspire all who stepped inside. His final years were marked by increasingly generous acts of philanthropy, supporting dozens of artists and organisations.

He transformed a number of rundown buildings on and around the Marchmont estate into affordable creative spaces, including artists’ studios, a pottery and a silversmithing workshop. In 2020 he even saved the Gimson furniture tradition, helping two apprentices establish a furniture workshop in a former garage on the estate.

Hugo was an astute businessman, an enlightened collector and a tireless evangelist for the arts – a man whose enthusiasm and generosity touched the lives of innumerable people and transformed the cultural landscape of the Scottish Borders. His philanthropic endeavours are now continued by the Hugo Burge Foundation, a charity that supports the arts, crafts and creative industries all over the United Kingdom. The proceeds from this sale will be used to advance its charitable work, securing the long-term legacy of an exceptional man.

Dr James Fox, Creative Director, Hugo Burge Foundation

Martin Brothers Ceramics

Founded in 1873 by Robert Wallace Martin, the Martin Brothers pottery was a family-run enterprise renowned for its imaginative and highly decorative ceramics. Robert, the eldest, was the chief sculptor and modeller, while his brothers Walter, Edwin, and Charles contributed technical expertise, decoration, and business management. Their distinctive handcrafted ‘Martinware’ stood apart from the growing trend of mass-produced ceramics, securing their reputation as pioneers of Victorian art pottery.

In 1877, the brothers established a pottery studio in Southall, relocating from Fulham to an old soap factory on Havelock Road. This move marked a highly ambitious period of production. Southall’s rural setting allowed them to afford a large workspace to build their kiln, while the nearby Grand Union Canal facilitated the transportation of their ceramics to their shop in Holborn, central London.

The brothers mastered salt-glazed stoneware, a technique that preserved intricate surface engravings and resulted in their signature semi-matt, speckled finish in earthy hues of browns, blues, and greens. Their work, often featuring mythical creatures, grotesque faces, and nature-inspired motifs, blended English and German influences. Trained as a sculptor, Robert Wallace elevated ceramics to an art form and became best known for his grotesque designs, including jars adorned with expressive faces, grinning underwater creatures, and humanoid “Wally birds.”

These distinctive characteristics are exemplified in the ceramics presented here. A vase made in 1884 (lot 7), for instance, features four vividly expressive faces, showcasing both technical mastery and a whimsical artistic vision. The ‘Four Dragons Vase’ of 1889 (lot 13) and the ‘Aquatic Jug’ of 1898 (lot 2) further highlight their fascination with fantastical and marine life themes.

The Martin Brothers’ ceramics remain highly sought after by collectors, and their legacy endures in public and private collections worldwide.

1

2

MARTIN BROTHERS

AQUATIC JUG, 1898

MARTIN BROTHERS

THREE MINIATURE VASES, 1901-1906

tallest incised W.H.M. 1901 N5, bottle form incised MARTIN BROS LONDON & SOUTHALL 10-1904, gourd form incised MARTIN BROS LONDON & SOUTHALL 3-1906, glazed stoneware (3)

6.5cm high (2 ½in high), 5.5cm high (2 1⁄8in high), 4.5cm high (1 ¾in high)

Provenance: Woolley & Wallis, 30 November 2022, lot 41

£300-500

incised MARTIN BRO LONDON & SOUTHALL / 10-1898, glazed earthenware

23.5cm high (9 ¼in high)

Provenance: John Cathles Hill and by descent Woolley & Wallis, 18 June 2014, lot 174

John Cathles Hill (1857-1915) was a property developer and brick manufacturer who was influential in the development of parts of suburban north London.

£700-900

MARTIN BROTHERS VASE, 1902

incised MARTIN BRO LONDON & SOUTHALL / 3-1902, glazed stoneware 24.5cm high (9 ¾in high)

Provenance: The George Twyman Collection of Martin Ware, Woolley & Wallis, 27 November 2019, lot 158

Literature: The Studio, October 1907, p.11 where a comparable vase is illustrated (figure 9).

£1,200-1,800

MARTIN BROTHERS

PAIR OF VASES, 1909

each incised MARTIN BRO LONDON & SOUTHALL 3 - 1909 NO. 2, glazed stoneware (2)

16cm high (6 ½in high)

Provenance: The Daryl Fromm Collection of Martin Brothers, Woolley & Wallis, 27 November 2019, lot 28

Exhibited: Worthing Museum & Art Gallery, Gorgeously Grotesque, 2003, catalogue number 20.

Literature: The Studio, 1907, p. 112, fig. 12 where a comparable vase is illustrated.

£2,000-3,000

MARTIN BROTHERS

GOURD VASE, 1905

incised MARTIN BRO LONDON & SOUTHALL / 11-1905, glazed stoneware 27cm high (10 ½in high)

Provenance: Tennants, 9 October 2021, lot 2008

£500-700

MARTIN BROTHERS

SERPENT TWIN-HANDLED VASE, 1906

incised MARTIN BRO LONDON & SOUTHALL / 2-1906, glazed stoneware

14.5cm high (5 ¾in high)

Provenance: Woolley & Wallis, 14 December 2017, lot 298

£1,200-1,800

MARTIN BROTHERS FACES VASE, 1884

incised MARTIN BRO LONDON & SOUTHALL / 6-84, glazed stoneware 23.7cm high (9 ¼in high)

Provenance: Cheffins, 26 May 2022, lot 50 £8,000-12,000

MARTIN BROTHERS

GOURD VASE, 1901

incised MARTIN BROS LONDON & SOUTHALL / 6-1901, glazed stoneware 8cm high (3 1⁄8in high)

Provenance: Woolley & Wallis, 30 November 2022, lot 36

£300-500

MARTIN BROTHERS VASE, CIRCA 1900

incised R W MARTIN BROS LONDON & SOUTHALL, glazed stoneware 27cm high (10 ½in high)

Provenance: Christie’s South Kensington, 1st March 1996, lot 52

The Martin Brothers Potters, Woolley and Wallis 31st October 2005, lot 24.

£400-600

MARTIN BROTHERS GOURD VASE, 1910

incised MARTIN BROS LONDON & SOUTHALL / 5-1910, glazed stoneware 16cm high (6 ¼in high)

Provenance: Woolley & Wallis, 27 November 2019, lot 150

£300-500

11

MARTIN BROTHERS

TWO MINIATURE VASES, 1903 AND 1913

green incised MARTIN BROS LONDON & SOUTHALL 8 - 1903, other incised MARTIN BROS LONDON & SOUTHALL 7-1913, glazed stoneware (2)

green 7.5cm high (3in high), other 5.7cm high (2 ¼in high)

Provenance: Woolley & Wallis, 27 November 2019, lot 149 £200-300

12

MARTIN BROTHERS

GOURD VASE, CIRCA 1930

incised MARTINWARE SOUTHALL, glazed stoneware 25.5cm high (10in high)

Provenance: Woolley & Wallis, 14 December 2017, lot 293 Clement Martin, son of Robert Wallace Martin, revived the pottery in 1928 in partnership with H. Butterfield having originally worked alongside his father and uncles in the 1910s. £300-500

£1,500-2,000

MARTIN BROTHERS

FOUR DRAGONS VASE, 1889 incised R W MARTIN BROTHER LONDON & SOUTHALL / 3-1889, glazed stoneware 23cm high (9in high)

MAW & CO.

RUBY LUSTRE DISH, CIRCA 1890

painted MAW & CO. with camel cypher, lustre-glazed earthenware

47cm diameter (18 ½in diameter)

Literature: Hansen J. M. Lewis Foreman Day (1845-1910): Unity in Design and Industry, Woodbridge 2007, p.181 pl. 102 similar charger illustrated.

£400-600

JOHN PEARSON (BRITISH 1885-1910)

BOWL, CIRCA 1900

painted artist’s monogram, glazed earthenware 10cm high, 33cm diameter (4in high, 13in diameter)

£300-500

JOHN PEARSON (BRITISH 1885-1910)

CHARGER, 1889

signed and dated (to reverse), hammered and repoussé decorated copper

38.5cm diameter (15 1⁄8in diameter)

£300-500

JOHN PEARSON (BRITISH 1885-1910)

JUG, CIRCA 1900

painted monogram, glazed stoneware 21.5cm high (8 ½in high)

£400-600

CHARLES COLLIS (BRITISH 1879-1966)

FOR DELLA ROBBIA POTTERY

VASE, CIRCA 1900

incised ship mark, letter ‘C’ and numbered 531, glazed earthenware

19cm high (7 ½in high)

£250-350

GEORGE TINWORTH (BRITISH 1843-1913)

FOR DOULTON, LAMBETH

PAIR OF VASES, 1901-1922

impressed mark ROYAL DOULTON ENGLAND, incised monogram GT, glazed stoneware (2)

28cm high (11in high)

£400-600

DELLA ROBBIA POTTERY

JUG, 1895

painted ship mark and date, glazed earthenware

30cm high (11 ¾in high)

Provenance: Woolley & Wallis, Salisbury, Arts & Crafts, 17 June 2015, lot 113.

£500-800

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

PAIR OF THREE LIGHT WALL SCONCES, CIRCA 1900

each with stamped manufacturer’s mark, copper and brass on oak wall mounts (2) each 29cm (11 ½in) wide

£1,000-1,500

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

MANTEL CLOCK, CIRCA 1905

cast silvered bronze metal, with white enamel dial with Arabic numerals

21.5cm high, 15cm wide (8 ½in high, 5 7⁄8in wide)

Provenance: Woolley and Wallis, 17 June 2015, lot 314

Literature: Hamerton I. W.A.S Benson Arts and Crafts Luminary, Antique Collector’s Club, plate 83, p. 103 for a comparable example. This clock was available in two finishes copper bronze (£4/10/0) or antique silver (£4/15/0).

£800-1,200

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

THREE LIGHT CANDELABRUM, CIRCA 1900 brass and copper

34cm high (13 3⁄8in high)

£800-1,200

24 DOULTON, LAMBETH

FAIENCE VASE, 1873

impressed factory mark, and painted artists GM or GW cypher 42cm high (16 ½in high)

Provenance: Woolley & Wallis, 17 October 2017, lot 79.

£300-500

25

ENGLISH

ARTS & CRAFTS CENTRE TABLE, CIRCA 1900 oak

75.5cm high, 107cm long, 68cm deep (29 ¾in high, 42in long, 26 ¾in deep)

£400-600

WYNDHAM HOPE HUGHES (BRITISH 1849-1948)

ANGELS WITH INSTRUMENTS

initialled (lower left), mixed media

16.5cm x 20.5cm (6 ½in x 8in)

£300-500

WYNDHAM HOPE HUGHES (BRITISH 1849-1948)

ORPHEUS

pencil on paper

26cm x 27cm (10 ¼in x 10 ½in)

£400-600

IDA KAY (BRITISH 1881-1959)

TWO STUDIES FOR STAINED GLASS, CIRCA 1900

charcoal on paper (2)

73.5cm x 51.5cm (29in x 20 ¼in) and 87cm x 43.5cm (34 ¼in x 17 1⁄8in)

These studies represent ‘Saint Martin Kneeling Before Christ’, a copy of Ford Madox Brown’s cartoon for the window of St Martins Church, Scarborough, and ‘Christ in the Temple’.

£200-300

ENGLISH ARTS & CRAFTS LARGE SIDE TABLE, CIRCA 1920 elm

99cm high, 239cm wide, 80cm deep

(39in high, 99 ¼in wide, 31 ½in deep)

£600-800

WILLIAM DE MORGAN (BRITISH 1839-1917)

YELLOW LUSTRE PLATE, CIRCA 1880

impressed marks, painted and glazed earthenware

30cm diameter (11 7⁄8in diameter)

£300-500

CHARLES PASSENGER FOR WILLIAM DE MORGAN (BRITISH 1839-1917)

RUBY LUSTRE PLATE, CIRCA 1880

painted monogram CP, painted and glazed earthenware

24cm diameter (9 ½in diameter)

£500-700

CHARLES PASSENGER FOR WILLIAM DE MORGAN (BRITISH 1839-1917)

GALLEONS AND FISH TRIPLE LUSTRE PLATE, CIRCA 1890

painted W.D.M FULHAM, CP, painted and glazed earthenware

24cm diameter (9 ½in diameter)

Literature: Gaunt W. & Clayton Stamm M.D.E. William De Morgan, Studio Vista 1971, p. 112, pl. 98 illustrated.

£1,000-1,500

WILLIAM DE MORGAN (BRITISH 1839-1917)

SET OF NINE TILES, CIRCA 1885

each impressed maker’s Merton Abbey mark, glazed earthenware (9)

each tile 15.3cm x 15.3cm (6in x 6in)

£1,000-1,500

FRED PASSENGER (BRITISH 1858-1938) FOR BUSHEY HEATH POTTERY BOWL, 1920s

printed BUSHEY HEATH DE M, painted and glazed earthenware

15cm diameter (6in diameter)

Fred Passenger was employed by Ida and Henry Perrin to created works to William De Morgan’s designs in the 1920s in a workshop in their home in Bushey Heath. Fred Passenger had been a decorator for William De Morgan.

£300-500

CHARLES PASSENGER FOR WILLIAM DE MORGAN (BRITISH 1839-1917)

BIRD AND FOLIAGE IZNIK PLATE, CIRCA 1890

painted W. DE. MORGAN & CO. CP, painted and glazed earthenware

21cm diameter (8 ¼in diameter)

£700-900

WILLIAM DE MORGAN (1839-1917)

SIGNED AUTOGRAPH LETTER, 1912

to a Mr Lee Burns of Indianapolis, responding to a request for an autograph and mentioning his novel Joseph Vance (1906), on single sheet of De Morgan’s 127 Church Street stationery, mounted, framed and glazed together with original envelope addressed by De Morgan by hand

Letter: 17.5cm x 11.3cm (6 ¾in x 4 ½in)

£70-100

ENGLISH

THREE ARTS & CRAFTS FLORAL STUDIES, CIRCA 1900 each with E.S.K. blindstamp, gouache on paper

22.2cm x 22.2cm (8 ¾in x 8 ¾in), 25cm x 25cm (9 7⁄8in x 9 7⁄8in) and 27cm x 14cm (10 5⁄8in x 5 ½in) (3)

£300-500

38

ATTRIBUTED TO GILLOW & CO. ARTS & CRAFTS SIDEBOARD, 1898 inscribed WHEN FRIENDS MEET HEARTS WARM, ANNO 1898, oak, with copper alloy fittings

178.5cm high, 199cm wide, 65.5cm deep (70 ¼in high, 78 ¼in wide, 25 ½cm deep)

£700-900

JOHN RUSKIN (BRITISH 1819-1900)

MOUNT PILATUS FROM LAKE LUCERNE signed with monogram lower right, watercolour and pencil with bodycolour on paper

13cm x 27cm (5in x 10 ½in)

Provenance: Sotheby’s London, The British Sale: British Paintings, 21 March 2002, lot 264 Sotheby’s London, Old Master & British Drawings, 8 July 2015, lot 241

£8,000-12,000

ATTRIBUTED TO JOHN RUSKIN (BRITISH 1819-1900)

LAKE DISTRICT VIEW

watercolour and pencil on paper with pencil sketch verso

12cm x 17cm (4 ¾in x 6 ¾in)

Provenance: Lyon & Turnbull, Edinburgh, Fine Furniture and Works of Art, 6 July 2016, lot 486

It has been suggested that the scene depicted is Fleetwith Pike and Haystacks with Buttermere Lake in the foreground.

£300-500

£3,000-4,000

ENGLISH, ELIZABETH I PERIOD ARMCHAIR, CIRCA 1590 oak

119.5cm high, 62cm wide, 64cm deep (47in high, 24 ½in wide, 24in deep)

Left: Photograph taken in Hugo Burge’s apartment, Marchmont House, Berwickshire

ENGLISH, CHARLES II PERIOD

ARMCHAIR, SOMERSET, MID-17TH CENTURY

inscribed WF/ 1667, oak, with carved decoration 118cm high, 61cm wide, 55cm deep (46 ½in high, 23 ¾in wide, 21 ¾in deep)

Provenance: St. Dunstan’s Church, Baltonsborough, Somerset. Formerly on loan to Barrington Court, Barrington, near Ilminster, Somerset. Bonhams, London, 24 February 2016, lot 353

£2,000-3,000

The records of St. Dunstan’s Churchwarden’s accounts date back to 1663, yet there is no mention of the acquisition or donation of this chair. Two parishioners with matching initials are William Fontaine and William Foxwell. In the 1687 churchwarden’s accounts, Martin Foxwell is noted as having been paid to “break the chancel ground” for the burial of William. Additionally, a William Fontaine, son of William Fontaine, was christened in the church in 1610.

ENGLISH, JAMES I PERIOD

WAINSCOT ARMCHAIR, EARLY 17TH CENTURY

oak, incised initials to back SM

111cm high, 63.5cm wide, 53.5cm deep (43 ¾in high, 25in wide, 21 ¼in deep)

£2,500-3,500

WILLIAM MORRIS (BRITISH 1834–1896)

‘VINE AND ACANTHUS’ EMBROIDERED PANEL, CIRCA 1890

coloured silks reserved on an unbleached linen ground, and lined with original printed cotton ‘Bird’ fabric by Morris & Co., later mounted and framed

169.2cm x 233cm (66 ½in x 99 ¾in) (frame size 181cm x 246cm (71 ¼in x 96 ¾in))

Provenance: John and Joan Collins, Portobello Road, London

Adrian J. Tilbrook and Dan Klein, London John Scott Collection

Exhibited: The Fine Art Society, London

Architect-Designers from Pugin to Voysey; The John Scott Collection , 3rd-25th June 2015, no. 84

Literature: Morris & Company: Arras Tapestries, Wall-Papers, Fabrics, Furniture, Upholstery and Decoration, catalogue, circa 1910-12, p.24, where an identical design illustrated (half)

Morris B. J. Victorian Embroidery: An Authoritative Guide, New York 1962, p.109

Parry L. (ed.) William Morris, London 1996, p. 384

The original design and cartoon for the tapestry are in the V&A collection, accession numbers E.45-1940 and E.2472-1932

£20,000-30,000

Morris’ fascination with textiles was lifelong. This design is likely to have been partially inspired by the 16th century French and Flemish verdure tapestries he admired at Queen Elizabeth’s Hunting Lodge in Epping Forest as a child. In 1854 he visited France and was exposed to medieval ecclesiastical designs as well as observing weaving techniques in the Parisian Gobelins Works. As was characteristic of Morris, he personally sought to understand the physical making process, reportedly picking apart pieces to ‘puzzle out the tricks of the loom’.

Despite his early enthusiasm for the medium, it was not until 1877 that Morris made his first official foray into tapestry weaving with ‘Acanthus and Vine’. This venture was once more prompted by his desire to understand Arras tapestry, studying it through making. Morris accordingly set up a haute-lisse, or horizontal loom, in his Kelmscott Manor bedroom, and spent 516 hours from May-September of 1879 completing it. This was not a seamless process, Morris himself renaming the piece ‘Cabbage and Vine’ following a distortion of the Acanthus leaves during production! The finished piece remains in the collection at Kelmscott, later being transposed to embroidery form.

In the decades preceding the making of ‘Acanthus and Vine’, the status of embroidery as an artform was much diminished. The craft required a minimal and shrinking skill level, comprising repetitive stitch types and designs copied from kits. The founding of the Royal School of Art Needlework in 1872 aimed to improve the reputation of secular embroidery, with William Morris as one of the principle supporting designers.

Morris’ opinions towards textiles foreshadowed principles of the Arts & Crafts Society, not established for another thirty years. He supported a return to traditional techniques, reacting against the stagnant designs and garish colour palettes of contemporary pieces. In the years prior to the making of ‘Acanthus and Vine’, not only did he become sole manager and proprietor of Morris & Co., but his work was influenced firstly by the opening of the South Kensington Museum (later the V&A) and secondly his association with dyer Thomas Wardle. The former saw him inspired by sources as various as Indian textiles and traditional crewelwork, whilst the latter enabled him to work closely with a practitioner experienced in natural vegetable dyes.

In ‘Acanthus and Vine’ sweeping arches of foliage envelope thoughtfully placed pairs of birds and plump bunches of grapes, all showcasing Morris’ love of gardening and his ornithological fascination. The colours are naturalistic, and the stitches lie flat to the fabric, allowing the subject to shine, rather than the materials themselves. For Morris, design elements had to serve a purpose within the pattern, birds needing to relate to the foliage rather than being a dominating feature. Thus, this embroidery retains the realism Morris prized, and his sentiment that ornamental art should primarily remind us of ‘the outward face of the earth’.

