20th Century Design

20TH CENTURY DESIGN

SATURDAY 5 OCTOBER 2024

ALSO SELLING TODAY:

MODERN & CONTEMPORARY ART

SATURDAY 5 OCTOBER 2024

9.30AM

SATURDAY 5 OCTOBER 2024 AT 9.30AM

AUCTION

The Auction Centre, Leyburn North Yorkshire DL8 5SG

VIEWING

Thursday 3 October 10.00am to 4.00pm Friday 4 October 10.00am to 4.00pm Morning of Sale from 8.00am

Live bidding is available on this sale by registering at www.tennants.co.uk All lots illustrated online at www.tennants.co.uk

CONTACT

Telephone: 01969 623780

enquiry@tennants-ltd.co.uk www.tennants.co.uk

FRONT COVER Lots 216, 138, 166 (part)

BACK COVER Lots 27, 28, 29

20TH CENTURY DESIGN DEPARTMENT

Encompassing studio ceramics, ceramics, glass, metalwork, sculpture, furniture and furnishings from all the major design movements in the applied arts from 1860 to the present day. Periods of collecting include Arts & Crafts, Aesthetic Movement, Art Nouveau, Art Deco, Modernist, Post-War Design and Contemporary Design amongst others, through designers such as William Morris, Martin Brothers, William Moorcroft, Christopher Dresser, Liberty & Co, Lucie Rie, William De Morgan, Ferdinand Preiss, René Lalique, Émile Gallé, Archibald Knox and the Cotswold School. Mouseman and Yorkshire Critters

MOUSEMAN AND THE YORKSHIRE CRITTERS

Tennants is widely regarded as the leading auction house in the Arts & Crafts oak furniture and furnishings of Robert ‘Mouseman’ Thompson. In 2016 Tennants staged the first ever exhibition of Robert ‘Mouseman’ Thompson outside Kilburn in conjunction with his descendants. The Yorkshire Critters comprise over forty furniture makers working in the tradition of Robert ‘Mouseman’ Thompson, many of whom trained in his Kilburn workshop. Increasingly popular, the most well-known of them include Stan ‘Woodpeckerman’ Dodds, Wilf ‘Squirrelman’ Hutchinson and Colin ‘Beaverman’ Almack.

Numerous important private collections of Mouseman have been sold at Tennants over the years, including the Library from Leeds Girls’ High School, the Boardroom from Grattans in Bradford, the contents of St Hilda’s Priory in Whitby, and property from Marco-Pierre White’s Rudloe Arms Hotel in Wiltshire

YOUR SPECIALIST

Diane Sinnott is both the specialist in charge of the 20th Century Design Department and an experienced General Valuer. Since joining Tennants in 2002, Diane has been responsible for a number of high-profile sales, including the Robert ‘Mouseman’ Thompson Library at Leeds Girls’ High School, the Michael Webb Collection of Studio Ceramics, and the G. Kenneth Whitehead Deer Collection. Diane is considered to be one of the country’s most knowledgeable Robert ‘Mouseman’ Thompson and Yorkshire Critters specialists.

Diane began working in the auction business in 1996 having graduated from the Southampton Institute with a BA (Hons) in Fine Ar ts Valuation. She is a qualified Member of the Royal Institute of Chartered Surveyors in Chattels, and regularly gives talks on Robert ‘Mouseman’ Thompson and 20th Century Design. Diane has a particular interest and expertise in Arts & Crafts oak furniture, and is a member of the Decorative Arts Society and the Society for the Protection of Ancient Buildings (SPAB).

Tennants is the UK’s largest family-owned fine art auctioneers, with a well-deserved reputation for delivering unrivalled service and results. Twenty-seven specialist departments offer an outstanding range of depth and expertise that, combined with the company’s strong traditional values and a personal approach, have won Tennants widespread respect in the international marketplace. Each year Tennants holds over 80 auctions and handles in excess of 40,000 lots covering all major disciplines, making it one of the UK’s busiest salerooms.

Diane Sinnott BA (Hons) MRICS

)STUDIO POTTERY

DAVID & BRENDA PEARSON STUDIO POTTERY COLLECTION (lots 1-33)

Brenda (1935-2024) and David (1932-2017) were both born in the Midlands and spent much of their working lives in Birmingham. Brenda trained and initially worked as a nurse, while David studied medicine and worked as an anaesthetist.

It isn’t known when they started their interest in studio ceramics, but without doubt the Peter Dingley Gallery in nearby Stratford-upon-Avon played a pivotal role in their selection of fine pieces of the potter’s art. From its opening in 1966, Peter Dingley (1924-2019) showcased the works of outstanding contemporary potters such as Bernard Leach and Lucie Rie. Many of the examples in this collection were purchased at the gallery.

In September 1972 David visited Japan to attend a medical conference, leaving Brenda at home with their children Jonathon and Jane. Of course, David couldn’t resist visiting the Hamada pottery at Mashiko, north east of Tokyo. In the 1920s Shoji Hamada (1894-1978) had spent three years at St Ives working with Bernard Leach before returning to Japan to set up his own pottery. David met two of Hamada’s sons, Shinsaku and Atsuya, who were also distinguished potters, and he purchased items now in this collection.

In the early 1980s, Brenda and David left Birmingham and retired to Grange-over-Sands where they had more time to pursue their artistic interests. Brenda excelled in embroidery and was an active member of the Embroiderers’ Guild. David was a prolific painter, sculptor and poet (with a particular interest in Haiku). As well as creating his own work, David also assisted the Cumbrian sculptor Josephina de Vasconcellos (1904-2005) with one of her later works ‘Escape to Light’.

Brenda and David lived long and fulfilling lives enriched by their shared love of art. To them, there was something special about ceramics - a magical mixture of form, texture and colour, created from clay.

Michael Pearson

Richard Batterham (1936-2021)

Richard Batterham was a master of his craft who quietly dedicated himself to produce an outstanding body of thrown stoneware pots from his Dorset studio. Batterham was first introduced to pottery aged 13 at Bryanston School in Dorset, but it was a week-long visit to a country pottery in Surrey during a period of leave from national service that was to set the course for his life. After leaving service, he served a twoyear apprenticeship with Bernard Leach, the pre-eminent artist-potter of the 20th century, in his St Ives studio, who drew heavily on influences from the Far East as well as British medieval and vernacular pottery, creating a style that filtered down to his students and followers including Batterham.

In 1959 Batterham set up his own studio in Durweston in Dorset, where throughout his long career he never employed assistants, preferring to have complete control of his craft from mixing his own clay to firing the kiln. He was incredibly industrious and disciplined and was resolute in producing beautiful and functional objects that were not subject to passing fashions or external influences. Once he had established his style and technique as a young man, it remained largely unchanged, with forms and glazes instead going through a steady development and refinement process with no radical reinvention.

Marked by a quiet modernity and subtlety of form and decoration, Batterham’s style is immediately recognisable to collectors of studio pottery. The shapes of his pots were inspired by the practical needs of his young family, and he made no distinction in the quality of his work between objects for use and grand display pieces. Soft, rich iron, ash and salt glazes, refined over the long decades of his career, appear painterly and organic, whilst his careful and restrained surface decoration is deceptively simple. Fluid faceted cuts, gentle fluting, and simple lines of raised decoration highlight and exaggerate the harmonious shape of a vase or bowl. He created an extraordinary variety of pots through simple manipulation of the clay and glaze of his distinctive thrown forms.

Batterham had a quiet sense of self-belief, going so far as to refuse to mark his work, regarding it as distinctive enough to be recognisable in its own right. Despite commercial success, he continued to live simply and quietly in his Dorset home, thriving in and supporting his local community and its activities such as bellringing and beekeeping.

1 ✓

Richard Batterham (1936-2021): A Stoneware Bowl, cut-sided, green ash and tenmoku glaze, unmarked, 12.5cm diameter, 8.5cm high

Richard Batterham (1936-2021): A Stoneware Bowl, green ash glaze, unmarked, 15.5cm diameter, 5.5cm high

Richard Batterham (1936-2021): A Stoneware Jar and Cover, green ash and tenmoku glaze, painted 35, 10.5cm high (3)

£200-300

2 ✓

Richard Batterham (1936-2021): A

Stoneware Twin-Handled Casserole, green ash glaze, painted 27, 23cm diameter, 11cm high

£100-150

3 ✓

Deirdre Burnett (1939-2022): A Porcelain Footed Bowl, impressed DB, 9.5cm wide

Adam Dworski (1917-2011): A Stoneware Bull, black glaze, impressed mark (on lower back)

19cm long

A Quantity of Studio Pottery (22)

£100-150

4 ✓

Michael Ambrose Cardew (1901-1983): at Wenford Bridge Pottery: A Stoneware Jug and Cover, tenmoku glaze with incised decoration, impressed MC and Wenford Bridge Pottery marks, 25cm high

Svend Bayer (b.1946): at Wenford Bridge Pottery: A Stoneware Jug, wood fired, impressed SB and Wenford Bridge Pottery marks, 21cm high (2)

£100-150

6 ✓

Russell Antony Collins (b.1942): A Stoneware Jar and Cover, oatmeal glaze, impressed potter’s mark, 31cm high

Jane Hamlyn (b.1940): A Salt Glazed Stoneware Jar and Cover, with twist handle, impressed potter’s mark, 14cm high

John Jelfs (b.1946): A Stoneware Jar and Cover, tenmoku glaze, impressed swan mark, 15cm high

Tobias Harrison (b.1950): An Earthenware Jar and Cover, blue lustre and gilding, incised and labelled, 20.5cm high

Four Winchcombe Pottery Stoneware Jars and Covers, tenmoku glazes, three with impressed Winchcombe Pottery mark, largest 17cm high (8)

£70-100

5 ✓

Barbara Cass (Wolstencroft) (1921-1992): An Arden Pottery Stoneware Vase, ash glaze with red, incised BC ARDEN, 18cm high

Barbara Cass (Wolstencroft) (1921-1992): An Arden Pottery Stoneware Vase, oatmeal and ash glaze, incised BC ARDEN, 14cm high

Bill and Vicki Read Winslow (Claycutters) Pottery: A Large Stoneware Vase, soft glaze colours, painted 72 WINSLOW and monogram, 26cm high (3)

£80-120

7 ✓

Coxwold Pottery: A Stoneware Beaker, tenmoku glaze, impressed pottery mark, 8cm high

A Quantity of Studio Pottery (14)

£70-100

8 ✓

Derek M Davis (1926-2008): A Stoneware High Fired Vase, deep red and blue, painted mark, 33cm

£100-150

9 ✓

Mike Dodd (b. 1943): A Stoneware Jar and Cover, lug handles, incised, covered in a green ash and tenmoku glaze, impressed potter’s mark, 28cm high (damaged rim)

A Set of Eight Graduating Stoneware Mixing Bowls, impressed potter’s mark, largest 16cm diameter, 8.5cm high, smallest 8cm diameter, 4.5cm high (9)

£70-100

10 ✓

Alan Spencer Green (19322003): A Fine Stoneware Vase, tenmoku glaze, incised ASG, 29.5cm high

£100-150

Shõji Hamada (1894-1978)

Shõji Hamada was one of the most influential studio potters of the 20th century. After studying ceramics at the Tokyo Institute of Technology, Hamada discovered the work of Bernard Leach in his Tokyo exhibition. After seeking an introduction, the pair became great friends, and in 1920 Hamada returned to England with Leach and during his three-year stay in the country helped him establish his studio and influenced the foundation of the studio pottery movement in Britain.

