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14TH & 15TH OCTOBER 2026 LIVE FROM EDINBURGH & ONLINE

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Sale Number LT920

Communications, a Carbon Neutral

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CONTACT Front Cover Lot 241 [detail] Inside Front Cover Lot 344 [detail]

EDINBURGH +44 (0) 131 557 8844 GLASGOW +44 (0) 141 333 1992 LONDON +44 (0) 20 7930 9115 info@lyonandturnbull.com

BUYER'S GUIDE

This sale is subject to our Standard Conditions of Sale (available at the back of every catalogue and on our website). If you have not bought at auction before we will be delighted to help you.

BUYER’S PREMIUM

REGISTRATION

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

All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, or on our website. Please note that first-time bidders, and those returning after an extended period, will be asked to supply the following documents in order to facilitate registration:

28% up to £25,000 27% from £25,001 to £500,000 26% thereafter VAT will be charged on the premium at the rate imposed by law (see our Conditions of Sale at the back of this catalogue).

ADDITIONAL VAT † VAT at the standard rate payable on the hammer price ‡ Reduced rate of 5% import VAT payable on the hammer price Ω Standard rate of import VAT on the hammer price Lots affixed with ‡ or Ω symbols may be subject to further regulations upon export /import, please see Conditions of Sale for Buyers Section D.2.

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

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

REMOVAL OF PURCHASES

Droit de Suite

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

§ indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, a royalty payment for all qualifying works of art. Under legislation which came into effect on 1st January 2012, this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the buyer on the hammer price and in addition to the buyer’s premium. It will not apply to works where the Hammer Price is less than £1,000. The charge for works of art sold at and above £1,000 and below £50,000 is 4%. For items selling above £50,000, charges are calculated on a sliding scale. More information on Droit de Suite is available at www.dacs.org.uk.

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

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

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

CATALOGUE DESCRIPTIONS

IMPORTANT INFO FOR ‡ LOTS

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

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

ENDANGERED SPECIES BIDDING & PAYMENT

IMPORT/EXPORT

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

Collections of Purchased ‡ Lots: For items marked with the ‡ (denoting additional VAT payable at a reduced rate of 5% on the hammer price) additional time should be allowed for Customs clearance by HMRC if the item is to remain in the UK. For items being exported out of the UK these items can be shipped via Crown Fine Art or via another approved shipper with a temporary admissions account.

26.2

MEET THE SPECIALISTS

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

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

Joy McCall Senior Specialist joy.mccall@lyonandturnbull.com

Philip Smith Senior Specialist philip.smith@lyonandturnbull.com

Ursula Goldsmith Associate Specialist ursula.goldsmith@lyonandturnbull.com

CONTACT EDINBURGH +44 (0) 131 557 8844 GLASGOW +44 (0) 141 333 1992 LONDON +44 (0) 20 7930 9115 info@lyonandturnbull.com

ART & DESIGN FROM A PRIVATE COLLECTION

1 THE HANDEL COMPANY AMERICAN ARTS & CRAFTS TABLE LAMP, CIRCA 1910 stained and painted glass, bronzed metal, applied maker’s mark to shade HANDEL 66cm high, shade 51cm wide

£600-800

2 MABEL P. SEFTON (1881-1957) ARTS & CRAFTS CASKET, 1907 repoussé-decorated copper, with enamel roundels and velvetlined interior, signed and dated MABEL P. SEFTON, 1907 25cm wide, 11cm high, 13cm deep

£600-800

A sculptor and occasional painter, Mabel Sefton was born in Leytonstone, Essex, and studied at the Manchester School of Art from 1899 to 1902. From 1903 until around 1910, she worked primarily as a metalworker and sculptor. Between 1907 and 1910 she exhibited her work at both the Royal Academy and the Walker Art Gallery in Liverpool. She also participated in an exhibition organised by the Clarion Guild of Handicraft in Manchester in 1904. Her practice reflects the growing recognition of women working in sculpture and metalwork in Britain during the early twentieth century.

3 ENGLISH ARTS & CRAFTS CASKET, CIRCA 1900 copper, brass and enamel 22cm wide, 19.5cm high, 15cm deep

£200-300 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

4 HENRY JOHN STOCK (1853-1930) NIGHT, 1881 watercolour, signed and dated lower left H. J. STOCK 27cm x 18.5cm (frame size 67.5cm x 56.5cm) Provenance: Christie’s South Kensington Victorian & British Impressionist Art, 12th June 2012, lot 373.

£500-700

5 FOLLOWER OF DANTE GABRIEL ROSSETTI PORTRAIT OF RICORDANZA, 1876 pastel, inscribed upper left and signed with artist’s monogram and dated lower right 58.5cm x 45.5cm (frame size 78.5cm x 65.5cm)

£400-600

6 AVERIL BURLEIGH (1863-1949) THE BIRTH OF KING ARTHUR, 1919 pen, ink and watercolour, signed and dated lower left AVERIL BURLEIGH/ 1919 29cm x 23cm (frame size 48cm x 41.5cm)

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

7 WILLIAM HATHERALL (1855-1928) ‘ROMEO IF I DO PROFANE MY LOVE’ watercolour, signed lower left W. HATHERALL 22cm x 16cm (frame size 47.5 x 36cm) Provenance: Christie’s South Kensington Interiors, 25th October 2011, lot 377

£600-800

8 ATTRIBUTED TO G. F. WATTS (1817-1904) HEAD OF A GIRL

9 LOUIS D. DAVIS (1860-1941) LANDSCAPE, 1910 watercolour, signed with artist’s monogram and dated lower left 43cm x 25.5cm (frame size 90cm x 52.5cm)

£500-700

oil on canvas 30.5cm x 24.5cm (frame size 62cm x 53.5cm) Provenance: Bonhams, Chelsea, 11th February 1997, lot 113

£200-400

10 FLORENCE E. SHERRARD (1858-1908) STUDY FOR THE HEAD OF ST. SEBASTIAN pastel 39cm x 30.5cm (frame size 46.5cm x 38.5cm)

£1,500-2,000

11 WALTER SAUER (1889-1927) STUDY OF A BOY pencil and charcoal, artist’s monogram and signed lower right WALTER SAUER 25.5cm x 19cm (frame size 40cm x 32.5cm)

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

12 ENGLISH SCHOOL, FOLLOWER OF HENRY SCOTT TUKE STUDY OF A BOY oil on canvas 34.5cm x 38cm (frame size 42cm x 46cm)

£600-800

13 ATTRIBUTED TO JOHN WILLIAM WATERHOUSE (1849-1917) PORTRAIT STUDY red chalk 23.5cm x 18.2cm (frame size 69cm x 54cm)

£600-800

14 ENGLISH ARTS & CRAFTS PICTURE FRAME, CIRCA 1900 repoussé-decorated copper, ebonised wood frame 32.5cm x 28.5cm, print 11cm x 7.5cm

£150-250

15 SHAPLAND & PETTER, BARNSTAPLE ARTS & CRAFTS WASHSTAND, CIRCA 1900 oak, embossed copper panels, tiled top and beveled mirror plate 114.5cm wide, 127cm high, 53.5cm deep

£400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

16 CONTINENTAL FRAMED LION TILE, 19TH CENTURY faience, monogram lower right MB 28cm x 14cm (frame size 36cm x 22cm)

£300-500

17 ENGLISH ARTS & CRAFTS FRAME, CIRCA 1900 copper, with enamel panels 24cm x 18.5cm (frame size 41cm x 37cm)

£300-500

18 FRANK BRAMLEY (1857-1915) FLAG IRISES, 1903 oil on canvas, signed and dated lower left FB 1903 23cm x 17.5cm (frame size 42cm x 36.5cm)

£400-600

19 SHAPLAND & PETTER, BARNSTAPLE ARTS & CRAFTS BEDSIDE CABINET, CIRCA 1900 inlaid oak, with copper fittings 52.5cm wide, 75cm high, 46.5cm deep

£400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

20 CIRCLE OF GEORGE FREDERICK WATTS CONSOLATION oil on canvas, later signed lower left R TISSOT 30cm x 21cm (frame size 47.5cm x 39cm)

£800-1,200

21 § MARCUS A. BOSS (1891-1981) SKETCH FOR DECORATION, 1914 watercolour, signed, inscribed and dated lower right MARCUS. A. BOSS 1914 30cm x 60.5cm (frame size 47cm x 78cm) Provenance: Abbot and Holder, London

£300-500

22 HENRY DAWSON (1811-1878) FIGURE BY THE SHORE, 1857 oil on panel, feigned lunette, signed with artist’s monogram and dated lower right 25cm x 50.5cm (frame size 42.5cm x 68cm)

£700-900

23 CONSTANCE PHILLOTT (1842-1931) SWANS ON PADDINGTON POND watercolour, inscribed verso POND, PROBABLY PADDINGTON POND, PAINTED/ WHILE STAYING AT ABINGER, SURREY, EARLY WORK/ BY C. PHILLOTT, WHO GAVE IT TO HER SISTER HILLARY SEELEY 26cm x 25.5cm (frame size 42cm x 41.5cm) Provenance: The Maas Gallery, London

£800-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

SIR HUBERT VON HERKOMER (1849-1914)

JOSEPH THORBURN ROSS (1849-1903)

AND CULTURE STILLS HIS HARMONIES TO HEED THE INSPIRATION OF THE UNTAUGHT SEED watercolour heightened with bodycolour, initialled and dated 1903 lower right 47.5cm x 32.5cm (frame size 80cm x 63.5cm)

THE DIVER oil on canvas, laid on board, signed lower centre J THORBURN ROSS

Sir Hubert von Herkomer founded the Herkomer Art School at Bushey in 1883 and directed it until his retirement in 1904. The school taught more than 500 students, many of whom, including Lucy Kemp-Welch, Algernon Talmage and William Nicholson, went on to achieve distinction. Herkomer’s teaching had a wide influence on British art education, reflecting his own varied expertise in painting, drawing, etching, engraving and enamel work. His school provided practical training across different artistic disciplines and became an important centre for artists. After Herkomer’s retirement, Lucy Kemp-Welch continued the school’s work, developing it into a centre for animal painting.

31.5cm x 7cm (frame size 42cm x 11cm)

£1,500-2,000

£600-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

Provenance: Sarah Colegrave Fine Art Exhibited: National Exhibition, Edinburgh 1908 Special Exhibition, Newcastle, 1908

26 CHILD & CHILD, LONDON ARTS & CRAFTS BROOCH PENDANT, CIRCA 1905 enamelled white metal, set with chip diamonds and baroque pearl, stamped maker’s mark verso and set within original tooled leather and silk-lined box with gilt maker’s stamp 3.5cm tall Literature: Munn G. and Gere C. Pre-Raphaelite to Arts and Crafts Jewellery, ACC 1996, pl. 97 for similar example, inspired by the designs of Edward Burne-Jones.

£700-900

27 EDWARD CLIFFORD (1844-1907) MARIA VANZINI watercolour, inscribed verso MARIA AT VARALLO/ (A LUINI LIKE HEAD) 33.5cm x 26cm (frame size 50cm x 43cm) Provenance: The Maas Gallery, London

£500-700

28 EDWARD CLIFFORD (1844-1907) PORTRAIT OF STEVEN DANIEL GLADSTONE, 1906 graphite on paper, inscribed and dated upper right, signed lower right E CLIFFORD 34.5cm x 24cm (frame size 58cm x 49cm) Stephen Daniel Gladstone was the grandson of William Gladstone, who was elected as Prime Minister four times between 1868 and 1894.

£300-500

Edward Clifford was a British artist and a disciple of Edward Burne-Jones. The painting was created in Varallo, a district of Piedmont in northern Italy, between Milan and Turin. Clifford was deeply influenced by Burne-Jones, whose admiration for the Italian Renaissance painter Bernardino Luini shaped his artistic style. Luini’s influence is particularly visible in the striking, expressive eyes of Clifford’s figures, which became a distinctive feature of his work. Clifford belonged to a group of Burne-Jones followers whose art was described as “poetry without grammar.” His granddaughter remembered him as deeply religious, fascinated by duchesses, and exceptionally talented in watercolour.

29 SIR EDWARD BURNE-JONES (1833-1898) STUDY FOR THE FIGURE OF LOVE IN ‘THE CAR OF LOVE’ pastel and chalk 34cm x 22cm (frame size 54cm x 41.5cm) Provenance: Terence Rowe The Maas Gallery, London

£2,000-3,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

‘The Car of Love’ is a large, unfinished oil painting by the Pre-Raphaelite artist Sir Edward Burne-Jones. The full painting depicts Love, the subject of this study, being drawn on a chariot by a group of men and women along a Sienese street. The triumphal procession of Love was a common theme in Medieval and Renaissance art, the specific inspiration for Burne-Jones’ work being ‘Trionfior Triumphs’ by the 14th-century Italian poet Petrarch. The idea for the painting dates from as early as 1871 but Burne-Jones only began the work in the 1890’s. It was left unfinished on his death in 1898 and was gifted by his wife Lady Burne-Jones to the V&A in 1909.

30 SIR EDWARD BURNE-JONES (1833-1898) STUDY FOR ‘THE GODHEAD FIRES’, CIRCA 1868-70 graphite on paper 28cm x 20cm (frame size 53cm x 44.5cm) Provenance: Collection of the artist’s granddaughter Denys Wells Abbott and Holder

£2,000-3,000

Burne-Jones’ The Godhead Fires is the third painting in the second series of Pygmalion and the Image, depicting the moment when Aphrodite brings Galatea, Pygmalion’s ivory sculpture, to life. Aphrodite is shown standing on a cloud surrounded by doves and roses, extending one arm towards Galatea. Galatea’s upper body and arms are shown in motion, while her legs and feet remain positioned on the pedestal from which she is emerging. The two female figures have similar features and forms. The painting is based on the story of Pygmalion and Galatea from Ovid’s Metamorphoses. The series is held in the collection of Birmingham Museum and Art Gallery.

31 ENGLISH, MANNER OF WALTER CAVE ARTS & CRAFTS SETTEE, CIRCA 1900 mahogany frame with later upholstery 126cm wide, 116cm high, 60cm deep

£400-600

32 ENGLISH ART NOUVEAU TWO DOOR CABINET, CIRCA 1900 mahogany, with marquetry and mother-of-pearl inlay and copper fittings 65cm wide

£400-600

33 ENGLISH ARTS & CRAFTS COAL BOX, CIRCA 1900 copper and iron 61cm wide, 52cm high, 46cm deep

£100-200 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

34 ENGLISH ST CHRISTOPHER BY THE RIVER enamel 8.5cm x 3.5cm (frame size 11cm x 6.5cm)

£200-400

35 ENGLISH ‘ISABELLA AND THE POT OF BASIL’ enamel on copper 14.5cm x 10cm (frame size 18cm x 13cm)

£200-400

36 ENGLISH PASCHAL LAMB enamel 19cm x 11.5cm (frame size 30cm x 22.5cm)

£200-400

37 ENGLISH, ARTS & CRAFTS ‘WORK CONQUERING DESPAIR’, CIRCA 1905 enamel on silvered metal, beaten copper frame 14cm x 11cm (frame size 51cm x 38cm)

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

38 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON ‘CYMRIC’ CANDLESTICK, 1901 model 25, silver and enamel, stamped maker’s marks L&CO/ CYMRIC, hallmarked Birmingham 1901 15.6cm high Literature: Martin S. Archibald Knox, London 2001, p. 221 for a comparable example.

£500-700

39 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON ‘CYMRIC’ BOX, 1909 silver, enamel with cedar lining, maker’s marks W.H.H (W.H. Haseler), hallmarked Birmingham 1909 16cm wide, 5.5cm high, 8.5cm deep Literature: Martin, Stephen Archibald Knox, ArtMedia 2001, p. 242, model 632, 639 where similar knotwork and enamel panels are illustrated

£800-1,200

40 ARCHIBALD KNOX (1899-1933) FOR LIBERTY & CO., LONDON ‘CYRMIC’ ‘OLAF’ TABLE CLOCK, 1898 silver, the enamel dial painted with roman numerals, hallmarked London 1898, stamped maker’s marks L&CO, CYMRIC 9.5cm high Literature: Bernbaum, Anthony, ‘Origins of the Liberty Cymric range’, Archibald Knox Society Journal, 2014, Vol III, p. 26 Original design drawing held in Museum of Domestic Design and Architecture (MoDA SD2065) The Olaf table clock of 1898 was one of Knox’s earliest clock designs and was listed in a 1900 Liberty catalogue. Olaf was a 12th century King of the Isles, an area which included the Isle of Man, making the attribution to Knox near certain. Fascinatingly however, the Olaf clock design lacks the Celtic design features for which Knox is renowned, its solid base and the honest architectural feel of the vertical panels flanking the clock face aligning it more closely with the Arts & Crafts Movement.

£3,000-5,000

41 ARCHIBALD KNOX (1899-1933) FOR LIBERTY & CO., LONDON ‘CYRMIC’ ‘OLAF’ TABLE CLOCK, 1899 silver, the enamel dial inscribed FESTINA LENTE (more haste, less speed), case engraved OPORTET VIVERE (life is for living), hallmarked London 1899, stamped maker’s marks L&CO, CYMRIC, 5021 9.5cm high Provenance: Peartree Collection

£1,800-2,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

42 ENGLISH ARTS & CRAFTS WALL MIRROR, CIRCA 1900 copper, with enamel panels and beveled mirror plate

43 ENGLISH

48cm x 39.5cm

ARTS & CRAFTS MANTEL CLOCK, CIRCA 1900

£500-700

silver plate and enamel 15.5cm high

£200-400

44 ENGLISH ARTS & CRAFTS WRITING DESK, CIRCA 1900 oak, with copper fittings and panels 81cm wide, 142.8cm high, 38.5cm deep

£300-500

45 ATTRIBUTED TO J.S. HENRY (1878-1914) EDWARDIAN ARMCHAIR, CIRCA 1900 inlaid mahogany and later close-nailed velvet upholstery 72cm wide, 117cm high, 61cm deep

£300-500

46 COLLINS & CO., LEICESTER ARTS & CRAFTS MANTEL CLOCK, CIRCA 1900

47 JESSON, BIRKETT & CO., BIRMINGHAM LARGE ARTS & CRAFTS COPPER MANTEL CLOCK, CIRCA 1900

copper, mother-of-pearl cabochons, stamped COLLINS & CO, LEICESTER 23.5cm high

£300-500

copper, set with Ruskin dial and roundels 38.5cm high

£1,200-1,800

48 ENGLISH PAIR OF ARTS & CRAFTS CANDLESTICKS, CIRCA 1900 copper, set with Ruskin roundels, stamped 635 (2) 27cm high

£400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

49 JOHN DAWSON WATSON (1832-1892) STUDY FOR A ROUNDEL, 1876 watercolour and bodycolour, signed and dated lower right J.D.W. 43cm diameter (frame size 57.5cm square)

£200-400

50 MARY SETON WATTS (1849-1938) FOR COMPTON POTTERS’ GUILD ST. CECILIA tempera painted clay, impressed maker’s mark 32cm high Literature: Calvert, Hilary & Louise Boreham, Mary Seton Watts and the Compton Pottery, London, 2019, p.139, fig. 8.18

£200-300

51 SHAPLAND & PETTER, BARNSTAPLE ARTS & CRAFTS SIDEBOARD, CIRCA 1900 oak, brass, mirror plate, stencilled mark verso S&P/ *** 116cm wide, 147cm high, 56cm deep

£500-700 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

52 JOSEPH EDWARD SOUTHALL (1861-1944) STUDY OF A YOUNG MAN, 1893 red chalk, signed with artist’s monogram and dated lower right 36cm x 26cm (frame size 47.5cm x 37.5cm)

£500-700

53 MANNER OF WALTER CRANE EMBROIDERED PANEL, CIRCA 1900 coloured silks and gold threads, reserved on an unbleached linen ground 27.5cm x 19cm (frame size 35cm x 27cm)

£200-400

54 ENGLISH ARTS & CRAFTS OPEN BOOKCASE, CIRCA 1910 mahogany 109cm wide, 142.5cm high, 31cm deep

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

55 WILLIAM HUTTON & SONS PHOTOGRAPH FRAME, 1904 silver and enamel, stamped maker’s mark and registration number RD404508, hallmarked London 1904 13.5cm square

£300-500

56 ENGLISH GROUP OF THREE EDWARDIAN PHOTOGRAPH FRAMES, CIRCA 1905 silver; comprising WOOLF BROTHERS & CO. LIMITED, with enamel panels, stamped maker’s marks, hallmarked Birmingham 1903, 12cm x 17.5cm; THOMAS LATHAM & ERNEST MORTON, with turquoise cabochon, stamped maker’s marks, hallmarked Birmingham 1904, 12cm x 8cm; CHARLES S GREEN & CO. LIMITED, stamped maker’s marks, hallmarked Birmingham 1906, 13cm square (3) £300-500

57 WILLIAM HUTTON & SONS PHOTOGRAPH FRAME, 1902 silver and enamel, stamped maker’s mark RD. 404516, hallmarked London 1902, 20cm x 16.5cm; together with a DOUBLE PHOTOGRAPH FRAME, of similar design, silver and enamel, stamped STERLING/ G1919, 8cm x 11.5cm (2) £400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

58 JOHN MANGER, LONDON TABLE CLOCK, 1904 silver and enamel, hallmarked London 1904, stamped maker’s mark, the movement stamped MADE IN FRANCE 9cm high

£800-1,200

59 JAMES DIXON & SONS, SHEFFIELD PAIR OF ARTS & CRAFTS CANDLESTICKS, 1909 silver, weighted, stamped to nozzle and base maker’s mark J.D.&S., each hallmarked Sheffield 1909 (2) 22cm high

£1,000-1,500

60 LIBERTY & CO., LONDON OVAL PHOTOGRAPH FRAME, 1907 silver and enamel, stamped maker’s marks, hallmarked Birmingham 1907, 16cm x 11.5cm; together with J & R GRIFFIN, OVAL PHOTOGRAPH FRAME, silver and enamel, hallmarked Chester 1913, 16.5cm x 12.5cm (2) £300-500

61 LIBERTY & CO., LONDON PHOTOGRAPH FRAME, 1904 silver, set with turquoise stones, stamped maker’s mark, CYRMIC, hallmarked Birmingham 1904 25cm x 20cm

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

62 HENRY JOHN STOCK (1853-1930) ‘THE HUMILIATION’, 1895 watercolour, signed and dated lower right H. J. STOCK 23.5cm x 18.5cm (frame size 52cm x 46cm)

£400-600

63 WILLIAM ARTHUR CHASE (1878–1944) ‘THE LEGEND OF ST. CECELIA’, 1878 oil on board, signed lower right W. A. CHASE, dated verso, in a tortoiseshell veneered and ebonised frame 32cm x 25cm (frame size 48.5cm x 42cm)

£400-600

64 HENRY JOHN STOCK (1853-1930) UNDER HEAVEN’S PROTECTION, 1898 watercolour, signed and dated lower left H. J. STOCK 26cm x 34cm (frame size 50cm x 58cm) Provenance: Sim Fine Art, London

£500-700

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

65 MANNER OF ROBERT ANNING BELL THE PARTING OF CORDELIA AND HER SISTERS, CIRCA 1905 patinated plaster, framed 58.5cm x 85cm (frame size 82cm x 109cm) Provenance: Sotheby’s, Billingshurst Applied Arts, 11th October 2011, lot 55

£600-800

66 E. HORTON (SARAH ELIZABETH ROBERTS) (1865–1959) ‘PEACE TO THE HOUSE’ polychrome gesso set with abalone shell, inscribed ‘εἰρηρνη τῳ οἰκῴ/ χαιρε’ (peace to the house/ welcome) 47.5cm x 33cm (frame size 67cm x 52cm)

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

67 HELEN MABEL TREVOR (1831-1900) PORTRAIT OF A MAN, AFTER HANS OLAF HAYERDAHL oil on canvas, signed upper right HELEN MABEL TREVOR 53cm x 43cm (frame size 80.5cm x 70cm)

£700-900

68 § VICTOR HUME MOODY (1896-1990) ‘ALLAN’, AFTER HOLBEIN, 1916 oil on board 30cm x 24.5cm (frame size 45cm x 39.5cm)

£700-900

Label verso reads “Oil by Victor Hume Moody painter in 1916 of Allan in Tudor costume made by the students of Battersea Poly, hat by Patty and Pam. Allan fellow student, afterwards enlisted and was killed in c’17.”

69 ENGLISH ARTS & CRAFTS WALL MIRROR repoussé-decorated copper, with inset Ruskin plaques, later mirror plate 59cm x 92cm

£400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

70 CHARLES FAIRFAX MURRAY (1849-1919) FOR MORRIS & CO. DESIGN FOR A ‘MINSTREL’ TILE pencil on tracing paper 25.5cm x 12.5cm (frame size 42cm x 27.5cm) Provenance: Campbell Wilson Literature: Myers R. and H. William Morris Tiles, Richard Dennis 1996, p. 88, pl. 32c, where this design is illustrated

END OF COLLECTION

£800-1,200 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

71 W. GODWIN, LUGWARDINE, HEREFORD GROUP OF TWELVE GOTHIC REVIVAL 6-INCH ENCAUSTIC TILES, CIRCA 1860 comprising TWO FOUR-TILE SETS; together with FOUR FURTHER TILES, in different colourways, impressed maker’s marks (12) each tile 15cm square Provenance: Private Collection, London

£300-500

72 A.W.N. PUGIN (1812-1852) FOR MINTON & CO. EIGHTEEN GOTHIC REVIVAL ENCAUSTIC TILES, CIRCA 1860 earthenware, decorated with the monogram for John Talbot, Earl of Shrewsbury, impressed maker’s marks (18) each 15cm square Provenance: Private Collection, London Literature: Crumpton G (ed.)The John Scott Tile Collection, Pitkin Publishing, 2017, p.52

£800-1,200

73 A.W.N. PUGIN (1812-1852) FOR JOHN HARDMAN & CO., BIRMINGHAM PYX AND SPOON, 1856 silver and silver gilt, stamped maker’s mark, hallmarked Birmingham 1856 (2) pyx 4.3cm diameter, spoon 9.5cm long

£300-500

74 ATTRIBUTED TO A.W.N. PUGIN (1812-1852) GOTHIC REVIVAL STOOL, CIRCA 1840 oak, with velvet upholstered seat 60cm wide, 48cm high, 49cm deep Provenance: Paul Shutler Private Collection Literature: Atterbury P. and Wainwright C., Pugin: A Gothic Passion, p. 132, pl. 232 for a comparative chair. Aldrich M. and Atterbury P. et al., A.W.N. Pugin: Master of Gothic Revival’, Yale University Press 1995, p. 254, no. 29 A chair of related design was designed by Pugin for his project at Scarisbrick Hall in Lancashire for Charles Scarisbrick from 1836-1845. The base of this chair is of the same design as the stool offered here. It is a variation of a design published in Pugin’s Gothic Furniture in the Style of the 15th Century (1835), based on late medieval examples illustrated in manuscripts, and represented a move away from the more ‘decorative and fanciful’ gothic of the Regency period to designs taken from source.

£600-800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

75 A.W.N PUGIN (1812-1852) DESIGN FOR A DESK STAND AND PEN TRAY, CIRCA 1846 pen and ink, framed, 15cm x 15.5cm (frame size 38.5cm x 43cm); together with a DESIGN FOR A SCABBARD, by the same hand, pen, ink and watercolour with pencil annotations, framed, 21.5cm x 17cm (frame size 42.5cm x 38cm) (2) From 1946 A.W.N. Pugin was employed designing fixtures and fittings for the new Palace of Westminster, the previous building having been destroyed by fire in 1834. Pugin worked alongside the architect Charles Barry, winner of the 1835 competition to redesign the Palace, contributing his overwhelmingly Gothic style. Hundreds of Pugin’s original drawings survive, many held by the V&A, in which he combines pen and ink designs with pencil annotations, sometimes enhanced with watercolour.

£400-600

76 A.W.N. PUGIN (1812-1852) FOR MINTON, HOLLINS & CO. GROUP OF NINE GOTHIC REVIVAL TILES, CIRCA 1860 glazed earthenware, moulded maker’s marks (9) each 15cm square

£400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

77 GEORGE EDMUND STREET (1824-1881), COLLINSON & LOCK, LONDON (MAKER) GOTHIC REVIVAL SIDE CHAIR, CIRCA 1880 oak, with later upholstery on brass castors, paper retailer’s label 45.5cm wide, 88.5cm high, 49.5cm deep Provenance: Paul Shutler Private Collection

£400-600 Literature: Edwards, C. Collinson & Lock: Art Furnishers, Interior Decorators and Designers, 1870-1900, Matador 2022, p.193, pl.4.186 where this chair is illustrated. Note: Street designed these chairs for the Law Courts (now the Royal Courts of Justice) which he also designed, and which were opened by Queen Victoria in 1882.

78 A.W.N. PUGIN (1812-1852) FOR JOHN HARDMAN & CO. SET OF GOTHIC REVIVAL FIRE IRONS, CIRCA 1850 cast iron and brass, comprising; a SHOVEL; a PAIR OF TONGS; and a POKER (3) 75cm long Literature: See Historic Furniture & Decorative Arts Collection, Houses of Parliament, London, no. POW 05245 for related fire irons (heritagecollections.parliament. uk/collections/getrecord/ HOP_POW_05245)

£800-1,200

79 ATTRIBUTED TO A.W.N. PUGIN (1812-1852) GOTHIC REVIVAL COLLECTOR’S CABINET, CIRCA 1860 oak 46.5cm wide, 60cm high, 30cm deep For related panelling see the doors on ‘The Pugin Armoire’, V&A Collection accession no. 25:1 to 3-1852

£600-800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

80 ENGLISH, MANNER OF E.W. PUGIN GOTHIC REVIVAL TRIPTYCH TOILET MIRROR, CIRCA 1880 polychrome wrought iron, with mirrored plates 90.5cm wide (open), 87cm high

£300-500

81 ENGLISH GOTHIC REVIVAL PAIR OF ALTAR CANDLESTICKS, CIRCA 1880 brass, with hardstone cabochons (2) 46cm high

£600-800

82 HART, SON, PEARD & CO., LONDON LARGE PAIR OF GOTHIC REVIVAL CANDLESTICKS, CIRCA 1880 brass, with hardstone cabochons (2) 77cm high Provenance: Private Collection Literature: Hart, Son, Peard & Co., Trade Catalogue, Section 5, p. 184, where a similar design is illustrated

£800-1,200 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

83 ENGLISH GOTHIC WALL MIRROR, CIRCA 1880 oak, mirror plate, brass 45.5cm x 75cm

£300-500

84 A.W.N. PUGIN (1812-1852) FOR JOHN HARDMAN & CO., BIRMINGHAM PAIR OF GOTHIC REVIVAL TABLE LAMPS, THE BASES CIRCA 1840 brass, later truncated from altar candlesticks, and converted to electricity with later painted card ‘candles’ and card shades (2) 25.5cm high to drip tray, 46cm high to fitting Originally designed for St Mary’s College, Oscott and made by John Hardman & Co.

£600-800

85 ÉMILE MULLER & CIE ROMANESQUE REVIVAL PLANTER ON ORIGINAL STAND, CIRCA 1880 terracotta, oak, planter with artist’s mark and stamped 855 planter 65cm wide, 27.5cm high, 21cm deep; stand 58cm wide, 77cm high, 37.5cm deep; total height 97cm Émile Muller (1823-1889) and his son Louis formed partnerships with French national and regional museum curators to cast moulds directly from their collections. In this case the mould is from the Musée des Augustins in Toulouse which holds the world’s most definitive collection of Romanesque carvings.

£1,200-1,800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

86 BRUCE TALBERT (1838-1881) FOR COX & SONS NEF, CIRCA 1870 silvered metal, with removeable inkwell and trays, stamped to base COX & SONS/ SOUTHAMPTON ST./ LONDON 18.5cm long, 19.8cm high

£1,000-1,500 This design appears in Cox & Sons’ catalogues of 1873 and 1876. Talbert drew similar nefs on furniture in his publications.

87 ATTRIBUTED TO BRUCE J. TALBERT (1838-1881) FOR GILLOW & CO. REFORMED GOTHIC CANTERBURY, CIRCA 1870 inlaid walnut, with brass fittings, stamped to door GILLOW & CO.

88 CHARLES BEVAN (1815-1891) FOR MARSH & JONES GOTHIC REVIVAL BED, CIRCA 1860 birch, with marquetry inlay (side rails lacking), bears paper maker’s label (2) headboard 167cm wide, 131cm high Provenance: Private Collection, London

£800-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

58cm wide, 100cm high, 38cm deep Provenance: H. Blairman & Sons, London Private Collection

£1,000-1,500

89 FRENCH PAIR OF GOTHIC REVIVAL CEILING LIGHTS, CIRCA 1890 wrought steel (2) 72cm high, 33.5cm diameter

£500-800

90 CHARLES BEVAN (C.1815-1891) FOR MARSH & JONES, LEEDS PAIR OF GOTHIC REVIVAL CHAIRS, CIRCA 1865 satinwood, inlaid specimen woods, felt upholstery (2) 40cm wide, 86cm high, 39cm deep Provenance: Provenance:Baildon Lodge 1865-73 Milner Field until 1903 (now demolished) Denton Hall, near Ilkley until 1911 The Old Rectory at Thorp Arch near Boston Spa Unknown address in Harrogate until 1930 Rotterdam antique trade, The Netherlands 2021 Paul Shutler Private Collection

Note: Titus Salt Jr., youngest son of Sir Titus Salt, married Catherine Crossley in 1866 and moved to Baildon Lodge near Bradford. Between 1865 and 1867 the couple commissioned local firm Marsh & Jones to furnish their home, from a grand piano to domestic wares. Marsh & Jones employed Charles Bevan, whose designs in the reformed Gothic style, alongside Bruce Talbert’s contemporary ‘medieval’ furniture, are regarded as marking an important turning point in British taste. Between 1871 and 1873 the Salts moved to their new country house, Milner Field, taking the contents of Baildon Lodge with them. Designed by Thomas Harris, the house incorporated furniture and panelling by Marsh & Jones, ornamental metalwork by Richardson, Slade & Co., and stained glass and decorative schemes by Saunders & Co. and Frederick Weekes. The present chairs form part of the music room suite associated with Catherine Salt, an accomplished musician and singer. Their distinctive A-frame backs correspond closely with the music cabinet and piano music stand from the same commission. The surviving duet stool at Lotherton Hall retains the maker’s label, inscribed with job number 99127, placing the commission within a sequence of documented Salt furnishings.