17TH CENTURY DUTCH STYLE

EIGHT LIGHT CHANDELIER, 19TH CENTURY

brass, later fitted for electricity

90cm diameter, 67cm high (35 ½in diameter, 26 ¼in high)

ENGLISH, JAMES I PERIOD

ENGLISH, CHARLES I PERIOD WAINSCOT ARMCHAIR, WEST COUNTRY, EARLY 17TH

112cm high, 65cm wide, 50.5cm deep (44in high, 25 ½in wide, 20in deep)

JOINT STOOL, EARLY 17TH CENTURY

oak

57cm high, 46cm wide, 27cm deep (22 ½in high, 18in wide, 10 ¾in deep)

£3,000-5,000

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

PAIR OF ARTS & CRAFTS CANDLESTICKS, CIRCA 1900 each stamped to base W.A.S. BENSON, brass (2)

27cm high (10 ¾in high)

£300-500

ENGLISH, JAMES I PERIOD

JOINT TABLE, EARLY 17TH CENTURY

oak

71cm high, 61cm wide, 37.5cm deep (28in high, 24in wide, 14 ¾in deep)

£800-1,200

ENGLISH, CHARLES II PERIOD

ARMCHAIR, YORKSHIRE, MID-17TH

CENTURY

oak, with carved decoration 125cm high, 66cm wide, 41cm deep (49 ¼in high, 26in wide, 16 ¼in deep)

Provenance: Reindeer Antiques, London

£2,000-3,000

ENGLISH

JOINT STOOL, 17TH CENTURY

oak

55cm high, 45.5cm wide, 27cm deep (21 ¾in high, 18in wide, 10 ½in deep)

£800-1,200

ENGLISH, CHARLES II PERIOD

PAIR OF SIDE CHAIRS, YORKSHIRE, MID-17TH CENTURY

oak

113cm high, 45.5cm wide, 38cm deep (44 ¼in high, 17 ¾in wide, 15in deep)

£300-500

ENGLISH, CHARLES II PERIOD

THREE PANEL COFFER, MID17TH CENTURY

oak, with chip carved decoration

62cm high, 114cm wide, 44cm deep

(24 ½in high, 45in wide, 17 ¼in deep)

£400-600

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

PAIR OF CANDLESTICKS, CIRCA 1900

copper and brass, each 22.5cm high (8 7/8in high; together with a W. A. S. BENSON INKWELL, brass with porcelain inkwell, 26cm wide (10 ¼in wide) (3)

£400-600

ENGLISH, CHARLES II PERIOD

LARGE BOARDED DEED BOX, GLOUCESTERSHIRE, EARLY TO MID 17TH CENTURY

oak, with carved decoration and iron fittings

30cm high, 92cm wide, 64.5 deep (11 ¾in high, 36 ¼in wide, 25 ½ deep)

£800-1,200

ENGLISH

THREE PAIRS OF CARVED ELEMENTS, 17TH AND 18TH CENTURY

to include a pair of lozenge shaped panels carved with Green Man masks, 43.5cm high, 24cm deep (17in high, 9 ½in deep); a pair of lion mask brackets with later platform tops, 20.5cm high, 17cm wide, 9.5cm deep (8in high, 6 ¾in wide, 3 ¾in deep); and a small pair of cherub head corbels wearing beaded necklaces, oak 10cm high, 8cm wide, 6.5cm deep (4in high, 3in wide, 2 ½in deep) (6)

£300-500

ENGLISH, CHARLES I PERIOD

WAINSCOT ARMCHAIR, GLOUCESTERSHIRE, CIRCA 1640

oak, with carved decoration

109.5cm high, 54.5cm wide, 58cm deep (43in high, 21 ½in wide, 19 ¾in deep)

Provenance: Bonhams Oxford, 21 January 2014, lot 266

£2,000-3,000

ENGLISH, ELIZABETH I PERIOD

JOINT STOOL, LATE 16TH CENTURY

oak, 49cm high, 40.5cm wide, 27.5cm deep (19 ¼in high, 15in wide, 11in deep); together with a CHARLES II

JOINT STOOL, CIRCA 1680, oak, 45.5cm high, 46cm wide, 28cm deep (18in high, 18in wide,11in deep) (2)

£1,500-2,500

ENGLISH, CHARLES II PERIOD

ARMCHAIR, SOMERSET MID-17TH CENTURY

oak, with carved decoration

115cm high, 59cm wide, 51cm deep

(45 ¼in high, 23 ¼ wide, 20in deep)

Provenance: Bonhams, London, 24 February 2016, lot 130

£2,500-3,500

ENGLISH, CHARLES I PERIOD

ARMCHAIR, CIRCA 1640

oak, with carved decoration

112.5cm high, 55cm wide, 44.5cm deep

(44 ¼in high, 21 ¾in wide, 17 ½in deep)

£2,500-3,500

61

ENGLISH, CHARLES I PERIOD

ARMCHAIR, CIRCA 1640

inscribed to the arm WC and a pair of horseshoe shaped branded marks to each arm, oak, with carved decoration

100.5cm high, 62.5cm wide, 51cm deep (39 ½in high, 24 ¾in wide, 20in deep)

£1,500-2,500

62

ENGLISH THREE PANEL CHEST, LATE 17TH CENTURY

oak, with iron fittings

70cm high, 13cm wide, 60.5cm deep (27 ½in high, 52in wide, 23 ¾in deep)

£300-500

ENGLISH, CHARLES II PERIOD

ARMCHAIR, YORKSHIRE, CIRCA 1680

oak, with carved decoration

104.5cm high, 57cm wide, 49cm deep (41in high, 22 ½in wide, 19 ¼in deep)

£800-1,200

ENGLISH, CHARLES II PERIOD

JOINT STOOL, MID-17TH CENTURY

oak, with carved decoration

56.5cm high, 49cm wide, 27.5cm deep (22 ¼in high, 19 ¼ wide, 11in deep)

£600-800

ENGLISH, CHARLES II PERIOD

COFFER TABLE, MID-17TH CENTURY

oak, with iron fittings

65cm high, 71.5cm wide, 45cm deep

(25 ½in high, 28 ¼in wide, 17 ¾in deep)

£1,000-1,500

82.5cm high, 96cm wide (32 ½in high, 37 ¾in wide)

£3,000-5,000

Right: Photograph taken on the Marchmont Estate, Berwickshire

66 §

REBECCA APPLEBY (BRITISH B.1979) FRAGMENTED ROOT

stamped Pangolin Editions foundry mark, painted bronze

CAROLINE HEPBURNE-SCOTT (SCOTTISH B.1983)

MULL SILVER BIRCH

signed and dated ‘July 2014’ lower right, pencil and graphite on paper

149cm x 123cm (58 ½in x 48 ½in)

Provenance: Acquired from the Artist by Hugo Burge

Exhibited: Flaubert Gallery, Edinburgh, Caroline Hepburne-Scott, 14-19 November 2014

£700-1,000

68 §

CAROLINE HEPBURNE-SCOTT (SCOTTISH B.1983) SCABIOSA

signed and dated ‘August 2014’ lower centre right, pencil on paper

85cm x 85cm (33 ½in x 33 ½in)

Provenance: Acquired from the Artist by Hugo Burge

Exhibited: Flaubert Gallery, Edinburgh, Caroline HepburneScott, 14-19 November 2014

£400-600

Left: Photograph taken in Hugo Burge’s apartment, Marchmont House, Berwickshire

69 § ANNA KING (SCOTTISH B.1984) CAMBUSBARRON QUARRY

signed with initials, inscribed with title and dated ‘2014’ to stretcher verso, oil and charcoal on board 80cm x 240cm (31 ½in x 94 ½in) (unframed)

Provenance: Provenance: Wall Projects, Montrose from whom acquired by Hugo Burge

Exhibited: Wall Projects, Montrose, Anna King, 2015

The artist has explained that Cambusbarron Quarry is a large disused quarry near Stirling, which is the subject of several of her works.

£2,000-3,000

70 § ANNA KING (SCOTTISH B.1984) LARCHES, YAIR

signed with initials, inscribed with title and dated ‘2014’ to stretcher verso, oil and pencil on paper and board 50cm x 120cm (19 ¾in x 47 ¼in) (unframed)

Provenance: Wall Projects, Montrose from whom acquired by Hugo Burge

Exhibited: Wall Projects, Montrose, Anna King, 2015

The artist has explained that Larches Yair depicts a scene in the Scottish Borders, of a forestry plantation near Selkirk.

£500-700

71 §

ANNA KING (SCOTTISH B.1984) STRIP

signed with initials, inscribed with title and dated ‘2016’ to stretcher verso, oil and charcoal on board

50cm x 150cm (19 ¾in x 59in) (unframed)

Provenance: Acquired from the Artist by Hugo Burge

The artist has explained that this painting is of trees on the outskirts of Reykjavik, from a residency she undertook in Iceland. £700-1,000

PHIL GREENWOOD (WELSH B.1943)

DUSK LIGHT

etching and aquatint, 7/75, signed and inscribed with title and dated ‘72 to margin

39.5cm x 48cm (15 ½in x 18 ¾in)

£300-500

£300-500 72

73

ISAAC JOHNSON (BRITISH 1754-1835)

OAK TREE AT WINFARTHING

inscribed ‘Drawn 1785 by I Johnson, Woodbridge’ to margin lower right, watercolour, gouache, pen and ink 38cm x 31cm (15in x 12 ¼in)

Provenance: Simon Carter; R Geoffrey Smith, Beveriche Manor Farm, Middleton

Literature: John Blatchly, Isaac Johnson of Woodbridge: Georgian Surveyor and Artist, J. M. Blatchly, Dorset, 2014, pp.14-16

Huon Mallalieu, The Dictionary of British Watercolour Artists up to 1920, vol. III, Antique Collectors’ Club, Woodbridge, 1990, repr. p.191

This oak stands in Winfarthing, Norfolk on the estate of the Rt. Hon. Lord Albermarle.

JOSEPH FARINGTON (BRITISH 1747-1821)

STUDY OF A TREE indistinctly signed lower left, pen, ink and watercolour on paper

48.5cm x 35cm (19in x 13 ¾in)

Provenance: Bonhams Knightsbridge, Old Master Paintings, 29 April 2015, lot 282

£300-500

FRANCIS TOWNE (BRITISH 1739-1816)

A VIEW NEAR HORNSEY

signed and dated ‘1786’ lower left, watercolour, pen and ink on paper 14.5cm x 18cm (5 ¼in x 7in)

Provenance: with Spink & Son Ltd, London

F. W. Marten

Thomas Agnews & Sons Ltd, London

Christie’s, London, 3 March 1970, lot 102

Christie’s South Kensington, Christie’s Interiors, 28 January 2015, lot 758

According to a label on the reverse, this work is signed, inscribed and dated ‘Going to Hornsey near London / Francis Towne 1786’.

£2,000-3,000

JOHANN GOTTFRIED KLINSKY (GERMAN 1765-1827)

KNORRIGE EICHE (GNARLED OAK TREE)

signed and inscribed ‘Klinsky del: nach der Natur bey Lingij im Novbre 1785’ lower right, ink and wash on two conjoined sheets of paper

38.5cm x 29cm (15 ¼in x 11 ½in)

Provenance: Dr Anton Strähuber (1877-1939), Munich (inv.no.1508)

By descent from the above to Galerie Bassenge, Berlin, Auktion 103: Landschaft & ArabeskeSammlung Anton Strähuber, 30 May 2014, lot 6706

Stephen Ongpin Fine Art, London

£500-700

JOHN SELL COTMAN (BRITISH 1782-1842)

TREES IN ROKEBY PARK, YORKSHIRE

signed, inscribed with title and numbered ‘969’ lower right, pencil with wash and gum arabic on coloured paper

29.5cm x 23.5cm (11 ½in x 9in)

Provenance: Paul Brandon, 1993

Karen Taylor Fine Art, London

£2,000-3,000

FRANCIS TOWNE (BRITISH 1739-1816)

IN PEAMORE PARK

signed and dated ‘Fr. Towne delt./1778’ lower left, pencil, pen and grey ink and watercolour on paper

28cm x 43.5cm (11in x 17in)

Provenance: Bequeathed by the Artist to James White of Exeter (1744-1825) His bequest to John Herman Merivale (1779-1844)

By descent from the above to the Misses Maria Sophia and Judith Ann Merivale, by 1915

Sold by the above to Catherine Lambert, October 1932 (£25)

By descent from the above to the previous owners

Their sale, Christie’s London, Old Master & British Drawings, 5 July 2016, lot 87

£4,000-6,000

Exhibited: 20 Lower Brook Street. Grosvenor Square, London, Exhibition of Original Drawings by Francis Towne, 1805, no. 10 (as ‘A Study of a tree blown down in Peamore Park’)

Burlington Fine Arts Club, London,. A Collection of Pictures, Drawings, Furniture and Works of Art of the Empire and Regency Period: Select Examples of Romano-British Art, 1929, no. 12

Literature: Paul Oppé, ‘Francis Towne Landscape Painter’, The Walpole Society, VIII, London,1920, pp. 104-05

Henri Lemaitre, Le paysage anglais à l’aquarelle 1760-1851, Bordas, Paris, 1955, p. 148

Adrian Bury, Francis Towne, Lone Star of Watercolour Painting, Charles Skilton, London, 1962, p. 118

Richard Stephens, A Catalogue Raisonné of Francis Towne (1739-1816), online edition, no. 144 (accessed 29 January 2025)

As per Christie’s cataloguing of 2016, this work is also said to be inscribed ‘In Peamore Park on the verso of the original mount and with inscription ‘178 B.P.’ verso in the hand of Paul Oppé, to be laid down onto the original mount and to be on a double sketchbook page’.

79

JOHN WHITE ABBOTT (BRITISH 1763-1851)

HERMIT READING

signed with initials and dated ‘Dec 24. 1814’ lower left, watercolour and ink on paper 12cm x 19cm (4 ¾in x 7 ½in)

Provenance: The Fine Art Society Ltd, London, April 1966

£400-600

JAMES WARD R.A. (SCOTTISH 1769-1859)

AN ELM AT HOLT, WILTSHIRE

monogrammed, inscribed with title and dated ‘1826’ lower left, watercolour and pencil on paper 18cm x 22cm (7in x 8 ½in)

£400-600

JOHN WHITE ABBOTT (BRITISH 1763-1851)

STUDY OF TREES pen, ink and wash on two conjoined sheets of paper

25.5cm x 36cm (10in x 14 ¼in)

Provenance: By descent from the Artist until c.1995

Bearnes Hampton & Littlewood, Exeter, Two Day Fine Art Sale, 23 October 2013, lot 448

Exhibited: Guy Peppiatt Fine Art Ltd, London

£500-700

JOHN WHITE ABBOTT (BRITISH 1763-1851)

THE LOWER PART OF CORRA LINN, FALLS OF CLYDE

watercolour, pen and ink on paper 23cm x 18cm (9in x 7in)

Provenance: The Artist’s great, great, grandson with The Fine Art Society, London, 1946 Loyd Collection

Christie’s, London, British Art on Paper, 5 June 2007, lot 3

Christie’s South Kensington, Old Master and British Drawings and Watercolours, 5 December 2013, lot 105

£3,000-5,000

Exhibited: Newbury, Newbury Spring Festival, The Development of English Landscape Painting in Watercolours and Drawings, 1984, no. 9

Literature: Leslie Parris, The Loyd Collection of Paintings, Drawings and Sculptures, Bradbury Agnew, 1967, no. 67, p. 30, pl. 59.

Francis Russell et al, The Loyd Collection of Paintings, Drawings and Sculpture, privately published, 1991, no. 67, p. 30, pl. 67

According to Christie’s cataloguing in 2013, the original mount bore the inscription ‘The lower part of Corriag... Lynn - one of the Falls of the Clyde./JWA. July 6.1791’ and was numbered ‘No 42’ (on the verso of the mount)

The lot was further footnoted: Abbott’s earliest known watercolours date from 1791, when he undertook a tour of Scotland and the Lake District, through Lancashire, Derbyshire and Warwickshire. There is another drawing of Corra Linn, from the same tour, numbered 47, in the Victoria & Albert Museum, London (E.324-1924).

REMBRANDT HARMENSZOON VAN RIJN (DUTCH 1606-1669)

THE THREE TREES (B., HOLL. 212; NEW HOLL. 214; H. 205), 1643 etching with engraving and drypoint, on laid paper, watermark Foolscap with five-pointed Collar (Hinterding A-a-a), New Hollstein’s only state, a brilliant, early impression of this highly important subject, printing very richly and darkly, with intense contrasts and bright highlights, the burr and sulphur tinting in the sky very pronounced, with small margins the sheet 21.8cm x 28.3cm (8 ½in x 11in)

£200,000-300,000

Provenance: Christiaan Josi (1768-1828), Amsterdam and London (see Lugt 573, without mark); his posthumous sale, Christie’s, London, 18-21 March 1829, lot 83 ‘Most Brilliant Impression’ (£12; to Seguier)

William Seguier (1771-1843), London (Lugt 2277), acquired at the above sale, with his pencil signature verso; his posthumous sale, Christie’s, London, 29 April - 3 May 1844, lot 431 (£23-126; to Hawkins)

John Heywood Hawkins (1803-1877), London and Bignor Park, Sussex, his purchase price inscribed in Greek letters (see Lugt 3023); acquired at the above sale

Probably with Colnaghi & Co., London; acquired from the above

Walter Francis Duke of Buccleuch (1806-1884), London and Dalkeith, Scotland (Lugt 402); probably acquired from the above, with his collection ink mark verso; his posthumous sale, Christie’s, London, 19-22 April 1887, lot 1954 (‘from the Seguier and Hawkins Collections’) (£165; to Meder)

With Louis Gerhard Meder (1848-1924) (of Amsler & Ruthardt), Berlin; presumably acquired on behalf of the below Sammlung der Königlichen Museen, Berlin, dated 1887 (Lugt 1610); presumably acquired from the above; with their de-accession stamp verso (Lugt 2482); their sale, Amsler & Ruthardt, Berlin, 6 March 1899 (and following days), lot 1600 (’Die Gewitterlandschaft mit den drei Bäumen. S. 212. Des Meisters Hauptblatt unter den Landschaften; das prachtvolle Exemplar der Sammlung Buccleuch, auf Schellenkappenpapier und mit 3 mm Rand ringsum. Exemplare von der Schönheit und vortrefflichen Erhaltung des vorliegenden sind von höchster Seltenheit und Kostbarkeit.’)

Dr Julius Elischer von Thurzóbánya (1846-1909), Budapest (Lugt 824, stamped twice); probably acquired at the above sale

With Kennedy Galleries, New York, with their stock number a48042 in pencil verso

Robert Woods Bliss (1875-1962) and Mildred Barnes Bliss (1879–1969), Dumbarton Oaks, Washington, D.C. (Lugt 2004a); presumably acquired from the above

Dumbarton Oaks Research Library and Collection, Washington D.C; presumably part of the donation from the above

With R. M. Light & Co., Santa Barbara, California

Private Collection, acquired from the above on 31 January 1980; then by descent

Christie’s London, Old Master Prints, 9 December 2021, lot 126

Acquired from the above by Hugo Burge

Literature: Bartsch, Hollstein 212; New Hollstein 214; Hind 205

Cynthia P. Schneider, Rembrandt’s Landscapes – Drawings and Prints, National Gallery of Art, Washington, D.C. (exh. cat.), 1990, no. 75, pp. 240-42 (another impression illustrated)

Erik Hinterding, Rembrandt Etchings from the Frits Lugt Collection, Fondation Custodia, Paris, 2008, no. 167, pp. 390-93 (another impression illustrated)

Nicholas Stogdon, A Descriptive Catalogue of the Etchings by Rembrandt in a Private Collection, Switzerland, privately printed, 2011, no. 93, pp. 158-9 (another impression illustrated)

The Three Trees is Rembrandt’s largest and most elaborate landscape etching and is considered a masterpiece within his oeuvre.

Rembrandt van Rijn (1606-1669) is generally considered one of the greatest artists of all time and an icon of the Dutch Golden Age. Intensely prolific and working across painting, drawing and printmaking, his work is characterised by exceptional skills of observation which brought a consistent naturalism to his practice, even as his style evolved. Rembrandt achieved remarkable renown in his lifetime, due in part to the dissemination of his imagery through prints which was key to building a wider artistic reputation in seventeenth-century Europe. His unprecedented success is demonstrated by the nickname acquired by one of his most successful figure compositions Christ Healing the Sick, which was dubbed ‘The Hundred Guilder Print’ for having sold for this extravagant sum, possibly repeatedly, whilst he was alive.

Across his career, Rembrandt produced more than three hundred prints with approximately twenty-six recorded landscape etchings, and is one of the few Western artists whose etchings are as popular as his paintings. He was drawn to etching over the more common method of engraving due to its intimacy and immediacy: the artist is able to draw onto the copper plate with freedom and flexibility and can, with skill, convey rich tone and velvety textures. Unusually for the time, Rembrandt did not just provide designs for skilled engravers to turn into prints but prioritised the immediacy of drawing onto a copper etching plate to create prints by his own hand.

Rembrandt was preoccupied by landscape compositions for two distinct periods. An initial period in the 1630s is characterised by work in oils primarily depicting theatrical views of fantastical landscapes. He then returned to landscape subjects from 1641 until 1653 when he produced hundreds of drawings, most of which are sketches of

locations around Amsterdam captured while exploring the city on foot. The Three Trees dates from this period, and although the exact location depicted has not been identified, this amalgamation of Dutch landscape motifs would have been immediately recognisable to his contemporary audience.

The print is a true demonstration of Rembrandt’s technical virtuosity. A symphony of light and shade, the composition is marked by his exquisite attention to detail. The sky, often left blank in his prints, sets the tone here with a combination of marks conveying sweeping clouds of varying densities and a heavy downpour of rain moving across the open landscape. Rembrandt includes a variety of figures, including the fishing couple, the artist, and the lovers, each a familiar trope derived from contemporary Dutch pastoral literature. Within the vast landscape the diminutive figurative components are deliberately difficult to discern, emphasising the dominance of nature. To create this impressive drama and atmosphere, Rembrandt combined techniques including various depths of etched lines, drypoint, engraving and speckled tone through sulphur tinting. They weave together to create a rich, luminous surface for a composition that is dramatic and poetic, revealing an artist at the height of his powers.

