To be held at: 10-12 Cotswold Business Village, London Road, Moreton-in-Marsh GL56 0JQ
THURSDAY 16 APRIL 2026 AT 10AM
Viewing
Monday 13 April – 10am to 5pm, Tuesday 14 April – 10am to 5pm Wednesday 15 April 10am to 5pm & Thursday 16 April 9am to 10am
Day of the Sale
Auction scheduled to start at 10am with bidding in the room and live bidding on the internet bidding platforms. Telephone bids and commission bids are accepted and potential bidders will need to be registered with us before the sale.
SPECIALISTS
Live internet bidding is available on www.kinghamsauctioneers.com, www.the-saleroom.com, www.invaluable.com, and www.easyliveauction.com together with a fully illustrated catalogue. Catalogue £10.00 (£14.00 by post)
Cover Illustrations: Front: lot 281 – Back: lot 300 – Inside front: lots 452, 270,269,453 (infront of 325) – Inside back: lot 284 – Opposite: lot 283
Kinghams Auctioneers Ltd
10-12 Cotswold Business Village, London Road, Moreton-in-Marsh GL56 0JQ NB. Please telephone to arrange collection. 01608 695695 | enquiries@kinghamsauctioneers.com | www.kinghamsauctioneers.com
Adrian Rathbone Associate Director and Senior Valuer
George Kingham Director
Michael Jeffery Associate Director and 20th Century Design Specialist
John Keightley Associate Director Senior Valuer and Cataloguer
MAP AND DIRECTIONS
DELIVERY SERVICES FOR BUYERS
We offer an in house packing service for most items and paintings up to 110cm x 80cm. Please email enquiries@kinghamsauctioneers.com for a quote or call 01608 695695 for a quotation
For Furniture:
Tustain Carrier Fine Art & Antique Carriage 07964 626325 enquiries@tustainclearance.com www.tustaincarriers.com
Our auction centre is located in the historic Cotswold market town of Moreton-in-Marsh
By Car
We are centrally located on the A44 in reach of motorways the M5, M4, M40 and M42. Ample free parking.
By Rail
Moreton-in-Marsh’s train station is less than a mile from the auction centre.
By Plane
The nearest International Airports are Birmingham, 45 miles and Heathrow, 70 miles.
Accomodation
The Howard Arms (10-minute drive from the auction centre) Lower Green, Ilmington, CV36 4LT 01608 682226 www.howardarms.com
USEFUL INFORMATION FOR BUYERS
Please see full Terms and Conditions at the back of this catalogue.
Buying at Kinghams Auctioneers Ltd:
There are several ways you can bid at our auctions; by leaving a commission bid, on the telephone and live via the internet.
Bidding in Person
It is essential that all prospective buyers register with us prior to the auction. Proof of identification will be required in order for a bidding number to be allocated which can then be used when bidding for an item.
Commission Bids
Kinghams will execute bids if you are unable to attend the sale. Bids can be left with our staff during or after viewing, or in advance by telephone or e-mail: enquiries@kinghamsauctioneers.com
Telephone Bids
Lines must be booked by 5pm the day before the auction begins. Lines are booked on a first come first served basis. Full name, address and telephone numbers will be required together with proof of identity. Bank and/or credit/debit card details are necessary to secure the line.
Live Internet Bidding
Register online via www.kinghamsauctioneers.com, www.the-saleroom.com, www.invaluable.com, www.easyliveauction.com and www.liveauctioneers.com Various charges apply, please check with your bidding platform.
Condition
Bidders must satisfy themselves as to the condition of each lot. Condition reports are available on request. (no later that 48 hours before the sale).
Buyer’s Premium
There is a buyer’s premium of 26% plus VAT on the first £500,000 of the hammer price of each lot. 18% plus VAT on the excess of £500,001 and up to £1,000,000 of the hammer price of each lot, and 15% plus VAT on the excess of £1,000,001 of the hammer price of each lot.
Artist’s Resale Rights (Droit De Suite)
Royalty Charges)
A picture or work of art by an applicable living artist, or those who have died within the last 70 years, which costs more than £1,000 hammer price will incur a royalty charge paid by the buyer. Items marked with ARR in the catalogue will potentially incur royalty payments.
Payment
Must be made in full before items can be removed from the premises. If buyers are unknown to us, we cannot handover purchase until payment has been cleared.
Payment Methods - We accept payment by:
• Cash - up to £9,000 (subject to money laundering regulations).
• Cheques - we do not accept cheques.
• Debit cards accepted. We do not accept any credit cards.
Please note that a fee of £15 will be added for international bank payments.
MOORCROFT POTTERY
1. ‘Lilac’ a James Macintyre Co Ltd Florian Ware twinhandled bowl designed by William Moorcroft, shallow footed bowl with applied pulled handles, tubeline decorated with lilac sprays in blue and yellow with a light flambe, on pale blue ground, printed factory mark, painted green signature, 19.5cm. wide. £300-400
2 ‘Chrysanthemum’ a James Macintyre & Co Florian Ware solifleur vase designed by William Moorcroft, ovoid with tall cylindrical neck, tubeline decorated with panels of Art Nouveau flowers in blue on a pale blue ground, printed factory mark, painted green signature, professional restoration to top rim, 27.5cm. high £100-200
3 ‘Anemone’ a James Macintyre & Co Florian Ware vase designed by William Moorcroft, shouldered, twinhandled form, tubeline decorated with anemone flower stems in blue and green on a white ground, printed factory mark, painted green signature, small chip to top rim, 12cm. high £100-200
4. ‘Poppy’ a James Macintyre Co Ltd jug designed by William Moorcroft, tapering cylindrical form, tubeline decorated with Art Nouveau floral cartouche in blue and white on a pale blue ground, with electroplated neck and hinged cover, a Florian Ware Cornflower jug and a Macintyre Dura Ware jug tubeline decorated with flower stems in salmon pink and green, printed factory mark, painted green monogram, hairline to base rim, 23cm. high (3)
Literature
Paul Atterbury Moorcroft, Richard Dennis Publications, page 39 plate 4 for a comparable Poppy jug illustrated. £200-400
5 ‘Big Poppy’ a Moorcroft Pottery vase designed by William Moorcroft, shouldered, cylindrical form, tubeline decorated with a yellow poppy flower to either side, in yellow and blue on a celadon ground, a Moorcroft Pottery Flamminian Ware vase designed by William Moorcroft retailed by Liberty & Co and a Arum Lily lamp base designed by Walter Moorcroft, impressed factory mark and facsimile signature, Flamminian vase chip to top rim, 21cm. high (3) £300-500
6 A James Macintyre and Co Florian Ware twin-handled vase designed by William Moorcroft, tubeline decorated with panels of Art Nouveau fresia flowers in blue, yellow and green on a cream ground, printed factory mark, painted green Moorcroft signature, repaired handle, 25cm. high
£150-250
7 ‘Revived Cornflower/Chrysanthemum’ a James Macintyre Co Ltd vase designed by William Moorcroft, waisted, cylindrical from with twin loop handles, tubeline decorated with flowers and foliage in red, purple, ochre, yellow and green on a cream ground, printed factory mark, painted green signature, 20.5cm. high
£300-500
8 ‘Peacock Feathers’ a James Macintyre Co Ltd ewer designed by William Moorcroft, slender, tapering form tubeline decorated with Art Nouveau peacock feather panels in yellow, green and blue on a pale blue ground, the neck with a band of overlapping scales, printed factory marks, painted green signature, minor glaze chips to foot rim, 22.5cm. high
£200-400
9 ‘Cornflower’ a James Macintyre Co Ltd vase designed by William Moorcroft, waisted cylindrical form, tubeline decorated in yellow, blue and green on a white ground, printed factory mark, painted green signature, 20.5cm. high
£300-500
10. ‘Green and Gold Florian Ware’ a small James Macintyre and Co vase designed by William Moorcroft, shouldered form, tubeline decorated with Art Nouveau flower cartouche in blue and gilt on a celadon green ground, printed factory mark, painted green monogram, 9.5cm. high
£200-300
11. ‘Poppy’ a large James Macintyre Co Ltd baluster vase designed by William Moorcroft, tubeline decorated with panels of yellow poppy flowers with Art Nouveau foliate cartouche, in yellow, green and blue, the neck with band of yellow flower buds, printed factory mark, painted green signature, 31.5cm. high
£500-1,000
12. ‘Moonlit Blue’ a Moorcroft Pottery baluster vase, tubeline decorated with trees in a hilly landscape in green and pale blue on a deep blue ground, impressed factory marks, painted blue signature, 16cm. high £300-400
13. ‘Moonlit Blue’ a Moorcroft Pottery bowl designed by William Moorcroft, tubeline decorated inside and out with trees in blue and green on a deep blue ground, impressed factory marks, painted blue signature, tiny glaze frit to top rim, 14cm. diam. £150-200
14 ‘Lustre Hazledene’ a rare pair of Moorcroft Pottery vases designed by William Moorcroft and retailed by Liberty & Co, ovoid with swollen cylindrical necks, tubeline decorated with a landscape of trees under a red lustre glaze, impressed Moorcroft facsimile signature, one with printed Liberty mark, 21cm. high (2)
Literature
Paul Atterbury Moorcroft Pottery, Richard Dennis Publications, page 64 plate 2 for comparable examples of lustre Hazledene and Claremont, first produced in 1907. £800-1,200
15 ‘Flambe Dawn Landscape’ a Moorcroft Pottery tray designed by William Moorcroft, rounded, rectangular form, tubeline decorated with a sunrise landscape of trees in purple and sand with flambe highlights, impressed factory mark, painted blue signature, 27cm. wide. £800-1,200
16 ‘Hazledene’ a Moorcroft Pottery box and cover designed by William Moorcroft retailed by Liberty & Co, square section with applied loop handles, tubeline decorated with a winding lane leading to distant trees, in green and blue on a celadon green ground, Printed Liberty mark, painted green signature, cover broken and re-stuck, small glaze chip to foot rim, 19.5cm. wide, 9.5cm. high (2) £200-400
17. ‘Flambe Landscape’ a rare, large Moorcroft Pottery vase designed by William Moorcroft, shouldered form, tubeline decorated with tall trees before stylised hills, glazed in green and blue with a flambe sky, impressed Moorcroft mark, and loose Moorcroft retail label 38.5cm. high
Provenance
Christie’s South Kensington
Private collection.
Literature
Paul Atterbury, Moorcroft, Richard Dennis Publications page 95 for a comparable example illustrated. Probably produced for exhibition, the only other example of this large vase was sold at Christie’s South Kensington Moorcroft Pottery auction on the 1st October 1992. £15,000-25,000
18. ‘Waratah’ a rare Moorcroft Pottery vase designed by William Moorcroft, shouldered form, tubeline decorated with flower in red and green on a blue/green ground, impressed factory marks and painted blue marks, 8.5cm. high £1,600-2,000
19. ‘Pomegranate’ a Moorcroft Pottery mantel clock designed by William Moorcroft, rounded square form, tubeline decorated with pomegranate in red, ochre and green on a blue ground, unmarked, 11.5 x 11.5cm. £600-1,000
20 ‘Hazledene’ a Moorcroft Pottery vase designed by William Moorcroft, footed ovoid form, tubeline decorated with trees in a landscape with birds flying in the sky, in green and blue on a celadon green ground impressed factory marks, painted green signature, 16.5cm. high Literature
Paul Atterbury, Moorcroft, Richard Dennis Publications, page 59 for a selection of Hazledene pieces illustrated. £2,000-4,000
21. ‘Pomegranate’ a rare Moorcroft Pottery three piece tea set with Shreve & Co silver mount designed by William Moorcroft, comprising teapot and cover, milk-jug, tein-handled sugar basin with cover, tubeline decorated in red, purple blue and ochre on green ground, painted Moorcroft signature and Shreve & Co San Francisco mark in green, stamped sterling to teapot, 14cm. high (teapot), (5)
Literature
Paul Atterbury Moorcroft Pottery, Richard Dennis Publications, page 72-73 for several examples of Shreve & Co, San Francisco silver overlay on Claremont, Flamminian and Cornflower tea sets.
£4,000-6,000
22 ‘Mask’ a rare Moorcroft Pottery plaque designed by Francis Arthur Edwardes, modelled in relief, partially covered in a flambe red glaze, unsigned, 8.3cm. long £100-200
23. ‘Mask’ a rare Moorcroft Pottery plaque designed by Francis Arthur Edwardes, modelled in relief, covered in a flambe red glaze, and another pottery mask modelled with a grimacing face, unsigned, 7.8cm. long (Moorcroft mask), (2) £200-300
24 ‘Mask’ a rare Moorcroft Pottery plaque designed by Francis Arthur Edwardes, modelled in relief, covered in a flambe red glaze, unsigned, 9.2cm. long £200-300
25. ‘Angel Fish’ a Moorcroft Pottery vase designed by William Moorcroft, ovoid with collar rim, tubeline decorated with aa fish in blue and celadon green on a matt white ground, impressed factory marks, painted blue signature, 16cm. high £400-600
26 ‘Honesty’ a Moorcroft Pottery vase designed by William Moorcroft, shouldered ovoid form, tubeline decorated with honesty seed heads in blue and green on a white ground, between bands, impressed factory marks, painted blue signature, 9cm. high £200-300
27 ‘Leaf and Berry’ a Moorcroft Pottery vase designed by William Moorcroft, ovoid with flaring neck, tubeline decorated in colours on a green to blue ground, another smaller, a Moorcroft Pottery Pansy pot, a Wisteria ginger jar and a Hibisicus powder box and cover, impressed factory marks, painted blue signature, missing covers, repair to Hibiscus pot and cover, 15.5cm. high (6)
£150-200
28 ‘Frilled and Slipper Orchids’ a tall Moorcroft Pottery vase designed by William Moorcroft, ovoid tubeline decorated with orchids and springflowers in colours on a green ground, a taller Moorcroft Pottery Orchids vase dated 1942, and two smaller Moorcroft Pottery vases, impressed factory marks, painted blue monogram, hairline to tall vase, 18cm. high (4)
£200-300
29. ‘Pomegranate’ a Moorcroft Pottery vase designed by William Moorcroft, shouldered form, tubeline decorated in shades of red, pink, ochre and green on a blue ground, a Moorcroft Pottery Pomegranate twin-handled bowl, preserve pot with pewter rim and cover, a tazza with Tudric Pewter for Liberty & Co and a cake plate, impressed factory marks, painted blue signature, cake plate broken and re-stuck, 21cm. high (6)
£300-500
30 ‘Waratah’ a rare Moorcroft Pottery flambe plate designed by William Moorcroft, tubeline decorated with a border of three flowerheads in yellow under a rich flambe glaze, impressed factory mark, painted blue signature, 22cm. diam. £1,000-1,500
31 ‘Prunus; a rare Moorcroft Pottery vase designed by William Moorcroft, compressed, ovoid form, tubeline decorated with prunus sprays on a mottled blue ground with green highlights, impressed facsimile signate and 275 shape number, 10.8cm. high
Provenance
From a private collection of Moorcroft Pottery. £300-500
32 ‘Protea’ a rare Moorcroft Pottery twin-handled vase designed by William Moorcroft, painted with protea flowers to one side and freesia to the reverse, in shades of red, green and buff on a graduated sand to blue ground, the base with glazed central aperture, impressed marks, painted blue signature, 20.5cm. high
Literature
Paul Atterbury Moorcroft Pottery, Richard Dennis Publications, page 100 plate no.2 for a comparable vase. £800-1,200
33 ‘Flambe Frilled and Slipper Orchids’ a Moorcroft Pottery vase designed by William Moorcroft, ovoid, tubeline decorated with orchids and springflowers in colours under a rich flambe glaze, and another Flambe Frilled and Slipper Orchids Moorcroft vase, impressed factory marks, painted blue monogram, professional restoration to foot of second vase, 13 and 14.5cm. high (2) £300-500
34 ‘Pomegranate’ a Moorcroft Pottery vase designed by William Moorcroft, slender, shouldered form, tubeline decorated in colours on a blue ground, impressed factory marks, painted blue signature, 20cm. high £150-200
35. ‘Wisteria’ a Moorcroft Pottery vase designed by William Moorcroft, swollen, shouldered form, tubeline decorated in yellow, red, purple and green on a blue ground, impressed marks, painted blue signature, 17.5cm. high £150-250
36 ‘Pomegranate’ a Moorcroft Pottery twin-handled pedestal bowl designed by William Moorcroft, tubeline decorated in colours to inside and out on a blue ground, impressed factory marks, painted green signature, 21.5cm. high £150-200
37. ‘Marine’ a Moorcroft Pottery vase designed by Walter Moorcroft, footed, cylindrical form, tubeline decorated with a fish and a seahorse swimming amongst waterweed, in colours impressed factory marks, painted blue signature, 18cm. high
Literature
Paul Atterbury Moorcroft Pottery, Richard Dennis Publication, page 151 plate 4 for this design illustrated. The pattern was produced between 1960 to 1965.
£150-250
38. ‘Flambe Caribbean’ a Moorcroft Pottery vase designed by Walter Moorcroft, footed, cylindrical form, tubeline decorated with a yacht moored by a Caribbean island with palm trees, in colours with a partial flambe glaze and a small Caribbean dish, impressed factory marks, 12.8cm. high (2)
Literature
Paul Atterbury Moorcroft Pottery, Richard Dennis Publication, page 151 plate 4 for this design illustrated. The pattern was produced between 1960 to 1965. £150-200
39 ‘Fairy Rings’ a Moorcroft Pottery vase designed by Philip Richardson, introduced in 1987, ovoid with waisted cylindrical neck, tubeline decorated with mushrooms in tan, red and green on a graduated blue to grey ground, 24cm. high £120-180
40 ‘Polar Bear’ a Moorcroft Pottery limited edition vase designed by Sally Tuffin, ovoid, tubeline decorated with a bear standing, on a red ground, impressed marks, painted monogram 138/250, 17cm. high £150-200
ARR 41. William McCance (1894-1970)
Coastal landscape oil on panel board of a small rural sea inlet, the reverse painted with a boat in a harbour scene, framed unsigned, boats in harbour with traces of signature 29 x 22cm.
Provenance
Great Western Auctions, 17th/18th June 2022, lot 1036. Private collection.
£300-500
ARR 42. Adrian Paul Allinson (1890-1959)
Landscape with Almond Trees pastel on paper, framed signed Allison dated 21, note on paper to reverse 33.5 x 29.5cm. (image)
53 x 49.5cm. (frame)
£300-500
ARR 43 Harold Hailstone (1897-1982)
Transport Command Dakotas at Sharjah, 1945 watercolour on paper of two Dakota planes at a military airfield with soldiers and locals in attendance, framed signed and dated Hailstone 45 37.5 x 27cm. (image)
Catalogue notes
Harold Hailstone served in the Royal Flying Corps during the First World War and on returning took up a career as a cartoonist and illustrator. He returned to military service during the Second World War, joining the Royal Air Force from 1938 to 1945, and he was appointed a war artist in 1944. A companion painting to this is held in the Imperial War Museum collection. £200-300
ARR 44 A J Watson,
Looking Forward, Ravenscar oil on canvas landscape with cloudy sky paper label to reverse, 41 x 31cm.
£150-250
ARR 45 Elyse Ashe Lord (1900-1971)
Secrets, (Oriental Figures in a Garden) etching in colours on paper, framed signed in pencil, numbered 24/75, paper gallery label with title
27.5 x 17.5cm. (image)
Provenance
Deighton’s Strand Gallery
£150-200
ARR 46 Clifford Webb RBA (1895-1972)
View from the Window (chair on a terrace) oil on board, framed signed with W monogram, annotated to reverse
45.5 x 37.5cm. (image)
57.5 x 49.5cm. (frame)
£300-500
ARR 47. Harry Rutherford (1903-1985)
Portrait of a Woman oil on board, framed signed Rutherford lower left,
41.5 x 28.5cm. (image)
67.5 x 54.5cm.
Provenance
Northern Artists, Capes Dunn & Co, 3rd August 2011, lot 132.
£500-800
ARR 48 Leslie George Hurry (1909-1978)
Richard III, 1957
costume design for The Old Vic Company production of Shakespeare’s Richard III, pen and ink and watercolour on paper, framed, and Lucio another costume design by Leslie Hurry, probably from Measure for Measure, signed and titled in pencil and ink and annotated, annotated 11/94 to backboard, 44 x 27cm. (image), 61 x 43cm. (Richard III frame), (2) £200-300
49 Roger Fry (1866-1934)
Saxon Sydney-Turner ink and pencil on paper, portrait seated with a vase of flowers on a table, framed unsigned 32.5 x 23.5cm. (image), 49.5 x 39cm. (frame)
Provenance
Private collection.