Following his return to Japan, he would set up his own studio in the small town of Mashiko, which would later become a centre of excellence for Japanese studio pottery and the folk-art movement. Here he brought traditional Japanese forms of pottery into the modern age, whilst using locally scorced materials from his clays and glazes to his brushes and tools.

Shõji Hamada (Japanese, 1894-1978): A Stoneware Press Moulded Bottle Vase,1972, nuka and tenmoku glaze, 24cm high

Purchased in Japan, September 1972.

£1,000-1,500

Shõji Hamada (Japanese, 18941978): A Stoneware Yunomi,1972, painted decoration, 8.5cm high

Given by Hamada Shinsaku and Hamada Atsuya on a visit to the Mashiko Pottery in September 1972.

£200-300

Shõji Hamada (Japanese, 1894-1978): A Stoneware PressMoulded Square Dish,1972, oatmeal glaze with tenmoku brush work, 20cm square (hairlines)

Purchased in Japan, September 1972.

£100-150

Shigeyoshi Ichino (Japanese, 1942-2011) at Leach Pottery: A Stoneware Chawan, nuka glaze, impressed potter’s mark and Leach Pottery, 8.5cm high in a tomobako box

Shigeyoshi Ichino (Japanese, 1942-2011) at Leach Pottery: A Stoneware Yunomi, nuka glaze, impressed potter’s mark and Leach Pottery, 10cm high

A Japanese Chawan, nuka glaze, unmarked, 8.5cm high in a tomobako box

A Japanese Chawan, kaki glaze, unmarked, 8.5cm high (4)

£100-150

Shigeyoshi Ichino (Japanese, 1942-2011) at Leach Pottery: A Stoneware Vase, incised with a fish, impressed potter’s mark and Leach Pottery, 21cm high

A Japanese Stoneware Dish, ash glaze with brushwork, impressed potter’s mark, 18cm diameter (2)

£70-100

A Japanese Chawan, nuka glaze, impressed mark (glazed filled), 7.5cm high

Four Others (5)

£70-100

17 ✓

Leach Pottery (St Ives): A Stoneware Vase, impressed flower heads, impressed potter’s mark and Leach Pottery mark, 22.5cm high

Leach Pottery (St Ives): A Porcelain Vase, circa 1973, painted brushwork decoration, impressed Leach Pottery mark, 9.5cm high

Leach Pottery (St Ives): A Stoneware Cup and Saucer, tenmoku glaze, with impressed Leach Pottery mark and ENGLAND, cup 7cm high

Leach Pottery (St Ives): A Stoneware Tea Bowl, oatmeal glaze, with impressed Leach Pottery mark and ENGLAND, 5cm high, 9cm diameter (5)

£100-150

Bernard Leach (1887-1979)

Bernard Leach was the pre-eminent artist-potter of the 20th century. Both a great maker and a great teacher, Leach exerted the utmost influence on the development of studio pottery, which is felt to this day.

Having been born in Hong Kong, Leach spent his early years in Japan and Hong Kong, before moving to London to study at the Slade School of Fine Art. Here he developed a deep fascination for Japan and moved to the country in 1909 with his young wife. Initially teaching etching, he was introduced to Japanese ceramics in 1911 and began to study pottery.

In 1919 he met fellow potter Shõji Hamada, who would accompany him back to England in 1920 having been asked to join the emerging Guild of Handicrafts group in the artistic colony of St Ives. Here he established a studio with the aid of Hamada and built the first Japanese kiln in the West.

Leach thought of pottery as a combination of Eastern and Western philosophies and drew on technical and aesthetic influences from both regions in his simple, utilitarian forms. From his studio he strove to elevate ceramics to the status of the Fine Arts and challenge homogeneous mass-produced pottery, and his influence was disseminated across the world through his numerous studio apprentices.

After the Second World War, Leach reached the height of his artistic powers. He was the most highly regarded British potter and was accepted as an artist in Japan.

18 ✓

Bernard Leach (1887-1979):

A Large Stoneware Vase, tenmoku glaze, impressed potter’s mark and St Ives mark, 27cm high

£700-1,000

19 ✓

David Leach O.B.E (19112005): at Lowerdown Pottery: A Stoneware Vase, tenmoku glaze with a foxglove motif in rust, impressed DL personal mark and Lowerdown Pottery, 29cm high

£200-300

20 ✓

Janet Leach (1918-1997) at Leach Pottery: A Black Stoneware Vase, tenmoku trailed decoration, impressed JL and Leach Pottery marks, 12cm high

£70-100

21 ✓

Jeremy Leach (b.1941): at Lowerdown Pottery: A Miniature Porcelain Octagonal Jar and Cover, celadon glaze, impressed potters mark and Lowerdown Pottery, 6cm high

Jeremy Leach (b.1941): at Lowerdown Pottery: A Porcelain Jar and Cover, celadon glaze, impressed potters mark and Lowerdown Pottery, 10cm high

Two Other Pieces of Lowerdown Pottery

John Wheeldon (b.1950): A Porcelain Octagonal Jar and Cover, celadon glaze with impressed repeating pattern to the cover, impressed ejw and Peter Dingley Gallery label, 7cm high (5)

£70-100

22 ✓

John Maltby (1936-2020): A Stoneware Circular Box and Cover, painted with three blue crosses and dots, tenmoku glaze edge, impressed potter’s mark, labelled, 7.5cm diameter

Provenance: Peter Dingley Gallery, Stratford-upon-Avon. John Maltby (1936-2020): A Porcelain Miniature Teapot and Cover, dolomite glaze, cane handle, labelled, 14cm high (damaged) (2)

Provenance: Peter Dingley Gallery, Stratford-upon-Avon.

£70-100

23 ✓

William (Bill) Marshall (1923-2007): at Leach Pottery: A Stoneware Yunomi, nuka glaze with brushwork, impressed potter’s mark and Leach Pottery, 9cm high

William (Bill) Marshall (1923-2007): at Leach Pottery: A Porcelain Yunomi, hakame glaze, impressed potter’s mark and Leach Pottery, 8cm high

Leach Pottery Stoneware Chawan, tenmoku glaze and wax resist motifs, impressed Leach Pottery mark (glazed filled) 8cm high (3)

£100-150

24 ✓

Andrew McGarva (b.1956): A Salt Glazed Stoneware Bowl, ash glaze interior, impressed AM and dated 1980, 21cm diameter

Keith Ashley (b.1944): A Stoneware Bowl, ash glaze with painted Greek alphabet letters, impressed potter’s mark, 25.5cm diameter

Robert Mabon (d.1989): A Stoneware Pentagon Box and Cover, tenmoku glaze, impressed potter’s mark, 12.5cm wide

Alderney Pottery: A Stoneware Bowl, flutted, tenmoku glaze, impressed pottery mark, 14.5cm diameter

Four Others (8)

£70-100

25 ✓

Kenneth Quick (1931-1963): A Stoneware Vase, running green ash glaze, impressed potter’s mark and Leach Pottery, 24cm high

Jeremy Leach (b.1941): A Stoneware Jar and Cover, tenmoku glaze, impressed potter’s mark and Lowerdown Pottery, 25.5cm high (2)

£100-150

26 ✓

Mary Arundell Rich (1940-2022): A Porcelain Vase, painted decoration, impressed m mark, Peter Dingley Gallery label, 17cm high

Mary Arundell Rich (1940-2022): A Porcelain Box and Cover, gold banded, impressed m mark, 9cm diameter

Nine Others by Mary Arundell Rich (1940-2022) (11)

£100-150

Dame Lucie Rie (1902-1995)

Lucie Rie is one of the most accomplished and celebrated studio potters. Known for her extraordinarily fine hand-thrown porcelain pots, bottles and bowls, Rie has become one of the most sought-after ceramicists of the 20th century.

Rie was born in Austria at the turn of the century. Having trained in pottery at the School of Art and Design in Vienna, she was beginning to build a reputation in the city as an accomplished potter during the 1930s. However, aged 36, Rie found herself in London, a Jewish émigré who fled from the Nazi’s rise to power in her homeland. Under difficult circumstances, Rie began making hand-made ceramic buttons for the couture industry. With rationing for traditional button materials and the requisitioning of button factories, Rie spotted a gap in the market and found a way of making a living.

Fellow potter and émigré Hans Coper began working for her, and together they produced tableware, such as tea and coffee services. Elegant, angular and modern, their wares soon found a following and began to be stocked in fashionable outlets such as Heals. Coper was to share a studio with Rie until 1958, and they remained friends until Coper’s death in 1981.

As her commercial success in domestic wares grew, Rie was able to return to making art pottery. Using porcelain (the most difficult of materials to throw), Rie created delicate, almost gravity defying pieces, experimenting with synthetic colours and glazes. Her work was not initially admired in Great Britain, being very different to the heavy earthen and stoneware studio pottery being produced in the country by the likes of Bernard Leach. She was told her walls were too thin and her pot ‘feet’ were too small – the very features so admired in her work today. However, her more European, minimalist style was appreciated on the Continent and her reputation began to grow. Soon she began to be appreciated at home too and would go on to achieve great success and acclaim during her long career.