Literature: Gilbert C. Furniture at Temple Newsam House and Lotherton Hall, Volume II, 1978. Boynton L.O.J. High Victorian Furniture: The Example of Marsh and Jones of Leeds Furniture History Society, Journal III, 1967 where a transcribed copy of the Titus Salt order dated 8th August 1866 is seen in Appendix II (the rooms described are those at Baildon Lodge and not Milner Field.)

£1,000-1,500

91 ATTRIBUTED TO CHARLES BEVAN (1815-1891) FOR MARSH & JONES, LEEDS GOTHIC REVIVAL WRITING TABLE, CIRCA 1865 maple, with inlaid decoration in various woods, original leather top 107cm wide, 73cm high, 54.5cm deep Provenance: H. Blairman & Sons, London Private Collection

£1,000-1,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

92 ALFRED WATERHOUSE (1830-1905) PAIR OF AESTHETIC MOVEMENT SIDE CHAIRS, CIRCA 1870 probably manufactured by Henry Capel (1866-82), ebonised wood, with velvet upholstery, leather straps and close-nails (2) 45cm wide, 95.5cm high, 45cm deep Provenance: Roundell Palmer, 1st Earl of Selborne (1812-95), and by descent Sold Sotheby’s Belgravia, 28 May 1975, lot 122 (set of four) Acquired through Haslam & Whiteway Clive and Jane Wainwright H. Blairman & Sons, London Private Collection Exhibited: H. Blairman & Sons, London The Clive and Jane Wainwright Collection, 21 June-14 July 2023, no. 24 Literature: Girouard M. Blackmoor House, Hampshire – II The Property of the Earl of Selborne, Country Life, 5 September 1974, pp. 614-17. One of the chairs shown in fig. 1 For a related pair of chairs see The National Gallery of Victoria Collection, accession no. D149.2-1975 A photograph of Beatrix Potter (1866–1943), taken by her father, Rupert Potter (1832–1914) on 3 October 1897, shows the writer with her terrier dog seated on an identical chair to the current lot (V&A, E.765-2005). The photograph was taken at Lingholm, an estate on the northwest shore of Derwentwater, near Keswick, designed by Alfred Waterhouse in 1873. Potter and her family spent their summer holidays at Lingholm, whose gardens and surrounding landscape provided an important source of inspiration for her work. The contents of Lingholm were subsequently dispersed by Lyon & Turnbull on 22 October 2013.

£1,000-1,500

93 BRUCE TALBERT (1838-1881) FOR HOLLAND & SONS REFORMED GOTHIC BUFFET, CIRCA 1868 oak, with marquetry inlay, stamped HOLLAND & SONS 104.5cm wide, 108.5cm high, 55cm deep Provenance: The Fine Art Society, London Donald Cooper H. Blairman & Son Private Collection Exhibited: The Fine Art Society, London Architect-Designers Pugin to Mackintosh, 5–29 May 1981, no. 34 Literature: Talbert B. J. Gothic Forms, London, 1868, pl. 2; where a similar buffet is illustrated. Gere C. & Whiteway M. Nineteenth-Century Furniture, London, 1993, pl. 130

£2,000-3,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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

BRUCE TALBERT (1838-1881) FOR COX & SON, LONDON

‘CAIRO’ LOW ARMCHAIR, CIRCA 1875

19.5cm long, 20.5cm high

oak, with upholstered seat 58cm wide, 80cm high, 50cm deep

NEF, CIRCA 1870 brass Provenance: H. Blairman & Sons, London Private Collection This design appears in Cox & Sons’ catalogues of 1873 and 1876. Talbert drew similar nefs on furniture in his publications.

£600-800

£800-1,200

96 ATTRIBUTED TO ALFRED WATERHOUSE (1830-1905) CENTRE TABLE, CIRCA 1870 oak, with brass castors 99cm diameter, 72cm high

£600-800

An advertisement or show card for Henry Capel’s Art Furniture of around 1875 illustrates this chair priced at £9. Henry Capel was one of several furniture manufacturers who specialised in ‘art furniture’. Capel worked particularly closely with Alfred Waterhouse, producing furniture and fittings for over 30 of Waterhouse’s buildings. He is recorded as working throughout the 1870s and exhibited at the Paris Universal Exhibition of 1878.

97 ALFRED WATERHOUSE (1830-1905) SET OF FOUR DINING CHAIRS, CIRCA 1875 oak, upholstery (4) 47cm wide, 97cm high, 53cm deep Literature: Cooper, Jeremy Victorian & Edwardian Furniture & Interiors, Thames & Hudson 1998, pp.1067 (chair from Manchester Town Hall illustrated) Lever J. (ed.), Architects’ Design for Furniture, London, 1982, pp. 83-4

£400-600

98 MANNER OF ALEXANDER ‘GREEK’ THOMSON THIRTEEN GREEK REVIVAL PAINTED GLASS PANELS, CIRCA 1880 each painted with anthemion and Greek key motifs on a frosted ground (13) 91.5cm x 40.5cm Provenance: Private Collection, London

£300-500

99 ATTRIBUTED TO BRUCE J. TALBERT (1838-1881) FOR JACKSON & GRAHAM, LONDON AESTHETIC MOVEMENT LIBRARY TABLE, CIRCA 1870 oak, with inset, gilt-incised leather top and brass fittings, stamped to drawer JACKSON & GRAHAM, LONDON 107cm wide, 73cm high, 80.5cm deep The firm of Jackson & Graham, which made this table, was established by Thomas Jackson and Peter Graham at 37 Oxford Street, London in 1836. They expanded rapidly and their premises included both workshops and retail showrooms. The firm specialised in high quality furniture, and well-known designers that worked for the firm included Owen Jones, Bruce Talbert and Thomas Jeckyll.

£500-800

100 ENGLISH MUSCULAR GOTHIC RECLINING ARMCHAIR, CIRCA 1870 oak, with close-nailed leather upholstery 58cm wide, 120cm high, 70cm deep (at most upright)

£400-600

101 W.T. COPELAND & SONS TWELVE-TILE ‘MEDIEVAL MINSTRELS’ PANEL, CIRCA 1880 dust-pressed clay, framed each tile 15cm square (frame size 68.5cm x 55cm)

£800-1,200

102 MANNER OF E.W. GODWIN PAIR OF ‘SHAKESPEARE’ ARMCHAIRS, CIRCA 1880 stained oak (2) 60cm wide, 130.5cm high, 43.5cm deep

£400-600

103 CHARLES LOCKE EASTLAKE (1836-1906) AESTHETIC MOVEMENT LIBRARY TABLE, CIRCA 1870 oak 145cm long, 70cm high, 81cm deep Literature: Eastlake, Charles L. Hints on Household Taste, Longmans, Green & Co., 1878, p 178 where a table with similar characteristics is illustrated.

£700-900

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

104 COLLINSON & LOCK, LONDON AESTHETIC MOVEMENT CORNER CABINET, CIRCA 1876 mahogany, stamped DOVESTONE, DAVEY, HULL & CO/ MANCHESTER 87cm wide, 180.5cm high, 63.5cm deep Literature: Smith W. Examples of Household Taste, R. Worthington New York 1876, p. 492 Edwards C. Collinson & Lock: Art Furnishers, Interior Decorators and Designers, 1870-1900, Matador 2022, pp. 125-127 and p.128, pl. 4.38 where this cabinet is illustrated. The current lot is a version of the corner cabinet displayed by Collinson & Lock at the Philadelphia International exhibition of 1876. Please see online for more information.

£300-500

105 SIMON FIELDING (1827-1905) MAJOLICA GARDEN SEAT, CIRCA 1875 glazed earthenware 50cm high Literature: Weber, Susan, with Boston, Nick, Majolica Mania, Bard Graduate Centre, Volume 2, p. 448 This garden seat is rare with a cobalt blue ground, the turquoise ground being standard in other surviving examples.

£400-600

106 ATTRIBUTED TO T.E. COLCUTT (1840-1924) FOR COLLINSON & LOCK, LONDON AESTHETIC MOVEMENT BEDSIDE CABINET, CIRCA 1870 mahogany, polychrome painted panel probably by Charles Fairfax Murray (1849-1919), copper fittings 38cm wide, 77cm high, 29.5cm deep Literature: Edwards, C. Collinson & Lock: Art Furnishers, Interior Decorators and Designers, 1870-1900, Matador 2022, p.109, pl. 4.13 where a door with similar characteristics, held at the Metropolitan Museum of Art, is illustrated.

£250-350

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

107 MANNER OF BRUCE J. TALBERT PAIR OF AESTHETIC MOVEMENT WALL SCONCES, CIRCA 1878 brass, each with registration mark for November 1878 (2) 39cm x 26cm

£600-800

108 MINTON’S TWO AESTHETIC MOVEMENT WALL PLAQUES, CIRCA 1875 hand-painted and glazed earthenware, impressed and stamped maker’s marks and date cypher (2) 39cm diameter

£300-500

109 CHARLES EASTLAKE (1836-1906) FOR HOLLAND & SONS AESTHETIC MOVEMENT CHEST OF DRAWERS, CIRCA 1880 mahogany, with brass handles, stamped to top drawer HOLLAND & SONS 114.5cm wide, 124cm high, 59.5cm deep Literature: Eastlake C. L., Hints on Household Taste, Longmans, Green & Co., 1878, p 215 where a similar chest is illustrated. Cooper J., Victorian & Edwardian Furniture & Interiors, Thames & Hudson 1998, pp.108-9, pl. 240 Eastlake was not a commercial designer and earned his living as Keeper of the National Gallery. Most of his designs were variants based on his published designs, as in the present example.

£800-1,200

110 DANIEL COTTIER (1838-1891) AESTHETIC MOVEMENT DRESSER, CIRCA 1870 ebonised wood, with brass fittings and incised, gilded decoration 104.5cm wide, 189cm high, 48cm deep Provenance: Paul Shutler Private Collection

£4,000-6,000

Note: The firm of Cottier & Co. was founded by the artist, designer, decorator and art dealer Daniel Cottier (1838–1891). Cottier initially trained as a coach painter in Glasgow, but by the 1860s he had moved to London, where he worked as a glass designer. During this period, he attended lectures by the influential critic John Ruskin and received drawing lessons from the artist Ford Madox Brown. Returning to Scotland, Cottier established his own business in 1864, which subsequently developed into a highly successful international enterprise, with branches in London, New York, Sydney and Melbourne.

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

Cottier’s interests extended across a wide range of decorative arts, including glass, furniture, ceramics and interior design. In the United States, he has been described as a ‘harbinger of Aestheticism … and a profound influence on American decoration’. As a key exponent of the Aesthetic movement, Cottier developed a highly distinctive and original decorative style, characterised by delicately painted surface decoration, often applied against gold or ebonised grounds to create a striking contrast, as seen in the present example. His designs frequently drew upon the Japanese aesthetic that became closely associated with the Aesthetic movement, while also incorporating motifs and sources drawn from earlier cultures. The present lot is a particularly interesting example of this broader approach, combining Cottier’s characteristic decorative treatment with imagery derived from ancient sources.

111 WEDGWOOD TWO AESTHETIC MOVEMENT VASES, CIRCA 1880 glazed earthenware, stamped and impressed maker’s marks, 37cm and 37.5cm high; together with a further PAIR OF AESTHETIC MOVEMENT VASES, glazed earthenware, 32cm high (4) £400-600

112 ATTRIBUTED TO DANIEL COTTIER (1838-1891) PAIR OF AESTHETIC MOVEMENT CHAIRS, CIRCA 1870 ebonised wood, woven wool upholstery (2) 50cm wide, 82cm high, 51cm deep Provenance: Paul Reeves, London Private Collection For a related pair of chairs see National Trust for Scotland Collection, Holmwood House, Glasgow.

£800-1,200

113 ENGLISH, POSSIBLY SPODE NEO-CLASSICAL GARDEN SEAT, CIRCA 1860 glazed earthenware, unmarked 48cm high

£600-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

114 THOMAS JECKYLL (1827-1881) FOR ROBBINS & CO., DUDLEY AESTHETIC MOVEMENT WALL SCONCE, 1881 brass, stamped registration lozenge 24.2cm wide, 50cm high, 11.5cm deep Literature: Phillips, New York, December 17th 2003, lot 431 for a similar example V&A Collection, Accession No. E.5448-1958 for similar treatment of a bird motif within bands of decoration

£2,000-3,000

115 THOMAS JECKYLL (1827-1881) FOR ROBBINS & CO., DUDLEY AESTHETIC MOVEMENT WALL SCONCE, 1881 brass, stamped registration lozenge 24.4cm wide, 50cm high, 12cm deep Literature: Phillips, New York, December 17th 2003, lot 431 for a similar example V&A Collection, Accession No. E.54481958 for similar treatment of a bird motif within bands of decoration

£2,000-3,000

Born in 1827, Thomas Jeckyll began his career in his native

wrought-iron revival in Britain, his most regular partner since

East Anglia. Having trained as an architect, he set up a

1850 being the firm Barnard, Bishop & Barnards. Indeed, the

practice in Norwich in 1854, his initial work focusing on

naturalistic ‘Norwich Gates’ he designed for the International

church restorations in the Gothic Revival Style. By the 1860s

Exhibition earned him a national reputation such that he was

his work had expanded to embrace the Aesthetic Movement

referred to as ‘Jekyll [sic] of the gates’. Alongside him taking

and it was not long until he was considered a leading light in

inspiration from natural forms, there is also evidence of

the Anglo-Japanese branch of this style. His experimental

Jeckyll incorporating Japanese art from the mid-1860’s.

synthesis of different design styles has been remarked upon, as he used variously Queen Anne Style, English vernacular with Anglo-Japanese, and Neo-Georgian to name a few.

Jeckyll also worked for the firm Robbins & Co. based in Dudley, with whom his younger brother Henry Jeckell also collaborated. The end of Thomas’s life is one of tragedy, his

It is for his metalwork however that Jeckyll is best known.

gradual mental deterioration culminating in insanity which

Until the International Exhibition in London in 1862, metal

saw him confined to an asylum for the majority of the latter

products from France were considered superior to British

half of the 1870’s. It is thought that his brother, who was

examples. Jeckyll was one of the designers shaping the

in charge of his personal effects, continued acting as his intermediary after the time when Thomas had capacity. This allows for the 1881 date of this sconce, a point at which Jeckyll was in a Norwich asylum and in his final days.

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

116 Y COLLINSON & LOCK, LONDON AESTHETIC MOVEMENT CABINET, CIRCA 1880 rosewood, brass fittings, polychrome panels by Charles Fairfax Murray (1849-1919) 120cm wide, 195cm high, 48.5cm deep Provenance: H. Blairman & Sons, London Private Collection Literature: Edwards C. Collinson & Lock: Art Furnishers, Interior Decorators and Designers, 1870-1900, Matador 2022, pp. 133-135, pl. 4.48 and 4.48a where the current cabinet is illustrated.

£2,000-3,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

117 ENGLISH PAIR OF AESTHETIC MOVEMENT WALL CABINETS, CIRCA 1880 ebonised and gilded wood, painted panels, velvet panels and faceted glass doors (2) 107.5cm wide, 138cm high, 20cm deep Provenance: Private Collection, London

£1,000-1,500

118 JOSEPH HOLDCROFT (C.1832-1904) PAIR OF MAJOLICA BIRD UMBRELLA STANDS, CIRCA 1875 glazed earthenware (2) Stork 74cm high, Heron 76cm high Literature: Dawes N.M. Majolica, Crown Publishers, New York, 1990, p. 129, fig. 225 Weber S., with Boston N. ‘The Minton of Longton: Joseph Holdcroft’s Sutherland Pottery’ within Majolica Mania Transatlantic Pottery in England and the United States, 1850–1915, Bard Graduate Centre, Volume 2, p. 347 These are unusual examples in that their bases are in cobalt blue, mottled green and brown being the more commonplace colouring.

£3,000-5,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

119 ‡ WILLIAM STEPHEN COLEMAN (1829-1904) FOR MINTONS’ ART-POTTERY STUDIO ‘CHERUB ON BOAT’ CHARGER, CIRCA painted and glazed earthenware, signed lower left W.S. COLEMAN, printed maker’s mark verso MINTONS’ ART-POTTERY STUDIO/ KENSINGTON GORE, printed retailer’s mark T. GOODE/ LONDON, later framed and mounted 49.4cm diameter (frame size 79.5cm x 79.5cm)

£3,000-5,000

120 MANNER OF DANIEL COTTIER GREEK REVIVAL BOOKCASE, CIRCA 1860 ebonised and patinated wood, bears copper maker’s or retailer’s label T.H. FILMER & SONS 112cm wide, 154cm high, 42cm deep

£600-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

121 ENGLISH AESTHETIC MOVEMENT WALL MIRROR, CIRCA 1880 ebonised and patinated wood, bevelled mirror plate 46cm wide, 90cm high, 16cm deep

£300-500

122 Y ATTRIBUTED TO T.E. COLLCUTT (1840-1924) FOR COLLINSON & LOCK, LONDON AESTHETIC MOVEMENT SIDE TABLE, CIRCA 1880

123 MANNER OF E.W. GODWIN AESTHETIC MOVEMENT PARLOUR CHAIR, CIRCA 1875 ebonised wood, with original close-nailed plush upholstery 54.5cm wide, 83cm high, 56cm deep

£400-600

rosewood, satinwood, with brass handles, stamped 7025/ COLLINSON & LOCK/ LONDON 76cm wide, 73cm high, 51cm deep Provenance: Paul Reeves, London Private Collection Literature: Edwards, C. Collinson & Lock: Art Furnishers, Interior Decorators and Designers, 1870-1900, Matador 2022, p.168, pl.4.127 where this table is illustrated.

£800-1,200

124 AFTER E.W. GODWIN, POSSIBLY BY WILLIAM WATT PAIR OF AESTHETIC MOVEMENT SIDE CHAIRS, CIRCA 1880 mahogany, with upholstery (2) 34.5cm wide, 74cm high, 44cm deep

£600-800

125 JAMES LAMB, MANCHESTER AESTHETIC MOVEMENT SOFA, CIRCA 1880 ebonised wood, brass, cloisonné enamel panel, upholstery 137cm wide, 79cm high, 58cm deep Provenance: The Fine Art Society, London Private Collection

£1,500-2,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

126 J. W. BENSON, LONDON AESTHETIC MOVEMENT CLOCK GARNITURE, CIRCA 1880 painted ceramic dial and panels, oak case, clock stamped J. W. BENSON/ MAKER/ 25 OLD BOND STREET/ LONDON (3) clock 25.5cm high; garnitures 21cm high

£300-500

127 FRENCH SCHOOL HALL LANTERN, CIRCA 1920 wrought iron and glass 88cm high Provenance: Private Collection, London

£600-800

128 BENJAMIN CRESWICK (1853-1946) THE BLACKSMITH’S FORGE terracotta relief, signed lower right B. CRESWICK, bears label verso inscribed KELMSCOTT MANOR, LECHDALE/ A LITTLE MOMENTO OF WILLIAM MORRIS, GREAT POET AND SOCIALIST - BOUGHT AT THE SALE OF HIS EFFECTS KELMSCOTT JULY 1939 28.5cm x 46cm Provenance: William Morris, Kelmscott Manor The Maas Gallery, London Exhibited: London, The Maas Gallery British Pictures 18401940, 4th November-18th December 1998, no. 46

£400-600

129 ATTRIBUTED TO COLLINSON & LOCK, LONDON AESTHETIC MOVEMENT OCCASIONAL TABLE, CIRCA 1880 mahogany 60cm wide, 63cm high, 59cm deep Literature: Edwards, C. Collinson & Lock: Art Furnishers, Interior Decorators and Designers, 1870-1900, Matador 2022, p.164-167, pls.4.112-4.118 where tables with similar attributions are illustrated.

£300-500

130 WILLIAM BUTTERFIELD (1814-1900) GOTHIC REVIVAL FLAGON, CIRCA 1850 glass, gilt-metal mounted, inscribed TE LAUDAMUS TIBI BENEDICTAMUS, indistinct dedication and dated June 1850 24.5cm high Literature: Tilbrook A. J. and Fisher Fine Art, Truth, Beauty and Design: Victorian, Edwardian and Later Decorative Art, Fischer Fine Art, 1986, p. 31, no. 48 where a flagon of similar design is illustrated

£300-500

131 WILLIAM BUTTERFIELD (1814-1900) FOR JOHN KEITH GOTHIC REVIVAL FLAGON, 1856

132 ‡

ruby glass, silver-mounted, stamped maker’s mark and hallmarks for London 1856

ROYAL WORCESTER

26cm high

porcelain, with painted and gilded decoration, impressed maker’s mark and registration lozenge for 1868 (2)

AESTHETIC MOVEMENT VASE AND COVER, PATTERN 1286, CIRCA 1868

Literature: For a similar example see V&A Collection, Accession No. LOAN:KENNINGTONCROSS.1-1981

27cm high

£400-600

133 ROYAL WORCESTER POSY HOLDER, 1880 glazed and gilt decorated porcelain, stamped maker’s mark and impressed maker’s mark and date letter 27.5cm high

£300-500

134 MANNER OF E.W. GODWIN FOR COLLINSON & LOCK, LONDON AESTHETIC MOVEMENT DROP-LEAF TABLE, CIRCA 1880 walnut 74cm wide, 72cm high, 27cm deep (closed), 94cm wide (open), Literature: Edwards, C. Collinson & Lock: Art Furnishers, Interior Decorators and Designers, 1870-1900, Matador 2022, p.181, pl.4.161 where a similar table is illustrated.

£400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

135 JAMES LAMB, MANCHESTER AESTHETIC MOVEMENT CABINET, CIRCA 1880 mahogany, with marquetry, brass and mother-of-pearl inlay, glazed doors, copper fittings, stamped LAMB MANCHESTER 181cm wide, 134cm high, 44cm deep Provenance: Paul Reeves, London Private Collection

£2,000-3,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

136 ATTRIBUTED TO CHRISTOPHER DRESSER (1834-1904) FOR MINTON & CO. PAIR OF VASES, CIRCA 1870 hand-painted and gilded porcelain, impressed maker’s marks MINTON (2) 25cm high

£700-900

137 ATTRIBUTED TO HART, SON, PEARD & CO., LONDON PAIR OF AESTHETIC MOVEMENT FINGER PLATES, 1881 cast brass, stamped registration lozenges (2) 24.5cm x 8cm

£300-500

138 THOMAS JECKYLL (1827-1881) FOR ROBBINS & CO., DUDLEY AESTHETIC MOVEMENT TRIVET, 1882 brass, bears registration mark for February 1882, cast mark no 3 19cm square The original design for this trivet is held at the Public Records Office, London

£300-500

139 HENRY JECKELL (1838-1917) FOR ROBBINS & CO., DUDLEY PAIR OF AESTHETIC MOVEMENT FIREDOGS, 1879 brass, stamped registration lozenge (2) 12.5cm wide, 26.5cm high, 20cm deep.

£500-800

Henry Jeckell was the younger brother of architect and designer Thomas Jeckyll. Jeckyll’s family were originally Jeckells, however Thomas changed his name, perhaps as an affectation to elevate his social status and lay a claim to belonging to an older, more established family line. The nature of the professional relationship between the two brothers is hard to decipher. Henry is listed as an architect in London in 1868 but there is no record of him being connected with Thomas’s office. Further, by 1872 Henry had ceased practicing as an architect and become the director-designer of the foundry Robbins & Co. in Dudley. Robbins & Co. counted Thomas Jeckyll amongst their employees, and held manufacturing rights to his designs. Whilst Thomas lived until 1881, he suffered such a deterioration in his mental state, that by 1876 his brother facilitated his move into a private asylum. These firedogs bear a registration lozenge dated for 1879, hence their attribution to Henry Jeckell, rather than his elder brother

140 MANNER OF CHRISTOPHER DRESSER NEAR PAIR OF HANGINGS, CIRCA 1880 woven silk, with later velvet border and lining (2) panels 121cm x 61cm, 127cm x 61cm; with later border 163cm x 100cm, 169.5cm x 101cm

£600-800

141 Y GORHAM MANUFACTURING CO. ‘TURKISH’ COFFEE POT, CIRCA 1890 copper, silver and ivory, stamped GORHAM CO/ V 57 33.5cm high Sold in compliance with UK Government and APHA regulations, with (nontransferable) exemption registration reference UJTXBA8S. Literature: Williams E.A. Japanese Metalwork and the Gorham Co., The Decorative Arts Society, Journal 42, 2018 , pp. 34-35, fig. 11 where a related coffee pot is illustrated.

£300-500 The alloys, colouring and patination developed by Japanese metalworkers had a profound influence on the stylistic development of American silver. As Christopher Dresser observed during his 1876 visit to Japan, the Japanese understood “the value of colour in metal”, treating gold, silver, copper and bronze as materials for creating beauty. Inspired by Japanese wares, Gorham experimented with metal appliqués, oxidised and patinated surfaces, and hammered and chased textures. In 1881 the firm introduced a range of copper wares in varied tones, including a red lacquer-like patina. Its ‘Turkish’ coffee pots, as in the present example, were often finished in a rich reddish-brown gloss, known as Gorham’s ‘red copper’ line.

142 CARLOS MAROCHETTI (1805-1867) FOR MINTON & CO. MAJOLICA JARDINIÈRE, CIRCA 1860 glazed earthenware 34cm high

£400-600 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

143 ATTRIBUTED TO CHARLES EDWARD HORTON FOR JAMES LAMB, MANCHESTER AESTHETIC MOVEMENT OCCASIONAL TABLE, CIRCA 1880 mahogany 46cm square, 65cm high Provenance: Paul Reeves, London Private Collection A table of comparable design by Horton for James Lamb exists in the V&A Collection, accession no. W.9-1986

£400-600

144 HENRY OGDEN & SON, MANCHESTER AESTHETIC MOVEMENT DRAWING ROOM CABINET, CIRCA 1870 mahogany, polychrome painted panels, glazed door, incised leather shelf, mirror plates, stamped H. OGDEN/ MANCHESTER, 8210 112cm wide, 149.5cm high, 35.5cm deep Provenance: Private Collection

£400-600

145 MINTON & CO. MAJOLICA GAME DISH, 1871 glazed earthenware, impressed maker’s marks and date marks, 36cm wide, 18cm high, 21cm deep; together with a MINTON-STYLE MAJOLICA JARDINIÈRE, glazed earthenware, impressed 1327, 26.5cm high (2) £300-500

146 HANNAH BARLOW (1851-1916) FOR DOULTON & CO., LAMBETH JUG, CIRCA 1880 salt-glazed stoneware, impressed maker’s mark and incised artist’s mark, 16cm high; together with a FLORENCE E. BARLOW (1856-1909) VASE, CIRCA 1880, salt-glazed stoneware, impressed maker’s mark and incised artist’s mark, 27.5cm high (2) £300-500

147 FLORENCE E. BARLOW (1856-1909) FOR DOULTON & CO., LAMBETH PAIR OF VASES, CIRCA 1880 glazed stoneware, impressed maker’s mark and incised artist’s mark (2) 34.5cm high

£300-500

148 ATTRIBUTED TO JAMES LAMB, MANCHESTER AESTHETIC MOVEMENT CANTERBURY, CIRCA 1875 ebonised mahogany, calamander with amboyna, gilt, mirror glass, brass and ceramic castors 72.5cm wide, 122cm high, 33cm deep Provenance: H. Blairman & Sons, London Private Collection

£500-700

149 ENGLISH AESTHETIC MOVEMENT OVERMANTEL, CIRCA 1880

150

ebonised and inlaid wood, mirror plate, velvet panels

HANNAH BARLOW (1851-1916) FOR DOULTON & CO., LAMBETH

167.5cm wide, 121cm high, 22cm deep

£300-500

BISCUIT BARREL, 1882 salt-glazed stoneware, plated metal, impressed maker’s mark, date, and incised artist’s mark 21.5cm high

£300-500

151 HANNAH BARLOW (1851-1916) FOR DOULTON, LAMBETH JARDINIÈRE, 1883 glazed stoneware, impressed maker’s mark and date, and incised artist’s mark 26cm high

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

152 ‡ CHRISTOPHER DRESSER (1834-1904) FOR JAMES DIXON & SON, SHEFFIELD TEAPOT, CIRCA 1879 silver plate, ebony, stamped maker’s marks JD&S/ EP/ 2274, stamped facsimile signature CHR. DRESSER 24.5cm wide, 17cm high, 5.1cm deep Provenance: Private Collection Literature: Halén W. Christopher Dresser, Phaedon 1990 p.1. ill. Whiteway M. Christopher Dresser 1834-1904, Skira Editore S.p.A., Milan 2001, p. 103, pl. 89 Christopher Dresser and Japan, ed. Koriyama City Museum of Art Brain Trust 2002, pl. 131 Whiteway M. (ed.) Christopher Dresser: A Design Revolution, V&A Publications 2004, pl. 6 Lyons H. Christopher Dresser; The Peoples Designer 1834-1904, Antique Collectors Club 2005, pls. 353 and 354 Rudoe, J. 2008 Design and Manufacture: Evidence from the Dixon & Sons Calculation Books, The Decorative Arts Society 1850 to the Present: Christopher Dresser in Context, Journal 29: 66-83. Sheffield Archives, Accession B496, Dixon costings book 1879, p. 115.

£30,000-50,000

This teapot, one of the icons of late 19th century design,

He commented that, “...so long as we value a material rather

forms part of a series of radical designs that Christopher

than the art, and insist on purchasing art objects by the

Dresser supplied to James Dixon & Sons of Sheffield

ounce, we can never attain true knowledge.” The striking

between 1879 and 1882, following his influential trip to

forms of his teapot designs for Dixon’s may have proved too

Japan in 1876–77. His teapot designs, reflecting his interest

expensive to manufacture, leaving too small a profit margin

in polyhedral Japanese tea kettles, were produced in very

for the firm when compared with some of his other designs,

limited numbers in electroplate and, occasionally, in silver.

several of which appeared in the company’s 1885 catalogue.

Their simplicity of line and lack of ornamentation were based on Japanese precedents, although Dresser made the designs distinctly his own, gathering together valuable influences and “developing a style which shall be new in character and yet at the same time an expression of our knowledge of all past ornament!”

A series of costing books, now held in the Sheffield Archives, reveals that Dresser produced approximately 80 designs for Dixon’s, not all of which are believed to have entered production. This may have been due partly to the comparative expense of manufacture, but also to the radical nature of his designs, which proved difficult for

As with his other designs, Dresser varied the degree of

contemporary tastes. Dresser’s close understanding of

surface decoration according to the material used. In silver

manufacturing processes and material use is clearly reflected

and plated wares, he tended to emphasise form rather than

in these records. They detail the production costs of each

ornament. This approach also made the objects simpler and

item, explain how they were made, and, in most cases,

less expensive to manufacture on a larger scale. Dresser

identify those designed by Dresser.

was deeply concerned with the economical use of costly materials and made it his business to understand production techniques thoroughly. Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

Christopher Dresser. Image courtesy of The Linnean Society of London.

The teapot’s entry in the 1879 costing

The “Stamping” line is left blank,

soldered at right angles to the side

book, in addition to listing costs,

but the six pieces of metal used for

walls of the body.

identifies some of the craftsmen

the body were cut using a stamping

responsible for specific stages of

machine. Two of these formed the

production. The description in the

3 3/4-inch square sides, turned on

Dixon calculation book of 1879 reads:

end as lozenges to create the body’s

“Teapot. Holds 1 1/2 Gill. Designed by Dr. Dresser.

distinctive diamond-shaped profile, while the remaining four pieces formed the square, box-shaped body. A corner

Body first put together in six pieces, 3

of the box was simply sawn off to

3/4-inch square [body], then the top

create the lid, requiring no additional

part sawn off for the cover.

metal and less labour than producing

Flat wire hard soldered inside top part of body and round the cover inside.

a separate cover. The lid is attached to the body by a plain rear hinge.

Spout put together in four pieces;

The square opening on each side was

square tube, 1 1/16 inches made and

probably stamped out by machine

passed through the centre of body and

so that, once the box-shaped body

hard soldered in.

had been assembled, the square tube

Cast and turned part with tube socket hard soldered in ends for ebony handle. Cast knob.”

forming the hollow centre could be inserted. The handle was made from three turned ebony components. The four legs were cast, turned, and hard-

There can be little doubt that the remarkable originality of Dresser’s series of teapot designs for Dixon’s are amongst his most seminal works. Two other examples of this teapot, model no. 2274, are known: one is held by the Victoria and Albert Museum in London (accession no. M.4-2006), and the other by the Montreal Museum of Fine Arts (inv. 2011.35). The expense of these teapots may have limited their production but what these extraordinary designs ultimately achieved was Dresser’s posthumous reputation as a proto-modernist, helping to secure his place as one of the greatest talents of 19th century design.