The Three Trees has been subject to extensive academic research and consideration. Apart from its technical achievements, scholars have explored the meaning behind the composition. It has been suggested that the titular trees could represent the three crosses present at Christ’s crucifixion, or the Holy Trinity. There have been debates over the weather conditions depicted and whether the diagonal lines on the left-hand side are representative of rain (the most commonly-held view) or breakthrough sunlight. It has also been put forth that the trees could represent strength in the face of adversity as they stand up to the approaching storm, inviting a nationalistic interpretation of Dutch strength over Spanish rule.

Photograph taken in Hugo Burge’s apartment, Marchmont House, Berwickshire

The mystery and multiplicity of meaning and interpretation only adds to the richness of the work. Princeton University’s Curator of Prints and Drawings, Laura Giles, posits that ‘beyond its multiplicity of meanings and major influence on subsequent landscape artists, including Thomas Gainsborough and J. M. W. Turner, Rembrandt’s The Three Trees offers a compelling universality in its extraordinary evocation of an ephemeral moment in nature.’ (Princeton University Art Museum, <a href=”https://artmuseum. princeton.edu/story/rembrandts-three-trees”>https:// artmuseum.princeton.edu/story/rembrandts-three-trees</ a>, accessed 30 January 2025). It is no surprise then, that this small and striking work has continued to compel and intrigue us for over three hundred years.

This exquisite example of Rembrandt’s The Three Trees was acquired by Hugo Burge in 2021. Hugo had an eye for exceptional quality in art and craft and so was drawn to it immediately. It also appealed due to his great love of trees, which had grown with the acquisition of the Marchmont Estate and it being home to some beautiful and ancient specimens. Hugo had a vision to create an important collection of art on the theme of the tree, as a particular collecting strand within his wider interests. This major acquisition, alongside further purchases and commissions celebrating the subject was to become a central part of his important collection of fine art and craft.

FRENCH GOTHIC REVIVAL

PAIR OF PRICKET CANDLESTICKS, CIRCA 1860

the drip trays impressed 374, brass, blue, red, green and white champleve enamel and red glass cabochons (2) 56cm high (22in high)

Provenance: Paul Reeves, London Lyon & Turnbull, Edinburgh, The Contents of Kirkton House, 10 October 2018, lot 23. £700-900

PIETRO BAZZANTI (ITALIAN 1825-1895)

BUST OF A YOUNG WOMAN, 19TH CENTURY

signed P Bazzanti, white marble and alabaster

59cm (29 ¼in) high

£800-1,200

ENGLISH, WILLIAM AND MARY PERIOD

CUSHION FRAMED

MIRROR, LATE 17TH CENTURY

walnut oyster-veneered frame, with mirror plate

76cm x 65.5cm (30in x 25 ¾in)

£800-1,200

ENGLISH, CHARLES II PERIOD

REFECTORY TABLE, MID 17TH CENTURY oak

78cm high, 172cm long, 68 cm deep (30 ¾in high, 67 ¾in long, 36 ¾in deep)

£2,000-3,000

ENGLISH

GROUP OF CARVED PANELS, 16TH CENTURY AND LATER

to include a large linen-fold carved panel, 80cm x 49cm (31 ½in x 19in); a rectangular panel with carved arches and foliage, 56cm x 33.5cm (26in x 13in); a pair of narrow pierced and carved tracery panels, 85cm x 13.5cm (33 ½in x 5 ¼in); a panel carved with floral diaper pattern, 30.5cm x 20.5cm (12in x 8in); a small foliate and flower carved panel; and a pair of pierced and carved pointed arch panels, 59cm x 17.5cm (23 ¼in x 6 ¾in), carved oak (8)

£400-600

ENGLISH, CHARLES II PERIOD

DROP LEAF GATELEG TABLE, SECOND HALF 17TH CENTURY

oak, with single drawer

73.7cm high, 139cm long (extended), 100cm deep (29in high, 59 ¾in long, 39 ¼in deep)

£400-600

ENGLISH, CHARLES II PERIOD SIDE TABLE, MID-17TH CENTURY

oak, with brass fittings

79cm high, 86.5cm wide, 53.5cm deep

(31in high, 34in wide, 21in deep)

£600-800

ENGLISH, WILLIAM AND MARY PERIOD

CHEST OF DRAWERS, LATE 17TH CENTURY

oak, with brass fittings

77cm high, 73.5cm wide, 50.5cm deep

(30 ¼in high, 29in wide, 20 ¼in deep)

£700-900

AFTER JOHN SLEZER (DUTCH/ SCOTTISH 1650-1717)

THE NORTH PROSPECT OF THE CITY OF EDENBURGH

[London:] sold by J. Smith, at the sign of Exeter Exchange in the Strand, [1719], engraving on laid paper

47cm x 108.5cm (18 ½in x 43in)

From the work Theatrum Scotiae £500-800

Ruskin Pottery

Ruskin Pottery is renowned for its exceptional glazes, which include crystalline, lustre, and sang de boeuf (high-fired flambé). The distinctive sang de boeuf glaze was achieved using copper and iron oxides, showcasing the innovative techniques of the studio. Established in 1898 by Edward R. Taylor, Ruskin Pottery was later directed by his son, William Howson Taylor (1876–1935). Situated in Smethwick, Staffordshire, the output of the factory was a reflection of the European revival of interest in ceramics, inspired by the introduction of oriental aesthetics and traditional Chinese glazes.

RUSKIN POTTERY

HIGH-FIRED VASE, 1906

From 1903 onward, William Howson Taylor developed a range of flambé glazes and continued to refine and expand his techniques over the next three decades. His works are often compared to those of prominent French ceramicists such as Charles Chapelet, Auguste Delaherche, and Émile Decoeur Dalpayrat. Each piece from Ruskin Pottery is uniquely distinctive, as the glazes cannot be precisely replicated, a hallmark of the studio’s artistry.

At its height, Ruskin Pottery employed 20 workers and operated five lustre kilns and one high-firing kiln. Despite its achievements, the pottery ceased operations in 1933, marking the end of a remarkable chapter in ceramic history.

printed RUKSIN POTTERY WEST (..obscured) 1906, streaked flambé glaze, with speckling, stoneware

18cm high (7 1 16in high)

Provenance: Anthony Cross Collection, Kinghams, 2021, lot 47

£700-900

RUSKIN POTTERY

HIGH-FIRED VASE, 1910

impressed RUKSIN POTTERY 1910, flambé sang de boeuf glaze, stoneware 24.5cm high (9 5⁄8in high) £600-800

RUSKIN POTTERY

HIGH-FIRED VASE, 1933

impressed RUSKIN ENGLAND 1933, flambé ox-blood glaze with green speckling, stoneware 21cm high (8 ¼in high)

£500-700

Photograph taken in Redbraes Pottery, Greenlaw, part of the Hugo Burge Foundation

RUSKIN POTTERY

HIGH FIRED VASE, 1933

impressed RUSKIN ENGLAND 1933, ox-blood glaze, with green speckling, stoneware 10.5cm high (4 1 8in high)

Provenance: Richard Dennis Collection, Kinghams, 17 April 2021, lot 23

£400-600

RUSKIN POTTERY

VASE, 1932

impressed RUSKIN ENGLAND 1932, crystalline glaze, stoneware 14cm high (5 ½in high)

Provenance: William Howson Taylor Collection; Ferneyhough Collection, no. 464

Victoria and Albert Museum Exhibition of Ruskin Pottery, 1975, no. 68

Birmingham Museum and Art Gallery no.116

Richard Dennis Collection, Kinghams, 21 June 2021, lot 21

£300-500 99

RUSKIN POTTERY

HIGH-FIRED VASE, 1920s

impressed RUSKIN ENGLAND, flambé and grey glaze, stoneware 20cm high (7 7 8in high)

Provenance: Anthony Cross Collection, Kinghams, 11 June 2021, lot 49

£500-700

RUSKIN POTTERY

HIGH-FIRED VASE, 1916

impressed RUKSIN ENGLAND 1916, oxblood and lavender glaze, stoneware

20.3cm high (8in high)

£400-600

102

100

RUSKIN POTTERY

HIGH-FIRED VASE, 1922

impressed RUSKIN MADE IN ENGLAND 1922, ox-blood glaze, stoneware

20.5cm high (8 1 16in high)

Provenance: Kingham & Orme, 3-6 December 2020, lot 1029

£300-500

RUSKIN POTTERY

HIGH-FIRED VASE, 1925

impressed RUSKIN ENGLAND 1925, flambé glaze, stoneware

23cm high (9in high)

Provenance: ‘Paul Rice Collection’, Adam Partridge, Macclesfield, 30th July 2021, lot 2

£500-700

101

RUSKIN POTTERY

HIGH-FIRED VASE, 1924

impressed RUSKIN ENGLAND 1924, flambé glaze, stoneware

22cm high (8 5⁄8in high)

Provenance: Kinghams, 5 December 2020, lot 1026

£300-500

103

RUSKIN POTTERY

HIGH-FIRED VASE, 1906

impressed RUSKIN POTTERY WEST

SMETHWICK 1906, grey, deep purple and blue streaked glaze, stoneware

18.5cm high (7 ¼in high)

Provenance: Richard Dennis Collection, Kinghams, 2021, lot 28

£1,000-1,500

104

RUSKIN POTTERY

HIGH-FIRED VASE, 1924

impressed RUSKIN ENGLAND 1924, flambé ox-blood and purple glaze, stoneware 27.5cm high (10 7⁄8in high)

Provenance: Kingham & Orme 3-6 December 2020, lot 1022

£800-1,200

105

COMPTON POTTERS’ ART GUILD

‘ST. GEORGE’ FIGURE, CIRCA 1910

impressed seal mark, tempera on plaster, 30.2cm high (12in high); together with a ‘ST GEORGE’ BOOKEND, tempera on plaster, 18cm high, 20.5cm wide (7in high, 8in wide); and a FIGURAL PLAQUE OF ST. GEORGE, impressed seal mark, tempera on plaster, 18cm x 10.7cm (7in x 4 ¼in) (3)

£800-1,200

106

COMPTON POTTERS’ ART GUILD

THREE FIGURAL WALL PLAQUES, CIRCA 1920

each impressed seal mark, moulded as a winged angel, painted in tempera on plaster (3) each 34cm high (13 3⁄8in high)

£800-1,200

108

RUSKIN POTTERY

BOWL AND ASSOCIATED STAND, 1920s

107

RUSKIN POTTERY

HIGH-FIRED TWIN-HANDLED VASE, 1933

impressed RUSKIN ENGLAND 1933, flambé ox-blood and lavender glaze with green speckling, stoneware 23.5cm high (9 ¼in high)

Provenance: Woolley & Wallis, 3 December 2014, lot 169

£700-900

bowl impressed RUSKIN ENGLAND 1924, stand impressed RUSKIN ENGLAND, flambé glaze, stoneware (2)

bowl 11cm high, 21.8cm diameter (4 3 8in high, 8 5⁄8in diameter)

stand 6cm high, 15.2cm diameter (2 3⁄8in high, 6in diameter)

£500-700

109

ERIC GILL (BRITISH 1882-1940)

STUDY FOR STONE RELIEF WALL DECORATION AT 202-4 SLOANE STREET, 1939

initialled, dated and inscribed by the artist, pencil on paper 29cm x 38cm (11in x 15in)

Literature: Collins J. Eric Gill: The Sculpture: A Catalogue Raisonné, Herbert Press, London, 1998, p. 220

£500-800

110

ERIC GILL (BRITISH 1882-1940)

‘PRICKLY LEAVES’ AND ‘LEAVES WITH FLOWER AT TOP’ FROM TROILUS AND CRISEYDE, 1927

signed and numbered by the artist in pencil 9/10, woodcut on India paper 22.2cm x 13.2cm (8 ¾in x 5 ¼in)

Literature: Skelton C. The Engravings of Eric Gill, Wellingborough, 1983, pp. 464 & 465.

These woodcuts were created for the Golden Cockerel Press edition of Troilus and Criseyde, published in 1927.

£300-500

111

RUSKIN POTTERY

FIVE VASES, EARLY 20TH CENTURY each with impressed factory marks, to include; a LARGE LUSTRE VASE, dated 1924, 25.3cm high (10in high); a SHOULDERED VASE, with floral decoration, dated 1906, 19.6cm high (7¾in high); a BLUE LUSTRE VASE, circa 1920, 15.7cm high (6¼in) high; a PINK LUSTRE VASE, dated 1922, 16cm high (6¼in high); a BALUSTER VASE, dated 1906, 14.5cm high (5¾in high), lustre-glazed stoneware (5)

£400-600

112 ENGLISH, MANNER OF KATE EADIE

ARTS & CRAFTS ENAMEL ROUNDEL, CIRCA 1910

enamel on copper, framed

12cm diameter including frame (4 ¾in diameter including frame)

£400-600

114

RUSKIN POTTERY

HIGH-FIRED BALUSTER VASE, 1906

113 NEWCASTLE HANDICRAFTS COMPANY

CACHE POT, 1906

stamped maker’s mark, hallmarked for Birmingham 1906, silver and enamel, inscribed Quo Fata Vocant

12cm high, 19cm wide (4 ¾in high, 7 ½in wide)

The Handicrafts Company of Newcastle was born out of the Art Department of The Durham College of Science, Newcastle upon Tyne whose Art Committee responded to the question as to ‘whether or not designers needed practical experience of the materials for which they were designing.’ Charles William Mitchell succeeded his father Dr Charles Mitchell as Chairman of the Art Committee in 1896. Please see the online catalogue for more information.

£600-800

impressed RUSKIN POTTERY WEST SMETHWICK 1906, lavender glaze, stoneware 18cm high (7 1⁄16in high)

£400-600

115

RUSKIN POTTERY

THREE VASES, CIRCA 1920 each stamped with manufacturer’s marks, the taller green vase stamped 1922, glazed earthenware (3) 28cm high, 24cm high and 24cm high (11in high, 9 ½in high and 9 ½in high)

Provenance: The taller green vase ExW. Howson Taylor Collection.

£300-500

Godfrey Blount and Haslemere Peasant Industries: A Legacy of Art and Social Reform

Godfrey Blount was deeply influenced by the ideals of William Morris, John Ruskin, and the Arts & Crafts movement, which were central to his vision of a return to a simpler, more traditional way of life. This vision was not only shaped by his aesthetic preferences but also by his strong religious convictions, driving him to integrate art, craftsmanship, and philanthropy into a coherent philosophy. Blount’s creative output spanned various mediums, but his most enduring legacy remains the establishment of the Haslemere Peasant Industries, a unique community initiative that championed rural craftsmanship and social responsibility.

The works of art presented in Makers and Creators illustrate both Blount’s formal training and his life philosophy. Blount was educated under the tutelage of Hubert von Herkomer, a renowned artist whose works often depicted the lives of the working class with realism and empathy. Herkomer’s commitment to representing the daily struggles of the poor may have influenced Blount’s own shift in perspective, moving away from his upper-class education at public schools and Oxford towards a life among the rural poor. This background, combined with Blount’s spiritual outlook, led him to embrace the Arts & Crafts movement’s rejection of industrialization in favour of manual labour and handcrafts. The allegorical works produced by Blount, featuring intertwined human and animal forms surrounded by intricately detailed foliage, evoke the medieval tradition of illuminated manuscripts, but with a pastoral twist. While medieval manuscripts often depicted religious and moral allegories of heaven and hell, Blount’s works placed these themes in a more bucolic, idealized rural setting, in line with his vision of a harmonious, simple life.

Blount’s formal artistic training extended beyond Herkomer’s influence. He also attended the prestigious Slade School of Art in London, where he honed his skills in life drawing. The focus on sketching from life is evident in Blount’s rendering of the male form in Male Nudes in an Arcadian Landscape, where his figures reflect the classical tradition of studying the human body. The poses in this piece are likely inspired by the lifedrawing sessions at the Slade, a school known for its rigorous academic approach to figure drawing.

In 1896, Blount and his wife, Ethel, moved to the Surrey village of Haslemere, a pivotal moment in his life and career. By 1897,

the couple had become founding figures in the Haslemere Peasant Industries, a cooperative of local artisans dedicated to preserving traditional crafts. This community-based initiative rejected the mechanized, mass-production methods of the Industrial Revolution, instead focusing on handmade, rural craftsmanship. The Industries’ mission was not primarily profitdriven; rather, it sought to provide both employment and a meaningful, educational outlet for the local population. The workshops operated under the Haslemere Peasant Industries umbrella employed local craftspeople, and the organization even maintained a small shop in London to showcase its work. Their creations were highly regarded for their quality, and three stunning embroidery hangings produced by the group are now housed in the Victoria and Albert Museum, demonstrating the lasting impact of Blount’s vision.

Blount was also a prolific writer and publisher. In 1899, he released Arbor Vitae, a design manual that became one of his most influential works. The manual encapsulated his belief in the value of beauty, craftsmanship, and moral integrity in art. During the First World War, Blount’s printing press served as a means for him to distribute not only pamphlets but also decorative items such as greeting cards and commemorative plates, all of which carried his trademark values of simplicity and social conscience. His work as a publisher and his continued support for traditional arts was a reflection of his deep commitment to both aesthetic and social reform.

Even in his later years, Blount remained steadfast in his mission. In 1927, he founded the Supernatural Society, an organization designed to counter the growing materialism of the time. Drawing on Christian principles, the society sought to promote a return to simplicity and spiritual values as antidotes to the industrialized world’s emphasis on consumption and wealth. The Supernatural Society, much like the Haslemere Peasant Industries, was another manifestation of Blount’s desire to build a community rooted in beauty, faith, and a respect for traditional values.

Blount’s enduring influence can be seen in his art, his community initiatives, and his philosophical commitment to the Arts & Crafts ideals. His legacy as a social reformer, artist, and philanthropist remains a testament to the power of art to shape both individual lives and broader cultural movements.

116

GODFREY BLOUNT (BRITISH 1859-1937)

EIGHT ILLUSTRATED ALLEGORICAL VERSES

watercolour, gouache and ink (2) each 12.5cm x 8.7cm (4 7 8in x 3 3⁄8in), all under two mounts

Provenance: Kathleen Hyacinthe Dale (1898-1983); by descent to her daughter, Mary Willcock; thence to her grandchildren With H. Blairman & Son, London

£2,000-3,000

Left: Photograph taken in Hugo Burge’s apartment, Marchmont House, Berwickshire

117

GODFREY BLOUNT (BRITISH 1859-1937)

TWO STUDIES OF ALLEGORICAL THEMES

gouache on paper (2) each 29.5cm x 13.5cm (11 5⁄8in x 5 ¼in)

Provenance: Kathleen Hyacinthe Dale (1898-1983); by descent to her daughter, Mary Willcock; thence to her grandchildren With H. Blairman & Son, London

£500-800

118

GODFREY BLOUNT (BRITISH 1859-1937)

OUR DAILY BREAD

A song with pictures. London: The Peasant Arts Society, [n.d.] 4to, “wrappers” and 5 hand-coloured loose pictorial leaves, original blue cloth case, ties lacking; Idem. The Song of the Sower. London: The Peasant Arts Society, [n.d.] 4to, “wrappers”and 9 uncoloured loose pictorial leaves, original green cloth case, ties lacking; Idem. Arbor Vitae. London: J.M. Dent & Co., 1899. 4to, original green cloth gilt (3)

Provenance: Kathleen Hyacinthe Dale (1898-1983); by descent to her daughter, Mary Willcock; thence to her grandchildren With H. Blairman & Son, London

£250-300

120

119

GODFREY BLOUNT (BRITISH 1859-1937)

MALE NUDES IN AN ARCADIAN LANDSCAPE

watercolour, gouache and ink on paper 8cm x 22.2cm (3 1⁄8in x 8 ¾in)

Provenance: Kathleen Hyacinthe Dale (1898-1983); by descent to her daughter, Mary Willcock; thence to her grandchildren With H. Blairman & Son, London

£600-800

JOHN DUNCAN R.S.A, R.S.W. (SCOTTISH 1866-1945)

ST. MICHAEL AND THE DEVIL signed and dated ‘87 lower left, watercolour grisaille on paper 34cm x 22cm (13 ½in x 8 ½in)

Provenance: Lyon & Turnbull, Edinburgh, Superior Modern Furnishings, 20 January 1996, lot 52

£600-800

Furniture designs for Deanery Garden, Sonning, Berkshire (detail).

Credit: RIBA Collections

Sir Edwin Lutyens is renowned for his architectural achievements, including Castle Drogo, Little Thakeham, and Campion Hall, as well as his role in designing war memorials for the Imperial War Graves Commission and planning New Delhi. Yet his influence extended to furniture design, where he applied the same meticulous attention to detail and craftsmanship that defined his architectural work.

Growing up in the Surrey countryside, Lutyens developed a keen interest in architecture from a young age, spending his childhood sketching buildings and honing his drawing skills. Although illness kept him from public school, his early immersion in construction influenced his later career. By the age of twenty, he had established his own practice in London, combining his architectural knowledge with an intuitive understanding of proportions and spatial relationships that would later shape his furniture designs.

Lutyens’ furniture is noted for its eclecticism, drawing inspiration from historical styles but always adapting them in his own distinctive way. While he drew from historical references, he never replicated designs verbatim; instead, he adapted and subtly altered proportions and details to suit his own vision. For example, Lutyens had a particular aversion to “dead proportions,” often opting for slight adjustments to standard measurements—either slightly more or less than a half or quarter proportion.