27 ✓

Dame Lucie Rie (1902-1995): A Stoneware Bottle Vase, circa 1983, with flaring rim, spiralling pale green volcanic glaze, impressed LR potter’s mark, 25cm high

Provenance: Private Collection. Acquired from Peter Dingley Gallery, Stratford-upon-Avon. £6,000-9,000

28 ✓

Dame Lucie Rie (1902-1995): A Stoneware Vase, circa 1983, squashed oval, pale blue/green volcanic glaze, impressed LR potter’s mark, 14.5cm high

Provenance: Private Collection. Acquired from Peter Dingley Gallery, Stratford-upon-Avon.

£1,500-2,500

29 ✓

Dame Lucie Rie (1902-1995): A Miniature Stoneware Vase, circa 1983, squashed oval form, spiralling pale blue/green/cream pitted glaze, impressed LR potter’s mark, 8cm high

Provenance: Private Collection. Acquired from Peter Dingley Gallery, Stratford-upon-Avon.

£800-1,200 28

30 ✓

Dame Lucie Rie (1902-1995): A Stoneware Bowl, circa 1983, blue glazed interior and cream glazed exterior, impressed LR potter’s mark, 14.5cm diameter, 6.5cm high

Provenance: Private Collection. Acquired from Peter Dingley Gallery, Stratford-upon-Avon.

£1,000-1,500

31 ✓

Mary Elizabeth Rogers (1929-2021): A Porcelain Footed Bowl, oatmeal glaze interior, blue glaze exterior, dark rim, impressed MER mark, 18cm diameter, 7.5cm high

Mary Elizabeth Rogers (1929-2021): A Porcelain Leaf, covered in white glaze with copper green radiating decoration, impressed MER mark, 9cm wide (2)

£100-150

32 ✓

John Smith (20th century): A Porcelain Beaker Vase, with white slip decoration under a kaki glaze, labelled A John Smith Pot John Smith Pottery Bewdley Museum Bewdley, Worcestershire Telephone Bewdley 3573, 17cm high

A Quantity of Studio Pottery (qty)

£100-150 33

Kawai Takeichi (Japanese, 1908-1989): A Slab-Sided Press-Moulded Stoneware Bottle Vase, 1972, underglaze blue and red floral decoration, 15cm high

Purchased Kyoto, September 1972.

£70-100

PRIVATE COLLECTION

THE MAJORITY PURCHASED FROM THE WELL-RESPECTED DECORATIVE ARTS

GLASS DEALERS DENISE AND SHANE THEOPHILUS (1954-2022)

(lots 34-63) 34

£700-1,000

A Daum Nancy Enamelled Cameo Winter Landscape Vase, decorated with a continuous scene of trees in snow, on an amber ground, signed in enamel DAUM NANCY with the Croix de Lorraine, 14cm high

A Daum Nancy Enamelled Cameo Winter Landscape Vase, of oval cylindrical form, acid-etched in relief with windmills, a church and snowy trees, signed in enamel DAUM NANCY with the Croix de Lorraine, 17cm high

£600-900

A Daum Nancy Enamelled Cameo Summer Landscape Bowl, decorated with a continuous scene of trees, on a mottled green ground, signed in enamel DAUM NANCY with the Croix de Lorraine, 15cm wide

£400-600

A Daum Nancy Enamelled Cameo Autumn Landscape Vase, square section form, decorated with a continuous scene of trees in rain, on a frosted ground, signed in enamel DAUM NANCY with the Croix de Lorraine, 12.5cm high

£400-600

A Daum Nancy Enamelled Cameo Paysage Rose Landscape Vase, decorated with two pink blossom trees and a lake, on a mottled pink ground, signed in enamel DAUM NANCY 706, 23.5cm high

£1,000-1,500

A Daum Nancy Enamelled Cameo Paysage du Lac Landscape Vase, decorated with trees and a lake, on a mottled blue ground, signed in enamel DAUM NANCY, 23cm high

£1,000-1,500

A Daum Nancy Enamelled Cameo Paysage du Lac Landscape Vase, decorated with trees and a lake, on a mottled blue ground, signed in enamel DAUM NANCY, 11cm high

£400-600

A Daum Nancy Enamelled Cameo Cobweb Vase, decorated with wild orchids, cobwebs and a hovering bee, on a mottled amber ground, signed in gilt DAUM NANCY and the cross of Lorraine, 21cm high

£600-900

A Daum Nancy Enamelled Cameo Pissenlit Vase, decorated with dandelions, highlighted in gilt, on a rose and green ground, signed in gilt DAUM NANCY and the cross of Lorraine, 25cm high

£500-800

A Daum Nancy Cameo Vase, decorated with convolvulus, on a frosted, blue and amber marbled ground, signed DAUM NANCY and the cross of Lorraine to base, 19.5cm high

£300-500

A Daum Nancy Enamelled Cameo Coeur de Jeanette Vase, decorated with panicles of the bleeding heart, on an amber and pink marbled ground, signed in the glass DAUM NANCY and the cross of Lorraine (raised), 8.5cm high

£300-500

An Émile Gallé Cameo Le Lac de Come Glass Vase, circa 1925, decorated with blue acid-etched views of Lake Como, on an amber ground, mark Gallé on the body, 27cm high

£4,000-6,000

An Émile Gallé Cameo Paysage des Vosges Glass Vase, circa 1925, decorated with blue and brown acid-etched mountainous landscape, on a frosted and amber ground, mark Gallé on the body, 26cm high

£1,000-2,000

An Émile Gallé Mould Blown Cameo Glass Vase, circa 1910, overlaid and acid-etched with fuschia, on an amber ground, cameo mark Gallé on the body, 30cm high

£1,500-2,500

An Émile Gallé Mould Blown Cameo Glass Prunelles Vase, circa 1920, acid-etched with plums, on an amber and frosted ground, cameo mark Gallé on the body, 32cm high

£700-1,000 49

An ÉmileGallé Mould Blown Cameo Glass Chrysantheme Vase, circa 1920, acid-etched with chrysanthemums, on an amber ground, cameo mark Gallé on the body, 21cm high

£700-1,000

An Émile Gallé Mould Blown Cameo Glass Vase, circa 1910, overlaid and acid-etched with clematis, on an amber ground, cameo mark Gallé on the body, 17cm high

£600-900

An Émile Gallé Mould Blown Cameo Glass Bignones Vase, circa 1910, overlaid and acid-etched with trumpet vines, on an amber ground, cameo mark Gallé on the body, 15cm high

£600-900

An Émile Gallé Cameo Dragonfly Glass SolifleurVase, circa 1910, overlaid and acid-etched with a dragonfly hovering over waterlilies on a pond, on a yellow ground, cameo mark Gallé on the body, 17.5cm high

£600-900

An Émile Gallé Mould Blown Cameo Glass Calla Iris Vase, circa 1920, acid-etched with iris, on an amber ground, mark Gallé on the body, 12.5cm high

£400-600

Gabriel Argy-Rousseau (1885-1953): A Pâtede-Verre Chardons Vase, moulded with thistles, moulded signature G ARGY-ROUSSEAU and FRANCE, 10cm high

£500-800

Six Jugendstil Theresienthal Enamelled Hock Glasses, circa 1900, the vertically optic ribbed tulip form bowls, each painted with stylised petals and leaves, highlighted in gilt, on green stems and foot, 21cm high

£300-400

Six Jugendstil Theresienthal Enamelled Liqueur Glasses, circa 1900, the bowls painted with stylised petals and leaves, highlighted in gilt, on green stems and foot, 15cm high

£200-300

A Favrile Glass Floriform Vase, by Tiffany Studios, the goblet form in pale green, with darker green feather-pulls ascending the stem and bowl, the bowl in iridescent amber to yellow on the rim, 24cm high

Provenance: Ex-Lot 161 The Barbra Streisand Collection of 20th Century Decorative and Fine Arts, Part 1, Thursday 3 March 1994, Christie’s New York.

£3,000-5,000

Louis Comfort Tiffany (1848-1933): An Art Nouveau Iridescent Favrile Glass Vase, circa 1910, of tulip form, decorated with vines, on an iridescent gold coloured ground, inscribed to the base L.C.Tiffany Favrile 1516, 24cm high

£800-1,200

Louis Comfort Tiffany (1848-1933): An Art Nouveau Iridescent Favrile Floriform Glass Vase, circa 1910, decorated with trailed green leaves, on an iridescent gold coloured ground, inscribed to the base L.C.Tiffany Favrile 5890 Gi, 15cm wide, 11cm high

£500-800

Louis Comfort Tiffany (18481933): A Pair of Art Nouveau Iridescent Favrile Floriform Glass Vases, circa 1910, decorated with trailed green leaves, on an iridescent gold coloured ground, inscribed to the bases L.C.T Y1393 and L.C.T Y1394, 12cm wide, 12cm high

£1,000-1,500

A Jugendstil WMF (Wurttembergische Metallwarenfabrik): A SilverPlated Claret Jug and Stopper, No.191, with tapering dark green glass body, the plated mounts cast with Art Nouveau maidens and flowering whiplash foliage, stamped W.M.F. Bas I/O, 38cm high

£300-400

A Jugendstil WMF (Wurttembergische Metallwarenfabrik): A SilverPlated and Glass Biscuit Box, No.208, engraved clear crystal glass, peacock handles, the plated mounts cast with flowering whiplash foliage, stamped W.M.F. EP as I/0, 22cm high

£300-500

A Jugendstil WMF (Wurttembergische Metallwarenfabrik): A SilverPlated Visiting Card Tray, No.246, cast with a winged maiden stroking a dove, with two flowering lily pads, on a cast base, stamped W.M.F. B as, cast 246, 30cm wide, 21cm high

£300-500

64 ✓

Charles Bound (b.1939: A Large Stoneware Head, wood-fired, impressed marks, 38cm high

Provenance: Ex-lot 163 Adam Partridge 28/07/2023.