153 ATTRIBUTED TO CHRISTOPHER DRESSER (1834-1904) FOR MINTON & CO. AESTHETIC MOVEMENT VASE, CIRCA 1875 porcelain, with cloisonné-style decoration, impressed 1348 19.5cm high

£500-800

154 ATTRIBUTED TO CHRISTOPHER DRESSER (1834-1904) FOR MINTON & CO. PAIR OF ‘CLOISONNÉ’ VASES, CIRCA 1875 glazed porcelain, stamped maker’s mark (2) 31cm high

£700-1,000

155 ATTRIBUTED TO CHRISTOPHER DRESSER (1834-1904) FOR MINTON & CO. PAIR OF ‘CLOISONNÉ’ VASES, CIRCA 1875 glazed porcelain, with gilt and enamels (2) 19.5cm high

£800-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

156 ATTRIBUTED TO CHRISTOPHER DRESSER (1834-1904) OR JOHN MOYR SMITH (1839-1912) RARE FABRIC PANEL, CIRCA 1875 of ‘Byzantine’ design, silk and wool, framed 85.5cm x 118cm (frame size 94cm x 127cm)

£1,000-1,500

157 CHRISTOPHER DRESSER (1834-1904) ‘PRINCIPLES OF DECORATIVE DESIGN’, FOURTH EDITION London: Cassell, Petter & Galpin, 2 chromolithograph plates, monochrome illustrations, small 4to £300-500

158 CHRISTOPHER DRESSER (1834-1904) FOR J.W. & C. WARD, HALIFAX AESTHETIC MOVEMENT FABRIC PANEL, CIRCA 1873 silk and wool 66cm x 115cm Literature: Whiteway, M. (ed.) Christopher Dresser: A Design Revolution, V&A 2004, p. 75, no. 84

£400-600

159 CHRISTOPHER DRESSER (1834-1904) FOR HUKIN & HEATH, LONDON TOAST RACK, CIRCA 1880 electroplated, stamped maker’s marks, 2556, date lozenge 14cm wide, 13cm high, 10cm deep Literature: Whiteway M. Christopher Dresser 1834-1904, Milan 2001, p. 84, pl. 58 for a comparable example registered for 1881.

£600-800

160 ATTRIBUTED TO CHRISTOPHER DRESSER (1834-1904) FOR JAMES DIXON & SONS COFFEE SET, CIRCA 1880 electroplated, stamped maker’s marks JD&S/ EP/ 6/ 2266/ CF comprising a COFFEE POT, 23.5cm high; a SUGAR BOWL, 12cm high; a MILK JUG, 12.5cm high (3) Literature: New Century, Christopher Dresser, People’s Designer, 1834-1904, Exhibition Catalogue, June 1999, No. M-096 B (Jug numbered 2522 with comparable design features and with ball feet illustrated) Morley C. Dresser Decorative Design, Salisbury 2010, p.210, fig. 407 & 408 (Dixon & Sons teapot and a milk jug both numbered 2266 illustrated)

£500-700

161 CHRISTOPHER DRESSER (1834-1904) FOR HUKIN & HEATH, LONDON PART PICNIC TEA SERVICE CIRCA 1880 electroplated, rattan, comprising; a TEAPOT, 9cm high; a HOT WATER POT, 16cm high; a SUGAR BOWL, 5.5cm high; a MILK JUG, 5.5cm high, stamped maker’s and designer’s marks (4) £400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

162 ATTRIBUTED TO CHRISTOPHER DRESSER (1834-1904) FOR HUKIN & HEATH, LONDON CHAMBER CANDLESTICK & SNUFFER, CIRCA 1880 electroplated, stamped maker’s marks H&H/ 876 8cm high

£400-600

163 MANNER OF CHRISTOPHER DRESSER WATER JUG, CIRCA 1885 electroplated, unmarked 17.5cm high Literature: ‘Christopher Dresser People’s Designer 1834-1904’, New Century Exhibition Catalogue, June 1999, fig. 44 (illus.)

£300-500

164 ATTRIBUTED TO CHRISTOPHER DRESSER (1834-1904) FOR MINTON & CO. PAIR OF JARDINIÈRES ON STAND, 1872 glazed earthenware, stamped maker’s marks and date cypher (4) Jardinière 21.5cm high, stand 30cm diameter Literature: Lyons H. Christopher Dresser: The People’s Designer 1834-1904, ACC, 2005, p. 87, pl. 112 where a tea service with similar stork decoration is illustrated.

£300-500

165 CHRISTOPHER DRESSER (1834-1904) FOR JAMES COUPER & SONS, GLASGOW ‘CLUTHA’ VASE, CIRCA 1890 green glass, with aventurine trailed inclusions 21cm high

£600-800

166 CHRISTOPHER DRESSER (1834-1904) FOR JAMES COUPER & SONS, GLASGOW ‘CLUTHA’ VASE, CIRCA 1890 green glass, with aventurine trailed inclusions 28.5cm high Literature: Halén W. Christopher Dresser: a pioneer of modern design, London 1990, pp. 174 and 175, figs. 194 and 195 where similar vases are illustrated.

£600-800

167 CHRISTOPHER DRESSER (1834-1904) FOR MINTON & CO. AESTHETIC MOVEMENT TEAPOT, 1873 stamped maker’s mark, impressed registration lozenge and date cypher 19.5cm high Literature: Lyons, Harry, Christopher Dresser: The People’s Designer 1834-1904, ACC, 2005, p. 87, pl. 112 where a similarly decorated stork tea service is illustrated.

£300-500

168 CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE ART POTTERY TWIN-HANDLED VASE, CIRCA 1880 glazed earthenware 20cm high Literature: Lyons H. Christopher Dresser: The People’s Designer: 1834-1904, ACC 2005, p.98, pl. 135, where this vase is illustrated.

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

169 FRED PASSENGER (1858-1938) FOR WILLIAM DE MORGAN (1839-1917) ‘SUNSET & MOONLIGHT’ TRIPLE LUSTRE BOWL, CIRCA 1900 lustre-glazed earthenware, painted mark to base F.P. 16.6cm diameter

£1,000-1,500

170 CHRISTOPHER DRESSER (1834-1904) FOR MINTON’S SAMPLE MOON FLASK, CIRCA 1875 enamelled terracotta, with sample piece numerals, stamped maker’s mark, 15cm high; together with a PAIR OF LINTHORPE ART POTTERY PLATES, CIRCA 1880, unglazed earthenware, stamped maker’s marks, 20cm diameter (2) £400-600

171 ATTRIBUTED TO CHRISTOPHER DRESSER (1834-1904) FOR AULT POTTERY GROUP OF NINE CACHEPOTS, CIRCA 1892 glazed earthenware, various sizes, each with impressed mark AULT/ Rd. 195324 (1892) (9) 20.6cm high (1); 11.5cm high (2); 8.5cm high (3); 6.5cm high (2) Provenance: The Fine Art Society, London

£300-500

172 ‡ BURMANTOFTS FAIENCE JARDINIÈRE, CIRCA 1900 glazed earthenware, impressed maker’s mark BURMANTOFTS/ FAIENCE, ENGLAND, 1947B/ JL 28cm high

£200-300

173 ‡ WALTER CRANE (1845-1915) FOR MAW & CO. ‘OCEAN’ VASE, CIRCA 1892 glazed earthenware, decorated blue on white with bands of sea nymphs, fish, seaweed, and shells, artist’s cypher near foot 22.2cm high Literature: Art Journal Easter Annual, 1898, pp. 22 and 31 Arts & Crafts Exhibition Society: catalogue of the third exhibition, London, Arts and Crafts Exhibition Society, 1890, no. 416

£3,000-5,000

174 ATTRIBUTED TO JOHN MOYR SMITH (1839-1912) AESTHETIC MOVEMENT OCCASIONAL TABLE, CIRCA 1880 ebonised, gilt and polychrome painted wood, stamped 1195 56cm diameter, 63cm high Provenance: Paul Shutler Private Collection

£1,000-1,500

Moyr Smith’s furniture designs are characterised by their architectural forms, geometric ornament and carefully considered surface decoration. He drew on a range of historical and contemporary sources, including medieval and classical ornament and the emerging interest in Japanese design. Ebonised wood, painted decoration, incised detail and inlay feature frequently in his work, creating pieces that are decorative without being excessively elaborate. His designs sit comfortably within the broader aesthetic of late Victorian furniture, where architecture, furniture and the decorative arts were increasingly considered as part of a unified interior. The combination of strong structure and controlled ornament gives his furniture a distinctive character, while reflecting the varied influences of the period.

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

175 BRITISH SCHOOL THE CONNOISSEUR oil on canvas 45.5cm x 34cm (frame size 69cm x 56.5cm)

£400-600

176 § EDWARD KENNETH CENTER (1902-1986) PORTRAIT OF ARTHUR HEYGATE MACKMURDO oil on canvas, signed upper right E. KENNETH CENTER, framed 58.5cm square (frame size 82cm square)

£1,000-1,500

Arthur Heygate Mackmurdo (1851-1942), pioneering architect and designer, founded the Century Guild with his fellow architect and friend, Herbert Percy Horne, in 1882. The Century Guild acted as forerunners to the Arts and Crafts movement, with some of the work created by Mackmurdo in particular viewed as early examples of the ‘Modern Style’, a particular British type of Art Nouveau. Much of his work was historically inspired, with references spanning the Italian renaissance to 18th century design motifs. Kenneth Center was the studio assistant of Mackmurdo’s friend and mentor, Sir Frank Brangwyn, for many years and another of his extant works is a portrait of Brangwyn. It is thought however that Brangwyn’s picture was painted posthumously, using a photograph of Mackmurdo for reference. This photograph shows the designer sitting in the same armchair to the one depicted in both Brangwyn’s portrait and the current lot.

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

177 ‡ WILLIAM DE MORGAN (1839-1917) PERSIAN-STYLE VASE AND COVER, FULHAM PERIOD CIRCA 1890 glazed pottery, decorated by Joe Juster, painted marks to base W. DE MORGAN/ FULHAM/ J.J. (2) 35cm high Through the latter half of the 19th century there was increasing interest in Persian (meaning Turkish, Syrian, Egyptian and Persian) art among British designers. Owen Jones wrote about Islamic design in his Grammar of Ornament and the Islamic pottery and fabrics in the South Kensington Museum, later the V&A, allowed William De Morgan, William Morris and others to study these items first-hand. De Morgan also restored artist Sir Frederick Leighton’s collection of Islamic tiles for the Arab Hall at Leighton House, granting him extended access to handle and understand the make-up of these wares. In his own practice De Morgan developed both a colour palette and decorative motifs familiar from Islamic designs, in the case of this covered vase the Persian leaf and flower patterns executed in blue, turquoise and green hues are highly reminiscent of Middle Eastern ceramics. The stylised almost hour-glass shape of the vase and tapered knop on the cover also echo Persian examples.

£8,000-12,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

178 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. PAIR OF ‘TULIP & ROSE’ PATTERN TEXTILE PANELS, CIRCA 1880 woven woollen 3-ply cloth (2) each 189cm x 84cm Literature: Parry L. William Morris Textiles, V&A 2013, p. 210, fig. 18 illus.

£1,500-2,000

179 W.A.S. BENSON (1854-1924) PAIR OF CANDLESTICKS, CIRCA 1900 brass and copper, stamped W.A.S. BENSON, 204 (2) 30cm long Literature: Hamerton I. (ed.) W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, ACC 2005, p.253, pl.23 where an illustration of this design is illustrated (204).

£1,000-1,500

180 PHILIP WEBB (1831-1915) FOR MORRIS & CO. FOUR SUSSEX CHAIRS, CIRCA 1900 ebonised beech, with later woven cord seats (4) 51cm wide, 86cm high, 44.5cm deep

£600-800

181 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. ‘ACANTHUS’ HANGING, CIRCA 1880 cotton velveteen, lined 308cm x 116cm Literature: Parry, L. William Morris Textiles, V&A 2013, p. 211, no. 21

£600-800

182 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. ‘WANDLE’ FABRIC PANEL, REGISTERED 1884 indigo-discharged and blockprinted cotton, framed 108cm x 99cm (frame size 119.5cm x 110.5cm) Literature: Parry, L. William Morris Textiles, V&A 2013, pp. 240241, pl. 62

£800-1,200

This indigo-discharge printed furnishing cotton was several years in development. Drawing began in September 1883, with trial printing continuing into March 1884, and the design was finally registered on 28 July. Named after the river beside Morris & Co.’s Merton Abbey Works, the large-

scale pattern was intended to celebrate the stream that powered the works. Morris explained the choice to his eldest daughter: “if it succeeds I shall call it Wandle”, acknowledging that although the river was small, the design would be “very elaborate & splendid” and he wished to “honour our helpful stream.”

183 ATTRIBUTED TO W.A.S. BENSON (1854-1924) FOR MORRIS & CO. OCCASIONAL TABLE, CIRCA 1900 inlaid mahogany, stamped 290 49.5cm square, 64cm high

£600-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

184 ATTRIBUTED TO MORRIS & CO. EMBROIDERED PANEL, CIRCA 1890 coloured silks, later framed 75cm x 49cm (frame size 82cm x 57cm) Literature: Parry L. William Morris Textiles, V&A 1983, p. 28 where a similar design is illustrated.

£400-600

185 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. ‘ACANTHUS’ EMBROIDERED PANEL, CIRCA 1880 woollen threads on an unbleached linen ground, framed 113cm square, frame size 127cm square Literature: Parry, L. William Morris Textiles, V&A 2013, p. 211, no. 21 This panel probably embroidered in the workshops of Morris & Co.

£700-900

186 MAY MORRIS (1862-1938) ‘WESTWARD HO’ TWO-FOLD EMBROIDERED SCREEN, CIRCA 1885 coloured silks, reserved on an unbleached linen ground, mahogany frame each fold 47.5cm wide, 92cm high See William Morris Society collection accession no. T117 for a similar example embroidered by Jane Morris (1839–1914)

£400-600

187 MANNER OF PHILIP WEBB ARTS & CRAFTS SIDE TABLE, CIRCA 1900 oak 81cm wide, 76cm high, 50cm deep

£300-500

188 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. LENGTH OF ‘TULIP AND LILY’ CARPET, DESIGNED CIRCA 1875 woven wool 329cm x 86cm Literature: Parry L. and Cathers D. Arts & Crafts Rugs for Craftsman Interiors, W.W. Norton & Company, New York, 2010, pp. 26-7, Cat. 3

£400-600

189 DUNCAN DEARLE (1893-1954) FOR MORRIS & CO. ‘INDIAN PINK’ FABRIC PANEL, CIRCA 1920 block-printed cotton, printed to selvedge REGD. MORRIS & COMPANY 239cm x 94.5cm Literature: Parry, L. William Morris Textiles, V&A 2013, p. 282, no. 146

£300-500

190 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. ‘FLOWERPOT’ FABRIC PANEL, CIRCA 1885 indigo discharged printed cotton, printed to selvedge REGD. MORRIS & COMPANY 176cm x 213cm Literature: Parry, L. William Morris Textiles, V&A 2013, p. 238, pl. 57

£500-700

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

191 ATTRIBUTED TO ARTHUR J. GASKIN (1862-1928) AND GEORGIE GASKIN (1866-1934) ARTS & CRAFTS PENDANT, CIRCA 1905 silver, set with blister pearls and turquoise cabochons pendant and drop 6cm, chain length 45cm

£1,000-1,500

192 MANNER OF THE GUILD OF HANDICRAFT ARTS & CRAFTS NECKLACE, CIRCA 1900 white metal and enamel, with baroque pearl drop, within Guild of Handicraft box chain 37.5cm long

£1,000-2,000

193 ENGLISH ARTS & CRAFTS NECKLACE, CIRCA 1910 white metal, set with semiprecious stone cabochons 41cm long

£500-800

194 ATTRIBUTED TO ERNESTINE MILLS (1871-1959) ARTS & CRAFTS BROOCH, CIRCA 1910 white metal, enamel, moonstone and chrysoprase cabochons panel 3.5cm x 2.5cm

£1,000-1,500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

195 ENGLISH ARTS & CRAFTS PENDANT NECKLACE, CIRCA 1900 white metal, set with cut amethyst pendant 3cm, chain length 40cm long

£300-500

196 ATTRIBUTED TO OMAR RAMSDEN (1873–1939) AND ALWYN CARR (1872-1940) ARTS & CRAFTS PENDANT NECKLACE, CIRCA 1907 silver and enamel, cast initials and date CEP/ IMB/ 1907 pendant 5.2cm, chain length 41cm

£1,000-2,000

197 ATTRIBUTED TO OMAR RAMSDEN (1873–1939) ARTS & CRAFTS HAIR COMB, CIRCA 1910 white metal, moonstone and garnet cabochons, tortoiseshell 10.5cm x 8.2cm

£400-600

198 NEWCASTLE HANDICRAFTS COMPANY ARTS & CRAFTS CASKET, 1907 silver, hallmarked Birmingham 1907, stamped maker’s and date marks 10.5cm wide

£600-800

199 AFTER SIR EDWARD BURNE-JONES ADAM AND EVE (LABOUR: WHEN ADAM DELVER AND EVE SPAN, WHO WAS THEN THE GENTLEMAN?), CIRCA 1895 photo-relief print, within carved oak and ebonised frame 56cm x 42cm (frame size 79cm x 66cm) This illustration was originally produced as an etching for the frontispiece to Morris’ A Dream of John Ball (Reeves & Turner, 1888), with the original drawing held in the William Morris Gallery collection (D75). The motto was printed in lowercase Roman lettering by woodcut. It was reused in the Kelmscott Press edition (September 1892), framed in a Morris frame with the motto in capitals, both as woodcuts. It appeared again in a March 1894 leaflet for the Ancoats Brotherhood. The image was reconstituted as ‘Labour’ for the Daily Chronicle in 1895, about the time this untitled photo-relief was created. The Daily Chronicle illustration was one of 24 by prominent artists, assembled by Joseph Pennell to support the Reform Party in the 1895 LCC elections.

£400-600

200 ENGLISH SET OF FOUR GOTHIC REVIVAL WALL APPLIQUÉS, CIRCA 1865 cast brass, originally gasoliers later converted to electricity (4) backplate 31cm tall, depth 28cm

201

£800-1,200

ATTRIBUTED TO BENHAM & FROUD, LONDON PAIR OF CHAMBER CANDLESTICKS, CIRCA 1885 brass and copper (2) 20.5cm high

£300-500

202 ENGLISH AESTHETIC MOVEMENT SIDE TABLE, CIRCA 1880 mahogany, with brass handles, traces of retailer’s label; WALTER CARTER, MANCHESTER 86cm wide, 70cm high, 50cm deep

£400-600 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

203 EDWARD BURNE JONES (1833-1898) THREE DESIGNS FROM ‘THE FLOWER BOOK’, CIRCA 1905 lithographs, framed, comprising; ‘ROSE OF HEAVEN’; ‘COMES HE NOT’; ‘SATURN’S LOATHING’ (3) each 14.5cm diameter (frame size 42cm x 32cm)

£300-400

The Flower Book by Edward Burne-Jones (1833-1898) is a series of 38 round watercolours, each about six inches across, painted from 1882 to 1898. They were painted for his private pleasure, many while he was resting at his summer home in Rottingdean and were described by his wife as the “most soothing piece of work that he ever did”. On his death, Burne-Jones left the album of flower paintings to his wife Georgiana, and she published a facsimile edition of 300 copies in 1905 in cooperation with the Fine Art Society in London.

204 ENGLISH ARTS & CRAFTS CEILING LIGHT, CIRCA 1900 copper and brass with opalescent glass shade

205

50cm drop

ENGLISH

£400-600

ARTS & CRAFTS STAINED GLASS PANEL, CIRCA 1920 stained, painted and leaded glass, painted artist’s initials 33cm x 21cm

£400-600

206 MANNER OF MORRIS & CO. ARTS & CRAFTS CENTRE TABLE, CIRCA 1900 mahogany 76cm diameter, 76cm high

£300-500

207 ENGLISH ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1900 appliqué linen and embroidered wool threads on a woven woollen ground 74.5cm x 169cm

£600-800

208 ENGLISH ARTS & CRAFTS RELIEF PANEL, CIRCA 1920 carved oak 67cm x 37cm

£300-500

209 MANNER OF W.A.S. BENSON ARTS & CRAFTS EXTENDING STANDARD LAMP, CIRCA 1900 brass 145cm high (190cm high fully extended)

£600-800

210 ENGLISH ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1900 silk threads on an unbleached linen ground, framed 63cm x 50cm (frame size 71.5cm x 58cm)

£300-500

211 ENGLISH ARTS & CRAFTS CEILING LIGHT, CIRCA 1900 wrought iron, copper, later glass beads 29cm diameter, 57.5cm high

£600-800

212 W.A.S. BENSON (1854-1924) ARTS & CRAFTS STANDARD LAMP, CIRCA 1910 brass, with later silk shade 165cm high to fitting, 195cm high with shade

£500-700

213 ENGLISH ARTS & CRAFTS OCCASIONAL TABLE, CIRCA 1900 oak 61cm diameter, 62cm high

£250-350

214 ENGLISH ARTS & CRAFTS FENDER, CIRCA 1900 cast and wrought iron, copper, with oak seat 144cm wide, 58.5cm high, 39.5cm deep

£500-700 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

215 ‡ MARTIN BROTHERS MINIATURE VASE, DATED 1885 salt-glazed stoneware, incised maker’s marks 2-85/ MARTIN BROS./ LONDON & SOUTHALL, together with a signed certificate of authenticity from JOHN MARTIN (2) 13.3cm high

£400-600

216 MARTIN BROTHERS TWO-HANDLED VASE, 1879 stoneware, incised R.W. MARTIN/ LONDON & SOUTHALL/ 24.12.79 12cm high

£400-600

217 ENGLISH ARTS & CRAFTS WALL SCONCE, CIRCA 1900 repoussé-decorated copper, oak inscribed YE LIGHT OF OTHERE DAIES 51cm high

£300-500

218 ENGLISH ARTS & CRAFTS STANDING BOOKSHELVES, CIRCA 1900 oak 49.7cm wide, 91cm high, 21.5cm deep Provenance: Kellie Castle, Fife, thence by descent in the Lorimer family to the present owners.

£500-700

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

219 FOLLOWER OF ELLEN MARY ROPE ARTS & CRAFTS PANEL, CIRCA 1900 carved wood 29.5cm x 66cm

£300-500

220 ALEXANDER MORTON & CO. PAIR OF DOUBLE CLOTH CURTAINS, CIRCA 1900 silk and wool (2) each 198cm x 109cm

£600-800

221 ENGLISH ARTS & CRAFTS WALL MIRROR, CIRCA 1900 repoussé-decorated copper, enamel, mirror plate 58.5cm x 43.5cm

£400-600

222 ENGLISH GROUP OF THREE CURTAINS, CIRCA 1910 cotton damask, lined and edged with tassels (3) each 289cm x 120cm

£250-350

223 ENGLISH ARTS & CRAFTS MANTEL CLOCK, CIRCA 1910 silvered metal, the twin train movement with applied circular dial, bears repoussé inscription REST COMES AT LENGTH 20.5cm wide, 26cm high, 11cm deep

£600-800

224 A.E. JONES (1878-1954) PAIR OF ARTS & CRAFTS CANDLESTICKS, CIRCA 1900 silver mounted copper, one stamped 2440 (2) 20cm high

£400-600

225 ENGLISH CELTIC REVIVAL SANCTUARY LAMP, CIRCA 1900 brass 132cm high to base of ceiling rose

£300-500

226 ATTRIBUTED TO BIRMINGHAM GUILD OF HANDICRAFT ARTS & CRAFTS OIL LAMP, CIRCA 1900 copper and brass, with opalescent glass shade and chimney, converted to electricity 54.5cm high to base of fitting

£300-500

227 ENGLISH ARTS & CRAFTS CENTRE TABLE, CIRCA 1900 mahogany 73cm diameter, 92cm high

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

228 ENGLISH ARTS & CRAFTS WALL MIRROR, CIRCA 1910 copper, enamel roundels, mirror plate 63cm x 106cm

£600-800

229

230

ENGLISH

BENJAMIN FLETCHER (1868-1951) FOR DRYAD WORKS, LEICESTER

ART NOUVEAU EXTENDING STANDARD LAMP, CIRCA 1910 brass, with inset ceramic panels

‘TRAVELLER’S JOY’ CHAIR, DESIGNED CIRCA 1907

145cm high, (167cm high fully extended)

cane, bears copper retailer’s tag

£600-800

85cm wide, 96cm high, 50cm deep

£400-600

Literature: Carruthers A. and Greensted M. Good Citizen’s Furniture, Cheltenham Art Gallery & Museum 1994, p. 108, no. 43 where a chair of the same design is illustrated. Benjamin Fletcher was head of the Leicester School of Art, and a co-founder of Dryad. He introduced Harry Peach to the writings of William Morris and William Lethaby, who were leading members of the Arts & Crafts movement, resulting in many of the Dryad designs being made in the Arts & Crafts style like the current example. The current chair was one of the designer’s favorites as he bought five in its first year of production.

231 LANCELOT SPEED (1860-1931) THE SIREN watercolour, signed and dated lower left LANCELOT SPEED/ 1909 22cm x 27.5cm (47cm x 52cm)

£800-1,200

232 HENRY JUSTICE FORD (1860–1941) THE GARDEN watercolour, signed and inscribed lower left TO IRENE FROM H.J. FORD 24.5cm x 17cm (frame size 43cm x 33cm)

£600-800

233 SIR ALFRED GILBERT (1854-1934) WORKING SKETCH, CIRCA 1890 charcoal, framed 14cm x 9.5cm (frame size 30cm x 27.5cm)

£250-350

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

234 ENGLISH ARTS & CRAFTS STAINED GLASS PANEL, CIRCA 1905 stained leaded and painted glass 139cm x 38.5cm (frame size 150cm x 58.5cm)

£400-600

235 OMAR RAMSDEN (1873–1939) AND ALWYN CARR (1872-1940) ARTS & CRAFTS ‘COMEDY AND TRAGEDY’ SALT, 1916 repoussé-decorated silver, stamped inscription OMAR RAMSDEN ET ALWYN CARR ME FECERUNT, maker’s mark and hallmarks for London 1916, etched mark 2/ 9/ 6227 and 03. 16. 135 8.5cm high

£600-800

236 OMAR RAMSDEN (1873-1939) PAIR OF GOBLETS, 1937 silver, hallmarked London 1937, stamped maker’s marks (2) 12.3cm high

£1,200-1,800

237 JOHN PAUL COOPER (1834-1904) ARTS & CRAFTS CUP, 1920 hammered silver, coconut shell, hallmarked London 1920, stamped maker’s mark 14cm high

£600-800

238 WALTER WALKER AND BROWNFIELD TOLHURST, LONDON BOWL AND STAND, 1905 silver and copper, stamped maker’s mark and RD 469429, hallmarked London 1905, weight of bowl 645g 27cm diameter, 15.5cm high

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

239 MARY IRELAND (1891-C.1980) ‘BLACK TUDOR GROUND’, A FABRIC MOSIC PANEL, CIRCA 1930 embroidered appliqué, painted silk, with applied signature lower left MARY IRELAND, framed 27cm x 15.5cm (frame size 37.5cm x 26cm) Mary Ireland was a British artist active from the 1930s to the 1950s, influenced by the Birmingham School and particularly Joseph Southall. Although she worked in several media, including watercolour, stained glass and needlework, she became known for pioneering “fabric mosaics”, incorporating fragments of antique textiles into her compositions. Inspired by Georgian embroidery techniques, Ireland hand-painted details such as faces and hands onto silk, combining them with individually cut and fitted fabric pieces. Her interest in preserving historic textiles led to this distinctive technique after illness prevented her from continuing with stained glass. Ireland first exhibited in Birmingham in 1929 and subsequently received commissions from public institutions and religious buildings, with Queen Mary among her purchasers. After the Second World War, she concentrated on repairing, researching and exhibiting antique textiles rather than incorporating them into new works.

£600-800

240 BENHAM & FROUD, LONDON PAIR OF ARTS & CRAFTS CHAMBER CANDLESTICKS, CIRCA 1886 copper and brass, with turned wooden handles, stamped mark Rd. 53791 (1886),16cm high; together with a larger PAIR OF ARTS & CRAFTS CHAMBER CANDLESTICKS, copper and brass, of similar design, 23.5cm high (4) £300-500

THE RIVER RUG

The design stands apart from the majority of Voysey’s textile and carpet work, much of which was produced commercially and characterised by carefully balanced, repeating motifs inspired by nature. Throughout his career, Voysey became one of the leading designers of the Arts & Crafts movement, creating wallpapers, woven textiles, printed fabrics and carpets distinguished by their clarity, simplicity and harmonious compositions. His carpets typically employed stylised floral and foliate forms arranged in rhythmic, symmetrical patterns that complemented domestic interiors while reflecting his belief that beauty should be an integral part of everyday life. The River Rug, however, demonstrates a more imaginative and narrative approach. The rug has often been compared to the sixteenth-century Sheldon tapestry maps of English counties, whose embroidered landscapes similarly combine geography with decorative artistry. When Voysey’s own example of the rug was exhibited at the Arts & Crafts Exhibition Society in 1903, critics noted its resemblance to Chinese textiles, reflecting the broad range of artistic influences that informed his work; that rug is now held at the Victoria & Albert Museum in London (accession no. T.71-21). The River Rug remains one of the most C. F. A. Voysey in the 1920s image courtesy Wikimedia

The River Rug or The River Mat is one of C.F.A. Voysey’s most

distinctive examples of Arts & Crafts carpet design, admired for its originality, craftsmanship and the intimate, almost storybook quality of its richly imagined landscape.

remarkable and unusual carpet designs, revealing both his

The current example, never before offered for sale, was made

imagination and the breadth of his artistic vision. Unlike

for Philip and Beatrice Barendt. Philip Barendt, a London-

the highly stylised repeating patterns of birds, animals and

based insurance broker and business owner, was a notable

foliage for which Voysey became renowned, this design

client of Voysey. Voysey was commissioned to make various

presents an intricate bird’s-eye view of a meandering rural

alterations to his Hampstead house at 72 Fitzjohn’s Avenue,

landscape, transforming the carpet into a richly detailed

between 1901 and 1909, where he also designed furniture

pictorial map. Probably intended as a hearth rug, the

and decorations. It is likely that he also commissioned Voysey

composition is filled with engaging narrative details that

to supply The River Rug around this time. In 1914 Barendt

invite close inspection. Villages, cottages and farmhouses

again employed Voysey’s services, this time to produce

are scattered across the landscape alongside cultivated

designs for remodelling and extending White Cliffe or The

fields, winding roads and bridges, while boats travel along

Fairway (later High Gaut) at St Margaret’s-at-Cliffe, Kent. He

the river and figures can be imagined carrying out everyday

also designed a bookplate for Barendt and his wife Beatrice,

riverside activities. Hidden amongst these scenes appears

and later, a bookplate for their daughter Beryl. An example

to be a miniature representation of Voysey’s own house, The

of each was given to the V&A by Voysey in 1912 and in 1927

Orchard, possibly intended to delight young children as much

(accession nos. E.296-1913 and E.246-1926).

as to decorate the home.

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

241 C.F.A. VOYSEY (1857-1941) THE RIVER RUG, CIRCA 1903 Turkish-knotted wool, cotton warp, wool weft, woven by Yates & Co., Wilton 242cm x 123cm Provenance: Philip and Beatrice Barendt, and by family descent Literature: Brandon-Jones J. et al., C.F.A. Voysey: architect and designer 1857-1941, Lund Humphries 1978, p. 117, D39 Haslam M., Arts & Crafts Carpets, David Black 1991, pp. 132-134, figs. 116 & 117 and front cover illustration Livingstone K. et al., C.F.A. Voysey: Arts and Crafts Designer, V&A Publishing, London, 2016, pp. 142145, pls. 184, 185 and 186 illus. Livingstone K., The Bookplates and Badges of C.F.A. Voysey, Crab Tree Farm Foundation, 2011, fig. 47, 48 Victoria & Albert Museum Collection, accession no. T.71-2014

£30,000-50,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

This fireplace surround represents an early design by Voysey as he was supplementing his nascent architectural practice with designs for industry. The firm of Benjamin Parkes Ltd. of Hill Crest, Tipton Road, Woodsetton, Wolverhampton recorded this design in January 1890. Voysey designed an advertising sheet for the firm, dating to around 1890, and promoting its wares as manufacturers of “all wrought or case metal work connected with fire places” (see illustration) and shows an array of fireplace objects including a frieze of galleons. The image of a galleon in full sail is a familiar motif which Voysey returned to several times. He produced a hallmark for Essex & Co., a prominent wallpaper manufacturer for whom he designed wallpapers from 1893. This hallmark bears a remarkable similarity to the imagery seen on the present lot. The galleon on

242 C.F.A. VOYSEY (1857-1941) FOR BENJAMIN PARKES & SON, DUDLEY EARLY FIRE SURROUND, CIRCA 1890 repoussé-decorated brass, cast iron, bears registration no. 143252 51cm wide, 94.5cm high, 4cm deep, internal dimension 43cm wide, 67cm high Literature: Dekorative Kunst. 1. 1898, C.F.A. Voysey, pp. 241-276, illustration on p. 256 Advertisement for Messrs Ben Parkes & Son, RIBA archive: SB117/VOY[430]

£3,000-5,000

the fire insert demonstrates a looser handling of the motif than that designed for Essex and Co., however when Voysey did return to an old design, it invariably involved him ‘tightening up’ and formalising his more naturalistic, early designs. With thanks to Dr Tony Peart for his assistance with this lot.

243 C.F.A. VOYSEY (1857-1941) FOR NEWMAN, SMITH & NEWMAN LTD. FRAMED FURNISHING FABRIC PANEL, CIRCA 1898 printed cotton 90cm x 84cm (frame size 99.5cm x 93.5cm) Literature: Parry L. British Textiles from 1850-1900, V&A 1993, pl. 120 V&A accession no. CIRC.72-1953

£600-800

244 C.F.A. VOYSEY (1857-1941) FOR RATHBONE & CO. INKWELL, 1903 brass, with clear glass liner, stamped 6.7.3/ RATHBONE/ 1.9.0.3 14.5cm square, 8cm high

£300-500

245 C.F.A. VOYSEY (1857-1941) FOR THOMAS ELSLEY AND CO. PAIR OF ARTS & CRAFTS FIREDOGS, CIRCA 1900 brass, 17cm wide, 30.5cm high, 18cm deep; together with MATCHING TONGS, 60cm long (3) Literature: Livingstone K., Donnelly M., and Parry L C.F.A. Voysey, Arts & Crafts Designer, V&A 2016, p. 259, pl. 334 where similar examples are illustrated.