The side table offered here was conceived as part of the interior scheme for Deanery Garden in Sonning, Berkshire, a ‘quintessential’ Lutyens property built 1899-1901. The illustrated scale plans of the furniture include annotations naming Edward Hudson, editor of Country Life and Lutyens’ good friend, for whom he designed Deanery Garden. Also mentioned is ‘Skull’, referencing the furniture workshop Walter Skull and Sons Ltd in High Wycombe, commissioned to complete the piece. The design for the set of ladderback chairs after Lutyens offered here is also featured on this sheet.

The table’s frieze and drop handles echo 17th and 18th century furniture, influenced by Lutyens’ “furniture hunting” with Edward Hudson at Lindisfarne Castle. The bulbous legs, reminiscent of 16th-century refectory tables, are executed with a lighter touch, while the delicately arched stretchers at the base blend 17th-century elements with the Arts & Crafts style, seen also in the work of Sir Robert Lorimer. These adaptations showcase Lutyens’ skill in merging historical references with his modern sensibility and his ability to work closely with craftsmen like Skull allowed him to create furniture that was both aesthetically refined and technically sophisticated.

SIR EDWIN LUTYENS (BRITISH 1869-1944)

SIDE TABLE, 1902

oak, with brass fittings, made by William Skull & Son Ltd., High Wycombe

81cm high, 124cm wide, 48.5cm deep (32in high, 48 ¾in wide, 19 ¼in deep)

Provenance: Edward Hudson, Deanery Garden, Berkshire With John Ashton Beer

£10,000-15,000

HOWE, LONDON, AFTER SIR EDWIN LUTYENS

SET OF SIX LADDERBACK CHAIRS, CONTEMPORARY oak and oak ply, with rush seats, each stamped to leg

548/ SW1/ HOWE (6)

98cm high, 51.5cm wide, 48cm deep (38 ½in high, 20 ¼in wide, 19in deep)

£1,000-1,500

Photograph taken in the Hugo Burge Foundation Marchmont Workshop on the Marchmont Estate, Berwickshire

Right:

JOHN GUTHRIE SPENCE

SMITH (SCOTTISH 1880-1951)

NORTH END OF IONA

signed lower left, oil on board

29cm x 39cm (11 ½in x 15 ¼in)

Provenance: The Fleming-Wyfold Art Foundation, London

£1,000-1,500

Photograph taken in Gary Anderson’s studio in the Hugo Burge Foundation Creative Spaces on the Marchmont Estate, Berwickshire

124

SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E. (SCOTTISH 1865-1945)

THE HIGHLANDS

signed lower right, watercolour on paper 10cm x 18cm (4in x 7in)

Provenance: Christie’s South Kensington, The Neil Wilson Collection: A Romantic Vision, 4 September 2014, lot 140 Beaumont Nathan, London

£300-500

125

SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E. (SCOTTISH 1865-1945) SLIOCH

signed with initials and inscribed with title lower right, pencil and graphite on paper

12.5cm x 29cm (5in x 11 ½in)

Provenance: T. & R. Annan & Sons Ltd, Glasgow Lyon & Turnbull, Edinburgh, The Contents of Kirkton House, 10 October 2018, lot 362

Exhibited: Scottish Arts Club, Edinburgh, 1968

£300-500

126

SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E. (SCOTTISH 1865-1945)

DUMYAT, PERTHSHIRE

signed lower right, conté and charcoal on paper 23cm x 30cm (9in x 11 ¾in)

Provenance: Duncan R. Miller Fine Arts, London

£300-500

Photograph taken in The Tower, part of the Hugo Burge Foundation Creative Spaces on the Marchmont Estate, Berwickshire

127 §

ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965)

ST MONANS, FIFE, 1952

signed lower right, watercolour, gouache and pastel on paper

50cm x 62.5cm (19 ¾in x 24 ½in)

Provenance: Mercury Gallery, London (1981) Bonhams, Edinburgh, The Scottish Sale, 26 April 2017, lot 54

Exhibited: The Scottish Gallery, Edinburgh, Modern Masters VII, 2-23 December 2017

£4,000-6,000

128 §

AMANDA ADAM (SCOTTISH CONTEMPORARY) ISLANDS OF THE NORTH

signed lower right, mixed media on paper

58.5cm x 56cm (23in x 22in)

£300-500

129 §

GARY ANDERSON (SCOTTISH B.1968)

POLWARTH KIRK

signed and dated ‘21 lower left, oil on board

84cm x 121cm (33in x 47 ½in)

Provenance: Commissioned from the Artist by Hugo Burge

£800-1,200

130 §

GARY ANDERSON (SCOTTISH B.1968) NEAR HUME

signed and dated ‘21 lower right, oil on board

47cm x 40cm (18 ½in x 15 ¾in)

Provenance: Acquired from the Artist by Hugo Burge

£500-700

131 §

GARY ANDERSON (SCOTTISH B.1968) DOOCOT, FROM THE OTHER PIER

signed lower right, oil on board

61cm x 122cm (24in x 48in)

Provenance: Acquired from the Artist by Hugo Burge

£600-800

Photograph of Gary Anderson’s palette taken in his studio in the Hugo Burge Foundation Creative Spaces on the Marchmont Estate, Berwickshire

132 §

ROSS RYAN (SCOTTISH B.1974) SKYE ROAD TO CUILLINS

signed lower right, pastel and charcoal on paper

29cm x 41cm (11 ½in x 16 ¼in)

Exhibited: The Scottish Gallery, Edinburgh, Ross Ryan - The Logbook - A Solo Winter Voyage, 2 May - 2 June 2018

£300-500

133 §

ROSS RYAN (SCOTTISH B.1974)

LOOKING NORTH TO PORT BAN, IONA

signed lower right, pastel on wood, with sketch of fishing village verso

60cm x 115cm (23 ½in x 45 ¼in)

Provenance: The Scottish Gallery, Edinburgh

£600-800

134 §

ANNA KING (SCOTTISH B.1984) ROADS DEPOT

signed with initials, inscribed with title and dated ‘2016’ to stretcher verso, oil and pencil on board

50cm x 150cm (19 ¾in x 59in) (unframed)

Provenance: Wall Projects, Montrose from whom acquired by Hugo Burge Exhibited: Wall Projects, Montrose, Anna King, 2015

The artist has explained that this work is a painting of Ballater in Royal Deeside in the Cairngorms National Park.

£800-1,200

135 §

ROSS RYAN (SCOTTISH B.1974) SGARBH ROUNDING CANNA

signed lower right, oil and pastel on board

34.5cm x 47cm (13 ½in x 18 ½in)

Provenance: The Scottish Gallery, Edinburgh, May 2018

£300-500

136

ENGLISH, REGENCY PERIOD

PAIR OF TORCHÈRES, EARLY 19TH CENTURY

patinated brass (2)

124cm high, 19cm wide at the top (48 ¾in high, 7 ½in wide)

£600-800

137

ENGLISH, MIDVICTORIAN PERIOD

SNAP-TOP OCCASIONAL

TABLE, CIRCA 1860

oak, with brass fittings and casters, the inset top with polychrome and gilt painted decoration, centred with a monogram AM

76cm high, 70.5cm diameter

(30in high, 28in diameter)

Provenance: James GrahamStewart, London

£600-800

138

MANNER OF GEORGE SMITH REGENCY CELLARETTE, CIRCA 1820

mahogany, stained and carved beech and ebony inlay, with brass lion mask handles and removable lead lined interior

38cm high, 58cm wide, 35cm deep (15in high, 23in wide, 13 ¾in deep)

£600-800

FRENCH

PAIR OF NEO-CLASSICAL CAMPANA URNS, EARLY 19TH CENTURY

bronze, rouge griotte marble, ormolu (2)

44.5cm high, 23.5cm diameter

(17 ½in high, 9 ¼in diameter)

£1,500-2,500

Photograph taken in Hugo Burge’s apartment, Marchmont House, Berwickshire

141

140

WEDGWOOD

TWO BUSTS OF WILLIAM SHAKESPEARE AND JOHN MILTON, 19TH CENTURY

Shakespeare impressed WEDGWOOD and WUS, Milton impressed MILTON and E.W. WYON F., on socle bases, basalt stoneware (2)

34cm and 33cm high (13 ¼in and 13in high)

£600-800

ENGLISH, REGENCY PERIOD

ÉTAGÈRE, CIRCA 1830

mahogany, with horn handles and mother-of-pearl inlay

132cm high, 40cm wide, 39cm deep (52in high, 15 ¾in wide, 15 ½in deep)

£400-600

142

ENGLISH, LATE

VICTORIAN PERIOD

ADJUSTABLE GOUT

STOOL, CIRCA 1890

beech, with upholstered seat

144

42cm high, 40cm wide, 57cm deep (16 ½in high, 15 ¾in wide, 22 ½in deep)

£300-500

143

ENGLISH, REGENCY PERIOD

LIBRARY ÉTAGÈRE, CIRCA 1820

mahogany, with tooled leather writing surface and adjustable ratchet top

76cm high, 68.5cm wide, 30cm deep (30in high, 27in wide, 15 ¾in deep)

£600-800

ENGLISH, EARLY GEORGIAN PERIOD

OVAL CISTERN, EARLY 18TH CENTURY

patinated brass

23cm high, 62cm wide (across handles) (9in high, 24 ½in wide)

£400-600

ENGLISH, REGENCY PERIOD

PAIR OF URNS, EARLY 19TH CENTURY the integral covers with ball finials, Blue John feldspar and Ashford marble, raised on black marble plinths (2)

20cm high, 8cm diameter (7 ¾in high, 3in diameter)

£2,000-3,000

148

NORTHWEST PERSIAN

RUNNER, LATE 19TH/EARLY 20TH CENTURY

the indigo field with allover boteh pattern, within abrash red border, wool

363cm x 103cm (143in x 40 ½in)

£250-350

146

ENGLISH, LATE VICTORIAN PERIOD

METAMORPHIC READING TABLE, CIRCA 1880

with ratchet adjusted rising mechanism, original leather writing surface and adjustable hinged top, oak, leather 112.5cm high (fully extended), 81cm wide, 49.5cm deep (44 ½in high, 32in wide, 19 ½in deep)

£500-700

147

ENGLISH, EARLY VICTORIAN PERIOD

LARGE LIBRARY TABLE, CIRCA 1840

oak, with inset tooled leather top

73cm high, 167cm wide, 118.5cm deep (28 ¾in high, 65 ¾in wide, 46 ¾in deep)

£3,000-5,000

149

WALTER LATHAM & SON, SHEFFIELD PAIR OF EDWARDIAN CANDLESTICKS, 1903

stamped maker’s marks, hallmarked Sheffield 1903, (loaded), silver (2)

22.5cm high (8 ¾in high)

£250-400

150 SCOTTISH ARTS & CRAFTS WALL MIRROR, CIRCA 1900 oak, with bevelled mirror plate 91cm x 78cm (35 ¾in x 30 ¾in)

£200-300

151

19TH-CENTURY ITALIAN SCHOOL CUPID

oil on canvas

53cm x 72cm (21in x 28 ½in)

£300-500

152

19TH-CENTURY ITALIAN SCHOOL, AFTER CARLO DOLCI ANGEL OF THE ANNUNCIATION

oil on canvas, framed as an oval 72cm x 52cm (28 ¼in x 20 ½in)

£1,000-1,500

153

CONTINENTAL SCHOOL

FIGURE OF A PUTTO, 19TH CENTURY with turned socle base, linden wood

34cm high (13 ½in high)

£300-500

154

ITALIAN SCHOOL

ALLEGORICAL FIGURE OF FLORA, LATE 19TH CENTURY

unsigned, white marble

81cm high (31 ¾in high)

£300-500

155

FRENCH SCHOOL

FIGURAL INKWELL, EARLY 19TH CENTURY

the domed cover surmounted with the figure of Cupid, on a lobed circular body with lions’ masks, bronze, with rouge marble base, on an associated brecce pernice and white marble pedestal plinth (2) inkwell 17cm high (6 ¾in high); pedestal 9.5cm high (3 ¾in high)

£300-500

156

ENGLISH, GEORGE III PERIOD

GROUP OF SEVEN TREEN COASTERS, 18TH CENTURY AND LATER

various sizes and rim details, some with baize lined bases (7)

Largest 18cm diameter (7in diameter); smallest 15.5cm diameter (6in diameter)

£300-500

157

ENGLISH, WILLIAM AND MARY PERIOD

CHEST-ON-STAND, LATE 17TH CENTURY

oak, with later brass fittings

58cm high, 103cm wide, 57cm deep

(62 ¼in high, 40 ½in wide, 22 ½in deep)

£1,000-1,500

158

ENGLISH, GEORGE II PERIOD

DOWRY CHEST, CIRCA 1750

mahogany, with brass fittings

94cm high, 160cm wide, 64cm deep (37in high, 63in wide, 25 ¼in deep)

£400-600

159

OLIVER CLARE (BRITISH 1853-1927)

STILL LIFE OF GRAPES AND GOOSEBERRIES

signed lower right, oil on canvas, 17cm x 22cm (6 ¾in x 18 ½in); and another by the same hand, STILL LIFE WITH PLUMS, a pair (2)

£500-700

160

GEORGE III PERIOD

TREEN EGG CUP STAND, LATE 18TH/ EARLY 19TH CENTURY

with six egg cups and a stand with a central stem handle 29cm high (11 ½in high)

£150-250

161

ENGLISH, WILLIAM AND MARY PERIOD CHEST-ON-STAND, LATE 17TH CENTURY oak, with brass fittings

175cm high, 116.5cm wide, 62cm deep

(69in high, 46in wide, 24 ½in deep)

£1,000-1,500

162 ANGLO-COLONIAL

PAIR OF PLANTERS CHAIRS, LATE 19TH CENTURY

teak, with caned seats (2)

91cm high, 61cm wide, 109cm deep (36in high, 24in wide, 43in deep)

£800-1,200

163

BREVETE S.G.D.G., FRANCE

BAR BILLIARDS TABLE, CIRCA 1920

oak and beech, with baize playing surface, comes with three cues and seven white and one red billiard balls, three skittles, maker’s label inscribed BREVETE S.G.D.G., FRANCE, LICENSE

A. BASILE, 91cm high, 94.5cm wide, 184 long (36in high, 37 ¼ wide, 72 ½in long); together with a SCORE BOARD, brass and mahogany, 20cm high, 82cm wide (8in high, 32 ¼ wide)

£400-600

164

ENGLISH SIDE TABLE, 19TH CENTURY

pine and painted pine, with single drawer

75cm high, 101cm wide, 62.5cm deep (29 ½in high, 39 ¾in wide, 24 ½in deep)

£300-500

165

ENGLISH

FREE-STANDING BUTCHER’S BLOCK, CIRCA 1920

pine, the drawers with stained beech handles, the feet with iron straps

86cm high, 147cm wide, 84.5cm deep

(33 ¾in high, 57 ¾in wide, 33 ¼in deep)

£1,000-1,500

166

SCOTTISH ESTATE-MADE LOG BOX, CONTEMPORARY

oak, with iron bound rim

44cm high, 65.5cm square (17 ¼in high, 25 ¾in square)

£500-700

Photograph taken in The Glasshouses, part of the Hugo Burge Foundation

Creative Spaces on the Marchmont Estate, Berwickshire

168

JAPANESE ARITA, EDO PERIOD

LARGE PAIR OF BLUE AND WHITE VASES AND COVERS 江戶有田燒鳳凰傳花紋帶蓋大瓶（一對） of nine-section form, painted with phoenixes and flowers in cartouches reserved on scrolling flowers and foliage ground, painted and glazed earthenware (2) each 93.5cm high (36¾in high)

£800-1,200

167

JAPANESE IMARI, EDO PERIOD

LARGE PAIR OF OCTAGONAL VASES WITH COVERS 江戶伊萬里燒花鳥紋六方帶蓋大瓶（一對） painted with birds and jardinière issuing flowering trees, painted and glazed earthenware (2) each 84cm high (33in high) £1,000-1,500

The Allure of Imari Porcelain

Imari porcelain, originating from Japan, gained immense popularity in 19th-century Europe, admired for its vibrant colours and intricate designs. These hand-painted ceramics featured a distinctive palette of vivid red, cobalt blue, and gold, with motifs such as floral patterns, phoenixes, and Eastern landscapes. Synonymous with opulence and refined taste, Imari wares became a hallmark of Victorian interiors.

During the Victorian era, British families, inspired by imperialism and global artistry, eagerly displayed Imari pieces in their homes. These ceramics, known for their bold contrasts and ornate designs, complemented the era’s penchant for lavish decoration. Large Imari vases often served as dramatic focal points on mantelpieces or in dining and drawing rooms, symbolizing wealth and cultural sophistication.

Imari porcelain is named after the port of Imari in Kyushu, Japan, from where it was exported during the Edo period (1603–1868).

Initially intended for domestic use, it gained international recognition when Dutch traders introduced it to Europe in the 17th century. The unique styles from Arita kilns, where the pieces were crafted, captivated European audiences and inspired imitations like Delftware in the Netherlands and English ceramics.

Hugo Burge continued the tradition of appreciating Asian art by featuring Japanese Imari wares in his final project at Marchmont House. These pieces were integrated into the Glasshouses, an elegant dining and gathering space adjoining the restored walled garden where objects of Japanese craftsmanship were on display. Hugo also created a Japanese garden complete with an elaborate waterfall and Torii Gate, further reflecting his admiration for Japanese culture.

169

JAPANESE IMARI, MEIJI PERIOD

MASSIVE PAIR OF VASES

明治大型伊萬里燒人物紋對瓶 of baluster form, painted with figures in the main and side cartouches, painted and glazed earthenware (2) each 92cm high (36 ¼in high)

£1,000-1,500

170

JAPANESE IMARI, MEIJI PERIOD

MASSIVE PAIR OF VASES WITH COVERS

明治大型伊萬里燒花鳥紋帶蓋對瓶 of baluster form with pierced faceted finials and moulded tassel handles, painted and glazed earthenware (2) each 113.5cm high (40 ¾in high)

£1,000-1,500

171

JAPANESE IMARI, MEIJI PERIOD

MONUMENTAL PAIR OF BALUSTER VASES AND COVERS

明治大型伊萬里燒人物紋帶蓋對瓶

painted and gilt with panels of figures in gardens, with dragons and phoenixes, painted and glazed earthenware (2)

each 123.5cm high (48 ½in high)

£1,000-1,500

172

JAPANESE IMARI, EDO PERIOD

LARGE VASE

江戶伊萬里燒花卉紋瓶

of baluster form, painted with flowers, painted and glazed earthenware, on carved wooden stand

53cm high (20 ¾in high)

£400-600

173

JAPANESE IMARI, MEIJI PERIOD MONUMENTAL VASE

明治‘肥前有田崎製’款大型伊萬里燒人物花鳥紋花口瓶

painted with figures, birds and flowers, frilled rim, the base inscribed ‘Hizen Arita Fujisaki sei’, painted and glazed earthenware

127cm high (50 in high)

£1,000-1,500

175

JAPANESE IMARI, MEIJI PERIOD

LARGE PAIR OF BALUSTER VASES AND COVERS

明治伊萬里燒人物紋帶蓋大瓶（一對） each painted with figures in panels, shishi as finials, the base painted with archaic vessel mark in iron red, on carved wooden stands, painted and glazed earthenware (2)

each 71cm high (28in high)

£1,000-1,500

174

JAPANESE IMARI, MEIJI PERIOD MASSIVE VASE

明治伊萬里燒萬里花鳥紋瓶

decorated with birds and flowers in four cartouches, painted and glazed earthenware

100cm high (39 ½in high)

£1,000-1,500

176

JAPANESE IMARI, EDO PERIOD

FLUTED BALUSTER VASE AND COVER

江戶伊萬里燒花卉紋蓋罐

painted with jardinière issuing flowering trees, painted and glazed earthenware

50cm high (19¾in high)

£400-600

177

JAPANESE, EDO PERIOD

MAGARI YARI OR THREE-PRONGED SPEAR

江戶曲槍

mounted on long pole decorated with scrolling tendrils and sixteen-petalled chrysanthemum mon, in gold lacquer hiramaki-e on the black roiro ground 209cm long (82 ½in long)

£300-500

178

JAPANESE, MEIJI PERIOD TWO JARDINIÈRE STANDS

明治黑朱漆彩繪描金座（共兩件）

comprising: a rectangular stand raised on four curved feet, decorated to the sides with sampams and birds; and an oval stand decorated with leaves, raised on four feet above stretchers, lacquered wood (2)

21cm high, 47cm wide, 33cm deep (8 ¼in high, 18 ½in wide, 13in deep);

24.5cm high, 29.5cm wide, 25cm deep (9 ¾in high, 11 ½in wide, 9 ¾in deep)

£400-600

JAPANESE, EDO OR MEIJI PERIOD

FINE AND RARE SQUARE-SECTION KORO, MYOCHIN MARK

明珍紀宗不動明王圖金工方爐 of rectangular form, decorated with Fudo Myoo and two attendants Kongara and Seitaka, the opposite with a large shishi clambering upon a rock, two other sides each with a long-tailed bird in flight holding a knotted cord in its beak, and a large chrysanthemum flower underneath, the cover decorated with geometric patterns and shaped apertures for the smoke to escape, the underside of the lid with a cut-out design of a similar bird, all raised on four legs shaped as archaistic monsters, inscribed Myochin ki Munenori beside Fudo Myoo to the front, inlaid iron

34.5cm wide (13 ½in wide)

£4,000-6,000

180

JAPANESE, EDO PERIOD LARGE TWIN-HANDLED CENSER OR KORO WITH COVER 江戶銅鑄人物紋八方香爐 each panel decorated with figures engaging in scholarly activities, pieced cover, the base cast with Xuande mark, bronze 35.3cm wide (13 ¾in wide)

£400-600

181 JAPANESE

TWO BUDDHIST KEISU OR TEMPLE GONGS WITH STANDS ‘正德寺’及‘法翠山本能寺’款大磬帶木座（共兩件）

both of circular bowl form with hammered finish, both mouth rims incised with temple marks, bronze, one supported on a red lacquer wood stand and the other on black crossed wooden stand (2)

46cm and 47cm diameter (18in and 18 ½in diameter)

£400-600

182

ŌSHIMA JOUN (JAPANESE 1858-1940)

OKIMONO OF A CARP

大島如雲鑄銅金象嵌鯉魚置物

finely cast as a swimming carp, the lower fins supporting the okimono, the scales and fins incised, the eyes with gilt-rimmed pupils, the mouth slightly agape with elegantly curved barbels, the underside with the seal-form signature Joun within an oval reserve, bronze

25.5cm wide (10in wide)

£800-1,200

183

JAPANESE, EDO PERIOD

LARGE NEGORO-TYPE SAKE (KATAGUCHI) DECANTER

江戶根来(朱漆塗)片口銚子

the one-spouted sake bowl with grooved exterior, interior and base covered in black lacquer, exterior with red

26.7cm wide (10 ½in wide)

A comparable Negoro spouted bowl, kataguchi, Edo period, is in the Saint Louis Art Museum, object number 1690:1983.