49a Henry Simpson (1853-1921)
A Street Cairo, 1904 oil on board, framed signed, signed titled and dated to reverse 21 x 14.5cm. (image)
50 Frances John Cubist Self-portrait oil on canvas, framed paper exhibition label to reverse 46 x 35.5cm. (image), 63 x 53cm. (frame)
Provenance
£300-500
£250-350
Royal Institute Galleries, undated exhibition Fine and Decorative Arts, Kinghams Auctioneers, 27th May 2022, lot 485 Private collection. £300-500
ARR 51. Edward H Rogers (1911-1994)
Abstract Figure, 1955 oil on board of a cubist figure, signed E H Rogers 14/7/55 33 x 17.5cm. (board)
Catalogue notes
Born in Wisbech, Edward Rogers began painting in 1937. His early paintings were mainly landscapes or portraits, which moved towards cubism and surrealism in the 1950s. By the 1960s his work had developed to colourful geometric abstract oils, sculpture and metal relief panels. £150-250
ARR 52 John Ridgill Trout (1877-1961)
Cool Scheme, 1936 oil on board (vorticist image), mounted signed J R Trout 36, title to mount 27.5 x 28cm. (image)
ARR 53 Horace Brodzky (1885-1969)
Female Figure, 1921 linocut on paper, framed signed and dated in pencil, signed in the print HB 8 x 4cm. (image), 28.5 x 26cm. (frame)
£100-200
£200-300
54. Sophie Fedorovitch (1893-1953)
The Architect’s Table, oil on canvas, framed signed (window sill centre left)
63.5 x 80cm.
Provenance
The artist Edward Wolfe (1897-1982) Private collection Modern Made, Lyon & Turnbull, 29th October 2021, lot 83. Private collection
Exhibited
Southport, Atkinson Art Gallery, 7 and 5 Society 1920-1935, 1979, no.11. This exhibition travelled to Cardiff, National Museum of Wales; Colchester, The Minories; London, Parkin Gallery and Penzance, Newlyn Orion Gallery.
£7,000-10,000
55. R W Gick
Sir Frank Benson as Shylock, 1932 gouache on paper, framed signed, titled, dated and annotated in ink 18 x 16cm. (image)
Provenance Robert Donat £100-200
56. R G Gues
Joanna Donat
oil on board, framed, and a preparatory sketch of Joanna Donat, dated 1932, framed signed
34.5 x 24cm. (image)
34.5 x 22cm. (sketch image), (2)
Provenance
Ella Annesley Voysey, thence by descent. £100-200
ARR 57. Charles Cowles Voysey (1889-1981)
Winter Wooded landscape, 1945 watercolour on paper, framed signed C Cowles Voysey
40.5 x 28cm.
Provenance
Ella Annesley Voysey, thence by descent.
Catalogue notes Charles Cowles Voysey, the son of Charles Francis Annesley Voysey, was an architect and painter. £80-120
ARR 58 Deborah Brown (1927-2023)
River Dun, 1951
oil on canvas, framed signed lower left, signed, titled and dated to reverse,
35 x 24.5cm. (image)
50 x 39.5cm. (frame)
Provenance
Ella Annesley Voysey, thence by descent. Exhibited
66A Donegall Place Belfast,9-19th May 1951 (as Below Patupool) £100-200
59. Mary Dearing
Lichen, 1985
watercolour on paper, framed, Beddgelert and Folly Hill Farnham two landscapes by Mary Dearing signed and dated
30 x 25.5cm. (Lichen image), (3) £150-250
60 Sydney Merrils
Cabbages in the garden, watercolour on paper, framed signed Sydney Merrills, 40 x 30cm. (image) £80-120
61. Edgar Rowley-Smart (1887-1934)
The Dime oil on canvas, framed signed lower right 61 x 50cm. (image)
Provenance
Ella Annesley Voysey, thence by descent £500-1,000
62 Edgar Rowley-Smart (1887-1934)
Farm Buildings near Fontainebleu oil on canvas, framed signed lower right 60 x 50.5cm. (image)
Provenance
Ella Annesley Voysey, thence by descent £600-1,000
63. Edgar Rowley-Smart (1887-1934)
French Square, Cafe Scene oil on canvas, framed signed lower left 53 x 45cm.
Provenance
Ella Annesley Voysey, thence by descent
£600-1,000
ARR 64. Daphne Casorati
Maugham (1897-1984)
Village near Mountains oil on board, framed signed D Maugham C, gallery paper label, 40 x 35cm. (image) 55 x 50cm. (frame)
Provenance
Zwemmer Gallery, London, purchased by Robert Donat & Ella Annesley Voysey (Donat), thence by descent £300-500
ARR 65 Daphne Casorati
Maugham (1897-1984)
Italian Mountain Landscape oil on board, framed signed D Maugham C 40 x 35cm. (image) 55 x 50cm. (frame)
Provenance
Ella Annesley Voysey(Donat), probably purchased from the Zwemmer Gallery, thence by descent. £300-500
ARR 66. Ivon Hitchens (1893-1979)
Untitled, (Wooded Landscape) oil on canvas, framed, signed lower left,
49.5 x 45cm. (image) 68 x 64cm. (frame)
Provenance
Zwemmer Gallery, London. Purchased by Robert Donat for his wife Ella Annesley Voysey (Donat) at the Zwemmer Gallery circa 1934. In 1934 The Zwemmer Gallery held an exhibition of Ivon Hitchens work titled Objective Abstraction. It has been suggested that the landscape might be from his trip to Shropshire in the thirties.
Catalogue notes
Family tradition held that Robert and Ella visited the exhibition at the Zwemmer gallery individually, as they often had to do with their busy lives. Ella fell in love with the landscape painting, but did not buy it. She returned to the exhibition the following day, and was devastated to see that the painting had sold, only finding out later, that her husband was the buyer – they had both fallen in love with the same painting!
Although bought at the Zwemmer Gallery circa 1934, the year of Objective Abstractions (for which there was no catalogue, only a handlist), the brush work and paint handling suggests this painting dates from much earlier - circa 1925, and might even be identified as The Downs, Evening, no.13 in Ivon Hitchen's first exhibition at the Mayor Gallery in December 1925. Kingham's would like to thank Peter Khoroche for his help in cataloguing this painting.
£20,000-30,000
Robert Donat sitting at his desk, behind are hanging lot 66 and also lot 68 the ballerinas collage by Mabel Beldy.
ARR 67. Mabel Maugham Beldy (1874-1972)
Cafe de La Marine, (Accordion Players)
textile collage with painted highlights, on linen, framed
signed Beldy bottom left
45 x 37cm. (image)
53 x 45cm. (frame)
Provenance
Ernest Brown & Phillips Ltd, Leicester Galleries, London.
Ella Annesley Voysey (Donat), thence by descent. £300-400
ARR 68. Mabel Maugham Beldy (1874-1972)
Stage View Ballet, 1931
textile collage and painted highlights in linen, framed
signed Beldy lower left, signed, titled and dated on gallery label to reverse
34 x 26cm. (image)
40.5 x 32cm. (frame)
Provenance
Leicester Galleries, London, 1931
Ella Annesley Voysey (Donat), thence by descent. £300-400
69. A Heal’s oak students desk, rectangular top with inlaid green writing leather, with bank of four drawers, with wooden handles, and a matched stool, applied label to drawer 78cm. high, 100cm. wide
Provenance
Ella Annesley Voysey, thence by descent £80-120
70 An oak octagonal occasional table probably Heal’s, with angled plank legs and low shelf, unsigned, 45cm. square top, 59cm. high
Provenance
Ella Annesley Voysey, thence by descent £100-200
71 A Heal’s Weathered oak bureau, rectangular section on four short legs, two short drawers over two long drawers, with fitted bureau, applied ivorine label, 100cm. high, 70cm. wide, 46cm. deep
Provenance
Ella Annesley Voysey, thence by descent. £100-200
72 An Art Deco oak standard lamp possibly Heal’s, shallow domed foot supporting tapering cylindrical stem, unmarked 153cm. high
Provenance
Ella Annesley Voysey, thence by descent
£80-120
ARR 73 Oliver Heywood (1920-1992)
Winter, Edge of a Wood, 1970 oil on board, framed signed Oliver Heywood and dated 1970, 75 x 49.5cm. (image)
Provenance
Joanna Donat.
£150-250
74. A Kandya limed-wood double wardrobe, rectangular, two hinged, panelled doors, internally fitted with shelves, applied label to door, 182cm. high. 91cm. wide, 45cm. deep
Provenance
Ella Annesley Voysey, thence by descent.
£80-120
75 A Kandya limed-wood double wardrobe, rectangular, two hinged, panelled doors, internally fitted with shelves, applied label to door, 182cm. high. 91cm. wide, 45cm. deep
Provenance
Ella Annesley Voysey, thence by descent.
£100-200
76 A tall oak music cabinet in the manner of Heal’s, champferred form with fourteen drawers with carved wooden handles, flanked by narrow hinged cupboards, on shaped feet, 166cm. high, 70cm. wide, 35.5cm. deep
Provenance
Ella Annesley Voysey, thence by descent.
£300-500
77 Two Art Deco oak bedside cabinets, rectangular section, each with hinged door, one with circular wood handle, the other a wood bar handle, unsigned, 61cm. high, 38.5cm. wide, 30cm. deep (2)
Provenance
Ella Annesley Voysey, thence by descent.
£150-250
78 A pair of Heal’s Art Deco oak bedside cabinets, each single drawer over cabinet with hinged door, the door with carved wood Voysey style handle, applied labels, one handle damaged, 71cm. high, 38cm. wide, 30cm. deep (2)
Provenance
Ella Annesley Voysey, thence by descent.
£200-400
79 Joyce Bidder FRBS RMS (1906-1999)
The Mackerel Seller, pottery figure, glazed in colours, with applied ebonised wood base marks concealed by base, repaired basket handle, 24cm. high
Provenance
British Art Pottery, Woolley and Wallis, 25th November 2009, lot 233. Private collection
£150-200
83 Leslie Haradine (1887-1965)
Maureen, 1934 a Royal Doulton Prototype bisque figure, impressed factory number 09 34, minute flake to base rim, 19.5cm. high
Literature
Desmond Elyes & Richard Dennis, Royal Doulton Figures, Royal Doulton, page 273 for two production variations, illustrated, HN1770 and HN 1771, introduced in 1936.
£80-120
80. Eva Lilian Soper (1901-1990)
Jay a pottery sculpture of a bird, perched on a tree bough, glazed in colours incised E L Soper England 17cm. wide, 15.5cm. high
Catalogue notes
Eva Lilian Soper (1901–1990) and her sister Eileen worked in a studio at a wildlife sanctuary in Hertfordshire started by their father George Soper RE. In 1937 Eva began producing a range of bird sculptures for the Royal Worcester factory, which were in production until 1986. £80-120
81. Baba HN 1230 an Art Deco Royal Doulton figure designed by Leslie Harradine, introduced in 1927 painted in colours, printed and painted factory marks, minor restoration, 8.5cm. high
Literature
84. A rare Royal Doulton World War I Series Ware jug, waisted, cylindrical form, printed and painted in colours with an Infantryman standing before a union flag, the reverse inscribed ‘Its a Long Way to Tipperary Its a Long Way to go’, printed factory mark, minor paint flakes, 17.5cm. high £150-250
85 Sir Frank Brangwyn RA RWS RBA(1867-1956)
a Royal Doulton dinner service, pattern D5033, comprising; five large graduated meat platters, two tureen and covers, sauce boat, cover and saucer, twenty-five dinner plates, eight soup bowls, ten side plates, and eighteen large entree plates, decorated with simple foliate border in shades of yellow, green and blue, printed factory marks, facsimile signature, painted D.5033, 44cm. wide (largest platter), (73) £100-200
86. Sir Frank Brangwyn RA RWS RBA(1867-1956)
82 John Broad (c1858-1919)
£100-150
Desmond Eyles & Richard Dennis, Royal Doulton Figures, Royal Doulton, page 175 for the original design drawing reproduced.
Doris Keane as Cavallini, (Romance), a Doulton Lambeth figure, glazed white, and another figure by John Broad, printed factory mark, incised JB, minor losses to fingers 22.5cm. high
Literature
a Royal Doulton dinner service, pattern D.5221, comprising; five graduated platters, two tureen and covers, sauce boat, ten dinner plates, six soup bowls, nine entree plates, and eight side plates, decorated with simple foliate border in shades of blue and green, printed factory marks, facsimile signature, painted D.5221, 44cm. wide(largest platter), (43) £100-200
Desmond Elyes & Richard Dennis, Royal Doulton Figures, Royal Doulton, page 100 for a black and white photo of the original figure by Broad which was redesigned by Charles Noke at Royal Doulton as Doris Keane as Cavallini HN90.
£150-250
87 ‘Orange Blocks’ a Shelley Pottery Vogue coffee set for six designed by Eric Slater, pattern no.11786, comprising; coffee pot and cover, milkjug and sugar basin, six cups and saucers, printed and painted with geometric design in orange, black and silver, printed and painted marks, 18cm. high (16)
Provenance
Private collection of Shelley Pottery.
Literature
Andrew Casey 20th Century Ceramic Designers in Britain, ACC Books, page 150 for a comparable Orange Blocks set on an Eve shape set illustrated.
£500-800
91 Polar Bear M77 a rare Ashtead Pottery figure, modelled resting on a rocky outcrop, glazed black and opaque white, printed factory marks, 8cm. high £100-200
92. ‘Moon and Mountain’ a Gray’s Pottery bowl designed by Susie Cooper, painted with a geometric landscape pattern in black, blue, red, yellow and green, and a Gray’s Pottery ‘Moon and Mountain’ coffee can and saucer printed Liner mark, 21cm. diam. (3)
Literature
Andrew Casey 20th Century Ceramic Designers in Britain, ACC Books,page 117 for a selection of ‘Moon and Mountain’ illustrated. £200-400
£200-400
88 A Wiltshaw & Robinson Carlton Ware Handcraft coffee set for five, pattern no. 3658, comprising coffee pot and cover, milk-jug, five cans and saucers, each printed with a black cubist design, outlined in silver on a jade green ground, printed and painted marks, small chip to rim of coffee pot, fine star crack to base of one can, 20cm. high (coffee pot), (13)
89. A Wiltshaw & Robinson Carlton Ware Handcraft ‘Mondrian’ vase designed by Enoch Boulton, pattern no.3570, shape no.457, painted with an abstract design in colours on a matt blue to turquoise graduated ground, printed and painted marks, 20cm. high £200-400
90 A Wiltshaw & Robinson Carlton Ware ‘Jazz’ pattern vase designed by Enoch Boulton, pattern no.3352, printed and painted with an abstract geometric design in colours, highlighted in gilt on a red lustre ground printed and painted factory marks, 14cm. high
Literature
Ghislaine Wood Essential Art Deco, Victoria & Albert Museum, this design on a ginger jar and cover illustrated as the front cover. £200-400
93 ‘Cubist’ a Gray’s Pottery Paris jug designed by Susie Cooper, pattern 8071, painted with a geometric design in black, red, yellow, blue and green, another Gray’s Cubist’ jug smaller a Cubist pattern sandwich plate, and a Gray’s Pottery teapot and cover, painted with Art Deco geometric pattern, printed Clipper mark, painted pattern number, teapot restored spout, (5)
Literature
Andrew Casey and Ann Eatwell, Susie Cooper A Pioneer of Modern Design, ACC Books, page 36 for a comparable ‘Cubist’ jug illustrated. £200-400
94. ‘Orange Trees and House’ a Clarice Cliff Fantasque Bizarre single handled Lotus jug, painted in colours between black and orange bands, printed factory marks, 29.5cm. high
£300-500
95. ‘Orange Trees and House’ three Clarice Cliff Fantasque Bizarre side plates, octagonal, painted in colours inside orange and black bands, impressed and printed factory marks, 14.5cm. diam. (3)
Catalogue notes
The sandwich plates have the impressed date code for 1930.
£300-500
96 ‘Forest Glen’ a Clarice Cliff Conical sugar sifter, painted in colours printed factory mark, 14cm. high
£150-200
97 ‘Coral Firs’ a Clarice Cliff Bizarre vase, shape no.565, shouldered form, painted in colours between grey and brown bands, 11.5cm. high
£150-250
98. ‘Applique Blue Lucerne’ a Clarice Cliff Bizarre single-handled Lotus jug, painted in colours with a stylised castle in a landscape, printed factory mark, 29.5cm. high
Provenance
Private collection of Clarice Cliff.
£6,000-10,000
99 Graham Sutherland ARA (1903-1980)
Table centrepiece
a Clarice Cliff Bizarre five piece table centrepiece set, comprising two curved flower troughs, shape no.659, a rectangular flower trough shape no.657 and two cube candlesticks shape no. 658, each painted with a simple helix design in black and yellow, designed by Graham Sutherland for Modern Art for the Table exhibition, Harrods 1934, printed factory marks, First edition 1934, impressed shape numbers, 25cm. wide (curved troughs)
Provenance
Private collection.
100. Graham Sutherland ARA (1903-1980)
Art in Industry
£300-500
102 Graham Sutherland ARA (1903-1980)
White Rose or English Rose
a Foley part service, pattern V626, comprising cake plate, sandwich plate, sugar basin, eight tea cups, seven saucers, nine side plates, four demitasse coffee cups and saucers, and a larger side plate, each printed with a rose in black and grey on a green ground, inside a border of small circles, designed by Graham Sutherland for Modern Art for the Table exhibition, Harrods 1934, printed factory marks, sugar basin riveted, minor damages, 18cm. diam. (plate), (36)
Provenance
Private collection.
Literature
Ronald Alley GrahamSutherland, 19th May-4th July 1982, Tate Gallery, exhibition catalogue page 66 catalogue number 27 for the original design illustrated, catalogue number 28 for a part service illustrated.
Sue Lunt Age of Jazz British Art Deco Ceramics, National Museums Liverpool, page 88 catalogue number 84 for a comparable side plate illustrated.
103 Graham Sutherland ARA (1903-1980)
Abstract
£150-200
a Clarice Cliff Bizarre dinner plate, printed and painted with a flower and foliage roundel, in black and pink, the rim with a simple streamer frieze, designed by Graham Sutherland for Modern Art for the Table exhibition, Harrods 1934, a twin-handled soup bowl and two saucers in the same pattern, a tea cup and saucer design printed with a landscape design and two soup bowls and a saucer printed with stylised leaves all designed by Graham Sutherland, printed factory marks, facsimile signature, first edition 1934, minor damages and wear 25.5cm. diam. (9)
101. Graham Sutherland ARA (1903-1980)
White Rose or English Rose
a Foley part breakfast service, pattern V626, comprising; muffin dish cover, sandwich plate, two slice toast rack, two part jam dish, milk-jug and sugar basin, salt and pepper pots, three tea cups, two saucers and two side plates, each printed with a rose in black and grey on a pink ground, inside a border of small circles, designed by Graham Sutherland for Modern Art for the Table exhibition, Harrods 1934, printed factory marks, painted V626 to cups, minor damages 21cm. diam. (cake plate), (15)
Provenance
Private collection.
Literature
Ronald Alley GrahamSutherland, 19th May-4th July 1982, Tate Gallery, exhibition catalogue page 66 catalogue number 27 for the original design illustrated, catalogue number 28 for a part service illustrated (green variant).
£300-500
£200-300
six hand block printed rolls of wallpaper for a small home by Cole & Son Ltd, designed in 1950 from a folio issued by the Council of Industrial Design, signed and titled to Selvedge 57cm. wide (6)
Provenance
Private collection.
Literature
Charles Oman and Jean Hamilton Wallpapers: a history and illustrated catalogue of the collection of the Victoria and Albert Museum.Sotheby Publications Victoria & Albert Museum for a comparable example. Victoria & Albert Museum, E-1222-1974.
£300-500
104 Graham Sutherland ARA (1903-1980)
Flowers
a Clarice Cliff Bizarre side plate and soup bowl, each painted with a simple border of stylised flowerheads in purple and orange, designed by Graham Sutherland for Modern Art for the Table exhibition, Harrods 1934, a dinner plate by Alan Walton, a dinner plate by Billie Walters and three various plates by Dod Procter for the 1934 exhibition, printed factory marks, First edition 1934, impressed shape numbers, 25cm. diam. (soup bowl), (7)
Provenance
Private collection.
Literature
Ronald Alley Graham Sutherland, 19th May-4th July 1982, Tate Gallery, exhibition catalogue page 68 catalogue number 30 for a tureen and cover decorated in the same pattern.
£200-300
105 John Armstrong (1893-1973)
Fish
A Foley English Bone China part tea set, comprising; milk-jug, two cups, two saucers and eight side plates, each printed and painted with stylised fish, in black, grey and mushroom brown, designed by John Armstrong for Modern Art for the Table exhibition, Harrods 1934, printed factory mark, facsimile signature, handle of one cup restored, small chip to one saucer, light wear 18cm. diam. (plates), (13)
£200-300
106 Sir Frank Brangwyn RA RWS RBA (1867-1956)
White Flower
a Foley part service, pattern V644, comprising; cake plate, sugar basin, six cups, saucers and five side plates, each printed in resist with a white flower stem on pale grey ground, designed by Sir Frank Brangwyn RA for Modern Art for the Table exhibition, Harrods 1934, printed factory marks, facsimile signature, painted V644 to cups, 123cm. diam. (plate), (19)
Provenance
Private collection.