£100-150

65 ✓

David Frith (b.1943): A Large Stoneware Vase, nuka glase, impressed df and pottery mark, 44.5cm high

£100-150

66 ✓

Steve Harrison (b.1967): A Stoneware Jug, blue salt glazed, impressed mark and date 1997, 14.5cm high

Steve Harrison (b.1967): A Stoneware Jar and Cover, blue salt glazed, impressed mark and date 2000, 15.5cm high

Maureen Minchin (b. 1954): An Earthenware Bowl, the well slip decorated with a crab, within borders of coral, starfish and shells, impressed mark, 19cm diameter

Maureen Minchin (b. 1954): An Earthenware Bowl, the well slip decorated with wildflowers, the exterior painted with two cockerels, impressed mark, 16cm diameter, 11cm high (4)

£70-100

65 64

67 ✓

Dominique Keeling: A Large Earthenware Charger, sgraffito decorated with figures, doves, heart motif, leaves and apples, signed, 63.5cm diameter

Studio Pottery

Earthenware Crock and Cover, slip decorated with a mountainous landscape, trees and a river, impressed mark, 36cm high (2)

£100-150

Lowerdown Pottery: A Stoneware Vase, with foxglove decoration on an oatmeal ground, impressed pottery mark, 26cm high

Lowerdown Pottery: A Stoneware Lidded Casserole Dish, with foxglove decoration on an oatmeal ground, impressed pottery mark, 30cm wide

Five Others (7)

David Leach set up Lowerdown Pottery in 1955, and remained there until his death in February, 2005.

£100-150

69 ✓

Bernard Leach (1887-1979):

A Stoneware Vase, wax resist and blue brushwork leaf, tenmoku glaze, crawling in the glaze, impressed potter’s mark and St Ives Leach mark, 14.5cm high

£400-600

68 (part)

70 ✓

David Leach O.B.E (1911-2005): A Stoneware Ovoid Vase, with collar rim, tenmoku glaze with a foxglove motif in rust, impressed DL personal mark, 36cm high

£750-850

71 ✓

David Leach O.B.E. (1911-2005): Lowerdown Pottery Stoneware Vase, waisted cylindrical form, covered in a green ash glaze, impressed Lowerdown Pottery mark, 21.5cm high

Literature: Emmanuel Cooper & Kathy Niblett David Leach, Richard Dennis Publications, page 84 catalogue number 29 for a comparable form illustrated.

£100-150

72 ✓

Philip (Phil) Marston Rogers (1951-2020): A Stoneware Vase, reduced ash glaze, incised decoration, impressed potter’s marks, 28cm high

£200-300

73 ✓

Toff H Milway (b.1949): A Large Stoneware Teapot and Cover, blue slip dots, impressed mark, 31cm high

Derek Emms (1929-2004): A Large Stoneware Teapot and Cover, covered in tenmoku and kaki glaze, impressed DE mark, 19cm (2)

£100-150

74 ✓

Toff H Milway (b.1949): A Large Stoneware Jar and Cover, blue lustre surface, trailed mark, 37cm high

(1985- Conderton Pottery, The Old Forge, Conderton, Nr Tewkesbury, Gloucestershire)

Large Studio Pottery Stoneware Charger, decorated with a vase of grasses, on an oatmeal ground, two applied shells, 57cm diameter (2)

£100-150 74

Bernard Rooke (b.1938): A Tall Stoneware

Sculptural Totem Floor Lamp, 1970s, in eight sections, dry matt surface, impressed ROOKE, 100cm high

£150-250

Bernard Rooke (b.1938): A Stoneware Sculptural Lamp, circa 1970s, dry matt surface, impressed ROOKE, 53cm high (damaged)

£70-100

77 ✓

Jason Wason (b.1946): A Stoneware Lidded Vessel, with small lug handles and studs, horizontal bands, covered in bronze glaze and gold lustre, impressed JW mark, 46cm diameter

£200-300

A Clay Minotaur Figure, seated with blue and white pottery horns, gilt nose ring, glazed in blues, purple and green, incised AY, 24cm high

£70-100

William Moorcroft (1872-1945) for James Macintyre: A Florian Ware Tulip, Poppy and Wild Rose Vase, circa 1899, in tones of blue, painted monogram W.M. des, painted M709, brown printed factory marks, 26.5cm high

£250-300

William Moorcroft (1872-1945): A Late Florian Pattern Vase, circa 1920s, in tones of blue and green, impressed MOORCROFT BURSLEM ENGLAND, green painted signature, 23cm (chip to rim)

£100-150

81

William Moorcroft (1872-1945) for James Macintyre: A Florian Ware Dish, circa 1902, in Liberty colours, green, blue and yellow, green painted monogram and des, 26cm diameter

£100-150

William Moorcroft (1872-1945): A Pomegranate Pattern Ginger Jar and Cover, circa 1925, on a blue ground, impressed factory marks 769 and green painted signature, 28cm high

£300-400

82

William Moorcroft (1872-1945) for James Macintyre: An Eighteenth Century Pattern Vase, circa 1908, decorated with swags of roses and forget-me-knots, brown printed factory mark and green painted signature, 21cm high (restored around base) William Moorcroft (1872-1945) for James Macintyre: A Pair of Aurelian Ware Vases, circa 1897, transfer printed patterns enriched with red enamel and gilding, brown printed factory mark, 15cm high (one with restored neck) William Moorcroft (1872-1945) for James Macintyre: An Aurelian Ware Vase, circa 1897, transfer printed patterns enriched with red enamel and gilding, brown printed factory mark, red painted 72943, 15cm high (4)

£120-180

85

William Moorcroft (1872-1945): Two Pomegranate Pattern Trumpet Vases, on blue grounds, blue painted signature and monogram, impressed factory marks, 21cm high (both restored) (2)

£100-150

84

William Moorcroft (1872-1945): A Pomegranate Pattern Vase, on a blue ground, blue painted monogram, impressed MOORCROFT MADE IN ENGLAND, 9cm high

William Moorcroft (1872-1945): A Pomegranate Pattern Vase, on a blue ground, green painted signature, impressed MOORCROFT BURSLEM ENGLAND, 6.5cm high (restored) (2)

£70-100

86

William Moorcroft (1872-1945): A Pomegranate Pattern Jug, on a blue ground, impressed MOORCROFT BURSLEM and green painted signature, 11.5cm high

William Moorcroft (1872-1945): A Pansy Pattern Vase, on a blue ground, impressed MOORCROFT MADE IN ENGLAND M22, 9cm high (2)

£100-150

87

William Moorcroft (1872-1945): A Cornflower Octagonal Dish, circa 1920, on a powder blue ground, blue painted signature, impressed factory marks, 27cm diameter (restored)

£70-100

89

WilliamMoorcroft (1872-1945): A Spanish Pattern Planter, circa 1916, on a green/blue ground, green painted signature, 13.5cm high (restored and chipped)

£100-150

William Moorcroft (1872-1945): A Spanish Pattern Vase, circa 1916, on a green/blue ground, green painted signature, impressed MOORCROFT BURSLEM 348, 20cm high (restored)

£100-150

William Moorcroft (1872-1945): A Spanish Pattern Dish, circa 1916, on a green/blue ground, green painted signature, impressed MOORCROFT BURSLEM ENGLAND 782, 23cm diameter

£100-150

91

92

William Moorcroft (1872-1945): A Yacht Pattern Pedestal Bowl, circa 1935, on an blue/green ground, impressed factory marks and POTTER TO H.M THE QUEEN, facsimile signature, 20.5cm diameter

£70-100

William Moorcroft (1872-1945): A Yacht Pattern Vase, circa 1935, on an ochre ground, impressed factory marks, painted and facsimile signature, POTTER TO H.M THE QUEEN, 21.5cm

£100-150

Walter Moorcroft (1917-2002): A Flambé African Lily Dish, impressed MOORCROFT MADE IN ENGLAND, blue painted monogram, 22cm diameter

William Moorcroft (1872-1945): A Pomegranate Pattern Vase, on a blue ground, green painted signature, impressed MOORCROFT MADE IN ENGLAND M18, 21.5cm high (damaged) (2)

£70-100

A Modern Moorcroft Mas of Quissac Pattern 5/13 Twin-Handled Vase, 2009, designed by Emma Bossons, impressed factory marks, painted E BOSSONS3/75, 32.5cm high

£300-500 95

A Modern Moorcroft Dasara Pattern Vase, 2004, designed by Kerry Goodwin, impressed factory marks, painted K Goodwin 29/200, 36.5cm high

A Modern Moorcroft Geishas Pattern Vase, 2008, designed by Paul Hilditch, impressed factory marks, painted 18/75 and Paul Hilditch, 37cm high (2)

£300-400 96

A Modern Moorcroft Trial Vase, designed by Paul Hilditch, impressed factory marks, painted Trial 25/2/11 and Paul Hilditch, 22cm high

A Modern Moorcroft Koalas Pattern Vase, designed by Sian Leeper, impressed factory marks, 22cm high (second red dot) (2)

£150-200

Sally Tuffin for Dennis China Works: An Indian Elephant Vase, painted by Heidi Warr, thrown by Rory McLeod, stamped Dennis China Works 2000 d RMc and painted No.18S.T des HW, 36cm high

£150-250

£150-250 98 97

Sally Tuffin for Dennis China Works: A Large Tiger Vase, painted by Heidi Warr, thrown by Rory McLeod, stamped Dennis China works 2000RMc and painted No.22, S.T DES and HW, 45cm high (second)

100 (part) 99

Sally Tuffin for Dennis China Works: A Large Giraffe Vase, painted by Theresa Brooker, thrown by Rory McLeod, stamped Dennis Chinaworks 2010 L RMc and painted HOLDENWOODNo.4/10 S.T des TB, 42cm high

£100-150

100

Sally Tuffin for Dennis China Works: A Trial Vase, painted by Vanessa Whitemore, thrown by Rory McLeod, stamped Dennis Chinaworks 2002 F RMc and painted Trial S.T des VMW, 17.5cm high

Sally Tuffin for Dennis China Works: An Acorn Jug, painted by Theresa Brooker, thrown by Rory McLeod, stamped Dennis Chinaworks 2008 RMcADP and painted No.3/20 S.T des TB, 24cm high (2)

£100-150

101

Sally Tuffin for Dennis China Works: A Klimt Embrace Sidestep Vase, painted by Heidi Warr, thrown by Rory McLeod, stamped Dennis Chinaworks 2006 JRMc and painted No.4/40 S.T des HW AFT.W.DeM, 25cm high (second)

Sally Tuffin for Dennis China Works: A Klimt Dancer Sidestep Vase, painted by Hedi Warr, thrown by Rory McLeod, stamped Dennis Chinaworks 2006 J RMc and painted No.19/40 S.T des HW AFT.G.K, 25cm high (second) (2)

£100-150

102

Sally Tuffin for Dennis China Works: A Mouse Cheese Dome and Base, painted by Adam White, modelled by Alan Pepper, stamped Dennis Chinaworks 2009 LADP and painted No.1/5 S.T des AW, 13cm high (second)

Sally Tuffin for Dennis China Works: A Cheese Dome and Base, painted by Theresa Brooker, modelled by Alan Pepper, stamped Dennis Chinaworks 2009 RMcADP and painted No.1/5 S.T des TB Trial 1

Aft.W.De.M, 21cm high (2)

£80-120

103

Lion and Lioness: A Maw and Co Ruby Lustre Charger, decorated with the sun setting, a palm tree, lion and lioness, unmarked, 36cm diameter

£1,000-1,500

104

A Martin Brothers Stoneware Vase, by Robert Wallace Martin, with applied swan neck handles, incised with flowers and foliage, in shades of blue, brown and green incised R4 R W Martin, London 2 - 1875, 27.5cm high (restored)

Ex-lot 13 Woolley & Wallis, 24/10/2007.