£600-800

END OF DAY ONE Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

101

DAY TWO THURSDAY 15 OCTOBER 2026 AT 10AM 246

247 ‡

GORDON FORSYTH (1879-1952) FOR PILKINGTON’S TILE & POTTERY CO.

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

RARE LUSTRE RELIEF TILE, CIRCA 1914 lustre-glazed earthenware, inscribed SAINT GEORGE PATRON OF THIS REALM OF ENGLAND AND CRY OF MEN AT WAR/ UN CHEVALIER SANS PEUR ET SANS REPROCHE, painted artist’s monogram to panel, incised artist’s monogram verso GORDON FORSYTH, impressed maker’s mark PILKINGTON’S/ TILE & POTTERY CO LTD./ CLIFTON JUNCTION/ MANCHESTER/ ENGLAND

‘LANCASTRIAN’ LUSTRE VASE, 1910 lustre-glazed earthenware, impressed factory marks, with artist’s monogram and date cypher in lustre 11.2cm high

£500-800

30cm x 19cm

£600-800

248 ‡ RICHARD JOYCE (1873-1931) FOR PILKINGTON’S TILE & POTTERY CO. ‘LANCASTRIAN’ LUSTRE VASE, 1912 lustre-glazed earthenware, impressed factory marks, with artist’s monogram and date cypher in lustre 20.3cm high

£600-800

249 ‡ PILKINGTON’S TILE & POTTERY CO. ‘LANCASTRIAN’ FLAMBÉ LUSTRE VASE, 1909 lustre and flambé-glazed earthenware, impressed factory marks and date cypher 2906 23.2cm high

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

102

250 BATH CABINETMAKERS ARTS & CRAFTS SIDEBOARD, CIRCA 1900 oak, with brass and copper fittings 144.5cm wide, 190cm high, 55.5cm deep

£1,000-1,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

103

251 ATTRIBUTED TO JAMES HINKS & SON THREE ARTS & CRAFTS CEILING LIGHTS, CIRCA 1900 copper with frosted glass shades (3) 50cm high to top of ceiling rose Literature: Wray C. Art Nouveau Lamps & Fixtures, Bracken Books 1989, pl. 28 where related fittings are illustrated.

£1,000-1,500

252 ENGLISH, POSSIBLY JAMES HINKS & SON ARTS & CRAFTS CEILING LIGHT, CIRCA 1900 brass, with associated cut glass shades, includes original ceiling rose 49cm diameter, 54cm to chain, chain 78cm long

£400-600

253 ‡ MOORCROFT POTTERY ‘LEAF & BERRY’ FLAMBÉ VASE, CIRCA 1935 flambé-glazed earthenware, impressed maker’s marks with facsimile signature and initialled WM 18.5cm high

£300-500

254 MOORCROFT POTTERY ‘ANEMONES’ SHOULDERED VASE, CIRCA 1940 glazed earthenware, impressed facsimile signature mark, initialled WM, 31cm high; together with a MOORCROFT POTTERY ‘WAVING CORN’ VASE, CIRCA 1930, glazed earthenware, stamped facsimile signature mark, signed W. MOORCROFT, 23cm high; and a ‘POMEGRANATE’ PATTERN VASE, glazed earthenware, stamped maker’s marks, signed W. MOORCROFT, 21cm high (3) £400-600

255 ATTRIBUTED TO G.M. ELLWOOD (1875-1955) FOR J. S. HENRY, LONDON OCCASIONAL TABLE, CIRCA 1900 inlaid mahogany 75.5cm diameter, 73.5cm high

£400-600 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

104

256 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘SPANISH’ VASE, CIRCA 1915 glazed earthenware, signed W. MOORCROFT, impressed maker’s mark, 73 22.5cm high

£600-800

257 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘CORNFLOWER’ PATTERN VASE, CIRCA 1914 glazed earthenware, signed W. MOORCROFT, printed maker’s mark, impressed 348 19.5cm high

£300-500

258 WILLIAM MOORCROFT (1872-1945) FOR MOORCROFT POTTERY ‘PANSY’ JARDINIÈRE, CIRCA 1915 glazed and tube-lined pottery, impressed factory mark, painted green signature 22cm high

£800-1,200

259 EDWARD SPENCER (1872-1938) FOR THE ARTIFICERS’ GUILD PAIR OF ALTAR CANDLESTICKS, CIRCA 1920 brass, with silvered brass and enamel roundels and inset hardstone cabochons (2) 49cm high

£1,200-1,800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

105

260 ENGLISH SET OF EIGHT ARTS & CRAFTS DINING CHAIRS mahogany, with carved detail and drop-in upholstered seats, includes two carvers (8) carver 64cm wide, 115cm high, 48cm deep, side chair 44cm wide, 110cm high, 44cm deep

£600-800

261 BATH CABINETMAKERS DISPLAY CABINET, CIRCA 1930 walnut, with glazed shelves, bears maker’s labels, stamped to reverse 20804/ 4768 87.5cm wide, 123.5cm high, 29cm deep

£600-800

262 MANNER OF M. H. BAILLIE SCOTT FOR SHAPLAND & PETTER, BARNSTAPLE ARTS & CRAFTS STOOL, CIRCA 1900 marquetry-inlaid mahogany, close-nailed plush upholstery, stamped R989 45.5cm wide, 47cm high, 35.5cm deep Literature: Bennett D. Shapland & Petter Ltd. of Barnstaple: Arts & Crafts Furniture, 2005, p. 103, fig. 6.11 where a bookcase with similar inlay is illustrated.

£400-600

106

263

264

MANNER OF KATE HARRIS

MURRLE, BENNETT & CO. LTD., LONDON

ART NOUVEAU GUARD CHAIN, CIRCA 1900

BROOCH, CIRCA 1900

silver-gilt 145cm long

£400-600

15ct gold, set with blister pearl, and with baroque pearl drop, stamped maker’s marks MBCo/ 15CT 2.2cm wide, 3.5cm tall

£400-600

265 CHARLES COLLIS AND LIZZIE WILKINS FOR DELLA ROBBIA POTTERY, BIRKENHEAD LARGE TWIN-HANDLED FAIENCE VASE, DATED 1904 incised, tube-lined and glazed terracotta, incised factory marks, incised and painted maker’s C/ LW/ 1904/ DR/ 128 30cm high Exhibited: Jeremy Cooper Ltd., London The Birkenhead Della Robbia Pottery 1893-1906, 30th September - 18th October 1980, p. 40, no. 8

£600-800

266 ALBERT EDWARD JONES (1878-1954) ARTS & CRAFTS BOX, CIRCA 1905 copper and enamel, 20cm wide, together with an ARTS & CRAFTS CIGARETTE BOX, copper and enamel with divided wood lining, 19cm wide; and another ARTS & CRAFTS BOX, cast and planished bronze, with cat and mouse decoration, 20cm wide (3) £400-600

107

267 BURMANTOFTS FAIENCE THREE ARTS & CRAFTS VASES, CIRCA 1900 painted and incised earthenware, comprising a BOTTLE VASE, 25cm high and a BALUSTER VASE, 20.5cm high, both decorated in the Persian palette; and a PIERCED AND TAPERED VASE, with yellow glaze,18cm high, each with impressed maker’s marks; together with a BERNARD MOORE FLAMBÉ VASE, signed to base BERNARD MOORE, 14.5cm high (4) £400-600

268 FREDERICK BRADDON FOR C. H. BRANNAM, BARNSTAPLE LARGE PITCHER, 1909 incised and glazed terracotta, incised to base C.H. BRANNAM/ BARUM/ 1909/ FB/ RD. 4456, 48cm high; together with another LARGE C.H. BRANNAM PITCHER, incised and glazed terracotta, incised marks C.H. BRANNAM/ BARUM/ N.B./ 1890/ 1316, 36cm high (2) £300-500

269 MINTON LTD. ‘SECESSIONIST’ JAR & COVER, CIRCA 1910 tube-lined and glazed earthenware, printed and incised MINTON LTD./ N.72/ 3725, 28cm high; together with THREE MINTONS ‘SECESSIONIST’ VASES, each tube-lined and glazed earthenware, various impressed and printed maker’s marks, one 21.3cm high, two 16cm high (4) £400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

108

270 HENRY GEORGE MURPHY (1884-1939) GROUP OF SIX ZODIAC PLAQUES, CIRCA 1920 enamel on copper, depicting Aries; Cancer; Leo; Scorpio; Capricorn and Pisces, each later set in oak mounts and framed (6) each approx. 7.8cm across (frame size 16cm x 16cm)

271

Literature: Atterbury P., Benjamin J., Arts and Crafts to Art Deco. The Jewellery and Silver of H.G. Murphy, ACC 2005, p. 29, where three of these plaques are illustrated. These plaques were not used by Murphy in any project and were found at the Falcon Studio after his death in 1939. They may date back to his apprenticeship with Henry Wilson (1864-1934) before the First World War.

EDWARD SPENCER (1872-1938) FOR ARTIFICERS’ GUILD

£1,200-1,800

PAIR OF ARTS & CRAFTS CANDLESTICKS patinated wrought steel, stamped maker’s marks ARTIFICERS GUILD/ 8 MADDOX ST./ LONDON (2) 34cm high

£400-600

272 ENGLISH ARTS & CRAFTS DINING TABLE, CIRCA 1900 oak 167cm long, 77cm high, 76cm deep Provenance: Sir Henry Moore and by family descent

£400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

109

110

ARCHIBALD KNOX Archibald Knox, c.1900, at age 36. image courtesy Wikimedia

Designer Archibald Knox has become synonymous with

The first range was Cymric, launched in 1899 as the premium

early 20th century pieces by London based retailers Liberty

line and executed in silver. The name Cymric means ‘Welsh’,

& Co. Born on the Isle of Man in 1864 to Scottish parents,

drawing from and presumably aiming to capitalise on the

he spent his early years enchanted by and immersed in the

contemporary renewed interest in Britain’s Celtic roots.

rich history and striking iconography of his island home. By

Cymric designs were individually hand-finished by craftsmen

the late 1890’s Knox had moved to London, at which point

and were each only realised a small number of times.

his association with Liberty & Co. had its genesis, his designs drawing from the combined Neolithic, Celtic, Christian and Viking archaeology of his Manx upbringing.

In 1901 Liberty’s added their second Celtic inspired range, Tudric. Tudric pieces were primarily composed of the more affordable pewter and being produced in iron moulds

Knox’s coming of age coincided with an increased demand for

allowed for a greater number of each design to be made.

Celtic design motifs, following the discovery of two ancient

The name Tudric has more obscured origins than its sister

Celtic art treasures in the 1880’s. It was as part of this Celtic

range. Tudric is reminiscent of Tudor, the English royal house,

Revival movement that Liberty & Co. launched two new

and the 6th century Welsh saint Tewdrig. Both reference

ranges, Knox being a principal designer for both.

historical, British identity, but the brand name is essentially a Liberty invention. Knox’s association with Liberty’s ended in 1912, yet the enduring impact of his Cymric and Tudric ranges have seen him become regarded as a key figure in the rich tapestry of early twentieth design, his work encompassing Arts & Crafts, Celtic Revival, Art Nouveau and early Modernism.

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

112

273 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON RARE ‘CYMRIC’ COVERED CUP, 1900 silver, enamel, model 251, stamped to base CYMRIC/ L&CO, hallmarked Birmingham 1900, further hallmarked to cover Birmingham 1900, total weight 704g 26.5cm high, 14.8cm diameter at base Exhibited: Manx Museum, Douglas, Isle of Man Knox: Order & Beauty, 5th April - 1st March 2026 Literature: Der Moderne Stil, Julius Hoffman, 1903, plate 91 illus. Levy M. Liberty Style The Classic Years: 1898-1910, Rizzoli 1986, p. 27 illus. Martin S. Archibald Knox, Academy 1995, p. 78 illus. Tilbrook A. The Designs of Archibald Knox for Liberty & Co., Richard Dennis 2000, p. 140, fig. 124 illus. Martin S. Archibald Knox, ArtMedia Press 2001, pp. 40 and 179 illus. Manx National Heritage and The Archibald Knox Forum Knox: Order & Beauty, exhibition catalogue 2025, p. 30 where this covered cup is illustrated.

£30,000-50,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

Knox’s unique interpretation of the rich design landscape within which he sat is played out into his early 20th century Liberty designs. This magnificient covered cup is one of only a handful known to exisit. It was crafted by hand rather than a production piece. The bowl of the cup is ethereally connected to the stem by slender silver branches, creating a sense of delicate elongation aligned with the Art Nouveau style. The enamel however has an abstracted Celtic spirit; the familiar knot form translated into an unravelled series of waves and dots. The Liberty convention of not naming their designers in their catalogues and on their work resulted in limited contemporary recognition. Interestingly Knox was credited as the designer of this covered cup when it was illustrated in the 1903 Der Moderne Stil, perhaps the only occasion he was recognised in this way.

113

114

274 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON RARE ‘CYMRIC’ CIGARETTE BOX, 1901 silver, enamel, model 632, stamped to box CYMRIC/ L&CO, hallmarked Birmingham 1901, further hallmarked to cover and plinth base Birmingham 1901, total weight 876g 21.5cm wide, 6.5cm high, 13cm deep Exhibited: Manx Museum, Douglas, Isle of Man Knox: Order & Beauty, 5th April - 1st March 2026 Literature: Martin S. Archibald Knox, Academy 1995, p. 81 illus. Martin S. Archibald Knox, ArtMedia Press 2001, p. 242 illus. Manx National Heritage and The Archibald Knox Forum Knox: Order & Beauty, exhibition catalogue 2025, p. 31 where this cigarette box is illustrated. This rare and extraordinary piece of Cymric silver, again craftsman-made incorporates relatively traditional Celtic and Art Nouveau motifs into its design in enamel and silver. In keeping with the covered cup in this sale, Knox has elevated the design deploying organic forms to raise the box above its base, the sinuous supports elevating it with effortless elegance above an expansive enamel sea.

£20,000-30,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

116

TUDRIC CLOCKS The large clocks within the Tudric range comprise some of Knox’s most magnificent designs and chart the originality of his vision. The silhouette of standing stones or Celtic crosses against the Manx sky has been credited as providing the inspiration for the monumental stature of clock model no. 098 [Lot 275]. Contemporaneously to designs apparently rooted in his Celtic upbringing however are examples so striking in their simplified, stark design that they speak to a dialogue with the Modernist Movement. [Lot 276] incorporates square panels of inlaid abalone and a protracted form, exaggerated by the vertical panelling, which has seen parallels drawn with the work of Glasgow designer Charles Rennie Mackintosh. In 1903 Mackintosh was completing work on his famous Willow Tearooms, the interior of which included a monumental clock with repeating square pattern.

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

117

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

118

275 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON LARGE ‘TUDRIC’ CLOCK, MODEL NO. 098, CIRCA 1902-05 pewter, copper and abalone, stamped maker’s marks TUDRIC/ 098 38cm high Exhibited: Manx Museum, Douglas, Isle of Man Knox: Order & Beauty, 5th April - 1st March 2026 Literature: Martin S. Archibald Knox, London 2001, p. 235 illus. Manx National Heritage and The Archibald Knox Forum Knox: Order & Beauty, exhibition catalogue 2025, p. 25 where this clock is illustrated.

£20,000-30,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

119

276 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON LARGE ‘TUDRIC’ CLOCK, MODEL NO. 095, CIRCA 1902-05 pewter and abalone, stamped maker’s marks TUDRIC/ 095 34.4cm high Exhibited: Manx Museum, Douglas, Isle of Man Knox: Order & Beauty, 5th April - 1st March 2026 Literature: Martin S. Archibald Knox, London 2001, p. 236 illus. Manx National Heritage and The Archibald Knox Forum Knox: Order & Beauty, exhibition catalogue 2025, p. 24 where this clock is illustrated.

£20,000-30,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

120

277

278

279

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

‘TUDRIC’ CLOCK, MODEL NO. 0252, CIRCA 1902-05

‘TUDRIC’ CLOCK, MODEL NO. 0255, CIRCA 1902-05

‘TUDRIC’ CLOCK, MODEL NO. 0254, CIRCA 1902-05

pewter, abalone, stamped maker’s marks TUDRIC/ 0252

pewter and copper, stamped maker’s marks TUDRIC/ 0255

pewter, stamped maker’s marks TUDRIC/ 0254

16.8cm high

23.5cm high

19.5cm high

Exhibited: Manx Museum, Douglas, Isle of Man Knox: Order & Beauty, 5th April - 1st March 2026 Literature: Martin S. Archibald Knox, London 2001, p. 241 illus. Manx National Heritage and The Archibald Knox Forum Knox: Order & Beauty, exhibition catalogue 2025, p. 25 where this clock is illustrated.

Exhibited: Manx Museum, Douglas, Isle of Man Knox: Order & Beauty, 5th April - 1st March 2026 Literature: Martin S. Archibald Knox, London 2001, p. 237 illus. Manx National Heritage and The Archibald Knox Forum Knox: Order & Beauty, exhibition catalogue 2025, p. 25 where this clock is illustrated.

£3,000-5,000

£4,000-6,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

121

280 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON ‘TUDRIC’ CLOCK, MODEL NO. 0290, CIRCA 1902-05 pewter, copper and abalone, stamped maker’s marks 0290 25cm high Exhibited: Manx Museum, Douglas, Isle of Man Knox: Order & Beauty, 5th April - 1st March 2026 Literature: Manx National Heritage and The Archibald Knox Forum Knox: Order & Beauty, exhibition catalogue 2025, p. 25 where this clock is illustrated.

£3,000-5,000

281 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON ‘TUDRIC’ CLOCK, MODEL NO. 0253, CIRCA 1902-05 pewter and copper, stamped maker’s marks TUDRIC/ 0253 30cm high Exhibited: Manx Museum, Douglas, Isle of Man Knox: Order & Beauty, 5th April - 1st March 2026 Literature: Martin S. Archibald Knox, London 2001, p. 235 illus. Manx National Heritage and The Archibald Knox Forum Knox: Order & Beauty, exhibition catalogue 2025, p. 24 where this clock is illustrated.

£6,000-8,000

282 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON ‘TUDRIC’ CLOCK, MODEL NO. 0366, CIRCA 1902-05 pewter, copper and enamel, stamped maker’s marks ENGLISH PEWTER/ MADE BY LIBERTY & CO./ 0366 20.9cm high Exhibited: Manx Museum, Douglas, Isle of Man Knox: Order & Beauty, 5th April - 1st March 2026 Literature: Martin S. Archibald Knox, London 2001, p. 238 illus. Manx National Heritage and The Archibald Knox Forum Knox: Order & Beauty, exhibition catalogue 2025, p. 25 where this clock is illustrated.

£3,000-5,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

122

283 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON ‘CYMRIC’ CLOCK, MODEL NO. 5217, 1900 silver, enamel, abalone and turquoise, stamped maker’s mark L&C0/ CYMRIC/ 5217, hallmarked Birmingham 1900, raised on a later wooden plinth 10.9cm high, 12.6cm high including plinth Exhibited: Manx Museum, Douglas, Isle of Man Knox: Order & Beauty, 5th April - 1st March 2026 Literature: Martin S. Archibald Knox, London 2001, p. 234 illus. Manx National Heritage and The Archibald Knox Forum Knox: Order & Beauty, exhibition catalogue 2025, p. 25 where this clock is illustrated.

£6,000-8,000

284 ARCHIBALD KNOX (1864-1933) ‘TUDRIC’ CLOCK, MODEL NO. 0609, CIRCA 1902-05 pewter, copper and enamel, stamped maker’s marks Rd.468010/ MADE IN ENGLAND/ ENGLISH PEWTER/ 0609 20.5cm high Exhibited: Manx Museum, Douglas, Isle of Man Knox: Order & Beauty, 5th April 1st March 2026 Literature: Martin S. Archibald Knox, London 2001, p. 233 illus. Manx National Heritage and The Archibald Knox Forum Knox: Order & Beauty, exhibition catalogue 2025, p. 25 where this clock is illustrated.

£3,000-5,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

123

285 ATTRIBUTED TO LIBERTY & CO., LONDON ARTS & CRAFTS NECKLACE, CIRCA 1910 gilded white metal, set with agate cabochons chain 38.5cm long

£800-1,000

286 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON ‘TUDRIC’ DOUBLE INKWELL, MODEL NO. 0163, CIRCA 1902-05 pewter and enamel, with two clear glass liners, stamped maker’s marks TUDRIC/ 0163 17cm diameter Exhibited: Manx Museum, Douglas, Isle of Man Knox: Order & Beauty, 5th April - 1st March 2026 Literature: Martin S. Archibald Knox, London 2001, p. 222 illus. Manx National Heritage and The Archibald Knox Forum Knox: Order & Beauty, exhibition catalogue 2025, p. 27 where this inkwell is illustrated.

£400-600

287 ARCHIBALD KNOX (1864–1933) FOR LIBERTY & CO., LONDON ‘TUDRIC’ TEA SERVICE AND TRAY, CIRCA 1910 pewter, enamel, stamped maker’s marks and serial number 231, comprising; a TEAPOT, with rattan covered handle, 11cm high; a MILK JUG, 8cm high; a SUGAR BOWL, 6cm high; and a TRAY, 50cm long (4) £800-1,200

124

288 ATTRIBUTED TO LIBERTY & CO., LONDON CELTIC REVIVAL WALL MIRROR, CIRCA 1900 repoussé-decorated brass 56cm x 46cm

£300-500

289 ATTRIBUTED TO LIBERTY & CO, LONDON PAIR OF ANGLO-MORESQUE SIDE CHAIRS, CIRCA 1900 oak, with caned seats (2) 46cm wide, 89cm high, 44cm deep Literature: Bennett D. Liberty’s Furniture, ACC 2012, p. 76, pl. 3.26 where a related chair is illustrated.

£250-350

290 LIBERTY & CO., LONDON ANGLO-MORESQUE ARMCHAIR, CIRCA 1880 oak, ebonised wood, traces of retailer’s paper label 61cm wide, 84.5cm high, 52cm deep Literature: Lyons H. Christopher Dresser: The People’s Designer: 1834-1904, Woodbridge 2005, pp. 144, pl. 261 where a version of this chair is illustrated along with a chair designed by Christopher Dresser, also sold through Liberty & Co.. The original illustration appeared in The Builder on 1st April 1884.

£600-800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

125

291 CHARLES FLEETWOOD VARLEY (1863-1942) FOR LIBERTY & CO., LONDON ‘TUDRIC’ BOX, CIRCA 1905 pewter, with enamel panel and cedar lining, signed indistinctly in the enamel, stamped 4016 22.5cm wide, 5.5cm high, 13cm deep

£400-600

292 ATTRIBUTED TO ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON ‘ROMSDAL’ ARTS & CRAFTS OAK MANTEL CLOCK, CIRCA 1900 silvered, glass fronted dial within a carved oak case 34cm high Literature: Bennett D. Liberty’s Furniture, ACC 2012, p. 223 where a similar clock is illustrated.

£250-350

293 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON THREE ‘TUDRIC’ VESSELS, CIRCA 1905 pewter with green glass liners, stamped maker’s marks, comprising; a BOWL, stamped 01191, 24cm wide across handles; a TAZZA, stamped 0276, 13cm high; and a VASE, stamped 0324, 25.5cm high (3) £800-1,200

294 AFTER ARCHIBALD KNOX PAIR OF CURTAINS, MODERN printed linen, lined (2) each 230cm x 124cm

£400-600

126

295 RUSKIN POTTERY HIGH-FIRED VASE, 1933 stoneware, ox-blood glaze, with green speckling, impressed RUSKIN ENGLAND 1933 10.5cm high Provenance: Richard Dennis Collection, Kinghams, 17 April 2021, lot 23

£300-500

296 RUSKIN POTTERY HIGH-FIRED VASE, 1922 stoneware, ox-blood glaze, impressed RUSKIN MADE IN ENGLAND 1922 20.5cm high Provenance: Kingham & Orme, 3-6 December 2020, lot 1029

£400-600

297 RUSKIN POTTERY HIGH-FIRED TWIN-HANDLED VASE, 1933 flambé ox-blood and lavender glaze with green speckling, stoneware, impressed RUSKIN ENGLAND 1933 23.5cm high Provenance: Woolley & Wallis, 3 December 2014, lot 169

£700-900

298 RUSKIN POTTERY HIGH-FIRED VASE, 1925 flambé glaze, stoneware, impressed RUSKIN ENGLAND 1925 23cm high Provenance: Paul Rice Collection, Adam Partridge, Macclesfield, 30th July 2021, lot 2

£500-800

127

299 ‡ RUSKIN POTTERY HIGH-FIRED FLAMBÉ VASE, 1908 glazed stoneware, with fissured sang de boeuf, green and lavender glazes over ivory, impressed RUSKIN POTTERY/ WEST SMETHWICK/ 1908 19cm high

£600-800

300 RUSKIN POTTERY HIGH-FIRED VASE, 1906 stoneware, grey, deep purple and blue streaked glaze, impressed RUSKIN POTTERY WEST SMETHWICK 1906 18.5cm high Provenance: Richard Dennis Collection, Kinghams, 2021, lot 28

£1,000-1,500

301 RUSKIN POTTERY HIGH-FIRED VASE, 1920S stoneware, flambé and grey glaze, impressed RUSKIN ENGLAND 20cm high Provenance: Anthony Cross Collection, Kinghams, 11 June 2021, lot 49

£400-600

302 RUSKIN POTTERY BOWL AND ASSOCIATED STAND, 1920S stoneware, flambé glaze, bowl impressed RUSKIN ENGLAND 1924, stand impressed RUSKIN ENGLAND (2) Bowl 11cm high, 21.8cm diameter, Stand 6cm high, 15.2cm diameter

£400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

128

303 RUSKIN POTTERY HIGH-FIRED VASE, 1916 stoneware, ox-blood and lavender glaze, impressed RUSKIN ENGLAND 1916 20.3cm high

£400-600

304 RUSKIN POTTERY HIGH-FIRED VASE, 1924 stoneware, flambé glaze, impressed RUSKIN ENGLAND 1924 22cm high Provenance: Kinghams, 5 December 2020, lot 1026

£400-600

305 RUSKIN POTTERY HIGH-FIRED VASE, 1924 stoneware, flambé ox-blood and purple glaze, impressed RUSKIN ENGLAND 1924 27.5cm high Provenance: Kingham & Orme 3-6 December 2020, lot 1022

£400-600

306 RUSKIN POTTERY HIGH-FIRED VASE, 1910 stoneware with flambé sang de boeuf glaze, impressed RUSKIN POTTERY 1910 24.5cm high

£300-500

129

307 RUSKIN POTTERY HIGH-FIRED BALUSTER VASE, 1906 stoneware, lavender glaze, impressed RUSKIN POTTERY WEST SMETHWICK 1906, 18cm high

£700-1,000

308 ‡ RUSKIN POTTERY LUSTRE VASE, 1920 earthenware, with kingfisher lustre glaze, impressed RUSKIN/ ENGLAND/ 1920 27cm high

£200-300

309 RUSKIN POTTERY HIGH-FIRED VASE, 1933 stoneware, flambé ox-blood glaze with green speckling, impressed RUSKIN ENGLAND 1933 21cm high

£300-500

310 RUSKIN POTTERY THREE VASES, 1920S each stamped with manufacturer’s marks, the taller green vase stamped 1922, glazed earthenware (3) 28cm high, 24cm high and 24cm high Provenance: The taller green vase Ex-W. Howson Taylor Collection.

£400-600

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131

311 ATTRIBUTED TO MEYLE & MEYER, PFORZHEIM JUGENDSTIL BROOCH, CIRCA 1900 silver, silver gilt, plique-à-jour enamels and opal cabochons, stamped STERLING, with stamped mark to bale 900, within original fitted box 5cm tall

£1,200-1,800

312 § RUDOLPH HANNICH (1880- 1962) JUGENDSTIL ILLUSTRATION, CIRCA 1900 pen & ink, signed lower centre RUD. HANNICH 20cm x 12cm (frame size 43cm x 36.5cm)

£400-600

313 NYMPHENBURG ART NOUVEAU COFFEE SET, CIRCA 1905 porcelain, printed maker’s marks, comprising; a COFFEE POT, 20cm high; a MILK JUG, 10.5cm high; a LIDDED SUGAR BOWL, 10.5cm high; FOUR COFFEE CANS, 7.5cm high; FOUR SAUCERS, 15cm diameter (11) £500-700

314 ALBIN MÜLLER (1871-1941) FOR GERHARDI & CO. JUGENDSTIL COFFEE SET, CIRCA 1905 silver plated, stamped GERHARDI & CO 1818, designer’s monogram and with engraved monogram, comprising; a COFFEE POT, with inscription MINNE AF O.B.H 19 19/v 07, stamped 5, 22.5cm high; a MILK JUG, stamped 1 ½, 9cm high; a LIDDED SUGAR BOWL, stamped 1 2/2, 10cm high (3) £300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

132

315 ‡ LOETZ ‘PHÄNOMEN’ TABLE LAMP, CIRCA 1910 brass, with iridescent glass shade 35cm high

£1,200-1,800

316 ‡ LOETZ MOUNTED LUSTRE VASE, CIRCA 1900 iridescent glass, with Jugendstil pewter mount, stamped 1666 29.8cm high

£800-1,200

317 LOETZ THREE VASES, CIRCA 1900 iridescent glass, comprising; a LONG-NECKED VASE, 25cm high; a SHOULDERED VASE, 20.5cm high and a SQUAT VASE, 9cm high (3) £300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

133

318 LOETZ ‘PAPILLON’ VASE, CIRCA 1900 iridescent glass 18.5cm high

£400-600

319 LOETZ ‘PHÄNOMEN’ VASE, CIRCA 1900 iridescent glass 23.5cm high

£600-800

320 LOETZ TWO VASES, CIRCA 1900 iridescent glass, comprising; a ‘PAPILLON’ VASE, 14.5cm high; and a CRIMPED RIM VASE, 15cm high (2) £300-500

321 LOETZ THREE ‘CANDIA MIMOSA’ VASES, CIRCA 1900 iridescent glass (3) 17cm, 14cm and 10cm high

£300-500

134

322 NO LOT

323 MICHAEL POWOLNY (1871-1954) FOR LOETZ TWO VESSELS, CIRCA 1930 one cased orange and black glass, the other cased white and blue glass (2) 25cm high

£300-400

324 DAGOBERT PECHE (1887-1923) FOR LOETZ THREE-HANDLED VASE painted and cased glass, 17cm high; together with THREE LOETZ VASES, cased glass, 19.5cm, 16cm and 12cm high; and a further CONTINENTAL VASE, painted and cased glass, 9cm high (5) £300-500

135

325 ‡ LOETZ OCTOPUS (FEDERZEICHNUNG) VASE, CIRCA 1888 cased glass with air trap decoration, white enamel and gilt embellishments, gilt maker’s mark PATENT 9159 15.5cm high Literature: Mergl J., Ploil E., Ricke, H. Lötz / Böhmisches Glas 1880 bis 1940, Prestel-Verlag, Munich, 1989, p.63 for illustrations of vases of similar shapes with this style of decoration.

£500-700

326 JOHANN LOETZ (1879-1947) FOR LOETZ SNAKE VASE, CIRCA 1900 iridescent glass, 29.5cm high; together with AFTER MARIE KIRCHNER FOR LOETZ, PAIR OF CANDLESTICKS, iridescent glass, 20cm high (3) £300-500

327 LOETZ TWO LOETZ ‘PAPILLON’ VASES, CIRCA 1900 iridescent glass, 35.5cm and 14cm high; together with a further LOETZ VASE, iridescent glass, 17cm high (3) £300-500

328 ROYAL COPENHAGEN BOWL, CIRCA 1900 porcelain, stamped and painted maker’s marks, 482/11, 65 9cm high

£400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

136

329 Y JOSEF LORENZL (1892-1950) ‘GOOD COMPANIONS’, CIRCA 1920 cold-painted bronze, ivory, raised on an onyx plinth, signed in the bronze LORENZL figure 19.5cm high, including plinth 26cm high Sold in compliance with UK Government and APHA regulations, with (nontransferable) exemption registration reference 4ZJUACXT.