Literature
Frank Brangwyn A Mission to Decorate Life, The Fine Art Society/Liss Fine Art (2006), page 180-181 catalogue number 181 for a set illustrated (believed to be unique) £200-400
107 Albert Rutherston ARA (1881-1953)
Streamers
a Foley part tea and coffee service, pattern V600, comprising; sugar basin, two tea cups, four saucers, and two side plates, six coffee cups and saucers and a side plate, each printed with streamers and explosions in yellow and silver lustre, designed by Albert Rutherston for Modern Art for the Table exhibition, Harrods 1934, printed factory mark, facsimile signature, minor damages
18cm. diam (largest side plate), (22) Provenance
British Art & Design 1900-2000, Woolley and Wallis 23rd July 2008, lot 69. Private collection.
Literature
Victoria & Albert Museum collection, circa 1948 for a comparable cup and saucer. £150-250
108 Ben Nicholson (1894-1982)
a rare Foley Pottery Art in Industry coffee pot, cover milk-jug and sugar basin, designed in 1934, cylindrical form, glazed grey with a red band, printed factory mark, facsimile signature, stress hairlines to pot, 17cm. high (4)
Provenance
Private collection of Art in Industry Ceramics and Glass
Clarice Cliff including Art in Industry Ceramics, Christie’s 2nd November 2001, lot 111.
Private collection
Catalogue notes
This is possibly the only set designed by Ben Nicholson from the Art in Industry exhibition to have survived. £400-600
ARR 109. Enid Marx RDI (1902-1998)
Teacup II, (design for Foley Pottery), 1934 watercolour on paper, framed signed and annotated in pencil, 14 x 11.5cm. (image)
34 x 30.5cm. (frame)
Provenance
Enid Mark June-July 1990 Sally Hunter Fine Art Private collection.
£300-500
KEITH MURRAY FOR WEDGWOOD
110 A pair of Wedgwood Pottery black basalt bowls in the manner of Keith Murray, each with band of cut chevron motif, impressed factory marks, 10.5cm. diam. (2)
Provenance
Private collection Wedgwood designed by Keith Murray. £150-200
111 A rare Wedgwood brown basalt vase designed by Keith Murray, shape no.3991, footed, fluted form, impressed factory marks and facsimile signature, small nick to top rim, 22cm. high
£100-200
112 A Wedgwood Pottery Black Basalt footed bowl designed by Keith Murray, shape no.3813, flaring form with cut band to rim, impressed Wedgwood marks, 16.5cm. diam.
£200-300
113. A rare Wedgwood Pottery black basalt footed vase designed by Keith Murray, shape no.3882, flaring cylindrical form with cut band decoration, impressed and printed factory marks, 20.5cm. high
Provenance
Private collection Wedgwood designed by Keith Murray. £700-1,000
114. A Wedgwood Pottery black basalt bowl designed by Keith Murray, with facetted top rim, impressed factory marks, printed factory marks and facsimile signature, 23cm. diam.
£200-300
115 A Wedgwood Pottery Top Hat bowl designed by Keith Murray, shape no.3812, with flar rib decoration, covered in a matt green glaze, impressed and printed factory marks, printed facsimile signature, professional restoration to the well, 36cm. diam.
Provenance
Private collection Wedgwood designed by Keith Murray. £200-300
116 A Wedgwood Pottery Matt Green conical bowl designed by Keith Murray, shape no. 3819, flaring, fluted form, covered in a matt green glaze, impressed and printed factory marks, printed facsimile signature, 13cm. high, 25cm. diam.
Provenance
Private collection Wedgwood designed by Keith Murray. £150-200
117. A Wedgwood Pottery footed bowl designed by Keith Murray, shape no., with cut band of rims to the rim, covered in a matt green glaze, impressed and factory marks, printed facsimile signature, 26cm. diam.
Provenance
Private collection Wedgwood designed by Keith Murray. £150-200
118 A Wedgwood Pottery footed bowl designed by Keith Murray, shape no. 3806, flaring form with horizontal cut bands, covered in a matt white Moonstone glaze, printed factory mark and facsimile Keith Murray signature, 26cm. diam.
Provenance
Private collection Wedgwood designed by Keith Murray. £150-200
119. A Wedgwood Pottery ball vase designed by Keith Murray, shape no.3801, ovoid, ribbed form, covered in a matt green glaze, printed factory marks and facsimile signature, 15.5cm. high
Provenance
Private collection Wedgwood designed by Keith Murray. £150-200
120. A Wedgwood Pottery ball vase designed by Keith Murray, shape no.3801, ovoid, ribbed form, covered in a matt white glaze, printed factory marks and KM monogram, 15.5cm. high
Provenance
Private collection Wedgwood designed by Keith Murray. £150-250
121. A Wedgwood Pottery ball vase designed by Keith Murray, shape no.3801, ovoid with ribs, covered in a matt yellow glaze, impressed and printed factory marks, printed KM monogram, 15.5cm. high
Provenance
Private collection Wedgwood designed by Keith Murray. £150-200
122. A Wedgwood Pottery vase designed by Keith Murray, shape no.3805, shouldered form cut with five bands, covered in a matt green glaze, impressed factory marks, printed facsimile signature, minor glaze chips to base rim, 29cm. high
Provenance
Private collection Wedgwood designed by Keith Murray.
Literature
Susan Lunt Age of Jazz British Art Deco Ceramics, National Museums of Liverpool, page 150 catalogue number 162 for a comparable vase illustrated. £150-200
123 A Wedgwood Pottery vase designed by Keith Murray, shape no.3805, shouldered form cut with five bands, covered in a Matt Green glaze, impressed factory marks, printed facsimile signature, minor professional restoration to base rim, 29cm. high
Provenance
Private collection Wedgwood designed by Keith Murray.
Literature
Susan Lunt Age of Jazz British Art Deco Ceramics, National Museums of Liverpool, page 150 catalogue number 162 for a comparable vase illustrated. £300-500
124 A rare Wedgwood Pottery small vase designed by Keith Murray, shouldered form with horizontal cut bands, covered in a matt blue glaze, printed factory mark, KM monogram, 20cm. high
Provenance
Private collection Wedgwood designed by Keith Murray. £250-350
125 A Wedgwood Pottery vase designed by Keith Murray, shape no. 3820, swollen, shouldered form, the shoulder stepped, covered in a Matt Green glaze, impressed and printed factory marks, facsimile Keith Murray signature, 16.5cm. high
Provenance
Private collection Wedgwood designed by Keith Murray. £300-500
126. A Wedgwood Pottery vase designed by Keith Murray, shape no. 3820, swollen, shouldered form, the shoulder stepped, covered in a matt green glaze, impressed and printed factory marks, Keith Murray signature, 16.5cm. high
Provenance
Private collection Wedgwood designed by Keith Murray. £300-500
127. A rare Wedgwood Pottery vase designed by Keith Murray, shape no.3820, compressed, shouldered form, the shoulder with shallow bands, covered in a pale green matt glaze, printed factory mark and facsimile Keith Murray signature, small chip to foot rim, 16.5cm. high £300-500
128. A rare Wedgwood Pottery barrel vase designed by Keith Murray, shape no.3868, swollen, ribbed form, covered in a matt green glaze, impressed factory marks, printed facsimile signature, 16.5cm. high
Provenance
Private collection Wedgwood designed by Keith Murray. £200-300
129 A Wedgwood Pottery ball vase designed by Keith Murray, shape no.3801, ovoid with collar neck and thin cut bands, covered in a matt yellow glaze, printed factory mark, facsimile Keith Murray signature, 15.5cm. high £120-180
130. A Wedgwood Pottery footed bowl designed by Keith Murray, shape no.3753, flaring ribbed form covered in a matt yellow Straw glaze, printed factory mark, KM monogram, 10.5cm. high, 15cm. diam. £100-150
131. A Wedgwood Pottery footed bowl designed by Keith Murray, shape no. 3753, flaring form with five bands, covered in a matt yellow glaze, impressed factory marks, printed facsimile signature, professional restoration to foot rim, 25cm. diam, 18.5cm. high
Provenance
Private collection Wedgwood designed by Keith Murray. £150-200
132. A Wedgwood Pottery vase designed by Keith Murray, shape no.4195, compressed, ribbed ovoid form, covered in a matt yellow glaze, impressed and printed factory marks, printed facsimile signature, 16cm. high
Provenance
Private collection Wedgwood designed by Keith Murray. £200-300
133 A Wedgwood Pottery footed vase designed by Keith Murray, shape no.4217, flaring cylindrical form with bands of cut decoration, covered in a celadon green glaze over cream, impressed and printed factory marks and KM monogram, 20.5cm. high (2)
Provenance
Private collection Wedgwood designed by Keith Murray. £300-500
134. A rare Wedgwood Pottery lamp base designed by Keith Murray, shape no.3955, ribbed cylindrical form, covered in a matt white Moonstone glaze, impressed and printed factory marks, printed facsimile Keith Murray signature, 29.5cm. high
Literature
Andrew Casey, 20th Century British Ceramic Designers in Britain, ACC Books, page 206 figure 227 for a comparable lamp illustrated. £150-250
135 A Wedgwood Pottery footed bowl designed by Keith Murray, shape no. 3806, flaring form with horizontal cut bands, covered in a matt white glaze, 25.5cm. diam. glaze, printed factory mark, KM monogram, 25.5cm. diam.
Provenance
Private collection Wedgwood designed by Keith Murray. £150-200
136. A Wedgwood Pottery footed bowl designed by Keith Murray, shape no. 3753, flaring, ribbed form, covered in a Matt Blue glaze, printed factory mark, KM monogram, 15cm. diam.
Provenance
Private collection Wedgwood designed by Keith Murray. £150-200
137 A Wedgwood Pottery footed bowl designed by Keith Murray, shape no. 3813, flaring form, covered in a Matt Blue glaze, printed factory mark, KM monogram, 15cm. diam.
Provenance
Private collection Wedgwood designed by Keith Murray. £200-300
138 A Wedgwood Pottery flaring bowl designed by Keith Murray, shape no. 3995, wide flaring form with ribbed foot, covered in a Matt Blue glaze, printed factory mark, KM monogram, 36cm. diam.
Provenance
Private collection Wedgwood designed by Keith Murray. £300-500
139 A large Wedgwood Pottery ball vase designed by Keith Murray, shape no. 3765, ribbed ovoid form, covered in a matt yellow glaze, impressed and printed factory marks, printed KM monogram, 23cm. high
Provenance
Private collection Wedgwood designed by Keith Murray. £300-500
140 A Wedgwood Pottery ball vase designed by Keith Murray, shape no. 3765, ribbed form, covered in a Matt Blue glaze, printed factory mark, KM monogram, 15.5cm. high
Provenance
Private collection Wedgwood designed by Keith Murray. £200-300
141. A Wedgwood Pottery ovoid vase designed by Keith Murray, shape no. 3765, shouldered, ribbed, ovoid form cylindrical neck, covered in a matt white Moonstone glaze, printed factory mark and Keith Murray facsimile signature, 23.5cm. high
Provenance
Private collection Wedgwood designed by Keith Murray. £300-500
142. A rare Millwall Pottery earthenware albarello vase by Alfred Powell, numbered 99, waisted, shouldered cylindrical form painted with blue foliage designs over pink lustre on a white ground, painted M 99 and artist monogram, 15.5cm. high
Literature
Good Workmanship with Happy Thought the Work of Alfred and Louise Powell, Cheltenham Art Gallery & Museum, page 29 catalogue P3 for a wash set made at the Millwall Pottery and decorated by Alfred & Louise Powell. £200-300
143 Three Wedgwood Pottery Garden soup bowls designed by Eric Ravilious, each printed with a vignette of a woman seated in a deckchair, reading a book, in the shade of a tree, in yellow and black, printed factory marks, faint star crack to one, 23.5cm. diam. £80-120
144 Edward Ardizzone (1900-1979)
The Ladies Bar, at the Lord High Admiral, hand painted oval platter, in black signed Diz and titled, 33cm. wide
£400-600
145 A Wedgwood Pottery footed bowl by Norman Wilson, the exterior glazed matt puce, the interior grey/blue impressed factory marks and NW mark, 18.5cm. diam, 8cm. high £100-150
146. A Wedgwood Pottery Humming Bird Lustre bowl designed by Daisy MakeigJones, octagonal, printed in gilt on a blue streaked ground to the exterior, the interior mottled orange decorated with a border of flying birds, and another Wedgwood Pottery lustre bowl decorated with large gilt butterflies to the interior, the exterior mythical creatures on a pearl ground, designed by Daisy Makeig-Jones, pattern Z4532, printed factory marks, small firing crack to rim of main bowl, 20.5cm. diam. (2)
Literature
Una des Fontaines, Wedgwood Fairyland Lustre, Sotheby Parke Bernet, page 215 plate 50 for a comparable plate illustrated. £150-200
147. A Wedgwood Pottery Fairyland
Lustre vase designed by Daisy MakeigJones, tapering, square section, printed and painted in colours and gilt on a pearl lustre ground, with Fairyland Beads border, printed and painted factory marks, 20cm. high
£300-500
148 A Wedgwood Pottery Fairyland
Lustre Octagonal bowl designed by Daisy Makeig-Jones, pattern Z5125, octagonal section, printed and painted to the interior with ‘Smoke and Ribbons’ pattern, the exterior ‘Moorish’ pattern on a black lustre ground, highlighted in gilt, printed and painted factory marks, stress hairline to foot rim, 20.5cm. diam.
£600-1,000
149. ‘Imps on a Bridge’ a rare Wedgwood Pottery Fairyland Lustre plate designed by Daisy Makeig-Jones, printed and painted in colours to the well with a procession of imps crossing a bridge as others watch on, a large bat flying above, highlighted in gilt, inside printed foliate border on white, printed factory mark, painted i, 27cm. diam.
£600-1,000
DODO BURGNER
ARR 150 Dorte Clara Dodo Burgner (1907-1998), Twins pen and ink fashion study on paper, mounted titled in pencil, signed D, 23 x 15.5cm. (image)
Provenance
Private collection.
£200-300
ARR 151. Dorte Clara Dodo Burgner (1907-1998), Rouge ou Noir? erotic drawing in pencil of a man and two naked women, pen and ink on paper, mounted signed Dodo and titled in ink 31.5 x 25cm. (image)
£300-400
ARR 152. Dorte Clara Dodo Burgner (1907-1998), Fashion Study, (Lady in Tweed) pencil, pen and ink and wash in colours, on paper, unframed unsigned 55.5 x 32.5cm.
Provenance
Private collection.
Catalogue notes
This early study shows Dodo’s interest in fashion and design which she had throughout her artistic career - both in Germany with the cover designs for Ulk magazine and in England where she fled too at the break of war. Dodo produced similar fashion designs for Michels Silk Weaving Company in Germany circa 1926, John Lewis & Co circa 1942 and also designs for Ackermann Chocolates.
£150-250
The Meeting, pencil, and pen and ink on card, unframed signed Dodo lower right
40.5 x 30cm. (image)
47 x 34.5cm. (sheet)
Provenance
Private collection.
£4,000-6,000
ARR 153 Dorte Clara Dodo Burgner (1907-1998)
A PRIVATE COLLECTION OF STELLA CROFTS CERAMIC SCULPTURES
STELLA REBECCA CROFTS
Born in Nottingham in January 1898, Stella contracted tuberculosis as a child and was confined to bed for lengthy periods. Unable to go to school, she was educated at home by her mother, a former teacher. Much of her time at home was spent drawing and she began to sketch animals, leading to an ambition to become becoming a graphic poster artist.
Between 1916 and 1922 Stella studied at the Central School of Arts and Crafts in London where she developed an interest in clay modelling. From the Central School she went on to study at the Royal College of Art, taking pottery and sculpture classes.
Stella’s love of the natural world took her art in a different direction to her famous contemporaries at the London Art Schools (including Eric Ravilious and Henry Moore). She pursued her interest in wildlife, preferring realism to the avante-garde abstract art of the twenties.
Stella was greatly helped in her sketching of animal subjects by having privileged access to both the Natural History Museum and London Zoo. This close observation of animals was the foundation of her highly realistic animal sculptures. Her figures were fired in a home studio with the kiln set up with the help of her father. Stella’s work from 1925 through the thirties was critically well received and she contributed work to exhibitions organised by the British Institute of Industrial Art shown in Paris and Milan in 1925, Venice in 1926 and Leipzig in 1927. In total her work was displayed at over 185 exhibitions both within the UK and abroad.
ARR 154. Stella R Crofts (1898-1964)
Elephants and Owls a rare tea cup, saucer and side plate, painted with a frieze of elephants to the cup and plate, the saucer with owls, in blue and brown, and a spare cup painted with rabbits, painted SRC to well of cups, damages, 18cm. diam.
Provenance
Private collection of Stella Crofts Pottery Catalogue notes The plate and saucer have an impressed date mark of 1930. £100-200
ARR 155. Stella R Crofts (1898-1964)
Elephants and Monkeys, 1919 watercolour on paper, ‘Elephant group’ a pencil and crayon drawing, a pencil and sepia ink alphabet tile design depicting animals on five sheets, four black and white photos of sculptures with anotations, a copy of Feathers by Julia Reeve Wood illustrated by Stella R Crofts and a modern reproduction linocut of Flamingoes in the Rain produced for the 2010 exhibition.
signed Stella R Crofts bottom left, top right in pencil signed and dated June 1919 29 x 19.5cm. (sheet) (13)
Provenance
Private collection of Stella Crofts Pottery Literature
Paul Hughes, Stella’s Ark, Park Farm Press, page 179 this watercolour illustrated. £150-200
ARR 156 Stella R Crofts (1898-1964)
Jaguar Eating Meat, stoneware, glazed in colours, incised Stella R Crofts, 11cm. wide
Provenance
Private collection of Stella Crofts Pottery
Literature
Paul Hughes, Stella’s Ark, Park Farm Press, page 95 for an example of this figure illustrated.
£300-400
ARR 157 Stella R Crofts (1898-1964)
Tigers, 1925
stoneware sculpture of a family of tigers, glazed in colours
incised Stella R Crofts, May 1925, 22cm. wide
Provenance
Clarice Cliff, Art Deco & Design, Woolley and Wallis, 1st March 2005, lot 787
British Art Pottery, Woolley and Wallis, 30th November 2022, lot 176
Private collection of Stella Crofts Pottery
Literature
Paul Hughes, Stella’s Ark, Park Farm Press, page 98 this actual figure illustrated.
£500-1,000
ARR 158 Stella R Crofts (1898-1964)
Zebra Group, stoneware sculpture, glazed in colours painted Stella R Crofts mark, one ear re-stuck 18cm. high
Provenance
Private collection of Stella Crofts Pottery
Literature
Paul Hughes, Stella’s Ark, Park Farm Press, page 92 for a comparable figure illustrated.
£300-500
ARR 159 Stella R Crofts (1898-1964)
Motherhood, (antelope group), 1936 glazed green incised Stella R Crofts, 1936 14cm. high
Provenance
Private collection of Stella Crofts Pottery
Literature
Paul Hughes, Stella’s Ark, Park Farm Press, page 71 for a comparable figure illustrated. £150-200
ARR 160 Stella R Crofts (1898-1964)
Deer Running, 1928 an early stoneware sculpture, matt glazed in colours, incised Stella R Crofts 1928, minor nicks to ear 16.5cm. wide, 14cm. high
Exhibited
Pottery & Stoneware by Stella Crofts, 1928 Redfern Gallery Exhibition, London, catalogue number 34 Deer Running (SPC, white spotted), possibly refers to this figure group.
Provenance
Clarice Cliff, Art Deco & Design, Woolley and Wallis, 22nd March 2007 lot 284
Private collection of Stella Crofts Pottery
£200-400
ARR 161. Stella R Crofts (1898-1964)
Pelican Group,
stoneware sculpture, glazed white and turquoise, incised Stella R Crofts
20.5cm. high
Provenance
Private collection of Stella Crofts Pottery
Literature
Paul Hughes, Stella’s Ark, Park Farm Press, page 57 for a comparable group illustrated. £300-500
ARR 162. Stella R Crofts (1898-1964)
Marabou Stork with Frog, stoneware sculpture, glazed in colours incised Stella R Crofts, 15.5cm. high
Provenance
Private collection of Stella Crofts Pottery
Literature
Paul Hughes, Stella’s Ark, Park Farm Press, page 91 this actual figure illustrated. There is a photograph of a comparable figure with paper label stating Paris Ex 1925. £150-250
ARR 163. Stella R Crofts (1898-1964)
Carol with Geese, 1930
stoneware sculpture of a young naked girl with three geese, glazed in colours incised Stella R Crofts, 1930 to base 19.5cm. high
Provenance
British Art Pottery, Woolley and Wallis 30th November 2006
Private collection of Stella Crofts Pottery
Literature
Paul Hughes, Stella’s Ark, Park Farm Press, page 165 this actual figure illustrated.