Literature: Malcolm Haslam The Martin Brothers Potters, Richard Dennis Publications, page 72 figure 87 for a comparable swan handles on a vase.

£200-300

105

A Martin Brothers Stoneware Dragon Baluster Vase, by Edwin and Walter Martin, pushed-out decoration of four ferocious dragons fighting, on a brown ground, incised 3-1900 Martin Bros London & Southall, 31.5cm high (converted to a lamp)

Ex-lot 2 Chiswick Auctions 29/04/2021.

£1,000-1,500

106

A Martin Brothers Stoneware and Pewter Mounted Inkwell, by Robert Wallace Martin, dated 1902, of square section form, the cut away edges each with a relief moulded Medieval figures, a jester, man and woman in nightcaps with lanterns and an angry nun, the lid set with a Queen Anne coin, incised marks 2-1902, Martin Bros, London & Southall, 10.5cm square, 10cm high

Ex-lot 352 Kinghams Auctioneers, 26/09/2020.

£1,000-1,500

107

A Martin Brothers Stoneware Aquatic Beaker, decorated with grotesque caricature fish, crabs and octopus, on a pale blue ground, the base incised 4-1902Martin Bros London & Southall, 12.5cm high (hairline)

Ex-lot 22 Burstow & Hewett, 09/12/2020. £200-300

108

Ian Gregory (1942-2021): The Martin Brothers Potters: A Salt Glaze Stoneware Invitation, modelled in relief as the Martin Brothers Brownlow Street shop, made for the Richard Dennis preview exhibition Sotheby’s Belgravia 25th September 1978, 25cm high

Ex-lot 118 Kinghams Auctioneers, 17/04/2021.

Provenance: Bert and Joan Bennett. £200-300

109

Ex-lot 170 Kinghams Auctioneers, 1112/06/2021.

Provenance: Tony Cross. £200-300

110

Ex-lot 520 Woolley & Wallis, 24-25/08/2021.

Provenance: Mr and Mrs J.Catleugh. £200-300

111

Ex-lot 64 Woolley & Wallis, 24-25/08/2021.

Provenance: David Coachworth. £200-300

112

Charles R Beard: A Catalogue of the Collection of Martinware Formed by Mr. Frederick John Nettlefold Together with a Short History of the Firm of R.W. Martin and Brothers of Southall, privately printed for the owner by Waterlow & Sons, London 1936, ex-libris £100-150 111

113

Boobies Boojums and Snarks The Ceramic Curiosities of the Martin Brothers 1880-1914: An Exhibition Catalogue, for the Jordan-Volpe Gallery, 1981, number 239 of 500.

31cm square in box

£80-120

114

A Doulton Lambeth Silicon Ware Monkey Figural Mustard Pot, modelled with a marmoset monkey curled around a basket, with hinged silver rim and cover, impressed factory marks and 3107 ENGLAND, painted Rd. No.273660, hallmarked London 1896, J.G & S (John Grinsell & Sons)

6cm high

£200-300

115

Hannah Bolton Barlow (1851-1916): A Doulton Lambeth Stoneware Vase, incised with a flock of sheep, on a buff ground, within borders, impressed factory marks, incised BHB, and other assistants’ monograms and 19, 35cm high

£200-300

£70-100 116 115

116

Hannah Bolton Barlow (1851-1916): A Doulton Lambeth Stoneware Vase, incised with a figure feeding cattle, on a buff ground, within borders, impressed factory marks, incised HBB, and other assistants’ monograms, dated 1888, 19.5cm high

By repute given to Brenda and David Pearson by Bay Barlow (a relative of Hannah and Florence Barlow)

117

Leslie Harradine for Royal Doulton: A Ceramic Figure The Lambeth Walk HN 1880, 19381949, green printed factory mark, green painted HN 1880, 26cm high (hairline to elbow)

The Lambeth Walk was a hit song in 1937, sung by Lupino Lane in the show Me and My Girl.

£300-400

118

William White for Royal Doulton: A Rare Ceramic Figure The Coquette HN 20, 19131938, the child with blue dress holding a blue fan, on a stepped pale blue base, green printed factory mark, black handwritten HN 20 “The Coquette” ;- W.White. sc Potted by ;- Doulton & Co. , 23cm high (restored)

£300-400

118A

Richard (Louis) Garbe RA FRBS (1876-1957) for Doulton & Co., “The Lion of the East”: A Ceramic Wall Mask,circa 1934, modelled as a head of a male with a headdress designed with seated lions, black painted ‘The Lion of the East’ by :RichardGarbe. A.R.A Potted by :- Doulton & Co Edition Limited to 100 ..No.1...., impressed 849, 30cm (cracked)

£200-300

£2,500-3,500

119 ✓

Michael Powolny (Austrian, 1871-1954) for Wiener Keramik: Spring, A Pottery Figure,circa 1907, impressed WK factory mark and designer’s monogram MP, black painted Karl 1655 CH, 38cm high

121

A Wileman & Co Foley Intarsio Pottery White Rabbits Vase, circa 1900, designed by Frederick A Rhead, of baluster form, decorated with a central band of white rabbits in a landscape within stylised floral bands, printed factory mark and 3135, Rd No.337996, 33cm (lacking cover)

£150-200

120

A Ruskin Pottery Crystalline Glaze Lamp Base, yellow/orange/grey/blue, impressed factory marks RUSKIN ENGLAND, 32cm high (excluding electrical fittings)

£80-120

122

A Burmantofts Faience Pottery Vase, shape No.2202, decorated with two peacocks, impressed marks and painted COL.108/5, 23cm high

£100-150

123

Gordon Forsyth (1879-1952) for Pilkington’s Tile & Pottery Co:

A Large Lancastrian Lustre Vase, dated 1909, painted with four maidens under red-leaved trees, in a silver and red lustre on a deep blue lustre ground, impressed factory marks and 2292, painted artist cypher and gazelle date code, 42.5cm high (hairline crack)

£1,500-2,000

124

Three Pilkington’s 6” Tiles, decorated with lily pads, dust pressed, each moulded P, 15cm square

Eight Other Pilkington’s 6” Tiles, moulded P, various sizes

Nineteen Pilkington’s 6” Calendar Tiles, various years

Three Pilkington’s 6”

Advertising Tiles, Pilkington’s Lancastrian Pottery Society and City of Salford VE VJ Day (33)

£70-100

124 (part)

125

A Pair of Wedgwood Fairyland Lustre Candlemas Pattern Vases, designed by Daisy Makeig-Jones, pattern number Z5157, on a black lustre ground, gilt Portland Vase mark, painted Z5157 and T/j/i, incised

3148, 26cm high

£2,500-3,500 125

A Wedgwood Black Fairyland Lustre Leapfrogging Elves Bowl, designed by Daisy Makeig-Jones, gilt Portland vase mark, painted Z4968 and H, 14cm diameter

£300-500

127

Clarice Cliff (1899-1972): A Fantasque Bizarre House and Bridge Vase, circa 1932, shape 342, hand painted with a stylised tree, house and bridge between black, red, orange and yellow banding, black printed factory marks, 20cm high

£500-800

128

Eric William Ravilious (1903-1942): A Child’s Handkerchief, lithographically printed on cotton, inscribed to verso Silk Handkechief: Purchased by Mary Monck Algiers May 1943 N.Africa whilst serving with F.A.N.Y (First Aid Nursing Yeomanry) Manufactured by mess rs Deans England, labelled for Miss Alma Taylor The Vicarage Froxfield Wilts, 43.5cm square (framed)

Early in February 1941, while Eric Ravilious was working as a War Artist, he wrote to E.M.O’Rourke Dickey at the Ministry of Information, ‘I’ve just had a long visit from a Mr. Gerald Holtom who seems very much to want designs for textiles for some Cotton Board. It would make a change to do this for a bit, and he assures me the whole thing is urgent and necessary’.

The Cotton Board had been founded to raise standards of design and improve exports. As Helen Binyon relates in Eric Ravlious 1983, Gerald Holtom had found a firm in Lancashire which produced handkerchiefs printed by lithography, an unusual printing process for textiles, but one in which Ravilious was becoming increasingly interested. Holtom explained that he proposed displaying ‘appropriate decorative handkerchiefs and scarves ... at the travelling exhibitions of War Artists’ and A.F.S Artists’ work in the U.S.A’ Ravilious wrote to Helen Binyon on 1st April 1941, ‘The cotton prints are being tried out (by lithography) and the first experiment is a child’s handkerchief - you shall have one if it comes off well.’

The Child’s Handkerchief by Eric Ravilious exists in two forms. A proof on paper, printed in two blues with trial workings for pattern designs in the margin, is presumably the first version of the design, possibly done as a trial to test the capacity of the fabric printing process. Ravilious then appears to have reworked and simplified the design, using dark grey and dark green for the detailed work, with bands of yellow for the tape measures and across the numbers, somewhat in the style of the Wedgwood Alphabet mug. This second version is only found printed on cotton, with unhemmed edges. The small number of known copies (less than five) suggests that it was carried to proof stage but never issued commercially.

The handkerchief is inscribed ‘To John’ in the tiny oval between the figures 11 and 12. This is John Ravilious, eldest child of Eric and Tirzah Ravilious, born 1935. Eric Ravilious was lost on a flight from Iceland in September 1942, while serving as a War Artist.

