Art and Design Post 1850 Sale on Thursday 18th June 2009
1. GALLE: AN OVERLAID GLASS VASE with a slender tapering neck overlaid in red with fruiting leaves, above a bulbous body and tapering foot, with carved signature, 6" high. See illustration
Estimate: 300-500
2. GALLE: A CAMEO GLASS VASE with a splayed rim and bellied body, decorated with trees in a landscape, with carved signature, 4.75" high
Estimate: 50-100
3. VENINI & CO: A TWO COLOUR GLASS 'HOURGLASS' in blue and green, with engraved signature, 7.5" high. See illustration
Estimate: 80-150
4. GIO PONIT FOR VENINI & CO: A DECANTER AND STOPPER with a white glass stopper and slender tapering neck above a bulbous body in blue and green, with acid etched marks to the base, 14" high
Estimate: 80-150
5. OTTO PRUTSCHER: AN AMETHYST AND CLEAR GLASS DECANTER, with a tapering neck and square-cut panelled decoration, 10.5" high
Estimate: 100-200
6. TAPIO WIRKKALA: A LARGE "KANTARELLL" or "CHANTERELLE" VASE FOR IITTALA, with an engraved signature to the base, 8" high. See illustration
First designed in 1946 the 'Kamtarelll' vase was part of Wirkkala's highly successful Grand Prix winning display at the 1951 Milan Triennale. As an iconic example of Finnish post-war design an example of this vase was used to illustrate the front cover of the catalogue to the 1989 Victoria and Albert Museum exhibition 'Scandinavia Ceramics and Glass In The Twentieth Century' by Jennifer Opie.
Estimate: 200-400
7. TAPIO WIRKKALA: A HEAVY CLEAR GLASS BOWL with "broken" border, with engraved signature, 10" wide. See illustration
Estimate: 100-200
8. DAUM, NANCY: A SMALL OVERLAID GLASS VASE, decorated with violets, with etched signature, 2" high. See illustration
Estimate: 150-250
9. WILHELM WAGENFELD: A GLASS TEAPOT FOR SCHOTT JENA, with etched marks to the base, 11" wide
Estimate: 50-100
10. A LOETZ STYLE "PAPILLION" VASE with scrolling handles and all over lustre decoration, 6.5" wide and two similar Loetz style vases (3)
Estimate: 40-80
11. GEORGE DE FUEURE: A PRESSED GLASS VASE decorated with scenes of classical maidens, with moulded signature, 5.5" high
Estimate: 40-80
12. EDWARD HALD: AN ORREFORS GRAAL VASE with wavy border, internally decorated with fish swimming amongst seaweed, engraved to the base "Orrefors, Sweden, Graal, 16886, Edward Hald", 5.25" wide. See illustration
Estimate: 300-500
13. VICKE LINDSTRAND: AN ORREFORS VASE of wavy form, decorated with a mermaid, on a black glass base, engraved "Orrefors Lindstrand, 1220", 6.5" high
Estimate: 200-400
14. G. VALLON: A FROSTED GLASS BOWL with moulded decoration of cherries and leaves with moulded signature, 9.25" wide together with a Sabino vase (2)
Estimate: 50-100
15. MARCEL GOUPY: TWO LEMONADE GLASSES with ribbed bodies and painted geometric yellow and orange decoration, 4" high (2)
Estimate: 50-80
16. A MURANO GLASS MODEL OF A LEAPING DOLPHIN on a circular glass base with bubble inclusions, 14" high, a similar model of two fish on a green and clear glass base and a glass duck (3)
Estimate: 60-80
17. BACCARAT: A FROSTED GLASS BUST of a female in loose fitting robes, on an octagonal stepped base, with moulded signature to the reverse, 10.5" high
Estimate: 100-200
18. A BACCARAT STYLE ART DECO FROSTED AND CLEAR GLASS BOWL on Chinese style gilt metal mounts, the broad shallow bowl on three shaped feet, 16" wide. See illustration
Estimate: 300-500
19. ATTRIBUTE TO BACCARAT: A CYLINDRICAL GLASS VASE decorated with chinoiserie style decoration, on a gilt metal base, 9.5"
Estimate: 50-100
20. RENÉ LALIQUE: 'AMIENS' 1023, a two handled vase with moulded scrolling sides, with engraved signature to the base, 7.25" high
Estimate: 50-100
21. RENÉ LALIQUE: "CEYLAN" AN OPALESCENT GLASS VASE decorated with pairs of budgerigars, 9.5" high, together with a Lalique pen tray, lemonade glass and an Orrefors glass decorated with a juggling clown and a tall vase by Timo Sarpaneva (5)
Estimate: 50-100
22. RENÉ LALIQUE: A WHITE METAL POWDER BOX, the top decorated in low relief with two Birds of Paradise, stamped to the base "Fleurs d'Amour Poudre Naturelle, Roger et Gallet. Paris", 3" wide
Estimate: 30-60
23. RENÉ LALIQUE: 'DAHLIAS' 2459, an opalescent glass hanging light shade, moulded with flowers and leaves, signed to the interior, R. Lalique, 12" wide. See illustration
Estimate: 400-600
24. RENÉ LALIQUE: A GLASS PLATE with a moulded border decorated with foliage, with engraved signature, "Lalique, France" 8.25" wide
Estimate: 40-80
25. IN THE MANNER OF LALIQUE: A SET OF FIVE WINE GLASSES, with flared bowls on frosted stems in the form of loosely clad maidens, on spreading feet (5), 6.5" high
Estimate: 60-80
26. WHITEFRIARS: A GREEN GLASS "OPTICAL VASE" with horizontal ribbed decoration, 10" high
Estimate: 30-50
27. BARNABY POWELL FOR WHITEFRIARS: A BROAD PALE GREEN GLASS BASIN with spiralling pale blue glass decoration, on a spreading circular foot, 13" wide
Estimate: 40-80
28. LEGRAS: AN ART DECO MOTTLED AND ACID ETCHED GLASS VASE, the vase of tapering ovoid form decorated with birds in flight, 14.5" high. See illustration
Estimate: 500-800
29. VAL ST LAMBERT: A CLEAR AND PINK GLASS LAMP BASE of tapering geometric form, with a chrome mounted light fitting, bearing part of an original Val St Lambert label, 15" high
Estimate: 20-40
30. A SCANDANAVIAN GLASS VASE of straight sided tapering form, decorated with fish swimming amongst reeds, indistinctly signed, 5.5" high and two similar glass vases (3)
Estimate: 50-100
31. JOBLING: AN ART DECO OPALESCENT HANGING LIGHT FITTING with a central bowl marked Jobling "Opalique", decorated with three birds and a central floral motif, surmounted with a broad frosted glass shade, 17" wide. See illustration
Estimate: 80-150
32. REIDEL: A CAST MOTTLED GREEN GLASS VASE of tapering form, decorated with stylised figures amongst foliage, 6" high and a similar lidded pot (2)
Estimate: 80-150
33. HOLMEGAARD: A DANISH SMOKEY GREY STRAIGHT SIDED GLASS VASE, on a circular foot with engraved signature and no. 16949, 9" wide
Estimate: 20-40
34. A LOETZ STYLE ART NOUVEAU INKWELL, the square brass lid with engraved foliate decoration, on an opalescent and mottled glass body, 4.5" wide
Estimate: 100-150
35. A SUITE OF "TULIP" FORM WINE GLASSES, comprising eight wine glasses with tall bowls on tall stems with spreading feet and nine similar champagne glasses (17)
Estimate: 150-250
36. SABINO: A SET OF THREE HANGING ART DECO CEILING LIGHTS, each of circular form with all over moulded decoration of stylised foliage and geometric patterns, each marked "Sabino 4651, Paris Depose", 18" wide (3). See illustration (FP)
Estimate: 1000-2000
37. HANOTS: A SET OF THREE FROSTED GLASS ART DECO WALL LIGHTS of tapering "flame" form, with all over moulded geometric decoration, with meal wall brackets, the shades with moulded marks "Hanots", 15.5" high
Estimate: 600-800
38. AN ART DECO STYLE CHROME AND GLASS THREE LIGHT CANDELABRA, the lights with pale green glass shades on tubular rods, 11" high
Estimate: 30-50
39. A PAIR OF MURANO GLASS FIGURES OF A LADY AND GENTLEMAN in elaborate red costumes with white borders and amber frills, 16.5" high (2)
Estimate: 50-100
40. ELTON WARE: A GOLD LUSTRE CRACKLE GLAZED NARROW NECKED VASE, with shaped rim and swelling body, with painted signature to the base, 10.5" high. See illustration
Estimate: 100-200
41. ELTON WARE: A LARGE TYG with all over lustrous green glaze and raised floral and spot decoration, with painted signature to the base, 8.5" high
Estimate: 100-200
42. ELTON WARE: A LARGE GREEN/BLUE GLAZED TYG with raised floral and banded decoration, with painted signatures to the base, 9" high. See illustration
Estimate: 100-200
43. ELTON WARE: A NARROW NECKED VASE with twin ring handles and floral decoration against a red ground, with painted signature to the base, 7" high and a similar Barum vase(2)
Estimate: 50-100
44. TROIKA: A SQUARE SECTION VASE with painted roundel decoration, stamped to the base "Troika, St Ives, England", 3.25" high and two similar vases (3)
Estimate: 40-80
45. A CONTINENTAL PORCELAIN PATE SUR PATE PANEL, decorated with an allegorical scene of a woman with sword holding a child, against a gilt foliate background, 11" x 7.5"
Estimate: 50-100
46. LA CHENAL: A FRENCH ART POTTERY VASE with all over crackled turquoise glaze, signed to the base, 3" high. See illustration
Estimate: 50-100
47. BERNARD ROOKE: A STONEWARE VASE of compressed oval form, with striated patterns and trailed green glaze, with stamped mark "Rooke" to the base, 8" high. See illustration
Provenance: Sir Basil Nield former President of the Convalescent Home for Retired War Officers at Osborne House
48. A 1950'S BESWICK WARE VASE, decorated with stylised leaves and patterns against a cream ground, 10" high and another similar vase (2)
Estimate: 30-60
49. CLEMENT MASSIER: A RED LUSTRE GLAZED PLATE, with incised marks to the reverse, 10" wide
Estimate: 80-150
50. GALLE: A FAIENCE EGG SEPARATOR, decorated with three birds and "Toujours des Can Cans", with mark to the base, "E. Galle, Nancy" 6" wide
Estimate: 50-100
51. MARTIN BROTHERS: A GOURD TYPE VASE of tapering form, with all over textured surface, incised to the base, "Martin Brothers, London, Southall, 7. 1903, 9" high
Estimate: 50-100
52. PILKINGTONS ROYAL LANCASTRIAN: A VASE of bellied form, with relief moulded surface and trailed orange and brown glaze, 10" high. See illustration
Estimate: 100-200
53. A SET OF FIVE MINTON POTTERY PLATES with basket-work borders, each decorated with a scene from Aesop's Fables, by J Moyr Smith (5)
Estimate: 60-80
54. A MINTON'S SECESSIONIST'S VASE of tapering form with splayed rim, decorated with hanging swags against a red ground, 11.75" high
Estimate: 40-80
55. A MINTON'S ART POTTERY AESTHETIC PERIOD MOON FLASK, the circular front decorated with a pre-Raphaelite maiden in a border of leaves and flowers, with short neck and scrolling handles above, on a tapering base, with printed and painted marks to the base "Minton's Pottery Studio" and date mark for 1872, 13.5" high. See illustration
Estimate: 800-1500
56. ELTON WARE: A POTTERY VASE with flared neck and bulbous body with all over "prunt" decoration, 4.25" high
Estimate: 50-100
57. ELTON WARE: A LARGE POTTERY VASE of tapering shouldered form, decorated with raised floral patterns with all over blue and green streaked glaze, marked "Elton" to the base, 15" high. See illustration
Estimate: 100-200
58. A GOUDA POTTERY JUG decorated with floral decoration against a cream ground, painted mark to the base, 9.5" high and a similar lidded pot (2)
Estimate: 80-150
59. AN ART POTTERY VASE decorated with a late Victorian maiden feeding swans on a lake, mark to the base "Moor Bros," 10.5" high
Estimate: 40-60
60. ROYAL DOULTON: TWO FIGURES "The Proposal" HN716 designed by L. Harradine and "The Proposal Lady" HN725, each with painted marks to the base, 6" high (2). See illustration
Estimate: 800-1500
61. DOULTON: A KELMSCOT PATTERN JUG AND BASIN SET comprising: jug, basin, chamber pot, soap dish, toothbrush holder and ewer, each piece all over decorated with scrolling Art Nouveau foliage, with printed Doulton Burslem mark to the base (6)
Estimate: 100-200
62. A DOULTON LAMBETH STONEWARE JUG by Frank Butler with narrow neck and bellied body with all over incised decoration, with incised initials to the base, 9" high and two similar Doulton vases (3)
Estimate: 80-150
63. FLORENCE BARLOW: A ROYAL DOULTON LAMBETH MUG with incised decoration of sheep in a landscape, with a silver rim, 4.5" high
Estimate: 40-80
64. A PAIR OF WEDGWOOD DRAGON LUSTRE VASES of bellied form decorated with winged birds against a green ground, with printed marks and numbered Z4831, 5" high (2). See illustration
Estimate: 100-200
65. A WEDGWOOD DRAGON LUSTRE BOX AND COVER, the square lid decorated with a scrolling dragon against a mottled orange ground, the sides similarly decorated, the interior with a gilt peacock against a mottled blue ground, the underside of the lid with a tiger against the same ground, the base with printed marks and numbered Z4825, 4" wide, together with a Wedgwood dragon lustre dish, the interior decorated with a phoenix against a pale green ground, the exterior with mythical beasts against a dark green ground, with printed marks to the base and numbered Z4821, 6" wide.
Estimate: 100-200
66. A ROYAL DOULTON VASE with all over mottled blue glaze and moulded decoration, 7.75" high, together with a leaf decorated vase and a similar vase with stylised flower decoration (3)
Estimate: 80-150
67. WILLIAM DE MORGAN: A POTTERY TILE decorated with stylised carnations against a scrolling foliage, with impressed mark to the reverse, 6" x 6", and three similar tiles (4)
Estimate: 50-100
68. DAME LAURA KNIGHT: A FOLEY BONE CHINA CUP AND SAUCER decorated with dancing figures within a green and black border
Estimate: 40-80
69. A SWEDISH ART POTTERY VASE with narrow neck and bellied body with painted floral decoration, with painted marks to the base, 12" high and a Finnish Arabia cup and saucer (2)
Estimate: 30-50
70. A PILKINGTON'S ROYAL LANCASTRIAN VASE of bellied form, with moulded ring handles, with impressed marks to the base, 6" high and a Ruskin ware vase and cover with lustrous orange glaze (2)
Estimate: 50-100
71. A PAIR OF BURMANTOFT FAIENCE VASES decorated with stylised flowers and foliage (2), 11" high
Estimate: 30-50
72. A BURMANTOFTS FAIENCE STICK STAND, with all over moulded decoration and turquoise glaze, stamped to the base, "Burmantofts, Faience 575", 24.75" high
Estimate: 30-50
73. A PAIR OF GREEN GLAZED BURMANTOFT FAIENCE CANDLESTICKS of column form, with impressed marks to the base, 8" high, together with a Barum ware bird vase and a similar art pottery vase (4)
Estimate: 40-80
74. A HONITON POTTERY BOWL decorated with stylised foliage against a cream ground, 9.5" wide, a Charlotte Rhead Burleigh ware vase, 8" high and a Shorter & Son candlestick (3)
Estimate: 40-80
75. A WATCOMBE TORQUAY POTTERY TERRACOTTA VASE with a narrow straight sided neck and bellied body, 10" high together with a moulded bread plate and a faiencerie vase (3)
Estimate: 30-50
76. THE FULHAM POTTERY: A SQUARE TILE decorated in Scrafito through white slip with a lady's head, with stamped marks to the reverse, 4" wide and a similar shallow pottery bowl (2)
Estimate: 50-100
77. BERNARD MOORE: A DOUBLE GOURD-SHAPED VASE, all over decorated in red flambé against a cream ground with deer amongst trees, painted mark to the base and artists monogram for Evelyn Hope Beardmore, 6.5" high. See illustration
300-500
Provenance: Private collection Dorset.