£150-250
ARR 164. Stella R Crofts (1898-1964)
Secretary Bird, stoneware sculpture, glazed in colours, incised Stella R Crofts, 18cm. high
Provenance
British Art Pottery, Woolley and Wallis, 30th November 2006, lot 981.
Private collection of Stella Crofts Pottery
Literature
Paul Hughes, Stella’s Ark, Park Farm Press, page 108 this actual figure illustrated. £150-200
ARR 165. Stella R Crofts (1898-1964)
Mandarin Duck Male, 1922 a stoneware tile for outside name-plates at zoological gardens, painted in colours, and two other similar tiles Common Crowned Pigeon, New Guinea and Mandarin Duck, Female, China main signed SRC, pigeon signed JW, firing flaws, Female tile repaired 15.3cm. square, (3)
Provenance
Private collection of Stella Crofts Pottery
Literature
Paul Hughes, Stella’s Ark, Park Farm Press, page 27 this actual tile illustrated. The Studio volume 84 (1922), page 134, for three comparable tiles illustrated one signed JW for J Williams. The tiles were by Misses Mary R Brace, Stella Crofts & J Williams - students at the Central School of Arts & Crafts where Stella studied between 1916 and 1922. £120-200
ARR 166 Stella R Crofts (1898-1964)
Owl dish, 1930 stoneware, glazed in colours incised Stella R Crofts 1930 to base 8.5cm. wide
Provenance
Private collection of Stella Crofts Pottery
Literature
Paul Hughes, Stella’s Ark, Park Farm Press, page 171 figure n this actual figure illustrated. £100-200
ARR 167 Stella R Crofts (1898-1964)
Chris & James, 1950 a stoneware sculpture of a tabby and black cat, glazed in colours
incised signature and 1950 to base, titled Chris & James to side of base, restored ear of seated cat 20cm. wide, 19cm. high
Exhibited
SWA (91st) Royal Institute Galleries, 1951, Piccadilly, catalogue no 205, priced at £8s8
Provenance
Private collection of Stella Crofts Pottery
Literature
Paul Hughes, Stella’s Ark, Park Farm Press, page 103 this actual figure illustrated.
£200-400
ARR 168 Stella R Crofts (1898-1964)
Cherry, 1958
stoneware model of a Cairn terrier dog, glazed in colours
incised Stella R Crofts, Cherry, 1958, professional restoration,
Provenance
Private collection of Stella Crofts Pottery
£150-200
ARR 169 Stella R Crofts (1898-1964)
Little Cart Horse, 1935
stoneware sculpture, glazed white, and two stoneware seal figures by Stella Crofts, glazed green
incised Stella R Crofts, 1935 9cm. wide, 9cm. high (3)
Provenance
Private collection of Stella Crofts Pottery
Literature
Paul Hughes, Stella’s Ark, Park Farm Press, page 107 this actual figure illustrated.
£150-200
ARR 170 Stella R Crofts (1898-1964)
Donkey Stealing Carrots, 1928
a stoneware sculpture, glazed in colours, and another Donkey with Carrots figure incised Stella R Crofts, 1928, restored ear, second figure with re-stuck head, 17.5cm. high (2)
Provenance
Woolley and Wallis, 30th November 2006 lot 986. Private collection of Stella Crofts Pottery
Literature
Paul Hughes, Stella’s Ark, Park Farm Press, page 83 for a comparable figure illustrated.
£150-250
ARR 171 Stella R Crofts (1898-1964)
Sark Bull, 1931
stoneware, glazed in colours, incised Stella R Crofts, 1931, Sark Bull, horns professionally restored, 13.5cm. wide
Provenance
Private collection of Stella Crofts Pottery
Literature
Paul Hughes, Stella’s Ark, Park Farm Press, page 103 this actual figure illustrated. £100-200
ARR 172 Stella R Crofts (1898-1964)
Race Horses, 1945
stoneware sculpture of three racing horses, glazed in colours
incised Stella R Crofts, 1945, minor restoration to jockey’s cap, 28cm. wide
Provenance
British Art Pottery, Woolley and Wallis, 30th November 2006
Private collection of Stella Crofts Pottery
Literature
Paul Hughes, Stella’s Ark, Park Farm Press, page 133 this actual figure illustrated. The race horse group was first modelled in 1936.
£300-500
ARR 173. Stella R Crofts (1898-1964)
Mares & Foal, stoneware sculpture of shire horses, glazed in colours
incised Stella R Crofts, one head re-stuck, restoration to ears
23.5cm. wide, 19.5cm. high
Provenance
Clarice Cliff, Art Deco & Design, Woolley and Wallis, 22nd March 2007 lot 287. Private collection of Stella Crofts Pottery
Literature
Paul Hughes, Stella’s Ark, Park Farm Press, page 80 this actual figure illustrated. £100-200
174. The Wood Engravings of Gertrude Hermes by Judith Russell, published by Scolar Press, Entertaining A La Carte a book by Edward Bawden and Fortnum & Mason, Edward Bawden A Retrospective Survey, Combined Arts, 1988, The Wood Engravings of Blair Hughes-Stanton, by Penelope HughesStanton, private press, 1991, George Mackley-Wood Engraver, Gresham Books, and Back to Methuselah by George Bernard Shaw, with engravings by John Farleigh, The Limited Editions Club, 1939, six books, Hermes book signed and dated 1993 by the author, 38cm. high (6) £100-200
ARR 175. Gertrude Hermes (1901-1983)
Clematis, 1930 wood engraving on paper, framed signed, titled, dated 1930 and numbered 17/30 in pencil 23 x 14cm. (image)
44 x 33.5cm. (frame)
ARR 176 David Jones (1895-1974)
Everyman, 1929 wood engraving on paper, artist proof, framed unsigned 16.5 x 14.5cm. (image) 36 x 33.5cm.
177. Eric Gill ARA RDI (1882-1940)
£350-450
£300-400
Engravings by Eric Gill (a complete list of the Engravings from 1908 to 1927) published by Douglas Cleverdon, 1928, a limited edition of four hundred copies, with loose specimen sheet, black board covers with gilt tree motif, 103 plates mostly wood engravings, a few printed in red and red and black, and Mr Eric Gill Further Thoughts by an Apprentice by David Kindersley, published by Cardozo Kindersley Editions, 1990 main numbered 244, light foxing to main, 34 x 27cm. (3)
178 The Golden Cockerel Press
Spring 1930
£1,500-2,000
engravings on paper by Eric Ravilious, Robert and Moira Gibbings, and Eric Gill, The Golden Cockerel Press 1931, Llanthony Monastery & Eric Gill, Unemployment by Eric Gill, Work & Leisure by Eric Gill, two catalogues Eric Gill and Eric Gill in Yorkshire, and Mr Eric Gill Further Thoughts by an Apprentice by David Kindersley, published by Cardozo Kindersley Editions, 1990, (8)
ARR 179. Sir Cedric Morris (1889-1982)
£80-120
Nursemaids in the Borghese Gardens, 1922 the original woodblock print made for Morris by Derek Waters, signed in the block and dated, reverse with paper note and Arthur LettHaines label, 15.5 x 11cm.
Provenance
Private collection
Catalogue notes
Cedric Morris met the artist Arthur Lett-Haines in London in 1918, they fell in love and had a lifetime relationship which saw them travel to Paris, move to Newlyn and set up studio together in London in 1927. This block made by the local artist Derek Waters. The image was published in The Transatlantic Review’s Art Supplement, March 1924, vol.1 no.3.
£100-200
ARR 180. Monica Poole (1921-2003)
Design with Pericarps, wood engraving on paper mounted on board, framed signed and titled in pencil, 34.5 x 22cm.
£300-500
ARR 181. Clare Leighton (1898-1989)
The Farmers Year A Calendar of English Husbandry, 1933, published by Collins, original green cloth boards with gilt detailing
36.3 x 28.5cm.
ARR 182 Clare Leighton (1898-1989)
£150-200
£300-500
Woodcuts Examples of the Work of Clare Leighton with an introduction by Hilaire Belloc, by Longman’s, Green & Co, 1930, from an edition of 450 copies, 41 tipped-in illustrations, original brown cloth with applied pictorial label, signed by the artist, numbered 57 of 450 32cm. high
ARR 183 Clare Leighton (1898-1989)
Ellen Planting Tobacco, 1944
woodblock with heightening, artist proof for page 9 The Time of Man by Elizabeth Madox Roberts, published by The Viking Press,1945, framed unsigned, annotated to reverse, 9.5 x 6.3cm. (image)
34 x 30cm. (frame)
ARR 184 Clare Leighton (1898-1989)
£200-300
Lovers in the Wheatfield, wood block, artist proof for The Time of Man by Elizabeth Madox Roberts, published by The Viking Press, 1944, framed unsigned 16 x 10cm. (image)
39 x 34cm. (frame)
£200-300
185. A cut glass vase probably designed by John Luxton for Stuart, flaring cylindrical form, with cut columns and three bands of cut lens, unsigned 18cm. high £80-120
186. A large Gray-Stan footed glass bowl designed by Elizabeth Graydon-Stannus, tapering clear glass cylindrical foot, with applied white rim, supporting a clear bowl graduating to blue rim, the bowl with pulled white threading to the surface, unsigned, 25cm. diam, 15.5cm. high £150-250
187 A pair of a Jobling flint glass bear designed by Etienne Frankenhauser, and a large blue glass model of a bear probably Walther Glass, on wooden stand, cast regd marks, 12cm. wide. (4) £120-180
188. A James Powell & Sons Whitefriars amber glass ribbontrailed bowl designed by Tom Hill, a Whitefriars blue glass wave-trailed bowl, a large amber glass threaded bowl on footring, and eleven other glass bowls, unsigned, 15cm. high, 26cm,. diam. (14) £80-120
189. A James Powell & Sons Whitefriars Wave-ribbed Sea Green glass vase designed by William Butler, on applied foot, and a Whitefriars glass flaring bowl on applied foot, unsigned, 23cm. diam, 16.5cm. high (2)
Provenance
Richard & Hilary Myers £50-100
190. A Whitefriars Glass Streaky footed bowl designed by William Butler, green and blue streaks cased in clear with air bubble inclusions, another streaked blue and purple, another streaked red and amber, and two Whiterfriars Cloudy blue glass bowls unmarked, 22.5cm. diam, 15.5cm. high (5) £80-120
191. A James Powell & Sons Whitefriars clear glass carafe, tapering cylindrical form with applied band and trail, another three similar, a twisted, square section glass vase possibly designed by Harry Powell, a dimpled small decanter a trailed flower posy and four glass vases unsigned, chips to one carafe trail, 20.5cm. high (11) £50-100
192. A large Whifriars Glass Cloudy footed vase designed by William Butler, mottled ivory and chestnut brown glass, cased in clear with air bubble inclusions, unsigned, 19cm. high, 26.5cm. diam.
Literature
Lesley Jackson, Whitefriars Glass The Art of James Powell, Richard Dennis, page 118-119 plates 93 and 95 for comparable examples illustrated. This colour was first shown at the British Industry Fair, 1936. £80-120
193 An Art Deco Wilson & Gill The Master Incolour cocktail shaker designed by Lawson and Raphael Clark, amber bakelite case and cover with chrome metal fittings, unsigned 27.5cm. high
Catalogue notes
198 A Mappin & Webb electroplated metal footed bowl with stepped rim designed by Keith Murray, circular with stepped top rim and turned bands and another similar, stamped marks, 20cm. diam. (2)
£150-200
£400-600
The Master Incolor was first patented in 1934 by Lawson & Raphael Clarke on behalf of Wilson & Gill, London and first manufactured in England in 1935 by De La Rue.
199 A pair of Mappin & Webb electroplated metal tazza designed by Keith Murray, circular on low foot, the rim engraved with a chevron border, stamped marks, 23.5cm. diam. (2) £150-200
194. An Art Deco Silette catalin bakelite chess set by Gray’s of Cambridge, marbled yellow and black pieces, in original wooden box, and a bakelite desk tidy modelled as a male torso and two busts, on shaped base with chrome feet unsigned, 7cm. high (king), 17.5cm. wide (desk tidy), (34)
£80-120
195 A rare John Dickinson & Company Carvacraft bakelite paper holder, mottled green and amber bakelite, impressed and gilded mark to base, 15cm. wide
Provenance
Private collection of Carvacraft bakelite.
£800-1,200
200 A Walker & Hall five piece electroplated tea service the design attributed to Keith Murray, model no.W.27903, comprising teapot and hinged cover, hot-water pot and hinged cover, milk-jug and sugar basin, on a large twin-handled tray model W.28056, the teapot and hot-water pot with black bakelite handles, each cast with L’Odeon stepped decoration, with a Walker & Hall toast-rack model no,W.28156, stamped marks, 60.3cm. wide (6)
Provenance
A private collection of Keith Murray Design. £300-500
196. A William Suckling ltd small silver tazza designed by Keith Murray, circular on low foot, engraved to the well with a simple flowerhead design, stamped marks, SLd Birmingham 1947, 14cm. diam.
£150-250
197. A pair of Mappin & Webb electroplated metal small tazza designed by Keith Murray, circular on stepped base, the bowl engraved with circular geometric border, stamped marks, 12.8cm. diam. (2)
201. A modernist T Wilkinson & Sons The Cube electroplated four piece tea set designed by Robert Crawford Johnson, square section with applied ivorine bakelite button insulators, comprising teapot and hinged cover, coffee/hot-water pot and hinged cover, milk-jug and sugar basin, cast marks to base, 13.5cm. high (hot-water pot), (4)
Literature
£100-200
Anne Anderson, The Cube Teapot, Richard Dennis Publications, page 48 for two comparable teapots illustrated made from 1925 onwards. £250-350
202 Geometrics
a collection of twenty four original watercolour designs for Modernist lino or textiles, gouache on paper, mounted on card and paper, two titled India and Great Quar, unsigned, Geometrics labels, 42.5 x 32cm. (largest), (24) £200-400
203. Geometrics
a collection of thirty one original watercolour designs for Modernist lino or textiles, gouache on paper, mounted on card and paper, one titled Boyn and nine Leading Edge colour variations, unsigned, Geometrics labels, 53 x 45.5cm. (largest), (31) £200-400
204 Mary Viola Paterson (1899-1981)
Sea Horses and Shells hand block-printed in green with two sea horse on a red ground with sea shells, framed unsigned, paper label to back of frame 26 x 24.5cm. (image) 54 x 44cm. (frame)
Provenance Private collection. £150-200
205 A pair of Art Deco English Modernist wool rugs, rectangular, decorated with geometric scroll panels in maroon, pink and green on a mushroom ground, unsigned 135 x 70cm. £200-300
206 An Art Deco English Modernist wool rug, rectangular, decorated with geometric panels in chestnut, orange and yellow on a mushroom ground, unsigned, 138 x 68cm. £150-200
207 A bent-ply and birch Long chair designed by Marcel Breuer, originally designed in 1935-1936 and manufactured by Isokon, with blue wool padded cushion covering, unsigned, 132cm. long, 78cm. high, 63cm. wide. £600-1,000
ARR 208. Daisy Theresa Borne (1906-1998)
Bust of an African Woman, 1940 patinated slate on stepped oak base signed to the side of shoulder D T Borne, 1940, repaired, 46cm. high
Provenance
Private collection.
Literature
Joyce Bidder & Daisy Borne, The Fine Art Society, catalogue number 39 for a comparable portrait bust titled Zulu Warriors dated 1936. £200-400
209. Conroy Maddox (1912-2005)
The Enchanted Domain a Surrealist exhibition poster , printed in colours and two other posters ‘Surrealism ‘ and ‘The Labyrinth’ both by Conroy Maddox, 76 x 51cm. (3)
£100-200
210 Ben Nicholson OM (1894-1982)
San Gimignano, 1967 (Lafranca L38) cancelled etching on paper, Lucca, small version (L.52), a cancelled etching, Movement (L.20) and two other etchings annotated lower right, 37.5 x 32.8cm. (San Gimignano), (5)
£300-500
ARR 211. Bryan Ingham (1936-1997)
Gallery-Kew, 1976 etching on paper, unframed signed, titled, dated and numbered 27/100 in pencil
39.5 x 28.5cm. (sheet)
Provenance
Private collection.
£150-250
ARR 212 Bryan Ingham (1936-1997)
Apollinaris II, 1984
colour etching on paper, framed titled, monogrammed and numbered XII of XII, paper gallery label to reverse, 30.3 x 12.6cm.
Provenance
Belgrave Gallery, St Ives Private collection.
£200-300
ARR 213. Bryan Ingham (1936-1997)
Schubert 1993 colour etching on paper, framed monogrammed, titled, dated and numbered TP, 29.5 x 22.5cm.
Provenance
Private collection.
£200-300
214 An early Carter’s Poole pottery jug probably designed by James Radley Young, shouldered form, biscuit fired with simple, dot and band decoration in manganese brown, impressed Carter’s Poole mark, painted monogram, 25.5cm. high
Literature
217. A rare Carter Stabler & Adams Poole Pottery twin-handled lamp base designed by Truda Carter, painted by Mary Brown,made especially for retail by B Altman & Co New York, pattern no.YC, ovoid with applied strap handles, painted with stylised flowers and foliage in colours, impressed CSA mark, retailers mark and painted artist cipher, 23cm. high
Literature
£150-200
Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis Publications, page 26 for comparable designs illustrated.
215. A Carter’s Pottery vase probably designed by James Radley Young, shouldered form, painted with a band of turquoise green and blue trellis design on a grey tin-glaze, and a Carter, Stabler & Adams Poole Pottery plate by Ann Hatchard, painted with a band of stylised flowers, in purple and green, vase incised 9 painted Coles Green and D, damages, 22cm. high
Provenance
Poole Pottery Archive
The Poole Pottery Museum & Archive, Christie’s South Kensington, 31st March 2004, lot 37 (vase) Private collection.
Literature
Leslie Hayward & Paul Atterbury, Poole Pottery, Richard Dennis, page 26 for a comparable bowl illustrated.
£150-200
216. A Carter’s Poole Pottery Portuguese ewer in the manner of James Radley Young, painted with a simple blue chevron band to body and handle, on a grey tin-glaze, and two Carter’s Poole Pottery vases painted CT monogram, minor glaze loss and flaws to vases, 22cm. high (3)
Provenance
Poole Pottery Archive
The Poole Pottery Museum & Archive, Christie’s South Kensington, 31st March 2004, lot 37 (ewer and one vase) Private collection.
£150-200
Leslie Hayward & Paul Atterbury Poole Pottery, Richard Dennis Publications, page 67 for an illustration of a large plant pot made expressly for retail by B Altman, 5th Avenue New York. £80-120
218. A Carter’s Poole Pottery Farmyard Series four tile panel designed by E E Strickland, pattern FY2, printed in colours with a Windmill on a hill top, another Carter’s Farmyard Series tile panel decorated with two haystacks (FY5), and another with a turkey standing in a farmyard setting, impressed Carter’s marks, painted design numbers, 31cm. square (panel) (12).
Literature
Leslie Hayward & Paul Atterbury Poole Pottery Richard Dennis Publications, page 169 for the Farmyard Series illustrated as individual tiles. £300-500
219. A Poole Pottery Studio bowl, painted with radiating green, blue and orange panels, another larger Poole Pottery Studio bowl, a Poole Pottery Atlantis vase by Jennie Haigh, two Poole Aegean plates and eight other Poole Pottery items and printed Poole Studio England mark, 20.5cm. diam. (13) £150-200
220. A rare Poole Pottery Fish wall plaque designed by Robert Jefferson, modelled in low relief as an exotic angular fish, with a smaller fish before it, glazed in brilliant yellow, red, turquoise and blue, printed Poole mark, 18.5cm. wide
Catalogue notes
This plaque is one of a set of four plaques comprising fish, twin headed bird, knife and a single bird which are normally glazed in blue and greens. They were designed by Robert Jefferson and included in the 1964 Spring collection. £150-200
221 A Poole Pottery Studio vase designed by Robert Jefferson, designed circa 1963, ovoid on cylindrical foot, covered in a streaked aventurine glaze, the interior white, painted Poole Studio, 10cm. high
Literature
Rena Jefferson, Robert Jefferson, The Quiet Virtuoso, Richard Dennis Publications, page 28 for an identical vase illustrated from the Heal & Son Delphis Exhibition, 1963.
£300-400
222 A Poole Pottery Studio plate by Tony Morris, painted with a sun face with pollarded tree, in orange, ochre and white, printed Poole Studio England mark, 27cm. diam.