£1,000-1,500

A Wedgwood Persephone Tea Service, designed by Eric Ravilious, underglaze printed in black and enamelled in blue with fish, cornucopia of fruit and foliage, loaves, marrow, comprising six cups and saucers, six side plates, circular cake plate, milk jug and sugar bowl, printed, painted and impressed marks and dates 1953/4, (21)

£200-300

130

Richard Guyatt (1914-2007) for Wedgwood: An “Oranges and Lemons” Pottery Jug, printed in black with an orchard and a church, with verse say the bells of St. Clements, printed mark FIRST MADE FOR LIBERTY`S BY WEDGWOOD DESIGNED BY RICHARD GUYATT and impressed marks, 19cm high

£80-120

131

Glyn Colledge (1922-2000) at Denby Pottery: A Cheviot Ware Vase, mid 1950s, CH501, abstract sgraffito drawn with stylised leaves and patterns, on a matt black ground, printed factory mark and Glyn Colledge, 46.5cm high

(the original price 5.5.0)

£400-600

132

Glyn Colledge (19222000) at Denby Pottery: A Cheviot Ware Dish, mid 1950s, CH509, abstract sgraffito drawn with stylised leaves and patterns, on a matt black ground, printed factory mark and Glyn Colledge, 21cm wide

(the original price 17/6)

£100-150

Louis Comfort Tiffany (1848-1933): An Art Nouveau Iridescent Favrile Floriform Glass Vase, circa 1910, decorated with an engraved butterfly, on an iridescent gold coloured ground, inscribed to the base L.C.Tiffany Favrile 6871 3529, 15cm wide, 11cm high

£300-400

René Lalique (French, 1860-1945): A Blue Stained and Frosted Marguerites Glass Vase, model 922, designed 1923, acid mark R LALIQUE FRANCE, 21cm high

£1,000-1,500

133

135

René Lalique (French, 1860-1945):

A Blue Stained, Frosted and Amethyst Hue Glass Oursin Vase, model 10-888, designed 1935, moulded sea urchin, stencil mark R LALIQUE, 18cm high

£500-800

137

René Lalique (French, 1860-1945): A Blue Stained and Frosted Coqs Et Plumes Vase, model 1033, designed 1928, moulded with cockerels and feathers, stencil mark R LALIQUE FRANCE, 16cm high

£400-600

136

René Lalique (French, 1860-1945):

A Blue Stained and Frosted Glass Oursin Vase, model 10-888, designed 1935, moulded sea urchin, stencil mark R LALIQUE, 19cm high

£300-500

138

René Lalique (French, 1860-1945): A Coquilles Opalescent and Clear Glass Bowl, wheel cut R LALIQUE FRANCE, engraved No.3201, 21cm diameter

£200-300 138

140

A Daum Nancy Enamelled Cameo Polylobate Bowl, decorated with mulberry trees, on a green and amber marbled ground, cameo mark DAUM NANCY and the cross of Lorraine, 15.5cm diameter

£400-600

139

An Art Nouveau Loetz Iridescent Glass Conch Shell, yellow Candia papillon, signed Loetz Austria, 24cm wide, 14cm high

£100-150

141

A Daum Nancy Satin-Blown Glass Vase, decorated with trees and a river, on a amber ground, cameo mark DAUM NANCY and the cross of Lorraine, 10cm high

£300-400

142

Roland Topor (French, 1938-1997) for Daum: Les Mains Sales,Pâte-de-Verre Glass and Patinated Bronze, signed in the glass RTopor 90, signed in the bronze Daum Nancy, 42cm high with triangular bronze tablet

£800-1,200

143

Anna Gili (Italian b.1960) for Salviati: A Cylindrical Glass Vase, with melted vertical glass rods in yellow, orange and red, with a recessed horizontal matt-cut band, labelled, signed Anna Gili and numbered 107/200, factory mark, 25cm high

£100-150

144 ✓

Amanda Brisbane (1964-2016): Blue Frozen Water, sand-cast glass, signed and dated 2014, 31cm wide, 21cm high

£200-300

145

Archibald Knox (1864-1933) for Liberty & Co, London: A Silver and Enamel Cigarette Case, hip fitting cushioned rectangular form with Celtic motif, hallmarked L & Co, Birmingham 1906, 9cm by 9cm

£100-150

146

A Liberty & Co Tudric Pewter Circular Plate, Model No. 0113, the rim cast with tendrils repeat set with Abalone Paua shell panels, stamped TUDRIC 0113, 32.5cm diameter

£100-150

147

A Guild of Handicrafts Ltd: A Seal Top Spoon, with a hexagonal tapering stem, a fig shaped bowl, rattail and a seal top finial, maker’s mark G of H Ltd, London 1921, 15cm long

£70-100

148

The Hand Wrought Metal Company Ltd (Hayle Copper) Charger, No.907, repoussé decorated with stylised dolphins, unmarked, 58cm diameter

Illustrated in the Cornish Hand Wrought Metal Company catalogue 1903, page 21. Original cost 27/6.

Cornish Hand Wrought Metal wares were not marked or stamped. In 1908 the Cornish Hand Wrought Metal Company was acquired by local firm J & F Pool.

£200-300

149

Two Arts & Crafts Copper Rectangular Trays, by John Pearson, circular spot hammered, riveted handles, stamped on the verso J P (twice)

56cm by 19cm and 35cm by 19cm

An Arts & Crafts Copper Rectangular Tray, with a clover leaf border, unmarked, 53cm by 24.5cm (3)

£70-100

150

A Keswick School of Industrial Arts Copper Cylinder Vase, with a repeating pattern, stamped KSIA mark, 19.5cm high

Two Keswick School of Industrial Arts Copper Cylinder Vases, with a floral repeating pattern, stamped KSIA mark, 11cm high

A Keswick School of Industrial Arts Staybrite Stainless Steel Dish, repoussé decorated with a rose and planish finish, stamped KSIA KESWICK FIRTH STAYBRITE M981/501, 28cm diameter (4)

£70-100

151

Glasgow School: An Arts & Crafts

Rectangular Copper Plaque, embossed with stylised roses, unmarked, 50cm by 40cm in an oak frame

£300-400

152

A Jugendstil Brass and Copper Twin-Handled Champagne Cooler, by Carl Deffner Esslingen, with stylised water lilies decoration, stamped CDE, 36cm wide (across handles) 22.5cm high

£200-300

153

Albin Muller (1871-1941) for Eduard Hueck: A Jugendstil Copper and Brass Tea Kettle on Stand, with repeating patterns, stamped AM EDUARD HUECK 2021, 37.5cm high

(part)

154

Arne Jacobsen for Georg Jensen: Matte Stainless Steel Cutlery, including eight dinner forks, three serving spoons, seven dessert knives, five dessert forks, one serving fork, six dessert spoons and seven small teaspoons, stamped marks (37)

£70-100

155

Peter Paul Pugin (1851-1904) for Pugin & Pugin Sketch Design for high Altar Leominster for the Rev Athanasius Rogers, Pencil and wash, inscribed in pencil Pugin & Pugin Archit Westminster 1889, 55cm x 37cm (framed)

£100-150

156

Mimi Clare Hill

“Josephine” (Baker)

Signed and dated 1933, watercolour heightened with white, 13cm by 9cm

Given to vendor by Thelma (Telma) Ellida Tuulos-Järvinen, ballet dancer and choreographer from Turks in Finland, friend of the sitter. Both were spies in Second World War.

£70-100

157

An Arts & Crafts Wrought Iron Floor Lamp, attributed to the Birmingham Guild of Handicrafts, circa 1900, crook top, adjustable column on three supports, unmarked 187cm high

An Arts & Crafts Wrought Iron Floor Lamp, the central column with three scroll and twist arms, on three feet, unmarked, 133cm high (2)

£300-500

158

An Arts & Crafts Copper Plafonnier, hand-beaten exterior set with three blue pottery cabochons, mounted with three bronze winged seahorses, unmarked, 42cm diameter

£400-600

159

W.A.S Benson (1854-1924):

An Arts & Crafts Brass Table Lamp, circa 1900, model No.1139, with laurel wreath and berries base, an adjustable swan neck, clear and frosted glass shade, stamped W.A.S BENSON, 38cm high

£400-600

157 (part)

160

An Art Deco French Ceiling Light, the patinated metal cage frame with laurel leaves and berries, unmarked, 106cm high

£100-150

161

An Art Deco French Plafonnier, the frosted glass shade suspended in a black painted circular metal frame, with three arms, hanging from a central openwork column with matching shade, both shades with moulded mark Negra (Verrerie D’Art Degue) plafonnier shade 37cm diameter

An Art Deco French Table Lamp, with three bulb holders, unmarked, 51.5cm high (2)

£100-150

162

A Pair of Porta Romana Nickel and Perspex Wall Lights, the rectangular perspex base mounted with nickel bracket, labelled, with fabric shades, 40cm high

£150-250

163

André Lasserre (Swiss, 1902-1981): Dove at Rest, patinated bronze, signed in the cast André Lasserre and (1) Eug Blot Fondeur, 26cm high

£400-600

163

164 ✓

Raoh Schorr (1901-1991): An Art Deco Patinated Bronze Group, of two leaping gazelles, signed in the cast Schorr and stamped BRONZE, 26cm wide, 17.5cm high (restored) £100-150

165

After Johann Philipp Ferdinand Preiss (German 1882-1943): Girl on Wall, A Cold-Painted Bronze Figure, on an alabaster base, stamped in cast 7545, 19cm wide (repainted) £100-150

166 ✓

John Fox (d.1991): Round Form, Cocobolo, carved monogram, 20cm wide, 13cm high Five Others

Female Torso, Lacewood, labelled, 17cm high; Mole, Blackwood, labelled, 13cm long; Rabbit, Yew, labelled, 17cm long; Cat, Indian Rosewood, labelled, 14cm long and Sleeping Cat, Cocobolo, labelled, 13cm long

Michael Simpson (b.1951): Lovers, Bog Oak, carved monogram, 42cm high

Michael Simpson (b.1951): Maiden, Iroko, carved monogram, 29.5cm high (8)

Provenance: Purchased from The Peter Dingley Gallery, Stratford-upon-Avon.