Estimate: 300-500
78. CHRISTOPHER DRESSER: AN ART POTTERY VASE with impressed geometric decoration and mottled green/brown glaze, with impressed signature to the base, no. 152, 6.5" high
Estimate: 40-80
79. ATTRIBUTED TO CHRISTOPHER DRESSER: A Linthorpe pottery ewer with trailed green glazing against a brown ground, 7.5" high, together with a similar narrow necked vase and a turquoise glazed Bretby ewer (3)
Estimate: 80-150
80. CHRISTOPHER DRESSER: A POTTERY VASE with straight neck and indented sides, with all over brown and green trailed graze with incised signature and marks, 10" high. See illustration
Estimate: 100-200
81. ATTRIBUTED TO CHRISTOPHER DRESSER: A WATCOMBE POTTERY JUG, the tooth-shaped jug glazed in red and green, stamped to the base "Watcombe, Torquay", 4" high
Estimate: 100-150
82. CHRISTOPHER DRESSER: A WATCOMBE POTTERY JARDINIERE of bellied form with all over impressed decoration and red and green glazes, with impressed mark to the base, 7.5" high
Estimate: 120-180
83. AN AUSTRIAN POTTERY LAMP BASE, decorated with two grazing deer, stamped to the base "Wien Keramos", 12" high
Estimate: 120-180
84. A TALL RYE POTTERY VASE, decorated in green and black with scratched decoration, with stamped mark to the base, 12" high
Estimate: 30-50
85. A RYE POTTERIES CANDLESTICK in the form of a Chinaman wearing decorated robes, marked to the base Iden Pottery Rye, 12" high. See illustration
Estimate: 50-100
86. A RORSTRAND "RED TOP" PATTERN PART DINNER SERVICE, comprising dinner plates, cups and saucers, a lidded tureen and other items (a lot)
Estimate: 30-50
87. JOHN SKEAPING: A WEDGWOOD PALE GREEN GLAZED MODEL OF A BISON CALF, on an ebonised wooden base, 10.5" wide. See illustration
Estimate: 100-200
88. JOHN SKEAPING: A WEDGWOOD POTTERY GROUP OF TWO MONKEYS, on a plinth base, with all over cream glaze, 7" high
Estimate: 50-100
89. JOHN SKEAPING: TWO SIMILAR WEDGWOOD WHITE GLAZED MODELS OF RECUMBENT DEER, with impressed and printed marks to the base, each 7" wide (2)
Estimate: 100-200
90. KEITH MURRAY: A WEDGWOOD TANKARD of straight sided form with reeded decoration to the base, with printed and impressed marks "Matt Green", 4.75" high together with a Chameleon ware vase and a Clarice Cliff bowl (3)
Estimate: 40-80
91. KEITH MURRAY: A WEDGWOOD POTTERY VASE with ring-turned decoration and straw coloured glaze, with printed and stamp marks to the base, 7.5" high
Estimate: 150-300
92. KEITH MURRAY: A WEDGWOOD POTTERY VASE with ribbed sides and printed Etruria & Barlaston marks to the base, 9" high
Estimate: 50-100
93. KEITH MURRAY: A WEDGWOOD POTTERY VASE with ribbed body and wavy border with an Etruria and Barlaston mark to the base, 9" high
Estimate: 50-100
94. KEITH MURRAY: A LARGE WEDGWOOD POTTERY VASE of ribbed bellied form, with all over olive green glaze with stamped marks and printed signature, 9" high on an associated wooden base. See illustration
Estimate: 300-600
95. A GARNITURE OF THREE CRANSTON PATTERN VASES, by Woods Tileries, each decorated with stylised floral patterns and tube lining against a mottled ground, 10" high and smaller (3)
Estimate: 50-100
96. A NORTH DEVON POTTERY JARDINIERE with a wavy rim and applied scrolling mounts, the body decorated with birds amongst flowering foliage against a blue ground, possible Branham, 15" wide
Estimate: 50-100
97. CARLTON WARE: A SET OF THREE FLYING GUINNESS TOUCANS, each balancing two pints of Guinness on their beaks "My Goodness, My Guinness", 10" wide and smaller (3)
Estimate: 400-600
98. MYOTT & SON: AN ART DECO TEA PLATE with a blue border and yellow, orange, black and green geometric centre, 8.25" wide, and a similar brown and orange jug (2)
Estimate: 30-50
99. ARCADIAN WARE: A "BLUE LAGOON" PATTERN VASE, decorated with a Princess in a canoe against a gold and powder blue ground, 6.25" high
Estimate: 80-150
100. AN ART DECO POTTERY MODEL OF A LAMB, 10" high, and another smaller (2)
Estimate: 40-80
101. "ST GEORGE AND THE DRAGON", AN ANDRE FAU CERAMIC SCULPTURE, cast from a model by W. Wuilleumier on a rectangular wooden base with painted marks to the reverse, 20" wide. See illustration (FP)
Estimate: 2000-4000
102. A ZSOLNAY POTTERY SCULPTURE of double barrel form, one barrel surmounted by a figure with scrolling horns, the other by a tall spout, with all over lustrous green glaze, 18.25" high
Estimate: 50-100
103. AN ART DECO CARLTON WARE CONICAL DISH of broad shallow form with banded painted decoration, on three short triangular feet, with printed marks, 4.75" wide. See illustration
Estimate: 140-180
104. A ROYAL DOULTON STONEWARE JARDINIERE of tapering hexagonal form, decorated with alternating panels of birds and foliage, 6.5" wide
Estimate: 50-100
105. A SHELLEY POTTERY LUSTRE VASE by Walter Slater, of tapering straight sided form, all over decorated with butterflies against a lustrous ground, with printed marks to the base, 6" high
Estimate: 80-150
106. A CRAVEN DUNNILL & JACKFIELD VASE of straight sided tapering form, with lustrous glazed decoration of grotesque faces against a foliate ground in the manner of Walter Crane, 5.5" high. See illustration
Estimate: 200-400
107. SUSIE COOPER: A FALCON SHAPED COFFEE SERVICE, comprising coffee pot, six cups and saucers and a cream jug, each with incised Regency Feather pattern with leaves and running borders, the coffee pot stamped to the base "a Susie Cooper Production. Crown Works, Burslem", the teapot 7.75" high. See illustration
Estimate: 100-200
108. A BELGIAN POTTERY ART DECO STYLE STATUE of a woman in a flowing robe beside a stylised panther, with all over cream crackle glaze, stamp to the base "Nimy, Manufacture, Imperiale et Royale, Belgium", 19" high. See illustration
Estimate: 400-600
109. AN ART DECO VASE decorated with bright coloured flowers against a cream ground, 8.5" high and two similar vases (3)
Estimate: 50-100
110. DAISY MAKEIG-JONES: A Wedgwood Fairyland lustre bowl, decorated to the interior with fairies in a wooded landscape, the exterior with a similar night time scene, 9" wide
Estimate: 20-40
111. PABLO PICASSO: AN OVAL PLATE decorated in relief with a goat's head, against a blue ground, stamped to the reverse, "Empreinte Originale de Picasso", mounted and glazed, 20" wide. See illustration
Estimate: 3000-5000
112. A PARKINSON POTTERY OWL, designed by Richard and Sue Parkinson with pale brown decoration, with stamp mark to the base, 8.5" high. See illustration
Estimate: 150-250
113. SUSAN WILLIAMS-ELLIS: A PORTMEIRION "TOTEM" PATTERN COFFEE SERVICE comprising, coffee pot, six cups and saucers, sugar and cream, with all over moulded decoration and light brown glaze
Estimate: 30-50
114. RENATE RHEIN: A ROSENTHAL WALL PLAQUE, decorated in turquoise and browns with a moulded image of an abstract bird, monogrammed "R", and signed to the reverse Renate Rhein 1963. 20" wide
Estimate: 20-40
115. MABEL LUCIE ATTWELL: A SHELLY NURSERY "BOO BOO" TEASET comprising, teapot shaped like a pixie toadstool, the sugar basin in the form of a toadstool and a jug in the form of a pixie (3)
Estimate: 300-500
116. A WADE HEATH NOVELTY DONALD DUCK SHAPED TEAPOT, printed to the base "By Permission Walt Disney", 6.5" highA
Estimate: 250-450
117. AN AUSTRIAN KERAMOS GROUP OF TWO FLAMINGOS standing by bulrushes, 8.5" high and another similar larger group (2)
Estimate: 60-80
118. A ROYAL DOULTON FLAMBE JARDINIERE, decorated with thatched cottages in an idealised landscape, beneath a red flambé glaze, 10-5" high
Estimate: 250-450
119. A CZECHOSLOVAKIAN PORCELAIN PART COFFEE SERVICE of geometric cubist design, with stylised floral decoration, with stamp mark to the base "Modele Depose"
Estimate: 80-120
120. A GREY'S POTTERY BISCUIT BARREL of circular form, decorated with stylised floral patterns, against an orange and grey background, with cane handle and printed marks to the base, and another similar biscuit barrel (2)
Estimate: 80-150
121. SUSIE COOPER: A KESTREL PATTERN COFFEE SERVICE comprising, coffee pot, cream jug, sugar and six cups and saucers, each decorated with acorns amongst foliage with green banding, the teapot, 7.25" high
Estimate: 300-500
122. A MYOTT & SON ART DECO JUG with a rectangular body, on a bulbous base, with stylised floral decoration in orange and brown, 8" high and another similar jug (2)
Estimate: 90-120
123. GOLDSCHEIDER: A TERRACOTTA WALL MASK in the form of a female head, with tightly curled white hair, with stamped marks to the reverse "Wandemask no. 7584 by Kurt Goebel", 11" high. See illustration
Estimate: 300-500
124. A GOLDSCHEIDER MYOTT & SON FIGURE OF A DANCER in a pink floral gown, no. 710 by Marcel Goldscheider, 10.5" high
Estimate: 200-400
125. A SADLER ART DECO TEAPOT in the form of a racing car, with all over green glaze, 8.5" wide
Estimate: 50-100
126. MATTEO THUN: A MEMPHIS POTTERY VASE with a conical spout on three shaped supports and rounded base, with pale pink decoration, 10.5" high together with a similar pepper pot and sugar box (3). See illustration
Estimate: 100-200
130. DAISY MAKEIG-JONES: A WEDGWOOD FAIRYLAND LUSTRE VASE decorated in the coral and bronze palette with the Candlemas pattern, the base with printed marks and number Z5349, 9" high
Estimate: 200-400
131. DAISY MAKEIG-JONES: A WEDGWOOD FAIRYLAND LUSTRE BOWL, the lily pattern bowl decorated with the Fairy Gondola pattern with fairies, pixies and other creatures in a landscape of exotic trees, buildings and boats at sea, with printed mark to the base, 13" wide. See illustration
Estimate: 2000-4000
132. DAISY MAKEIG-JONES: A WEDGWOOD FAIRYLAND LUSTRE BOWL, of punch bowl shape, the interior decorated with the Woodland Bridge pattern with fairies and other creatures amongst a wooded landscape, the centre painted with a mermaid gazing into a mirror, the exterior decorated with the Poplar Trees pattern of an exotic landscape, with printed marks to the base, 11.25" wide. See illustration
Estimate: 1500-2500
133. DAISY MAKEIG-JONES: A WEDGWOOD FAIRYLAND LUSTRE MALFREY POT AND COVER decorated in the Candlemas pattern against a midnight blue ground, the interior of the lid decorated with a large spider in a web catching a fly, the exterior decorated with panels of figures and candles within a pale green ground, with all over gilt and painted decoration, the base with printed marks and number Z5461, 9.5" high. See illustration
"When the fairies release the bell-rope the bell tolls, the figure candles turn to shrouds"
Provenance: Private Collection: Bournemouth
Private Collection: Oxfordshire
Estimate: 14000-18000
135. A FANTASQUE JUG, decorated with the 'roundels and trees' pattern of stylised trees between orange banding, 8" high. See illustration
Estimate: 100-200
136. A BIZARRE CANDLE HOLDER of low conical form decorated with the red roof cottage pattern, 3.5" wide
Estimate: 80-150
137. A FANTASQUE HONEY POT, the lid with a bee-shaped handle, decorated in a landscape pattern, 4" high
Estimate: 80-150
138. A FANTASQUE CANDLESTICK of low conical form, decorated with stylised flowers in orange, yellow and blue, with printed mark and retailers mark for Lawleys of Regent street, 3.5" wide
Estimate: 50-100
139. A STRAIGHT SIDED CONICAL BOWL decorated in a floral Inspiration pattern, with trumpet shaped flowers, on four triangular legs, with stamp Clarice Cliff and Bizarre marks, 6" wide. See illustration
Estimate: 300-500
140. A BIZARRE JARDINIERE decorated in the "Gayday" pattern, with stylised orange and mauve flowers, 9.5" wide
Estimate: 150-250
141. A CROCUS PATTERN CREAM JUG, with printed marks to the base, 2.5"
Estimate: 40-80
142. A RHODANTH PATTERN TRUMPET SHAPED VASE, with printed signature to the base, 8.75" high
Estimate: 300-500
143. A JONQUIL PATTERN BIZARRE WALL PLAQUE with impressed and printed marks, 10.25" high. See illustration
Estimate: 300-500
144. A WINDBELLS PATTERN ASHTRAY, with printed and impressed marks, 4.75" wide
Estimate: 100-200
145. AN AUREA TWO HANDLED DISH AND SAUCER, with printed marks
Estimate: 100-200
146. A GAY DAY PATTERN PIN TRAY, with printed marks to the reverse, 3" wide
Estimate: 80-150
147. BILLIE WATERS: A CLARICE CLIFF PLATE decorated with a leaping deer by a tree, with printed marks to the reverse, 8" wide. See illustration
Billie Waters's collaboration with Clarice Cliff came about following the British Industrial Art In Relation To The Home exhibition at Dorland Hall. This less than successful exhibition had been an attempt to bring leading artists of the day and Staffordshire ceramics manufacturers closer together. This design was shown at the more successful 1934 exhibition 'Modern Art For The Table' held at Harrods in London.
Estimate: 150-250
148. AN ISIS JUG/VASE DECORATED IN THE PANSIES WITH DELICIA RUNNINGS PATTERN, with printed marks to the base, 7.5" high. See illustration
Estimate: 500-700
149. A CROCUS PATTERN WINDSOR SHAPE COFFEE POT, with printed marks, 7" high
Estimate: 250-350
150. A BIZARRE GEOMETRIC PATTERN 358 VASE with printed and impressed marks to the base, 7.75" high. See illustration
Estimate: 400-600
151. A LIGHTNING PATTERN JAMPOT AND COVER, of straight sided form with all over geometric painted decoration, with printed marks to the base, 3.5" high. See illustration
Estimate: 400-600
152. A BONJOUR SHAPE THREE PIECE CRUET decorated in the floral rose pattern, 4.5" high (3)
Estimate: 150-250
153. AN AUREA THREE PIECE CONICAL CRUET SET, comprising two conical shaped shakers and a lidded pot, with printed marks, 3.5" high (3)
Estimate: 400-600
154. A STRAWBERRY DISH AND STRAINER of wavy oval form, decorated with raised flowers in green and pink, 11.25" wide (2)
Estimate: 100-200
155. A WATER LILY VASE, with cream and pink decorated leaves on a naturalistically moulded base, with printed marks to the underside, 9" wide
Estimate: 100-200
156. A TALL TAPERING VASE decorated in relief with two budgerigars on a branch, on a spreading circular foot, with stamp marks to the base, 12.25" high
Estimate: 100-200
157. A RHODANTHE PATTERN LOTUS JUG with ribbed body, and printed marks to the base, 11.5" high. See illustration
Estimate: 600-800
158. A RHODANTHE PATTERN BON BON DISH of square form, with a raised border and shaped corners, the reverse with printed Bizarre mark and Staffordshire Pottery stamp, 4.75" wide
Estimate: 50-100
159. A LYDIAT DELICIA BOWNESS JARDINIERE, with an everted orange rim above orange and brown floral decoration and a trailed glaze, with printed marks to the base, 10" wide
Estimate: 400-600
160. AN INDIAN TREE PATTERN 28A SHAPE VASE, with all over moulded tree decoration, on three short feet, 8.25" high
Estimate: 80-150
161. A TRESCO PATTERN BONJOUR SHAPED SUGAR SIFTER of rounded form, with floral decoration, with printed marks to the base, 5" high. See illustration
Estimate: 250-450
162. A CORAL FIRS PATTERN CUP AND SAUCER, decorated with red stemmed trees in a landscape, with printed marks to the base
Estimate: 150-200
163. A LATONA PATTERN LOTUS JUG, decorated with stylised trees against a ribbed ground, with printed and painted marks to the base, 12" high. See illustration
Estimate: 600-800
164. A LIBERTY BANDED MEAT PLATE, the border with black, red, orange and yellow banding, with printed marks to the base, 14.5" wide
Estimate: 20-30
165. AN AUTUMN CROCUS MILK JUG, the tapering sides with stylised crocus decoration, with printed marks to the base, 3.5" high
Estimate: 120-150
166. AN AUTUMN CROCUS PATTERN PRESERVE POT AND COVER of circular form, with yellow painted lid, with printed marks to the base, 4" high
Estimate: 120-150
167. AN AUTUMN CROCUS PATTERN TRIO comprising, cup, saucer and plate, with various printed marks, the plate 7" wide
Estimate: 120-150
168. A KEW PATTERN BONJOUR SHAPED COFFEE SERVICE comprising, coffee pot of oval section with decorated shoulder and matching sugar and cream jug, with various printed marks, the teapot, 7" high. See illustration
Estimate: 400-600
169. A WALL MASK/VASE, the female face decorated in pale green with bright red lips and a floral headdress, with printed marks to the reverse, 7.25" high. See illustration
Estimate: 300-500
170. A BUTTER DISH with all over naturalistic moulded decoration, the knop in the form of a flower with painted leaf decoration, with printed and impressed marks to the base, 7" wide
Estimate: 80-150
171. A WALL MASK of a female face with an Indian style headdress in orange, green and yellow, with printed mark to the reverse, 6.25" high.