£1,000-1,500

330 ‡ THEODOR KARL EICHLER (1868-1946) THE SLAVE, CIRCA 1910 patinated and gilt bronze, marble, signed in cast EICHLER and DER SKLAVIN LOS 31cm high

£600-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

137

331 WIENER KUNSTKERAMISCHE WERKSTÄTTE BLACKAMOOR FIGURE, 1916 incised and signed with artist’s monogram and date, stamped maker’s mark, 1632/ 125/ 8 AUSTRIA 16cm high

£300-500

332 WMF (WURTTEMBERGISCHE METALLWARENFABRIK) JUGENDSTIL MANTEL CLOCK, CIRCA 1910 electroplated metal, brass, stamped maker’s marks to the reverse, no. 661 40.3cm high

£400-600

333 ROZENBURG, HOLLAND CHARGER, CIRCA 1900 glazed earthenware, painted maker’s marks ROZENBURG/ DEN HAAG, 732, with sun and window pane mark, decorator’s mark for H. G. A. HUYVENAAR 44cm diameter

£400-600

138

334

335

RUSSIAN, MANNER OF ELENA POLENOVA

RUSSIAN

CORNER CABINET, CIRCA 1900

TWO ARTS & CRAFTS PHOTOGRAPH FRAMES

chip-carved, incised and polychrome oak

stained beech (2)

28cm wide, 35.5cm high, 18cm deep

34.5cm x 22.5cm and 32.5cm x 24cm

£300-500

£250-350

336 SWEDISH, MANNER OF CARL LARSSON PAIR OF ARTS & CRAFTS CHAIRS, CIRCA 1900 patinated wood, with upholstered drop-in seats (2) 62cm wide, 124cm high, 52cm deep

£800-1,200

139

337 CONTINENTAL PAIR OF ARTS & CRAFTS PRICKET CANDLESTICKS, CIRCA 1900 copper and enamel (2) 35cm high

£300-500

338 ‡ EDUARD STELLMACHER AND ELVIR OTTO FOR RIESSNER, STELLMACHER & KESSEL AMPHORA ‘SPRING WIND’ VASE, CIRCA 1901-03 lustre-glazed earthenware with gilded decoration, artist’s mark TF, moulded and impressed maker’s marks AMPHORA/ 3746/ 42 28cm high

£400-600

339 BRANTJES & CO, PURMEREND, HOLLAND LARGE ART NOUVEAU TWIN-HANDLED VASE, CIRCA 1900 glazed earthenware, painted factory marks ‘FAIANCE DE PURMERENDE, HOLLAND’ 38.5cm high

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

140

340 ‡ NEWCOMB COLLEGE POTTERY MINIATURE VASE, CIRCA 1917 glazed earthenware, impressed maker’s marks NC/ IV75/ JM (Joseph Meyer, potter) and incised artist’s mark 7cm high

£400-600

341 ‡ JACQUES SICARD (1865-1923) FOR WELLER POTTERY TWO IRIDESCENT VASES, CIRCA 1910 lustre-glazed earthenware, comprising a SLENDER VASE, signed near base SICARD/ WELLER, 14.7cm high; and a TAPERED VASE, indistinctly impressed mark near base, 10cm high (2) 15cm and 10.8cm high

£500-800

342 ROOKWOOD POTTERY STANDARD GLAZE VASE, 1899 painted and glazed earthenware, impressed maker’s mark, no. 787B 35.5cm high

£400-600

343 Y A. & H. LEJAMBRE, PHILADELPHIA AESTHETIC MOVEMENT LONG STOOL, CIRCA 1880 rosewood, with leather upholstered seat and brass feet, bears paper retailer’s label S.R. PARSONS/ MONTREAL 79cm wide, 54cm high, 39cm deep

£800-1,200 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

141

GLASGOW SCHOOL WORKS FROM THE THE COLLECTION OF ERIC SLOANE

142

344 CHARLES RENNIE MACKINTOSH (1868-1928) FOR MISS CRANSTON’S WILLOW TEAROOMS LADDERBACK CHAIR, CIRCA 1903 ebonised oak, with drop-in rush seat, stamped to the seat block 100, stamped to the seat 108 45.7cm wide, 103.5cm high, 44.5cm deep Provenance: Miss Cranston’s Willow Tea Rooms, Sauchiehall Street, Glasgow, Scotland Estate of the late Eric Sloane Literature: Billcliffe R. Charles Rennie Mackintosh: The Complete Furniture Drawings & Interior Designs, Moffatt 2009, pp. 150-165, illus. 1908.8 and in situ at 1903 C; D; E; F; J; H & I

£10,000-15,000

Designed in 1903 for Miss Cranston’s Willow Tea Rooms on Sauchiehall Street, this chair is regarded as Charles Rennie Mackintosh’s most successful treatment of this vernacular form. He had produced ladderback chairs previously, most recently in 1901 for Windyhill. The Windyhill iteration has the same materials, an ebonised wood frame and rush seat, as well as the proliferation of rungs on the seat-back. Where the Willow Tea Rooms example differs is in its overwhelming statement of strength, with rectangular and square section uprights and legs. The elongated nature of the back is then further emphasised by the extension of the seat-back rungs to below the seat, resulting in their interaction with the stretchers at the chair’s base. The outcome is a complete aesthetic in which the chair speaks as a single, harmonious entity rather than the seat, legs and back being distinguishable elements. Contemporary photographs show ladderback chairs of this design set around white cloth covered tables at Miss Cranston’s Willow Tea Rooms, the wood panelling and walls a similarly pale colour. In this context the dark wood and striking line of the chairs is perfectly accentuated. This design is one of Mackintosh’s most recognisable chairs and Cassina of Milan reproductions, both of this model and the more stylised Hill House example, have extended the impact and renown of his work.

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

144

345 CHARLES RENNIE MACKINTOSH (1868-1928) MEISTER DER INNENKUNST; HAUS EINES KUNSTFREUNDES II, 1901 a folio of fourteen designs, complete with title page, text by Herman Muthesius, published by Alex Koch, Darmstadt, lithographic polychrome plates, original boards with printed title plate, with bookseller’s stamp F. BAUERMEISTER/ FOREIGN BOOKSELLER/ ; plates comprising: Plans of ground and first floors; ; Elevations of West and East Elevations (titles inverted by Mackintosh in his original drawing); North Elevation; South Elevation; Perspective from South East; Perspective from North West; Perspective of the Music Room; Elevation of Music Room Windows; Elevations of East and West Walls of the Music Room; Perspective of the Children’s Play Room; Elevation of the Bedroom Wall; Elevation of South Wall of the Hall; Elevation of South Wall and Buffet in the Dining Room; Perspective of the Dining Room; 54.6cm x 40.4cm; Provenance: Estate of the late Eric Sloane

£4,000-6,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

Literature: Howarth T. Charles Rennie Mackintosh and the Modern Movement, London 1952, pp. 157-163 Young A. M. Charles Rennie Mackintosh: Architecture, Design and Painting. Edinburgh 1968, fig. no. 19, p. 38, ill. Macleod R. Charles Rennie Mackintosh: Architect & Artist. London & Glasgow 1983, pp. 87-90 Billcliffe R. Charles Rennie Mackintosh: The Complete Furniture. London 1984, pp. 70-75 In December 1900 Alexander Koch’s design journal Zeitschrift für Innendekoration organised an architectural competition to design a Haus eines Kunstfreundes (“House for an Art Lover”), encouraging innovative homes that combined artistic vision with modern living. Charles Rennie Mackintosh, whose work had recently gained international attention following his exhibition at the Vienna Secession, was one of the entrants. Although his submission was incomplete when entries closed, the judges recognised its originality and awarded him a special prize. No first prize was awarded, reflecting the competition’s demanding standards. Instead, Mackay Hugh Baillie Scott received second prize, while Leopold Bauer, Oskar Marmorek, and Paul Zeroch shared third prize. Despite not being among the principal winners, Mackintosh’s design became one of the competition’s most influential entries. Almost a century later, in 1999, a modified version of the House for an Art Lover design was built in Bellahouston Park, Glasgow.

145

346 MARGARET MACDONALD (1865-1933) ‘THE TREE OF KNOWLEDGE’ BOOKPLATE, 1896 printed paper, printed artist’s mark lower left MARGT. MACDONALD/ INVT. ET DELT., framed 11.5cm x 8.8cm (frame size 37.4cm x 22.5cm) Provenance: Estate of the late Eric Sloane Literature: The Studio. vol. XI, 1897, pp. 92, 98 (related bookplate), illus. Ver Sacrum. vol. 23, Vienna, 1901, p. 396 (related bookplate), illus. McLellan Galleries Charles Rennie Mackintosh, Margaret Macdonald Mackintosh: A Memorial Exhibition. 1933, cat. no. 118. When Margaret Macdonald designed this bookplate in 1896, she had begun working in partnership with her sister Frances Macdonald at their studio at 128 Hope Street in Glasgow. The design centres on the elongated form of a naked woman, representing Wisdom, with her children, her hair merging with the tendrils of a fruit-bearing tree, the ‘Tree of Knowledge’. The bookplate was made for John Edwards, a patron about whom little is known. The image was also published in the ’Studio’ magazine in 1897 and the Austrian Secession Movement periodical ’Ver Sacrum‘ in 1901.

£800-1,200

347 CHARLES RENNIE MACKINTOSH (1868-1928) FOR MISS CRANSTON’S TEAROOMS, GLASGOW GROUP OF SPOONS, CIRCA 1900 electroplate, to include: THREE TEASPOONS, two stamped MISS CRANSTONS, the other stamped with maker’s marks CBS (Cooper Brothers & Sons, Sheffield) EP, each 12.8cm long; together with TWO PRESERVE SPOONS, one with trace of stamp MISS CRANSTONS, the other unmarked, each 15.5cm long; together with a GROUP OF ASSOCIATED MISS CRANSTON’S TEAROOMS TABLEWARES, including FOUR TEASPOONS, stamped maker’s marks, 12.8cm long; TWO PRESERVE SPOONS, stamped maker’s marks, 15.5cm long; a PAIR OF SUGAR TONGS, stamped MISS CRANSTON’S, 11.3cm long; and a BUTTER KNIFE, stamped maker’s marks, 11.2cm long (13) Provenance: Estate of the late Eric Sloane Literature: Howarth T. Charles Rennie Mackintosh and the Modern Movement, London 1952, pl. 51

£800-1,200

348 CHARLES RENNIE MACKINTOSH (1868-1928) FOR MISS CRANSTON’S TEAROOMS, GLASGOW GROUP OF CUTLERY, CIRCA 1900 electroplate, comprising THREE FORKS, each approx. 18cm long; TWO FISH KNIVES, each 21cm long; and a SOUP SPOON, 18.5cm long, all stamped MISS CRANSTON’S (6) Provenance: Estate of the late Eric Sloane Literature: Howarth T. Charles Rennie Mackintosh and the Modern Movement, London 1952, pl. 51

£800-1,200

146

349 ATTRIBUTED TO CHARLES RENNIE MACKINTOSH (1868-1928) TWO ARCHITECTURAL ELEMENTS FOR 120 MAINS STREET, GLASGOW, CIRCA 1900 comprising a SASH & CASE WINDOW FOR THE SECOND BEDROOM, painted wood, glass, upper sash 112cm x 99cm, lower sash 115.5cm x 99cm; together with a SECTION OF WALL STRAPPING, pine, with traces of white paint, 25cm wide, 247cm long, 1.3cm deep (2) Provenance: Estate of the late Eric Sloane Literature: Crawford A. Charles Rennie Mackintosh, Thames & Hudson 2002, p. 67, pl. 53 where a plan of the flat is illustrated. Billcliffe R. Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings and Interior Designs, Moffat, Dumfriesshire: Cameron & Hollis, 4th edn, 2009, pp. 10–12, 78–91; also see p. 170, pl. 1903.47 where a design for the principal bedroom at the Hill House in Helensburgh shows a sash window of related design to the current lot. www.mackintosh-architecture.gla.ac.uk

£800-1,200

This high-ceilinged first-floor flat at 120 Mains Street (later Blythswood Street) was Charles Rennie Mackintosh and Margaret Macdonald’s first home together after their marriage in August 1900. Mackintosh likely moved there shortly before the marriage and redecorated the rented flat in his own time. He designed decorative schemes and furniture for the drawing room, studio, bedroom and dining room, while the kitchen, second bedroom, where this window was fitted, and the maid’s room, are undocumented. The flat allowed Mackintosh to develop his holistic approach to interior design, combining horizontal picture rails, vertical wall-strapping, spare furniture groupings, contrasting light and dark palettes, and an emphasis on the fireplace. These ideas influenced later domestic and tearoom projects. In 1906, the couple moved to 6 Florentine Terrace, where many of the Mains Street interiors were recreated using the original fittings and furniture. The flat attracted international attention, appearing in The Studio (1901), Hermann Muthesius’s Das Englische Haus (1904), and a French publication in 1905. Mr Sloane, a Glasgow architect and Mackintosh enthusiast, rescued the two architectural elements when the flat was demolished in 1988. A note found in his papers reads “120 Blythswood Street/ 8.5.1988/ Joe McG and ES salvaged/ rear window from/ former CRM FLAT. Which was being demol./ No. 4 Blythswood Sq/ also being gutted/ at the same time” Contemporary photographs taken by Mr Sloane (see online catalogue at www.lyonandturnbull.com) show very little evidence of the Mackintosh’s interiors, save this window and a section of wall strapping, with traces of the original paint. The window, with its distinctive deep squared astragal in a 12/12 formation differs from the other windows seen in the flat where the astragals are of a traditional moulded form and 6/6 formation, befitting the Georgian bones of the building.

147

350 CHARLES RENNIE MACKINTOSH AND THE GLASGOW SCHOOL GROUP OF PHOTOGRAPHS AND OTHER EPHEMERA to include a GLASGOW SCHOOL OF ART TICKET, designed by David Broadfoot Carter (1894-1909) for ‘A Masque of the City Arms’ 1903, printed and hand-coloured paper, 27.5cm x 39cm; insert from The British Architect February 1893 ‘SOANE MEDALLION “COMPETITION”/ A RAILWAY STATION DESIGN BY C.R. MCINTOSH’ 37.5cm x 47cm; insert from The British Architect, November 1895 ‘SKETCHBOOK JOTTINGS BY CHAS. R MACINTOSH’, 37cmx 49.5cm; insert from The Building News, June 1892 ‘THE GLASGOW ART GALLERIES AND MUSEUM COMPETITION’ by John Honeyman & Keppie, 32cm x 41.5cm; 1893 a set of 21 later prints of T&R Annan photographs of the Mackintosh Exhibition of 1933, some mounted in an album; 10 further later prints of T&R Annan photographs including images of Main Street; Argyle Street Tearooms; Windyhill etc.; also three prints of the 1911 Scottish Exhibition, Glasgow; an Art Nouveau printed letterhead for Geo. S. Duncan printers, Glasgow appearing at the Glasgow International Exhibition of 1901 (qty) Provenance: Estate of the late Eric Sloane

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

148

351 CHARLES RENNIE MACKINTOSH AND THE GLASGOW SCHOOL LARGE COLLECTION OF BOOKS AND PAMPHLETS to include; David Martin THE GLASGOW SCHOOL OF PAINTING, George Bell & Sons 1897; GLASGOW INTERNATIONAL EXHIBITION 1901 FINE ART CATALOGUE, Charles P. Watson, Glasgow 1901; Katherine Cameron (illus.) THE WILD SWANS, T. C. & E. C. Jack, London 1911; Nikolaus Pevsner PIONEERS OF MODERN DESIGN, The Museum of Modern Art 1949; Thomas Howarth, MACKINTOSH AND THE MODERN MOVEMENT, RKP 1952, one with dust jacket (three copies), and 1977 with dust jacket (one copy); Patrick Nuttgens, MACKINTOSH AND HIS CONTEMPORARIES, John Murray, 1988; Robert Macleod, CHARLES RENNIE MACKINTOSH; ARCHITECT AND ARTIST, Collins, 1968; and many more, please see online for the full list (approx. 50) Provenance: Estate of the late Eric Sloane

£300-500

352 § IAN FLEMING (1906-1990) GLASGOW SCHOOL OF ART etching, signed in pencil to margin lower right IAN FLEMING, framed 21cm x 14.5cm (frame size 46cm x 37cm) Provenance: The Estate of the late Eric Sloane

£250-350

353 ATTRIBUTED TO TALWIN MORRIS (1865-1911) SMALL GLASGOW SCHOOL VASE, CIRCA 1900 repoussé-decorated brass, stamped to the base J&CO/BR?S 14cm high Provenance: Estate of the late Eric Sloane

£200-300

149

354 THE STUDIO MAGAZINE RUN OF HARDBACK CLOTH VOLUMES, FROM 1893 volumes 1, 2, 3, 4, 5, 6, 7, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 33, 34, 35, 38, 40, 43, 49, also includes a facsimile copy of the GENERAL INDEX of volumes 1-42, published by Sims & Reid Limited, London, 1979 (37) Provenance: Estate of the late Eric Sloane Sold with all faults and omissions, not subject to return

£800-1,200

355 THE STUDIO MAGAZINE COLLECTION OF PUBLICATIONS

356 HERMANN MUTHESIUS (1861-1927) DAS ENGLISCHE HAUS 1904-1911

comprising; a GROUP OF STUDIO YEARBOOKS, 1906 (hardcover), 1907 (softcover), 1908 (hardcover), 1912, 1913, (softcover), 1919 (hardcover), 1922 (softcover), 1929 (hardcover), 1930 (softcover); a run of STUDIO BOUND HARDBACK MAGAZINE, various cloth bindings, 1894, 1897, 1900 (three examples), 1904, 1904-1905, 1905 Feb-July, Aug- Jan 1905-1906, Feb-July 1907 (two examples), Oct-March 1907, Aug-Jan 1907-1908, June-Sep 1908, June-Dec 1909, Jan-June 1910, Jul-Dec 1910, Jan-June 1911, Jan-June 1912, July-Dec 1912, Jan-June 1913, Jan-June 1914, July-Dec 1914, Jan-June 1915, July-Nov 1915, Aug-Dec 1916, Feb-Dec 1917, Jan-June 1918; a group of variously BOUND VOLUMES to includes volume nos. 2; 13; 19; 25; 26; 28 (two copies); 29; 30 35; 38; 80 83; 120; ASSORTED SINGLE ISSUE STUDIO MAGAZINES to include; March 1903; October 1906; March 1907; December 1908; January-May 1909; September 1910; July-December 1911; October 1912; August 1913; September 1913; December 1923; April 1927; together with THE STUDIO SPECIAL SUMMER NUMBER, THE ART REVIVAL IN AUSTRIA, 1906, THE STUDIO SPECIAL AUTUMN NUMBER, ARTS & CRAFTS: A REVIEW OF THE WORK EXECUTED BY STUDENTS IN THE ARTS SCHOOLS OF GREAT BRITAIN AND IRELAND (qty)

including 1904, bands I and III; 1908, band I; 1910, Provenance: Estate of the late Eric Sloane band II; 1911, band III, pub. Verlag Ernst Wasmuth, £700-1,000 Berlin; DAS INTERIEUR. WIENER MONATSHEFTE FÜR ANGEWANDTE KUNST. January-June 1901, pub. Anton Schroll, Vienna, original orange boards in partial card slipcase, text and plates loosely inserted as issued; BERLINER ARCHITEKTURWELT, (11 copies – 1899 issue 2, 1901 issue 3, 5 and 6, 1910 issues 1, 3, 6, 10, 11 and 19; 1911 issues 11 and 12); together with BERLINER KUNST 1901, special edition on otto Eckmann, pub. Verlag Ernst Wasmuth, Berlin; and BERLINER KUNST 1904, special edition on Melchoir Lechter, pub. Verlag Ernst Wasmuth, Berlin; BERLINER KUNST 1904, special edition on Alfred Grenander, pub. Verlag Ernst Wasmuth, Berlin; DEUTSCHE KUNST UND DEKORATION, September 1906; Max Creutz, JOSEPH M. OLBRICH: DAS WARENHAUS TIETZ IN DÜSSELDORF, Verlag Ernst Wasmuth, Berlin 1909 (17) Provenance: Estate of the late Eric Sloane

£400-600

357 WYLIE & LOCHHEAD LIMITED, GLASGOW TRADE CATALOGUE, CIRCA 1910 oblong folio, original green cloth, 10 colour plates Provenance: Estate of the late Eric Sloane

£200-300 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

150

358 JESSIE MARION KING (1875-1949) COLLECTION OF BOOKS to include; GLASGOW, THE CITY OF THE WEST, T. N. Foulis, 1911 (five copies); DWELLINGS OF AN OLD WORLD TOWN, Gowans & Grey, 1909 (two copies); BUDDING LIFE, signed, Gowans & Grey, 1907; THE GREY CITY OF THE NORTH, T. N. Foulis, 1910 (two copies), 1914 (one copy); MEMORIES, T. N. Foulis, 1923; MEMORIES, T. N. Foulis, 1913; KIRKCUDBRIGHT, A ROYAL BURGH, signed, Gowans & Grey, 1934 (two copies); BUDDING LIFE, Gowans & Grey, 1907; A BUNDLE OF YARNS, Gowans & Grey, 1931; ISABELLA OR THE POT OF BASIL, T. N. Foulis; TALES FROM SHAKESPEARE, Collins; WHAT KATY DID AT SCHOOL, Collins (20) Provenance: Estate of the late Eric Sloane

£800-1,200

359 JESSIE MARION KING (1875-1949) GROUP OF CERAMICS, CIRCA 1930 painted earthenware, all signed with artist’s monogram, rabbit cypher and Greengate mark, comprising; TWO LIDDED DISHES, 10.5cm and 9.5cm high; FOUR PORRIDGE BOWLS, 16.3cm diameter; TWO BREAD & BUTTER PLATES, 19.5cm and 18cm diameter (8) Provenance: Estate of the late Eric Sloane

£400-600

360 JESSIE MARION KING (1875-1949) (ILLUS.) COLLECTION OF BOOKS to include THE BOOK OF BRIDGES, Gowans & Grey, 1911; NATURE PICTURES, Gowans & Grey, 1908; A BOOK OF SUNDIALS, T. N. Foulis, 1914 (one copy), 1917 (two copies); CORNERS OF GREY OLD GARDENS, T. N. Foulis, 1914; JEPHTHA, A DRAMA, Alex Gardner, Paisley; SONGS & POEMS OF THE ETTRICK SHEPHERD, T. N. Foulis; GRETA MINDE, Globus Verlag, Berlin; ALL THE YEAR ROUND, Collins; THE ENCHANTED CAPITAL OF SCOTLAND, Plaid Publications; White C. THE ENCHANTED WORLD OF JESSIE M. KING, Canongate 1989 (12) Provenance: Estate of the late Eric Sloane

£400-600

END OF COLLECTION Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

151

152

361 CHARLES RENNIE MACKINTOSH (1868-1928) LANTERN, CIRCA 1904-11 plated brass, leaded glass 36cm diameter, 24cm high Provenance: Private Collection, Glasgow Literature: The Studio, XXVIII, PP. 286-288 Billcliffe R., Charles Rennie Mackintosh: The Complete Furniture Drawings & Interior Designs, Cameron & Hollis 2009, pp. 95-107, pls. 1900G where the lanterns are shown in a contemporary photograph, and 1900Gi and 1900Gii where they are shown in the reconstructed interior. www.mackintosh-architecture.gla.ac.uk

£20,000-30,000

Mackintosh carried out six phases

Macdonald, accompanied by beaten

and other Mackintosh designs of the

of work at Ingram Street, and it was

lead panels. Mackintosh also worked

period. Dating from around 1900, the

the third tearoom he worked on for

concurrently on the Cloister Room. The

drawing room in the Mackintoshes’ flat

Miss Cranston’s firm. The first two, at

interiors were executed between August

on Main Street was lit by two ceiling

Argyle Street and Buchanan Street,

and November 1900.

lights, each comprising a cluster of four

were collaborations with the decorator George Walton. Over a period of 12 years, beginning in 1900, Miss Cranston employed Mackintosh to remodel and redecorate the four ground-floor and basement units.

The furniture, light fittings, carpets, glass, and several structural additions and alterations were all part of his comprehensive design. Lanterns of this design can be seen in contemporary photographs hanging in the White Dining

similarly shaped lanterns, differing in their proportion and treatment of the glass elements. The lanterns also bear distinctive artisan’s markings on the top and bottom sections, usually a number of punched dots indicating which top belongs with which bottom piece. The

The White Dining Room was Miss

Room, which was completed in 1901

Cranston’s first commission in which

and was later also known as the Ladies’

Mackintosh had complete control

Luncheon Room. Unlike the later five

over both furniture and decoration.

phases, this first phase of work appears

Plans were approved by the Dean of

to have been a private commission. As an

Guild Court on 5 April 1900, with the

employee of John Honeyman & Keppie,

completion certificate issued on 10

Mackintosh was permitted to undertake

After the Tea Rooms closed, the furniture

January 1901. Mackintosh wrote to

private work, but this ceased once he

and fittings were dispersed, although

Hermann Muthesius on 24 January 1900

became a partner in 1901.

much of the surviving material was

that he was working on a new room for Kate Cranston, “doing all the work myself - furniture - decoration - fitting - This will be done in three or four months”. He was optimistic. On 12 July he wrote again: “I am not really through with ‘Miss Cranstons’ yet it has involved a great lot of work. Just now we are working at 2 large panels for the frieze 15 feet long x 5’ 3 in high. Miss Margaret Macdonald is doing one and I am doing the other.”

Andrew Hutcheson is listed as the contractor for all lighting components of the Ingram Street renovations. While there are various mentions of ‘pendants’, ‘electric globes’, ‘lanterns’, and ‘shades and fittings’, this is not sufficient detail to definitively identify the manufacturer of the lanterns. Hutcheson, who supplied many of Mackintosh’s light fittings, had run a gasfitting business which later

marks on this particular lantern reveal that it was no. 4 in a series. Other distinctive marks on the metal, part of the manufacturing process, are also evident on each lantern.

subsequently brought together by Glasgow Museums. Some furniture was given to the Glasgow School of Art in the 1950s, while other pieces entered private collections. The interiors remained in use until the building was sold in 1971 to a hotel and restaurant business, after which the interiors were dismantled by Glasgow Corporation’s Planning Department and placed in storage.

turned to electric work. All the surviving

This lantern is one of only five known

The large square room had white-

lanterns are made in the same way, in

complete examples still in existence.

painted woodwork, with some panels

rolled and hand-hammered brass, with

Those held by Glasgow Museums were

painted silver, and dark-stained movable

cowled tops and pierced square-section

used in the reconstruction of the White

furniture, creating a contrast of light

bases, each set with glazed panels.

Dining Room for the travelling Mackintosh

and dark. High on the east and west walls were the gesso panels The Wassail by Mackintosh and The May Queen by

Stylistically, parallels can be drawn between the Ingram Street lanterns

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

Exhibition organised by Glasgow Museums in 1996.

153

154

362 ‡ CHARLES RENNIE MACKINTOSH (1868-1928) ROME, ARCH OF TITUS

In 1890, Charles Rennie Mackintosh won the Alexander Thomson

watercolour and pencil, initialled CRM and dated 1891 lower left

Memorial Travelling Studentship, awarded to young British architects

24.1cm x 31.8cm (frame size 42.3cm x 42.3cm) Provenance: Dr. Thomas Howarth Christie’s London, The Dr. Thomas Howard Collection, Important Works by Charles Rennie Mackintosh, Margaret and Frances Macdonald and Herbert MacNair, February 17, 1994, lot 17 Jacqueline Loewe Fowler, Greenwich, Connecticut Sotheby’s, New York, Important Design: Jacqueline Fowler Collection, 24th May 2018, lot 401 Private Collection

‘of approved moral character’. Entries had to reflect Alexander ‘Greek’ Thomson’s interest in Ancient Classic Architecture as practised ‘prior to the commencement of the Third Century of the Christian Era’. Mackintosh’s winning proposal for a public hall combined Beaux-Arts planning with Greek architectural details, earning him £60 to fund a three-month study tour. In 1891, he travelled to Italy, documenting its architecture and art in diaries and sketchbooks before presenting his observations to the Thomson Trustees and the Glasgow Architectural

Exhibited: Art Gallery of Ontario, Toronto, Charles Rennie Mackintosh (1868-1928), Memorial Exhibition, November 18-December 31, 1978, no. 25

Association. His drawings ranged from precise architectural studies

Literature: Billcliffe R. Mackintosh Watercolours, John Murray 1978, p. catalogue no. 17 illus. Macaulay J. Charles Rennie Mackintosh, WW Norton 2010, p. 91 Billcliffe R. Charles Rennie Mackintosh and the Art of the Four, Quatro 2017, p. 21, no. 14 illus. Rawson G. Charles Rennie Mackintosh’s Italy, Stenlake Publishing 2020, p. 34, no. 30 illus.

sensitivity. These works established the foundations of his distinctive

£6,000-8,000

both an architectural study and an independent work of art.

to expressive watercolours, revealing both analytical skill and artistic drawing style, balancing technical accuracy with a strong appreciation of form, colour, light, and shadow. Among the finest examples is this watercolour of the Arch of Titus, painted on 22 April 1891, admired for its freshness, spontaneity, and ability to capture the monument as

155

363 JESSIE MARION KING (1875-1949) THE FOUNTAIN pen and ink, watercolour on vellum, signed lower left JESSIE M. KING, framed 24cm x 26.8cm (frame size 45.3 x 46.5cm) Provenance: Gifted by the artist and by descent Private collection, Glasgow

£3,000-5,000

364 CHARLES RENNIE MACKINTOSH (1868-1928) KNIFE AND FORK FOR MISS CRANSTON’S TEAROOMS, CIRCA 1900 ebonised wood, steel and plated steel, the knife blade marked MISS CRANSTON’S, within later presentation frame (2) knife 71cm long, fork 16.5cm long (frame size 13cm x 26cm) Literature: Howarth T. Charles Rennie Mackintosh and the Modern Movement, London, 1952, pl. 51 where similar examples illustrated.

£600-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

156

365 JESSIE MARION KING (1875-1949) IN THE SHADOW OF THE MOUNTAIN pencil and watercolour 27cm x 36cm (frame size 46.5cm x 34.5cm) Provenance: Sotheby’s, Jessie M. King and E.A. Taylor, Charles Rennie Mackintosh Society, Queen’s Cross Church, Glasgow, 21st June 1977 Lyon & Turnbull, Edinburgh The Hancock Collection, 25th January 2023, Lot 215

£800-1,200

366 JESSIE MARION KING (1875-1949) THE CLOCK TOWER pencil, framed 10.5cm x 14.5cm (frame size 30cm x 33cm)

£300-500

367 JESSIE MARION KING (1875-1949) LION AND GIRL STUDY watercolour, framed 13.5cm x 15cm (frame size 32.5cm x 33.5cm)

£250-350

368 JESSIE MARION KING (1875-1949) (ILLUS.) ‘THE BOOK OF BRIDGES’ Gowans & Gray, London and Glasgow 1911, with original dustjacket and card sleeve, large 8vo, one of 1000 copies, 18 colour plates, original green cloth with illustrated paper label to upper cover, inscribed ‘To Margaret. With greeetings from the artist. And in recognition of her being such a perfect monkey!’, signed to the frontispiece JESSIE M KING; together with ‘KIRKCUDBRIGHT A ROYAL BURGH’, Gowans and Gray, London and Glasgow, 1934 (2) £300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

157

369 JESSIE MARION KING (1875-1949) COLLECTION OF PRINTED ILLUSTRATIONS AND CARDS comprising; a HANDWRITTEN AND ILLUSTRATED ‘HANDSEL’ TEA PARTY INVITATION, on Greengate headed notepaper, 23cm x 17.5cm; a COMMERCIAL CHRISTMAS CARD, inscribed in the artist’s hand ‘To Wee Margaret with all good wishes from JMRT’, 12.5cm x 9cm; a SIGNED T & R ANNAN PHOTOGRAPH OF JESSIE KING, 12.5cm x 10cm; GREETING FROM GREENGATE RING IN THE NEW YEAR, 21.5cm x 13.5cm; THE SEASON’S GREETINGS E. A. & J. M.K. TAYLOR XMAS 1929 NEW YEAR 1930, 21cm x 13.5cm; CHRISTMAS GREETING E.A. AND J.M.K TAYLOR:THE GREEN GATE KIRKCUDBRIGHT, 11.5cm x 14cm; GREETINGS E.A. & JMK TAYLOR, 13cm x 9.5cm; E. A. AND J.M.K. TAYLOR’S GREETINGS, 10cm x 7.5cm; GREETINGS FROM E.A. AND J.M.K. TAYLOR AS JOSEPH WAS A WALKING…, 13cm x 9.5cm; a further GREENGATE CHRISTMAS CARD, 19.5cm x 13cm; GREETINGS PUT A GIRDLE AROUND THE WORLD, 14.5cm x 12cm, in original envelope illustrated with rabbit and gate cyphers; EA. JMK. TAYLOR GREETINGS, 14cm x 8.5cm; GREETING & GOOD LUCK, 13cm x 9.5cm; GREETING FROM E.A & JMK TAYLOR, 9.5cm x 12cm; MAY FORTUNE’S FAERIE BARQUE BY WIND AND WAVE BE WAFTED THEE, Christmas 1935, New Year 1936, 18.5cm x 11cm; TWO COPIES OF ‘GIRL WITH A MANDOLIN’, the larger 19cm x 13.5cm; TWO FURTHER PRINTS, inscribed GOOD GREETING FROM THE GREEN GATE (19) £600-800

370 JESSIE MARION KING (1875-1949) GROUP OF CERAMICS, CIRCA 1930 painted earthenware, all signed with artist’s monogram, rabbit cypher and Greengate mark, comprising; TWO TEACUPS, (one unmarked), 7cm high; TWO SAUCERS, 14.5cm diameter; a TEAPOT, (lid lacking), 11cm high to rim; a MILK JUG, 6cm high; a PEPPER SHAKER, 12cm high; TWO PORRIDGE BOWLS, 16.5cm diameter; together with a HANDWRITTEN NOTE BY THE ARTIST, ‘To wish wee Maggie & her ’man’ the very best of luck in their new venture’, signed with rabbit cypher and Greengate mark (9) £600-800

371 JESSIE MARION KING (1875-1949) ALBUM VON BERLIN, 1899 Berlin: Globus Verlag, 1899. First edition, oblong folio, 55 photographic plates, upper cover with coloured figurative design by J.M. King; together with ALBUM VON DRESDEN, Berlin: Globus Verlag, 1899. First edition, oblong folio, 47 photographic plates, upper cover with coloured figurative design by J.M. King; two further copies of ALBUM VON BERLIN, 1901 edition, 51 photographic plates and 1903 edition with 49 photographic plates, each oblong folio with upper covers with coloured armorial design by J.M. King; ALBUM VON FRANKFURT, Berlin: Globus Verlag, oblong folio, 23 photographic plates; and a copy of THE GERMAN COVER DESIGNS OF JESSIE M KING by A.D. Portno, privately printed 2003, no.2 in an edition of 20 and including corrected proofs for a later 2008 edition (6) The Album Von Berlin was King’s first commission for a book cover. One of these examples shows the rarer figurative design for the publication, which contains photographs of Berlin; her second was pattern-based. This first version was withdrawn from sale when a complaint was received from ‘an influential person, possibly the Kaiser (who was known to dislike Art Nouveau)’ suggesting that the cover was inappropriate for a book of photographs of the German capital.