Michael Simpson was born in East Keal, Lincolnshire. £100-150

167 ✓

David Linley (b.1961): A Vase, the oblong walnut and satinwood square-section body with glass liner, stamped LINLEY twice to the top rim, 32.5cm high, 13.5cm square £200-300

168

An Arts & Crafts Copper Fire Surround, riveted and repoussé decorated with smoke and flames, unmarked, 107cm wide, 97cm high £200-300

168

169

Two Arts & Crafts Lacquered Copper Fire Surrounds, hammered effect surface, each embossed with a shield and rose, unmarked, 54cm wide, 96.5cm high £100-150

Four Morris & Co Sussex Ebonised Ash and Rush Seated Chairs, possibly designed by Ford Maddox Brown, with a star design spindle back, circular form seat on turned tapering legs joined by plain stretchers, 84cm high

£200-400 171

Ten Rolls of Sanderson Morris & Co Honeysuckle Wallpaper, unopened in original cellophane, Batch No.BN1, Pattern No. WM7611/3, each 10.05 meters long, 51.5cm wide (and an opened roll)

£200-300

172

Ten Rolls of Sanderson Morris & Co Chrysanthemum Wallpaper, unopened in original cellophane, Batch No.BC1, Pattern No. WM7612/6, each 10.05 meters long, 52cm wide (and an opened roll)

£200-300

173

An Arts & Crafts Mahogany Sideboard, retailed by Liberty & Co., the shelved back with clear bull’s eye and leadglazed cupboard, with turned side supports, the base with overhanging top above a drawer, above two cupboard doors enclosed by a cupboard, on four square section supports, unmarked, 137.5cm wide, 55cm deep, 169cm high £250-350

174

An Arts & Crafts Oak Dressing Chest, the central pivoting mirror below a pierced heart motif top rail, winged stepped top above two cupboards with inlaid pewter, brass, copper and mother-of-pearl, enclosing two drawers, above a long drawer, ring pull handles, labelled J.R.TEALE & SON UPHOLSTERERS, 20 UPPERHEAD ROW, LEEDS, on stile supports, 122cm (4ft) wide, 47cm deep, 167.5cm high £200-300 173

175

An Arts & Crafts Scottish School Oak Dresser, overhanging two plank top, above two specimen wood inlaid cupboard doors, enclosing a carved frieze above a shelf with plate rail, the base with four capped uprights, the top with plate rail, above three drawers, above three cupboards, on four capped feet, unmarked, 215cm wide, 79cm deep, 195cm high

£300-500

An Arts & Crafts Scottish School Oak Sideboard, the top with raised upstand/shelf, above solid back and pierced heart sides, above two drawers over three cupboard doors, copper lacquered handles stamped L&C, on capped feet, 194cm wide, 66cm deep, 122cm (4ft) high

£250-350

177

An Arts & Crafts Scottish School Mahogany Bookcase, the rectangular top above two glazed doors with antique brass lacquer handles, above a compartmented shelf above three shelves, unmarked, 115.5cm wide, 30cm deep, 167.5cm high

£200-300

176

178

An Arts and Crafts Scottish School Oak Extending Dining Table, rounded top with moulded edge, on four tapering square section legs, on castors, unmarked, 150cm wide, 122cm (4ft) deep, 74.5cm high with two extra leaves each 47cm wide and winding key £200-300

179

A Set of Eight (6+2) Arts & Crafts Scottish School Oak Dining Chairs, with carved top rails, slatted backs, drop-in seats, on square section front legs, armchairs stamped 6412/136 and 5146/175, dining chairs stamped 6412/136, armchairs 116cm high dining chairs 110cm high £250-350

178

180

An Art Nouveau Scottish School Inlaid Mahogany Display Cabinet, with pierced upstand, above a rectangular moulded top, above spindles, above two leaded glazed doors, above two drawers, above an undertier, on four tapering square section legs with capped feet, inlaid with pewter, mother-of-pearl, green coloured tulip wood, unmarked, 141cm wide, 43.5cm deep, 208cm high

£250-350

180

181

An Art Nouveau Scottish School Inlaid Mahogany Display Cabinet, the rectangular overhanging top above a leaded glazed door and sides, enclosing glass shelves, enclosed by two carved and pewter inlaid spindles, above a central cupboard with inlaid pewter and specimen woods fall front, enclosed by two open sections, on four capped feet, unmarked, 136cm wide, 45.5cm deep, 181.5cm high (repaired bracket back leg)

£200-300

182

A Scottish Arts & Crafts Carved Oak Workbox, the hinged lid carved with horse chestnuts and leaves, the front carved with brambles, on four open square section legs, unmarked, 56cm wide, 34.5cm deep, 72.5cm high

£70-100

184

An Art Nouveau Shapland & Petter of Barnstaple Inlaid Mahogany Desk, with raised upstand above a gallery, the back inlaid with roses, open work sides, the shaped top above two drawers, the handles stamped Rd 296608, on four legs joined by a stretcher, unmarked, 107.5cm wide, 39.5cm deep, 106.5cm high

£200-300

183

An Art Nouveau Cast Iron, Lacquered Copper and Oak Plant Stand, with a turned oak dish top, on three cast iron legs mounted with lacquered copper brackets, supported with a pierced undertier, cast No.1/Rd No.435872, 70cm high

£70-100

185

A Heal’s Oak Reclining Bookshelf Chair, circa 1930, with fold-out table to one side, fitted bookshelves to other, unmarked, 74cm by 67cm, 71cm high

Similar chair Susanna Goodden A History of Heal’s, page 69.

£300-500

186

A Heal’s Limed Oak Kneehole Writing Desk, inset burgundy leather top, above three drawers, on four square section legs, on sledge feet joined by a stretcher, unmarked, 107cm wide, 55.5cm deep, 75.5cm high

£200-300

187

A Pair of Heal’s Oak Armchairs, rounded top rail, three slats, shaped arms, drop-in seats, rounded front legs with stretchers, unmarked, 82.5cm high

£100-150

188

A 1930s Elm Reclining Lounge Chair, adjustable slatted back, solid sides with hand apertures, sprung seat, loose cushions, unmarked, 61.5cm wide, 90cm deep, 84.5cm high

£100-150

186

190

A Pair of French Art Deco Walnut Upholstered Club Chairs, shaped backs and sides, loose seat cushions, on reeded block front legs, unmarked, 66cm wide, 68cm deep, 82cm high (reupholstered in the 1950s)

£200-300

189

A 1920s/30s Oak Tallboy, possibly retailed by Heal’s, the rectangular overhanging top above two cupboard doors, over four graduating drawers, on a bracket plinth base, unmarked, 95.5cm wide, 55cm deep, 138.5cm high £200-300

191

A 1930s Mahogany Cabinet, with exposed construction, the rectangular top above two panelled doors with twisting semi-circular handles, enclosing shelves, on a plinth base, unmarked, 122cm (4ft) wide, 44cm deep, 104.5cm high

£150-250

192

An Arts & Crafts French Pokerwork Yellow Birch Fire Screen, depicting a wedding scene, embellished with glass and metal, unmarked, 95cm high

An Arts & Crafts French Pokerwork Yellow Birch Panel, depicting a court yard with sheep, pigs, geese and a dove, highlighted with white paint, unmarked, 135cm by 113cm (framed) (2)

£100-150

193 (part)

192 (part)

194

Hans Brattrud for Hove Mobler: A Pair of 1960s Scandia Brazilian Rosewood Slatted Chairs, with orange hopsack upholstered seat squabs, on chrome steel rod bases, one labelled MADE IN NORWAY BY Hove Mobler Stordal, 93cm high

With CITES A10 (non-transferable) licence no. 24GBA10E953WH

193

A 1960s Henning Kjaernulf Brazilian Rosewood Dining Table, by Soro Stolefabrik Denmark, model 62, drop down central tripod support base, with four additional leaves, stamped SS MADE IN DENMARK SORO STOLEFABRIK, 120cm wide fully extended 320cm wide each leaf is 50cm wide, 120cm deep, 72cm high

With CITES A10 (non-transferable) licence no. 24GBA10SAHA20

£500-800

£300-500 194

195

Erik Kirkegaard for Hong Stolefabrik: A Pair of Rosewood Armchairs, model 53, designed 1956, shaped arms, on four legs joined by rails, re-upholstered seats and backs, unmarked, 84cm high, 61cm wide, 53cm deep, seat height 46cm

With CITES A10 (non-transferable) licence no. 24GBA10B69ZZ5

£300-500

196

197

195

196

Svend Langkilde for Langkilde Mobler: A 1960s Brazilian Rosewood Tray Table, the folding tray with brass fittings, on a stand base with metal cross bars, unmarked, 73.5cm wide, 45.5cm deep and 58cm high; flat 88.5cm wide, 61cm deep, 50cm high

This tray table was made by Langkilde Mobler in the 1960s for the department store Illums Bolighus in Copenhagen.

With CITES A10 (non-transferable) licence no. 24GBA10EJR0U0

£300-500

A 1960s Danish Brazilian Rosewood and Chrome Drinks Trolley, with two tiers and a folding black end, on four chrome legs with Flexello castors, stamped Patent No. 860352, 91.5cm (3ft) extended 122cm (4ft) by 48cm, 70cm high

This model of trolley was retailed at Heals, Tottenham Court Road, London.

With CITES A10 (non-transferable) licence no. 24GBA10LBGUSN

£200-300

197

198

Fritz Hansen: An Egg Chair, designed by Arne Jacobsen, 1970s, orange fabric upholstery, on a swivelling cast aluminium four-point base, cast FH 520015 MADE IN DENMARK, labelled FH MADE IN DENMARK

1170 FRITZ HANSEN, 88cm wide, 107cm high, seat height 37cm

£300-500

199

A Pair of 1960s Danish Safari Chairs, pegged walnut frame, four holes to each side rail, leather seat and back, 61cm wide, 53.5cm deep, 74cm high, seat height 36cm

£200-300

200

Charles and Ray Eames for Herman Miller: A Soft Pad Group EA216 Arm Chair, upholstered in tan leather, swivel base, aluminium frame, cast HERMAN MILLER PAT NO 3041109.3024068, 87cm high

£100-150

201

A 1970s G Plan Sixty Swivel Lounge Chair, Model 62, winged and deep buttoned back, with star design mahogany base, orbital castors, unmarked, 100cm high (re-upholstered in red fabric)

£100-150

202

A 1960’s Brazilian Peroba De Campos Table, attributed to Giusepe Scapinelli, with inset glass top, on four tapering legs, unmarked, 160cm by 96cm, 76cm high

A Set of Four Dining Chairs, with woven cane back panel, upholstered seats, unmarked, 42cm deep, 40cm wide, 87cm high (re-upholstered)

By repute from The Ca’d’oro Hotel in Sao Paulo, now demolished.