Provenance: The Barry Jones Collection, Christies, London 25th February 2000
Estimate: 300-500
172. A SHALLOW RIBBED BOWL, the border with brown banding and green leaf decoration, with stamped marks to the base, 8.75" wide
Estimate: 30-50
173. A FLORA PATTERN WALL MASK of a female face, with bright red lipstick and floral encrusted hair, with printed marks to the reverse, 6.75" high. See illustration
Provenance: The Barry Jones Collection, Christies, 25th February 2000
Estimate: 300-500
174. A DELICIA PANSIES PATTERN VASE, Shape 634, with a grey rim, the bulbous body decorated with pansies and trailing glazes with printed and painted marks to the base, 7.5" high. See illustration
Estimate: 500-700
175. A CONICAL SUGAR SIFTER decorated in the Moonlight pattern of abstracted trees and flowers against a cream ground, with printed marks to the base, 5.5" high. See illustration
Estimate: 800-1200
176. A SMALL CONICAL CREAM JUG with triangular handle, decorated in the blue Chintz pattern, with printed marks to the base, 2.5" high. See illustration
Estimate: 300-400
177. A LOTUS JUG with ribbed body, decorated in the Blue chintz pattern, with printed marks to the base, 12" high.
Estimate: 800-1200
178. A SHAPED JUG decorated in the Oranges pattern, with two fruit amongst coloured foliage, with printed marks to the base, 7.25" high. See illustration
Estimate: 400-600
180. A POOLE POTTERY SHIP CHARGER "Brig., General Wolfe, Newfoundland Trader, Poole 1797", the charger inscribed to the reverse "this dish was made and painted at the Poole Pottery in the year 1933, ship drawn by Arthur Bradbury, painted by Ruth Pavely, 14.75" wide. See illustration
Estimate: 300-500
181. A CARTER, STABLER & ADAMS BALUSTER VASE, decorated with an abstracted floral pattern in blues, browns and silvers against a cream ground, with impressed mark to the base and decorators mark for Mary Brown, 7" high. See illustration
Estimate: 80-150
182. A CARTER, STABLER & ADAMS BOWL, decorated with a floral border in yellows, greens and blues, the base with impressed mark and decorator's mark ED, 9.75" wide
Estimate: 50-100
183. A CARTER, STABLER & ADAMS "PICARDY" PEASANT FIGURE designed by Phoebe Stabler, of a seated woman wearing blue clothes and a white apron, on a shaped base, with stamped mark, 10.5" high. See illustration
Estimate: 200-400
184. A POOLE POTTERY BOWL decorated with the Bluebird pattern, with base with impressed mark and painter's mark, possibly for Eileen Pragnell, 8" wide
Estimate: 50-100
185. A POOLE POTTERY NURSERY MUG, the front decorated with a figure in blue dress watering flowers, the interior decorated with a floral sprig, the base with impressed marks and painter's mark, 3" high
Estimate: 40-80
186. A CARTER, STABLER & ADAMS BALUSTER VASE, decorated with a floral pattern in yellow, green, mauves and brown, with impressed marks and painter's marks for Ruth Pavely & EW, 9" high. See illustration
Estimate: 100-200
187. A CARTER, STABLER & ADAMS JUG AND BASIN, decorated with a geometric pattern in purple against a cream ground, with impressed marks, the jug, 2.75" high and a collection of five similar geometric wares (7)
Estimate: 100-200
188. A COLLECTION OF SEVEN PIECES OF POOLE POTTERY decorated with a mauve Diaper pattern with zig-zag, including a sugar castor, two jugs and other items (7)
Estimate: 80-150
189. A POOLE POTTERY FESTIVAL OF BRITAIN BUTTER DISH, the circular lid painted with floral sprays and dated 1951, the circular base marked to the underside FOB.3, 6.5" wide
Estimate: 100-200
190. A CARTER, STABLER & ADAMS BALUSTER VASE decorated with geometric floral sprigs against a cream ground, with impressed marks and decorator's mark for Gladys Jeffery, 6.25" high and another similar vase (2)
Estimate: 100-200
191. A POOLE POTTERY OVOID VASE, decorated with the Bluebird pattern, 3.5" high, two similar vases and a biscuit barrel all with Bluebird pattern (4)
Estimate: 150-250
192. A CARTER, STABLER & ADAMS BALUSTER VASE, decorated with a bold floral pattern in yellows, blues and greens, the base with impress marks and painter's marks for Anna Hatchard and another mark, 9.75" high. See illustration
Estimate: 60-80
193. A 1960'S POOLE POTTERY WALL PLAQUE in the form of a bird, designed by Robert Jefferson, glazed in green and blue, with printed mark to the reverse, 7.5" wide. See illustration
Estimate: 80-150
194. A POOLE POTTERY VASE, decorated with stylised Bluebird amongst flowers, with impressed mark to the base and decorator's mark, 3.25" high
Estimate: 50-100
195. A POOLE POTTERY NARROW NECKED VASE, decorated with geometric yellow and pink flowers amongst leaves, with impressed mark and painter's marks, 5.75" high and three similar vases (4)
Estimate: 120-150
196. A POOLE POTTERY HONEY POT of square form, the lid with a foliate knop surmounted by a bee, the body with green dash borders and floral sprigs, 5" wide
Estimate: 40-60
197. PHOEBE STABLER: A GILT PLASTER BUST OF A YOUNG GIRL, with incised signature to the reverse, on a green marble base, 10.5" high. See illustration
Estimate: 100-200
198. CARTERS POOLE: TWO VASES with tapering bodies and wavy rims, one with blue glaze, 5.5" wide and a similar smaller brown glazed example (2)
Estimate: 30-50
199. A POOLE POTTERY VASE, decorated in reds, blues and greens with stylised foliage, with impressed mark to the base and a collection of similar Poole pottery (15)
Estimate: 50-100
200. A 1970'S POOLE POTTERY VASE with orange green and dark trailed glaze decoration, with painted artist's monogram, 8.5" high and two similar pieces of Poole (3)
Estimate: 20-40
201. A POOLE POTTERY JUG of bellied form decorated in yellow, brown and green with stylised foliate decoration with impressed Carter, Stabler and Adams mark, 6" high, a similar jug and two vases (4)
Estimate: 30-50
202. POOLE POTTERY: A CONICAL VASE decorated with the blue bird pattern, with stamped marks, 6.25" high and another similar vase (2)
Estimate: 30-50
203. A POOLE POTTERY TRAY of elongated octagonal form, the pierced centre decorated with a blue bird amongst flowers, with impressed marks to the reverse, 12.5" wide. See illustration
Estimate: 80-150
204. CECIL ALDIN: SIX POOLE POTTERY TILES, each decorated with a different dog decorated in brown, blues and white, the tiles stamped "Carter Tiles" to the reverse, each 6" square (6). See illustration
Provenance: These tiles were given as a wedding present to the vendor when she worked at the Poole factory in the 1960's
Estimate: 200-400
210. A TALL FLORIAN WARE VASE with narrow neck and tapering body, decorated with harebells against a cream ground, with printed mark and green painted signature, 12" high. See illustration
Estimate: 2200-2800
211. A NARROW NECKED FLORIAN WARE VASE with bulbous body decorated with the Poppy and Ivy pattern in salmon and green, with printed mark to the base and initialled W. M. des, 4." high
Estimate: 500-800
212. A FLORIAN WARE PLATE decorated with flowers and foliage in salmon pink and green, the reverse with printed marks and initialled W.M. des, 7.5" wide
Estimate: 500-800
213. A PAIR OF TABLE CANDLESTICKS with broad spreading circular bases and shaped nozzles, decorated in the African Lily pattern, with impressed marks to the base, 5" wide (2)
Estimate: 400-600
214. A LARGE POWDER BLUE GROUND VASE with shaped rim, decorated with blue poppies, with painted signature to the base and impressed marks, "Moorcroft, made in England", 12.5" high. See illustration
Estimate: 3000-4000
215. A CUP AND SAUCER decorated in the Leaf and Berry pattern with a flambé glaze, with incised marks and Royal Warrant paper label, 5.5" wide
Estimate: 300-500
216. A LARGE ROYAL TRIBUTE VASE of bulbous form, decorated with coloured flowers against a mauve/blue ground, with painted and printed marks to the base and no. 369/400, 10.5" high
Estimate: 700-900
217. A TALL VASE decorated in the "Claremont Toadstool" design, with red, yellow and blue toadstools against a blue/green background, with green painted signature to the base and incised marks, 12.5" high. See illustration
Estimate: 2800-3500
218. A TALL NARROW NECKED VASE with bulbous body, decorated with yellow buttercups and green foliage against a green/blue ground, with painted and incised marks to the base, 16.5" high
Estimate: 400-600
219. A SMALL FLORIAN WARE VASE with wavy rim, narrow neck and bulbous body, decorated in the peacock pattern with pale blue decoration against a dark blue ground, the base with printed marks and painted signature, W. Moorcroft, des., 6" high. See illustration
Estimate: 1000-1500
220. A FLORIAN WARE BULBOUS VASE, decorated in the Iris pattern in pale blue against a blue ground, the base with printed marks and painted signature W. Moorcroft, des., 9" high. See illustration
Estimate: 1800-2500
221. A LARGE BULBOUS VASE with narrow neck, decorated in the Anemone pattern with red flowers against a variegated green ground, the base with painted and incised marks and Royal Warrant paper label, 15.5" high
Estimate: 800-1500
222. A SALT GLAZED JUG, decorated with swimming fish against a ribbed background, with painted and incised marks to the base, 5" high
Estimate: 300-500
223. A TWO HANDLED VASE decorated with blue cornflowers against a powder blue ground, the base with blue signature and incised marks, 8" high. See illustration
Estimate: 2000-3000
224. A FLAMMINIAN WARE VASE of double bulbous form, decorated with three foliate roundels against a mottled green ground, the base with incised signature and stamped "Made for Liberty & Co", 7.75" high. See illustration
Estimate: 200-400
225. A FLARED STRAIGHT SIDED VASE, decorated with the Hibiscus pattern against a green/blue background, the base with impressed marks and Royal Warrant paper label, 7" high
Estimate: 300-500
226. A BULBOUS VASE with straight sided neck, decorated in the Leaf and Berry pattern with a flambé glaze, the base with impressed and painted marks, 6.5" high
Estimate: 600-800
227. A BULBOUS VASE, decorated in the orchid pattern with a flambé glaze with multi-coloured flowers against a mottled blue/red ground, the base with painted signature and dated 1939, with similar stamped signature, 12.75" high. See illustration
Estimate: 2000-3000
228. A CIRCULAR BULBOUS VASE, decorated in the Clematis pattern with a flambé glaze, the base with painted and incised marks, 5" high
Estimate: 600-800
229. A CIRCULAR LIDDED DRESSING TABLE BOX AND COVER, decorated in the Anemone pattern, against a blue/green ground, the base with painted and incised marks and Royal Warrant paper label, 5.5" wide
Estimate: 400-600
230. A TALL JUG with shaped rim, bulbous body and scrolling handle, decorated with the Anemone pattern against a deep blue ground, with impressed marks to the base, 7.25" high
Estimate: 300-500
231. A TALL NARROW VASE with bulbous top on a tapering body with incised and tube-lined decoration of tulips in pale green and blue, with painted signatures to base, W. Moorcroft, des., 12.25" high. See illustration
Estimate: 1800-2500
232. A SMALL NARROW NECKED VASE, decorated in the Pomegranate pattern against a green/blue ground, with impressed marks to the base, 3.75" high
Estimate: 200-400
233. A FLORIAN VASE with a shaped rim and tapering sides, decorated in the Poppy pattern in yellow and green against a mottled blue ground, the base with painted signature, W. Moorcroft, Des. and printed marks, 5.5" high. See illustration
Estimate: 1600-2200
234. A MACINTYRE POTTERY RECTANGULAR TRAY, decorated with a spray of roses, tulips and forget-me-knots, the reverse with a painted signature in green and printed MacIntyre mark, 13.25" wide. See illustration
Estimate: 1100-1500
235. A SMALL BULBOUS VASE with spot-hammered pewter neck, decorated in the Pansy pattern with painted and impressed marks to the base, 4.5" high
Estimate: 200-400
236. A SHORT NARROW NECKED MACINTYRE VASE, decorated with flowers and ribbons, with painted and printed marks to the base, 3.25" high
Estimate: 300-500
237. A TEAPOT, MILK JUG AND SUGAR BOWL, decorated in the Anemone pattern against a deep blue ground, with printed marks to the base, the teapot, 8.5" wide
Estimate: 600-800
238. A POPPY PATTERN GINGER JAR AND COVER, the lid and sides decorated with flowering poppies against a deep blue ground, with painted signature in blue to the base and impressed marks "made in England" and "Moorcroft", 8" high. See illustration
Estimate: 1700-2000
239. A FOOTED CIRCULAR BOWL, decorated in the Clematis pattern, against a pale yellow/green ground, the circular base with impressed and painted marks, 6.5" wide
Estimate: 400-600
240. A MACINTYRE FLORIAN TEAPOT, the concave sides decorated with poppies against a cream ground, with a blue spout and handle, the top with a silver rim hallmarked for Birmingham, 1909, the base with printed marks and initials D & H P, 7.5" wide. See illustration
Estimate: 1000-1500
241. A RECTANGULAR LIDDED BOX, decorated in the Bermuda pattern with yachts at sea, with an impressed mark to the base, 4.75" wide
Estimate: 300-500
242. A LIDDED TANKARD, decorated in the Bermuda pattern with sailing ships with red sails against a shore, with palm trees, with impressed and painted marks to the base, 6" high
Estimate: 400-600
243. A RECTANGULAR LIDDED DRESSING TABLE BOX, decorated with a red flambé glaze, with painted signature and Royal Warrant paper label, 7.25" wide
Estimate: 300-500
244. A MACINTYRE TWO HANDLED VASE with flared rim and tapering body with floral swags and ribbon decoration, with gilt highlights, with painted signature and printed marks to the base, 10" high. See illustration
Estimate: 2200-2800
245. A FLORIAN WARE VASE, with wavy border, decorated with tulips and flowers against a dark blue ground, the base with printed marks and painted signature W. Moorcroft des., 7" wide
Estimate: 1000-1500
246. A MACINTYRE BISCUIT BARREL AND LID of circular form, with swing handles, decorated with forget-me-nots against a cream ground, with printed marks to the base, 6" high
Estimate: 600-800
247. A TALL VASE with flared rim, decorated in the Pomegranate pattern against a mottled blue ground, the underside with painted signature, dated 1919, with impressed marks, 10.5" high. See illustration
Estimate: 500-800
248. A MACINTYRE TEAPOT AND COVER of circular form, decorated in the Pansy pattern, against a green and cream ground, with printed and painted signatures and marked "made for Jones Bros Holloway", 9" wide
Estimate: 1200-1500
249. A MACINTYRE TOBACCO JAR AND COVER, the circular screw top lid on a tapering body, decorated with stylised flowers against a pale green ground, with printed marks to the base and initials W. H.C. M., 5" wide
Estimate: 500-800
250. A TRUMPET-SHAPED VASE decorated in the Pomegranate pattern against a blue ground, the underside with painted signature and impressed marks, 8.5" high. See illustration
Estimate: 400-600
251. A MACINTYRE BLUE AND GILT AURELIAN VASE, with tall flared neck, on a circular body, all over decorated with stylised foliage, the base with printed mark and registered design no. 314901, 10" high
Estimate: 500-800
252. A CIRCULAR BOWL, decorated with the Poppy pattern against a mottled blue ground, the base with painted and incised marks, 8.5" wide
Estimate: 500-800
253. A BULBOUS VASE with twin ring handles decorated in the Spanish pattern, decorated with red flowers against a green/blue ground, the base with painted signature and impressed marks, 9.75" high. See illustration
Estimate: 2800-3500
254. A MACINTYRE ALHAMBRA PATTERN VASE, with flared rim and shaped top on a tapering body, decorated with tulips against a salmon pink ground, with printed marks to the base, 8.5" high
Estimate: 650-960
255. A TALL MACINTYRE TRUMPED-SHAPED VASE, decorated in a Florian pattern, with poppies and other flowers against a cream ground, the base with painted signature and printed marks, 12" high. See illustration
Estimate: 2800-3600
256. A MACINTYRE ALHAMBRA PATTERN VASE with flared rim and shaped top on a tapering body, decorated with poppies against a salmon pink ground, with printed marks to the base, 9" high
Estimate: 650-850
257. A SLENDER MACINTYRE VASE with shaped body, decorated in the Poppy pattern, no. 401753, with painted signature W. Moorcroft, Des. And printed marks, 10" high. See illustration
Estimate: 1000-1500
258. A MACINTYRE VASE with narrow neck and shaped body, decorated in blue, green and gold in the Green Tulip pattern, with painted initials and printed marks to the base, 9" high. See illustration
Estimate: 600-800
259. A SHALLOW BOWL, decorated with four fish swimming amongst flowers and foliage against a mottled green ground with a flambé glaze, the base with painted signature and impressed marks, 8" wide. See illustration