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

158

372 ERNEST ARCHIBALD TAYLOR (1874-1951) FOR WYLIE & LOCHHEAD, GLASGOW DISPLAY CABINET, CIRCA 1900 mahogany inlaid with greenstained bone and pewter with silvered metal handles, the glazed doors enclosing a velvet-lined interior 107cm wide, 176cm high, 46.5cm deep Provenance: Private Collection, London

£800-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

159

373 MARION HENDERSON WILSON (1869-1956) GLASGOW SCHOOL WALL CLOCK, 1899 repoussé-decorated brass, signed and dated M.H. WILSON/ 1899 49cm x 37.2cm

£1,500-2,000

374 ATTRIBUTED TO MARGARET GILMOUR (1860-1942) CELTIC REVIVAL WALL MIRROR, CIRCA 1910 repoussé-decorated brass, mirror plate 60.5cm diameter

£600-800

375 MARGARET GILMOUR (1860-1942) GLASGOW SCHOOL PLANTER, CIRCA 1910 tin, repoussé-decorated, signed with initials MG 28cm wide, 22.5cm high

£300-500

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160 By the 1890s, Wylie & Lochhead’s cabinetmaking business had become the largest in Scotland, producing furniture that ranged from avant-garde designs to more traditional forms. The firm looked beyond Scotland for inspiration and collaboration, commissioning leading English and Continental designers and manufacturers, including Liberty & Co., while simultaneously nurturing emerging Scottish talent. Its close engagement with the Glasgow School of Art kept the firm abreast of contemporary stylistic developments, and it enlisted graduates such as Jessie M. King, who designed wallpapers and may also have contributed furniture designs. This breadth of approach was particularly evident at the Glasgow International Exhibition of 1901, where Wylie & Lochhead presented a series of interiors that brought contemporary design within the reach of a middle-class clientele. The firm exhibited work that toned down the more extreme innovations of designers such as Mackintosh, Herbert McNair, and Margaret and Frances Macdonald – the Four. Wylie & Lochhead was happy to embrace the ‘New Art’ styles where there was a commercial opportunity to do so. Each of the four rooms was entrusted to a different designer: John Ednie designed the Dining Room, E. A. Taylor the Drawing Room, and George Logan the Library and Bedroom. Known as the Rossetti Library, a bookcase closely related to the present lot was designed by Logan and is currently in the collection of the Victoria & Albert Museum, London. The bookcase shares many stylistic elements with the present lot, including its distinctive central-door inlay, carved details and drop handle. Butterflies, seen in the door panel of the bureau, were a motif popularised by Whistler and a recurring theme throughout the four interiors designed for the exhibition. In the Drawing Room, for example, they appear on the lamps, stained glass, furniture andirons, while in the Library they can be seen on the ends of the fireplace settles in the one known view of the room. The presence of these motifs and details on the present lot points to the possibility of it’s connection with another area of the scheme. Today, Wylie & Lochhead is best known for the avant-garde work produced by its three celebrated designers; however, the comparatively radical interiors they created for the firm represented only a small part of its enormous and long-established output.

376 GEORGE LOGAN (1866-1939) FOR WYLIE & LOCHHEAD, GLASGOW BUREAU, CIRCA 1901 carved walnut, marquetry and mother-of-pearl inlaid panel, enamelled and glass panels, brass fittings, the sloping fall enclosing a fitted interior with leather writing surface 85cm wide, 132cm high, 49.5cm deep Perovenance: Possibly made for The Rosetti Library, Wylie & Lochhead Pavilion, Glasgow International Exhibition 1901 Literature: The Studio, XXX, 1904, p. 202 V&A Collection: Accession No. W.23:1 to 3-1972 Kinchin J. The Wylie and Lochhead Style, Journal of the Decorative Arts Society, 9, 1985, pp. 4–16

£6,000-8,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

161

377 MANNER OF ANN MACBETH ‘GATHER YE ROSEBUDS WHILE YE MAY’, LARGE EMBROIDERED PANEL, CIRCA 1910 coloured silks and applied silk on an unbleached linen ground, framed 79cm x 63cm (frame size 91.5cm x 76cm)

£2,000-3,000 The panel is dominated by the central figure, her skirt exaggerated in its fullness to visually echo the tree from which she is picking flowers. The drapery and its interaction with trailing foliage are made a feature of in a manner familiar from Glasgow School embroideries by designers including Ann Macbeth. A frieze of alternating squares, rectangles and stylised roses borders the design, elements familiar from the work of other Glasgow School artists including Macbeth’s mentor Jessie Newbery.

378 HELEN ADELAIDE LAMB (1893-1981) GLASGOW SCHOOL EMBROIDERED PANEL, CIRCA 1909 coloured silks reserved on a fine linen ground, framed 22cm x 12.4cm (frame size 31cm x 22cm) Literature: The Studio - An Illustrated Magazine of Fine Applied Art, Volume 46, 1909 where a panel of the same design as the current lot is titled “Embroidered Panel by Helen A. Lamb”. V&A Collection accession no.T.25-2019 Helen Lamb was born in Prestwick, Scotland, in 1893 and entered the Glasgow School of Art at just 15. She taught art at St Columba’s School, Kilmacolm, from 1918 to 1949. Lamb died in Dunblane in 1981.

£600-800

379 SCOTTISH SCHOOL PAIR OF STUDIES, CIRCA 1920 pen & ink, watercolour, each signed lower left C.M. ADE (2) each 17cm x 9.5cm (frame size 44.5cm x 32cm)

£500-800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

162

380 ATTRIBUTED TO GEORGE WALTON (1867-1933) FOR LIBERTY & CO., LONDON GLASGOW SCHOOL OPEN ARMCHAIR, CIRCA 1900 oak, with close-nailed upholstery 69cm wide, 85cm high, 60cm deep

£400-600

381 ATTRIBUTED TO GEORGE WALTON (1867-1933) FOR J. S. HENRY, LONDON THREE-PIECE PARLOUR SUITE, CIRCA 1910 inlaid mahogany, with close-nailed upholstery, comprising; a SETTEE, 104cm wide, 98cm high, 49cm deep; and TWO ARMCHAIRS, 58cm wide, 99cm high, 47cm deep (3) Literature: Cooper, J., Victorian & Edwardian Furniture & Interiors, Thames & Hudson, London, 1987, p. 233, pls. 634 and 635 Walton designed the 1903 Arts & Crafts Exhibition Society stand for J.S. Henry, and, it is thought, this parlour suite.

£1,500-2,000

163

382 HANNAH MOORE WALTON (1863-1940) FOUR FINGER BOWLS, CIRCA 1910 painted glass, signed HW (4) 11.5cm diameter Literature: Burkhauser J. ed. Glasgow Girls: Women in Art and Design 1880-1920, Edinburgh 1990, p.166 Hannah Walton worked from the family home at 5 Belmont Terrace in Hillhead, Glasgow, where her sister Helen had established her studio in 1881. The sisters specialised in this type of painting on commercial glassware, and chose decorative subjects associated with water.

£400-600

383 GLASGOW SCHOOL STAINED GLASS PANEL, CIRCA 1900 stained and leaded glass, framed 63.5cm x 31cm (frame size 73cm x 39.5cm)

£250-350

384 ATTRIBUTED TO TALWIN MORRIS (1865-1911) GLASGOW SCHOOL JARDINIÈRE, CIRCA 1900 repoussé-decorated brass 30cm wide, 26.5cm high, 30cm deep For panels of a similar design see Lyon & Turnbull, Design since 1860, 20 Apr 2022, lot 322

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

164

385 GLASGOW SCHOOL EMBROIDERED PANEL, CIRCA 1910 coloured silks reserved on an unbleached linen ground, framed; 60cm x 46cm (frame size 68cm x 54cm); together with another GLASGOW SCHOOL EMBROIDERY, coloured silks reserved on an unbleached linen ground, 35cm square (frame size 37.7cm square) (2) £400-600

386 GLASGOW SCHOOL

387 § KATE CAMERON (1874-1965)

COLLECTOR’S CABINET, CIRCA 1910 patinated wood

WILDFLOWERS

40cm wide, 135cm high, 28cm deep

pencil and watercolour, signed lower left K. Cameron, framed

£400-600

32cm x 25cm (frame size 53.5cm x 44.5cm)

£250-350

165

388 ELIZABETH MARY WATT (1886-1954) POPPIES, 1912 watercolour, pen and ink, signed and dated upper left ELIZABETH MARY WATT, framed 34cm x 25cm (frame size 55cm x 44.5cm)

£400-600

389 GLASGOW SCHOOL PAIR OF EMBROIDERED PICTURES, CIRCA 1900 silk, with applied glass (2) 52.5cm x 25.5cm

£300-500

390 MANNER OF GEORGE LOGAN GLASGOW SCHOOL BOX, CIRCA 1900 carved mahogany, with key 33cm wide, 12.5cm high, 23.5cm deep

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

166

391 ATTRIBUTED TO PETER WYLIE DAVIDSON (1870-1963) ARTS & CRAFTS BRASS WALL CLOCK, CIRCA 1900 repoussé-decorated brass, inscribed TIME/ TIDE, together with two weights and a pendulum (4) dial 42.5cm high, 37cm wide, 12cm deep

£400-600

392 ATTRIBUTED TO WYLIE & LOCHHEAD, GLASGOW DISPLAY CABINET, CIRCA 1910 mahogany, with brass fittings, mirror plate, inlaid woods and mother-of-pearl, bears retailer’s tag GREVILLE & CO/ HOUSE FURNISHERS/ BIRMINGHAM 109cm wide, 182.5cm high, 41cm deep

£700-900

393 ATTRIBUTED TO MARGARET GILMOUR (1860-1942) GLASGOW SCHOOL CHARGER, CIRCA 1910 repoussé-decorated brass, with later enamel roundel 74cm diameter

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

167

394 GLASGOW SCHOOL AND OTHERS GROUP OF EMBROIDERIES, CIRCA 1900 to include; a COLLAR AND CUFF, collar 36cm x 48cm; an EMBROIDERED CASE BY H. E. VERRAN (AMERICAN) 31.5cm x 24cm; a TEA COSY, 26.5cm x 38cm; a BLOTTER, 30cm x 24cm (closed); a BLACK SATEEN PANEL, 55cm x 58cm; a TABLE RUNNER, 75cm x 44.5cm; a WHITEWORK PANEL, 68cm x 103cm; TWO FURTHER EMBROIDERIES, the larger 24cm x 35cm; TWO CUSHION COVERS, one with motto RESTE AFTER TOYLE PORTE AFTER STORMIE SEAS, 37cm square; TWO BAGS, the larger 33cm x 26cm; a machine embroidered COLLAR AND PAIR OF CUFFS; a BEDSPREAD, appliqué and needlework on linen, 249cm x 176cm; a RUNNER, silk threads on a silk ground with satin border, 111.5cm x 37.5cm; SCRAP OF ART NOUVEAU FABRIC, printed cotton, 36cm x 27cm; a TEA COSY, cotton threads on linen, 28cm x 45cm; a PANEL, wool threads on linen, 247cm long, 21cm wide; together with TWO BOOKS, Margaret Swanson and Ann Macbeth, ‘Educational Needlecraft’, Longmans Green & Co., 1911; Anne Knox Arthur, ’An Embroidery Book’, A. & C. Black Ltd., 1920 (19) £400-600

395 § ANNIE FRENCH (1872-1965) ‘BALLERINAS’ pen, ink and watercolour 18.5cm x 12cm (frame size 35cm x 28.5cm) Provenance: Christie’s Glasgow, 9th April 1981, lot 19 (part) Sale of the Late Lee Witkin

£600-800

396 § ANNIE FRENCH (1872-1965) ‘SPANISH GIRL’ watercolour, pen and ink on vellum, mounted on a cartouche with ink border by the same hand, signed middle left ANNIE FRENCH roundel 10.3cm diameter (frame size 57cm x 58.5cm) Provenance: Christie’s Glasgow, 9th April 1981, lot 19 (part) Sale of the Late Lee Witkin

£600-800

397 GLASGOW SCHOOL TWO EMBROIDERED PANELS, CIRCA 1910 coloured silks on an unbleached linen ground, with silk mount, 25.5cm x 32cm (frame size 40.5cm x 47cm); coloured silks on a linen ground, 26.5cm x 47cm (frame size 30.5cm x 51.5cm) (2) £300-500

168

398 GLASGOW SCHOOL GROUP OF METALWARES, CIRCA 1910 comprising a CANDLE SCONCE, repoussé-decorated brass, with applied Ruskin ceramic panel, 30cm tall; another CANDLE SCONCE, repoussé-decorated white metal and enamel, 35cm tall; and a TWIN-HANDLED TRAY, repoussé-decorated white metal, 54cm across (3) £300-500

399 MANNER OF MARGARET GILMOUR GLASGOW SCHOOL BOX, CIRCA 1910 repoussé-decorated brass with inset Ruskin ceramic roundel, 15.3cm square; together with a CELTIC REVIVAL DISH, possibly by Alexander Ritchie, Iona, repoussé-decorated brass, 27cm diameter (2) £300-500

400 MANNER OF JESSIE MARION KING BOX, CIRCA 1910 incised and gilded leather, cedar lined, 31cm wide, 7cm high, 10cm deep; together with a SCANDINAVIAN CELTIC REVIVAL JEWELLERY BOX, incised and gilded leather, velvet lined, with brass fittings, inscribed TRUDA, 21cm wide, 9cm high, 15cm deep; and a HAND MIRROR, incised and gilded leather, 26cm long (3) £400-600

401 GLASGOW SCHOOL JARDINIÈRE, CIRCA 1900 repoussé-decorated brass 44.5cm wide, 15cm high, 19cm deep

£300-500

169

402 JOHN HENRY LORIMER (1856-1936) PORTRAIT OF THE YOUNG ROBERT STODART LORIMER red chalk 50cm x 43cm (frame size 74cm x 64.5cm) Provenance: Kellie Castle, Fife, thence by descent in the Lorimer family to the present owners. Robert Stodart Lorimer (1864–1929) trained under Sir Robert Rowand Anderson, later working in the London office of G. F. Bodley. In 1878, his family leased Kellie Castle in Fife as a holiday home, and Robert spent much of his youth there, helping with his father’s restoration work from the age of 14. Kellie had a formative influence on his interest in Scottish historic architecture, craftsmanship and interiors. Returning to Edinburgh from London in 1893, Lorimer established his own practice, restoring historic houses and designing new ones, including Ardkinglas and Rowallan Castle. His reputation was enhanced by his work on the Thistle Chapel at St Giles’ Cathedral and the Scottish National War Memorial at Edinburgh Castle. He also undertook war cemeteries, church restorations and university buildings. He was knighted in 1911 and appointed K.B.E. in 1927.

£300-500

403 WEMYSS WARE SMALL PIG MONEYBOX, CIRCA 1910 painted and glazed earthenware, impressed and painted mark WEMYSS 16cm long

£300-500

404 CELTIC REVIVAL CHEST, CIRCA 1900 carved oak 70cm wide, 63cm high, 45.5cm deep

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

170

ELYSE ASHE LORD Born Elise Müller in 1885, Elyse Ashe Lord’s early life is

Lord’s subject matter was predominantly Asian, despite

poorly documented, and her date of birth is frequently

her never having travelled to the region. The 1914 British

reproduced incorrectly. Rising anti-German sentiment led

Museum exhibition of Chinese paintings has been proposed

her to anglicise her first name when she married Reverend

as a possible catalyst, while Lord credited Arthur Waley’s

Thomas Ashe Lord around 1908. She trained at Heatherley’s

translations of Chinese poetry with giving her access to

School of Art in Chelsea, which specialised in portraiture,

Eastern culture. Her designs also reveal influences from

figurative painting, printmaking and illustration.

ceramics, textiles and scrolls from Persia, India, Japan and

Until 1921 Lord primarily worked in watercolour, but

elsewhere.

she became best known for her coloured etchings. She

Her first exhibition was held in 1919, but critical recognition

developed a distinctive technique combining drypoint

came with her 1921 Brook Street Gallery exhibition of

etching for the line with woodblock printing to build

seventy drawings. During the 1920s her reputation grew

up layers of colour. Contemporary accounts praise

rapidly: she was elected to the Royal Institute of Painters in

her meticulous practice, noting that she personally

Water Colours in 1922, exhibited at the Paris Salon, where

supervised ‘all of her own printing’ and retained the first

she won a silver medal, and was featured by the Studio.

ten impressions. Her estate consequently contained

In 1927 the Lefevre Gallery held a major exhibition of her

progressions showing the development of colour, as well as

watercolours and prints.

annotated proofs suggesting alterations.

Lord later lived near Oxford, where her husband died in 1943. She survived him until 1971 and was reputedly a wealthy recluse. Although her later working life is uncertain, her output was prolific, comprising at least 350 unique designs. Following her death, her estate passed to her publisher H. C. Dickens, from whom the current owner acquired the works offered here.

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

171

405 § ELYSE ASHE LORD (1900-1971) ‘PUPPETS OF THE MOON’ ink, watercolour and bodycolour, signed lower right E. LORD, framed 55cm x 37.5cm (frame size 73.5cm x 56cm) Provenance: From the estate of the artist

£1,000-1,500

172

406 § ELYSE ASHE LORD (1900-1971) ‘CYMBALS’ pastel crayon and pencil, unframed, 47.5cm x 36cm, and a hand-coloured etching of the same design, unframed; ‘ORGAN’, pastel crayon and pencil, unframed, 47.5cm x 36cm, and two hand-coloured etchings of the same design in different treatments, unframed; 46.5cm x 35.5cm (5) Provenance: From the estate of the artist

£600-800

407 § ELYSE ASHE LORD (1900-1971) COLLECTION OF WORKS hand-coloured, unframed etchings, comprising; two examples of ‘NEWSPAPER DANCE’, signed lower right ELYSE LORD and editioned 17/75 and 18/75, 30.5cm x 30cm; MARKET SQUARE, 17.5cm x 22.5cm; ‘MARKET PLACE, TANGIERS’ signed lower right ELYSE LORD, 14cm x 23cm, and another example of the same design; two examples of ‘THE CITADEL CHURCH, BARCELONA’, signed lower right ELYSE LORD; two examples of ‘MERTON COURT SCHOOL, KENT’, signed lower right ELYSE LORD, 9cm x 17.5cm; ‘SIGNIOR RICCIARDO DE CHINGICA’, signed lower right ELYSE LORD, 8cm x 9cm; ‘ACROBATS’, 33cm x 25.5cm, and another in a different treatment; THE LESSON, 36cm x 30cm, and another in a different treatment; READING, 40cm x 33cm, and another in a different treatment (15) Provenance: From the estate of the artist

£500-700

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

173

408 § ELYSE ASHE LORD (1900-1971) COLLECTION OF WORKS hand-coloured etchings, unframed, comprising; THE MUSIC LESSON, 36cm x 47.5cm; INSTRUMENTALIST, 24cm x 31.5cm; FLAUTIST AND DRUMMER, 30cm x 25cm; ‘VICTORIAN HARP LUTE’, 25.5cm x 19.5cm; CYMBALS, 21.5cm x 17.5cm; ‘INDIAN DILRUBA’, 24cm x 19.5cm; ‘TUBA’, 25.5cm x 19.5cm, and another in a different treatment; ‘SERPENT’, signed lower right ELYSE LORD, 26cm x 26cm, and two in different treatments, signed; DUET, 33.5cm x 41cm; ‘ORGAN LESSON’, 35cm x 45cm, and three in different treatments; MUSICIAN, 29cm x 25cm, and another in a different treatment;THE MUSICIANS, 33.5cm x 45cm; THE ARTIST, 33cm x 40.5cm (20) Provenance: From the estate of the artist

£500-700

409 § ELYSE ASHE LORD (1900-1971) COLLECTION OF WORKS 18TH CENTURY LADY, pen, ink and watercolour, unframed, 35.5cm x 27cm; together with a group of hand-coloured, unframed etchings, comprising; ‘EN ROUTE’, 34cm x 41.5cm, and five others in different treatments; ‘LYDIA’, signed lower right ELYSE LORD, 37cm x 30cm, and three others in different treatments, one signed; ‘PRAGUE 17TH CENTURY’, signed lower right ELYSE LORD, and editioned 11/75, 31.5cm x 22cm; DANCER, 37.5cm x 29.5cm; FEATHERED DANCER, 22.5cm x 23.5cm (15) Provenance: From the estate of the artist

£600-800

410 § ELYSE ASHE LORD (1900-1971) ‘ORIENTAL STUDY’ hand-coloured etching, framed, 26cm x 17.5cm (frame size 47cm x 33cm); and a further collection of hand-coloured, unframed etchings comprising; ‘COUPLE CELESTIAL NYMPH’, 31.5cm x 30cm, and another in a different treatment; the BROAD-BRIMMED HAT, 37.5cm x 28cm; ‘THE GARDEN THAT FADES NOT IN AUTUMN’, 41cm x 35cm, and another in a different treatment; ‘THE WHITE RABBIT’, signed lower right ELYSE LORD, 34.5cm x 47cm; ‘THE LESSON’, 34.5cm x 44cm; ‘CHINESE’, 35.5cm x 42cm; CONVERSATION, 36cm x 31cm; ‘THE DANCE’, 37.5cm x 28cm, and two others in different treatments; ‘THE NEW BABY’ signed lower right ELYSE LORD, 39.5cm x 32cm; ‘PETITION’, 46.5cm x 35.5cm, and two others in different treatments; ‘BY THE RIVER’, signed lower right ELYSE LORD, 29.5cm x 29.5cm; ‘RED PLUM BLOSSOM’, signed lower right ELYSE LORD, 37cm x 29.5cm; ‘BLUE & YELLOW’, 42.5cm x 31.5cm; THE FAN, signed lower right ELYSE LORD, 32.5cm x 28.5cm (20) Provenance: From the estate of the artist

£600-800

174

411 § ELYSE ASHE LORD (1900-1971) ‘FLOWERS AND TEA’ pencil and mixed media on stained wood, framed, 34.5cm x 21cm (frame size 45.5cm x 32cm); together with three further works in this medium by the same hand, ‘FLOWERS AND PARCHMENT, framed, 28.5cm x 24cm (frame size 40cm x 36cm); ’EXOTIC BIRDS’, framed, 25.5cm x 30cm (frame size 36.5cm x 41cm); ‘BIRD AND CHERRY BLOSSOM’, framed, 31.5cm x 24cm (frame size 42.5cm x 35.5cm) (4) Provenance: From the estate of the artist

412 §

These are thought to be original woodblocks which have been handcoloured by the artist after use.

COLLECTION OF WORKS

£400-600

ELYSE ASHE LORD (1900-1971) hand-coloured etchings, unframed, comprising; UNRAVELLING, 41cm x 33cm, and two in different treatments; two examples of PEACOCK, pastel, signed lower right EAL, 37.5cm x 25cm; SPHERES, pastel, signed lower left EAL, 34cm x 21.5cm, together with an etching of the same design; ABSTRACT FLOWER, 34.5cm x 20.5cm, and two in different treatments; MOUNTED DEITY, pastel crayon and pencil, 35cm x 47cm; three examples of FIGURAL DANCE, 34cm x 32.5cm (14) Provenance: From the estate of the artist

£500-700

413 § ELYSE ASHE LORD (1900-1971) ‘PERFORMERS’ hand-coloured etching, framed, 22cm x 26.5cm; together with a further collection of hand-coloured, unframed etchings comprising; SHADOW PUPPETS, 22cm x 17.5cm, and another in a different treatment; DANCER, 32cm x 26cm; ‘ON THE TRAILS, 25cm x 35cm; GATHERING, 21cm x 25.5cm; ’FRUITSELLERS’, 37cm x 30.5cm; ‘BUBBLES’, signed lower right ELYSE LORD, 22.5cm x 35cm; ‘CHICKENS’, signed lower right ELYSE LORD, 22cm x 26.5cm; THE APPLE, 16cm x 15.5cm; THE OLD WOMAN, 26.5cm x 22cm, and another in a different treatment; SCARF DANCER, 37.5cm x 28cm; ‘THE HAND OF BUDDHA’, signed lower right ELYSE LORD, 34cm x 25cm; FAN DANCER, 16cm x 8cm; three examples of ‘CHARITY’, signed lower right ELYSE LORD and editioned 31/75, 44/75, 50/75, 21cm x 19cm (18) Provenance: From the estate of the artist

£600-800

414 § ELYSE ASHE LORD (1900-1971) COLLECTION OF WORKS hand-coloured etchings, unframed, comprising; KINGFISHER, signed, 24cm x 29.5cm; ‘SPOONBILL’, signed lower right ELYSE LORD and editioned 2/75, 37cm x 30.5cm, and two others in different treatments; RIVERSIDE, 31.5cm x 40cm; BLUE TITS, 29cm x 31cm, and three others in different treatments; BIRDS, 30cm x 30.5cm; BIRD ON A BRANCH, 14.5cm x 14.5cm; ‘LOTUS FLOWER’, 32cm x 18cm; ‘DUCKS II’, signed lower right ELYSE ASHE LORD, 26.5cm x 36.5cm; BIRD RESTING, 37cm x 23.5cm; CHERRY BLOSSOM, signed lower right ELYSE ASHE LORD, 42.5cm x 33cm; four examples of ‘STILL LIFE OF FLOWERS IN A VASE’, each signed lower right ELYSE LORD, and editioned 63/75, 70/75, 74/75, 42cm x 29cm; BIRD SINGING, 25cm x 30cm, and another in a different treatment (20) Provenance: From the estate of the artist

£500-700

175

415 § ELYSE ASHE LORD (1900-1971) COLLECTION OF WORKS hand-coloured etchings, unframed, comprising; ‘NATIVITY’, signed lower right ELYSE LORD, 23cm x 27.5cm, and two in different treatments, one signed; ‘CHINESE ACTOR’, signed lower right ELYSE LORD and editioned 4/75, 37cm x 32cm; ‘GREECE’, signed lower right ELYSE LORD and editioned 12/75, 37cm x 32.5cm; ‘IN DISGRACE’, signed lower right ELYSE LORD, 10cm x 16cm; ‘THEATRE’, 34.5cm x 27cm; three examples of THE PALM READER, 25.5cm x 30.5cm; SIDESTEP, 45.5cm x 35.5cm; THREE WOMEN, 16.5cm x 23cm; THE VEIL, 26cm x 21cm; CLOUD MUSINGS, 36.5cm x 31cm; THE JESTER, 29.5cm x 40cm; (15) Provenance: From the estate of the artist

£500-700

416 § ELYSE ASHE LORD (1900-1971) COLLECTION OF WORKS hand-coloured etchings, unframed, comprising; ‘DRUMMER BOY’, 29cm x 27cm, and two in different treatments; MUSIC IN THE TREES, 31cm x 30cm; three examples of ‘SAROD PLAYER’, 28cm x 24.5cm; ‘GARDEN MUSIC’, 25cm x 44.5cm, and four in different treatments; ‘THE NEW HARP’, signed lower right ELYSE ASHE LORD, 25.5cm x 34.5cm, and three in different treatments, one signed; ‘IN THE PALACE OF PONG-IAÏ’, signed lower right ELYSE LORD, 40cm x 41.5cm, and another in a different treatment, signed (18) Provenance: From the estate of the artist

£500-700

417 § ELYSE ASHE LORD (1900-1971) COLLECTION OF WORKS hand-coloured, unframed etchings comprising; CHINESE HORSEMAN, signed lower right ELYSE LORD, 27.5cm x 31.5cm; ‘DUSK; ON THE WAY HOME’, signed lower right ELYSE LORD, 17.5cm x 12.5cm; WINTER FIGURE, signed lower right ELYSE LORD, 22cm x 30.5cm, and four others in different treatments, signed; ‘THE MESSAGE’, signed lower right ELYSE LORD, 26cm x 20.5cm; THE WATER CARRIERS, 36.5cm x 47cm, and three in different treatments; SEATED FIGURES, 36.5cm x 31cm; BIRDMEN, 29.5cm x 30cm, and two in different treatments; ‘THE BARREN LAND’, signed lower right ELYSE LORD, 25.5cm x 45.5cm (16) Provenance: From the estate of the artist

£500-700

418 § ELYSE ASHE LORD (1900-1971) ‘THE WISE MAN’ hand-coloured etching, framed, 26.5cm x 22.5cm (frame size 53cm x 48cm), together with three unframed examples in different treatments, one signed lower right ELYSE ASHE LORD and editioned 10/75; and a further collection of hand-coloured, unframed etchings comprising; BOY AND DONKEY, 30.5cm x 29.5cm, and another in a different treatment; ‘HIS EXCELLENCY’, signed lower right ELYSE LORD, 42cm x 32cm; ‘BLUE BEADS’, 18cm x 22.5cm; QUIET REFLECTION, 30cm x 25cm; PERFORMANCE, 21.5cm x 29.5cm, and another in a different treatment; THE WARRIOR, 27cm x 33cm, and two others in different treatments; FLOWER ARRANGERS, 21cm x 33cm; ‘SCHEHERAZADE’, signed in the print E. LORD, 15.5cm x 24cm; ’ALADDIN’S SPRITE’ signed lower right ELYSE LORD, 7.5cm x 9cm, and another in a different treatment; THE WHITE SHEET, 21cm x 26cm, and another in a different treatment; DEITY, 20.5cm x 17.5cm; ‘THREE FIGURES’, signed lower right ELYSE LORD, 10cm x 8cm, together with another signed example; SEATED WOMAN, signed lower right ELYSE LORD, 9.5cm x 6.5cm (25) Provenance: From the estate of the artist

£700-900 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

176

419 FRANÇOIS-THÉODORE LEGRAS (1839-1916) ART NOUVEAU VASE, CIRCA 1910 cameo-glass, signed LEGRAS 9cm high

£300-500

420 DAUM FRÈRES CLEMATIS CAMEO GLASS VASE, CIRCA 1910 overlaid and acid-etched glass, with martelé ground, firepolished, engraved and gilt DAUM NANCY with Cross of Lorraine 60.5cm high Provenance: Bonhams, 12 October 1994 Property from a Private London Collection

£3,000-5,000

421 ‡ DAUM FRÈRES LAKESCAPE VASE, 1920S cameo glass, with inverted rim, mottled glass, overlaid and acid-etched cameo DAUM NANCY with Cross of Lorraine 22cm high, 24cm diameter

£1,000-1,500

422 DAUM FRÈRES AND LOUIS MAJORELLE (1859-1926) ART DECO BOWL, CIRCA 1920 glass, with metallic foil inclusions, cast iron, signed L. MAJORELLE/ DAUM NANCY, FRANCE, with Cross of Lorraine mark, traces of paper Majorelle label 31cm diameter, 19cm high

£600-800

177

423 ‡ SARREGUEMINES MAJOLICA OVERLAID VASE, PATTERN 2680, CIRCA 1900 glazed earthenware overlaid with etched brass, impressed maker’s marks SARRAGUEMINES 2680 27.7cm high

£300-500

424 VICTOR BARBIZET (1805-1870) LARGE PALISSY WARE MAJOLICA VASE, CIRCA 1870 glazed earthenware 58.5cm high

£500-800

425 ‡ ALEXANDRE VIBERT (1847-1909) AND ÉMILE MÜLLER (1823-1899) SATYR VASE moulded and glazed terracotta, signed near base E. MULLER, with applied medallion, and A. VIBERT, incised and impressed maker’s marks ÉMILE MÜLLER/ IVRY/ PARIS/ 183 25cm high

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

178

426 CONSTANTIN MEUNIER (1831-1905) TÊTE DE PUDDLER RELIEF PANEL designed 1885 patinated bronze signed in cast C Meunier, Modèle exclusif DE LA MAISON MODERNE PARIS 32.5cm high, 25.3cm wide Literature: “Hommage à Constantin Meunier” Sura Levine & Françoise Urban, Gal. Maurice Tzwern, Brussel, Ed. Pandora 1998, cf. nr. 2, p. 47 (similar example illustrated) La Maison Moderne was located at 82 rue des Petits-Champs, Paris, France and existed between 1898 and 1903. Founded by Julius Meier-Graefe (1867-1935) it promoted works in the Art Nouveau style for domestic consumption just as Siegfried Bing’s Maison de L’Art Nouveau did which had opened three years earlier.

£400-600

427 ‡ ANTON PUCHEGGER (1878-1917) DESK SET, CIRCA 1910 patinated bronze and glass, comprising inkwell, letter stand and magnifying glass, together with a letter opener with bear finial, inkwell and letter rack signed A PUCHEGGER, magnifying glass stamped 1073 (4) inkwell 25.5cm wide

£300-500

428 Y MANNER OF DE COENE FRÈRES, BELGIUM ART DECO LOW TABLE, CIRCA 1930 rosewood, with brass plated sabots 107cm wide, 47cm high, 47cm deep

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

179

429

430 ‡

FRENCH

DEMETRE CHIPARUS (1886-1947)

ART NOUVEAU BROOCH, CIRCA 1900

BOYS, DESIGNED CIRCA 1925

white metal and enamel, stamped maker’s marks

silvered bronze, onyx base, signed CHIPARUS

9cm wide

25cm high including base

£800-1,200

£1,500-2,000

431 ‡ MARCEL-ANDRÉ BOURAINE (1886-1948) HOOP DANCER, DESIGNED CIRCA 1925 gilt bronze, onyx base, signed A. BOURAINE 30.5cm high including base

£1,000-1,500

432 DOMINIQUE ZUMBO (1854-1939)

433

FIGURAL VASE, CIRCA 1910

ALEXANDRE VIBERT (1847-1909)

lustre-glazed ceramic, signed D. ZUMBO/ ARENES/ FRÉJUS/ VAR

ART NOUVEAU EWER, CIRCA 1900

16.4cm high

gilt bronze, signed in the bronze A. VIBERT, stamped foundry mark 21cm high

£800-1,200

Literature: Arthur, P. French Art Nouveau Ceramics: An Illustrated Dictionary, Paris, 2015, p.373 (similar vase illustrated)

£300-500

180

434 ‡ EDGAR BRANDT (1880-1960) CHANDELIER, CIRCA 1925 silvered wrought iron, with six alabaster shades, stamped E BRANDT 92cm high, 70cm wide

£6,000-8,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

181

435 Ω DEMETRE CHIPARUS, POSSIBLY HUNTRESS AND DOG, DESIGNED CIRCA 1925 patinated spelter, onyx base 65cm high, 59.7cm wide, 17cm deep

£600-800

436 ‡ JOE DESCOMPS (1869-1950) WOMAN WITH BIRD, DESIGNED CIRCA 1925 patinated bronze, marble base, signed JOE DESCOMPS 60.5cm wide, 14.5cm deep, 34cm high including base

£1,500-2,000

437 ‡ MICHEL DECOUX (1837-1924) PANTHER, DESIGNED CIRCA 1920 patinated bronze, marble base, signed in the bronze DECOUX base 70cm wide, 15cm deep, bronze 25cm high

£3,000-5,000

182

438 ‡ DEMETRE CHIPARUS (1886-1947) SAD LITTLE ONE, DESIGNED CIRCA 1925 patinated bronze, marble base, engraved D.H. CHIPARUS 30.5cm high

£2,500-3,000

183

439 ‡ DEMETRE CHIPARUS (1886-1947) SAD LITTLE ONE, DESIGNED CIRCA 1925 patinated bronze, onyx base, signed D.H. CHIPARUS 17cm high including base

£1,000-1,500

440 ‡ DEMETRE CHIPARUS (1886-1947) CLÉO THE BALLET DANCER, CIRCA 1925 patinated and gilt bronze, marble base, engraved CHIPARUS, inset lozenge moulded L.N. PARIS J.L. 32.5cm high

£3,000-5,000

441 Y PAUL PHILIPPE (1870-1930) SEATED VIOLIN PLAYER, DESIGNED CIRCA 1925 cold-painted bronze and ivory, onyx base, signed PHILIPPE R. UM to base (lacking violin and bow) 30cm high Note: Sold in compliance with UK Government and APHA regulations, with (non-transferable) exemption registration reference 1NG92WAN.