£400-600

184

JAPANESE, MEIJI PERIOD

THREE BRONZE VASES

明治銅鑄花鳥及花卉紋瓶（共三件）

comprising: a bottle vase decorated with birds and flowers, a twin-handle on the neck; a slender lobed vase with birds and flowers in mid relief; and a cylindrical pierced beaker vase with inner lining (3)

51cm, 50cm, 42cm high (20 ¼in, 19 ½in, 16 ½in high)

£400-600

186

ENGLISH

PAIR OF GARDEN FINIALS, 20TH CENTURY

moulded composition (2)

50cm high, 24cm wide at base (19 ¾in high, 9in wide)

£300-500

185

ENGLISH, AESTHETIC MOVEMENT

PAIR OF WALL ROUNDELS, CIRCA 1890 moulded terracotta (2)

45.5cm diameter, 17cm deep (17 ¾in diameter, 6 ¾in deep)

£300-500

187

ENGLISH

PAIR OF GARDEN URNS AND COVERS, 20TH CENTURY

moulded terracotta (2)

83cm high, 37cm wide (34in high, 14 ½in wide)

£400-600

ANGRAVE’S, THURMASTON, LEICESTER

SET OF ‘TERRACE’ GARDEN FURNITURE, CIRCA 1930 bamboo and cane, with later upholstered cushions, to include; four armchairs, each bears maker’s label, 108cm high, 56cm wide, 46cm deep (48 ½in high, 22in wide, 18 ¼in deep) and a circular centre table, 70cm high, 76cm diameter (26 ½in high, 30in diameter)

£800-1,200

189

ATTRIBUTED TO SIR NINIAN COMPER (BRITISH 1864-1960)

GEORGE VI FRAMED DAMASK PANEL, OF ROYAL INTEREST, DATED 1937 with an engraved plaque to the giltwood frame DAMASK USED IN WESTMINSTER ABBEY AT THE CORONATION OF KING GEORGE VI MAY 1937, blue and gold silks

33.5cm x 96cm (13in x 37 ¾in)

Provenance: Lyon & Turnbull, Edinburgh ‘The Contents of Kirkton House’, 10 October 2018, lot 2 £400-600

190

ENGLISH, GOTHIC REVIVAL

LECTERN, CIRCA 1880 brass

138cm high, 53cm wide, 40cm deep (54 ¼in high, 20 ¾in wide, 15 ¾in deep)

£600-800

191

ENGLISH, GOTHIC REVIVAL

ALTAR TABLE, CIRCA 1890 stained oak

85cm high, 125cm wide, 74cm deep (33 ½in high, 49 ¼in wide, 29 ¼in deep)

£400-600

194

ENGLISH, GOTHIC REVIVAL

PEDESTAL, CIRCA 1900

oak

193

192

ENGLISH, GOTHIC REVIVAL

PAIR OF PRICKET CANDLESTICKS, CIRCA 1900

oak, with gilt highlighting and with painted red metal trays, 56.5cm and 57.5cm high (22 ¼in and 22 ⅓in high); together with a further PAIR OF CANDLESTICKS, oak and steel, each 30cm high (11 ¾in high) (4)

£400-600

ENGLISH, GOTHIC REVIVAL

PAIR OF FIRE DOGS, CIRCA 1870

cast and wrought iron (2)

53cm high, 28cm wide, 51cm deep (21in high, 11in wide, 20¼in deep)

£300-500

104cm high, 35cm wide (41in high, 13¾in wide)

£300-500

195

ENGLISH, GOTHIC REVIVAL

PAIR OF PEDESTALS, CIRCA 1890

pine (2)

123cm high, 64cm wide (48in high, 25in wide)

£600-800

197

196

ENGLISH, GOTHIC REVIVAL

PAIR OF ALTAR CANDLESTICKS, CIRCA 1880 with castellated drip pans above stems centred by panels bearing initials IHS, mirrored on the reverse, on circular bases raised on paw feet (2)

60.5cm high (23 ¾in high)

£800-1,200

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

PAIR OF COLUMNS FOR THE PALACE OF WESTMINSTER, CIRCA 1850

oak, with carved decoration and later stained pine bases (2)

136cm high, top surface 12.7cm wide, base 38cm wide (53 ½in high, top surface 5in wide, base 15in wide)

Literature: Riding C. & J., The Houses of Parliament: History Art Architecture, London, 2000, p.261, for comparable features in the Prince’s Chamber, House of Lords.

The Fine Art Society, Architect-Designers from Pugin to Voysey: The John Scott Collection, 2015, no. 41 for a comparable pair of columns.

Some of these decorative columns had air circulation holes and formed part of the ventilation system at Westminster.

£300-500

198

ENGLISH, GOTHIC REVIVAL PEDESTAL, CIRCA 1890

oak

111cm high, 47.5cm wide (43 ¾in high, 18 ¾in wide)

£600-800

199

ENGLISH, GOTHIC REVIVAL

PAIR OF PEDESTALS, CIRCA 1890 ash (2)

91cm high, 46cm wide, 30.5cm deep (36in high, 18in wide, 15in deep)

£600-800

201

ENGLISH, GOTHIC REVIVAL

SIDE TABLE, CIRCA 1890

painted pine

76cm high, 107cm wide, 48cm deep

(29 ¾in high, 42in wide,18 ¾in deep)

£300-500

200

ENGLISH, GOTHIC REVIVAL

PAIR OF HALL CHAIRS, CIRCA 1890 oak, with later limed finish (2)

94cm high, 46cm wide, 40cm deep

(37in high, 18in wide, 15 ¾in deep)

£200-300

202

COALBROOKDALE IRONWORK COMPANY

GOTHIC REVIVAL STICK STAND, CIRCA 1880

cast iron, with later removable tole ware drip tray

60cm high, 59cm wide, 34cm deep (23 ¾in high, 23in wide, 13 ½in deep)

£400-600

203

MINTON, HOLLINS & CO.

GROUP OF GOTHIC REVIVAL TILES, 19TH CENTURY

glazed earthenware; to include; SIX HEXAGONAL TILES with foliate decoration, 17cm (6 ¾in) wide; a SINGLE TILE by A.W.N Pugin, 15.2cm square (6 in square) ; FIVE FURTHER MINTON HOLLINS & CO. TILES; also THREE MINTON CHINA WORKS TILE and TWO OTHER TILES, each approx. 15.2cm square (6in square ) (17)

£400-600

204

MINTON & CO.

GROUP OF GOTHIC REVIVAL ENCAUSTIC TILES, 19TH CENTURY

impressed makers’ marks, earthenware, to include; a FOUR TILE PANEL; one SET OF FOUR TILES, with foliate designs; a PAIR OF BLUE GROUND TILES; a SINGLE TILE with Celtic knot design; SIX FURTHER TILES, including a single tile by W. Godwin (17) each approx. 15.2cm square (6in square)

£300-500

205

SCOTTISH

CHURCH PEW, CIRCA 1890 oak

93cm high, 265.5cm wide, 45cm deep (36 ¾in high, 104 ½in wide, 17 ¾in deep)

£300-500

206

CHINESE, QING DYNASTY, KANGXI PERIOD

PAIR OF MOULDED CELADON-GROUND, UNDERGLAZE

BLUE, COPPER-RED-DECORATED ‘PHEONIX’ VASES

清康熙花押款豆青地青花釉裏紅模印鳳凰紋瓶銅鎏金鑲口（一對） each of baluster form, painted with a phoenix on rockwork underneath flowering trees amongst other birds, the base painted with an artemisia leaf mark, painted and glazed earthenware, mounted with European gilt metal handles to the rim (2) each 46.1cm high (18in high)

£1,500-2,000

207

CHINESE, QING DYNASTY

FIGURE OF GUANYIN, 18TH-19TH CENTURY

清壽山石雕觀音立像

carved with Avalokiteshvara standing on the belly of a dragon-fish on waves, left hand crossed to the right side holding a double-gourd, right hand holding a rosary, robe incised with cloud details, soapstone 26cm high (10 ¼in high)

£400-600

208

CHINESE, QING DYNASTY

‘BUDDHIST LION’ INCENSE BURNER

清銅鑄戲獅熏爐帶木座

the mythical beast’s mouth ajar, front left paw on a brocade ball, back with a small figure as the cover of the vessel, on a carved wooden base, bronze 24.7cm wide (9 ¾in wide)

£400-600

210

CHINESE, QING DYANSTY

209

CHINESE, QING DYNASTY TO REPUBLIC PERIOD

A COVERED VASE AND A SINGLE VASE, 19TH-20TH CENTURY

清末民初廣彩花鳥人物紋花觚及綠彩花鳥紋蓋罐（共兩件）

comprising: a Canton famille rose gu vase and a famille verte baluster vase with cover, painted and glazed earthenware (2)

34.7cm 44.7cm high ( 13 ¾in and 17 ½in high)

£400-600

CANTON FAMILLE ROSE PUNCH BOWL, 19TH CENTURY

清廣彩百蝶白菜紋大碗

painted inside out with arrays of cabbage and butterflies, painted and glazed earthenware

46cm diameter (18in diameter)

£400-600

211

CHINESE, LATE QING DYNASTY-REPUBLIC PERIOD

GROUP OF FOUR JARDINIÈRE STANDS, 19TH-20TH CENTURY

清末民初硬木嵌大理石四足香几（共四件）

hardwood, three with marble-inset tops, one foliated (4)

92cm, 60.3cm, 47.4cm, 45.3cm high (36in, 23 ¾in, 18 ½in, 17 ¾in high)

£400-600

212

PILKINGTON TILE & POTTERY CO.

FOUR VASES, EARLY 20TH CENTURY

printed and impressed maker’s marks, to include; a SANG DE BOEUF

BULBOUS VASE, dated 1909, 12.4cm (4 ¾in) high; a PURPLE BOTTLE VASE, 14.5cm (5 ¾in) high; a SANG DE BOEUF SHOULDERED VASE, dated 1908, 13cm (5 ¼in) high; a SMALL LUSTRE VASE, formed as three conjoined vases, unmarked, 7cm (2 ¾in) high, glazed earthenware (4)

Provenance: Anthony Cross (small lustre vase)

£500-700

213

BURMANTOFTS POTTERY

FAIENCE JIN CHAN TOAD JARDINIERE, CIRCA 1890

impressed BURMANTOFTS FAIENCE ENGLAND 583 T; together with a SMALLER SIMILAR EXAMPLE glazed in yellow, unmarked, and a SEATED SPOON WARMER, printed T. GOODE & CO. LONDON, glazed earthenware, with glass eyes (3) former 17cm high (6 ¾in high), yellow 8cm high (3 1⁄8in high, seated 12.5cm high (4 7⁄8in high)

£500-700

CONTINENTAL, MANNER OF BURMANTOFTS POTTERY

PAIR OF MYTHICAL BIRD VESSELS, CIRCA 1900

impressed 1224 457 KQ V, glazed earthenware with applied glass eyes (2)

30cm high (11 7 8in high)

£300-500

216

BURMANTOFTS POTTERY

TWO FAIENCE TOAD SPOON WARMERS, CIRCA 1890

one impressed BF, incised WH 451, other impressed BURMANTOFTS FAIENCE

215

BURMANTOFTS POTTERY

T 451, glazed earthenware (2)

13.5cm high (5 ¼in) high

£300-500

TWO FAIENCE VASES, CIRCA 1890

yellow - impressed BF 824, incised B, turquoiseimpressed BF ENGLAND 374 and cypher; and another vase, printed marks HG FG, glazed earthenware (3)

yellow - 36cm high (14 1⁄16in high), turquoise - 16cm high (6 ¼in high, other 31.5cm high (12 ¼in high)

£300-500

217

PILKINGTON’S TILE & POTTERY CO.

SIX VASES, EARLY 20TH CENTURY

each impressed manufacturer’s mark, glazed earthenware (6)

20cm high, 17cm high, 16cm high, 12cm high, 10cm high and 10cm

£300-500

218

CHINESE, QING DYNASTY

PAIR OF STANDS, 19TH CENTURY

清硬木有束腰圓五足器座（一對）

raised on five claw feet, hardwood (2) each 31cm high (12in high)

£300-500

219

CHINESE / JAPANESE

OCTAGONAL JARDINIÈRE, 19TH CENTURY

十九世紀銅鑄麒麟紋八方雙耳四足爐

raised on four beast-headed feet, flanked by a pair of stylised kui-phoenix handles, decorated on each side with a mythical beast, bronze 48cm wide (18 ¾in wide)

£400-600

220

POSSIBLY CHINESE

NEO-GOTHIC CONSERVATORY CHAIR, EARLY 19TH CENTURY

bamboo and cane, with later caned seat 107cm high, 63cm wide, 52cm deep (42in high, 24 ¾in wide, 20 ½in deep)

£400-600

221

CHINESE, QING DYNASTY

PAIR OF GILT-DECORATED DRUM

STOOLS, 19TH CENTURY

清黑漆彩繪描金花卉紋凳（一對）

each of foliated top, sides painted with lotus scrolls, lacquered wood (2) 44cm high each (17 ¼in high)

£300-500

222

GORDON FORSYTH (BRITISH 1879–1952) FOR PILKINGTON’S TILE & POTTERY CO. HARES AND HOUNDS LANCASTRIAN LUSTRE VASE, 1912 impressed maker’s mark ENGLAND 2886, lustre cypher for Gordon M. Forsyth and date cypher, lustre glazed earthenware

28.5cm high (11 ¼in high)

Provenance: Lyon & Turnbull, 6 April 2016, lot 161

£1,500-2,000

224

UPCHURCH POTTERY

FOUR VASES, CIRCA 1920

225

ROYAL DOULTON

223

WILLIAM MOORCROFT (BRITISH 1872-1945) TWO PRUNUS BOWLS, CIRCA 1914

facsimile signature W. MOORCROFT, green example dated 1914, impressed 3285, glazed earthenware (2) green 19cm diameter (7 ½in diameter), red 24cm wide (9 ½in wide)

two incised maker’s mark two stamped maker’s mark, glazed earthenware (4)

25cm high, 24.5cm high, 24cm high and 18cm high (9 7 8in high, 9 5⁄8in high, 9 ½in high and 7in high)

£200-300

TWO GOURD VASES, CIRCA 1920

each impressed manufacturer’s mark, the smaller with incised initials for Emily Welch, glazed stoneware (2)

30.5cm high and 23.5cm high (12in high and 9 ¼in high)

£300-500

226

STANLEY WEBB DAVIES (BRITISH 1894–1978)

ARTS & CRAFTS WARDROBE, 1935

incised artist’s mark and monogram of Ernest John Oldcorn to the inside left-hand cupboard, oak, with ebony handles

172cm high, 165cm wide, 59cm deep (67 ½in high, 65in wide, 23 ¼in deep)

£1,500-2,000

227 STANLEY WEBB DAVIES (BRITISH 1894-1978)

ARTS & CRAFTS BREAKFRONT LOW BOOKCASE CABINET, 1925

incised artist’s mark and craftsman’s mark inside the central door, oak, with glazed doors

137cm high, 254cm wide, 44.5cm deep (54in high, 100in wide, 23½in deep)

Provenance: Mallams, 23 June 2005, lot 44

£3,000-5,000

Stanley Webb Davies belonged to the generation of designers whose principles echoed those of the Arts & Crafts visionaries William Morris and John Ruskin. He was opposed to industrialisation, instead placing the craftsman at the centre of production and believing the physical exertion of the making process benefited both the individual and by extension the society within which they lived. All his pieces are incised both with the SWD monogram and a craftsman’s mark, forever preserving the work of the cabinet maker and their link to each item.

Davies developed a love of woodwork whilst at school, a passion intensified by his time in France during the First World War building huts for refugees. On his return to England, he worked for three years in Romney Green’s workshop before establishing his own business at Windemere in 1923.

The influence of Romney Green and the broader Cotswold School is discernible in Davies’ designs: largely English timber, and decoration provided by constructional details, chamfering or at most a simple inlay. For instance, the oak framed armchair offered here is relatively simple in design but is made distinctive by the curved lines of the chamfered timbers of the seat back and arms, shaped to enwrap the user.

During its nearly forty years of production, the Windemere workshop employed between three and seven staff, building domestic, ecclesiastical, presentation and even office furniture. These pieces were largely completed as commissions, and it seems the firm was never particularly financially successful. When Davies retired in 1961 the workshop shut but he remained at the house he had built nearby until his death in 1978.

229

STANLEY WEBB DAVIES (BRITISH 1894-1978)

TRAY, 1936

incised artist’s mark and craftsman’s mark, oak

34.5cm x 60cm (13 ½in x 23 5⁄8in)

Provenance: Hill House Antiques, London

£250-350

228

STANLEY WEBB DAVIES (BRITISH 1894-1978)

TRAY, 1931

incised artist’s mark, and monogram of Richard (Lil’ Dicky) Cloudsdale, oak

35cm x 20.5cm (13 ¾in x 8in)

£200-300

230

ATTRIBUTED TO STANLEY WEBB DAVIES (BRITISH 1894-1978)

MINIATURE BOOKCASE / SHELF, MID-20TH CENTURY

walnut with exposed joints

32.5cm high, 36.5cm wide, 26cm deep (12 ¾in high, 14 3⁄8in wide, 10 ¼in deep)

£250-350

231

STANLEY WEBB DAVIES (BRITISH 1894-1978)

BIN, CIRCA 1953

incised artist’s mark and monogram of Fred Ellison, oak

30cm high, 26.5cm wide (11 ¾in high, 10 ½in wide)

Provenance: Hill House Antiques, London

£300-500

232

RUSKIN POTTERY

SIX GINGER JARS AND COVERS, 1913-1925

impressed RUSKIN ENGLAND and dates 1925, 1913, 1920, 1921, 1922 and 1922 respectively, lustre glazed stoneware (12)

21cm high (8 ¼in high) and smaller

£300-500

234

RUSKIN POTTERY

233

ILONA BARNEY AND MAURICE BARNEY FOR BIRDCRAFT COLLECTION OF 13 BIRD AND ANIMAL SCULPTURES, CONTEMPORARY comprising a mahogany owl and falcon, an elm great crested grebe, a walnut pigeon, a squirrel and eight further birds (13) the great crested grebe 44.5cm high (17 ½in high)

£300-500

THREE VASES, CIRCA 1920 each with impressed marker’s marks, to include; a YELLOW TWIN HANDLED VASE, 25cm high (9 ¾in high) ; a WHITE TWIN HANDLED VASE, dated 1927, 25.5cm high (10in high); a BULBOUS CRYSTALLINE GLAZED VASE, 20.4cm high (8in high), stoneware (3)

£500-700

235

ENGLISH, ART DECO TWIN HANDLED TRAY, CIRCA 1930

marquetry inlaid walnut

41.2cm wide (16 ¼in wide)

£200-300

236

MANNER OF HEAL & SON, LONDON SIDEBOARD, CIRCA 1930

limed oak 92cm high, 160cm wide, 52.5cm deep (36in high, 63in wide, 20 ½in deep)

£500-800

237

CLARICE CLIFF (BRITISH 1899-1972)

‘SUNRISE’ AND GREEN ‘SECRETS’ SIDE PLATES, CIRCA 1932

‘Sunrise’ printed FANTASQUE BY CLARICE CLIFF HAND PAINTED WILKINSON LTD ENGLAND, ‘Secrets’ BIZARRE BY CLARICE CLIFF HAND PAINTED NEWPORT POTTERY

ENGLAND, painted and glazed earthenware (2)

Sunrise 15.3cm wide (6in wide), Secrets 18cm diameter (7in diameter)

£200-300

239

CLARICE CLIFF (BRITISH 1899-1972)

‘ORANGE ERIN’ PLATE, CIRCA 1933

238

CLARICE CLIFF (BRITISH 1899-1972)

‘BRIDGEWATER’ PLATE, CIRCA 1933

printed BIZARRE BY CLARICE CLIFF HAND PAINTED NEWPORT POTTERY ENGLAND, painted and glazed earthenware 23cm wide (9in wide)

£300-500

printed BIZARRE BY CLARICE CLIFF HAND PAINTED

WILKINSON ENGLAND, painted and glazed earthenware

23cm diameter (9in diameter)

£200-300

240

CLARICE CLIFF (BRITISH 1899-1972)

‘HOUSE AND BRIDGE’ PLATE, CIRCA 1932

printed BIZARRE BY CLARICE CLIFF FANTASQUE HAND PAINTED NEWPORT POTTERY ENGLAND, painted and glazed earthenware

23cm diameter (9in diameter)

£200-300

242 §

KATHERINE PLEYDELL-BOUVERIE (BRITISH 1895-1985) THREE VASES

impressed maker’s seal, glazed stoneware (3)

11.5cm high (4 ½in high), 10.5cm high (4 1 8in high), and 10cm high (4in high)

Provenance: Kilmington Manor Estate sale, Phillips, 1st May 1985 where purchased by Richard Batterham

The estate of Richard Batterham

Woolley & Wallis, 23-24 March 2023, lot 586

£400-600

241 §

KATHERINE PLEYDELL-BOUVERIE (BRITISH 1895-1985) JUG

impressed maker’s seal, glazed stoneware 14.5cm high (5 ¾in high)

£300-500

243 §

JANET LEACH (BRITISH 1918-1997) VASE AND TWO BOWLS

each with impressed maker’s seal and two with Leach Pottery seals, glazed stoneware (3)

the vase 24cm high (9 ½in high); the bowl 19.5cm diameter (7 5 8in diameter); the smaller bowl 16.5cm diameter (6 ½in diameter)

£300-500

244 §

KATHERINE PLEYDELL-BOUVERIE (BRITISH 1895-1985)

FIVE MINIATURE VASES

each impressed maker’s seal, glazed stoneware (5) the largest 5.2cm high (2in high)

Provenance: Woolley & Wallis, 1st December 2022, lot 232 as a group of six

£300-500

245 §

JANET LEACH (BRITISH 1918-1997) FOR LEACH POTTERY SAKE SET

impressed maker’s and pottery seals, stoneware, comprising two bottles and five cups, glazed stoneware (7) the largest bottle 14cm high (5 ½in high), each cup approximately 6.5cm diameter (2 ½in diameter)

Provenance: Oxford Ceramics, Oxford

£400-600

246 §

KATHERINE PLEYDELL-BOUVERIE (BRITISH 1895-1985) VASE

maker’s seal covered with glaze, stoneware with a celadon glaze

20.5cm high (8in high)

£500-700

248 §

DAVID LEACH (BRITISH

1911-2005) VASE

impressed maker’s seal, stoneware with fluted sides and tenmoku glaze, 23cm high, (9in high) together with a further DAVID LEACH VASE, impressed maker’s seal, stoneware, 30.5cm high (12in high) (2)

Provenance: The right-hand vase: Wooley & Wallis, 21st March 2018, lot 366.