Estimate: 800-1500
260. A LARGE "RAINFOREST VASE", decorated with flowers and foliage against a variegated green ground, mark to the base J. Moorcroft, S.T. des. 4th January 1993 and no. 87/150, 16" high
Estimate: 800-1500
261. A CUP AND SAUCER, decorated in the Pomegranate pattern, the saucer with green painted signature, 5.5" wide
Estimate: 300-500
262. A PAIR OF MACINTYRE VASES, with flared rims, tapering bodies and bulbous bases, decorated with flowers against a red and gold ground, with printed and incised marks to the base, 8.75" high (2). See illustration
Estimate: 500-800
263. A PALE PINK "LIBERTY" VASE, with narrow neck and bulbous body, decorated with three "foliate" roundels, the base with incised signature, 5.25" high
Estimate: 200-400
264. A LIBERTY TUDOR ROSE PATTERN VASE of bulbous form, with narrow neck, decorated with stylised flowers and foliage against a pale green ground, the base with painted signature and printed mark "made for Liberty & Co", 7.75" high. See illustration
Estimate: 1700-2200
265. A FLORIAN WARE VASE, with tall narrow neck and bulbous body, decorated in the Iris pattern in salmon and green, the base with printed marks and painted signature W. Moorcroft, des". 7.5" high. See illustration
Estimate: 700-900
266. A FLORIAN WARE VASE with tall trumpet-shaped rim, above a bellied body on a spreading foot, with tube-lined decoration in pale blue and gilt, decorated against a cream ground, with incised signature W. M. Des. and printed marks, 10.5" high. See illustration
Estimate: 1200-1800
267. A MACINTYRE VASE of waisted form, decorated with sprays of roses, tulips and forget-me-nots, with painted signature and printed marks to the base, 6" high. See illustration
Estimate: 1200-1500
268. A LARGE NARROW NECKED VASE with tapering straight sides, decorated with alternating panels of anemones and orchids, with painted and printed marks to the base, 8.75" high
Estimate: 1300-1500
269. A TALL SLENDER MACINTYRE VASE, with shaped rim, decorated with violets against a pale blue ground, with painted signature and printed marks to the base, 12" high. See illustration
Estimate: 900-1200
270. A STRAIGHT SIDED VASE with shaped rim, decorated with poppies against a mottled blue ground, with painted and printed marks to the base, 8" high
Estimate: 600-800
271. A TALL NARROW FLORIAN WARE VASE, with a shaped rim, decorated with the Blue Poppy pattern, against a cream ground, with painted signature, W. Moorcroft, Des. and printed marks, 12" high. See illustration
Estimate: 1500-2000
272. A SMALL NARROW NECKED VASE decorated with anemone flowers against a deep blue ground, 3.5" high
Estimate: 100-200
273. A BALUSTER-SHAPED VASE with narrow neck, decorated with poppies against a deep blue ground, with painted signature and impressed marks to the base, 8" high. See illustration
Estimate: 1500-2500
274. A MACINTYRE AURELAIN VASE with a narrow neck and bellied body, decorated with flowers in blue, red and gold against a salmon pink ground, with printed marks to the base, 5.5" high
Estimate: 300-600
275. A STRAIGHT SIDED PLANTER with shaped rim, decorated with the Leaf and Vine pattern, with painted and printed marks to the base, 7" high
Estimate: 200-400
276. A SMALL BELLIED VASE decorated with orchids, against a mottled blue ground, with printed marks to the base, 4.25" high
Estimate: 400-600
277. A SMALL BALUSTER-SHAPED VASE decorated in the Poppy pattern, against a deep blue ground, with printed and painted marks to the base, 4" high
Estimate: 500-800
278. A SMALL SHOULDERED VASE with narrow neck, decorated in the Hibiscus pattern against a green ground, with impressed marks to the base, 3.25" high
Estimate: 100-200
279. A SMALL VASE with shaped rim, decorated in the Leaf and Berry pattern, with a flambé glaze, with impressed marks to the base, 2.75" high
Estimate: 200-400
280. A NARROW NECKED VASE with a bellied body, decorated with the Clematis pattern against a mottled green ground, with painted and impressed marks and Royal Warrant paper label, 4" high
Estimate: 400-600
281. A GLOBULAR VASE with tapering sides, decorated in the Clematis pattern against a yellow/green ground, with painted and impressed marks to the base, 5.25" high
Estimate: 400-600
282. A TRUMPET-SHAPED VASE with flared rim and shaped body, decorated with the Orchid pattern, against a mottled green/blue ground, with painted and incised marks and remains of a paper Royal Warrant label to the base, 8" high
Estimate: 500-800
283. A BULBOUS-SHAPED VASE with open neck and curving sides, decorated with the Anemone pattern against a blue/green ground, with painted and impressed marks to the base, 6.5" high
Estimate: 500-800
284. AN AURALIAN TWO HANDLED VASE with a narrow neck and tapering body on a spreading foot, decorated with flowers in red and gold against a blue ground, 9" high
Estimate: 500-800
285. A MACINTYRE AURELIAN VASE with narrow shaped neck above a bellied body, decorated with flowers in red against a gold ground and deep blue background, with printed marks to the base, 4.75" high
Estimate: 200-400
286. A MACINTYRE FLORIAN WARE TYG, with three slender handles, the exterior decorated with sprays of roses, tulips and forget-me-nots, the interior with sprays of tulips, with painted signature W. Moorcroft to the base and printed marks, 7.5" high
Estimate: 1800-2500
287. "AFTER THE STORM", A BULBOUS POTTERY VASE, decorated with trees in a landscape against a stormy sky, signed to the base W. Moorcroft, 19th January 2000 and no. 189/200, 20" high. See illustration
Estimate: 2000-3000
288. A "TREE BARK THIEF" JARDINIERE ON STAND, the bulbous jardinière decorated with a woodpecker amongst fruiting foliage against a yellow ground, marked to the underside, "designed by Rachael J Bishop" and dated 2nd February 1998, with artist's signature and no. 49/50, the pedestal with similar marks, on a turned stand, 34" high. See illustration (FP)
Estimate: 4000-6000
290. A MACINTYRE & CO VASE of tall trumpet form with twin loop handles, all over decorated in blue, gold and red with stylised floral patterns, 12" high. See illustration
Estimate: 800-1500
291. A COMMEMORATIVE MUG "Their Name Liveth for Evermore", August 4th 1914- November 11th 1918", with incised and painted marks, 5" high
Estimate: 50-100
292. A LIDDED POT AND COVER with all over green and blue decoration within tube lined sections, with printed and painted marks to the reverse, 4.5" high
Estimate: 50-80
293. A SHALLOW BOWL, decorated in the Pomegranate pattern, signed, W. Morcroft to the base, 4.5" wide
Estimate: 200-400
294. A LARGE ANEMONE PATTERN VASE of bulbous form, decorated with flowers and foliage against a deep blue and green ground, stamped to the base W. Moorcroft, Potter to H.M. The Queen, 16.5" high. See illustration
Estimate: 500-1000
295. SETH CARDEW: A LARGE BIRD CHARGER decorated with a bird looking over his shoulder, amongst branches and a foliate border, with impressed marks to the base, 14" wide
Estimate: 100-200
296. JANET LEACH: A LARGE BROWN GLAZED VASE with broad rim and flared body, with trailed slip decoration, with impressed St Ives and J L seals to the base, 14" wide. See illustration
Estimate: 200-400
297. JANET LEACH: A PORCELAIN VASE with a pale grey glaze with trailed decoration, with impressed marks to the base, 7" high
Estimate: 100-200
298. BERNARD LEACH: A SLAB SIDED VASE, with a narrow neck, the flat sided front and back decorated with Chinese style characters against a blue and grey ground, on a shaped foot with impressed St Ives and B.L seals, 7.25" high. See illustration
Estimate: 500-1000
299. WILLIAM MARSHALL: A NARROW NECKED VASE, the ringed neck above a bulbous body with four small loop handles, with all over Tenmoku glaze and impressed seal, 12" high and a similar flagon type vase (2)
Estimate: 150-250
300. MICHAEL CARDEW: A SHALLOW STONEWARE BOWL with trailed slip decoration with impressed Michael Cardew and Wenford Bridge seals, 14" wide. See illustration
Estimate: 200-400
301. BERNARD LEACH: A LARGE STONEWARE CUT SIDED VASE with impressed "Leach and St Ives" seals, 11" high . See illustration
Estimate: 200-400
302. RICHARD BATTERHAM: A TALL ASH GLAZED BOTTLE VASE with a shaped rim above a bulbous dark glazed body, the shoulders with impressed decoration (with large firing crack), 32" high
Estimate: 50-100
303. LUCY RIE: A PORCELAIN COFFEE POT with trailed dark glaze and incised decoration, with stamped mark to the base, 9" high. See illustration
Estimate: 300-500
304. WILLIAM MARSHALL: A STONEWARE UNOMI with green and cream brushed decoration, and two similar unomi, 4" (3)
Estimate: 100-200
305. A DAVID LEACH STONEWARE TEAPOT with painted foliate decoration against a grey ground with bamboo handle, with impressed mark, 9.5" high and an Aldermaston style pottery jug (2)
Estimate: 50-100
306. PETER HAYES: A CERAMIC SCULPTURE of a shaped naturalistic form, with incised surface, on a square base, 9.75" high
Estimate: 80-150
307. DAVID EELES: A LARGE STONEWARE JUG with trailed pale green and cream decoration against an iron ground, with impressed mark to the base, 17" high. See illustration
Estimate: 80-150
308. A STUDIO POTTERY VASE of tapering ovoid form with brushed decoration in blue, red and greens, with painted mark to the base, 12" high and four similar pieces of studio pottery (5)
Estimate: 50-100
309. AN ALDERMASTON POTTERY STYLE LIDDED BOWL with lustrous brushed decoration, 6" high, a large Raku pottery bowl and three similar items (5)
Estimate: 80-150
310. A LARGE STUDIO POTTERY VASE with a narrow neck and bellied body, with all over textured surface and brown and cream glaze, 17" high
Estimate: 50-100
311. MICHAEL CARDEW: AN ABUJA POTTERY CASSEROLE DISH, the circular lid with raised knob and scrolling decoration, the body with twin handles and worked border, with impressed Michael Cardew and Abuja pottery marks, 13" wide. See illustration
Estimate: 300-500
312. SETH CARDEW: A WENFORD BRIDGE POTTERY TEAPOT with all over streaked brown glaze, with Seth Cardew and Wenford Bridge seals, 12.5" wide
Estimate: 100-200
313. MARIANNE DE TREY: A SLAB BUILT RECTANGULAR VASE, the front and back decorated with a floral motif, 6" wide
Estimate: 100-200
314. DAVID LEACH: A TENMOKU GLAZED VASE with a flared rim and short neck above a compressed tapering body with textured decoration with David Leach and Lowerdown Pottery seals, 11.5" high. See illustration
Estimate: 250-450
315. DAVID LEACH: A BROWN GLAZED COFFEE POT of tapering circular form, with David Leach and Lowerdown Pottery seals, 8.5" high
Estimate: 100-200
316. DAVID LEACH: TWO PORCELAIN MUGS each with a seal commemorating the wedding of Prince Charles and Lady Diana in 1981, 3.5" high and four similar stoneware mugs (6)
Estimate: 60-80
317. MALCOLM PEPPER: A LARGE STONEWARE VASE of tapering shouldered form with trailed blue and white glaze against a dark ground, with impressed seal mark, 9.5" high
Estimate: 250-350
318. MALCOLM PEPPER: A LARGE STONEWARE VASE with shaped rim and all over Persian style impressed decoration and trailed glaze, with impressed seal mark, 8" high. See illustration
Estimate: 300-500
319. MALCOLM PEPPER: A LARGE VASE with narrow neck and squared sides with all over trailed decoration and brushed foliage, with impressed seal mark, 10" high
Estimate: 300-500
320. RICHARD BATTERHAM: A LARGE PALE GREEN GLAZED BOWL with raised rim and incised triangular decoration, 16" wide. See illustration
Estimate: 250-450
321. RICHARD BATTERHAM: A LARGE JUG with shaped rim and tapering body, the rim with pale green glaze, the body with an olive green glaze, 10.5" high
Estimate: 180-250
322. RICHARD BATTERHAM: A STONEWARE VASE with shaped rim and short neck with incised triangular decoration and square body with all over pale green trailed glaze, 8" high
Estimate: 120-180
323. RICHARD BATTERHAM: A CUT SIDED SALT GLAZED VASE, 6.5" high
Estimate: 150-250
324. RICHARD BATTERHAM: A SMALL LIDDED JUG with shaped spout and all over pale green glaze, 5" high
Estimate: 80-150
325. RICHARD BATTERHAM: A LIDDED JAR AND COVER, the circular lid with shaped body with impressed decoration, with all over Tenmoku glaze, 5.52 high
Estimate: 80-150
326. RICHARD BATTERHAM: A CIRCULAR LIDDED JAR, the lid with a raised handle, the body with incised decoration, with all over mottled green and brown glaze, 7" high
Estimate: 80-150
327. RICHARD BATTERHAM: A CIRCULAR LIDDED JAR AND COVER, the raised lid and body with incised decoration and all over brown glaze, 4.5" high
Estimate: 80-150
328. RICHARD BATTERHAM: A CIRCULAR BODIED TEAPOT and cover with all over green/brown glaze, 6" high
Estimate: 100-200
329. RICHARD BATTERHAM: A SMALL CUT SIDED BOWL with pale green glaze, 5.75" wide
Estimate: 50-100
330. VERA TOLLOW: A STONEWARE VASE with narrow neck and bellied body with brushed scrolling and abstract decoration, 12.5" high
Estimate: 50-100
331. ST IVES POTTERY: A COLLECTION OF STONEWARE SOUP BOWLS with green glazed interiors, seven with lids and two further bowls all with impressed St Ives seals and a similar Lowerdown bowl (10)
Estimate: 80-150
332. WILLIAM MARSHALL: A SMALL PORCELAIN NARROW NECKED VASE with all over cream glaze, with impressed mark, 5" high
Estimate: 80-150
333. SHOJI HAMADA: A STONEWARE MUG with pale green glaze, in original fitted wooden box. See illustration
Provenance: This design was commissioned from Hamada by the Asahi Beer Company whose first President, Yamamoto Tamesaburo, was a noted collector and patron of the Mingei movement. These mugs were to be given away as promotional gifts.
Estimate: 200-300
334. DAVID LEACH: A SET OF FOUR STONEWARE CUPS AND SAUCERS, the cups with cut sided bowls and all over olive green glaze, each with David Leech seal (4)
Estimate: 80-150
335. ALDERMASTON POTTERY: A LARGE TIN GLAZED JUG with green and brown brushed decoration with painted signature to the base, 9" high and another similar jug (2)
Estimate: 40-80
336. JASON WATSON: A BROAD SHALLOW BOWL with all over large crackle grey glaze, with impressed JW & St Ives seals, 14" wide and a similar vase (2)
Estimate: 100-200
337. SHINGEY INCHINO: A DOUBLE GOURD SHAPED VASE with splashed glaze decoration, with incised seal, 11.5" high, another similar vase, a straight sided porcelain vase and an archaic Chinese shaped bowl (4)
Estimate: 100-200
338. JOHN BEDDING: A FLAT SIDED VASE with a narrow neck decorated with stylised brushwork against a Tenmoku glaze, 8.5", a similar cut sided narrow necked vase, and a Raku vase (3)
Estimate: 150-250
339. WINCHCOMBE POTTERY: A JUG,with a tall yellow glazed neck and handle with trailed slip decoration, with impressed mark, 8.25" high
Estimate: 50-100
340. ARCHIBALD KNOX: A LIBERTY TUDRIC PEWTER TRAY with all over hammered decoration and cast stylised Honesty leaves, stamped to the back "Tudric 0357", 12" wide
Estimate: 50-100
341. ATTRIBUTED TO ARCHIBALD KNOX FOR LIBERTY & CO: A PAIR OF PEWTER KNIFE RESTS with pierced interlaced decoration, 3.25" wide, stamp to the base 0492. See illustration
Estimate: 80-150
342. IN THE MANNER OF ARCHIBALD KNOX FOR LIBERTY & CO: A TUDRIC STYLE VASE with a shaped rim above a tapering body with all over stylised floral decoration, on three scrolling legs, 6" wide
Estimate: 40-60
343. ARCHIBALD KNOX: A LIBERTY PEWTER THREE PIECE TEASET, decorated with stylised Honesty leaves, with stamp marks to the base "Made by Liberty & Co, 0231" (3)
Estimate: 50-100
344. LIBERTY & CO: A TUDRIC PEWTER BOWL decorated with stylised foliage, with two small handles, and stamped marks to the base, 9.5" wide, a similar tazza, a two handled trophy cup and a mug (4)
Estimate: 80-150
345. A PAIR OF LIBERTY ENGLISH PEWTER CANDLESTICKS with broad detachable candle sconces and tapering stems decorated with interlacing strapwork, on spreading circular feet with cut-out bases, with stamp marks to the underside, 5.5" high (2). See illustration
Estimate: 300-500
346. LIBERTY & CO: A PAIR OF BRASS MOUNTED COPPER JARDINIERES, each with hammered brass liners with shaped rims on tapering copper bodies with applied ring and stud decoration, with stamped marks to the bases, 12" wide (2)
Estimate: 200-400
347. JOHN PEARSON: A HAMMERED COPPER TRAY, with stamped initials J.P. to the reverse, 19.5" wide
Estimate: 30-50
348. CHARLES ASHBEE FOR THE GUILD OF HANDICRAFT: A SILVER PLATED MUFFIN DISH with a domed lid with an open wirework knop with cabochon cut moss agate stone to the centre, the base with hot water reservoir, 8.5" wide. See illustration (FP)
In an undated Guild of Handicraft catalogue 'Arts and Crafts at Campden' Muffin Dishes of this type are priced at £2 5s for normal examples, and £3 5s for examples with a hot water jacket.