£2,000-3,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

184

442 RAOUL DUFY (1877-1953) AND OTHERS FOR BIANCHINI-FÉRIER, LYON COLLECTION OF FABRIC SAMPLES, CIRCA 1920 mainly hand-blocked heavy linen but also including smaller samples in silk, chiffons and velvets, and including sample ‘books’ in various clolourways, patterns include ‘Le Tennis’, ‘Les Cornets’, ‘L’Europe’, ‘La Peche’, ‘La Chasse’ etc Provenance: ’Two Centuries of Design: The BianchiniFérier Collection’ Christies, London, 25-27th July 2001

£400-600

443 Bianchini-Férier was founded in Lyon, France, in 1888, beginning a century of success after receiving the Silver Medal at the Paris Exposition Universelle in 1889. This achievement led to offices opening in Paris, London, Brussels, and, finally, New York in 1909. In 1912, BianchiniFérier signed a contract with the talented artist Raoul Dufy, who had begun designing textiles for couturier Paul Poiret in 1911. Until 1930, Dufy created lively woven and printed fabrics in bright colours for the company, many purchased by leading couturiers. From the 1960s, BianchiniFérier also produced designs for Givenchy, Balenciaga, Chanel, Dior and Yves Saint Laurent.

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

FRENCH ART NOUVEAU TABLE LAMP, CIRCA 1900 mother-of-pearl, patinated wrought iron shade 41.5cm diameter, 45cm high

£300-500

185

444 ‡ ZOLDAN KOVATS (1883-1952) FEMALE DANCER, DESIGNED CIRCA 1925 patinated bronze, black marble base, signed in the bronze KOVATS 28cm high including base

£400-600

445 JAN ANTEUNIS (1896-1973) THE DANCER, 1945 patinated plaster, painted wood plinth, signed JAN ANTEUNIS and dated 1945 figure 48.5cm high, with plinth 51cm high

£300-500

446 SABINO, FRANCE PETALIA VASE, NO.7053, CIRCA 1930’S opalescent glass, signed SABINO/ FRANCE 19.5cm high

£300-500

447 ‡ LONGWY ‘ATRIUM’ EDITIONED BOX & COVER, CIRCA 1940 glazed ceramic, editioned 1/150, printed mark to base ATRIUM/ TIR-LIM/ 1/150, with maker’s mark EMAUX DE LONGWY/ MADE IN FRANCE 31.7cm wide, 14cm high, 17cm deep

£400-600

186

448 ENGLISH ART DECO CHANDELIER, CIRCA 1930 chromium-plated wrought steel, with later glass globes 63cm diameter, 130cm high to ceiling rose

£400-600

449 ENGLISH ART DECO DINING SUITE, CIRCA 1930 burr wood veneer, comprising; a DINING TABLE, 198.5cm long, 77.5cm high, 91cm deep; SIX CHAIRS, with suede upholstered seats, 52cm wide, 89cm high, 45cm deep (7) £3,000-5,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

187

450 CHARLES L. HARTWELL (1873-1951) AN ALLY patinated bronze, raised on a stained wood plinth, signed in the bronze C.L. HARTWELL, paper label under base inscribed AN ALLY/ CL HARTWELL bronze 22cm high, with plinth 31cm high

£400-600

451 ENGLISH ART DECO FLOOR LAMP patinated metal, glass 181cm high, shade diameter 56cm

£300-500

452 ATTRIBUTED TO KEM WEBER 1889–1963) FOR LAWSON TIME INC. ‘ZEPHYR’ CLOCK, CIRCA 1940 brass, copper, plastics, applied maker’s label to rear 20cm wide, 9cm high, 8cm deep

£300-500

453 SPANISH ART DECO CENTRE TABLE walnut, brass 65.5cm wide, 54cm high, 39cm deep

£500-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

188

454 MANNER OF ASHLEY HAVINDEN TWO BEDSIDE RUGS, CIRCA 1930 hand-knotted wool (2) 137cm x 69cm

£400-600

455 ENGLISH ART DECO LOW BOOKCASE, CIRCA 1930 walnut, bears plastic retailer’s label P.E. GANE LTD/ BRISTOL 152.5cm wide, 76.5cm high, 30cm deep

£400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

189

456 ERIC RAVILIOUS (1903-1942) FOR WEDGWOOD ‘GARDEN’ SERIES PART DINNER SERVICE, CIRCA 1950, DESIGNED 1938 transfer-printed and glazed earthenware, comprising PAIR OF TUREENS & COVERS, each 25cm across handles; 9 DINNER PLATES; 9 FISH PLATES; 6 SIDE PLATES; 4 DESSERT BOWLS; 8 TWIN-HANDLED SOUP BOWLS and 9 SAUCERS; SAUCE BOAT & STAND; SUGAR BOWL & COVER; SMALL BOWL; TWO OVAL SERVING DISHES, each with printed maker’s marks TRAVEL, DESIGNED BY RAVILIOUS, WEDGWOOD OF ETRURIA & BARLASTON, MADE IN ENGLAND (53) £800-1,200

457 ENGLISH ART DECO CORNER BOOKCASE CABINET, CIRCA 1930 walnut, coromandel, with brass escutcheons and plastic handles 148cm high, 35.5cm deep, left hand unit 158cm wide, right-hand unit 114cm wide

£800-1,200

190

458 ROBERT EDGAR STONE (1903-1990) PAIR OF ART DECO BON BON DISHES, 1931 hammered silver, ivory, stamped maker’s mark, hallmarked London 1931, facsimile signature 10.5cm wide

£300-500

459 DAISY MAKEIG-JONES (1881-1945) FOR WEDGWOOD WILLOW ‘FAIRYLAND LUSTRE’ VASE, CIRCA 1930 lustre-glazed earthenware, printed factory marks to base, painted Z5360/ Z P, incised 2034/ P 22cm high

£600-800

460 CARTER STABLER & ADAMS POOLE POTTERY VASE, 1920S painted and glazed earthenware, decorated by Ruth Pavely, impressed maker’s mark, painted decorator’s marks 24.5cm high

£300-500

461 ROYAL DOULTON THREE VASES, CIRCA 1920 glazed stoneware, comprising a TALL VASE, decorated with flowering branches, 32cm high; a LANDSCAPE VASE, 15.4cm high; and a LOBED VASE, decorated with trees by Eliza Simmance, 20.3cm high, each with impressed maker’s marks and incised artist’s marks (3) £300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

191

462 LOUIS WAIN (1860-1939) PIP PIP! red crayon, signed lower left LOUIS WAIN 22.75cm x 17cm (frame size 43.5cm x 33.5cm) Exhibited: Chris Beetles Gallery, London ‘Louis Wain’s Cats’, January 2022 Chris Beetles Gallery, London ‘Lous Wain & The Cat Show’, September 2022 Chris Beetles Gallery, London ‘Louis Wain & the Summer Cat Show’, August 2024

£400-600

463 ROYAL DOULTON MASTER OF THE FOXHOUNDS (M.F.H.) PRESENTATION JUG, CIRCA 1930 glazed earthenware, printed maker’s marks ROYAL DOULTON/ THE M.F.H PRESENTATION JUG/ THE PRODUCTION OF THIS JUG IS LIMITED TO 500. JUG NO. 14 32.3cm high

£300-500

464 § MURIEL HUDSON (1890-1959) ‘MY ROSE WHITE MAIDENS...’, 1932 pen and ink and watercolour, signed, inscribed and dated, 28cm x 35cm (frame size 41.5 x 46.5cm); together with THREE FURTHER ILLUSTRATIONS, two pen and ink, one watercolour, unsigned, each approx.. 22cm x 19cm (frame size 35cm x 31cm) (4) £400-600

192

465 HEAL & SONS, LONDON SET OF SIX DINING CHAIRS, CIRCA 1925 limed oak, with close-nailed leather upholstery (6) 47cm wide, 90cm high, 50cm deep

£600-800

466 MANNER OF HEAL & SON, LONDON TALLBOY, CIRCA 1930 oak 76cm wide, 122cm high, 47cm deep

£400-600

467 JOHN MONCRIEFF LTD., PERTH ‘MONART’ VASE, CIRCA 1930 glass, with a brass table lamp insert of a similar period vase 28cm high, 33cm high to base of fitting

£400-600

468 KEITH MURRAY (1892-1981) FOR WEDGWOOD FOOTED BLACK BASALT VASE, 1930S earthenware, printed and impressed marks 20cm high

£400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

193

469 HEAL & SON, LONDON (RETAILER) BOLT OF FABRIC, CIRCA 1950 printed linen, original Heal & Son label attached 13m long, 91.5cm wide

£400-600

470 HEAL & SON, LONDON BOOKCASE, CIRCA 1930 limed oak with glazed doors, inset maker’s label HEAL & SON/ LONDON 121cm wide, 183cm high, 32.5cm deep

£400-600

194

471 HEAL & SON, LONDON PAINTED BEDROOM SUITE, 1920S comprising; a LARGE COMPACTUM WARDROBE, bears ivorine maker’s label, 155cm wide, 183cm high, 52cm deep; a WARDROBE, 105cm wide, 185cm high, 51cm deep; a DRESSING CHEST, with octagonal mirror, 92cm wide, 147cm high, 48cm deep; a BEDSIDE TABLE, 40cm wide, 79cm high, 38cm deep (4) Provenance: Purchased from Heals by the parents of the present vendor in the late 1920s for their childhood nursery in Bryanston Square, London W1

£500-700

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

472 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) LONGCASE CLOCK, CIRCA 1975 oak case, with carved mouse signature, the eleven inch square brass dial with silvered chapter ring, the twin weight driven striking movement, with pendulum and two weights 197cm high

£3,000-5,000

196

473 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) LARGE REFECTORY TABLE, CIRCA 1930 oak, with adzed surface and carved mouse signature, and with two carved birds 304.5cm long, 73.9cm high, 91cm deep

£8,000-12,000

197

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

198

474 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) BOWL, CIRCA 1950 oak, with carved mouse signature 28.7cm diameter

£300-500

475 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) PAIR OF TRIPLE MICE BOOKENDS, CIRCA 1970 oak, each carved with three mice (2) 18cm high

£1,000-1,500

476 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) GROUP OF WARES, CIRCA 1960 oak, each with carved mouse signature and including a PAIR OF BOOKENDS, 15cm high; a BREAD BOARD, 30.3cm across; an ASHTRAY, 10cm wide; and TWO NAPKIN RINGS, 4.7cm long (6) £500-800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

199

477 ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955) TABLE LAMP, CIRCA 1970 oak, with carved mouse signature, later silk shade 25.5cm high to fitting

£300-500

478

479

ROBERT ‘MOUSEMAN’ THOMPSON (1876-1955)

STATIONERY RACK AND DESK TIDY, CIRCA 1950

MATCHED PAIR OF BOOK TROUGHS, CIRCA 1970

oak, each with carved mouse signature (2)

stationery rack 32.8cm wide, desk tidy 30cm wide

each 45.5cm wide

£800-1,200

£400-600

200

480 FRANK NEWBOULD (1887–1951) POSTER: ‘A NEW ZEALAND DAIRY FARM’ lithograph, printed FRANK NEWBOULD/ PRINTED FOR H.M. STATIONERY OFFICE BY ST. MICHAEL’S PRESS LTD. WEST NORWOOD S.E. 27

482 ENGLISH ARTS & CRAFTS FIRESIDE COMPANION SET, CIRCA 1920 patinated wrought steel, comprising a stand with poker, ash shover and coal pincers (4) 80cm high

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

481 ARTHUR SIMPSON OF KENDAL (1857-1922) ARTS & CRAFTS FIRE SURROUND, CIRCA 1910 oak

50cm x 75cm (frame size 55.5cm x 80cm)

178cm wide, 181cm high, 17.5cm deep, internal dimension 120cm wide, 99.5cm high

£500-800

201

483 ARTHUR SIMPSON OF KENDAL (1857-1922) DRESSER, CIRCA 1920 mahogany, glazed doors, with characteristic Rathbone brass handles, applied maker’s label ARTHUR W. SIMPSON/ THE HANDICRAFTS/ KENDAL 195cm wide, 189.5cm high, 45.5cm deep

£600-800

202

484 COTSWOLD SCHOOL ARTS & CRAFTS WALL CABINET, CIRCA 1930 oak, with glazed doors 182.2cm wide, 73.5cm high, 24.8cm deep

£600-800

485 STANLEY WEBB DAVIES (1894-1978) ARTS & CRAFTS WALL CABINET, 1930 walnut, carved maker’s marks SWD/ 1930 and cabinetmaker’s mark FG 66cm wide, 70.5cm high, 30cm deep

£500-700

486 COTSWOLD SCHOOL DRESSING TABLE MIRROR, CIRCA 1960 walnut, with bevelled mirror plate 74.2cm wide, 73.5cm high, 25cm deep

£400-600

203

487 WILLIAM WILSON (1905-1972) STAINED AND LEADED GLASS PANEL, CIRCA 1955 stained, painted and leaded glass 61cm x 38cm

£1,500-2,500

Wilson started his career as a map maker before serving an apprenticeship with James Ballantine & Son in Edinburgh in 1920 and opened his own stained glass studio in 1937. During his career he produced over 300 windows, for churches, cathedrals and secular buildings all over Scotland

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

204

488 HART & HUYSHE COTSWOLD SCHOOL PAIR OF SCONCES, CIRCA 1920 brass, stamped maker’s mark HART & HUYSCHE/ CAMPDEN GLOS. (2) 32.5cm, high, 17.5cm wide Literature: Carruthers, Annette & Greensted, Mary ‘Simplicity or Splendour’, Cheltenham Museum & Art Gallery 2003, pp.147, 154, fig. 105 Note: The silversmith George Hart was a member of C.R. Ashbee’s Guild of Handicraft, joining just before it moved to Chipping Campden in 1902. In 1908 after the Guild’s forced closure, Hart took over the Silk Mill silversmith’s workshop, registering the ‘GofH’ (Guild of Handicraft) mark to himself in 1912. To this day, the Old Silk Mill is the premises for Hart Silversmiths. Hart & Huysche was established in 1919 between George Hart and Reynell Huysche, his half-brother and erstwhile apprentice. Little is known about the short-lived partnership, but they did sell their metalwork through Gordon Russell’s firm. The brevity of production makes Hart & Husche designs rare, another survivor including a beaten copper bowl, currently in the Wilson Museum, Cheltenham.

£600-800

489

490

GORDON RUSSELL (1892-1980)

MANNER OF GORDON RUSSELL

ARTS & CRAFTS BEDSIDE CABINET, 1929

PAIR OF ARTS & CRAFTS FIREDOGS

design number XL79, Cuban mahogany, lined with cedar, maker’s label to base, cabinet maker F Burland, dated October 4th 1929

brass, wrought iron (2)

38.5cm wide, 120cm high, 41cm deep

£600-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

25cm wide, 74cm high, 36cm deep

£400-600

206

The vast majority of the furniture and metalwork for both the brothers’ cottages was designed by Gimson, and Sidney and Ernest Barnsley. It seems likely that the dresser for Lea Cottage was designed after construction was completed, the dawn of the new century marking a period in which Gimson Cotswold School designer Ernest Gimson conceived this

had time to focus his efforts

magnificent dresser as part of the scheme for Lea Cottage in

on furniture. An image of the sitting room at Lea Cottage in Small

Leicestershire, built in 1898 as a summer holiday house for his

Country Houses of Today shows the dresser placed centrally on

eldest brother Mentor.

the back wall, its considerable height meaning it almost touched

Lea Cottage was constructed during an interesting period of change in Gimson’s life. Along with fellow Arts & Crafts enthusiast, designer and architect Sidney Barnsley, Gimson had moved from London to the South Cotswolds in 1893, seeking a return to a simpler, pastoral life in which to hone their ‘good handicrafts and building’. By the conclusion of the decade, he was married and in 1902 moved with his wife Emmie to Sapperton.

the rafters above. To the left of the dresser a rug demarcated the ‘sitting’ area of the room, a high-backed seat and a couple of side chairs positioned either side of the fireplace. Whilst the photograph is in black and white, the author notes how the china on the dresser and the inventively positioned bookshelf running under the rafters perpendicular to it add ‘a note of colour and interest’.

It was here that he designed his home Upper Dorval House and

The panel doors, almost shaker style handles and lattice plate

co-established the Daneway workshop in which some of his most

rack suggest a relatively simple construction for the dresser,

celebrated designs were crafted.

but it is striking in its scale and originality. The lattice effect,

Lea Cottage was built in parallel to Stoneywell Cottage, a summer house for Gimson’s other brother Sydney. Architect Detmar Blow was contracted to officiate the building process, he and Gimson having had a working relationship for several years. As was Gimson’s general preference, both cottages were constructed from local materials; stone, Swithland slate, timber and thatch in the case of Lea Cottage. The cottages were equipped and furnished in a manner verging on the austere, with no electricity, gas or plumbing, the whitewashed walls and

particularly against the white walls of the cottage would certainly have been visually captivating. This was a design feature Gimson returned to, for instance on the backs of dining chairs. Most intriguing is the almost yoke-like form of the vertical strut at the plate rack’s centre. This traditional farming implement was still used in the Cotswolds at the turn of the century, creating the possibility of Gimson observing from life, perhaps in a similar manner to his incorporation of ‘hay rake’ stretchers into table designs.

roughly sawn timbers unadorned. Fledgling architects often

The dresser in some respects harmonises with the rustic

relied on family for early commissions, these two cottages being

atmosphere of the cottage, yet the combination of elements

an example of just that, the filial connection allowing Gimson

and the evident deep consideration for its visual impact speak

greater freedom in his designs than when constrained by the

to a designer beginning to realise a style which would become

demands of a paying client.

distinctively his.

207

491 ERNEST GIMSON (1864-1919) ARTS & CRAFTS DRESSER, CIRCA 1900 oak, with iron hooks 198cm wide, 240cm high, 63.7cm deep Provenance: Lea Cottage, Ulverscroft Phillips, London British Design, 25th September 2001, Lot 18 Private Collection

£15,000-20,000

Literature: Country Life magazine, The Lesser Country Houses of Today: Lea Cottage, Charnwood Forest, Leicestershire, September 23rd 1911, pp. 7-10, illus. p. 8 Weaver, Sir L. Small Country Houses of To-Day, Country Life, Third Edition 1922, pp. 34-38, pl. 80 illus. Comino M. Gimson and the Barnsleys: Wonderful Furniture of a Commonplace Kind, Evans Brothers Ltd 1980, pp.138-9 Carruthers A., Greensted M., Roscoe B. Ernest Gimson: Arts & Crafts Designer and Architect, Yale 2019, pp. 68-83, 148-151, 350 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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492 ATTRIBUTED TO PETER WAALS (1870-1937), AFTER ERNEST GIMSON PAIR OF ARTS & CRAFTS SIDE CHAIRS, CIRCA 1930 walnut, with drop-in rush seats (2) 48cm wide, 89cm high, 45cm deep Literature: Cooper, J. Victorian & Edwardian Furniture & Interiors, London, 1987, p. 204, pl. 542 which illustrated a similar chair designed by Gimson. See Lyon & Turnbull, Edinburgh Makers & Creators, 19th March 2025, Lot 284, where a related chair with holly and ebony beaded inlay was inscribed to reverse of seat rail DESIGNED ERNEST GIMSON/ MADE PERCY BURCHETT/ 1929 IN WORKSHOPS OF / PETER WAALS and P. WAALS/ CHALFORD/ 1931/ P. H. BURCHETT, CRAFTSMAN

£600-800

493 ERNEST GIMSON (1864-1919) PAIR OF ARTS & CRAFTS SINGLE BEDS, CIRCA 1910 oak, each with Heal & Son base and mattress (2) frame 93.5cm wide, 208.5cm long, 108cm high; base 196cm x 90.5cm Literature: Comino M. (Ed.) Gimson and the Barnsleys: Wonderful Furniture of a Commonplace Kind, Evans Brothers Ltd 1980 p.168, fig. 129. Carruthers A., Greensted M., Roscoe B. Ernest Gimson: Arts & Crafts Designer and Architect, Yale 2019, p.220, pl. 202 where a drawing for a similar bed is illustrated.

£600-800

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494 PETER WAALS (1870-1937) WRITING CABINET, CIRCA 1930 walnut, the interior chequer inlaid in holly and ebony, the sloping fall enclosing a leather writing surface 91.3cm wide, 122cm high, 40cm deep An experienced Dutch cabinet-maker, Waals moved to London in 1901 and, after answering an advertisement in The Times, became foreman for Ernest Gimson and Ernest Barnsley at their newly established Sapperton workshop. Under their guidance, he refined his craftsmanship and developed a discerning eye for timber, selecting fine specimen woods and exotic veneers. Gimson frequently consulted Waals on design and construction, acknowledging his significant contribution. Together, they became pioneering figures of the ‘Cotswold Tradition’. Following Gimson’s death in 1919, Waals established his own workshop in Chalford, continuing traditional methods learned at Sapperton. To protect Gimson’s legacy, he agreed with the family not to reproduce his designs or inlaid patterns, instead concentrating on domestic furniture that showcased his exceptional marquetry. Later, Waals secured important commissions from Leicester University and Eton College, alongside prominent local clients, including the Goddard family of Leicester.

£4,000-6,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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495 JON BARNSLEY (B. 1930) FOR THE EDWARD BARNSLEY WORKSHOP SIDEBOARD, CIRCA 1985 yew, with laburnum panels and ebony-line inlay 163.5cm wide, 85.5cm high, 49.5cm deep

£3,000-5,000

Edward Barnsley, son of Sidney Barnsley, was part of the

Barnsley was dedicated to passing down the essential

second generation of furniture makers and designers

knowledge and techniques of making and invested copious

inspired by Art & Crafts ideals working in the Cotswold

time and energy into training apprentices, amongst whom

School style. By 1923 he had his own workshop in Hampshire

was his son, the architect and designer Jon Barnsley. In 1980

and increasingly developed a more modernist style

a trust was established to preserve the educational training

distinctive from his father’s.

opportunities at the workshop and Jon Barnsley took over from his father, Edward, as the workshop’s principal designer. He retired in 2001, passing the mantle of principal designer to James Ryan who remains in the position to this day.

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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496 JON BARNSLEY (B. 1930) FOR THE EDWARD BARNSLEY WORKSHOP EIGHT DINING CHAIRS, CIRCA 1985 yew, linen-upholstered drop-in seats (8) 49cm wide, 86.5cm high, 46cm deep

£2,000-3,000

497 JON BARNSLEY (B. 1930) FOR THE EDWARD BARNSLEY WORKSHOP ROUND DINING TABLE, CIRCA 1985 yew, with ebony and ebony-line inlay 159.5cm diameter, 71cm high

£1,000-1,500

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498 MAISON DESNY (ACTIVE 1927-1933) LAMP, CIRCA 1930 white metal and peach glass 15cm high

£300-500

499 HILTON MCCONNICO (1943-2018) FOR DAUM ‘ARIZONA’ CACTUS COLLECTION BOWL, 1990 pâte de verre and crystal, signed to base HILTON MCCONNICO/ DAUM FRANCE and numbered 51/950, together with a certificate of authenticity 38cm wide, 21.5cm high, 27.5cm deep

£1,000-1,500 SHIT SHADOW

500 MAISON DESNY (ACTIVE 1927-1933) LAMP, CIRCA 1930 nickel-plated brass, glass 13.5cm high

£300-500

501 Y CLAUDE GAILLARD (B. 1932) FOR LIGNE ROSET DESK, CIRCA 1970 rosewood, aluminium 170cm wide, 73cm high, 78cm deep Sold in compliance with CITES regulations, with (non-transferable) Transaction Specific Certificate no. 26GBA10WRY64M.

£400-600

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502 NATACHA MONDON (B. 1968) FOR DAUM ‘L’ANGE’, DESIGNED 1993 pâte de verre, on bronzed base, engraved artist’s monogram, DAUM FRANCE 72 / 375, with display plaque and certificate of authenticity, with original presentation box 33cm high (including base)

£300-500

503 DAUM, AFTER GEORGES BRAQUE ‘PERSEPHATA’, DESIGNED 1963 pâte de verre, on marble base, signed in the glass GEORGES BRAQUE DAUM FRANCE, edition 10/150, with display plaque and certificate of authenticity, with original presentation box 34cm high (including base)

£1,500-2,000

504 DAUM FISH MOTIF VASE, NO. 57 pâte de verre, engraved DAUM FRANCE 85, with original presentation box 30cm high

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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505 ROBERT WELCH (1929-2000) NECKLACE, 1976 silver, stamped maker’s mark RW, hallmarked London 1976 drop length: 44cm long (17 ½in long), the pendant: 8.4cm long (3 ¼in long) Provenance: Private Collection, London

£250-300

506 PORTUGUESE PAIR OF ‘QUILIM’ CLOTH CURTAINS, CIRCA 1950 woven cotton (2) each 229.5cm x 247cm

£400-600

507 HARRY BERTOIA (1915-1978) PAIR OF ‘BIRD’ CHAIRS AND AN OTTOMAN, DESIGNED 1952 chrome plated steel and original period upholstery (3) chairs: 103cm high, 97cm wide, 75cm deep (40 ½in high, 38 1/8in wide, 29 ½in deep); ottoman: 39cm high, 61cm wide, 44cm deep (15 3/8in high, 24in wide, 17 3/8in deep)

£1,000-1,500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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508 § GIAMPAOLO GHISETTI (B. 1944) MURANO TRIPTYCH, 1960S painted and gilded glass panels, signed to one panel GHISETTI, chromium plated stand (4) each panel 36cm x 24.5cm, stand 79cm wide

£400-600

509 Ω ANNE NILSSON (B.1953) FOR ORREFORS GALLERY VASE, EDITION NO. 23/40, 1990 glass, bears paper label to body ORREFORS SWEDEN, signed under base ANNE NILSSON, etched maker’s marks ORREFORS GALLERY 90/ 955778/ ANNE/ NILSSON 23 - 40 30cm high

£300-500

510 Ω TONI ZUCCHERI (B.1936) FOR BAROVIER & TOSO, MURANO ‘MORDIDI’ SERIES BOWL, 1980S glass, etched to base BAROVIER & TOSO/ MURANO 26.2cm wide

£400-600

511 HARRY BERTOIA (1915-1978) SET OF THREE ‘DIAMOND’ CHAIRS, DESIGNED 1958 chrome-plated lattice construction, with vinyl upholstered covers (3) 76cm high, 86cm wide, 49cm deep

£300-500

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512 JANE FITZGERALD (ACTIVE 1976-1983) FOR TROIKA POTTERY ‘DOUBLE’ VASE, CIRCA 1980 glazed earthenware, painted maker’s marks and artist’s monogram 35cm high

£300-500

513 NORMAN GRANT (1943-2017) TWO PENDANTS, LATE 1970S

514

silver and enamel, each with maker’s mark NG, hallmarked Edinburgh 1978 and 1979 (2)

DAVID LINLEY (B. 1961)

cottage pendant 4cm tall, reclining figure 3cm wide

PAIR OF ‘HELIX’ TABLE LAMPS, CONTEMPORARY

Provenance: Private Collection, London

walnut, chrome, with original card shades, maker’s tag to the base (2)

£400-600

50cm high to base of fitting

£500-700

515 § WILLIAM PLUMPTRE (B. 1959) LARGE VESSEL, CIRCA 1990 glazed stoneware, signed to base WP 33.2cm high William Plumptre works in the Anglo-Japanese tradition founded in the early twentieth century by Shoji Hamada and Bernard Leach.

£300-500

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516 NORMAN GRANT (1943-2017) ‘DAISY’ SERIES PENDANT NECKLACE, 1972 silver and enamel, stamped NG, hallmarked Edinburgh 1972, pendant 6.6cm diameter; also a NORMAN GRANT ‘FLORAL MOTIF’ SERIES PENDANT, silver and enamel, stamped NG, hallmarked Edinburgh 1973-4, pendant 5cm diameter; and a PAIR OF ‘PYRAMID’ SERIES EARRINGS, silver and enamel, stamped NG, hallmarked Edinburgh 1972, 5.5cm drop Provenance: Private Collection, London

£400-600

517 NORMAN GRANT (1943-2017) FLOWER BROOCH, 1976 silver and enamel, stamped maker’s mark NG, hallmarked Edinburgh 1976, 5.5cm diameter; together with a PENDANT, silver and enamel, stamped maker’s mark NG, hallmarked Edinburgh 1975, 6.5cm diameter (2) Provenance: Private Collection, London

£300-500

518 NORMAN GRANT (1943-2017) ‘MELON SEED’ SERIES BROOCH, 1976 silver and enamel, stamped NG, hallmarked Edinburgh 1976, 5.5cm diameter; a NORMAN GRANT ‘MICROSCOPIC PLANT CROSS SECTION’ SERIES BROOCH, silver, enamel, stamped NG, hallmarked Edinburgh 1976, 5.5cm diameter; and a NORMAN GRANT ‘STYLISED NINE PETAL FLOWERHEAD’ SERIES BROOCH, silver, enamel, stamped NG, hallmarked Edinburgh 1976, 5.5cm diameter; and a PAIR OF EARRINGS, each stamped NG, hallmarked Edinburgh 1971, 5.5cm tall Provenance: Private Collection, London

£600-800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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519 TIM STEAD (1952-2000) CONSOLE TABLE, 1981 sycamore, inlaid with specimen Scottish hardwoods 129.5cm wide, 73.5cm high, 68cm deep Provenance: Commissioned in 1981 by Ian Spence for The Round Table restaurant, Edinburgh

£800-1,200

Tim Stead, born in Cheshire in 1952, was a sculptor and

Café Gandolfi in Glasgow (1979), a throne for Pope John Paul

furniture maker whose practice centred on the use of

II’s visit to Scotland (1982), furniture for St John’s Chapel,

natural materials. He studied sculpture at Nottingham Trent

Aberdeen (1989), and a reconstruction of Skara Brae (1990).

Polytechnic and the Glasgow School of Art, developing a

His final project, the Millennium Clock Tower (1999), was a

lifelong commitment to integrating sculptural and functional

collaborative work now permanently displayed at National

forms. His notable commissions included the furnishing of

Museums Scotland.

520 TIM STEAD (1952-2000) CENTRE TABLE, 1981 ash, inlaid with Scottish specimen woods 127.5cm diameter, 73cm high Provenance: Commissioned in 1981 by Ian Spence for The Round Table restaurant, Edinburgh

£1,200-1,800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

219

521 WORKSHOP OF TIM STEAD PAIR OF ‘GNASHER’ ARMCHAIRS, 2004 elm and burr elm, and cold cast bronze filler, signed ROSS PURVES and dated 2004, with workshop stamp (2) 73cm wide, 108cm high, 52cm deep Named after the ‘Beano’ comic character ‘Gnasher’ the dog beloved of Stead’s children - the seat back reminiscent of his jaws.

£1,200-1,800

522 TIM STEAD (1952-2000) BOOKCASE, MID-1990S elm, cold cast bronze filler 81cm wide, 128cm high, 41cm deep

£1,200-1,800

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David Lightly has 30 years’ experience creating sculptural furniture and developed The Wood Neuk from his earlier work with Tim Stead Furniture, later known as The Workshop of Tim Stead. He worked under the guidance of the late sculptor and artist Tim Stead, whose approach influenced his practice. Following Stead’s death, The Wood Neuk became licensed to continue producing his established furniture designs. The workshop also develops new designs, continuing the tradition of sculptural furniture associated with Stead while maintaining a connection to his original work.