£500-700

247

ABDO NAGI (YEMENI/BRITISH 1941-2001)

VESSEL

impressed maker’s seal, raku with green mottled glaze, 23.5cm high (9 ¼in high); together with ABDO NAGI, VASE painted maker’s mark, raku with blue mottled glaze, 22.5cm high (8 7/8in high) (2)

Provenance: Adam Partridge, 16th March 2018, Lots 194 and 195

£500-700

249

PETER SWANSON (BRITISH B. 1950)

TWO TALL VASES

each impressed maker’s seal, glazed stoneware (2)

the larger vase 59.5cm high (23 ½in high), the smaller vase 59cm high (23 ¼in high)

£400-600

250

STANLEY WEBB DAVIES (BRITISH 1894–1978)

ARTS & CRAFTS ARMCHAIR, 1936

incised artist’s mark and craftsman’s mark, oak, with drop-in leather seat

87cm high, 53cm wide, 44cm deep (34 ¼in high, 21in wide, 17 ¼in deep)

£600-800

252

STANLEY WEBB DAVIES (BRITISH 1894–1978)

DINING TROLLEY, 1961

incised artist’s mark and monogram of Richard (Lil’ Dicky)

Cloudsdale to the base, oak with rubber and metal casters

60cm high, 73.5cm wide, 48cm deep

(23 ½in high, 29in wide, 19in deep)

£500-800

251 T. GLENISTER, HIGH WYCOMBE

ARTS & CRAFTS ARMCHAIR, CIRCA 1936

branded mark GR, stamped GLENISTER MAKER HIGH WYCOMBE under seat rail, oak, with leather upholstered drop-in seat

94cm high, 59cm wide, 49cm deep (37in high, 23¼in wide, 19¼in deep)

£300-500

Photograph taken in the wood store on the Marchmont Estate, Berwickshire

BRIAN WILLSHER (BRITISH 1930-2010)

BRAZ MARK

signed and inscribed with title by hand on the underside of the base, carved wood

80cm high, 54cm wide, 18cm deep (31 ½in high, 21 ¼in wide, 7in deep) including integral wooden base

£600-800

Brian Willsher was born in the deprived south London borough of Catford in 1930 and lived in the city all his life. His was a definitively ‘non-art’ background, one that would today make him an ‘outsider artist’ and very liked fêted by an art world in search of authentic voices. He had no formal training as a sculptor – instead he studied engineering at Woolwich Polytechnic for three years from 1946 and then began a career of odd-jobbing, working as telephone engineer, farm worker and dental technician, all the while funnelling his various salaries into his passion for motorcycle racing.

In the early 1950s Willsher suffered a major bike accident. During his recovery he began playing around with plaster, before moving onto wood around 1956. Initially he tried his hand at making a living carving salad bowls, to little success, although this did lead to a shop owner asking him to make lamp bases instead. They proved far more popular and were sold at Harrods, Heal’s and Liberty’s. From here, Willsher began to generate purely sculptural forms, defined by their intricacy and layering, in a Modernist vocabulary reminiscent of Barbara Hepworth and Henry Moore.

After a one-man show at Dunn’s furniture store in Bromley in 1965 and another at Heal’s in 1966, Willsher’s career as a sculptor took off. He was given another exhibition at Heal’s in 1967 (where he sold everything for the deliberately low price of £10 each, subverting the ‘fine art’ context). He showed in Melbourne, Australia, had three works commissioned for Dartington Hall and six for Devon Guild of Craftsmen. He also showed in the Royal Academy Summer Exhibition for five years in a row.

However, just as his career was taking off, Willsher became more famous for a controversy not of his making. In 1968, Her Majesty’s Revenue and Customs (HMRC) decided his work did not count as ‘fine art’ and so was immediately subject to the 40% manufacturing tax on ‘household decorations’ – in a grim parallel of the 1926 episode when US Customs officials denied Constantin Brancusi’s Bird in Space entry into the country, arguing it was just a piece of metal rather than a sculpture.

Willsher was probably not helped by his own diffidence to pricing his work as ‘art’. And part of the Revenue’s argument may have been based on his technique - he didn’t hide the fact he used a bandsaw rather than a chisel. Indeed, he had featured in a British Pathé newsreel, which showed him at work in his suburban garden studio sawing blocks of wood, his hands just centimetres from the bandsaw blade. ‘These are no handmade shapes created with highfalutin motivations’, intones the voice-over, ‘Some purist sculptors may turn up their noses at Willsher’s efforts.’

A number of artists sprang to Willsher’s defence, most notably Moore, who perhaps saw many of his own sculptural concerns within Willsher’s abstract sculptures, with their holes punched through the middle. Moore was quoted in The Guardian saying, ‘Here’s pure sculpture, indeed! More than that, memorable sculpture!’ and in turn it was The Guardian and The Observer who turned the impasse into a national campaign, posing questions such as ‘When is a sculpture not a sculpture?’

Eventually, HMRC backed down and Willsher was vindicated, although the furore put him off exhibiting, just at the point when his star was in the ascendant. This may go some way to explain why his work is less well-known today than it should be – even if he has enjoyed something of a small renaissance in the last decade or so, as dedicated collectors such as Hugo Burge would seek his work out, either online or at the few galleries who showed him. This reappraisal of Willsher reached its apotheosis in October 2021, with an exhibition at Margaret Howell’s Wigmore Street atelier – a non-traditional ‘art’ space of which the artist would no doubt have approved.

Willsher is known almost exclusively for his finely turned, smoothly finished carvings in exotic woods and so we are delighted to be able to also present some of his lesser-seen bronzes from Hugo Burge’s collection, as together they represent the breadth of Willsher’s sculptural vision.

BRIAN WILLSHER (BRITISH 1930-2010)

9/9, embossed with signature, title and number to base, verdigris bronze

64cm high, 40.5cm wide, 28cm deep (25.25in high,16in wide, 11in deep) including integral base

255 §

BRIAN WILLSHER (BRITISH 1930-2010) SORROW

9/9, embossed with signature, title and number to base, verdigris bronze

68cm high, 33cm wide, 26cm deep (26 ¾in high, 13in wide, 10 ¼in deep) including integral base

£1,200-1,800

256 §

BRIAN WILLSHER (BRITISH 1930-2010) WISHBONE

signed and dated ‘2001’ by hand to underside, carved wood

25cm high, 11.5cm wide, 7cm deep

(9 ¾in high, 4 ¼in wide, 2 ¾in deep)

£300-500

257 §

BRIAN WILLSHER (BRITISH 1930-2010)

GEOMETRY OF RESPONSE

9/9, embossed with signature, title and number to base, verdigris bronze

89cm high, 35.5cm wide, 30.5cm deep

(35in high, 13 ¾in wide, 12in deep) including integral base

£1,500-2,500

258 § BRIAN WILLSHER (BRITISH 1930-2010) MILLENIA

9/9, embossed with signature, title and number to base, verdigris bronze

29cm high, 25.5cm wide,15cm deep (11.5in high, 10in wide, 6in deep) including integral base

£600-800

BRIAN WILLSHER (BRITISH 1930-2010)

CONSTRUCTION XVIII

9/9, embossed with signature, title and number to base, verdigris bronze

21cm high, 35.5cm wide, 18cm deep (8 ¼in high, 4in wide, 7in deep) including integral base

Left: Photograph taken in Hugo Burge’s apartment, Marchmont House, Berwickshire

260 §

THEADORA BALLANTYNE-WAY (BRITISH B.1988)

BOEING B-17

polymer photogravure, 1/20, signed, numbered and titled in pencil to margin 48cm x 65cm (19in x 25 ½in)

£300-500

261 §

THEADORA BALLANTYNEWAY (BRITISH B.1988)

HARRY STOKE ROAD

screenprint, 8/45, signed, numbered and titled in pencil to margin

54.5cm x 71cm (21 ½in x 28in)

£300-500

262 §

THEADORA BALLANTYNE-WAY (BRITISH B.1988)

OLD GLOUCESTER ROAD

screenprint, 2/45, signed, numbered and titled in pencil to margin the image 58.5cm x 80.5cm (23in x 31 ¾in)

£300-500

263 §

TAKASHI MURAKAMI (JAPANESE B.1962) SKULLS ROCK, 2004 lithograph, 159/300, signed lower right

68cm x 67cm (26 ¾in x 26 ¼in)

£400-600

264 §

HELDER BATISTA (FRENCH B. 1964)

PETER AND THE WOLF (PROKOFIEV) signed (to reverse), resin and miniature ballet shoes

40.5cm high, 25cm wide, 9cm deep (16in high, 9 7⁄8in wide, 3 ½in deep)

Provenance: with Store Street Gallery, London. £700-900

Photograph taken in The Tower, part of the Hugo Burge Foundation Creative Spaces on the Marchmont Estate, Berwickshire

MATTHEW CHAMBERS (BRITISH B. 1975)

BLUE TWIST, 2021

signed and dated on the underside, stoneware 28cm high, 30cm wide (11in high, 11 ¾in wide)

£1,000-1,500

266 §

MATTHEW CHAMBERS (BRITISH B. 1975)

UNTITLED, 2020

signed and dated on the reverse, stoneware 21cm high, 18cm wide (8 ¼in high, 7in wide)

£300-500

267

GILLIAN MONTEGRANDE (BRITISH B.1960)

LA COPA SIN PÚAS, 2021

incised artist’s marks and dated ‘21 under base, stoneware

32cm high (12 ½in high)

£300-500

268 §

REBECCA APPLEBY (BRITISH B.1979)

UNTITLED (FROM THE GRACE SERIES)

clay and steel

41cm high, 34cm wide, 33cm deep (16 ¼in high, 13 3⁄8in wide, 13in deep)

£400-600

269 §

ALASTAIR MICHIE R.W.A., F.R.B.S. (SCOTTISH 1921-2008)

EQUILIBRIUM

aluminium, on Perspex base

55.5cm high (21 7⁄8in high) (including base), 49.5cm high (19 ½in high) (excluding base), 27cm wide (10 5⁄8in wide)

£800-1,200

LOGGING LADY signed and numbered 4/7 (to base), patinated bronze on slate base

21cm high (8 ¼in high) overall; the bronze 19cm high (7 ½in high)

£3,000-5,000

271 §

PETER RANDALL-PAGE (BRITISH B. 1954)

MACQUETTE FOR SEED (EDEN PROJECT), 2007

stamped maker’s monogram, numbered 12/12 and Pangolin Editions mark, bronze

24cm high (9 ½in high)

£1,000-2,000

Photograph taken on the Marchmont Estate, Berwickshire

272 §

LAWRENCE DICKS (BRITISH B. 1969)

UNTITLED

carved oak 9cm high, 18cm wide (3 ½in high, 7in wide)

£300-500

273 §

JAMES OUGHTIBRIDGE (BRITISH B. 1977)

WHITE ALCOVE TRIPTYCH, 2019

each signed and dated, stoneware each element 31.5cm high (12 ½in high)

Provenance: Commissioned from the Artist by Hugo Burge

£1,500-2,000

"if I can add to the richness of life a few things which give real joy in use and to the eyes, then I am happy enough."

Edward Barnsley

EDWARD BARNSLEY (BRITISH 1900-1987)

DRESSER, CIRCA 1935

oak and walnut, with patinated brass handles, probably by Alfred or Norman Bucknell

141cm high, 164.5cm wide, 54cm deep (55 ½in high, 64 ¾in wide, 21 ¼in deep)

Provenance: Herbert and Molly Simon, and by descent

With The Fine Art Society, London

John Minoprio

Lyon & Turnbull, Edinburgh ‘The Minoprio Collection’, 11 January 2022, lot 24

Literature: Carruthers, A. Edward Barnsley and his Workshop, 1992, p.43, fig. 16 where a similar Cotswold-style dresser of 1924 is illustrated.

Herbert Simon (1898-1974) was a friend to many artists, an industrial archaeologist and rail enthusiast who turned the Kynoch Press, Birmingham into one of Britain’s leading fine printing houses.

£10,000-15,000

275

ERNEST GIMSON (BRITISH 1864-1919) AND PETER WAALS (1870-1937)

PAIR OF WALL SCONCES, CIRCA 1920 brass, on Macassar ebony backboards (2) the brass sconces 36cm high, 23cm wide (14 1⁄8in high, 9in wide)

Provenance: The John Scott Collection

Exhibited: London, The Fine Art Society Architect-Designers from Pugin to Voysey: The John Scott Collection, 3rd-25th June 2015, no. 140

Literature: Lethaby W. R.; Powell A. H.; Griggs, F.L. Ernest Gimson; His Life & Work, London, 1924, plate 44, where the working drawing for these sconces is illustrated.

£3,000-5,000

For an illustration with backboards please see our online catalogue.

MANNER OF ERNEST GIMSON

ASSEMBLED COTSWOLD SCHOOL FIRE SET, CIRCA 1930

comprising BRUSH, SHOVEL, TONGS, steel, the shovel

61.5 cm long (24 ¼in long), together with a further FIRE SET, comprising SHOVEL, TONGS, POKER, copper and iron, the tongs 67cm long (26 3/8in long) (6)

£800-1,200

277

£1,000-1,500 276

278

NORMAN BUCKNELL (BRITISH 1911-2006)

AFTER DESIGNS BY ERNEST GIMSON

COTSWOLD SCHOOL EIGHT PIECE FIRE SET

comprising; FIRE GUARD, BRUSH, SHOVEL, POKER, FORK, PINCERS, COAL GRIP, STEEL and a SET OF BELLOWS, oak, steel and leather the fire guard 44.5cm high, 50.5cm wide (17 ½in high, 19 7 8in wide); the fork 58.5cm long (23in long) (8)

Provenance: Private Commission from Norman Bucknell Hill House Antiques, London

£1,000-1,500

COTSWOLD SCHOOL

PAIR OF FIRE DOGS, EARLY 20TH CENTURY

wrought iron and polished steel (2)

42.5cm high, 42cm deep (16 ¾in high, 16 ½in deep)

Provenance: Bonham’s London, 30 May 2007, lot 11

Literature: Lethaby, W. R., Powell, A. H., Griggs, F.L., Ernest Gimson; His Life & Work, London 1924, pl. 43

Leigh R. and Chinn T., Drawn to Design: The work of Sir Gordon Russell, The Gordon Russell Trust 2013, pp. 36 and 37

The oak leaf decoration on these fire dogs was a familiar motif, used by Cotswold designers such as Ernest Gimson and Gordon Russell, and reflects the inspiration designers found in nature and the English countryside.

Ernest Gimson and Peter Waals: A Continuing Tradition of Arts and Crafts Furniture

This sale includes furniture and works of art from two of the foremost figures in the British Arts and Crafts movement, Ernest Gimson (1864-1919) and Peter Waals (1870-1937). Their work not only embodies the artistic ideals of the period but also represents the ongoing collaboration and influence between Gimson and Waals, particularly in the years following Gimson’s untimely death in 1919. Among the pieces offered here are several significant works created during Gimson’s lifetime, such as a chest of drawers from circa 1915 (lot 285). These items exemplify the hallmark features of Gimson’s style, including a meticulous focus on the natural qualities of the materials, as seen in the oak used for the chest and the walnut of the armchair. Furthermore, Gimson’s characteristic preference for robust, simplified forms is clearly apparent, while the addition of a holly and ebony beaded inlay to the armchair’s backrest demonstrates his thoughtful and restrained approach to naturalistic decoration.

Ernest Gimson was a key figure in the development of the Arts and Crafts movement, and his aesthetic philosophy was deeply rooted in the belief that craftsmanship should reflect the beauty of the natural world while rejecting the massproduction techniques of the industrial age. His influence was crucial in shaping the future of British decorative arts, and his Daneway Workshops in Gloucestershire became an important hub for the production of hand-crafted furniture and design. In the years following Gimson’s death, Peter Waals, who had been his foreman/manager and chief cabinet maker, took on the responsibility of continuing the legacy of the Daneway Workshops. In 1920, Waals founded his own workshop, where he continued to produce works in the Arts and Crafts tradition, employing many of Gimson’s former craftsmen and drawing upon the principles that had shaped his mentor’s designs.

The current collection features several works made by Peter Waals, highlighting his ability to both maintain and evolve the traditions of his predecessor. Among these are two impressive writing cabinets, dated to circa 1925 (lots 279 and 286). Constructed from English walnut and burr walnut, each cabinet features an interior chequer inlay of holly and ebony, and the fall front is fitted with a leather writing surface. These cabinets are fine examples of Waals’ skill, reflecting both his meticulous craftsmanship and a refined elegance that typifies his work. The sophisticated use of materials and the precise detailing attest to Waals’ commitment to the ideals of the Arts and Crafts movement, while also showing his personal adaptation of Gimson’s design principles. The pairing of solid wood construction with intricate inlay exemplifies a fusion of practicality and aesthetic grace, offering a lasting tribute to the movement’s philosophy of beauty in function.

The collection also includes an oak centre table from circa 1925 (lot 282), which was made by Waals following a design by Gimson, which can be found in the collection of the Cheltenham Art Gallery and Museum (The Wilson).

Peter Waals’ ability to adapt Gimson’s designs while creating his own body of work is indicative of the strength of their professional bond and the mutual respect between them. Waals’ work after Gimson’s death ensured that the Daneway Workshops contributed to the ongoing success of the Arts and Crafts movement but also ensured that Gimson’s profound influence would be carried forward into the next generation.

PETER WAALS (DUTCH 1870-1937)

WRITING CABINET, CIRCA 1925

English walnut and burr walnut, the interior chequer inlaid in holly and ebony, the fall with leather writing surface, with patinated and chased handles by Alfred Bucknell, signed under interior drawer P. WAALS/ CHALFORD/ GLOUCESTERSHIRE./ (ASSISTANT E. SMITH)

129.5cm high, 99cm wide, 40.5cm deep (51in high, 39in wide, 16in deep)

Provenance: Bearnes Hampton & Littlewood, Exeter ‘Quarterly Fine Sale’, 28th October 2014, lot 868 With H. Blairman & Sons, London

Ernest Smith was the son of a skilled cabinetmaker who had worked for Queen Victoria at Windsor Castle. He joined the workforce at Ernest Gimson’s Daneway Workshop in 1904 as an experienced craftsman and became foreman when, after Gimson’s death in 1919, the business was taken over by Peter Waals and the workshops moved to Chalford.

£10,000-15,000

280

CHARLIE ROE, AFTER NORMAN JEWSON

OWL PLAQUE, 1994

signed and dated C. Roe ‘94, plaster

53.5cm x 53.5cm (21in x 21in)

First designed by Norman Jewson in 1926 for the restoration of the Great Hall at Owlpen Manor, Gloucestershire.