Estimate: 500-800
349. THE CENTURY GUILD: A COPPER WALL SCONCE by Kellock Brown, with a design of winter beneath a scrolling fan motif, with three candle sconces on entwined branches, the design attributed to J. Mackmurdo, 13.5". See illustration (FP)
William Kellock Brown was a member of Mackmurdo's Century Guild (briefly its chief metalworker), the Guild was formed in 1884, they sought reform through the independence of the arts. Like many such groupings of designers at this time, the Century Guild was short lived, however it played an important part in developing ideas and practices that were to become central to the Arts and Crafts movement. Similar wall sconces are illustrated in an article by Aymer Vallance 'Mr. Arthur Mackmurdo And The Century Guild' The Studio, April 1899 pp183-192
Estimate: 700-900
350. AN AESTHETIC PERIOD EPNS TEASET comprising: a straight-sided teapot with cane effect spout and handle, the body engraved with cranes and similar symbols, and a matching cream jug and sugar bowl (3)
Estimate: 40-80
351. KEWSICK SCHOOL OF INDUSTRIAL ARTS: A HAMMERED COPPER TRIVET, the circular top decorated with a fish amongst seaweed, on three scrolling legs, with stamped mark, 7.5" wide, together with a similar hammered copper letter rack, a rectangular tray and a circular tray by Hugh Wallis (4)
Estimate: 80-150
352. W.A.S. BENSON: AN ADJUSTABLE BRASS TABLE LAMP, with a curved stem and adjustable support with ball mount and heart shaped base, 10" high. See illustration
Estimate: 200-400
353. W.A.S. BENSON: A BRASS AND COPPER FLOWER VASE, the broad petal shaped cover with pierced holes, the base with a conical body on four spreading cast foliate legs, 11" wide. See illustration
Estimate: 150-200
354. W.A.S. BENSON: A BRASS AND COPPER WARMING JUG with enamel interior, 8" high, two similar hammered copper jugs and a silver golf club trophy by Charles Boyton, hallmarked London 1925 (4)
Estimate: 50-100
355. W.A.S. BENSON: AN ARTS AND CRAFTS COPPER TRAY of stylised foliate form with raised border and moulded decoration, stamped to the reverse "W.A.S. Benson", 15.5" wide
Estimate: 80-150
356. AN ARTS AND CRAFTS HAMMERED COPPER TOBACCO JAR of circular form, bearing the motto "There is no Herb like it under the Canopy of Heaven", the lid with a carved ivory knop, 6" high
Estimate: 80-150
357. A PAIR OF LEADED WINDOWS IN THE MANNER OF E.A.TAYLOR, each rectangular pane decorated with four white glass hearts and central butterfly motif, 23.25" x 11"
Estimate: 200-400
358. AN ARTS AND CRAFTS HAMMERED COPPER BOX, the concave lid with raised handle, the box mounted to each side with a "Ruskin" style roundel, 6" wide
Estimate: 40-80
359. CHRISTOPHER DRESSER: A BRASS CHAMBERSTICK with a dished sconce on a tall tapering stem and spreading foot, stamped to the base "R. Perry, Son & Co, Wolverhampton", 7" high
Estimate: 150-250
360. CHRISTOPHER DRESSER: A HUKIN & HEATH CRUET, the frame with a circular handle and triform base with three lidded glass jars, with stamp marks to the base, 5" high
Estimate: 150-250
361. CHRISTOPHER DRESSER: A WALKER & HALL EPNS SUGAR BASKET with bar handle and tapering sides, with a fitted sugar "shovel", 6.5"
Estimate: 80-150
362. CHRISTOPHER DRESSER: AN ELECTRO-PLATED THREE SECTION CRUET, with three semi-circular dishes on a "T"-bar handle, stamped "Elkington & Co", 5" high
Estimate: 50-100
363. CHRISTOPHER DRESSER: A HUKIN & HEATH TEAPOT with stamped marks, 7" wide
Estimate: 40-80
364. CHRISTOPHER DRESSER: A BLUE PAINTED CHAMBERSTICK with a central candle holder on a broad spreading body with stamped mark "Perry & Son", 9" wide
Estimate: 120-180
365. ATTRIBUTED TO CHRISTOPHER DRESSER: AN EPNS TEA POT of rounded tapering form with geometric spout and ebony "rod" handle, with stamped marks to the base, 5" high. See illustration
Estimate: 150-250
366. CHRISTOPHER DRESSER: A HUKIN & HEATH PLEATED TEAPOT of circular form, the folding handle with cane work cover, with stamped marks to the base, 5.75" high
Estimate: 120-180
367. HUKIN & HEATH: A PAIR OF EPNS TABLE CRUETS IN THE MANNER OF CHRISTOPHER DRESSER, comprising central salt, flanked by mustard and pepper containerd, with hooped frames, on ball feet, stamped "H & H 2849" (2)
Estimate: 50-100
368. A JAMES DIXON & SON ELECTRO PLATED TABLE CRUET IN THE MANNER OF CHRISTOPHER DRESSER, of conjoined egg form, comprising pepper, mustard and open salt, with a scrolling handle, with printed marks, 3.5" high, together with a similar sugar castor and three piece egg cruet on ball feet (a lot)
Estimate: 80-150
369. A PLATED GLASGOW SCHOOL CANDLESTICK AND SCONCE attributed to Margaret Gilmore, with a square sconce on a two part stem and shaped base, with hammered stylised rose decoration, 4.75" high. See illustration
An example of this design is illustrated on page 183 in "The Glasgow Style" by G & C Larner, New York, 1979
Estimate: 600-800
370. A NEWLYN STYLE HAMMERED COPPER TRAY, the rectangular surface worked with mythical beasts amongst scrolling foliage, the raised border with circular roundels, 24" wide
Estimate: 80-150
371. KESWICK SCHOOL OF INDUSTRIAL ARTS: A BRASS TRAY, the centre with a broad border of scrolling foliage, with a raised rim, stamped K.S.I.A., 22" wide
Estimate: 40-80
372. A COPPER MOUNTED BOX of rivited construction, the lid mounted with a print of a cathedral, within a leaf mounted surround, 8.5" wide
Estimate: 30-50
373. HUGH WALLIS: AN ARTS AND CRAFTS HAMMERED COPPER TRAY of oval form, with an applied twist border and stamped initials, 15" wide, together with an Art Nouveau light fitting and a wrought iron bracket (3)
Estimate: 40-80
374. WIENER WERKSTATTE: THREE SPOT HAMMERED BOTTLE STOPPERS, the design attributed to Josef Hoffmann, 2.25" wide (3). See illustration
Estimate: 80-150
375. CHRISTIAN DELL: A PLATED TEA INFUSER with disc handle on a straight stem with bulbous body, 5.75". See illustration
This design was first produced c1924 at the Bauhaus metalworkshop at Dessau in Germany. A similar example is illustrated on p108 of 'The Bauhaus, Masters and Students', New York 1988
Estimate: 200-400
376. WMF: A PEWTER CARD TRAY of oval form, with a naked woman emerging from a lily pad to one end and a serpent the other, 10" wide
Estimate: 80-150
377. WMF: A SILVERED METAL TABLE CENTRE, the flared bowl with pierced and stylised foliate decoration on an open work stand and spreading base, 10.5" wide, a similar table centre and two similar trays (4)
Estimate: 80-150
378. A WMF STYLE WHITE METAL DISH, the centre formed from a woman in flowing robes, two Art Nouveau pewter dishes and a Keswick Staybrit bowl (4)
Estimate: 40-80
379. WMF: A HAMMERED BRASS AND ENAMEL TEASET comprising, a kettle on stand, a lidded sugar bowl and cream jug, on a matching two handled tray, all with spot hammered decoration and green and red enamel decoration, 20" wide
Estimate: 200-400
380. WMF: A SILVERED METAL MATCHBOX HOLDER of raised form, decorated with flowers with a kneeling to the front, 5.75" wide
Estimate: 80-150
381. WMF: A SILVERED METAL VASE, either side decorated with maidens in flowing dresses against similar flowers, with scrolling handles and glass liner, 14.5" high. See illustration
Estimate: 300-500
382. WMF: AN ART NOUVEAU FLOWER VASE of tapering form with undulating handles, the vase decorated with maidens with flowing hair, with stamped marks to the base, 5.75" high
Estimate: 50-100
383. KAYSERZINN: A PEWTER TRAY of elongated oval form, with floral decoration, a similar vase, an Osiris jug and two knife rests in the form of stylised birds (5)
Estimate: 50-100
384. ROYCROFT WORKSHOPS: A PAIR OF HAMMERED COPPER BOOK ENDS each decorated with a poppy against a hammered background, with impressed marks, 6" high, together with a Goberg cigar cutter in the form of a duck (3)
Estimate: 40-80
385. HUGO LEVERN FOR KAYSERZINN: A PEWTER INK STAND, with twin lidded ink wells and naturalistic shaped surround, with moulded marks to the base, 13" wide. See illustration
Estimate: 350-550
386. TIFFANY & CO: A PATINATED BRONZE PEN TRAY, decorated with signs of the zodiac, with impressed marks to the base, 9.75" wide
Estimate: 80-150
387. TIFFANY & CO: A BRONZE PHOTOGRAPH FRAME, the front decorated with roundels depicting signs of the zodiac, stamped to the reverse "Tiffany Studios, New York, 942", 7" wide. See illustration
Estimate: 500-700
388. EDGAR BRANDT: A WROUGHT IRON DRESSING TABLE MIRROR, with an oval bevel edged plate within a scrolling and textured surround, 17" high. See illustration (FP)
This design is illustrated on page 164 of "Edgar Brandt" by Joan Khar, New York, 1999
Estimate: 800-1500
389. HAGANAUER: A PLATED HAND MIRROR with a circular disc on a pierced stem decorated with a stylised woman, with stamped marks, 12". See illustration
Estimate: 450-650
390. A ZEISS IKON MODERNIST DESK BAROMETER, the vertical scale with glass scale, on a stepped chrome base, with printed label to the base, 6.5" high. See illustration
Estimate: 80-150
391. GEORGE SOWDEN: A POST MODERN TRAY from the "Objects for the Electronic Age", series from 1984, in original box, the tray, 19.25" wide. See illustration
Estimate: 50-100
392. A COLLECTION OF CHROME ART DECO STYLE DOOR FURNITURE including handles, key plates and other similar fittings (a lot)
Estimate: 30-50
393. THREE 1940'S THERMOS FLASKS, the bottom stamped "Thermos Ltd", model no. 65, 10" high, the three examples in blue, white and pale green (3)
Estimate: 50-100
394. A LARGE GUINNESS ADVERTISING TOUCAN, with large orange beak, on a naturalistic base, with paper label to the base "This is a Carleton Russell Product", 27" high
Estimate: 100-200
395. GUBELIN: AN ART DECO MANTEL CLOCK, the rectangular dial decorated in ivory, mother-of-pearl and abalone shell with a scene of a unicorn and two figures in a landscape, mounted within a scrolling gilt metal and glass surround, on a gilt metal base, marked "Gubelin. Swiss" to the dial, 11.25" high. See illustration
Estimate: 200-400
396. A SET OF CHROME AND BRONZED MODERNIST FIRE IRONS comprising, tongs, poker, shovel and brush on a water lily effect base, 32" high. See illustration
Estimate: 200-400
397. GERALD BENNEY: A STRAIGHT SIDED BEAKER with all over textured surface, hallmarked for London 1971, 3.25" high. See illustration
Estimate: 100-200
398. AN AURUM SILVER AND SILVER GILT "WINCHESTER CATHEDRAL GOBLET" with a tapering bowl above a border of cast figures, on a spreading foot, mark to the base "No. 478 of a limited edition of 900", hallmarked for London 1979, 6.5" high
Estimate: 100-200
399. GEORG JENSEN: A CIRCULAR SILVER POWDER COMPACT, the lid with an applied dolphin and an engraved wave motif, the reverse stamped "Georg Jensen, Denmark, Sterling", 3.75" wide. See illustration
Estimate: 200-400
400. A SILVER AND ENAMEL ART DECO POWDER COMPACT, the rectangular case decorated in panels of white and blue enamel over an engine-turned ground, hallmarked for Birmingham, 1933, 3.75"
Estimate: 50-100
401. JOHN PAUL COOPER: A SMALL CIRCULAR WAITER with flat chased foliate decoration, hallmarked for London 1912, 4.5" wide
Estimate: 40-80
402. GEORG JENSEN: A SILVER LADLE with a spot hammered double lipped bowl on a shaped stem with leaf and grape decoration, with stamped marks, 7.5". See illustration
Estimate: 150-250
403. AN ARTS AND CRAFTS SILVER TAZZA, the circular dished body with all over spot hammered decoration, on three shaped uprights and similar spreading arched foot, hallmarked Birmingham 1908, 6" wide
Estimate: 50-100
404. A PAIR OF SILVER ARTS AND CRAFTS CANDLESTICKS, with broad circular drip pans on square tapering columns with riveted construction, on spreading bases, hallmarked Goldsmiths & Silversmiths Co., London 1904, 8.5" high. See illustration (FP)
Estimate: 400-800
410. GILBERT BAYES: "THE SCALES OF TIME", a cast bronze figure of a naked woman holding a basket, signed to the base "Gilbert Bayes, 1908", on a red marble base, 17.5" high. See illustration
Estimate: 200-400
411. LORENZL: AN ART DECO BRONZE AND IVORY FIGURE OF A DANCING GIRL, signed to the base "Lorenzl", on green onyx base, 9.25" high
Estimate: 100-200
412. A 1930'S FRENCH ART DECO PAINTED SPELTER AND MARBLE SCULPTURE in the form of a woman flanked by seated gilt longhaired dogs, on a marble base, 24" wide
Estimate: 50-100
413. LORENZL: AN ART DECO STATUE of a woman in a short green dress, with impressed mark to the base, on an onyx plinth, 8.5" high
Estimate: 100-200
414. P. MENGIN: A WHITE METAL BUST of an Art Nouveau maiden with flowing hair, on a spreading base, signed P.Mengin, 8" high
Estimate: 80-150
415. AN ART DECO PAINTED SPELTER STATUE of a woman in short pleated skirt leaning against a wall, on a marble base, 8" high and a similar figure of a woman holding a cymbal (2)
Estimate: 50-100
416. AN ART DECO PATINATED METAL AND MARBLE SCULPTURE of two exotic winged birds on a geometric base, 20" wide
Estimate: 180-250
417. ENGLISH SCHOOL, 20th century A carved marble group of a couple conjoined with a hole through the centre, 28.75" high
Estimate: 80-150
418. COSSIO: A CAST BRONZE SCULPTURE OF A CHARGING BULL, indistinctly signed and marked in gilt, 9" long
Estimate: 300-500
419. E. BATTIGLIA: "Cleopatra" a carved alabaster sculpture of Cleopatra resting against a column, on stepped base, with carved signature, 15.5" wide. See illustration
Estimate: 1000-2000
420. FRANCOIS POMPON: A CAST BRONZE SCULPTURE of a stylised owl, with cast signature to the base, 7" high. See illustration
Estimate: 700-900
421. ANDRE BECOUEREL: A BRONZE SCULPTURE OF A LONG EARED HARE, on stepped marble base, with cast signature, 8" high. See illustration
Estimate: 600-800
422. HAGANAUER: A sculpture of a stylised skier on gilt metal skis, on a wooden base, with stamped marks, 6.75" high. See illustration
Estimate: 500-700
423. MARCEL GUILLEMARD: "BIRDS IN FLIGHT", AN ART DECO BRONZE SCULPTURE of a bird resting on a branch, and another standing by its side, on a stepped marble base, with cast signature, 31" wide. See illustration
Estimate: 1000-2000
424. DEMETRE H. CHIPARUS: A SPELTER MARBLE GROUP OF A SEATED WOMAN holding flowers to her chest, with a standing faun to her side, signed to the base D.H. Chiparus, 23.5" wide. See illustration
Estimate: 1000-1500
425. AN ART DECO PATINATED METAL AND MARBLE SCULPTURE of a crouching jaguar on a geometric marble base, 27" wide. See illustration
Estimate: 600-800
426. AN ART DECO PATINATED SPELTER MARBLE AND GLASS SCULPTURE of an Egyptian style woman holding a bowl on a marble base, with a peach glass mirror with inset clock behind, 16.5" wide
Estimate: 400-600
427. THEOPHILE ALEXANDRE STEINLEN: A CAST BRONZE SCULPTURE of a seated Angora cat, with cast signature and stamp "Cireperdure A. Hebrard", 4.5" high. See illustration (FP)
Estimate: 800-1500
430. COLIN DENT: "Dockyard scene", crayon, signed, with exhibition label to the reverse from The Pastel Society Exhibition at The Mall Galleries, 9.75" x 14"
Estimate: 50-100
431. COLIN DENT: "Nautical motif", crayon, signed, with Exhibition label to the reverse from The Pastel Society Exhibition at The Mall Galleries, 11" x 14.75"
Estimate: 50-100
432. DUDLEY GLANFIELD: "Bogey" a mounted photograph of a 1920's woman with shadows to the background, signed in pencil to the margin and inscribed to the reverse "Bogey" from the Professional Photographers Association Exhibition, Princes Galleries W1, 1927, 16" x 12.5" and five similar works by the same photographer (6)
Estimate: 80-150
433. THEODORE NAISH: THE FOUR ELEMENTS, "Air", "Fire", "Water", "Earth", watercolour and collage, 7" x 9.5" (4). See illustration
Estimate: 50-100
434. THEODORE NAISH: "Spaceship", monogrammed, and with label to the reverse and another similar work "Ox-Cart", 7.25" x 6.25" together with a Penguin paperback copy of Gulliver's Travels illustrated by Theodore Naish (3)
Estimate: 40-80
435. IAN CULVERSON: ABSTRACT COMPOSITION WITH DOTS, oil on canvas, 48" x 48". See illustration
Estimate: 500-1000
436. MONOGRAMMIST CA: A JAPANESE GIRL holding an arrangement of flowers, monogrammed, oil on board, 14.75" x 8" and two similar works by the same hand (3). See illustration
Estimate: 100-200
437. HESELTINE: A half length portrait of a woman in a black dress, signed, oil on canvas, 29" x 14"
Estimate: 40-80
438. DANTE GABRIEL ROSSETTI: "HAND AND SOUL" printed in red and black with decorated frontispiece and capitals, published by the Kelmscott Press, 1895. See illustration
Estimate: 50-100
439. SAUL STEINBERG: A CARTOON OF A CROCODILE WALKING A BIRD, pen and ink, signed lower right, unframed
Estimate: 50-100
440. SVEN BERLIN: "The Dark Monarch", Published London 1962, inscribed "Alma, love Sven. Sept 14.'62" and "Sven Berlin this is now his copy Easter 1993. Still a living foul in the history of the cognoscenti of art have tried to bend: It always will be moi aussi". See illustration
Estimate: 100-200
441. SVEN BERLIN: "The Dark Monarch", a typescript of the novel, inscribed to the top page "Trial type script (un-corrected) (S B. 'Sept 1961)"
Estimate: 100-200
442. SVEN BERLIN: "Dark Monarch" a handwritten ten page manuscript "Dark Monarch notes for Bryn Hammond. I am constantly asked 30 years after its publication, why did you write the Dark Monarch"….., signed and dated 22nd August 1991, together with the key to Dark Monarch, titled "Dark Monarch, alone I made a door to which I found no key", dated May 1982 and inscribed "Open in the Year AD 2000 & eleven, containing a three page handwritten list of characters from the novel
Estimate: 150-250
443. SVEN BERLIN: "Alfred Wallis, Primitive", a first edition published by Nicholson & Watson, London 1949, Sven Berlin's own copy, signed and annotated throughout in pencil and pen
Estimate: 250-350
444. SVEN BERLIN: "Jonah's Dream, A Meditation on Fishing", London 1964, inscribed to the interior "For Julie who knew already, love Sven"
Estimate: 50-100
445. SVEN BERLIN: "Virgo in Exile, Autosvenography - 2 An Odyssey of the Eye", Stevenage, 1996 inscribed to the title page "To my dearest Julie, with all my love Sven, '96"
Estimate: 50-100
446. SVEN BERLIN: "Pride of the Peacock, The Evolution of an Artist", London 1972, inscribed "To Alice + Harry with love from Sven and Julie, June '72, thank you for your true Devon love" together with a copy of "Amergin, an Enigma of the Forest", London 1978 (2)
Alice and Harry were Julia's parents who became Sven Berlin's mother and father-in-law
Estimate: 50-100
447. SVEN BERLIN: "Disturbance in the West", a notebook containing autograph material and archive items for a book on artists in Cornwall between 1920-1945 including autographs by Bryan Wynter and others
Estimate: 400-600
448. SVEN BERLIN: "Notes on the Experience of Drawing for Young People", The Book Gallery St Ives 1992, no. 1 in the occasional series of Book Gallery Monographs, signed to the title page "Sven, his copy", together with a collection of autograph material, notes and typescripts
Estimate: 100-200
449. SVEN BERLIN: "Ancient Mariner: Drawings, Sven Berlin, 1995", an unbound collection of typescript and autograph material, including a ten page letter "Dear Bryn……."