Provenance
Private collection of Poole Pottery.
£800-1,200
223 A rare Poole Pottery Studio wall plate probably by Robert Jefferson, incised and painted with a stylised Circus big top scene, including a large red ball in the circus ring, glazed in colours with aventurine and Red Indian glaze, impressed Poole Studio TV mark, 27.5cm. diam.
Provenance
Private collection of Poole Pottery.
Catalogue notes
When asked if this plate was by him, Tony Morris confirmed to the vendor, he thought it was by Robert Jefferson.
£1,000-2,000
224 An important Poole Pottery Studio charger by Tony Morris, painted with two clowns performing in a Circus big top tent, before an audience, in colours printed Poole Studio TV mark, painted TM monogram, 42.5cm. diam.
Provenance
Sotheby’s Chester, 1987-1988. Decorative Arts, Christie’s South Kensington, 20th September 2001, lot 108.
Private collection of Poole Pottery.
Literature
Poole Pottery Collector’s Club, Summer 2001 this charger illustrated on the front cover. According to the Virtual Museum of Poole Pottery
Tony Morris described this as ‘the best piece he ever made’.
£2,500-3,500
225. A Poole Pottery Delphis charger by Carol Cutler, shape no.54, painted with a geometric cog design in yellow, green and red on an orange ground, printed factory marks, painted CC monogram, 41cm. diam.
£300-500
226 A Poole Pottery Studio plate possibly designed by Tony Morris, painted with geometric cog design in green, yellow, turquoise and mushroom, another Poole Pottery Studio plate decorated with stylised willow trees, another Poole Pottery plate tubeline decorated with flowers and a large Poole Pottery plate, shape no.4, printed Studio mark to main, 20.5cm. diam. (4)
£300-500
227 A Poole Pottery Atlantis vase by Guy Sydenham and Beatrice Bolton, cylinder form with flaring neck, impressed palm tree motif filled with applied, modelled monkey heads, glazed brown on a white and tan ground, impressed factory mark, incised monograms, 22cm. high
Literature
Robert Prescott-Walker Collecting Poole Pottery, Francis Joseph, page 89 for a comparable vase illustrated.
£1,200-1,500
228. A Poole Pottery vase by Guy Sydenham, ovoid black body with running orange and white glaze to the shoulder, another Poole Pottery pebble vase slip decorated with an owl motif, with paper label inscribed single fire ring 8, and two other Poole Pottery pebble vases, impressed Poole England mark, GS monogram, 7.5cm. high (4)
£100-200
229 A Poole Pottery Atlantis vase by Guy Sydenham and Beatrice Bolton, ovoid with cylindrical neck, impressed circular decoration, glazed tan and turquoise on a white ground, impressed factory marks and artists monograms, 22.5cm. high
£80-120
230. A modern Poole Pottery Studio wall charger by Tony Morris, dated 2000, painted with a shoal of fish, glazed in colours, printed factory mark, painted monogram, date code I.18, 41cm. diam.
Provenance
Richard Dennis Gallery
Private collection.
£200-300
231 A modern Poole Pottery Studio three tile panel by Tony Morris, dated 2000, painted with a stylised fish in colours, printed factory marks, painted TM monogram, 0.27 15.5cm. square (tiles) 46cm. wide (3)
Provenance
Rumours Decorative Arts
Private collection.
£200-400
232. A Richard Parkinson Pottery poodle designed by Susan Parkinson, modelled seated with incised decoration, three other Parkinson Pottery dogs, a hedgehog, a mouse and a squirrel, impressed marks, old repair to paw, 7.5cm. high (7)
Literature
Carol Cashmore & Tim Smith-Vincent Susan Parkinson & The Richard Parkinson Pottery, private publication, page 77 this actual poodle illustrated. £120-180
233 A Richard Parkinson Pottery The Money Cat money box designed by Susan Parkinson, modelled as a sleeping cat, glazed grey-blue and white, a storage jar and cover and two triangular dishes, impressed marks to dishes, 11cm. wide (cat), (4)
Literature
Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery, page 73 this model illustrated. £80-120
234. A Richard Parkinson Pottery mermaid designed by Susan Parkinson, modelled seated glazed in blue and white, a Richard Parkinson owl, a bird and two Policemen bottle stoppers, impressed marks to bird, 10.5cm. high (mermaid), (5) £120-180
235 A Hornsea Pottery Y shape Flower Holder vase designed by John Clappison, shape no. 301, cylindrical with two tapering spouts, glazed cream impressed Hornsea, hairline to one spout, 12cm. high
Catalogue notes
John Clappison based the design on a Stig Lindberg’s Veckla vase manufactured by Gustavsberg. £50-80
236 A Midwinter vase designed by Jessie Tait, shape no.210, waisted cylindrical form, tubeline decorated in black on a white ground, and another Midwinter solifleur vase designed by Jessie Tait, shape no.209, and a Beswick wall vase designed by Colin Melbourne, model no.1400 printed factory marks, impressed shape marks, 13.5cm. high (3)
£200-300
237. A Drumlanrig and Melbourne modernist plate designed by David Lord Queensberry and Colin Melbourne, printed to the well with black atomic design, the rim pale yellow, factory mark Drumlanrig and Melbourne, 25.5cm. diam.
Catalogue notes
An example held in the Victoria & Albert Museum, dated circa 1953.
238. John Clappison (1937-2013)
Cathedral
£80-120
a Hornsea Pottery Muramic wall plaque, glazed in colours, in teak frame, applied paper label to reverse, small flat chip to one panel, 45 x 45cm.
Provenance
Private collection.
239. Troika Pottery
£200-300
a square dish designed by Leslie Illsley decorated by Honor Curtis, white gloss glaze, with circular well glazed bronze, and two other Troika Pottery vases, painted factory marks HC monogram
12.5cm. square (3)
£200-300
DENNIS CHINA WORKS
240. ‘Giraffe after Duncan Grant 1913’ a Dennis China Works wall plate designed by Sally Tuffin, dated 2009, tubeline decorated with a resting camel, in colours, impressed and painted marks, no.79 exhibition label, 29.5cm., diam.
Catalogue notes
This design is based on a gouache on paper design by Duncan Grant in the Courtauld Institute collection.
£150-200
241 ‘Bison’ a large Dennis China Works limited edition Standard vase designed by Sally Tuffin, dated 2006, tubeline decorated with bison in a prarie landscape, in colours impressed and painted factory marks, 6/10 Illyria, 36cm. high
£300-500
242. ‘Giraffe’ a Dennis China Works limited edition vase designed by Sally Tuffin, dated 2000, painted in shades of rust on a white ground, impressed and painted marks, 34cm. high
Provenance
Private collection of Dennis China Works.
£150-200
243. ‘Eagle’ a Dennis China Works limited edition vase designed by Sally Tuffin, dated 1999, painted in shades of purple, black, brown and yellow on a graduated blue ground, impressed and painted marks, 38.5cm. high
Provenance
Private collection of Dennis China Works.
£150-200
244 ‘Eagle’ a Dennis China Works Trial vase designed by Sally Tuffin, dated 2000, painted in shades of ochre and red on a blue ground, impressed and painted marks, 39.5cm. high
Provenance
Private collection of Dennis China Works.
£150-200
245 ‘After De Morgan’ a Dennis China Works limited edition vase designed by Sally Tuffin, after William De Morgan, dated 2005, tubelined decorated with fish swimming in a river between borders of carnation flowers in shades of pink and red, impressed factory marks, painted marks, 2/10, 37cm. high
£200-300
246. ‘Penguin’ a Dennis China Works vase and cover designed by Sally Tuffin, dated 2006, painted with standing penguins by an before ice, in colours, the cover with a penguin finial modelled by Alan Pepper, impressed and painted marks, 23.6cm. high (2)
Provenance
Private collection of Dennis China Works.
£100-200
243
244
247 ‘Lowry’ a Dennis China Works Trial Spill vase designed by Sally Tuffin, dated 2019, cylindrical form, painted with figures in a city landscape, in colours impressed and painted marks, 25.5cm. high
Provenance
Private collection of Dennis China Works.
£100-200
248 ‘I Draw Three Ships’ a Dennis China Works limited edition vase designed by Sally Tuffin, dated 2009, footed, cylindrical form, painted with three ships, in colours, impressed and painted marks, 10/30, 21.5cm. high
Provenance
Private collection of Dennis China Works.
£100-200
249. A Dennis China Works Trial Etruscan vase, dated 2005, painted with fine bands graduating from orange to blue, impressed factory marks, painted artist monogram, 35.5cm. high £100-200
250 Buchan Dennis Coloured Stripes, 2025
Dennis China Works tile panel picture, framed
61 x 17.5cm. (tile panel)
83.5 x 41cm. (frame)
£500-800
251 A Myers London Skyline occasional table possibly retailed by Heal’s, the rectangular formica top printed with London landmarks including St Paul’s and St Martin in the Field and Lincoln’s Inn, in a winter landscape in the manner of John Piper, on enamelled black frame, unsigned, 35cm. high, 114 x 38cm. top
255 Dillon Clarke (born 1946) solifleur vase, 1978 very tall, tapering hand-blown cylindrical glass, tan and beige stripes with inclusions, cased in clear etched Dillon 1978, 51.5cm. high
£80-120
£80-120
252 John Makepeace (born 1939) Knot Chair, a gravure etching on Velin Arches paper, printed by Paupers Press signed John Makepeace, numbered 43/100 in pencil
75.5 x 57cm. (sheet)
£80-120
253. A Habitat beech and laminate drinks trolley the design attributed to Terence Conran, rectangular section with twin handled tray top, printed Conran mark, 73cm. x 51cm. wide, 70cm. high (2)
Literature
The Picker House and Collection, A Late 1960s Home for Art and Design, Philip Wilson Publishing, page 67 figure 2.46 for a comparable example illustrated. £300-500
254 A Race Furniture Ltd Flexible chair designed by Nicholas Frewing, designed 1966, bent py and nylon coated steel back and seat, with leather strap arms, unsigned, 67cm. high, 64cm. wide.
£200-400
256. Whitefriars Glass
a Tangerine glass vase designed by Geoffrey Baxter, pattern 9670, rectangular form, cast in low relief with twelve round buttons, cased in clear, unsigned 17cm. high
Provenance
Private collection
257 Whitefriars Glass
£200-300
an Aubergine glass vase designed by Geoffrey Baxter, pattern 9670, rectangular form, cast in low relief with twelve round buttons, cased in clear, unsigned 17cm. high
Provenance
Private collection
258 Whitefriars Glass
£200-300
a Meadow green glass vase designed by Geoffrey Baxter, pattern 9670, rectangular form, cast in low relief with twelve round buttons, cased in clear, unsigned 16cm. high
Provenance
Private collection
259 Whitefriars Glass
£200-300
a Kingfisher blue glass vase designed by Geoffrey Baxter, pattern 9670, rectangular form, cast in low relief with twelve round buttons, cased in clear, unsigned 15.5cm. high
Provenance
Private collection
260. Whitefriars Glass
£200-300
an Indigo glass vase designed by Geoffrey Baxter, pattern 9670, rectangular form, cast in low relief with twelve round buttons, cased in clear, and another Whitefriars Willow glass vase shape no. 9670, unsigned 16.5cm. high (2)
Provenance
Private collection
261. Whitefriars Glass
£200-300
a Cinnamon glass vase designed by Geoffrey Baxter, pattern 9670, rectangular form, cast in low relief with twelve round buttons, cased in clear, and a Whitefriars Pewter glass vase shape 9670, unsigned 16.5cm. high (2)
Provenance
Private collection
£200-300
262 Three long lengths of Conran Fabrics
266. Edwin Smith (1912-1971)
After The Storm, 1952
£80-120
Diamond pattern printed cotton, yellow and black printed colourway, signed Conran Diamond to selvedge, (3) 116 x 244cm. (each length)
pen and ink on paper, framed, sold with a copy of the exhibition catalogue unsigned
35 x 25.5cm. (image)
52.5 x 44cm. (frame), (2)
Exhibited
A Flight Over Cranborne Chase 1930-1998, Literature
A Flight Over Cranborne Chase 1930-1998, Salisbury Library 9th May - 13th June, 1998 page 14. £150-200
£100-200
263 A length of Linden printed cotton designed by Lucienne Day, printed in green and black colourway, a David Whitehead printed rayon textile designed by Jacqueline Gloag, designed 1953 and a length of French printed cotton printed with grey and yellow abstract, printed selvedge, 126.5 x 79.5cm. (Linden), 167 x 212cm. (Gloag),124 x 108cm. (French) (3)
267 Peter Thursby (1930-2011)
Untitled (study for sculpture), 1963 ink, pencil and and mixed media on blue paper, framed signed and dated in pencil, 73 x 48cm. (image)
£100-200
264 A pair of Heal’s Omega lined printed cotton lengths designed by Barbara Brown, printed in brown, grey and black colourway, unsigned, 194 x 204cm. and 194 x 224, (2)
265 Francesca Woodman (1958-1981)
Untitled, Providence, Rhode Island, 1975-78
Gelatin silver print, printed in 1999, gallery labels to back, limited edition 4/40
20 x 25.5cm. (image)
39.5 x 38.5cm. (frame)
Provenance
Marian Goodman Gallery, New York
The Photographers’ Gallery, London Acquired from the above by the present owner, 28th September 1999, Private collection.
£300-500
Literature
Vivienne Light & Simon Olding, Peter Thursby, Canterton Books, page 61 figure 42 for a comparable study Winged Creature into Mechanism, 1963 a tempera and charcoal study, illustrated. £150-200
268. Peter Thursby (1930-2011)
White & Black Spot 4-2, 1966
acrylic, pencil and silver foil collage on paper, framed, and three pencil on paper self-portraits signed Pete Thursby lower right, titled and dated to reverse, paper label to reverse titled Black Spot 4,
31.5 x 21cm. (image)
56 x 48cm. (frame), (4)
Exhibited
Royal Albert Museum & Art Gallery, Exeter, 1969 (no.1)
Literature
Vivienne Light & Simon Olding Peter Thursby, Canterton Books, page 46 for a comparable design using foil collage made in 1966.
£150-200
ARR 269. Margaret Lovell (born 1939)
Pantemenos VII, (MD82), 2001
polished and verdi-gris bronze, on slate base, sold with a copy of Margaret Lovell Sculptor by Peter Davies, signed by Margaret Lovell, stamped monogram 3/6 in bronze 27.5cm. high (2)
Literature
Peter Davies, Margaret Lovell Sculptor, Sansom & Company, page 94 (detail), page 95 for an example of this sculpture illustrated.
Provenance
Private collection.
Exhibited
Red Rag Gallery, Bath 2005
Clifton Arts Club, Bristol
Katharine House Gallery, Marlborough, until 2010.
Catalogue notes
The title came about because of my keen interest in the unity that could be created between two forms....thinking of a harmonious marriage. Two forms, that although individual, can’t exist independently....so it was all about unity and ‘marriage’. In Greek conversation I had misheard the word for marriage as pantemenos whereas it should be - pantremenos. But I thought pantemenos sounded better and ‘abstract’, so I continued to use my made-up word as a title for several dual pieces from then onwards, VII being the last variation, the first was a dual slate carving 1967.Margaret Lovell.
£1,000-2,000
ARR 270. Margaret Lovell (born 1939)
Figalia, (DM39), 1968
polished and verdi-gris bronze, on slate base, sold with a copy of Margaret Lovell Sculptor by Peter Davies, signed by Margaret Lovell, incised signature, 4/4 and date 1968 to side of slate base, 23cm. high (2)
Literature
Peter Davies, Margaret Lovell Sculptor, Sansom & Company, page 138 for an example of this sculpture illustrated in the list of works.
Provenance Private collection.
Exhibited
Fermoy Art Gallery, Kings Lynn, March 1970
Marjorie Parr Gallery, Kings Road, Chelsea
Retrospective of the sculpture of Margaret Lovell, Plymouth Art Gallery, 1972
Katharine House Gallery, Marlborough (until 2008).
£1,000-2,000
271 Allen Jones (born 1937)
New Paintings and Sculpture, 1972
Marlborough Gallery catalogue, 5-28 September 1972, with an Allen Jones ‘Windshield/Luggage’ decorative window sticker, Allen Jones Retrospective invitation, 1979, a poster Allen Jones, 27 October to 21 November 1964, Richard Feigan Gallery, New York sent to Joe Tilson, and a postcard sent to Joe Tilson from Allen Jones, 30 x 21cm. (catalogue), (5)
Provenance
Joe Tilson, artist (presumed)
Private collection. £100-200
272 Anthony Caro Sculpture towards Architecture a Tate Gallery exhibition catalogue signed and dated Anthony Caro 16 Dec1991, 27cm. high £40-60
ARR 273. Donald Don Potter (1902-2004)
Untitled Abstract II, polished Yew, sculpture on mirror plinth incised DP monogram, 24cm. high
45 x 29.5cm. (mirror base)
Provenance
Joanna Donat, thence by descent.
Literature
Vivienne Light Don Potter: an Inspiring Century, Canterton Books, page 150 figure 125 this sculpture illustrated.
Exhibited
Dorset County Museum, circa 1974 with Untitled Abstract I. £300-500
ARR 274 Donald Don Potter (1902-2004) vase
stoneware, ovoid, shouldered form with vertical cut column decoration, covered in a celadon glaze
incised DP mark, re-stuck chips to foot rim, 8cm. high
Provenance
Joanna Donat, thence by descent. £50-100
ARR 275 Michael O’ Connor RBS (1944-2013)
Wave Form, (untitled)
carved elm wood sculpture, unsigned, paper exhibition label no.39 70.5cm. wide
Provenance
From the estate of the artist
Exhibited
Alwin Gallery, Wood Sculptures Michael O’Connor, March 5-30th, exhibition number 39 (by repute) £200-400
ARR 276 Lord Sonic (aka Ian Parmiter), (born 1963)
Blockheads, 2024
two painted wood sculptures impressed Sonic mark 16cm. high (2)
Catalogue notes
The wood for these sculptures was salvaged from HMS Warrior. £80-120
ARR 277. Brian Willsher (1930-2010)
Form with Two Pegs, Iroko wood signed to base Brian Willsher, 25cm. high (3)
Provenance
Private collection.
ARR 278. Brian Willsher (1930-2010)
Untitled, (split form)
a tall wood sculpture, on rectangular base unsigned 97cm. high
£200-300
£1,000-2,000
279 Eric Gill, (1882-1940), circle of XII Jesus Dies Upon the Cross possibly carved by Joseph Cribb (1892-1967), carved stone panel with gold highlights unsigned, 88.5 x 88.5cm.
Catalogue notes
Joseph Cribb was trained and employed by Eric Gill in 1906, when he was just 14 years old. With Gill he set up the Guild of St Joseph and St Dominic in Ditchling, in 1920. from 1920 he received direct commissions, he made more than twenty sets of the Westminster Cathedral panels independently.
Literature
Judith Collins, Eric Gill the sculpture, Herbert Press, page 103, figure 73 for the original design sculpted by Gill in 1918 for Westminster Cathedral nave. £2,000-3,000
GEOFFREY DASHWOOD SCULPTURE
280 Geoffrey Dashwood (born 1947)
Hobby patinated bronze sculpture from an edition of 12, signed Dashwood AC, 32cm. high £2,000-3,000
281 Geoffrey Dashwood (born 1947)
Hawfinch, 2008
patinated bronze sculpture, from an edition of 15, signed Dashwood AC 14.4cm. high 15cm. wide
Literature
Geoffrey Dashwood Sculptor, Sladmore Gallery Editions, page 309 for an example illustrated. Chris Packham, New Forest Birds Sculpture by Geoffrey Dashwood, St Barbe Museum & Art Gallery, page 42-43 for an example illustrated. £2,000-3,000
282 Geoffrey Dashwood (born 1947)
Hoopoe patinated bronze sculpture, signed Dashwood 2/12 17cm. high 21cm. wide
£2,000-3,000
281
Frink RA (1930-1996) Head I, 1988, (Wiseman CR143) screenprint in 2 colours, on BFK Rives wove paper, Signed in pencil Frink, edition 11/70108 x 74 cm. (sheet)
Literature
Carol Wiseman, Elisabeth Frink Original Prints Catalogue Raisonné, Art Books International, page 221 for a comparable example. £1,500-2,000
ARR 283. Dame Elisabeth
ARR 284. Dame Elisabeth Frink RA (1930-1996) Head II, 1988, (Wiseman CR144) screenprint in 2 colours, on BFK Rives wove paper, Signed in pencil Frink, edition 30/70108 x 74 cm. (sheet)
Literature Carol Wiseman, Elisabeth Frink Original Prints Catalogue Raisonné, Art Books International, page 222 for a comparable example. £1,500-2,000
285. A John Hart of Iona silver and amethyst necklace, two pieces and chased crescent panels of entrelac flanking, articulated central amethyst stone, with two smaller amethysts, stamped marks, JH, Iona, Edinburgh 1968, 13cm. wide
£100-150
286. A Thomas Payne and C P Trigg Hephaestus silver and iron pyrite brutalist pendant necklace, radiating star form claw set with iron pytire stone, and a Mexican Sigi silver torque necklace set with green agate cabochon, stamped marks, Birmingham 1968, 5.5cm. high (2)
Provenance
Private collection
£150-200
287 A George Tarratt silver ring the design attributed to Ernest Blyth cast chevron shape, stamped marks, Birmingham 1965, Q1/2 size, 2.5cm. long £80-120
288 A Stuart Devlin silver pendant necklace, oval, cast in low relief with a skier, stamped marks, London 1976, 5cm. long £100-150
289. A pair of A E Jones silver candleholders designed by Geoffrey Bellamy, pulled circular bowl with hammered finish, on three ball ball feet, the arched handle with ball decoration, stamped marks, AEJ Birmingham 1966, 11cm. wide (2)
Literature
John Andrew & Derek Styles, Designer British Silver, Antiques Collector’s Club, page 83 for a comparable pair made by Bellamy, now in The Pearson Silver Collection, made in 1957. £150-200
290. A Jocelyn Burton silver and agate paperknife, the handle cast with various seashells, with blue agate blade, stamped marks, JB London 1975, 21.5cm. long £250-350
291. A large John Michael Driver silver pectoral cross pendant, with black oxidised silver lines, with the original design drawing for the crucifix, stamped marks, JMD, London 1972, 19.5cm. long £100-200
Necklace, seventy interlinked, hammered silver rings stamped BOC signature to one link 89cm. long
Provenance
Private collection.