221

523 DAVID LIGHTLY (B. 1971) AND ROSS PURVES (B. 1982), FOR THE WOOD NEUK DINING SUITE, CONTEMPORARY burr elm, signed variously to the underside, ‘THE WOOD NEUK/ ROSS PURVES’ and ‘THE WOOD NEUK/ DAVID LIGHTLY’; comprising; a DINING TABLE, 171cm long, 71cm high, 95cm deep; TWO ‘CORSET’ CHAIRS, 36.5cm wide, 109cm high, 43cm deep; FOUR ‘BONNET’ CHAIRS, 43cm wide, 114cm high, 41cm deep (7) £3,000-5,000

524 ROSS PURVES (B. 1982), FOR THE WOOD NEUK TWO-PART COFFEE TABLE, CONTEMPORARY elm, signed to the underside THE WOOD NEUK/ ROSS PURVES (2) 57cm and 107cm long, 37.5cm high, 75cm deep

£800-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

AUCTION 29 OCTOBER 2026 LIVE IN LONDON & ONLINE

RENÉ LALIQUE (1860-1945) SERPENT VASE, NO. 896 £15,000-20,000 + fees

For more information please contact Joy McCall | joy.mccall@lyonandturnbull.com

AUCTION 30 OCTOBER 2026 LIVE IN LONDON & ONLINE

MODERN, POST-WAR & CONTEMPORARY ART, DESIGN, CRAFT & STUDIO CERAMICS

GERALD SUMMERS (BRITISH 1899-1967) FOR MAKERS OF SIMPLE FURNITURE ARMCHAIR, c.1933-4 £8,000-12,000 + fees

For more information please contact Philip Smith | philip.smith@lyonandturnbull.com Simon Hucker | simon.hucker@lyonandturnbull.com

AN AUCTION DEDICATED TO THE WORKS OF PATEK PHILIPPE

PATEK PHILIPPE NAUTILUS 3700/11 £20,000-30,000 + fees

For more information please contact Charles Tearle | charles.tearle@lyonandturnbull.com

AUCTION 18 NOVEMBER 2026 LIVE ONLINE VIEWING I N LONDON OPEN FOR CONSIGNMENTS

ART NOUVEAU & ART DECO TIFFANY STUDIOS GEOMETRIC LAMP Sold for £12,700 inc. fees, June 2026

AUCTION 24 JUNE 2027 LIVE ONLINE | VIEWING I N LONDON OPEN FOR CONSIGNMENTS

We are now inviting entries for our Art Nouveau & Art Deco auction, taking place in June 2027. Celebrating bold creativity and craftsmanship, the sale will feature furniture, sculpture, lighting, glass, ceramics, metalwork, jewellery and posters by the leading designers. This will be an internationally focused sale, looking at two distinctive and dynamic styles that have influence and appeal today. From the sinuous elegance of Art Nouveau to the sleek geometry of Art Deco, this specialist auction brings together works that defined a new modern age of beauty and innovation.

For more information please contact Joy McCall | joy.mccall@lyonandturnbull.com

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CONDITIONS OF SALE 26.2 FOR BUYERS (UK) These Conditions of Sale and the Saleroom Notices as well as specific Catalogue terms, set out the terms on which we offer the Lots listed in this Catalogue for sale. By registering to bid and/or by bidding at auction You agree to these terms, we recommend that You read them carefully before doing so. You will find a list of definitions and a glossary at the end providing explanations for the meanings of the words and expressions used. Special terms may be used in Catalogue descriptions of particular classes of items (Books, Jewellery, Paintings, Guns, Firearms, etc.) in which case the descriptions must be interpreted in accordance with any glossary appearing in the Catalogue. These notices and terms will also form part of our terms and conditions of sales. In these Conditions the words “Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd, the singular includes the plural and vice versa as appropriate. “You”, “Your” means the Buyer. Lyon & Turnbull Ltd. acts as agent for the Seller. Lyon & Turnbull Ltd. acts as agent for the Seller. On occasion where Lyon & Turnbull Ltd. own a lot in part or full the property will be identified in the catalogue with the symbol (🄰) next to its lot number.

A. BEFORE THE SALE A1. DESCRIPTIONS OF LOTS Whilst we seek to describe Lots accurately, it may be impractical for us to carry out exhaustive due diligence on each Lot. Prospective Buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a Lot. Prospective Buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or Estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and only accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the Auctioneer or our employees or agents accept liability for the correctness of such opinions and no warranties, whether relating to description, condition or quality of Lots, express, implied or statutory, are given. Please note that photographs/images provided may not be fully representative of the condition of the Lot and should not be relied upon as indicative of the overall condition of the Lot. All dimensions and weights are approximate only.

A2. OUR RESPONSIBILITY FOR OUR DESCRIPTION OF LOTS We do not provide any guarantee in relation to the nature of a Lot apart from our authenticity warranty contained in paragraph E.2 and to the extent provided below. (a) Condition Reports: Condition Reports are provided on our Website or upon request. The absence of a report does not imply that a Lot is without imperfections. Large numbers of such requests are received shortly before each sale and department specialists and administration will endeavour to respond to all requests although we offer no guarantee. Any statement in relation to the Lot is merely an expression of opinion of the Seller or us and should not be relied upon as an inducement to bid on the Lot. Lots are available for inspection prior to the sale and You are strongly advised to examine any Lot in which You are interested prior to the sale. Our Condition Reports are not prepared by professional conservators, restorers or engineers. Our Condition Report does not form any contract between us and the Buyer. The Condition Reports do not affect the Buyer’s obligations in any way. (b) Estimates: Estimates are placed on each Lot to help Buyers gauge the sums involved for the purchase of a particular Lot. Estimates do not include the Buyer’s Premium or VAT. Estimates are a matter of opinion and prepared in advance. Estimates may be subject to change and are for guidance only and should not be relied upon. (c) Catalogue Alterations: Lot descriptions and Estimates are prepared in advance of the sale and may be subject to change. Any alterations will be announced on the Catalogue alteration sheet, made available prior to the sale. It is the responsibility of the Buyer to make themselves aware to any alterations which may have occurred.

A3. WITHDRAWAL Lyon & Turnbull may, at its discretion, withdraw any Lot at any time prior to or during the sale of the Lot. Lyon & Turnbull has no liability to You for any decision to withdraw.

A4. JEWELLERY, CLOCKS & OTHER ITEMS (a) Jewellery: (i) Coloured gemstones (such as rubies, sapphires and emeralds) may have been treated to enhance their look, through methods such as heating and oiling. These methods are accepted practice but may make the gemstone less strong and/or require special care in future. (ii) All types of gemstones may have been improved by some method. You may request a gemmological report for any Lot which does not have a report if the request is made to us at least three weeks before the date of

the sale and You pay the fee for the report in advance of receiving said report. (iii) We do not obtain a gemmological report for every gemstone sold in our sales. Where we do get gemmological reports from internationally accepted gemmological laboratories, such reports may be described in the Sale Particulars. Reports will describe any improvement or treatment only if we request that they do so, but will confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree whether a particular gemstone has been treated, the amount of treatment or whether treatment is permanent. The gemmological laboratories will only report on the improvements or treatments known to the laboratories at the date of the report. (iv) For jewellery sales, all Estimates are based on the information in any gemmological report or, if no gemmological report is available, You should assume that the gemstones may have been treated or enhanced. (b) Clocks & Watches: All Lots are sold “as seen”, and the absence of any reference to the condition of a clock or watch does not imply the Lot is in good condition and without defects, repairs or restorations. Most clocks and watches will have been repaired during their normal lifetime and may now incorporate additional/newer parts. Furthermore, we make no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, Buyers should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. Buyers should also be aware that we cannot guarantee a watch will remain waterproof if the back is removed. Buyers should be aware that the importing watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches cannot be shipped to the USA and only imported personally. Clocks may be sold without pendulums, weights or keys. (c) Alcohol: may only be sold to persons aged of 18 years and over. By registering to bid, You affirm that You are at least that age. All collections must be signed for by a person over the age of 18. We Reserve the right to ask for ID from the person collecting. Buyers of alcohol must make appropriate allowances for natural variations of ullages, conditions of corks and wine. We can provide no guarantees as to how the alcohol may have been stored. There is always a risk of cork failure and allowance by the Buyer must be made. Alcohol is sold “as is” and quality of the alcohol is entirely at the risk of the Buyer and no warranties are given. (d) Books-Collation: If on collation any named item in the sale Catalogue proves defective, in text or illustration the Buyer may reject the Lot provided he returns it within

21 days of the sale stating the defect in writing. This, however, shall not apply in the case of unnamed items, periodicals, autographed letters, music M.M.S., maps, drawings nor in respect of damage to bindings, stains, foxing, marginal worm holes or other defects not affecting the completeness of the text nor in respect of Defects mentioned in the Catalogue, or at the time of sale, nor in respect of Lots sold for less than £300. (e) Electrical Goods: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. (f) Upholstered items: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations (items manufactured prior to 1950 are exempt from any regulations). Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. We provide no guarantee as to the originality of any wood/material contained within the item.

B. REGISTERING TO BID B1. NEW BIDDERS (a) If this is Your first time bidding at Lyon & Turnbull or You are a returning Bidder who has not bought anything from us within the last two years You must register at least 48 hours before an auction to give us enough time to process and approve Your registration. We may, at our discretion, decline to permit You to register as a Bidder. You will be asked for the following: (i) Individuals: Photo identification (driving licence, national identity card or passport) and, if not shown on the ID document, proof of Your current address (for example, a current utility bill or bank statement) (ii) Corporate clients: Your Certificate of Incorporation or equivalent document (s) showing Your name and registered address together with documentary proof of directors and beneficial owners, and; (iii) Trusts, partnerships, offshore companies and other business structures please contact us directly in advance to discuss requirements. (b) We may also ask You to provide a financial reference and/or a deposit to allow You to bid. For help, please contact our Finance Department on +44 (0)131 557 8844.

B2. RETURNING BIDDERS We may at our discretion ask You for current identification as described in paragraph B.1. (a) above, a finance reference or a deposit as a condition of allowing You to bid. If You have not bought anything from us in the last two years, or if You want to spend more than on previous occasions, please contact our Finance Department on +44 (0)131 557 8844.

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B3. F AILURE TO PROVIDE THE RIGHT DOCUMENTS If in our opinion You do not satisfy our Bidder identification and registration procedures including, but not limited to, completing any anti-money laundering and/or antiterrorism financing checks we may require to our satisfaction, we may refuse to register You to bid, and if You make a successful bid, we may cancel the contract between You and the Seller.

B4. B IDDING ON BEHALF OF ANOTHER PERSON (a) As an authorised Bidder: If You are bidding on behalf of another person, that person will need to complete the registration requirements above before You can bid, and supply a signed letter authorising You to bid for him/her. (b) As agent for an undisclosed principal: If You are bidding as an agent for an undisclosed principle (the ultimate Buyer (s)) You accept personal liability to pay the Purchase Price and all other sums due, unless it has been agreed in writing with us before commencement of the auction that the Bidder is acting as an agent on behalf of a named third party acceptable to us and we will seek payment from the named third party.

B5. BIDDING IN PERSON If You wish to bid in the saleroom You must register for a numbered bidding paddle before You begin bidding. Please ensure You bring photo identification with You to allow us to verify Your registration.

B6. BIDDING SERVICES The bidding services described below are a free service offered as a convenience to our clients and we are not responsible for any error (human or otherwise), omission or breakdown in providing these services. (a) Phone bids Your request for this service must be made no later than 12 hours prior to the auction. We will accept bids by telephone for Lots only if our staff are available to take the bids. If You need to bid in a language other than English You should arrange this Well before the auction. We do not accept liability for failure to do so or for errors and omissions in connections. (b) Internet Bids For certain auctions we will accept bids over the internet. For more information please visit our Website. We will use reasonable efforts to carry out online bids and do not accept liability for equipment failure, inability to access the internet or software malfunctions related to execution of online bids/ live bidding. (c) Written Bids While prospective Buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular Lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we shall, if so instructed, clearly and in writing execute bids on

their behalf. Neither the Auctioneer nor our employees nor agents shall be responsible for any failure to do so. Where two or more commission bids at the same level are recorded we Reserve the right in our absolute discretion to prefer the first bid so made. Bids must be expressed in the currency of the saleroom. The Auctioneer will take reasonable steps to carry out written bids at the lowest possible price, taking into account the Reserve. If You make a written bid on a Lot which does not have a Reserve and there is no higher bid than Yours, we will bid on Your behalf at around 50% of the lower Estimate or, if lower, the amount of Your bid.

C. DURING THE SALE C1. ADMISSION TO OUR AUCTIONS We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. We may refuse admission at any time before, during or after the auction.

C2. RESERVES Unless indicated by an insert symbol (∆), all Lots in this Catalogue are offered subject to a Reserve. A Reserve is the confidential Hammer Price established between us and the Seller. The Reserve is generally set at a percentage of the low Estimate and will not exceed the low Estimate for the Lot.

C3. AUCTIONEER’S DISCRETION The maker of the highest bid accepted by the Auctioneer conducting the sale shall be the Buyer and any dispute shall be settled at the Auctioneer’s absolute discretion. The Auctioneer may move the bidding backwards of forwards in any way he or she may decide or change the order of the Lots. The Auctioneer may also; refuse any bid, withdraw any Lot, divide any Lot or combine any two or more Lots, reopen or continuing bidding even after the hammer has fallen.

C4. BIDDING The Auctioneer accepts bids from: (a) Bidders in the saleroom; (b) Telephone Bidders, and internet Bidders through Lyon & Turnbull Live or any other online bidding platform we have chosen to list on and; (c) Written bids (also known as absentee bids or commission bids) left with us by a Bidder before the auction.

C5. BIDDING INCREMENTS Bidding increments shall be at the Auctioneer’s sole discretion.

C6. CURRENCY CONVERTER The saleroom video screens and bidding platforms may show bids in some other major currencies as Well as sterling. Any conversion is for guidance only and we cannot be bound be any rate of exchange used. We are not responsible for any

error (human or otherwise) omission or breakdown in providing these services.

C7. SUCCESSFUL BIDS Unless the Auctioneer decides to use their discretion as set out above, when the Auctioneer’s hammer falls, we have accepted the last bid. This means a contract for sale has been formed between the Seller and the successful Bidder. We will issue an invoice only to the registered Bidder who made the successful bid. While we send out invoices by post/or email after the auction, we do not accept responsibility for telling You whether or not Your bid was successful. If You have bid by written bid, You should contact us by telephone or in person as soon as possible after the auction to get details of the outcome of our bid to avoid having to pay unnecessary storage charges.

C8. RELEVANT LEGISLATION You agree that when bidding in any of our sales that You will strictly comply with all relevant legislation including local laws and regulations in force at the time of the sale for the relevant saleroom location.

D. THE BUYER’S PREMIUM, TAXES AND ARTIST’S RESALE ROYALTY D1. THE PURCHASE PRICE For each Lot purchased a Buyer’s Premium of 28% of the Hammer Price of each Lot up to and including £25,000, 27% of the Hammer Price from £25,001 up to and including £500,000, 26% thereafter. VAT at the appropriate rate is charged on the Buyer’s Premium. No VAT is payable on the Hammer Price or premium for printed books or unframed maps bought at auction. Live online bidding may be subject to an additional premium (level dependent on the live bidding service provider chosen). This additional premium is subject to VAT at the appropriate rate as above.

D2. VALUE ADDED TAX Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by Buyers of relevant Lots. (a) Lots affixed with (†): Value Added Tax on the Hammer Price is imposed by law on all items affixed with a dagger (†). This imposition of VAT maybe because the Seller is registered for VAT within the European Union and is not operating under a Margin Scheme. (b) Lots affixed with (‡): A reduced rate of Value Added Tax on the Hammer Price of 5% is payable. This indicates that a Lot has been imported from outwit the European Union. This reduced rate is applicable to Antique items. (c) Lots affixed with [Ω]: Standard rate of Value Added Tax on the Hammer Price and premium is payable. This applies to items that have been imported from outwit the European Union and do not fall within the reduced rate category

outlined above.

D3. ARTIST’S RESALE ROYALTY (DROIT DE SUITE) This symbol § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, which took effect in the United Kingdom on 14th February 2006. We are required to collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012 this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the Buyer on the Hammer Price and in addition to the Buyer’s Premium. It will not apply to works where the Hammer Price is less than £1,000. The charge for works of art sold at and above £1,000 and below £50,000 is 4%. For items selling above £50,000, charges are calculated on a sliding scale. All royalty charges are paid to the Design and Artists Copyright Society (‘DACS’) and no handling costs or additional fees are retained by the Auctioneer. Resale royalties are not subject to VAT. More information on Droit de Suite is available at www. dacs.org.uk.

E. WARRANTIES E1. SELLER’S WARRANTIES For each Lot, the Seller gives a warranty that the Seller; (a) Is the owner of the Lot or a joint owner of the Lot acting with the permission of the other co-owners, or if the Sellers is not the owner of or a joint owner of the Lot, has the permission of the owner to sell the Lot, or the right to do so in law, and; (b) Had the right to transfer ownership of the Lot to the Buyer without any restrictions or claims by anyone else. If either other above warranties are incorrect, the Seller shall not have to pay more than the Purchase Price (as defined in the glossary) paid by You to us. The Seller will not be responsible to You for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages or expense. The Seller gives no warranty in relation to any Lot other than as set out above and, as far as the Seller is allowed by law, all warranties from the Seller to You, and all obligations upon the Seller which may be added to this agreement by law, are excluded.

E2. AUTHENTICITY GUARANTEE We guarantee that the authorship, period, or origin (collectively, “Authorship”) of each Lot in this Catalogue is as stated in the BOLD or CAPITALISED type heading in the Catalogue description of the Lot, as amended by oral or written saleroom notes or announcements. We make no warranties whatsoever, whether express or implied, with respect to any material in the Catalogue other than that appearing in the Bold or Capitalised heading and subject to the exclusions below.

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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In the event we, in our reasonable opinion, deem that the conditions of the authenticity guarantee have been satisfied, it shall refund to the original purchaser of the Lot the Hammer Price and applicable Buyer’s Premium paid for the Lot by the original purchaser. This Guarantee does not apply if: (a) The Catalogue description was in accordance with the opinion (s) of generally accepted scholar (s) and expert (s) at the date of the sale, or the Catalogue description indicated that there was a conflict of such opinions; or (b) the only method of establishing that the Authorship was not as described in the Bold or Capitalised heading at the date of the sale would have been by means or processes not then generally available or accepted; unreasonably expensive or impractical to use; or likely (in our reasonable opinion) to have caused damage to the Lot or likely to have caused loss of value to the Lot; or (c) There has been no material loss in value of the Lot from its value had it been in accordance with its description in the Bold or Capitalised type heading. This Guarantee is provided for a period of one year from the date of the relevant auction, is solely for the benefit of the original purchaser of the Lot at the auction and may not be transferred to any third party. To be able to claim under this Authenticity Guarantee, the original purchaser of the Lot must: (a) notify us in writing within one month of receiving any information that causes the original purchaser of record to dispute the accuracy of the Bold or Capitalised type heading, specifying the Lot number, date of the auction at which it was purchased and the reasons for such dispute; and (b) return the Lot to our registered office in the same condition as at the date of sale to the original purchaser of record and be able to transfer good title to the Lot, free from any third party claims arising after the date of such sale. We have discretion to waive any of the above requirements. We may require the original purchaser of the Lot to obtain, at the original purchaser of Lot’s cost, the reports of two independent and recognised experts in the field. The reports must be mutually acceptable to us and the original purchaser of the Lot. We shall not be bound by any reports produced by the original purchaser of the Lot, and Reserves the right to seek additional expert advice at its own expense. It is specifically understood and agreed that the rescission of a sale and the refund of the original Purchase Price paid (the successful Hammer Price, plus the Buyer’s Premium) is exclusive and in lieu of any other remedy which might otherwise be available as a matter of law. Lyon & Turnbull and the Seller shall not be liable for any incidental or consequential damages incurred or claimed, including without limitation, loss of profits or interest.

E3. YOUR WARRANTIES (a) You warrant that the funds used for settlement are not connected with any criminal activities, including tax evasion and You are neither; under investigation, have been charged with or convicted of money laundering, terrorist activities or other crimes. (b) Where You are bidding on behalf of another person You warrant that: (i) You have conducted appropriate customer due diligence on the ultimate Buyer (s) of the Lot (s) in accordance with all relevant anti-money laundering legislation, consent to us relying on this due diligence, and You will retain for a period of not less than five years the documentation evidencing the due diligence. You will make such documentation promptly available for immediate inspection by a third party auditor upon our written request to do so; (ii) The arrangements between You and the ultimate Buyer (s) in relation to the Lot or otherwise do not, in whole or in part, facilitate tax crimes, and; (iii) You do not know, and have no reason to suspect that the funds used for settlement are connected with the proceeds of any criminal activity, including tax evasion, or that the ultimate Buyer (s) are under investigation or have been charged with or convicted of moneylaundering, terrorist activities, or other crimes.

F. PAYMENT F1. MAKING PAYMENT (a) Within 7 days of a Lot being sold You will pay to us the Total Amount Due in cash or by such other method as is agreed by us. We accept cash, bank transfer (details on request), debit cards and Visa or MasterCard credit cards. Please note that we do not accept cash payments over £5,000 per Buyer per year. (b) Any payments by You to us can be applied by us towards any sums owing by You to us howsoever incurred and without agreement by You or Your agent, whether express or implied. (c) We will only accept payment from the registered Bidder. Once issued, we cannot change the Buyer’s name on an invoice or re-issue the invoice in a different name. (d) The ownership of any Lots purchased shall not pass to You until You have made payment in full to us of the Total Amount Due. The risk in and the responsibility for the Lot will transfer to You from whichever is the earlier of the following: (i) When You collect the Lot; or (ii) At the end of the 30th day following the date of the auction, or, if earlier, the date the Lot is taken into care by a third party unless we have agreed otherwise with You in writing. (e) You shall at Your own risk and expense take away any Lots that You have purchased and paid for not later than 7 working days following the day of the auction or upon the

clearance of any payment whichever is later. Please note we do not accept cheques. We can provide You with a list of shippers. However, we will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us. (f) No purchase can be claimed or removed until it has been paid for. (g) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time.

F2. IN THE EVENT OF NON-PAYMENT If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the Sellers and on their behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (a) To proceed against You for damages for breach of contract; (b) To rescind the contract for sale of that Lot and/or any other Lots sold by us to You; (c) To resell the Lot (s) (by auction or private treaty) in which case You shall be responsible for any resulting deficiency in the Total Amount Due (after crediting any part payment and adding any resale costs). (d) To remove, store and insure the Lot in the case of storage, either at our premises or elsewhere and to recover from You all costs incurred in respect thereof; (e) To charge interest at a rate of 5% a year above the Bank of Scotland base rate from time to time on all sums outstanding for more than 7 working days after the sale; (f) To retain that or any other Lot sold to You until You pay the Total Amount Due; (g) To reject or ignore bids from You or Your agent at future auctions or to impose conditions before any such bids shall be accepted; (h) To apply any proceeds of sale of other Lots due or which become due to You towards the settlement of the Total Amount Due by You and to exercise a lien over any of Your property in our possession for any purpose until the debt due is satisfied. You will be deemed to have granted such security to us and we may retain such property as collateral security for Your obligations to us; we may decide to sell Your property in any way we think appropriate. We will use the proceeds of the sale against any amounts You owe us and we will pay any amount left from that sale to You. If there is a shortfall, You must pay us the balance; and (i) Take any other action we see necessary or appropriate.

G. COLLECTION & STORAGE (1) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time. Information on collection is set out in the Catalogue and our Website (2) Unless agreed otherwise, You must collect purchased Lots within seven days from the auction. Please note the Lots will only be released upon full payment being received. We will assume your authority to release your item(s) to a recognised shipper providing they can provide your invoice details. (3) If You do not collect any Lot within seven days following the auction we can, at our discretion; (i) Charge You storage costs at the rates set out on our Website. (ii) Move the Lot to another location or an affiliate or third party and charge You transport and administration costs for doing so and You will be subject to the third party storage terms and pay for their fees and costs. (iii) Sell the Lot in any way we think reasonable.

H. TRANSPORT & SHIPPING H1. TRANSPORT AND SHIPPING We will include transport and shipping information with each invoice sent to You as well as displayed on our Website. You must make all transport and shipping arrangements.

H2. EXPORT OF GOODS Buyers intending to export goods should ascertain; (a) Whether an export licence is required; and (b) Whether there is any specific prohibition on importing goods of that character, e.g. items that may contain prohibited materials such as ivory or rhino horn. It is the Buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale not any delay in making full payment for the Lot.

H3. CITES: ENDANGERED PLANTS AND ANIMALS LEGISLATION Please be aware that all Lots marked with the symbol Y may be subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http:// www.defra.gov.uk/ahvla-en/importsexports/cites We accept no liability for any Lots which may be subject to CITES but have not be identified as such.

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I. OUR LIABILITY TO YOU (a) We give no warranty in relation to any statement made, or information give, by us, our representatives or employees about any Lot other than as set out in the authenticity warranty and as far as we are allowed by law, all warranties and other terms which may be added to this agreement by law are exclude. The Seller’s warranties contained in paragraph E.1 are their own and we do not have a liability in relation to those warranties. (b) (i) We are not responsible to You for any reason whether for breaking this agreement or any other matter relating to Your purchase of, or bid for, any Lot other than in the event of fraud or fraudulent misrepresentation by us other than as expressly set out in these conditions of sale; or (ii) We do not give any representation, warranty or guarantee or assume any liability for a kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance, except as required by local law, any warranty of any kind is excluded by this paragraph. (c) in particular, please be aware that our written and telephone bidding services, Lyon & Turnbull Live, Condition Reports, currency converter and saleroom video screens are free services and we are not responsible for any error (human or otherwise) omission or breakdown in these services. (d) We have no responsibility to any person other than a Buyer in connection with the purchase of any Lot (e) If in spite of the terms of this paragraph we are found to be liable to You for any reason, we shall not have to pay more than the Purchase Price paid by You to us. We will not be responsible for any reason for loss of profits, business, loss of opportunity or value, expected savings or interest, costs damages or expenses.

J. OTHER TERMS J1. OUR ABILITY TO CANCEL In addition to the other rights of cancellation contained in this agreement, we can cancel the sale of a Lot if; (i) Any of our warranties are not correct, as set out in paragraph E3, (ii) We reasonably believe that completing the transaction is or may be unlawful; or (iii) We reasonably believe that the sale places us or the Seller under any liability to anyone else or may damage our reputation.

J2. RECORDINGS We may videotape and record proceedings at any auction. We will keep any personal information confidential, except to the extent disclosure is required by law if You do not wish to be videotaped, You

may make arrangements to bit by telephone or a written bid or bid on Lyon & Turnbull Live instead. Unless we agree otherwise in writing, You may not videotape or record proceedings at any auction.

J3. COPYRIGHT We own the copyright in respect of all images, illustrations and written material produced by or for us relating to a Lot. (Including Catalogue entries unless otherwise noted in the Catalogue) You cannot use them without our prior written permission. We do not offer any guarantee that You will gain any copyright or other reproductions to the Lot.

J4. ENFORCING THIS AGREEMENT If a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as deleted and the rest of this agreement will remain in force.

J5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES You may not grant a security over or transfer Your rights of responsibilities under these terms on the contract of sale with the Buyer unless we have given our written permission. This agreement will be binding on Your successors or estate and anyone who takes over Your rights and responsibilities.

J6. REPORTING ON LYONANDTURNBULL.COM Details of all Lots sold by us, including Catalogue disruptions and prices, may be reported on www. lyonandturnbull.com. Sales totals are Hammer Price plus Buyer’s Premium and do not reflect any additional fees that may have been incurred. We regret we cannot agree to requests to remove these details from our Website.

J7. SALE BY PRIVATE TREATY (a) The same Conditions of Sale (Buyers) shall apply to sales by private treaty. (b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers. (c) We undertake to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids. (d) For the purposes of a private treaty sale, if a Lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale.

J8. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the premises, safety and security arrangements. Accordingly, neither the Auctioneer nor our employees or agents shall incur liability for death or personal injury or similarly for the safety of the property of

persons visiting prior to, during or after a sale.

J9. DATA PROTECTION Where we obtain any personal information about You, we shall use it in accordance with the terms of our Privacy Policy (subject to any additional specific consent (s) You may have given at the time Your information was disclosed). A copy of our Privacy Policy can be found on our Website www. lyonandturnbull.com or requested from Client Services, 33 Broughton Place, Edinburgh, EH1 3RR or by email from data enquiries@ lyonandturnbull.com.

J10. FORCE MAJEURE We shall be under no liability if they shall be unable to carry out any provision of the Contract of Sale for any reason beyond their control including (without limiting the foregoing) an act of God, legislation, war, fire, flood, drought, failure of power supply, lock-out, strike or other action taken by employees in contemplation or furtherance of a dispute or owing to any inability to procure materials required for the performance of the contract.

J11. LAW AND JURISDICTION (a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law (b) Jurisdiction: The Buyer agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply.

K. DEFINITIONS & GLOSSARY The following words and phrases used have (unless the context otherwise requires) the meaning to given to them below. The go Glossary is to assist You to understand words and phrases which have a specific legal meaning which You may not be familiar with.

K1. DEFINITIONS “Auctioneer” Lyon & Turnbull Ltd (Registered in Scotland No: 191166 | Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) or it’s authorised representative conducting the sale, as appropriate; “Bidder” a person who has completed a Bidding Form “Bidding Form” our Bidding Registration Form our Absentee Bidding Form or our Telephone Bidding Form. “Buyer” the person to whom a Lot is knocked down by the Auctioneer. The Buyer is also referred to by the words “You” and “Your” “Buyer’s Premium” the sum calculated on the Hammer Price at the rates stated in Catalogue. “Catalogue” the Catalogue relating to the relevant Sale, including any representation on our Website

“Condition Report” the report on the physical condition of a Lot provided to a Bidder or potential Bidder by us on behalf of the Seller. “Estimate” a statement of our opinion of the range within the hammer is likely to fall. “Hammer Price” the level of bidding reached (at or above any Reserve) when the Auctioneer brings down the hammer; “High Cumulative Value of Lot” several Lots with a total lower Estimate value of £30,000 or above; “High Value Lot” a Lot with a lower Estimate of £30,000 or above; “Lot” each Item offered for sale by Lyon & Turnbull; “Purchase Price” is the aggregate of Hammer Price and any applicable Buyer’s Premium, VAT on the Hammer Price (where applicable), VAT on the Buyer’s Premium and any other applicable expenses; “Reserve” the lowest price below which an item cannot be sold whether at auction or by private treaty; “Sale” the auction sale at which a Lot is to be offered for sale by us. “Seller” the person who offers the Lot for Sale. We act as agent for the Seller. “Total Amount Due” the Hammer Price in respect of the Lot sold together with any premium, Value Added Tax or other taxes chargeable and any additional charges payable by a defaulting Buyer under these Conditions; “VAT” value added tax at the prevailing rate at the date of the sale in the United Kingdom. “Website” Lyon & Turnbull’s Website at www.lyonandturnbull.com

K2. GLOSSARY The following have specific legal meaning which You may not be familiar with. The following glossary is intended to give You an understanding of those expressions but is not intended to restrict their legal meanings: “Artist’s Resale Right” the right of the creator of a work of art to receive a payment on Sales of that work subsequent to “Knocked Down” when a Lot is sold to a Bidder, indicated by the fall of the hammer at the Sale. “Lien” a right for the person who has possession of the Lot to retain possession of it. “Risk” the possibility that a Lot may be lost, damaged, destroyed, stolen, or deteriorate in condition or value. “Title” the legal and equitable right to the ownership of a Lot.

26.2

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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GUIDE TO BIDDING & PAYMENT

REGISTRATION All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, or on our website. Please note that first-time bidders, and those returning after an extended period, will be asked to supply the following documents in order to facilitate registration: 1–G overnment issued photo ID (Passport/Driving licence) 2–P roof of address (utility bill/bank statement). We may, at our option, also ask you to provide a bank reference and/or deposit. By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale.

BIDDING IN THE SALEROOM At the Sale Registered bidders will be assigned a bidder number and given a paddle for use at the sale. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. To place your bid, simply raise your paddle until the auctioneer acknowledges you. Please ensure that the auctioneer repeats your bidder number correctly when confirming the sale. If there is any doubt at this stage as to the hammer price or buyer it must be brought to the auctioneer’s attention immediately. All lots will be invoiced to the name and address given on your registration form, which is nontransferable.

before the sale. All telephone bids must be confirmed in writing, listing the relevant lots and appropriate number to be called. We recommend that a covering bid is also left in the event that we are unable to make the call. We cannot guarantee that lines will be available, or that we will be able to call you on the day, but will endeavour to undertake such bids to the best of our abilities. This service is available entirely at our discretion and at the bidder’s risk.

IN WRITING Bid forms are available at the sale and/or the back of the catalogue. These should be submitted in person, by post, or by fax as soon as possible prior to the sale and we will bid on your behalf up to the limit indicated. In the event of receiving two identical bids the first one received will take precedence All bids must be received an hour before the sale. This service is provided entirely at the bidder’s risk.

ON THE INTERNET - ABSENTEE BIDDING

PAYMENT Our accounts teams will continue to be available to process payments and answer queries. We will be able to accept online payments through our website and bank transfer. On-site payment facilities are available by appointment. Payment is due within seven (7) days of the sale. Lots purchased will not be released until full payment has been received. Payment may be made by the following methods:

BANK TRANSFER Account details are included on any invoices we issue or upon request from our accounts department.

ONLINE CREDIT OR DEBIT CARD PAYMENTS We no longer accept card payments by phone. Please use our online payment service (provided by Stripe). You will find a link to this service in any email invoice issued or you can visit the payments section of our website.

Leave a bid online through our website, call us on 0131 557 8844 or email info@lyonandturnbull.com

CASH

- BID LIVE ONLINE

COLLECTION OF PURCHASED LOTS

Bid live online, for free, with Lyon & Turnbull Live. Just click the button from the auction calendar, sale page or any lot page online to register.

Please refer to page 4 of this catalogue.

No cash payments will be accepted for this auction.

BIDDING OUTSIDE THE SALEROOM BY PHONE A limited number of telephone lines are available for bidding by phone through a Lyon & Turnbull representative. Phone lines must be reserved in advance. All bid requests must be received an hour

Inside Back Cover: Lot 497 (detail)

LO NDO N | E D IN BURGH | GLA S GO W LYON AN DTUR N BULL .C OM

DESIGN since 1860 | Auction 14th & 15th October 2026