Estimate: 150-250
450. SVEN BERLIN: "Poems of Vision and Insight, Sven Berlin 1997" an album of handwritten poems and drawings, including poems: "Blossom at Night", "Thors Progress", "A Collection of Six Autobiographical Sonnets Concerning Old Age of a Sculptor" and other works. See illustration
Estimate: 150-250
451. SVEN BERLIN: "Drawings (vol I) 1938-39", inscribed to the title page "These drawings were done between two summers when I was working on the fields as a farm labourer, on a small holding situated between Portscath and Hells Mouth, North Cliffs, Cornwall…. each has a note done from life when the farmer was not looking…. dated Dorset 1990, containing over 130 pencil sketches, each 6" x 4", and a companion volume "Drawings (vol. II) 1938-39, containing a further selection of drawings
Estimate: 800-1500
452. SVEN BERLIN: "A Sekos of Seventy Sonnets by Sven Berlin", with the title page "Artist's Note: This sequence was written during the summer and autumn of '91, winter '92 quite on their own, each like a letter on the mat every morning from someone I loved but had never seen…. an album of handwritten poems liberally illustrated with watercolours, sketches and other works. See illustration
Estimate: 500-800
453. A COLLECTION OF NOTES, CATALOGUES AND MATERIAL relating to Guido Morris, together with a collection of letters, sketches and other items from, or relating to Sven Berlin
Estimate: 40-60
454. "SVEN BERLIN: AN ARTIST AND HIS WORK", published by the Wimborne Bookshop, 1981, hardback edition no. 19/35, signed by Sven Berlin and containing a sketch of a hawk's head by the artist and six paperback copies of the catalogue
Estimate: 20-40
455. SVEN BERLIN: A self portrait of the artist and a portrait of Julia Berlin, signed and dated '76, oil on board (unframed), each 36" x 24" (2). See illustration
Estimate: 1500-2000
456. SVEN BERLIN: Leaping hare in a landscape, signed and dated '98, oil on board (unframed), 24" x 35.25
Estimate: 180-250
457. SVEN BERLIN: "King and Queen", signed and dated '79 and inscribed to the reverse, oil on canvas (unframed), 20" x 30". See illustration
Estimate: 500-700
458. SVEN BERLIN: "Dorset Sunset", signed and dated '96, oil on board, 20" x 24", and the companion "Willow and Cottage" (2)
Estimate: 650-850
459. SVEN BERLIN: "Girl with a Grasshopper", signed and dated '90, watercolour with silver and gilt highlights (unframed), 24.75" x 20"
Estimate: 250-450
460. SVEN BERLIN: "A Heron Catching a Fish by Moonlight", signed and dated '92, watercolour on paper (unframed), 24" x 20"
Estimate: 250-450
461. SVEN BERLIN: Self Portrait, signed and dated -64, inscribed to the reverse, "Sven, 64-95 -99, oil on canvas, (unframed), 24" x 20"
Estimate: 150-250
462. SVEN BERLIN: "Swan with Cygnets", signed, titled and dated '94, pencil on paper, (unframed), 16" x 22" and four similar works
Estimate: 100-200
463. SVEN BERLIN: "Leaping Cat", oil on board, (unframed), 12" x 16" and a similar work of a boat at sea (2)
Estimate: 80-150
464. SVEN BERLIN: "Dante and Lucia", signed, titled and dated -98, oil on board, (unframed), 24" x 12.75". See illustration
Estimate: 80-150
465. SVEN BERLIN: "Julia and Sven", monogrammed and dated -99, pencil on paper, 9" x 7"
Estimate: 70-100
466. SVEN BERLIN: A WHITE MARBLE SCULPTURE OF A GREYHOUND HEAD, with glass eyes, on a rectangular base, carved with a fish and inscribed "W A Hoarc", signed with a monogram "SB", 7.75" high x 12" wide, together with an associated pencil sketch of a greyhound's head. See illustration
Estimate: 1000-2000
467. SVEN BERLIN: A CARVED CONEMARA STONE SCULPTURE OF A FROG, highlighted with gilding, 3.5" high, 8.25" wide. See illustration
Estimate: 1000-2000
468. SVEN BERLIN: "Pride of the Peacock", published London 1972, inscribed "To Philippa, Sven Berlin '81" together with five similar vols. by Sven Berlin, each similarly dedicated and three exhibition catalogues, one containing an ink sketch by the artist (9)
Estimate: 100-200
469. SVEN BERLIN: "A Swan with Wings Outstretched", signed and dated '78, watercolour, 19" x 25.5". See illustration
Estimate: 150-250
470. SVEN BERLIN: A Runner Duck Diving for Fish, signed and dated '82, watercolour, 22.5" x 15" and a similar work, inscribed "For Pip", 7.75" x 12.5" (2)
Estimate: 100-200
471. SVEN BERLIN: "Sven's Back", ink sketch, monogrammed and dated '82, 13" x 8"
Estimate: 50-100
472. SVEN BERLIN: A STILL LIFE OF FLOWERS in a glass vase, signed and dated, oil on board, 23" x 18.5"
Estimate: 100-200
480. MARSH & JONES OF LEEDS: A GOTHIC REVIVAL CHAIR in the manner of Charles Bevan, the frame all over inlaid with dot and leaf inlay, the padded back above an overstuffed seat on column form legs, with remnants of paper label to the seat rail. See illustration
Estimate: 300-500
481. ATTRIBUTED TO CHARLES BEVAN: A PAIR OF GOTHIC REVIVAL SIDE CHAIRS in the manner of Marsh, Jones and Cribb, each with raised backs with chamfered sides, quatrefoil pierced rail and inlaid dot decoration, above overstuffed seats on turned legs with conforming decoration (2)
Estimate: 300-500
482. A PAIR OF LATE VICTORIAN WALNUT AESTHETIC PERIOD ARMCHAIRS in the manner of Richard Norman Shaw, the square backs with moulded rails above drop-in rush seats, on turned legs and stretcher (2)
Estimate: 400-600
483. A LATE VICTORIAN WALNUT AESTHETIC PERIOD SIDE TABLE, the square top with a moulded border on four splayed pierced legs above a tray stretcher with pierced borders, 23" wide
Estimate: 100-200
484. A LATE VICTORIAN AESTHETIC PERIOD WALNUT CANTERBURY with four divisions with turned rails on square tapering legs with spade feet, 18" wide. See illustration
Estimate: 500-700
485. HOWARD & SONS: AN AESTHETIC PERIOD WALNUT SIDE TABLE, the rectangular top above a wavy frieze on four splayed legs with undershelf, with paper label to the base "Howard & Sons, Cabinet Manufacturers, Decorators, 25, 26, 27 Berners Street", 19" wide
Estimate: 100-200
486. AFTER A DSIGN BY E.W. GODWIN: AN AESTHETIC PERIOD SIDE TABLE, the rectangular top on four ring-turned legs with undershelf with turned rails, with all over stained finish, stamped "W" to the base, 17" wide. See illustration
Estimate: 80-150
487. E.W. GODWIN: AN EBONISED 'OLD ENGLISH' OR 'JACOBEAN' ARMCHAIR, the geometric slatted back with outswept arms above an overstuffed seat on tured tapering legs with "X"-form stretcher. See illustration
An example of this design is illustrated in "E.W.Godwin Furniture And Interior Decoration" by E.Aslin p49.
Estimate: 300-500
488. AN AESTHETIC PERIOD EBONISED ARMCHAIR, with ring-turned uprights and faux bamboo rails and arm supports, with a woven seat and conforming legs and stretchers
Estimate: 40-80
489. A WALNUT AESTHETIC PERIOD OCTAGONAL TOPPED WINDOW TABLE, the shaped top on turned and tapering legs with shaped undershelf and turned cross stretcher, on turned legs with ceramic castors, 35" wide
Estimate: 50-100
490. AN AESTHETIC PERIOD EBONISED GILT AND PAINTED CORNER CUPBOARD, the upper section with a raised and pierced gallery above a single panel door, the upper panels with gilt arch topped paintings of a woman holding a flowering branch and another similar, the door between applied turned and gilt decorated uprights and conforming side panels, the lower section with a single frieze drawer above twin panel doors and an open shelf, with all over bobbin turned and incised gilt highlighted decorated, 79.5" high x 34.5" wide. See illustration
Estimate: 300-500
491. A WALNUT AESTHETIC PERIOD OCTAGONAL TOPPED LIBRARY TABLE, the shaped top with a moulded border and central leather lined writing surface, on four turned legs on an "X"-form base with downswept moulded legs with brass castors and mounts, 47.5" high. See illustration
Estimate: 200-400
492. A LATE VICTORIAN AESTHETIC PERIOD WALNUT TRIPLE WARDROBE, the cornice with an arched top rail with a central sunflower motif, flanked by radiating flower sections, the wardrobe with a central mirrored door, flanked by panelled cupboards with carved stylised foliate decoration and reeded uprights, 72" wide. See illustration
Estimate: 200-400
493. AN AESTHETIC PERIOD CIRCULAR TOPPED OCCASIONAL TABLE in the manner of Lamb of Manchester, the circular top with ebonised border and amboyna veneered centre, on a turned and a carved tapering column, with gilt highlights, on three downswept legs with turned finials, 24" wide. See illustration
Estimate: 600-800
494. AN EBONISED AESTHETIC PERIOD DISPLAY CABINET, the rectangular top with a bobbin turned gallery above an open shelf and twin glazed doors, on short turned legs, 35" wide. See illustration
Estimate: 80-150
495. AN AESTHETIC PERIOD SIDE CABINET, the raised back with a central rectangular mirror, flanked by carved panels and bobbin turned rails, above a rectangular top above three frieze drawers, a central recess and cupboards with marquetry and mirrored panels, all above an open base, on turned legs, 60" wide. See illustration
Estimate: 400-800
496. A HEAL'S LIGHT OAK DRAWER LEAF DINING TABLE, the rectangular panelled top with two drawer leaves, on square legs with "H" form stretcher with applied label, "Heal & Sons Ltd, London" 29.75" high, 72" wide (fully extended)
Estimate: 100-200
497. JOSEF HOFFMANN: A PAIR OF DARK STAINED FLEDERMAUS TABLES, each with circular tops on four turned tapering legs with attached ball decoration, each 19" wide (2). See illustration
Estimate: 300-500
498. LOUIS MAJORELLE: A TWO TIER ART NOUVEAU OCCASIONAL TABLE, the circular top with a moulded border inlaid with naturalistic foliage and marquetry signature, on three sinuous downswept legs, with conforming undershelf, 31.5" high. See illustration
Estimate: 300-500
499. AN ART NOUVEAU MAHOGANY AND MARQUETRY TWO SEATER SOFA, the raised rectangular back with a central oval upholstered panel with inlaid panels of stylised foliage against a satinwood ground, with upholstered arms and seat, on square tapering legs, with an applied label "Jas. Shoolbred & Co, Tottenham Court Road, London", 41" wide. See illustration
Estimate: 200-400
500. E.A. TAYLOR: AN ART NOUVEAU WRITING CABINET, the central fall front on broad hinges, inlaid to the centre with a panel of stained timber and mother-of-pearl inlay of scrolling stylised foliage, enclosing a fitted interior with pigeon holes and central light fitting with automatic activation, flanked by twin cupboards, with leaded windows with stylised foliate patterns, above an open base, on square legs, 52" wide. See illustration (FP)
Estimate: 4000-6000
501. A CLISSETT PATTERN ASH AND RUSH SEATED SIDE CHAIR, the back with three tapering bars above a rushed seat on turned legs and stretchers
Estimate: 80-150
502. A COTSWOLD SCHOOL ARTS AND CRAFTS STYLE BEDSIDE CABINET, the rectangular top with exposed dovetails above an open recess, single short drawer and panelled cupboard door, on block fronted feet, with panelled back, 15" wide
Estimate: 100-200
503. AN ARTS AND CRAFTS OAK HANGING WALL CUPBOARD, the rectangular top with a shaped border above two panelled doors with pressed ring handles, 19" wide
Estimate: 30-50
504. AN ARTS AND CRAFTS WALNUT OCCASIONAL TABLE, the square top with chamfered corners on tapering legs with heart pierced curving uprights, 20" wide
Estimate: 50-100
505. AN ARTS AND CRAFTS ARMCHAIR, with an upholstered back and seat, with a wavy and scrolling frame, on turned legs, upholstered in a Liberty fabric
Estimate: 30-50
506. AN OAK ARTS AND CRAFTS SIDE TABLE ATTRIBUTED TO SHAPLAND & PETTER, the rectangular top with canted corners on shaped uprights with two undertiers, 26.5" wide
Estimate: 50-100
507. A PAIR OF ARTS AND CRAFTS OAK ARMCHAIRS, with rectangular backs above scrolling arms, upholstered seats and turned legs, stamped to the underside RD. No. 450746 (2)
Estimate: 80-150
508. ATTRIBUTED TO MORRIS & CO: A SET OF SEVEN 'SUSSEX' TYPE ELM DINING CHAIRS, with rail backs, rush seats and turned legs and stretchers (7). See illustration
Estimate: 200-400
509. MORRIS & Co: A MATCHED PAIR OF SUSSEX PATTERN SIDE CHAIRS, with bobbin turned back rails, caned seats and turned legs and stretchers (2)
The iconic 'Sussex' chair is perhaps the best known of all Arts and Crafts chairs. Available from the mid 1860's, and thought to be designed by Philip Webb who adapted the design from a regional prototype. The chair is clearly most closely linked with the firm Morris and Co, however examples and near copies were retailed by a number of London stores during the late 19th and early 20th centuries.
Estimate: 80-150
510. LAWRENCE NEAL: A PAIR OF CLISSETT PATTERN LADDERBACK SIDE CHAIRS, with rush seats and turned legs and stretchers (2). See illustration
Note: stamped to the lower leg
Estimate: 100-200
511. AN ARTS AND CRAFTS OAK ARMCHAIR, the broad top rail decorated with three dished circles, above three shaped splats, with outswept arms and square tapering legs
Estimate: 20-40
512. AN ARTS AND CRAFTS NEEDLEWORK FIRE SCREEN, the rectangular panel worked with flowering foliage with scrolling root systems, on short feet, 30" wide
Estimate: 50-100
513. AN ARTS AND CRAFTS OVERMANTEL MIRROR in the manner of Shapland & Petter, the raised back with pierced leaf-shaped decoration, above a single bevel edged mirror plate, flanked by stylised Art Nouveau floral marquetry, with two pairs of turned uprights, 53.5" wide
Estimate: 400-600
514. AN ARTS AND CRAFTS OAK CHEST OF DRAWERS, the rectangular top with a moulded edge, above two short and three long graduated drawers, with hammered handles, on straight legs, 41" wide
Estimate: 100-200
515. GEORGE WALTON: AN ABINGWOOD CHAIR, with a tapering back splat with compressed heart-shaped hand grip, with a broad flat topped arm rail with woven seat on square tapering legs. See illustration
First used for John Rowntree's café in Scarborough in 1896/7, the Abingwood chair was a blend of a perceived 'Old English' style and Arts and Crafts revivalism. The chair was used in a number of other commissions, most famously in the Billiard Room in Miss Cranston's Buchanan Street Tea Rooms in Glasgow.