ARR 294 Breon O’Casey (1928-2011)
£800-1,200
£500-800
a boxed set of thirty-four cards reproducing designs by the artist, published by special editions, and another part set of twenty-eight cards
21 x 15cm. (cards), (2)
£80-120
DAN DARE ORIGINAL ARTWORK
295. Frank Hampson (1918-1985)
Voyage to Venus, 1951
gouache on board original front cover artwork for Dan Dare in the Eagle volume 1 episode 50, published 22nd March 1951, with modern Eagle banner, framed unsigned
47 x 36cm. (image)
69 x 54cm. (frame)
Provenance
Frank Hampson, thence by descent. Exhibited
Frank Hampson The Man Who Drew Dan Dare, The Atkinson, Southport, Centenary exhibition September 2018-March 2019.
£700-1,000
296 Frank Hampson (1918-1985)
Voyage to Venus,
Now for the rest of your disguise, gouache on board original front cover artwork for Dan Dare in the Eagle volume 1 episode 40, unsigned, annotated 1/40/1 bottom right, 54 x 41cm. (sheet)
Provenance
Frank Hampson, thence by descent.
£700-1,000
297. Frank Hampson (1918-1985)
Voyage to Venus,
All aboard the mystery tour, gouache on board original front cover artwork for Dan Dare in the Eagle volume 1 episode13, unsigned, annotated 1/13/1 bottom right, and top border
53 x 41cm. (sheet)
Provenance
Frank Hampson, thence by descent.
Catalogue notes
Voyage to Venus is the original opening adventure for Dan Dare in Eagle comic issue 1 in April 1950. Dan with Digby, Professor Peabody, Sir Hubert Guest and Hank and Pierre, set off to Venus to investigate the destruction of previous expeditions and also to assess Venus’s viability for growing food for the starving of the Earth. It is here Dan encounter the deadly Mekon and the friendly Volstar of Theron. Dan Dare’s stories are packed with adventure and numerous high-tech inventions and machines.
£700-1,000
298. Frank Hampson (1918-1985)
Voyage to Venus gouache on board original front cover and page two artwork for Dan Dare in the Eagle volume 2 episode 2 pages 1and 2 unsigned, annotated 2/2/1 and 2/2/2 bottom right,
53 x 42cm. (sheet) (2)
Provenance
Frank Hampson, thence by descent.
£1,200-1,800
ARR 299. Dame Laura Knight RA (1877-1970)
Game of Nine Pins, pencil on paper sketch, framed unsigned
33 x 22.5cm.
£300-400
ARR 300 Edward Bawden C.B.E. R.A. (British, 1903-1989)
The Gnat and the Lion (Aesop’s Fables), 1970, Greenwood MG.090 linocut in colours on wove paper, published by the artist, framed signed, titled and numbered in pencil, Artist’s Proof 20/50
57.5 x 43cm. (image)
78 x 63cm. (frame)
Provenance
Private collection of Edward Bawden prints.
£1,000-2,000
301 A Modern Wedgwood Pottery
Alphabet mug originally designed by Eric Ravilious, made for the Brighton Museum & Art Gallery, printed in sepia with blue bands, a Glyndebourne Festival 2007 mug designed by Simon Donell, inspired by Eric Ravilious, a Royal Academy mug after Aesop’s Fables by Edward Bawden, and a bowl for the Royal Academy, and Edward Bawden Editioned Prints by Jeremy Greenwood, printed marks, 8.7cm. high (Alphabet mug), (5)
£100-200
302 C Stanley Read
The Studio Potters Workroom, 1953 oil on canvasboard, framed signed and dated lower left 60 x 50cm. (image)
Provenance
Sandby Fine Art, Westbourne Grove
£150-200
ARR 303. Barbara Jones (1912-1978)
A Visit to the Seaside, pencil and gouache on paper sketch for a triptych, framed signed Jones bottom right
20 x 9.5cm. (image)
34 x 24cm. (frame)
£800-1,200
304. PH
Abstract Figure, 1975 oil on paper, mounted and framed signed PH 1975 22 x 16.5cm. £80-120
ARR 305. Patrick Procktor RA (1936-2003), attributed Untitled, (figures in a landscape), watercolour on paper, framed Henry Tooth label typed Patrick Procktor, 43.5 x 40cm. £150-250
306. Martin Rayner (1946-2004)
untitled, (Hobby Horse in a landscape), 1982 gouache on paper, framed signed Rayner, 82 52 x 37cm. (image) £200-400
ARR 307 Brian Bradshaw (1923-2016)
Untitled (Two standing figures and another with an animal mask,) oil on board, framed signed Brian Bradshaw to back of board 84 x 68cm. (image) £500-800
ARR 308. Brian Bradshaw (1923-2016)
Coal Miner standing by Sheds pen and ink on paper, framed signed Bradshaw top right, 48 x 37cm. (image) 65 x 54.5cm. (frame) £300-400
ARR 309 Bea Orpen (1913-1980)
Rocks and Sea, Ballyheigue watercolour on paper, framed signed bottom left, titled to reverse,
49 x 34cm. (image)
66 x 51cm. (frame) £200-400
ARR 310. Helen Trevelyan
The Burma Road (still life with quinces and pears), 1965 oil on board, framed 119 x 58cm. (image)
126 x 64.5cm. (frame)
Catalogue notes
This painting was always referred to by Helen as ‘The Burma Road’ because the folds in the tablecloth reminder her of the Burma Road topography. £100-200
ARR 311 Ed Lewis (1936-2018)
Untitled, 2003/2004 oil on board, framed monogrammed and dated to reverse
47 x 32cm. (image)
67 x 51.5cm. (frame) £350-450
ARR 312. Christina Fairweather
Still Life, (prunus blossom in a vase) 1967 oil on canvas, framed signed Fairweather 67 88 x 54cm. (image) 105 x 72cm. (frame) £150-250
ARR 313. Christina Fairweather
Still Life (bowls of fruit), 1964 gouache on paper, framed signed Fairweather dated 64 54 x 36cm. (image)
73.5 x 58cm. (frame) £100-200
ARR 314. Philip Sutton RA (born 1928)
Untitled (model and artist in the studio), charcoal on paper, framed signed 75 x 54cm. (image)
93 x 72.5cm. (frame)
ARR 315 John Hutton (1906-1978)
Untitled, (lovers) chalk on black paper, framed signed John Hutton, 66.5 x 44.5cm.
ARR 316. Brenda Hartil (born 1943)
£150-250
ARR 317. Judy Massingham (1927-1977)
Fishermen woodcut on paper, framed, signed, titled and numbered 4/30 in pencil (Fishermen)
63 x 25cm. (image)
81.5 x 42cm. (frame, Fisherman)
58 x 49.5cm. (frame, Farm figures in cloaks), (2)
Provenance
Richard & Hilary Myers collection. £100-200
£300-500
After the Oretea, 1982 lithograph on paper, framed signed, titled, dated and artist proof in pencil 62 x 52cm. (image)
£150-250
ARR 318 James R Barclay Boatshed St Monance, 1962 oil on canvas, framed signed and dated, signed and titled to reverse, 87 x 59cm. (image)
96.5 x 68cm. (frame) £300-500
ARR 319. David Carr (1915-1968)
Untitled, (three studies for machines) pen, charcoal and watercolour on paper, mounted in single frame
unsigned
11.5 x 9cm. (image) 54 x 28cm.
Literature
Bryan Robertson and Ronald Alley David Carr The Discovery of an Artist, Quartet books, page 147 and 149 for comparable studies illustrated. £350-450
ARR 320. Roy Turner Durrant (1925-1998)
Inscape with Three, 1956 gouache on paper, framed signed and dated lower right, annotated to back of frame
25 x 17.8cm. (image)
46.5 x 39.5cm.
Provenance
Katharine House Gallery
Private collection. £800-1,200
ARR 321 Roy Turner Durrant (1925-1998)
Untitled (still life on a table), 1956 gouache on paper, framed signed bottom left, dated 56 25 x 20cm.
Provenance
Katharine House Gallery
Private collection. £800-1,200
ARR 322 George Dannatt (1915-2009)
Reflector, (version 2), 1976 crayon and gouache on paper, framed signed, titled and dated to reverse 23 x 18.3cm. (image) 42 x 38cm. (frame)
Provenance
Private collection. £250-350
ARR 323. George Dannatt (1915-2009)
Untitled, Blue Landscape, 1965 oil on paper, framed signed and dated 65 in pencil,
31.5 x 27.5cm, (image)
51.5 x 48cm.
Provenance
Private collection. £1,000-2,000
ARR 324 George Dannatt (1915-2009)
Untitled, 1976 abstract collage and pencil, framed signed in pencil and dated 76 top right, numbered bottom right
29.5 x 24.5cm. (image)
49.5 x 44.5cm. (frame)
Provenance
Private collection.
£400-600
ARR 325. Michael Finn (1921-2002)
Two Parallel Forms, 1984 oil on canvas signed, titled and dated to canvas on reverse, KH13 102 x 76cm.
Provenance Katharine House Gallery, Private collection.
£300-500
ARR 326. John Hoyland RA (1934-2011)
Space Borne, 1993 screenprint in colours on paper, framed signed, titled, dated and numbered 23/90 91 x 63cm. (image)
129 x 97cm.
£300-500
ARR 327. John Hoyland RA (1934-2011)
Ramal, 1986
carborundum etching and aquatint in colours on paper from a series of five etchings printed by Kelpra Studio, framed signed and dated, numbered 13/42 in pencil, gallery paper label to back, 59 x 55cm. (image) 96 x 86.5cm. (frame)
Provenance
Waddington Graphics Private collection
£400-600
ARR 328 Sir Terry Frost RA (1915-2003)
Desire I, 2002 etching and aquatint, unframed signed, titled and dated in pencil, 1/25
53.5 x 52cm.
Literature
Dominic Kemp, Terry Frost Prints A Catalogue Raisonne, Lund Humphries, page 248 catalogue number 227 £200-400
ARR 329 Sir Terry Frost RA (1915-2003)
Desire II, 2002 etching and aquatint, unframed signed, titled and dated in pencil, 1/25
53.5 x 52cm.
Literature
Dominic Kemp, Terry Frost Prints A Catalogue Raisonne, Lund Humphries, page 249 catalogue number 228 £500-700
ARR 330. Patrick Heron CBE (1920-1999) Small Red January 1973, 1973 screenprint on paper, framed signed, dated and numbered 55/73 in pencil
51.5 x 42.5cm. (image)
74.5 x 67cm. (frame)
Provenance
Private collection.
ARR 331 Patrick Heron CBE (1920-1999)
January,18, 1973 screenprint on paper, framed signed, dated and numbered 37/72 in pencil
81 x 59cm. (image)
105 x 84cm. (frame)
Provenance
Private collection.
£1,000-1,500
£800-1,200
ARR 332 Sandra Blow RA (1925-2006)
Holly Abstract, 2001
collage, design for a Christmas card for the Royal Academy of Arts, framed signed Blow 2001
28.5cm. square (image)
Provenance
Belgrave Gallery, St Ives
The Nine British Art, St James’ Katharine House Gallery. £1,000-1,500
ARR 333 Sandra Blow RA (1925-2006)
Screenkiss, 2003 etching on paper, in colours, framed signed, titled and numbered 42/75 in pencil
Modern British Art - Geoffrey Harley Collection, Woolley and Wallis, 7th February 2018, lot 18. Private collection.
£500-1,000
ARR 335 Peter Davidson
Figures in a Cross Form, 1995 pastel on paper, framed signed in pencil lower right, gallery label to reverse
37 x 27.5cm. (image)
Provenance
Crane Kalman Gallery.
£150-250
ARR 336. Hughie O’Donoghue (born 1953)
Clay Feet, from A Line of Retreat, 1996 colour cardorundum print on paper, published in 1997, framed signed, titled, dated and numbered 33/35 in pencil
60 x 50cm. (image)
67.5 x 57.5cm. (frame)
Provenance
Purdy Hicks Gallery
Private collection.
£400-500
ARR 337 Sir Peter Blake (born 1932)
Christmas Eve Gala Dinner Dance Menu, The Dorchester Hotel,1990 lithograph in colours, printed by Coriander London framed signed and numbered in penci, 100/400 and 206/400
67.5 x 53cm. (frame)
£150-250
ARR 338 Scottie Wilson (1888-1972)
Head, Fish and Birds, pen and ink on paper, framed signed Scottie, paper label to reverse 16 x 13cm. (image)
28 x 23.5cm. (frame)
£300-500
ARR 339 Eileen Agar (1904-1991)
Past and Present, serigraph in colours on paper, framed signed Agar in pencil, AP 19/25
75 x 56cm. (sheet)
ARR 340 Jenny Saville (born 1970) Mirror, 2011-2012
digital print on Somerset photo 300gsm paper, framed signed and dated 2012, limited edition 39 of 50
55 x 33.5cm. (image)
77.5 x 58.5cm. (frame)
Provenance
£150-250
Jenny Saville, Modern Art Oxford, 23rd June - 16th September, 2012. The first solo exhibition of work by British painter Jenny Saville in a UK public gallery.
Private collection
£1,000-1,500
ARR 341 Paula Rego RA (1935-2022)
Tootles Shoots Wendy, (Rosenthal 85) etching and aquatint on Somerset wove paper, from the Peter Pan Series published by Marlborough Graphics, framed signed and numbered 13/25 in pencil
28 x 19.5cm. (image), 67 x 56.5cm. (frame)
Provenance
Private collection.
ARR 342 Paula Rego RA (1935-2022)
£800-1,200
Wendy Sewing on Peter’s Shadow, 1992 etching and aquatint on Somerset wove paper, from the Peter Pan series published by Marlborough Graphics, signed and numbered 44/50 in pencil
27.5 x 20cm. (image), 67 x 56.5cm. (frame)
Provenance
Private collection
£800-1,200
ARR 343 Maureen Minchin (born 1954)
Puffin and Mackerel
a tile, painted in colours, framed in oak signature concealed, paper exhibition number 145 10.5cm. square (tile) 21cm. square (frame)
ARR 344 Maureen Minchin (born 1954)
Hare and Owl
£100-200
an earthenware bowl, panted with hare in a midnight landscape, with a flying owl, the reverse a daytime scene, a jug similar and a jug painted with geese both by Maureen Minchin, in colours, impressed seal mark, 17.5cm. diam. (3)
£150-250
ARR 345. Jonathan Chiswell Jones (born 1944)
Love in the Mist, an exhibition vase, covered in a cornflower blue and purple lustre glaze, painted monogram and applied exhibition paper label, 31cm. high
£100-200
ARR 346 David Burnham Smith (1937-2019)
Bowl, 1997
ARR 350 David Burnham Smith (1937-2019)
Bee, 1998
a pair of porcelain dishes, painted with a bee to the well, in colours, painted monogram, 4-98 14.7cm. diam. (2)
£100-150
£200-300
porcelain flaring faceted form, painted to the well with wasp, inside a border of arches, glazed in colours, and a small plate similar signed DBS and dated 1997 to side of bowl, 12cm,. diam (bowl), 14.5cm. diam. (plate), (2)
ARR 347. David Burnham Smith (1937-2019)
Plate, 1998
porcelain, painted with a bee on a trellis and stylised flowerhead ground, glazed in colours, and a small bowl thrown by Geoffrey Swindell, painted with bees on a honeycomb to the well, signed DBS 1998 17cm. diam. (2)
£200-300
ARR 348. David Burnham Smith (1937-2019)
Jug, 1998
porcelain, painted in colours, and a pinched pot by David Burnham Smith, dated 2006
signed DBS and dated 1998 11cm. high (2)
ARR 349 David Burnham Smith (1937-2019)
Bowl, 2006
£200-300
ARR 351 David Burnham Smith (1937-2019)
Bowl,1995
porcelain painted with stylised chrysanthemum to well, the exterior Persian Lotus flower design in blue, green, red and tan on a white ground, signed DBS and dated 1995, 9.5cm. high, 16cm. wide
£200-300
ARR 352 David Burnham Smith (1937-2019)
Frog, 1990
porcelain, glazed pale yellow with black eyes, signed DBS and dated 1990 to foot, 9.5cm. high, 18cm. wide
£400-600
ARR 353 David Burnham Smith (1937-2019)
Frog, 2004
porcelain, glazed blue with black eyes, signed DBS and dated 2004 to foot, 9.5cm. high, 18cm. wide
£400-600
porcelain, painted to the well with a beetle, inside geometric border, a small dish and a box and cover by David Burnham Smith signed DBS and dated 2006 11cm. diam. (4) £200-300
STUDIO POTTERY
354 Bernard Leach MBE (1887-1979)
Preserve pot and cover
358 William Bill Marshall (1923-2007)
Unomi
Leach Pottery, brushwork panels in tenmoku on cobalt blue on a pale celadon ground, impressed Leach Pottery seal mark, painted BL monogram, 11.5cm. high (2)
£200-300
355 David Leach (1911-2005)
Caddy and cover
Leach Pottery, stoneware, footed, cylindrical form with ash glaze, painted grass motif in tenmoku, and another unomi by William Bill Marshall, impressed seal marks, second unomi smashed 9cm. high (2)
Provenance
Private collection.
£80-120
359 Phil Rogers (1951-2020)
Pot and cover
£200-300
Lowerdown Pottery, painted with simple foxglove motif in iron red and tenmoku, a David Leach tinglaze earthenware preserve pot and cover, a Raku caddy and cover by Simon Leach and a twinhandled pot and cover by Phillip Leach, impressed seal marks, 10.5cm. high (8)
356 David Leach (1911-2005)
Five dishes
tin-glaze earthenware, rounded, rectangular section, each incised with simple wild flower stems, glazed white on ground impressed seal mark, 15.5cm. long (5)
Literature
Emmanuel Cooper & Kathy Niblet David Leach, Richard Dennis Publications, page 84 for comparable designs made circa 1956-1961. £150-250
357. David Leach OBE (1911-2005)
Cut-sided vase
Lowerdown Pottery, porcelain, shouldered form, covered in a rich reduced copper red glaze impressed seal mark, paper label DL10 12cm. high
Provenance
Private collection.
Literature
Emmanuel Cooper & Kathy Niblett David Leach, Richard Dennis Publications, page 94 figure 69 for a cut-sided bowl with a similar glaze, illustrated.