£500-700

203

Jorge Zalszupin (Brazilian, 1922-2020): A Cubo Sofa, 1970s, with curved seat, upholstered in stitched tan leather, on square plinth base, part labelled, 200cm wide, 86cm deep, 60cm high

In the 1950s Zalszupin founded L’Atelier, a furniture design manufacturer in Sao Paulo, Brazil.

£2,000-3,000

204

Jorge Zalszupin (Brazilian, 1922-2020): A Cubo Lounge Chair, 1970s, square form, with curved seat, upholstered in stitched tan leather, on square plinth base, labelled, 85.5cm square, 60cm high

In the 1950s Zalszupin founded L’Atelier, a furniture design manufacturer in Sao Paulo, Brazil. £2,000-3,000

205

206

A Febo Floor Lamp, designed by Roberto Pamio and Renato Toso, manufactured by Leucos, circa 1975, lacquered brass tubular column and Verona red marble base, Murano opaline glass hemispherical shade with coloured threads, lamp 146cm high, shade 30.5cm diameter (marble damaged)

£100-150

Swedese: Floor-Standing Tree Coat Stand, designed by Michael Young and Katrin Olina, grey lacquered, labelled, 134cm high

£100-150

204

the midnight blue field richly decorated with semi-naturalistic polychrome flowers, 172cm by 110cm

£150-250

207

Art Deco Design Carpet

North India (made by Tibetan Refugees) the plain mustard field enclosed by chequered borders and a wide plain outer border, flanked by guard stripes, 291cm by 245cm

£300-500

209

Moroccan Modernist Rug the field centred by a panel enclosing geometric motifs framed by a border, 198cm by 150cm

£150-250

208

Modernist Zollanvari Rug

210

Two Moroccan Rugs of Checkerboard Design, each approx. 176cm by 120cm

£100-200

211

Moroccan Flatweave Rug of Checkerboard Design 292cm by 203cm

£100-200

210

Kashgai Design Kilim

Probably Afghanistan, modern the blue/green stepped lattice field of diamond guls enclosed by borders of reciprocal geometric motifs and sawtooth guard stripes, 573cm by 100cm

£200-300

Modern Flatweave Patchwork Carpet, probably Afghanistan, the field comprised of plain and decorated polychrome panels, 248cm by 183cm

£100-200

214

Hand-Knotted Modernist Rug, the polychrome compartmentalised field of rectangles enclosed by numerical and alphabetical borders, 102cm by 200cm

£200-300

215

Berber Moroccan Rug, modern, the cream field with rows of stellar, diamond, and stepped medallions, 158cm by 127cm

£100-200

216

Robert Mouseman Thompson (1876-1955): A Rare English Oak Hutch Cupboard, circa 1926, the overhanging dowelled two-plank top with carved scrolls to each front corner, above two cupboard doors carved with profiles, each with hand-beaten wrought iron handles, enclosing a central panel with a bee on top of a crest and INDUSTRIA (Industry in quiet places), wrought iron strapwork hinges and lock plates, carved with two patent mice (heads up and front paws) under the top, on four stile feet

130cm wide, 51cm deep, 76cm high

The heraldic motif incorporating the bee and the word Industria is identical to a suite of Thompson furniture sold at Wilkinson Auctioneers in 2018.

Thompson also used the bee motif at Stanbrook Abbey on the pulpit.

£6,000-8,000

Robert Mouseman Thompson (1876-1955): A Pair of English Oak Easy Chairs, circa 1930, adjustable, slatted backs, woven leather base, solid sides, shaped arms with carved scrolls to the ends, on stile feet, each with carved mouse trademark, with wrought iron whisky glass holders and ashtrays

68cm wide, 82cm deep, 89cm high

Provenance: Made for Mary (née Isherwod, sister of Jack Isherwood, Padiham) and Harry Preston, Westerleigh, Holme, Burnley.

£8,000-10,000

Lots 218-220

The following lots were commissioned in the 1930s for Tudor Croft, an Arts and Crafts house on the edge of Guisborough, which was built by Ronald (Ron) Crossley in 1935.

Following the closure of their family brickworks in 1885, the Crossleys emigrated to the United States where Ron was born in 1891. However, the family returned to their homeland just a few years later and bought back the site of the brickworks and the whole neighbouring village of Commondale. Having re-established the brickworks to great success, by the 1930s the family were very wealthy.

Ron, along with his wife Lilian, built Tudor Court on the edge of Guisborough, and the house was constructed using the speciality ‘Tudor’ bricks made by the family firm, which were hand-made and sand-faced to give the bricks a textured surface.

Robert ‘Mouseman’ Thompson was commissioned to help furnish the house, including panelling the living and dining rooms, fitting and inglenook fireplace, beams, and front door as well as freestanding pieces of furniture. Indeed, there was even a Mouseman beam, carved with ‘RGC 1935’ supporting the loggia on the southern face of the house.

In tandem, Ron Crossley built an extraordinary garden, with built features made with both his own bricks and stones that were once part of the fabric of Guisborough Priory, which had been dissolved in 1540. Following the sale of the house in the early 1950s, the new owners reinvigorated the gardens, which are still beautifully cared for today by the family and are frequently open to visitors in aid of Charity.

218

Robert Mouseman Thompson (1876-1955):An English Oak Dresser, 1933, the upper section with carved wave edge, two cupboard doors enclosing an adjustable shelf, hand forged wrought iron hinges and latch with square head screws, the base with four graduating drawers enclosed by two cupboard doors over two further drawers, tooled turned knob handles, hand forged wrought iron hinges and latch with square head screws, on four block feet, with carved mouse trademark, 152cm (5ft) wide, 46cm deep, 146.5cm high

Made for the Wedding of Ronald and Lilian Crossley. Ronald (Ron) Crossley (1891-1949) was a brick manufacturer and in 1934 built his own Arts & Crafts style house, Tudor Croft in Guisborough.

£8,000-12,000 218

219

Robert Mouseman Thompson (1876-1955):An English Oak 6’6” Refectory Dining Table, 1933, dowelled adzed two plank top, on two octagonal legs joined by a rounded floor stretcher, on rounded sledge feet, adzed all over, with carved mouse trademark, 198cm (6’6”) wide, 86cm deep, 71.5cm high

Made for the Wedding of Ronald and Lilian Crossley. Ronald (Ron) Crossley (1891-1949) was a brick manufacturer and in 1934 built his own Arts & Crafts style house, Tudor Croft in Guisborough.

£2,000-3,000

220

Robert Mouseman Thompson (1876-1955):

A Set of Six English Oak Panel Back Dining Chairs, 1933, with solid tan leather seats, on octagonal front legs joined by rush rails, adzed all over, each with carved mouse trademark, 90cm high

Made for the Wedding of Ronald and Lilian Crossley. Ronald (Ron) Crossley (18911949) was a brick manufacturer and in 1934 built his own Arts & Crafts style house, Tudor Croft in Guisborough. £2,000-3,000

Robert Mouseman Thompson (1876-1955): An English Oak 9ft Refectory Table, dowelled adzed five plank top, on two double octagonal and shaped supports joined by a floor stretcher, with two carved mice trademarks, 275cm by 118cm, 73.5cm high

By repute: Made for Yorkshire Copper Works, Leeds, 1939.

£4,000-6,000

221

222

Robert Mouseman Thompson (1876-1955): A Set of Twelve English Oak Armchairs, with panelled backs, solid cowhide seat, on octagonal front legs joined by a set-back front rail, each with carved mouse trademark, 103cm high

By repute: Made for Yorkshire Copper Works, Leeds, 1939.

£8,000-12,000

224

223

Robert Mouseman Thompson (1876-1955): An English Oak 6ft Refectory Dining Table, four-plank dowelled adzed top, on two octagonal legs joined by a rounded floor stretcher, with carved mouse trademark, 182.5cm wide, 84cm, 71cm high

£1,000-1,500

Robert Mouseman Thompson (1876-1955): A Pair of English Oak Lattice Back Dining Chairs, upholstered leather seats, on two octagonal front legs joined by a front rail, each with carved mouse trademark, 84.5cm high (re-upholstered)

£700-1,000

225

Robert Mouseman Thompson (1876-1955):

An English Oak Octagonal Coffee Table, adzed top, on a cruciform base, with carved mouse trademark, 55cm diameter, 46.5cm high

£500-800

226

Robert Mouseman Thompson (18761955): An English Oak Chair, 1930s, burr oak panel back, lattice leather seat, on octagonal front legs joined by rush rail, with carved mouse trademark, brass Horlicks label 502/1206, 90cm high

The vendor owned three chairs, sold two and had this example cleaned and re-leathered at Kilburn. Originally part of a set of twelve, nine sold at Sworders in 2018 Lot 200.

£500-800

227

Robert Mouseman Thompson (1876-1955): An English Oak Stool, circa 1930s, strap leather top, on four octagonal legs joined by stretchers, pop marks to legs, with carved mouse trademark 34cm wide, 26cm deep 34.5cm high

£300-500

228

Robert Mouseman Thompson (1876 - 1955): An English Oak Stool, circa 1930s, strap leather top, on four octagonal legs, joined by stretchers with carved mouse trademark, 34cm wide, 23.5cm deep, 32.5cm high

£200-300

230

Robert Mouseman Thompson (1876-1955): An English Oak Bread Board, of canted rectangular shape, with carved mouse trademark, 30.5cm across

Owned by Mary Julian (née Burn) who was born and lived in Kilburn.

£100-150

231

Robert Mouseman Thompson (1876-1955): An English Oak Cheese Board, of standard form, with carved mouse trademark on the board, 37cm wide

£200-300

232

Robert Mouseman Thompson (1876-1955): An English Oak Double Pin Tray, circa 1930s, with carved mouse trademark, 13cm by 10cm, 3cm high

£100-150

Robert Mouseman Thompson (1876-1955): An English Oak Standard Lamp, octagonal column and base, with carved mouse trademark, 142cm high

£400-600

Furniture and fittings from C.E. Waddington, a family-run gentlemen’s outfitters, with three shops in Worksop, Rotherham and Bawtry (lots 233-240)

233

Workshop of Robert Mouseman Thompson (Kilburn): An English Oak 4’4” Octagonal Dining Table, 1958, the three-plank dowelled adzed top, on a cruciform base, with carved mouse trademark, 132cm diameter, 73.5cm high