Estimate: 1500-2000
516. MANNER OF WILLIAM LETHABY: AN ARTS AND CRAFTS OAK WALNUT AND MARQUETRY CABINET ON STAND, the rectangular cabinet with twin panel doors with central scrolling foliate panels, within a chequered border, the interior fitted with pigeon holes, three cupboards and short drawers, on later oak stand, 68" high, 44" wide. See illustration (FP)
Estimate: 3000-5000
517. AN OAK THEBES STOOL with a dished seat carved in low relief with stars and zodiac symbols, on three shaped legs, 10" wide. See illustration
The Thebes stool was a popular model with artistic designers and retailers at the turn of the century. Based on an Egyptian original in the British Museum many slight variations on this theme were produced. Possibly the largest retailer of such stools was Liberty and Co of London who included them in the 'Artistic Furniture' section of their Christmas catalogues between c1905 and 1912. Although conforming to the usual form , this example has a most unusual seat with carved animals and stars.
Estimate: 100-200
518. AN ARTS AND CRAFTS RUSH SEATED BEDROOM CHAIR, the stained ash frame with narrow back splats extending to the lower stretcher, with outswept arms, rushed seat and turned legs and stretchers, 37.5"
Estimate: 20-40
519. AN ARTS AND CRAFTS OAK OCTAGONAL TOPPED CENTRE TABLE, the broad top with a moulded border on eight chamfered and cut legs with rectangular stretchers and ball feet, 78" wide. See illustration
Estimate: 3000-5000
520. E.G.PUNNETT FOR WILLIAM BIRCH: A HIGH BACKED ARMCHAIR, the turned uprights with button tops, with a broad arch topped back splat, above outswept arms, rush seat and turned legs and stretchers
Estimate: 80-150
521. ATTRIBUTED TO DOVETON BIRD & HULL: A GEORGE WALTON STYLE SOFA with upholstered back, seat and arms within a moulded and turned oak surround with bobbin turned rail and turned front legs, 66" wide. See illustration
Estimate: 800-1500
522. IN THE MANNER OF LIBERTY & CO: A MAHOGANY SQUARE TOPPED REVOLVING BOOKCASE, the top with moulded edge above open shelves and two small glazed cupboards, the leaded glazing with a central heart-shaped motif, flanked by inlaid stylised foliate mother-of-pearl panels, on a shaped base and castors, 27" wide. See illustration
Estimate: 800-1500
523. JOHN PEARSON: AN OAK AND COPPER ARTS AND CRAFTS BUFFET, the raised back with a dentil moulded cornice above a repousse copper panel of a galleon sailing towards a rising sun, all amongst stylised waves, above a rectangular top and an open recess with pierced brackets, and two panel cupboard doors, the reverse of the copper panels signed J. P. 1903, 50" wide. See illustration
Estimate: 2500-3500
524. AN ART DECO LEATHERETTE AND CHROMED TUBULAR STEEL ARMCHAIR, the shaped back and seat with carved arm rests and circular veneered panels, 34" high. See illustration
Estimate: 500-800
525. JOSEF HOFFMANN: A FLEDERMAUS SIDE CHAIR with stained beech frame and upholstered back and seat. See illustration
First used in the Café Fledermaus in 1907 this is one of Hoffmann's most successful bentwood chair designs for J&J Kohn. This design features the use of an applied ball at each joint, a typically decorative feature incorporating the necessity for a strengthening block and the importance of a clear visual form.
Estimate: 200-400
526. MARCEL BREUER: A CANTILEVER SIDE CHAIR with leather back and seats on a chrome tubular frame. See illustration
The Cantilever chair is one of the most iconic pieces of Modernist furniture to have ever been designed. Since the mid 1920's countless chairs to the same basic design have been manufactured around the world. A number of designers produced examples in the 1920's; variations were created by Marcel Breuer, Mart Stam, and Mies van der Rohe amongst others.
Estimate: 60-80
527. MARCEL BREUER: A "WASSILIY" OR "B3" CLUB ARMCHAIR in chrome steel with black leather upholstery. See illustration
When Breuer began developing designs for furniture in the 1920's he was director of the wood workshops at the highly influential Bauhaus in Germany. First designed in 1925 this design shows the Modernist designers desire to rationalise furniture design, and the prototype of the traditional leather upholstered club armchair can clearly be seen in this design. An early example of this chair is No.89 in '100 Masterpieces from the Vitra Design Museum Collection' 1996.
Estimate: 200-400
528. ALVAR AALTO: A SPRING ARMCHAIR with upholstered back and seat on a moulded plywood frame. See illustration
Combining the cantilever design of the previous decade with moulded plywood technology this chair, and the other similar designs from the early 1930's by Aalto are amongst the designers most celebrated work. The flexible properties of moulded plywood with its necessary strength allowed Aalto a freedom that had never previously been available to furniture designers.
Estimate: 80-150
529. ALVAR AALTO: A PAIR OF PLYWOOD STOOLS MODEL No60 FOR FINMAR with circular seats on three moulded plywood legs, each with Finmar labels to the base (2). See illustration
Originally designed for the Viipuri Library in 1927 this is one of the most successful moulded plywood designs. Its simplicity, stackability, sturdiness and visual appeal of this design have seen that it has remained in production until the present day.
Estimate: 40-80
530. LE CORBUSIER, CHARLOTTE PERRIAND and PIERRE JEANNERET: A 'SIEGE A DOSSIER BASCULANT' ARMCHAIR with pony skin covered back and seat, on a chrome frame with leather arms. See illustration
First designed in 1928 this chair is clearly based on an earlier English campaign chair that appealed to Modernist designers due to the clear rationality of its design. The design has been adapted to use modern materials. This example probably by Cassina. This chair is No.23 in '100 Masterpieces from the Vitra Design Museum Collection' 1996
Estimate: 400-600
531. KAARE KLINT: "A SAFARI ARMCHAIR" with canvas back and seat with leather strap arms and stained beech frame. See illustration
Kaare Klint worked first as a painter, then as an architect and furniture designer as well as being a Professor of Architecture from 1944. Klint designed this variation on the campaign chair in 1933. The chair adheres closely to the original, as he felt it necessary to make only a few subtle changes to the original design.
Estimate: 100-200
532. CHARLES AND RAY EAMES: A DCM PLYWOOD GROUP CHAIR with black stained back and seat on a chrome frame, with Vitra labels to the base. See illustration
The DCM or Dining Chair Metal was first shown at the Museum of Modern Art in 1946. Like the cantilever chair, this design attempts to make the seat and back float in the air, supported by the least structure possible. The beauty of this design lies in the subtle curvature of the back and seat, and the angle of the back to the seat.
Estimate: 150-250
533. ERNEST RACE for RACE FURNITURE Ltd: A STEEL ROD ROCKING CHAIR, with white finished metal frame and upholstered back and seats with wooden arm rests. See illustration
First designed in 1948 this is one of a number of designs produced by Race Furniture Ltd from Steel rods. At this time the supply of timber for the furniture trade was still severely limited by the Utility Furniture regulations, and these designs were developed in an attempt to manufacture furniture outside these strict controls. An example of this design was shown at the 1951 Festival of Britain, and illustrated in Design In The Festival published by The Council of Industrial Design, 1951, p16. The chair was used as an example of good new design.
Estimate: 150-250
534. BORGE MOGENSEN: A Shell chair in Teak finished plywood and beech, probably manufactured by Erhard Rasmussen. See illustration
Mogensen's work is typified by strong and simple lines with the intention that the furniture be suitable for industrial production. This chair, first designed in 1949 shows Mogensen's close association with Kaare Klint, his mentor and tutor for a number of years. The chair also shows a link with furniture history in that it is a development of a Windsor chair with the back and legs being tenoned into a solid seat, as well as echoing stylish 18th century chairs with vase shaped back splats.
Estimate: 100-200
535. HANS WEGNER: A WISHBONE CHAIR MODEL CH24 with shaped back rest above a woven seat on turned legs and stretchers. See illustration
First designed in 1950 for Carl Hansen and Son, this successful interpretation of a bentwood chair shows Danish Modernist designers interest in sourcing influences from around the globe, this chair showing a clear debt to Chinese furniture. Wegner showed this influence most clearly in his 'Chinese Chair'. See Scandinavian Domestic Design, edited by Erik Zahle, p116.
Estimate: 80-150
536. CHARLES AND RAY EAMES: A DKR or WIRE CHAIR, with wire frame on an 'Eiffel-Tower' base with splayed legs, with a squab cushion. Vitra. See illustration
First design in 1951 and named the DKR chair, which stands for Dining height, K-Wire shell and Rod iron base. This chair clearly reflects the Eames's interest in using industrial materials for domestic furniture and there are clear similarities between this chair and the following chair by Harry Bertoia. This chair is No.10 in '100 Masterpieces from the Vitra Design Museum Collection' 1996.
Estimate: 100-200
537. AARNE JACOBSEN: AN "ANT" or No. 3100 CHAIR, with moulded plywood back and seat on three chrome legs. See illustration
First designed in 1952 for Fritz Hansen, the 'Ant' chair is one of the most successful examples of the rationalisation of furniture design by Danish designers in the post-war years. Being manufactured from a small number of parts it could be made cheaply and as it is both sturdy and light it is one of the most versatile chairs of the period. This chair is No.47 in '100 Masterpieces from the Vitra Design Museum Collection' 1996.
Estimate: 40-80
538. HARRY BERTOIA: A WHITE FINISHED WIRE MESH SIDE CHAIR, Knoll International, with blue squab cushion. See illustration
Bertoia worked in the Eames's office between 1943 and 1946. As a sculptor he regularly used wire in his work and the extension to use it in furniture was a natural progression from his earlier work. First designed in 1952 one year after Charles and Ray Eames' Wire chair it is not surprising that litigation between the designers ensued. A larger chair from this series is chair No.31 in '100 Masterpieces from the Vitra Design Museum Collection' 1996.
Estimate: 50-100
539. FINN JUHL: A DINING CHAIR, probably model number NV53, with an upholstered back and seat on turned and stained legs. See illustration
Finn Juhl was a Danish architect who was appointed head of the school of House furnishing at the Fredriksberg Academy between 1945-55. Juhl designed many ranges of furniture for a number of makers during this period and his designs always show a clear division between the chair frame and the upholstered parts.
Estimate: 80-150
540. POUL KJAERHOLM: A LOW CHAIR MODEL PK22, with leather upholstered back and seat on chrome legs. See illustration
First designed in 1957 this design by the leading Danish designer Poul Kjaerholm shows his exacting standards in demanding the highest quality materials and standards of manufacture. A factor that limited his designs to the wealthiest of clients and to public buildings. See Scandinavian Domestic Design, edited by Erik Zahle, p100.
Estimate: 100-200
541. VERNER PANTON: A RED PLASTIC PANTON CHAIR, with stamped signature to the base, See illustration
First designed in 1959-60, Panton was attempting to break with the tradition of hand-crafted furniture that prevailed in Denmark at the time. This design has been manufactured in a number of different plastics since 1968 and has become an iconic piece being the first chair to be produced from a single piece of plastic. This example is in HR Foam from Vitra. This chair is No.68 in '100 Masterpieces from the Vitra Design Museum Collection' 1996.
Estimate: 100-200
542. ROBIN DAY: A 4-4000 WHITE PLASTIC ARMCHAIR FOR HILLE, on a swivel base, with orange cushions. See illustration
First manufactured in 1970 this chair was available in white or brown with matching or contrasting upholstery, it formed part of Hille's Living Scene collection that was aimed at the youth market. See 'Robin and Lucienne Day' by L.Jackson, p149.
Estimate: 150-250
543. PHILIPPE STARCK: A LOUIS 20 CHAIR, with moulded mauve plastic back, seat and front legs and chrome rear legs, with stamp marks to the base. Vitra. See illustration
First designed in 1991 this chair is typical of Starck's interest in combining contrasting materials in a piece of furniture. Showing a late 20th century state of mind this chair also dismantles into its different materials for ease of recycling. This chair is No.18 in '100 Masterpieces from the Vitra Design Museum Collection' 1996.
Estimate: 80-150
544. FRANK GEHRY: A "HAT TRICK" SIDE CHAIR, stamped to the base "F. Gehry, Knoll, made in USA 3/15/96. See illustration
Bentwood is a material that has captured chair designers imaginations throughout the 20th century, and this example in steam-bent laminated wood ribbons by Frank Gehry continues this theme. Gehry is most famous as the architect of such post-modern buildings as the Guggenheim in Bilbao and the Walt Disney concert hall in Los Angeles. He has also designed a range of bentwood furniture that includes the current chair and a range of furniture made from corrugated cardboard.
Estimate: 100-200
545. A 1970'S CHILD'S EGG SWIVEL CHAIR with all over black leather effect upholstery, on a chrome base, 29" high
Estimate: 40-80
546. STEEN OSTERGAARD: A SET OF SIX BROWN PLASTIC "CADO" OR "290" PLASTIC DINING CHAIRS with upholstered seats, 30" high, designed for France and Sons. (6)
Estimate: 150-250
547. CHARLOTTE PERRIAND: A SET OF FOUR CHROME AND LEATHER DINING CHAIRS
Estimate: 100-200
548. A 1950'S LADY'S WRITING DESK, the sloping and sliding fall enclosing a fitted interior above a single short drawer, on square tapering legs, with stamped Utility mark to the reverse, 30" wide
Estimate: 40-80
549. VICO MAGISTRETTI: A TELEGONO LAMP FOR MAGISTRETTI, in red plastic with a central revolving white shade, 15.5" high
Estimate: 50-100
550. A SINGLE 1950'S/1960'S CURTAIN printed with Henry Moore style figures against a red ground, decorated with scrolls and swirls, 67" high x 114" wide
Estimate: 40-60
551. PETER GHYCZY: A RED PLASTIC GARDEN EGG CHAIR with orange cushion, first designed in 1968. See illustration
Estimate: 300-500
552. SCOTTY CUNNINGHAM: A CHERRY WOOD AND PLATE GLASS COFFEE TABLE, the square top on a geometric block work base, 39" wide
According to the vendor, this is a one off design by this craftsman
Estimate: 40-80
553. MARCEL BREUER: A MODERNIST CHROME STEEL AND EBONISED TIMBER DESK, the rectangular ebonised top with a plate glass surface on a chrome tubular base, with three short drawers with conforming chrome handles, 45" wide. See illustration
Estimate: 300-500
554. JOHN MAKEPEACE: A WALNUT AND LEATHER WRITING DESK, with a sloping leather covered writing surface and concealed shelf and light fitting, on a geometric frame with rounded corners, 60" wide. See illustration
Provenance: Duke's auction, Parnham House 2001
Estimate: 300-500
555. NORMAN FOSTER: A NOMOS TABLE BASE FOR TECNO with a central tubular spine, with shaped struts and splayed legs on disc feet (top lacking). See illustration
In production from 1987 the Nomos Table (Greek for divine law) is part of a range of furniture designed by Lord Foster of Thames Bank that includes desks and tables of all sizes. With a structure inspired by the landing struts of the Apollo moon lander this design typifies Foster's approach to creating powerful and imaginative designs.
Estimate: 200-400
555A. AN ART DECO STYLE CONSOLE TABLE AND WALL MIRROR, the large rectangular back supporting a serpentine fronted shelf, 106" high x 63" wide. See illustration
Estimate: 600-800
556. DAVID BOOTH AND JUDITH LEDEBOER FOR GORDON RUSSELL Ltd: A 1950'S SIDEBOARD with a rectangular top above twin doors with incised wavy panels of Bombay Rosewood revealing white birch, on short straight legs, 48" wide. See illustration
An example of this design was exhibited in the Homes and Gardens pavilion at the Festival of Britain in 1951.