£300-500

281

PETER WAALS (DUTCH 1870-1937)

ARTS & CRAFTS TABLE CUPBOARD, CIRCA 1930

oak

42cm high, 45.5cm wide, 37.5cm deep (16 ½in high, 18in wide, 14 ¾in deep)

Provenance: Peter Waals and by family descent Stroud Auctions, 10 Oct 2018, lot 1332

£600-800

282

PETER WAALS (DUTCH 1870-1937), AFTER DESIGNS BY ERNEST GIMSON (BRITISH 1864-1919)

ARTS & CRAFTS CENTRE TABLE, CIRCA 1925

oak

76.5cm high, 145cm wide, 141cm deep (30in high, 57in wide, 55 ½in deep)

Provenance: Sotheby’s, London Paul Reeves, The Best of British: Design from the 19th and 20th centuries, 20th March 2008, lot 121

Gimson’s design for a similar table is in the collection of The Wilson (Cheltenham Art Gallery and Museum), drawing number 1941.222.388.

£4,000-6,000

Photograph taken in the Common Room of the Hugo Burge Foundation Creative Spaces on the Marchmont Estate, Berwickshire

283 PETER WAALS (DUTCH 1870-1937)

PAIR OF CHESTS OF DRAWERS, CIRCA 1925 oak (2)

82.5cm high, 94.5cm wide, 52cm deep (32 ½in high, 37in wide, 20 ½in deep)

Provenance: with John Ashton Beer

A similar chest with five drawers, dated to 1920, is held at Leicester Museum and Art Gallery, accession number L.D60.1975.0.0

£4,000-6,000

PETER WAALS (DUTCH 1870-1937), AFTER DESIGNS BY ERNEST GIMSON (BRITISH 1864-1919)

ARTS & CRAFTS ARMCHAIR, CIRCA 1930

walnut, with holly and ebony beaded inlay and drop-in upholstered seat, inscribed to reverse of seat rail DESIGNED ERNEST GIMSON/ MADE PERCY BURCHETT/ 1929 IN WORKSHOPS OF / PETER WAALS and P. WAALS/ CHALFORD/ 1931/ P. H. BURCHETT, CRAFTSMAN

106cm high, 56cm wide, 44cm deep (41 ½in high, 22in wide, 17 ½in deep)

Provenance: Sir George Trevelyan

Sotheby’s London Fine 20th Century Design, 28 April 2009, Lot 1 (with the companion side chair)

Literature: Lethaby W. R.; Powell A. H.; Griggs, F.L. Ernest Gimson; His Life & Work, London 1924, pl. 36, where a related chair is illustrated.

Sir George Trevelyan was a pioneering educator and thinker of the 20th century. Advocating for principles including organic farming and communal living, he was also instrumental to the establishment of spiritual, educational charities including the Wrekin Trust and the Findhorn Foundation.

Prior to his prominence within the New Age Movement, Trevelyan apprenticed himself to Peter Waals from 1929-31 and made many fine pieces of furniture in his workshop. Trevelyan wrote in 1969 that ‘Gimson would be first to acknowledge the immense debt he owed to him [Waals] as colleague. Though Gimson was, of course, the inspiration and genius, he used Waals from the outset in closest cooperation in checking and discussing designs and construction. The association of these two men was an essential factor in the evolving of the Cotswold Tradition’.

£800-1,200

Photograph taken in The Tower, part of the Hugo Burge Foundation Creative Spaces on the Marchmont Estate, Berwickshire

285

ERNEST GIMSON (BRITISH 1864-1919)

CHEST OF DRAWERS, CIRCA 1915

oak, with patinated brass handles by Alfred Bucknell

90cm high, 99cm wide, 49cm deep

(35 ½in high, 39in wide,19 ¼in deep)

Provenance: Lyon & Turnbull, Edinburgh, ‘The Hancock Collection’, 25th January 2023, lot 290

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

The Gimson original line drawings held at the Wilson Art Gallery and Museum, Cheltenham, catalogue number 1941-222-491

£4,000-6,000

286

PETER WAALS (DUTCH 1870-1937)

WRITING CABINET, 1931

English walnut and burr walnut, the interior chequer inlaid in holly and ebony, the fall with leather writing surface

129.5cm high, 99cm wide, 40cm deep (51in high, 39in wide, 15 ¾in deep)

Provenance: Arthur Mitchell, commissioned for his daughter Mrs R. Cole thence by descent Mallams, Oxford, 7th December 2017, lot 204 with Oscar Graf, Paris

Reference to this cabinet can be found in the Waals ledger held at Gloucester Record Office which covers the years 1919-36. The entry refers to ‘Furniture for Mrs. R. Cole’, purchased by Arthur Mitchell and dated November 1931.

Arthur Mitchell, whose father Henry founded the Smethwick brewery that would become Mitchells & Butlers, was a great patron of Cotswold School craftsmen.

£10,000-15,000

Photograph taken in Hugo Burge’s apartment, Marchmont House, Berwickshire

287

ERNEST GIMSON (BRITISH 1864-1919)

STATIONERY BOX, 1910 with label to the inside inscribed WALNUT STATIONERY BOX / DESIGNED BY ERNEST GIMSON. DANEWAY HOUSE. / SAPPERTON. NR. CIRENCESTER. / EXECUTED BY HENRY DAVOLL / NINTH ARTS & CRAFTS EXHIBITION. 1910, walnut, with checkered inlaid banding

16cm high, 27cm wide, 16.5cm deep (6 ¼in high, 10 5⁄8in wide, 6 ½in deep)

Exhibited: New Gallery, Regent Street, London Ninth exhibition of the Arts and Crafts Exhibition Society, 1910, exhibit no. 341B (£4 5s).

£1,000-1,500

Photograph taken in Hugo Burge’s apartment, Marchmont House, Berwickshire

PETER WAALS (DUTCH 1870-1937), AFTER DESIGNS

BY ERNEST GIMSON (BRITISH

1864-1919)

PAIR OF ARTS & CRAFTS SIDE TABLES, CIRCA 1930 oak (2)

76cm high, 91cm wide, 60cm deep (30in high, 36in wide, 24in deep)

Provenance: Rachel Ward (nee Rothenstein) and Alan Ward thence by family descent.

Mallams, Oxford, 13th May 2015, lot 426

Literature: Lethaby W. R.; Powell A. H.; Griggs, F.L.

Ernest Gimson; His Life & Work, London 1924, pl. 30, where a table of related design is illustrated.

Rachel Rothenstein was daughter of Sir William Rothenstein, and sister to Michael Rothenstein. The Rothenstein family had close connections to the Cotswold School of artists and commissioned work by a number of the artists and craftsmen

£6,000-8,000

Photograph taken in Hugo Burge’s apartment, Marchmont House, Berwickshire

289 EDWARD BARNSLEY (1900-1987)

PAIR OF ARTS & CRAFTS CHAIRS, 1924 oak, with drop-in rush seats (2)

93.5cm high, 43cm wide, 43cm deep (36 ½in high, 17in wide, 17in deep)

Provenance: R.D. Best Esq., Birmingham Fieldings, Stourbridge ‘Decades of Design’, 5th October 2019, lot 130

Robert Dudley Best of Best & Lloyd Ltd, the inventor of the ‘Bestlite’. The Barnsley Workshop daybook notes the entry “R.D. Best Esq, Birmingham, Dec 1924. Bookcase, table, writing desk, two chairs. Nos. 119-123.

£63.2.6 / £9.16.3 / £72.18.9”

Best was at school at Bedales with Edward Barnsley and he may have commissioned these pieces to support Barnsley’s new business.

£700-900

290 GORDON RUSSELL (BRITISH 1892-1980)

ARTS & CRAFTS SIDEBOARD, 1927

bears maker’s paper label under drawer CABINET MAKER: B. JONES TIMBER USED:

ENGLISH WALNUT, DATE: 10/12/27, English walnut, with bog oak handles 103cm high, 143cm wide, 49cm deep (40 ½in high, 56 ¼in wide, 19 ¼in deep)

Provenance: Bonhams, London, 19 June 2013, Lot 38

This sideboard does not carry a design number and is a unique piece for a particular individual commission.

£2,000-3,000

292

COTSWOLD SCHOOL

291 CHRISTOPHER VICKERS (CONTEMPORARY), AFTER WILLIAM LETHABY WORK BOX, LATE 20TH CENTURY

walnut and bog oak, with bog oak and boxwood inlay, the hinged lid opening to reveal a fitted interior with lift out tray

31.5cm high, 49cm wide, 32cm deep (12 ½in high, 19 ¼in wide, 12 ½in deep)

£300-500

LETTER RACK / DESK TIDY, CIRCA 1925

walnut, with inlaid exposed joints

16cm high, 25.5cm wide (6 ¼in high, 10in wide)

£200-300

COTSWOLD SCHOOL

ARTS & CRAFTS TOWEL RAIL, CIRCA 1925

oak

91cm high, 80.5cm wide, 26.5cm deep (36in high, 31 ¾in wide, 10 ½in deep)

£300-500

COTSWOLD SCHOOL

ARTS & CRAFTS COAL BOX, CIRCA 1925

oak, with chip carved decoration

51cm high, 46cm wide, 32cm deep (20in high, 18 ¼in wide, 12 ½in deep)

£600-800

COTSWOLD SCHOOL

PAIR OF ARTS & CRAFTS BOOKCASES, CIRCA 1930

oak (2)

77.5cm high, 129.5cm wide, 19cm deep (30 ½in high, 51in wide, 7½in deep)

£300-500

298 §

PETER HAYES

(BRITISH B. 1946)

TOTEM WITH COPPER DISC

signed to the base, raku on black painted base

60.5cm high (23 ¾in high)

£500-700

Peter Hayes’ principle aim is for his work not to compete with nature, but to develop and evolve in the environment. This is shown through the way he layers textured clay surfaces by polishing and burnishing, alongside the introduction of further minerals, such as copper and iron, into the raku surface of his objects. An unusual aspect of his work is that after firing he might submerge pieces in the flowing river by his studio in Bath, or send them to Cornwall to be washed over by the sea. As a result, every work is unique and helps to create an ancient feel to the finished surfaces.

Born in Birmingham, England in 1946, Hayes attended Moseley School of Art from the age of 12, before studying at Birmingham College of Art. After leaving college, Hayes’ interest in clay developed from his extensive travels in Africa, working with various village potters, and fundamental skills he discovered in countries such as India, Nepal and Japan. As an artist he has always been open to learning new techniques and adopting ideas. He now spends the winter months in Udaipur in Rajasthan searching for inspiration, whilst maintaining his main studio in a former toll house in Bath.

297 §

PETER HAYES (BRITISH B.1946)

LARGE BOW WITH KEYHOLE

signed to base, raku on slate base

83.5cm high, 20.5cm wide (32 ¾in high, 8in wide) overall

Provenance: With Blackmore Gallery

£1,000-1,500

299 §

PETER HAYES (BRITISH B. 1946)

BOW WITH COPPER DISC

signed to the slate base, raku on slate base

24cm high, 10.5cm wide (9 ½in high, 4 1⁄8in wide)

£300-500

300 §

PETER HAYES (BRITISH B. 1946)

LARGE BOW WITH COPPER DISC

signed to base, raku on slate base

67.5cm high, 23cm wide

(26 ½in high, 9in wide)

£1,000-1,500

Photograph taken in Hugo Burge’s apartment, Marchmont House, Berwickshire

301 §

PETER HAYES (BRITISH B.1946)

LARGE BOW WITH COPPER DISC signed to the base, raku on slate base 84.5cm high, 20.5cm wide (33 ¼in high, 8 1⁄8in wide) overall

£700-900

302 §

PETER HAYES (BRITISH B.1946)

BOW WITH COPPER DISC, 1995 signed and dated, raku 35cm high (13 ¾in high)

Provenance: Woolley & Wallis, 14th December 2017, lot 529. £400-600

303 §

PETER HAYES (BRITISH B. 1946)

BOW WITH COPPER DISC

signed, raku, 13cm high, 12cm wide (5 1/8in high, 4 ¾in wide); together with PETER HAYES, TWO TOTEM FORMS, the larger example signed and dated 93 on the base, each raku on slate bases, the larger example 26cm high (10 ¼in high) and the smaller example 10.5cm high (8 1/8in high) (3)

£500-700

304 §

PETER HAYES (BRITISH B. 1946) MOUNTED BLADE, 2007

signed and dated to the slate base, raku on slate base 28cm high, 43cm wide (11in high, 17in wide)

Provenance: Woolley & Wallis, Salisbury, 14th December 2017, lot 532.

£300-500

305 §

PETER HAYES (BRITISH B.1946) BOW

signed to the slate base, marble on slate base 31cm high, 21.5cm wide (12 ¼in high, 8 ½in wide)

Provenance: With Blackmore Gallery, Cheshire.

£500-700

EDUARDO PAOLOZZI

K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) FOR ROSENTHAL MINIATURE ‘SUOMI’ COFFEE SET printed manufacturer’s marks and two numbered 387/999 and the handled bowl numbered 083/999, porcelain, the coffee pot including handle 9cm high (3 ½in high); together with a further EDUARDO PAOLOZZI NEWTON PLATE, porcelain, 31cm diameter (12 1/8in diameter); and an EDUARDO PAOLOZZI HOMMAGE A GEORGE ORWELL PLATE, porcelain, 26cm diameter (10 ¼in diameter) (3)

£400-600

307 HANS WEGNER (DANISH 1914-2007) FOR CARL HANSEN & SON PAIR OF ‘CH37’ ARMCHAIRS, DESIGNED 1962

oak, with cord seats (2)

78.5cm high, 57cm wide, 42cm deep

(31in high, 22 ½in wide, 16 ½in deep)

£300-500

308 JOHN BEDDING (BRITISH B. 1947) VESSEL

impressed makers seals, stoneware

36cm high (14 ¼in) high

£300-500

309

VERNER PANTON (1926-1998) AND POUL HENNINGSEN (1894-1967) FOR LOUIS POULSEN

‘PANTHELLA’ AND ‘PH 3 1/2 - 2 1/2’ FLOOR LAMPS, CONTEMPORARY both bear maker’s label, one patinated aluminium, Perspex and polished steel, 128cm high (50 ½in high); the other chromed steel and glass, 130cm high (51 ¼in high) (2)

£400-600

In his 1973 autobiography, Across the Straits, Kyffin Williams described the inspiration that he found growing up in the natural environment of his native Wales, especially that of the Llŷn peninsula, by explaining that there, ‘surrounded by some of the most glorious landscape in Britain, I began to assemble unknowingly a vast library of feelings, sensations and knowledge that were to form the foundations of my future life as a landscape painter.’

This deep-seated admiration for his surroundings can be seen in Light above Crib Goch, in which the titular red ridge in the Snowdonia National Park towers above a barren foreground. A sense of scale, power and longevity is evoked by way of the generous application of paint using a palette knife characteristic of his practice, combined with his distinctive palette of greys, black and olive green.

Williams explained in his 1998 book The Land and the Sea: ‘Crib Goch is one of my favourite mountains. I like the way it

310 §

SIR KYFFIN WILLIAMS O.B.E. R.A. (WELSH 1918-2006)

LIGHT ABOVE CRIB GOCH

signed with initials lower right, oil on canvas

49.5cm x 60.5cm (19.5 x 23 ¾in)

Provenance: Thackeray Gallery, London

Acquired from the above in 1993 by the previous owner Their sale, Bonham’s London, Modern British and Irish Art, 18 November 2014, lot 140

Exhibited: Thackeray Gallery, London, Kyffin Williams, An Exhibition of Recent Paintings and Watercolours, 19 May-4 June 1993, no.10

£8,000-12,000

seems to crouch, I like the variety of its shapes while further up the valley at Pen-y-pass I love the way it seems to rear into the sky like a Himalayan peak…Crib Goch is a fierce and crinkled ridge make up of a fine-grained volcanic lava which weathers to a rusty-brown colour that gives it its name of red ridge or crest. I especially love the jagged ridges and the thrusting peaks when there is a strong light behind them, for it is then that they emanate a power that is stimulating to me as a painter.’

By the time of his death in 2006, Williams held an unassailable position as the pre-eminent Welsh artist, having been elected to the Royal Academy of Arts in London in 1974 and the recipient of a knighthood in 1999. His work is represented in many public collections, including paintings featuring Crib Goch held by the National Library of Wales, Gwynedd County Council, the Government Art Collection and Bangor University.

311 §

SIR KYFFIN WILLIAMS O.B.E. R.A. (WELSH 1918-2006) ARDNAMURCHAN

signed with initials lower right, watercolour on paper

37.5cm x 55.5cm (14 ¾in x 21 ¾in)

Provenance: Thackeray Gallery, London

£2,000-3,000

312 §

SIR KYFFIN WILLIAMS O.B.E. R.A. (WELSH 1918-2006)

SUNSET OVER SNOWDONIA colour lithograph, A/P, signed in pencil to margin lower right

35cm x 51cm (13 ¾in x 20in)

£300-500

Left: Photograph taken in Hugo Burge’s apartment, Marchmont House, Berwickshire

The three works by Robert Adams from Hugo Burge’s collection presented in this sale are a perfect snapshot of three decades of the artist’s output. They encapsulate his interest in screen-like forms that play with the notion of ‘flatness’ within the overall threedimensional context of sculpture.

Adams was part of a ‘golden generation’ of British sculptors who came to prominence in the early 1950s, achieving almost immediate international acclaim and recognition, not least for their ability to capture the uncanny and uneasy mix of optimism and despair that followed World War Two, the liberation of the concentration camps and the dropping of the atomic bomb. Adams was part of the group selected by Herbert Read to exhibit in the British Pavilion at the 1952 Venice Biennale – when he coined the phrase ‘the geometry of fear’ to capture a particular quality of these young sculptors’ work, with their spiky and attenuated forms that spoke to the existential crisis of the post-war period.

However, as Alastair Grieve noted in the Preface to his catalogue raisonné of the artist’s work, Adams’ sculpture ‘differs markedly from that of…his contemporaries…as it is purely visual, totally unliterary, constructed from abstract forms and spaces... Abstract art opened the way for a truly expressive use of materials, unhindered by the restraints of representation.’

(Alastair Grieve, The Sculpture of Robert Adams, The Henry Moore Foundation in association with Lund Humphries, 1992, p.9)

A work such as Screen Form has in fact more in common with an even younger generation of British sculptors such as Anthony Caro (who had begun to make his first cut and welded works in 1960), as well as the American minimalists such as Robert Morris, Donald Judd and Richard Serra – although in Adams’ rough handling of the material, the worn and jagged edges of the plates, he holds something of the memory of the post-war world of twisted metal and bombsites.

Also amongst his peers – Lynn Chadwick, Eduardo Paolozzi and William Turnbull amongst others – Adams remains relatively undervalued and unheralded –something that no doubt drew Hugo Burge, always a champion of the good but overlooked, to Adams’ work. This could be due simply to the fact that all of Adams’ early works were unique, made of forged and welded steel (he didn’t start making editions until the late 1960s) and so his work couldn’t proliferate on the back of this early critical success. And partly because – like his contemporary Kenneth Armitage, to similar result – Adams refused to be pinned down in the visual language of his 1950s success, but innovated restlessly, not least in becoming ever more abstract.

Slim Form, for example, brims with 1960s optimism, of Harold Wilson’s pledge to harness the ‘white heat of technology’, its smooth, polished surface making it the perfect embodiment of both the atomic age and the age of Concorde. In contrast to his sculpture of the previous decade, there are no jagged edges to arrest the eye, to turn you back on yourself. Instead, Adams’ sculpture flows with the space surrounding it and so returns somewhat to the conceptual world occupied by Henry Moore – the artist against whom Read presented the ‘geometry of fear’ artists as a counterpoint. Yet for Moore, this fluidity always stands aligned to the shapes of the landscape, whereas Adams’ art is committed to the urban – although in Cryptic Form we can perhaps see a later career shift back to something more allusive and metaphorical.

In this, he shares something in common with his contemporary Turnbull, another artist much admired by Hugo Burge. As the forces of post-Modernism swirled around in the 1980s, these two veteran sculptors embarked on making, to use Turnbull’s expression, universal totems ‘beyond time’.

313 §

ROBERT ADAMS (BRITISH 1917-1984)

SCREEN FORM, 1962 (OPUS 170)

bronzed steel

82.5cm high, 33cm wide (32 ½in high, 13in wide)

Exhibited: Gimpel Fils, London, Robert Adams, 1962, cat. no.8 Bertha Schaefer Gallery, New York, Robert Adams, 1963, cat. no.6

Literature: Alastair Grieve, The Sculpture of Robert Adams, The Henry Moore Foundation in association with Lund Humphries, 1992, no.395, illustrated p.203

£7,000-10,000

Photograph taken in Hugo Burge’s apartment, Marchmont House, Berwickshire

These book units were registered as design No. 796529 and described as ‘A simple and flexible system of providing accommodation for books, stores and articles of display’. They were available in Empire Whitewood polished white, black, oak, mahogany or walnut colour and retailed at £1 10 per unit or in birch white polished retailing at £3 30 per unit.

Order lists in the firm’s archive show that by 1937 the units were available in London department stores - Barkers, Harrods, John Lewis, and Whiteley’s; and at the furnishers Heal’s and Bowmans (in addition to Makers of Simple Furniture’s own showroom).