£300-400
stoneware, simple impressed decoration, covered to the foot in a celadon ash glaze, two stoneware jars with porcelain covers by Phil Rogers and a twin-handled pot and cover impressed seal mark, 12cm. high (8)
360. Mike Dodd (born 1943)
£150-250
Storage cannister and cover cut-sided stoneware, covered to the foot in an ash glaze, another jar and cover by Mike Dodd, two stoneware jar and covers by Jim Malone and a jar and cover by Paul Green impressed seal mark, 11cm. high (10)
361 Michael Cardew (1901-1983)
£150-250
Preserve pot and cover
Winchcombe Pottery, slip decorated earthenware, a Wenford Bridge Tuck pot and cover by Seth Cardew, an Ara Cardew pot and cover decorated with dragonfly, a Sidney Tustin preserve pot and cover and a Charlie Tustin pot and cover impressed seal marks, minor glaze nicks to Michael Cardew pot 13.5cm. high (10)
362. Ruthanne Tudball (born 1948)
£200-300
Cannister and cover
cut-sided stoneware covered in a soda glaze, and cannister and covers by Peter Swanson, Chris Bramble, John Jelfs, Toff Milway, Carole Glover, John Middlemiss, and Nick Rees, and two by Nic Collins, impressed seal marks, 11cm. high (20)
£150-250
363. Charles Vyse (1882-1971)
Vase, 1930
stoneware, ovoid, shouldered form, covered with a Chun type glaze over celadon, the shoulder with a band of tenmoku circles, incised C.V. 1930 10cm. high
£100-200
364. Frances Emma Richards (1869-1931)
Persian vase shouldered form, painted with Iznik carnation flowers in blue, turquoise, green and aubergine on a white ground incised FR monogram, chips to foot rim, 16cm. high
£80-120
365. Omega Workshops, manner of
A rare pottery mug in the manner of Duncan Grant, swollen cylindrical form painted with blue, yellow, and green patches, on an off white tin-glaze, unsigned, losses to glaze 7.5cm. high
Provenance
Augustus John
Romilly John
Modern British & 20th Century Art and related Shutter sale, 15th April 1987, by the executors of Romilly John
Private collection.
£500-800
ARR 366 Quentin Bell (1910-1996)
Lamp base architectural form, slab built, modelled with alcoves one with St Catherine, the other St Barbara with a cannon, painted in colours, with a small cover, unsigned, paper exhitbition label no. 14, minor losses to base
36cm. high (2)
Provenance
Private collection.
£400-600
367. Katharine Pleydell-Bouverie (1895-1985)
Miniature vase
stoneware, ovoid form with cut band, covered to the foor in a pale celadon ash glaze, and two other miniature vases by Katharine Pleydell-Bouverie, impressed seal marks to all three, 5cm. high (3)
£150-250
368. Katharine Pleydell-Bouverie (1895-1985)
Small dish
stoneware, the exterior with incised wavy band, the interior glaze blue impressed seal mark, painted glaze notes, 10cm. diam
Provenance
Private collection.
£50-100
ARR 369. Katherine Pleydell-Bouverie (1895-1985)
Ovoid vase
stoneware with incised thin bands, covered in a pale ash glaze to the foot impressed seal mark to side of vase, painted glaze note, small chip to outside top rim, 21cm. high
Provenance
private collection.
£200-300
370 Malcolm Pepper (1937-1980)
Ovoid vase, stoneware, with flaring rim, covered to the foot with a speckled ash glaze, painted with stylised pine treen in tenmoky and cobalt blue, and another smaller by Malcolm Pepper impressed seal marks to both 35cm. high (2)
Provenance
Private collection, probably purchased from Amalgam gallery, 1978.
£150-200
371 Malcolm Pepper (1937-1980)
Ovoid vase, stoneware, glazed to the foot in pale blue, painted with a band of scrolling foliage between painted borders in blue
stoneware, pear shaped with flaring rim, glazed to the foot in pale blue, with painted flag iris panels in blue, and another shouldered vase by Malcolm Pepper decorated with mon, impressed seal marks to both 30cm. high (bottle), (2)
Provenance
Private collection.
£150-200
373 Jim Malone (born 1946)
Footed unomi
Ainstable Pottery, stoneware, incised comb decoration, covered to the foot with a tenmoku glaze, another footed unomi by Jim Malone impressed seal marks, 10cm. high (2) £80-120
374 Jim Malone (born 1946)
Pair of bowls
Ainstable Pottery, stoneware, each incised with zigzag band ash glaze to the foot impressed seal marks, 12cm. diam. (2) £80-120
375. Jim Malone (born 1946)
Bowl
stoneware, Ainstable Pottery, flaring form, incised the interior with a swimming scaly fish, covered with an ash glaze to the foot, and another similar incised with grasses impressed seal marks, 19cm. diam. (2) £80-120
376. Jim Malone (born 1946)
Chawan bowl
Ainstable Pottery, cut-sided stoneware bowl with white ash glaze to the foot, and another similar with painted spots impressed seal marks, 12cm. diam 10cm. high (2) £80-120
377 Jim Malone (born 1946)
Cut-sided jug
Ainstable Pottery, stoneware covered in a rich dark tenmoku glaze
impressed seal marks, paper exhibition number 36cm. high
Provenance
Private collection.
378 Jim Malone (born 1946)
Cut-sided jug
£200-300
Ainstable Pottery, stoneware covered with a running green ash glaze over kaki to the foot, ash interior, impressed seal marks, 27.5cm. high
Provenance
Private collection.
379 Jim Malone (born 1946)
Cut-sided bowl
£150-200
stoneware, flaring form, covered in a tenmoku glaze to the foot impressed seal mark, 14cm. high 24cm. diam.
Provenance
Private collection.
380. Jim Malone (born 1946)
Jug on three feet
£80-120
Ainstable Pottery, stoneware, shouldered form with impressed and carved decoration, covered in tenmoku glaze over ash, and two smaller jugs by Jim Malone, impressed seal marks, 21cm. high (3)
Provenance
Private collection.
381 Jim Malone (born 1946)
Cut-sided bowl
£100-200
stoneware, covered with an ash glaze to the foot, the exterior with iron patches impressed seal mark, 22cm. diam.
10.5cm. high
382 Jim Malone (born 1946)
Vase
£80-120
Ainstable Pottery, shouldered cylindrical form, incised grass motif, covered in a running ash glaze to foot with iron spots, impressed seal marks, 35.5cm. high
Provenance
Private collection.
£150-200
ARR 383 Richard Batterham (1936-2021)
Jug
stoneware covered in a tenmoku glaze over ash impressed seal mark to foot rim, 21.5cm. high £150-250
ARR 384 Richard Batterham (1936-2021)
Three pint jug stoneware, black iron and ash glaze, glaze flooded seal mark, 21cm. high
Provenance
David Mellor Shop
Private collection
£200-300
ARR 385 Richard Batterham (1936-2021)
Large storage jar and cover for flour stoneware with chatter band, covered to the base in an ash glaze, the cover with loop handle unsigned, 30cm. high (2)
Provenance
David Mellor Shop
Private collection
£300-500
ARR 386. Richard Batterham (1936-2021)
Caddy and cover
cut-sided stoneware, covered with a black iron and ash glaze
unsigned, painted cobalt 11, paper exhibition label no.46
14.5cm. high (2)
Exhibited
Richard Batterham & John Maltby 70th
ARR 387 Richard Batterham (1936-2021)
Cut-sided bowl
stoneware footed form, covered in a black iron and ash glaze to the foot, unsigned 20cm.diam. 11cm. high
Provenance
Beaux Arts, Bath
Private collection
Literature
Tanya Harrod & Sarah Griffin (edited), Richard Batterham Studio Potter, V&A Publishing, page 113 catalogue number 95 for a comparable large cut sided bowl. £150-200
ARR 388. Richard Batterham (1936-2021)
Cut-sided caddy and cover, stoneware, covered to the foot in an ash glaze, and two cut-sided sugar jar and covers unsigned, 11.5cm. high (6)
Provenance
David Mellor Shop
Private collection.
£300-500
£500-800
Birthday Celebration exhibition, Joanna Bird at Browse & Darby, catalogue number 46. Private collection.
389 Phil Rogers (1951-2020)
Bottle
shouldered, rectangular form, covered in a textured ash glaze with pooled decoration impressed seal mark, 18cm. high
Provenance
Private collection.
390 Phil Rogers (1951-2020)
Bottle
£80-120
stoneware, shouldered, square section, painted with a simple grass motif in tenmoku over brushed hakeme, impressed seal marks, 23.5cm. high
Provenance
Private collection
391 Takeshi Yasuda (born 1943)
£120-180
Covered vase
stoneware, covered in a pale ash glaze, running to the foot, with thick brushed white slip, under a light translucent glaze unsigned 25cm. high (2)
Provenance
Private collection
£300-400
392. Kanjiro Kawai (1890-1966), manner of Vase
stoneware, rectangular, shouldered section, the body with brushed hakemi over tenmoku, with painted flower stem motif in tenmoku and copper, unsigned 20.5cm. high 18cm. wide.
393 Katsue Ibata (born 1958)
Footed bowl
£300-500
earthenware, glazed to the bowl in cream with blue spots, and two smaller tea bowls by Katsue Ibata
impressed seal mark to side, applied exhibition number KI.20 17cm. diam.10.5cm. high (3)
£100-200
394 Shigeyoshi Ichino (1942-2011)
Vase and cover a Leach Pottery stoneware cut sided jar and cover, covered with a running translucent lavender and blue glaze flooded seal marks, 22cm. high (2)
Provenance
Private collection.
Literature
Shoji Hamada Master Potter, Ditchling Museum, this actual vase illustrated, page 41 plate 10 (previously attributed to Shoji Hamada) £600-1,000
ARR 395 John Maltby (1936-2020)
Through the Window, Hero off St Ives, wooden wall hanging automata of a sailing ship, unsigned, stamped mark 25cm. wide
Provenance
The Stour Gallery
Private collection.
£200-300
JOHN MALTBY
ARR 396 John Maltby (1936-2020)
Lady Emma, (The Pride of the British Navy) wooden wall hanging automata of a sailing ship in harbour unsigned, stamped mark 33cm. wide
Provenance
Private collection.
£300-500
ARR 397. John Maltby (1936-2020)
The Last Outpost of Empire, (Horatio and Emma) wooden wall hanging automata of a two sailing ships at sea signed, 35cm. wide
Provenance
Private collection.
£300-400
ARR 398. John Maltby (1936-2020)
Chess
a rare acrylic on board collage, with gilt text, framed signed Maltby bottom right 40 x 30cm. (image), 58 x 48cm. (frame)
Provenance
John Maltby Ceramics and Paintings, Godfrey & Watt, 11th October-1st November 2003. Private collection.
Catalogue notes
John Maltby produced two acrylic on board collages for this exhibition Chess and Chess II along with several other acrylic paintings. This exhibition was the first time he showed his paintings alongside his ceramic sculptures.
ARR 399 John Maltby (1936-2020)
A Drama at Sea (a small tragedy), 2006 stoneware tile applied pieces depicting a steam boat sinking, life boats and figures in the sea in the foreground, glazed impressed seal mark, front and back, applied paper title label 20cm. square
Provenance
Commissioned directly from John Maltby by the vendor.
Catalogue notes
This tile plaque was commissioned by the vendor directly from John Maltby who in making the plaque has applied over twenty individual pieces. The tile was commissioned to hang in a Grade 1 listed late 17th Century Almshouse designed by Sir Christopher Wren with connections to the sea. The complex was built by The Corporation of Trinity House for retired ‘Masters and Commanders of Ships’ and their widows. Once it had been decided to house Royal Navy seamen at Greenwich Pepys, Evelyn and Wren put their heads together to do something for merchant seamen. Two sets of Almhouses – Mile End and Dartford were built. Dartford no longer exists, but Trinity Green was rescued twice. Once from demolition at the end of the 19th century when Charles Robert Ashbee and William Morris campaigned for its survival (Ashbee went on to be the architect for a scheme of improvements) and again after heavy bombing in WW2. £300-400
ARR 400 John Maltby (1936-2020)
Footed dish
£300-500
stoneware, rectangular form on four feet, painted in enamels with abstract harbour scene impressed seal mark, 27.5 x 8cm.
£100-200
ARR 401. John Maltby (1936-2020)
Tall vase with lug handles
stoneware slender, elliptical form with applied twin-lug handles, and over-slung arch handle, painted with a continuous scene of a coastal landscape below full sun and rain, in black and yellow on a blue ground, painted Maltby signature 32.5cm. high
Provenance
Amalgam Gallery, 1996
Private collection.
£300-500
ARR 402. John Maltby (1936-2020)
Ancient King,
stoneware sculpture on square section base, glazed
painted John Maltby signature, impressed seal mark, paper exhibition title label and number 4, 25.5cm. high
Provenance
Rufford Abbey Craft shop, Private collection.
ARR 406. John Maltby (1936-2020)
Looking at Sculpture, 2007
stoneware and textured MDF sculpture on painted wood base painted signature, title and date to base, no.26 paper exhibition label, 30cm. high
Provenance
£300-500
ARR 403 John Maltby (1936-2020)
Totem
stoneware, modelled as a bird perched on a stylised tree, glaze impressed seal mark 19cm. high
Provenance
Rufford Abbey Craft shop Private collection.
£150-200
ARR 404. John Maltby (1936-2020)
Two Birds on a Wall
stoneware sculpture of two birds perched on a brick wall, each bird with a fish in its mouth, glazed in colours, on black painted wood base signed and titled to the base, impressed seal mark and paper exhibition number 4 to back, 36.5cm. high 25cm. wide
Provenance
John Maltby Ceramics and Paintings, Godfrey & Watt, 11th October-1st November 2003. catalogue number 4. Private collection
£300-500
ARR 405 John Maltby (1936-2020)
Angel and Wall, 2010
stoneware sculpture on painted wood base, impressed seal mark, painted mark, title and date 29cm. high
Burton Art Gallery, Bideford, March 2007. Private collection. £250-350
ARR 407 John Maltby (1936-2020)
Figure and Tower, 2007
tall stoneware and MDF sculpture on painted wood base, painted signature, title and date, no.10 paper exhibition label 62.5cm. high
Provenance
Burton Art Gallery, Bideford, March 2007. Private collection.
£400-600
ARR 408. Peter Hayes (born 1946)
Sack Form, 1988
bronze burnished textured raku bottle impressed seal mark, incised Peter Hayes 88, 29.5cm. high
Provenance
British Art Pottery, Woolley and Wallis, 25-26th May 2021, lot 273
Private collection.
409 Paul Soldner (1921-2011)
£250-350
Raku vase stoneware, shouldered form with knopped neck, with painted bronze decoration over blue and tan burnished ground incised signature 25.5cm. high
Provenance
Private collection. £150-250
410 Tony Laverick (born 1961)
Conical bowl, 2006 porcelain,covered in a rich green and gold streaked lustre painted gilt TL monogram, date 06 22cm. diam. 11cm. high
Provenance
Private collection. £80-120
411 Leo Dashwood (born 1985)
Bloodstone, 2024 raku vessel with incised decoration incised Dashwood 24
12.5cm. high 15.5cm. wide
412 Leo Dashwood (born 1985)
£200-300
Cosmos, 2024 raku vessel incised Dashwood 24, 17.5cm. high £300-500
Vase, stoneware, ovoid form, matt grey graduating to tan with spots, impressed seal mark, 11.5cm. high
£150-250
ARR 416. Joanna Constantinidis (1927-2000)
Vase,
stoneware, tapering, squashed cylindrical form, matt grey graduating to tan with spots to the foot, impressed seal mark, 18.5cm. high
417 Sotis Filippides (born 1963)
Large Flaring vase
£150-250
stoneware, textured black exterior, the interior bright gold incised artist monogram, small repaired chip to foot rim, 21.5cm. high
418. Sotis Filippides (born 1963)
Flaring vase
£100-200
stoneware, textured tan exterior, the interior glazed pitted white incised artist monogram, 15.5cm. high
£80-120
419 Sotis Filippides (born 1963)
Vase with collar
stoneware, cylindrical with swollen neck collar, textured, pitted white exterior with ash bands, the interior glazed pitted white incised artist monogram, 24.5cm. high
420. Sotis Filippides (born 1963)
Flaring bowl
£250-350
stoneware, textured tan exterior, the interior glazed blue incised artist monogram, 29cm. diam.
21cm. high
£250-350
421 Dora Holzhandler (1928-2015)
Vase, 1985
earthenware, painted with stylised figures, in colours incised Dora Holzhandler 1985 17cm. high
£100-200
422. Julian Dyson (1936-2003)
423 John Pollex (Born 1941)
Queen Elizabeth II Silver Jubilee, (1952-1977), 1977
426 Carol McNicoll (1943-2025)
Fan vase
earthenware, manufactured for retail by Next, in pink and buff splashed with green, a small dish designed by Carol McNicoll and a bowl designed by Janice Tchalenko for Next, printed retailers marks, 25cm. high (3)
Portrait of a Woman earthenware, glazed cream with incised portrait, incised Dyson, impressed seal mark to reverse, 27 x 23cm.
a large earthenware commemorative wall charger, slip decorated with central Tudor rose, inside border of thistle, leek and shamrock, the rim inscribed, with hatched panels, impressed seal mark and 1977 date 47cm. diam.
£50-100
ARR 424 Eric James Mellon (1925-2014)
Catalogue notes Carol McNicoll’s designs were retailed by Next Interiors in 1985-1986. £100-200
£100-150
Musicians, 2003 stoneware vase, shouldered form, painted with panels of naked female muses, below a band of stylised foliage, glazed in colours, painted signature, title and glaze details, small chip to base rim, 12cm. high
425. Louise Block
Burnished Form, (torso),1990 raku pottery
etched signature and date 40cm. high
Provenance
Beaux Arts, Bath 1996 Private collection.
£150-200
427 Willie Cartwright Comical Scottie dog, glazed terracotta sculpture, Comical Elephants and Hawk two other sculptures by Willie Cartwright, unsigned (3) £100-200
428. Willie Cartwright Tug Boat Willie glazed terracotta sculpture signed Willie to side of boat 67.5cm. high
Provenance Private collection.
Design, Woolley and Wallis, 16th October 2024, lot 311 Private collection.
£80-120
£100-200
429. Lisa Hammond (born 1956)
Cut-sided vase, Maze Hill Pottery, stoneware, covered in a soda shino glaze
impressed and incised marks, 18.5cm. high
430 Bernard Forrester (1908-1990)
£100-200
Table lamp, stoneware, incised with geometric panels, glazed painted F mark, 24.5cm. high
Provenance
Ella Annesley Voysey, thence by descent
£80-120
431 Alan Wallwork (1931-2019)
Ovoid form, stoneware, ovoid pierced form, glazed grey with speckles, and two spiral grooved cylindrical vases with incised decoration by Alan Wallwork, incised AW monograms, 10cm. wide, 27.5cm. high (tallest vase) (3)
Provenance
Private collection.
432. Alan Wallwork (1913-2019)
Spiral Oblong vase
£150-250
stoneware, probably made at the Greenwich Studio 1960-65, rectangular slab form with incised spirals, incised W 20cm. high
£100-200
433 Alan Wallwork (1931-2019)
Seedhead, stoneware, poppy seedhead form, glazed grey and tan with speckles, and another similar by Alan Wallwork, incised AW monograms, 12cm. high (2)
Provenance
Private collection.
434. Alan Wallwork (1931-2019)
£150-250
Fossil form, stoneware, circular form, the flattened front with incised radiating line motif, glazed grey and chestnut, another smaller and two other vases by Alan Wallwork, incised AW monograms, 13cm. high (main vase) (4)
Provenance
Private collection.
435 Alan Wallwork (1931-2019)
£150-250
Seedhead form, stoneware, ovoid pierced with solifleur aperture, glazed grey and tan with speckles, a disc vase and an ovoid vase with internal decoration by Alan Wallwork, and a small hand-modelled poppyhead form by Alan Wallwork, incised AW monograms, poppyhead with impressed W seal mark, 9.5cm. high (main vase), (4)
Provenance
Private collection.
£150-250
436. Dame Lucie Rie (1902-1995), manner of Pouring bowl red stoneware, covered to the foot with off-white glaze unsigned, museum repair to rim, 17.3cm. wide
9.5cm. high
Provenance
The parents of the vendor, Gillian & Russell Potts, purchased this bowl, along with a small pourer by Dame Lucie Rie from Heal’s in the 1960s or 1970s, they furnished their house in London at Heal’s; including purchasing a Hull Traders Clover leaf table and dining chairs designed by Bernard Holdaway in 1966, by repute.
£80-120
ARR 437 Dame Lucie Rie (1902-1995)
Shallow bowl
stoneware covered with an oatmeal glazed speckled with manganese, the rim manganese impressed seal mark, small bruise to rim, 13.5cm. diam.
Provenance
Private collection
ARR 438 Dame Lucie Rie (1902-1995)
Elliptical bowl
£300-500
stoneware covered to the foot with an oatmeal glaze with manganese speckles,the top rim manganese impressed seal mark, 17cm. wide
9.5cm. high
Provenance
Purchased directly from Lucie Rie by Rosslyn Hill
The Studio Pottery collection of Rosslyn Hill Private collection. £800-1,200
ARR 439. Dame Lucie Rie (1902-1995)
Pouring bowl
stoneware, flaring conical form with pulled rim, glazed speckled oatmeal to the exterior, the interior blue, impressed seal mark, 21cm.wide
11.5cm. high
Provenance
Private collection. £500-1,000
ARR 440. Dame Lucie Rie (1902-1995)
Pourer
stoneware, swollen form, covered in speckled oatmeal glaze to the exterior, the interior blue impressed seal mark, 9.5cm. high
Provenance
Private collection. £500-1,000
ARR 441 Dame Lucie Rie (1902-1995)
Flaring conical bowl
porcelain, covered in a bright American yellow glaze to the foot
impressed seal mark, broken and re-stuck 19cm. diam.