Estimate: 200-400
557. HEAL'S OF TOTTENHAM COURT ROAD: A MAHOGANY EXTENDING DINING TABLE, the rectangular top with a moulded border on canted and moulded legs, with an internal folding leaf, 72" wide (fully extended)
Estimate: 80-150
558. HEAL'S OF TOTTENHAM COURT ROAD: AN ART DECO MAHOGANY SIDEBOARD, with a rectangular top with moulded border above three short drawers and panel cupboards, each with shaped knob handles, on chamfered uprights, 60" wide
Estimate: 50-100
558A. A MODERNIST CIRCULAR TOPPED GLASS AND CHROMED TABLE, the heavy circular top on four curved supports, 43" wide
Estimate: 200-400
559. EERO AARNIO: AN ITALIAN METAL FRAMED THREE PIECE SUITE BY MOBEL ITALIA, comprising a three seater sofa ad four armchairs, each with orange corduroy upholstery on metal frames (5)
Estimate: 100-200
560. A PAIR OF CHROME TUBULAR STEEL AND LEATHER UPHOLSTERED CANTILEVER DINING CHAIRS (2)
Estimate: 40-80
561. A 1970'S LONG PILE CARPET worked with an abstract pattern in orange, browns and yellows, 140" x 96". See illustration
Estimate: 50-100
562. A SET OF THREE ERCOL STAINED BEECH ARMCHAIRS with stick backs and outswept arms, and a matching footstool (4)
Estimate: 50-100
563. A SET OF THREE FINLANDIA BAGATELLE PATTERN AXMINSTER RUGS, comprising two rectangular rugs and a rug with rounded ends, 90" x 66", 54" x 26" and 78" x 54" (3)
Estimate: 40-60
564. HEAL'S OF TOTTENHAM COURT ROAD: AN OAK AND LEATHER ART DECO DESK CHAIR, the upholstered back and seat within a rounded oak frame, with inset Heal's label
Estimate: 50-100
565. LIBERTY & CO: A WALNUT BOWFRONTED SIDEBOARD, with a raised back with applied turned column decoration above two pairs of panelled doors, above an open base on turned legs and ball feet, 74" wide. See illustration
Estimate: 400-600
566. W.H.RUSSELL FOR GORDON RUSSELL Ltd: A SET OF EIGHT DINING CHAIRS with rectangular backs with three central tapering splats, above overstuffed seats on square tapering legs and stretchers, comprising four armchairs and four standard chairs, with "Russell of Broadway" labels (8)
Estimate: 200-400
567. AN EARLY LIGHT OAK G-PLAN BEDROOM SUITE comprising, dressing table with mirror, four drawer chest and bedside cabinet, all with stamp marks "E. Gomme, High Wycombe" (3)
Estimate: 50-100
568. A DANISH TEAK COFFEE TABLE, with a raised triangular shelf above a square top with woven cane panel, on four turned tapering legs, with applied F.F. mark to the base for Frane and Son, 30" wide
Estimate: 40-60
569. AN ART DECO WALNUT VENEERED DINING ROOM SUITE, the dining table with a rectangular top with canted corners with quarter matched walnut veneers and broad crossbanding, on twin trestle ends, with four matching dining chairs, with cloud-shaped backs (5)
Estimate: 100-200
570. A 1960'S BLACK BAKELITE TELEPHONE with chrome dial, stamped to the base PL56/2A and a 1940's mantel clock (2)
Estimate: 40-60
571. A LATE VICTORIAN CAST IRON FIREPLACE in the manner of C.F.A. Voysey, the rectangular fire surround with three raised oval and three leaf shaped ornaments, 35.5" wide
Estimate: 50-100
572. A PAIR OF 1960'S FRENCH GILT METAL AND GLASS SIDE TABLES each table with two dark glass shelves supported on gilt metal uprights with shaped finials, each 13.75" wide (2). See illustration
This pair of tables, and the matching tables in the following two lots were made in the 1960's for the Hotel Metropole on the Cote D'Azur in Southern France.
Estimate: 200-400
572A. A PAIR OF 1960'S FRENCH GILT METAL AND GLASS SIDE TABLES each table with two dark glass shelves supported on gilt metal uprights with shaped finials, each 17.5" wide (2). See illustration
Estimate: 200-400
573. TWO SIMILAR 1960'S FRENCH GILT METAL AND GLASS SIDE TABLES each table with two dark glass shelves supported on gilt metal uprights with shaped finials, 15.75" wide and 17.5" wide (2). See illustration
Estimate: 200-400
574. A MAHOGANY VENEERED CIRCULAR TOPPED ART DECO COFFEE TABLE, the plate glass mounted top on a circular column with spreading base, 24" wide
Estimate: 80-150
575. A PAIR OF ART DECO WALNUT VENEERED SALON CHAIRS, each with geometric shaped backs with upholstered back panel with seats, within tapering walnut veneered frames (2). See illustration
Estimate: 200-400
576. A GREEN PAINTED CHROME AND GLASS ART DECO COFFEE TABLE, the circular top with plate glass surface on three tubular legs and a green painted circular base, 21" wide
Estimate: 30-50
577. AN ART DECO SATINWOOD AND ROSEWOOD VENEERED DINING ROOM SUITE in the manner of Hille, comprising: a dining table, six chairs, sideboard and trolley. The rectangular dining table with rounded ends with broad rosewood crossbanding, mounted on two rectangular legs with conforming satinwood and rosewood veneers, the table 82" x 38". The chairs with dished and arched backs with all over satinwood veneer, on tapering legs, the sideboard with a shaped front with a central reeded panel flanked by twin shaped doors with Bakelite handles, enclosing a fitted interior with short drawers and shelves, on a plinth base, 47" wide. The trolley with three rectangular tiers on rounded supports and castors, 34.5" wide. See illustration
Estimate: 2000-4000
578. AN ART DECO BURR WALNUT VENEERED NEST OF THREE CIRCULAR TOPPED TABLES, the tables with graduated circular plate glass mounted tops on shaped supports and geometric base, 23" high, 39" wide. See illustration
Estimate: 1000-1500
579. AN ART DECO WALNUT VENEERED COFFEE/BOOK TABLE, the circular top with quarter-cut burr veneers over open shelves, on a plinth base, 26.5" wide
Estimate: 100-200
580. AN ITALIAN ART DECO DISPLAY CABINET, the upper section with a rectangular glazed cabinet with bevel edged panels, within a burr wood and rosewood frame, resting on four turned ball fittings, the base with curved sides fitted with two cupboard doors with burr wood and rosewood fittings on carved and ebonised ball feet, 66" high x 47" wide. See illustration
Estimate: 800-1500
581. AN ART DECO WALNUT "RADIO" CABINET of shaped circular form with twin glazed doors with "sunburst" glazing bars, on a shaped base, with stamped Utility marks to the reverse, 51" high x 47" wide
Estimate: 400-600
582. DRYAD: A WICKERWORK TWO TIER TROLLEY, the rectangular top with rounded ends within a cane work surround, with similar under shelf, on wheel castors, with attached label "Dryad Furniture" 33" wide
Estimate: 100-200
583. GERRIT RIETVELD: A DE STIJL END TABLE by Cassina, with a square top on shaped base, with black, yellow, red, white and blue finish, 24" high. See illustration
This table was first designed in 1992-23 for the Truus Schroder house in Utrecht.
Estimate: 100-200
584. CASTELIJN: A DARK STAINED MOULDED PLYWOOD ARMCHAIR of conjoined plank construction, with a broad back, shaped arms and solid seat, with printed label to the underside, 30" high. See illustration
Estimate: 150-250
585. AN ART DECO "ROCKET LIGHT" HANGING LIGHT FITTING, the central chromed support mounted with three rocket set bulbs divided by orange and frosted glass shades, together with five spare bulbs, 23" high. See illustration
Estimate: 200-400
586. AN ART DECO CHROME AND FROSTED GLASS HANGING LIGHT FITTING, the reeded frame fitted with five triangular opalescent and painted glass shades with geometric and foliate decoration, 12" wide
Estimate: 200-400
587. A FRENCH ART DECO MIRRORED GLASS AND PATINATED METAL CHANDELIER, decorated with six leaping gazelles with mirrored divisions, suspended on a bulbous hexagonal column, 45" high. See illustration
Estimate: 2000-4000
588. A GORDON RUSSELL LTD DINING ROOM SUITE, comprising: an extending dining table with additional internally stored leaf on square tapering legs and four dining chairs, with stamped marked "Russell of Broadway", the table 30" high x 60" (fully extended)
Estimate: 50-100
589. AN ART DECO "SATURN" HANGING LIGHT FITTING, with a central milky glass globe, surrounded by a clear and frosted glass ring, on chrome mounts, 19" wide
Estimate: 600-800
590. ROBIN DAY: A SET OF FOUR '41' DINING CHAIRS FOR HILLE, with curved back rails on chromed meal legs with upholstered seats (4)
The '41' chair was first manufactured in 1962, this chair is unusual in Day's work in that it combines a sculptural wooden arm and back rest with straight tubular legs. This chair was available in Rosewood or Ash. See 'Robin and Lucienne Day' by L.Jackson, p117.
Estimate: 50-100
591. ARCHIMEDE SEGUSO: A 1960'S TWO TIER GLASS TOP TABLE, the shaped rectangular top on four fluted uprights with similar gilt metal mounts, on short scrolling legs, 17.5" high x 34.5" wide. See illustration
Estimate: 1200-1800
592. FONTANTA ARTE: A GLASS DINING TABLE designed by Renzo Piano, with a heavy circular glass top on four square section legs, model TESO 2736/4/8, circa 1986, 28.75" high, 59" wide. See illustration
Estimate: 2000-4000
593. FINN JUHL: A ROSEWOOD WALL UNIT, the rectangular back supporting three adjustable shelves and an open shelf, on metal brackets, 85" high, 33.5" wide. See illustration
Estimate: 500-800
594. A PAIR OF OMK T1 CHROME TUBULAR STEEL LOUNGE CHAIRS with slung leather upholstery, 27" high (2)
£50-100
Purchased by the vendor from the Conran Shop in the 1960's
Estimate: 50-100
595. A DANISH TEAK AND LEATHER LOUNGE CHAIR AND FOOTSTOOL, the wooden frame with slung black leather seat, the chair, 34" high. See illustration
Estimate: 300-500
596. A 1960'S FRENCH MODERNIST TWIN PEDESTAL WRITING DESK, the rectangular top with rounded corners on twin pedestals with four and three graduated drawers with flush fitting handles, 84" wide
Estimate: 200-400
597. A 1960'S FRENCH COCKTAIL CABINET, the rectangular top above an open shelf and a revolving flush fitting door fitted with bottle divisions and shelf, on short tapering legs, 28" wide
Estimate: 100-200
598. A 1970'S GLASS FIBRE AND LEATHER UPHOLSTERED THREE PART SOFA, each chair with brown stitched leather back and seat in a cream glass fibre shell, 93" wide
Estimate: 200-400
599. A PAIR OF CHROMED STEEL AND UPHOLSTERED LOW CHAIRS, with upholstered backs and cantilevered seats on a shaped frame, 27" high
Estimate: 200-400
600. GEORGE JACK: A MORRIS & CO SAVILLE ARMCHAIR, the shaped back and seat upholstered in original Morris & Co fabric, with scrolling outswept arms and shaped legs. See illustration
The Saville chair, which was almost certainly designed by George Jack, is an example of the firms later production where Mahogany predominates and a late Victorian sophistication replaces the earlier medieval revival pieces. Jack was assistant to Philip Webb, the firms chief furniture designer, and took over from him on his retirement in 1890. This is a rare example of this fine chair in that it appears to retain its original Morris and Co upholstery.
Estimate: 500-800
601. PHILIP WEBB FOR MORRIS & CO: AN OAK CENTRE TABLE, with a rectangular top above a stepped moulded border on turned splayed legs with cross stretchers and a moulded stretcher with four turned uprights on plinth bases with castors, 29" high x 71" wide. See illustration
Philip Webb (1831-1915) was chief furniture designer for Morris, Marshall, Faulkner and Co, and Morris and Co. A life long friend and colleague of William Morris's the two met as young men in the Oxford office of George Street's architectural practice. It was on the strength of Morris commissioning Webb to design a home for himself and his new wife that Webb set up his own practice. The house was the Arts and Crafts masterpiece the Red House, and Webb became a highly successful architect and Morris went on to establish the leading art furnishers of the time.
This table relates to a design first produced during the early years of the business when furniture on this scale will have been made to fulfil a specific commission or architectural interior. This table shows Webb's interest in medieval furniture, his furniture designs demonstrate a solidity and architectural presence with features drawn from his knowledge of early furniture from around the world. An example of the design can be seen in the long drawing room at Kelmscott House where Morris lived from 1878. See William Morris, His Life, Work and Friends by Philip Henderson. A further larger variant example, 96 3/4in long, was sold at auction in London in May 2000.
An example of this table is illustrated on p159 of 'William Morris' the catalogue edited by L.Parry to accompany the Victoria and Albert museums 1996 exhibition 'Willliam Morris 1834-1896'. In this publication it is described as being designed by Philip Webb. However this table is also recorded as a 'Joiners Table' by George Jack who may have reintroduced the design at some point after Webb's retirement in 1890, if this is the case it might best be seen as a collaboration between the two designers.
Estimate: 5000-10000
602. SIDNEY BARNSLEY: A STAINED OAK KNEELING RAIL, with a rectangular top supported on four hexagonal uprights with through tennoned crossrails, above an open rail of five panels with chamfered edges, on sledge type feet with shaped toe, 34.5" high, 60" wide. See illustration (FP)
This rail is believed to be a prototype for the kneeling rails that were use in St Andrews Chapel in Westminster Cathedral. The Roman Catholic cathedral at Westminster was consecrated in 1910, and with numerous carvings by Eric Gill, mosaics by George Jack and work by many other leading designers of the time, the cathedral is one of the most spectacular buildings of the period. The chapel of St Andrew was designed by the leading Arts and Crafts architect Robert Weir Schultz who had been put forward for the commission by the Marquess of Bute. The Bute family had a well recorded love of the progressive arts, and it is not surprising that they were involved with the building of the new Cathedral.
The choir stalls and clergy seats in the chapel were designed by Ernest Gimson and Weir Schultz, and like the kneeling rails, they were made in ebony inlaid in bone. A prototype for one of the clergy seats from the chapel is now in the collection at Cheltenham Museum and Art Gallery, having previously been in the collection of Weir Schultz (CAGM 1941.225.121). It is likely that this prototype was produced both to assess the design and as an aid to costing.
The current lot may well be the prototype for the kneeling rails in the chapel. The examples in use are made of ebony and bone, and this might well explain why the cheaper alternative of stained oak was used for the working model. A drawing of this item by Sidney Barnsley is in the Cheltenham Museum collection, 1972.186:1. the design dated to c1923.
Estimate: 1500-2500
610. ERNEST W GIMSON: A PAIR OF RUSH SEATED ARMCHAIRS, the backs with bobbin turned rails above flat topped arms, rush seats and turned legs and stretchers, 48" high (2) See illustration.
Estimate: 1000-2000
611. ERNEST W GIMSON: A SET OF FIVE LADDERBACK RUSH SEATED CHAIRS, each with five graduated arched ladders above rush seats and turned legs and stretchers, comprising four standard and a single armchair. See illustration
Estimate: 1500-2000
612. ERNEST W GIMSON: AN OAK CHEST OF DRAWERS, the bowfronted top above two short and three long graduated drawers with hammered handles and chip carved drawer dividers, the carcass with exposed dovetail joints to each corner, and with a panelled back, on an open plinth base with similarly exposed jointing and central dished roundel, 38.5" high x 36" wide. See illustration
Estimate: 3000-5000
613. ERNEST W GIMSON: AN OAK CHEST OF DRAWERS, the bowfronted top above two short and three long graduated drawers with hammered handles and chip carved drawer dividers, the carcass with exposed dovetail joints to each corner, and with a panelled back, on an open plinth base with similarly exposed jointing and central dished roundel, 38.5" high x 36" wide. See illustration
Estimate: 3000-5000
614. ERNEST W GIMSON: A WALNUT TWO DRAWER SIDE TABLE, the rectangular top with a moulded border above two short drawers with hammered ring handles, on square legs with "H"-form stretcher, 30.5" high x 40" wide. See illustration
Estimate: 2000-4000
615. ERNEST W GIMSON: AN OAK TWO DRAWER SIDE TABLE, the rectangular top above two short drawers, on square legs with "H" section stretcher, 41" wide. See illustration
Estimate: 200-400
616. ERNEST W GIMSON: AN OAK FRAMED DRESSING TABLE MIRROR, the rectangular plate within a chip carved surround, on a platform base, 18.5" high x 15". See illustration
Estimate: 200-400
617. ERNEST W GIMSON: AN OAK TOWEL RAIL, with two turned and tapering cross rails on rectangular tapering uprights with splayed bases, 28.5" wide. See illustration
Estimate: 100-200
618. ERNEST W GIMSON: A CIRCULAR TOPPED MACCASSAR EBONY TABLE, the top with a border of chequered stringing on square tapering legs, 28.5" high x 36" wide. See illustration
Estimate: 2000-4000
619. ERNEST W GIMSON: A PAIR OF MACCASSAR EBONY AND INLAID LIBRARY CHAIRS, the shaped backs with cross rails with chequered stringing above drop-in seats on square tapering legs with "H"-form stretchers (2). See illustration
Estimate: 2000-4000
620. ERNEST W GIMSON: A MACASSAR EBONY LIBRARY TABLE, the rectangular top with an edge with two lines of chequered banding of satinwood and walnut, above four short drawer with silvered ring handles, on four pairs of two square tapering legs with conforming stretchers, all with through tennon joints, 30" high x 72" wide. See illustration (FP)
The original design for this table, is in the collection of Cheltenham Museum and Art Gallery (1941.222 377). The drawing is titled 'A library table in Macassar Ebony', and is signed Ernest W.Gimson, Daneway House April 13. 1904.
Estimate: 8000-15000
621. ERNEST W GIMSON: A MACASSAR EBONY STATIONERY BOX inlaid with mother of pearl and abalone shell, the rising lid set with three central "blister" pearls, in a surround of chequered inlay, the front decorated with flowers amongst animals, the sides and back similarly decorated, on a spreading base, 7" high x 12" wide. See illustration (FP)
A number of designs for this and the associated stationery box exist in the Cheltenham Museum and Art Gallery collection. A drawing signed by Ernest Gimson and dated August 23rd 1904 is illustrated in 'Originality and Initiative, The Arts and Crafts archives at Cheltanham' by Greenstead and Wilson, fig 92.
Estimate: 5000-10000
622.