Martha Deese in her 2024 book notes that Gerald and his wife Marjorie organized a clever marketing campaign for the units that targeted members of the Left Book Club (p. 175): ”In early or mid-1936, they embarked on a direct mail campaign targeted at a specific group of potential customers: members of the Left Book Club (L.B.C.). Conceived in January 1936, the L.B.C. vowed “to help in the terribly urgent struggle for World Peace & a better economic order & against Fascism, by giving (to all who are determined to play their part) such knowledge as will immensely increase their efficiency.” The club’s first advertisement for members, in February 1936, led to the enrollment of over six thousand people, each of whom as a condition of membership agreed to purchase every month, for a minimum of six months, a book chosen by the club’s leadership to enlighten and embolden its members. Whether or not Gerald and Marjorie belonged to the L.B.C., they recognized that a fast-growing group of forward-thinking individuals in possession of an ever-increasing number of books were ideal candidates for the book units. Within a few months of the club’s establishment, the Charlotte Street office posted custom packets to the club’s leaders. The contents consisted of a sales pitch (in the form of a letter), a spec sheet for the book units, and an order form cleverly encased in a red-orange folder that mimicked the distinctive orange, cloth-bound covers of the L.B.C.’s publications. “May we interest you in our Book Units for your L.B.C. and other books?” the letter queried. “As they are the most flexible units in existence we think they will have a special appeal for you.” The advantages of the units over other shelving systems — the adaptable form, the different shelf heights, and the capacity of sixty books per unit — took up the body of the letter. The sales pitch concluded with an appeal to both the purse and the psyche. “Built-in bookshelves are always a false economy; you cannot take them with you when you move. And, it is pleasant to re-arrange your room sometimes and enjoy the fresh surroundings.”

Lyon & Turnbull wishes to thank Martha Deese for her assistance with cataloguing this lot.

314

GERALD SUMMERS (BRITISH 1899-1967) FOR THE MAKERS OF SIMPLE FURNITURE SET OF FIVE MODULAR BOOK UNITS, CIRCA 1934 oak (5)

each 101.5cm high, 50.5cm wide, 22.5cm deep (39 ¾in high, 20in wide, 9in deep)

Provenance: Estate of Jessie Ball Sotheby’s, London The Best of British - Design from the 19th and 20th Centuries - Paul Reeves: The Auction, 20 March 2008, Lot 126

Literature: Deese, M. ‘Gerald Summers and Makers of Simple Furniture’, Journal of Design History, vol. 5, no. 3, 1992, p.190 (catalogue page from late 1934 illustrated showing the book units) Deese, M. Gerald Summers & Marjorie Butcher, Makers of Simple Furniture 1931-1940, Berlin, 2024, pp. 67-69, 175, 300

£6,000-8,000

315 §

CHRISTABEL BLACKBURN (BRITISH B.1986)

STATION 1, 2012

signed with monogram lower left, oil on canvas

91cm x 70.5cm (35 ¾in x 27 ¾in)

Provenance: Acquired from the Artist by Hugo Burge

£1,000-1,500

316 §

CHRISTABEL BLACKBURN (BRITISH B.1986)

STATION 2, 2012

signed with the monogram lower left, oil on canvas

91cm x 70cm (35 ¾in x 27 ½in)

Provenance: Acquired from the Artist by Hugo Burge

£1,000-1,500

317

HANS J WEGNER (DANISH 1914-2007) FOR CARL HANSEN & SON SET OF EIGHT ‘CH24’ WISHBONE DINING CHAIRS, DESIGNED 1949

each with maker’s label with date of manufacture

2006, oak, with cord seating (8)

76.5cm high, 55cm wide, 33cm deep (39in high, 21 ½in wide, 17in deep)

£1,500-2,000

318 §

ALBERTO BURRI (ITALIAN 1915-1995)

TRITTICO A; 1-3, 1973

the set of three screenprints, ed. 90 + 25 A.P.’s, each signed and indistinctly inscribed (‘luoco di stampe’(?)) in pencil to margin, published by 2RC Edizioni d’Arte, Rome, with their blindstamp (3) each sheet 35cm x 43cm (13 ¾in x 17in)

Provenance: Beaumont Nathan, London

£2,000-3,000

319 §

REBECCA ACKROYD (BRITISH B.1987)

GENTLE ENGINE 2, 2019

gouache, charcoal and pastel on paper

101.5cm x 71cm (40in x 20in)

Provenance: Peres Projects

£3,000-5,000

Rebecca Ackroyd trained at Byam Shaw School of Art and the Royal Academy Schools, both in London. The three works presented here come from the Gentle Engine series of 2019 and are executed in gouache, charcoal and a stronglyhued red pastel. The Royal Academy has said of Ackroyd’s practice that it utilises ‘a diverse language of making that questions relationships between drawing, abstraction and figuration’.

In a 2016 interview with Vogue, Ackroyd discussed the role of drawing in her work, stating: ‘The drawings began as a way to open up new spaces for narrative in my practice, as a method for working through ideas and freeing up my imagination beyond the physicality of a material process. Although my work might sprawl across different languages of making it feels very much within its own space and so I suppose it comes naturally and isn’t something I try to force.’

She continued and addressed the role of titles, explaining: ‘I don’t usually title works until they’re finished. I suppose the titles I use are quite open ended, as I try to steer clear of anything too literal or explanatory. Usually I want them to give a sense of a feeling or hint to a possible narrative or encounter.’

Ackroyd has received solo exhibitions in Germany (Berlin), Norway (Stavanger) and the United Kingdom (London). She has participated in international group exhibitions including those staged in France (Lyon) and Italy (Rome).

320 §

REBECCA ACKROYD (BRITISH B.1987)

GENTLE ENGINE 3, 2019

gouache, charcoal and pastel on paper

105.5cm x 50cm (40in x 20in)

Provenance: Peres Projects

£3,000-5,000

321 §

REBECCA ACKROYD (BRITISH B.1987)

GENTLE ENGINE 7, 2019

gouache, charcoal and pastel on paper

102cm x 60cm (40in x 24in)

Provenance: Peres Projects

£3,000-5,000

Photograph taken in Hugo Burge’s apartment, Marchmont House, Berwickshire

322 §

ROBERT ADAMS (BRITISH 1917-1984)

SLIM BRONZE NO. 3, 1973 (LARGE VERSION OPUS 347)

stamped with signature, dated and numbered 2/6 (to base), also stamped A 72 2/6 (to bronze), bronze 89.5cm high (35 ¼in high) (excluding base); 92cm high (36 ½in high) (including base), 62cm wide (24 3 8in wide)

Exhibited: Gimpel Fils, London, Robert Adams, 29 May - 22 June 1974, no.14 (another cast)

Gimpel & Weitzenhoffer Gallery, New York, Robert Adams, 17 September - 5 October 1974, no.14 (another cast) Camden Arts Centre, London, Hampstead Artists 1946-86, 1986 (another cast)

Literature: Alastair Grieve, The Sculpture of Robert Adams, The Henry Moore Foundation in association with Lund Humphries, 1992, no.614, illustrated pp.125 & 233 (another cast)

£10,000-15,000

323

YOKO KUBRICK (JAPANESE/AMERICAN B.1989) TIDES

white marble on grey marble plinth

41cm high (16 1⁄8in high) excluding base, 49cm high (19 ¼in high) including base, 44cm wide (17 ¼in wide), 45cm deep (17 5⁄8in deep)

£1,500-2,500

324

YOKO KUBRICK (JAPANESE/AMERICAN B.1989) ARTEMIS, 2017

signed and dated, white marble on grey marble plinth

48cm high (19in high) excluding base, 53cm high (20 7⁄8in high) including base, 43cm wide (17in wide), 32cm deep (12 ½in deep)

£2,000-3,000

‘I can’t deny the lure of the past.’ – Alison Watt

Alison Watt is one of the UK’s most respected painters working today. Her oeuvre has gradually evolved since her figurative works first came to public attention at her sold out Glasgow School of Art degree show. Over time the figures left our line of sight, leaving only the suggestion of their presence, her paintings pushing almost to the point of abstraction in her famous canvases of minimalistic white drapery. The latest direction - represented by the two works offered here - is markedly different again, though along a logical continuum. The figures have left the frame entirely and what remains is a psychological examination of their vestiges. Those familiar with her career will recognise that her work’s current iteration is the next step in her on-going exploration of, as she puts it, ‘the different ways in which a human being can be represented without being present…’

Though an artist with a singular voice, her work is underpinned by a fascination with and debt to the precise and lusciously detailed work of the Old Masters. It was this aspect of her work that the Scottish National Portrait Gallery sought to explore in their exhibition Alison Watt: A Portrait Without Likeness (Edinburgh, 2021-2022), which juxtaposed Watt with the work of one of her great inspirations, Allan Ramsay. Watt immersed herself in the gallery’s collection

of Ramsays, including accessing his archived sketchbooks. The resultant body of work was exhibited alongside two of his most celebrated portraits, those of his first and second wives.

Many of the aspects Watt admires in Ramsay’s work, she also shares: the simplicity and “geometry” of composition, balanced against the fine detail and delicacy of technique, and a depth of feeling tangible in the painting process itself. Ramsay’s portraiture is celebrated for its deep intimacy; his best work is frequently said to be of the interesting, intellectual women of his close acquaintance. Watt conveys that same intimacy in the present paintings, an unspoken narrative suggested in the quiet grandeur of her still lives. She raises gentle, unanswered questions about the objects’ symbolism. In Watt’s own words, the still life ‘can both offer you familiarity with an object, but also transcend the everyday.’

Stocking was one of the works created for the Scottish National Portrait Gallery exhibition, with Frances a continued exploration on the theme in 2022. The lettuce leaf in the latter is a reference to the one held by Ramsay’s sitter Lady Boscawen in his portrait of her of 1747. In the exhibition catalogue text, historian Tom Normand remarks on the eccentricity of Ramsay’s choice of such an object as a prop. At face value, Boscawen was a keen horticulturalist, and on a second level it might be understood to represent the mother of five’s fecundity. Watt, intrigued by the mystery, amplifies it further by isolating the object and placing it within a contextless blank backdrop. As with Watt’s famously allusive folds of drapery, the elevation of a mundane object and the strange intimacy this choice engenders makes complex what at first appears simple. As Normand puts it, the lettuce leaf ‘is revealed as a charismatic organism. Its familiarity is complemented by its wild exoticism; its mundane aspect becomes a strangely erotic cypher.’

Boscawen, a painting closely related to Stocking and Frances, was purchased for the Scottish national collection with support from the Patrons of the National Galleries of Scotland in 2022.

325 §

ALISON WATT O.B.E., F.R.S.E., R.S.A. (SCOTTISH B.1965) FRANCES, 2022

signed, inscribed with title and dated ‘8th August 2022’ to stretcher verso, oil on canvas

76cm x 62cm (30in x 24 ½in) (unframed)

Exhibited: Tristan Hoare Gallery, London, A Kind of Longing, 3 February - 10 March 2023

£8,000-12,000

326 §

ALISON WATT O.B.E., F.R.S.E., R.S.A. (SCOTTISH B.1965)

STOCKING, 2020-21 oil on canvas

75cm x 62cm (29 ½in x 24 ½in) (unframed)

Exhibited: Scottish National Portrait Gallery, Edinburgh, Alison Watt: A Portrait Without Likeness, 17 July 2021- 9 January 2022

£8,000-12,000

327 §

EILIS O’CONNELL (IRISH B. 1953) MORPHWALL, 2016

from an edition of 5, patinated bronze 26cm high, 57cm wide, 17cm deep (10 ¼in high, 22 ½in wide, 6 ¾in deep)

£1,000-1,500

328

VERNER PANTON (DANISH 1926-1998)

MIRA-X WALL PANEL (WAVE)

cotton velvet, stretched and framed 119cm x 119cm (47in x 47in)

£500-700

329

VERNER PANTON (DANISH 1926-1998)

MIRA-X WALL PANEL (GEOMETRIC SQUARES)

cotton velvet, stretched and framed 119cm x 118cm (46 ½in x 46 ¾in)

£500-700

Right: Photograph taken in Hugo Burge’s apartment, Marchmont House, Berwickshire

330

RYOSUKE YAZAKI (JAPANESE B. 1965)

SUIRYUU, 2020

signed and dated 2020 Feb 18 (to base), wood 71cm high (28in high)

£1,500-2,500

331 §

ROBERT ADAMS (BRITISH 1917-1984)

CRYPTIC FORM No. 1, 1980 (OPUS 394)

stamped, dated and numbered ADAMS 1980 1/6 (on the underside), cast in an edition of six, bronze 31cm high, 17cm wide (12 ¼in high, 6 ¾in wide)

Literature: Alastair Grieve, The Sculpture of Robert Adams, The Henry Moore Foundation in association with Lund Humphries, 1992, no.662, illustrated p.239 (another cast)

£3,000-5,000

Silversmiths Hannah Keddie, Katie Watson & Scott Smith working in a Hugo Burge Foundation Creative Space.

Photograph by Angus Bremner

The Hugo Burge Foundation is a major new charity dedicated to supporting the arts, crafts and creative industries across the United Kingdom.

The Foundation runs workshops and courses, provides fully funded residencies, and offers free and affordable studios and workspaces in the Scottish Borders. It also works with schools, charities and other educational institutions to increase young people’s access to creative learning and apprenticeships.

In Spring 2025, the Hugo Burge Foundation will launch a new UK-wide grants programme supporting individual artists, apprenticeships, festivals and creative education.

For more information visit www.hugoburgefoundation.org

Charles Poulsen’s ‘Chestnutring’, in the walled garden of the Hugo Burge Foundation.

The two Sweet Chestnut trees are to be trained around the corten ring. Eventually the trees will hold the ring suspended in place, and the frame can be removed.

Photograph by Julie Howden

CHARLES RENNIE MACKINTOSH (1868-1928)

‘PIMPERNEL’, 1901

22cm x 17cm (frame size 44.5cm x 39cm)

£15,000-20,000 + fees

AUCTION 01 & 02 MAY 2025

LIVE IN LONDON & ONLINE

CONDITIONS OF SALE

FOR BUYERS (UK)

These Conditions of Sale and the Saleroom Notices as well as specific Catalogue terms, set out the terms on which we offer the Lots listed in this Catalogue for sale. By registering to bid and/or by bidding at auction You agree to these terms, we recommend that You read them carefully before doing so. You will find a list of definitions and a glossary at the end providing explanations for the meanings of the words and expressions used.

Special terms may be used in Catalogue descriptions of particular classes of items (Books, Jewellery, Paintings, Guns, Firearms, etc.) in which case the descriptions must be interpreted in accordance with any glossary appearing in the Catalogue. These notices and terms will also form part of our terms and conditions of sales.

In these Conditions the words “Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd, the singular includes the plural and vice versa as appropriate. “You”, “Your” means the Buyer. Lyon & Turnbull Ltd. acts as agent for the Seller. Lyon & Turnbull Ltd. acts as agent for the Seller. On occasion where Lyon & Turnbull Ltd. own a lot in part or full the property will be identified in the catalogue with the symbol (��) next to its lot number.

A. BEFORE THE SALE

1. DESCRIPTIONS OF LOTS

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

2. OUR RESPONSIBILITY FOR OUR DESCRIPTION OF LOTS

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

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

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

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

3. WITHDRAWAL

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

4. JEWELLERY, CLOCKS & OTHER ITEMS

(a) Jewellery:

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

(ii) All types of gemstones may have been improved by some method. You may request a gemmological report for any Lot which does not have a report

if the request is made to us at least three weeks before the date of the sale and You pay the fee for the report in advance of receiving said report.

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

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

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

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

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

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

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

B. REGISTERING TO BID

1. NEW BIDDERS

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

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

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

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

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

2. RETURNING BIDDERS

We may at our discretion ask You for current identification as described in paragraph B.1.(a) above, a finance reference or a deposit as a condition of allowing You to bid. If You have

not bought anything from us in the last two years, or if You want to spend more than on previous occasions, please contact our Finance Department on +44(0)131 557 8844.

3. FAILURE TO PROVIDE THE RIGHT DOCUMENTS

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

4. BIDDING ON BEHALF OF ANOTHER PERSON

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

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

5. BIDDING IN PERSON

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

6. BIDDING

SERVICES

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

(a) Phone bids

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

(b) Internet Bids

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

(c) Written Bids

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

C. DURING THE SALE

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.

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

TRANSPORT AND SHIPPING

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

2. EXPORT OF GOODS

Buyers intending to export goods should ascertain;

(a) Whether an export licence is required; and

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

3. CITES: ENDANGERED PLANTS AND ANIMALS LEGISLATION

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

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

I. OUR LIABILITY TO YOU

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

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

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

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

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

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

J. OTHER TERMS

1. OUR ABILITY TO CANCEL

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

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

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

2. RECORDINGS

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

3. COPYRIGHT

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

4. ENFORCING THIS AGREEMENT

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

5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES

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

6. REPORTING ON WWW.LYONANDTURNBULL.COM

Details of all Lots sold by us, including Catalogue disruptions and prices, may be reported on www.lyonandturnbull. com. Sales totals are Hammer Price plus Buyer’s Premium and do not reflect any additional fees that may have been incurred. We regret we cannot agree to requests to remove these details from our Website.

7. SALE BY PRIVATE TREATY

(a) The same Conditions of Sale (Buyers) shall apply to sales by private treaty.

(b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers.

(c) We undertake to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids.

(d) For the purposes of a private treaty sale, if a Lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale.

8. THIRD PARTY LIABILITY

All members of the public on our premises are there at their own risk and must note the lay-out of the premises, safety and security

arrangements. Accordingly, neither the Auctioneer nor our employees or agents shall incur liability for death or personal injury or similarly for the safety of the property of persons visiting prior to, during or after a sale.

9. DATA PROTECTION

Where we obtain any personal information about You, we shall use it in accordance with the terms of our Privacy Policy (subject to any additional specific consent(s) You may have given at the time Your information was disclosed). A copy of our Privacy Policy can be found on our Website www.lyonandturnbull.com or requested from Client Services, 33 Broughton Place, Edinburgh, EH1 3RR or by email from data enquiries@ lyonandturnbull.com.

10. FORCE MAJEURE

We shall be under no liability if they shall be unable to carry out any provision of the Contract of Sale for any reason beyond their control including (without limiting the foregoing) an act of God, legislation, war, fire, flood, drought, failure of power supply, lock-out, strike or other action taken by employees in contemplation or furtherance of a dispute or owing to any inability to procure materials required for the performance of the contract.

11.

LAW AND JURISDICTION

(a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law

(b) Jurisdiction: The Buyer agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply.

K. DEFINITIONS & GLOSSARY

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

1. DEFINITIONS

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

“Bidder” a person who has completed a Bidding Form

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

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

“Buyer’s Premium” the sum calculated on the Hammer Price at the rates

stated in Catalogue.

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

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

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

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

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

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

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

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

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

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

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

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

“VAT” value added tax at the prevailing rate at the date of the sale in the United Kingdom.

“Website” Lyon & Turnbull’s Website at www.lyonandturnbull.com

2. GLOSSARY

The following have specific legal meaning which You may not be familiar with. The following glossary is intended to give You an understanding of those expressions but is not intended to restrict their legal meanings:

“Artist’s Resale Right” the right of the creator of a work of art to receive a payment on Sales of that work subsequent to “Knocked Down” when a Lot is sold to a Bidder, indicated by the fall of the hammer at the Sale.

“Lien” a right for the person who has possession of the Lot to retain possession of it.

“Risk” the possibility that a Lot may be lost, damaged, destroyed, stolen, or deteriorate in condition or value.

“Title” the legal and equitable right to the ownership of a Lot.

GUIDE TO BIDDING & PAYMENT

REGISTRATION

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 nontransferable.

BIDDING OUTSIDE THE SALEROOM

BY PHONE

A limited number of telephone lines are available for bidding by phone through a Lyon & Turnbull representative. Phone lines must be reserved in advance. All bid requests must be received an hour before the sale. All telephone bids must be confirmed in writing, listing the relevant lots and appropriate number to be called. We recommend that a covering bid is also left in the event that we are unable to make the call. We cannot guarantee that lines will be available, or that we will be able to call you on the day, but will endeavour to undertake such bids to the best of our abilities. This service is available entirely at our discretion and at the bidder’s risk.

IN WRITING

Bid forms are available at the sale and/or the back of the catalogue. These should be submitted in person, by post, or by fax as soon as possible prior to the sale and we will bid on your behalf up to the limit indicated. In the event of receiving two identical bids the first one received will take precedence All bids must be received an hour before the sale. This service is provided entirely at the bidder’s risk.

ON THE INTERNET

- ABSENTEE BIDDING

Leave a bid online through our website, call us on 0131 557 8844 or email info@lyonandturnbull.com

- BID LIVE ONLINE

Bid live online, for free, with Lyon & Turnbull Live. Just click the button from the auction calendar, sale page or any lot page online to register.

PAYMENT

Our accounts teams will continue to be available to process payments and answer queries. We will be able to accept online payments through our website and bank transfer. On-site payment facilities are available by appointment.

Payment is due within seven (7) days of the sale. Lots purchased will not be released until full payment has been received. Payment may be made by the following methods:

BANK TRANSFER

Account details are included on any invoices we issue or upon request from our accounts department.

ONLINE CREDIT OR DEBIT CARD PAYMENTS

We no longer accept card payments by phone. Please use our online payment service (provided by Opayo).

You will find a link to this service in any email invoice issued or you can visit the payments section of our website.

CASH

No cash payments will be accepted for this auction.

COLLECTION OF PURCHASED LOTS

Please refer to page 6 of this catalogue.