9.8cm. high
Provenance
Purchased directly from Lucie Rie
Private collection
Literature
Andrew Nairne & Eliza Spindel, Lucie Rie The Adventure of Pottery, Kettle’s Yard, page 118 for a similar bowl illustrated. £500-1,000
440 both sides
439 both sides
ARR 442 Dame Lucie Rie (1902-1995) and Hans Coper (1920-1981) Bowl with lip stoneware, covered in a black glaze, impressed seal marks, 27cm. wide, 15cm. high
Provenance
Ella Annesley Voysey, thence by descent
£2,000-4,000
ARR 443 Dame Lucie Rie (1902-1995)
Flaring bowl
porcelain, flaring form covered in a bronze glaze with manganese rim, the well and foot matt terracotta with black band impressed seal mark, paper label, small firing flaw to rim, 21cm. diam.
7.5cm. high
Provenance
Private collection
£1,000-2,000
ARR 444 Dame Lucie Rie (1902-1995)
Conical bowl of elongated foot porcelain, covered in a speckled off white matt glaze with green spiral inside and out impressed seal mark, 19.5cm. diam. 11.5cm. high
Provenance
Purchased directly from Lucie Rie by Rosslyn Hill
The Studio Pottery collection of Rosslyn Hill Private collection £1,500-2,000
ARR 445 Dame Lucie Rie (1902-1995)
Flaring conical bowl porcelain, covered in an apple green glaze to the foot impressed seal mark, restored 24cm. diam. 11cm. high
Provenance
Purchased directly from Lucie Rie by Rosslyn Hill
The Studio Pottery collection of Rosslyn Hill Private collection
£1,000-2,000
ARR 446. James Tower (1919-1988)
Early vase
tin-glazed stoneware, resist decorated with panels in white on a dark blue/black ground, indistinct incised Tower signature
27.5cm. high
Catalogue notes
Kinghams would like to thank the Estate of James Tower for their help authenticating this vase. £3,000-5,000
ARR 447. Hans Coper (1920-1981)
Bottle Form, an early stoneware vase, impressed seal mark, 46cm. high
Literature
Tony Birks Hans Coper, Collins, page 103 for a comparable bottle illustrated, made in 1958 for exhibition at Ceramics International, 1959 Syracuse, USA. £25,000-30,000
ARR 448 Kate Malone MBE (born 1959)
Tutti Frutti Fruit Fence Centrepiece, 2004 stoneware, crystalline glazed in colours, three stacking rings, 42.5cm. diam.
33cm. diam.
23.5cm. diam. (3)
Provenance
Contemporary Ceramics, MAAK 12th September 2013, lots 255-257. The Collection of Sir Nicholas Goodison, British Art Innovation and Craftsmanship, Christie’s, 25th May 2022, lot 163 Private collection.
£6,000-10,000
ARR 449 Colin Pearson (1923-2007)
Winged vase a large hand-built stoneware vase, cylindrical with applied wing handles, glazed pale blue, pink and white, impressed seal mark to side 25cm. high 38cm. wide.
£3,000-5,000
ARR 450 Anthony Theakston (born 1965) 20:20
ceramic sculpture of an owl on a rectangular plinth, glazed matt white, from an edition of 24, incised signature, 31cm. high
£1,000-1,500
large ceramic sculpture of an owl, on rectangular plinth, glazed white incised signature, 35.5cm. high
£1,200-1,800
ARR 451. Anthony Theakston (born 1965) Peaceful
JOHN WARD
ARR 452 John Ward (1938-2023)
Ovoid vessel with stepped rim, hand-built stoneware, decorated with black and white geometric bands to the exterior impressed JW seal 15.5cm. high
Provenance Private collection.
Literature
Emma Crichton-Miller The Pottery of John Ward, Lund Humphries, page 104-105 for two comparable forms, circa 2014, illustrated. £8,000-12,000
ARR 453 John Ward (1938-2023)
Ovoid vessel with cut rim, hand-built stoneware, decorated with black and white geometric panels impressed JW seal
12.5cm. high
Provenance Private collection.
£8,000-12,000
PETER BEARD
454 Peter Beard (born 1951)
Cylindrical vessel
stoneware, decorated with blue line design on a matt black textured ground, impressed seal marks, 23.5cm. high £400-500
455 Peter Beard (born 1951)
Tall vessel stoneware, flaring cylindrical form, decorated with turquoise atomic linear design on a matt blue/black ground, impressed seal marks, 39.5cm. high £800-1,200
456 Peter Beard (born 1951)
Shouldered vessel stoneware, decorated with turquoise line design on a matt blue textured ground, impressed seal marks, 19cm. high £350-450
457 Peter Beard (born 1951)
Grid Picture
150 blue wax resist discs, framed unsigned, 76.5 x 55.5cm.
£2,000-3,000
458 Peter Beard (born 1951) Landscape Form, unique bronze sculpture, on stone and patinated metal plinth cast seal mark to bronze, seal mark to plinth, 51cm. high £2,500-3,500
457
WILLIAM DE MORGAN, MASTER POTTER
PUBLIC EXHIBITION
An Important William De Morgan twin-handled vase Made at Merton Abbey, painted with stylised sunflowers, circa 1885.
Provenance Charles & Lavinia Handley Read Richard Dennis OBE
A rare Morris, Marshall, Faulkner & Co Cinderella two tile panel designed by Sir Edward Coley Burne-Jones
Estimate £3,000-5,000
Provenance
The Richard & Hilary Myers
Collection of William Morris tiles.
Kinghams Auctioneers
ENQUIRIES
Michael Jeffery 01608 695695
michael@kinghamsauctioneers.com
TERMS & CONDITIONS OF SALE AND BUSINESS
These Conditions of Sale and Business constitute the contract between Kinghams Auctioneers limited and the seller, on the one hand, and the buyer on the other. By bidding at the auction, and/or consigning to Kinghams Auctioneers limited, you agree to be bound by the following terms.
CONDITIONS OF SALE
1. DEFINITION
In these terms of business: Kinghams Auctioneers Ltd is referred to as ‘Kinghams’. The Kinghams representative conducting the auction is referred to as the ‘auctioneer’.
2. AGENCY
The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers if the transaction is not completed and paid for.
3. TERMS OF SALE
The seller acknowledges that lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment.
4. DESCRIPTIONS AND CONDITION OF LOTS
Every effort is made to ensure the accuracy of statements relating to authorship, descriptions, origin, date, age, provenance and condition of lots. Statements made orally or in the catalogue are opinions given after careful consideration and research. Prospective buyers are given ample opportunity to view lots before any sale. When bidding, buyers acknowledge that they are fully satisfied as to the description and condition of the lot.
5. ATTRIBUTION OF PICTURES
(a) If the forename(s) (or asterisks where not known) and surname of the artist are given, this indicates that in the opinion of Kinghams the picture is a work by the named artist.
(b) If the initials of the forename(s) and the surname of the artist are given, this indicates that in the opinion of Kinghams the picture is a work of the period of the named artist and may be wholly or in part his work.
(c) If the surname of the artist is given, this indicates that in the opinion of Kinghams the picture is a work of the same school of the named artist, or by one of his followers, or in his style and of uncertain date.
(d) The term ‘Bears signature’ indicates that in the opinion of Kinghams this is not the signature of the artist.
(e) All other terms are self-explanatory.
6. FORGERIES
Notwithstanding Condition 4, any lot which proves to be a deliberate forgery may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence provided that the lot is a deliberate forgery we shall refund the money paid by you for the lot including any buyer’s premium.
7. THIRD PARTY LIABILITY
Every person on Kinghams premises before, during or after a sale shall be deemed to be there at their own risk and shall have no claim against Kinghams in respect of any injury they may sustain or any accident which may occur.
8. DISPUTES
Any dispute not covered in these terms of business will be settled at the sole discretion of Kinghams.
9. GENERAL
We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person.
a) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of the Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate.
b) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them.
Any notice to any buyer, seller, bidder or viewer may be given by first class mail or email in which case it shall be deemed to have been received by the addressee 48 hours after posting.
Special terms may be used in catalogue descriptions of particular classes of terms in which case the descriptions must be interpreted in accordance with any glossary appearing at the commencement of the catalogue.
Any indulgence extended to bidders, buyers or sellers by us notwithstanding the strict terms of the Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect.
English law applies to the interpretation of these Conditions.
TERMS OF CONSIGNMENT FOR SELLERS
1. INTERPRETATION
In these Terms the words ‘you’, ‘yours’, etc. refer to the Seller and if the consignment of goods to us is made by an agent we assume that the Seller has authorised the consignment and that the consignor has the Seller’s authority to contract. Similarly the words ‘we’, ‘us’ etc. refer to Kinghams Auctioneers Ltd.
2. WARRANTY
The Seller warrants that possession in the lots can be transferred to the Buyer with good and marketable title, free from any third party right and encumbrances, claims or potential claims. The Seller has provided all information concerning the items ownership, condition and provenance, attribution, authenticity, import or export history and of any concerns expressed by third parties concerning the same.
3. COMMISSION
Commission is charged to sellers at a flat rate of 15%, 1.5% insurance, and a £5/10 entry fee per Lot plus VAT.
4. REMOVAL COSTS
Items for sale must be consigned to the saleroom by and stated deadline and at your expense. We may be able to assist you with this process but any liability incurred to a carrier for haulage charges is solely your responsibility.
5. LOSS AND DAMAGE OF GOODS
a) Loss and Damage Warranty – Kinghams is not authorised by the FSA to provide insurance to its clients and does not do so. However, Kinghams for its own protection, assumes liability for property consigned to it at the lower pre-sale estimate until the hammer falls. To justify accepting liability, Kinghams makes a charge of 1.5% of the hammer price plus VAT. The liability assumed by Kinghams shall be limited to the lower pre-sale estimate or the hammer price if the lot is sold.
b) If the owner of the goods consigned instructs us in writing not to take such action, the goods then remain entirely at the owners risk unless and until the property in them passes to the Buyer or they are collected by or on behalf of the owner, and clause 5(a) is inapplicable.
6. ILLUSTRATIONS
The cost of any illustrations is borne by you. If we consider that the lot should be illustrated your permission will be asked first. The copyright in respect of such illustrations shall be the property of us, the auctioneers, as is the text of the catalogue.
7. MINIMUM BIDS AND OUR DISCRETION
Goods will normally be offered subject to a reserve agreed between us before the sale in accordance with clause 8. We may sell lots below the reserve provided if we can account to you for the same sale proceeds as you would have received had the reserve been the hammer price. If you specifically give us a “discretion” we may accept a bid of up to 10% below the formal reserve.
8. RESERVES
a) You are entitled to place prior to the auction a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to unreasonably high reserves {in which case goods carry the storage (Condition 17) and loss damage warranty (Condition 5(a) charges as stipulated in these Terms of Consignment}.
b) A reserve once set cannot be changed except with our consent.
c) Where a reserve has been placed only we may bid on your behalf and only up to the reserve (if any) and you may in no circumstances bid personally.
d) Reserves are not usually accepted for lots expected to realise below £50.
9. ELECTRICAL ITEMS
These are subject to detailed statutory safety controls. Where such items are accepted for sale you accept responsibility for the cost of testing by external contractors. Goods not certified as safe by an electrician (unless antiques) will not be accepted for sale. They must be removed at your expense on your being notified. We reserve the right to dispose of unsafe goods as refuse, at your expense.
10. SOFT FURNISHINGS
The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense.The rights of disposal referred to in clauses 9 and 10 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection upon request.
11. DESCRIPTIONS
Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary. Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 4 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds.
12. UNSOLD ITEMS
If an item is unsold it may at our discretion be re-offered at a future sale. Where in our opinion an item is unsaleable you must collect such items from the saleroom promptly on being so informed. Otherwise, storage charges may be incurred.
13. WITHDRAWN AND BOUGHT IN ITEMS
These are liable to incur charges on being bought in or withdrawn after being catalogued.
14. CONDITIONS OF SALE
You agree that all goods will be sold subject to our Conditions of Sale. In particular you undertake that you have the right to sell the goods either as owner or agent for the owner. You undertake to compensate us and any buyer or third party for all losses, liabilities and expenses incurred in respect of and as a result of any breach of this undertaking.
15. AUTHORITY TO DEDUCT COMMISSION AND EXPENSES AND RETAIN PREMIUM AND INTEREST
You authorise us to deduct commission at the stated rate and all expenses incurred from your account from the hammer price and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement. You authorise us at our discretion to negotiate a sale by private treaty not later than the close of business 48 hours after the day of sale in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these Terms apply.
17. STORAGE
We disclaim all liability for goods delivered to our saleroom without sufficient sale instructions and reserve the right to make storage charges.
18. SETTLEMENT
Subject to funds having cleared in our account we aim to pay you no later
than four weeks following the sale. If the buyer has not paid for the goods no settlement will be made but we will take your instructions in the light of our Conditions of Sale. You authorise any sums owed by you to us on other transactions to be deducted from the sale proceeds. Please note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 11 above and you should therefore bear this in mind before parting with the proceeds of sale.
INFORMATION FOR BUYERS
1. INTRODUCTION
The following notes are intended to assist buyers particularly those who may be inexperienced or new to our saleroom. All sales are conducted in accordance with our Conditions of Sale. Our staff will be happy to help you with anything you do not fully understand.
2. AGENCY
As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed. Accordingly, if you buy your primary contract is with the seller.
3. THE BUYER
The highest bidder acknowledged as such by the auctioneer will be the buyer. If any dispute arises, the auctioneer has absolute discretion to settle the matter. The auctioneer rules the bidding and bids cannot be retracted. The auctioneer reserves the right to refuse any bid.
The successful bidder, whether bidding for himself or for a third party, is entirely responsible for paying for the lots they have bought in accordance with Kinghams’s Conditions of Sale and Business. The auctioneer reserves the right to bid on behalf of the sellers for any lot and to withdraw, consolidate or divide any lot or lots.
4. REGISTRATION
Unless registered already on a bidding platform, it is essential that all prospective buyers register with us, giving their full name, address, contact telephone number(s) and email address. First time buyers will be required to provide proof of identity (i.e. driving licence/passport), a valid debit or credit card and a copy of a utility bill confirming their name and address. Upon receipt of the above a paddle will be issued, which is only valid for the current sale. The paddle may be used to indicate your bids to the Auctioneer during the sale. If successful, the bidder must ensure that their number can be seen by the Auctioneer and that it is their number that is called out. Should there be any doubts as to price or buyer, please draw the Auctioneer’s attention to it immediately.
5. BUYER’S PREMIUM - COMMISSION CHARGES
There is a buyer’s premium of 26% plus VAT on the hammer price of each lot up to and including £500,000. The buyer’s premium is 18% plus VAT on the hammer price of each lot on the excess of £500,001 up to and including £1,000,000. The buyer’s premium is 15% plus VAT on the hammer price of each lot on the excess of £1,000,001.
6. VALUE ADDED TAX
Lots on which the buyer may have to pay VAT on the ‘hammer price’ are indicated in the catalogue with the following symbol *. The buyer must pay this VAT at the rates that apply on the day of the auction in addition to the buyer’s premium and VAT thereon.
7. AUCTIONEERS MARGIN SCHEME
This scheme allows auctioneers to sell items without VAT on the hammer price. The buyer then pays an amount equivalent to VAT. This amount cannot be refunded and is not shown separately on the invoice.
8. PAYMENT
Buyers must pay in full before items can be removed from the premises (please see “payment methods” below).
Invoices will be issued from the day of the sale. Buyers must pay their invoice in full within 24 hours and advise when they will be collecting their item(s). Any invoices which remain unpaid after seven days will incur interest at 5% above the base rate, charged from the date of the sale. If buyers are unknown to us, we cannot hand over purchases unless we have adequate references or payment is cleared.
Payment Methods
We accept payment by:
Cash - up to £9,000 (subject to money laundering regulations).
Cheques - we do not accept cheques.
Debit cards accepted - we do not accept any credit cards.
Please note that we are unable to accept any card payments where the cardholder is not present.
Bank transfer to:
HSBC Bank, Bridge St, Evesham WR11 4RU
Account no.: 51655345
Account name: Kinghams Auctioneers Ltd
Sort code: 40-20-27
IBAN: GB91MIDL40202751655345
SWIFTBIC: MIDLGB22
Please note that a fee of £15 will be added for international bank payment.
9. LIVE INTERNET BIDDING
Live online auctions are in conjunction with the-saleroom.com, invaluable.com and easyliveauction.com
We ask that you register for the sale a minimum of 24 hours before the auction.
When you have registered, you can watch the auction in real time; simply click the bid button to place a bid.
If your bid is successful we will notify you after the sale for payment. Charges will be made for internet bidding dependent on the auction platform. See their terms and conditions for details.
10. TRANSFER OF RISK
Each lot is the buyer’s sole responsibility from the fall of the hammer.
11. COMMISSION BIDS
If instructed, Kinghams will execute bids and advise prospective buyers. This service is free.
Buyers who cannot come to a sale may leave their bid with our staff after/during viewing, or make their bid in advance by telephone or email (enquiries@kinghamandormeauctioneers.com). Such bids are placed at the buyer’s own risk.
Bids must be made at least one hour before the sale starts, but we advise buyers to make bids at the earliest possible opportunity. When making bids, buyers must provide:
Their full name
Address
Email address
Contact telephone numbers
The number of the lot they wish to buy
Their maximum bid amount – excluding commission which will be added to the invoice afterwards
Buyers must state what their maximum bid would be. We cannot accept an instruction to ‘buy’ or unlimited bid.
We will ensure that lots are bought as cheaply as possible depending on the bids made and other reserves. If identical bids are placed, they will be dealt with on a “first come first served” basis.
12. TELEPHONE BIDS
Lines for telephone bidding should be booked 24 hours before the auction. Lines are booked on a “first come first served basis.” Full name, address and telephone numbers will be required together with proof of identity and address. Bank and credit/debit card details are also necessary to secure the line.
13. DATA PROTECTION
Kinghams will use information provided by its clients or obtained by Kinghams relating to its clients for the provision of auction services or as required by law. Kinghams may need to record telephone conversations for security or legal reasons or as necessary to provide a higher quality of service. Clients agree that Kinghams may use sensitive information that they supply to Kinghams. Unless permitted by law, Kinghams will not otherwise process sensitive personal data without express consent. By agreeing to the Conditions of Sale and Business, clients agree to the processing of their personal information.
14. STORAGE AND COLLECTION
Please note all items after the auction will be removed to store. Arrangements for collection can be made with the office.
15. ELECTRICAL GOODS AND SOFT FURNISHINGS
These are sold as ‘antiques’ only and if bought for use must be checked over for compliance with safety regulations.
16. EXPORT OF GOODS
Buyers intending to export goods should check whether an export licence is required and whether there is any specific prohibition on importing goods of that character because e.g. they may contain prohibited materials such as ivory. Ask us if you need help.
17. PACKING AND DESPATCH
We offer a packing and despatch service for smaller lots. We also use national and local carriers. Further details can be obtained from our office.
18. ARTIST’S RESALE RIGHTS (DROIT DE SUITE) ROYALTY CHARGES
A picture or work of art by an applicable living artist, or those who have died within the last 70 years, which costs more than £1,000 hammer price will incur a royalty charge paid by the buyer. We pass this payment on to the Design and Artists Copyright Society (DACS), and do not charge a handling fee. Buyers can calculate royalty charges on the DACS website. Items marked with ARR in the catalogue will potentially incur royalty payments.
The actual qualifying threshold is calculated by the Artist’s Resale Right Service Hub and can be found on the DACS website.
The royalty charge for pictures and works of art that achieve a hammer price of more than £1,000, but less than that of £50,000 is 4%. On pictures and works of art that achieve a hammer price of more than £50,000 a sliding scale of royalty charges applies. For a complete list of the royalty charges and threshold levels please download more information from the DACS website.
The royalty charge is added to invoices and must be paid before purchases are removed. VAT is not paid on royalty charges.
19. CITES LICENSE - IMPORTANT NOTICE RELATING TO SPORTING AND NATURAL HISTORY
Clients intending to import/export any item derived from natural history specimens into/from a non-European country should first check for any Import/Export and possession restrictions prior to bidding/selling.
Certain species (λ) are also subject to CITES regulations when exporting/ importing these items out of the EU. CITES regulations are given on www.ukcites.gov.uk or maybe obtained from Animal Health, Wildlife Licensing and Registration Service, Zone 1/17, Temple Quay House, 2 The Square, Bristol BS1 6EB. Those species that are covered by the US Endangered Species Act (USESA) or The Migratory Bird Treaty Act (MBTA): potential US bidders should check with USF&W (US Fish and Wildlife Services) for trade/possession restrictions in the US prior to bidding.
