WOOLLEY &WALLISSALISBURY SALEROOMS

The Nick Rocke Collection of British Art Pottery Wednesday 25th February 2015

Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SUTel: 01722 424500 Fax: 01722 424508

Specialist DepartmentsPlease dial +44 (0)1722 followed by the number listed below

Members of The Society of Fine Art Auctioneers

20TH CENTURY DESIGNMichael Jeffery 424505Amanda Lawrence 329477

ASIAN ARTJohn Axford MRICS ASFAV 424506Sophie Lister 424591Alex Aguilar Domracki 424583Freya Yuan 424589

CLOCKS, WATCHES & SCIENTIFIC INSTRUMENTSRichard Price (Consultant) 07741 242421Gemma Bush 339752

ENGLISH & EUROPEAN CERAMICS & GLASSClare Durham 424507Amanda Lawrence 329477

FURNITUREMark Richards 411854Jim Gale 339161Anna Brown 411854

JEWELLERYJonathan Edwards FGAA 424504Marielle Whiting FGA 424595

PAINTINGSVictor Fauvelle 424503Jo Butler 424592

SILVERRupert Slingsby 424501Lucy Chalmers 424594

TRIBAL ART & ANTIQUITIESARMS & ARMOURWill Hobbs 339752Gemma Bush 339752

VALUATIONS FOR INSURANCE & PROBATEPaul Viney ASFAV 424509Clive Stewart-Lockhart FRICS FRSA 424598

ACCOUNTSJanice Clift (Office Manager) 424500Ruth Pike 424599

MARKETINGTamzin Corbett 424590

GENERAL OFFICELinda Garthwaite 424500Pauline WestSharon RingwoodNicola Young

SALEROOM MANAGERDavid Jordan 424500

BOARD OF DIRECTORSPaul Viney ASFAV Chairman

John Axford MRICS ASFAVDeputy Chairman

Clive Stewart-Lockhart FRICS FRSAManaging Director

COMPANY SECRETARYJim Macarthur CA 424599

ASSOCIATE DIRECTORSWill HobbsMichael JefferyMark RichardsRupert SlingsbyJonathan Edwards FGAAJanice CliftClare Durham

THE NICK ROCKE COLLECTIONBRITISH ART POTTERY, FURNITURE AND PICTURES

Wednesday 25th February 2015 at 11.00am

ENQUIRIESMichael Jeffery 01722 424505michaeljeffery@woolleyandwallis.co.uk

Amanda Lawrence 01722 329477amandalawrence@woolleyandwallis.co.uk

Front cover: Items from the Nick Rocke CollectionBack cover: Lot 187 detail

Catalogue 10.00 (12.00 by post)Images and a catalogue word search facility are available at www.woolleyandwallis.co.uk

LIVE BIDDING

Please register by 5pm on Tuesday 24th February.Please note there is a 3% surcharge for using this service.

COLLECTION OF LOTSPlease note that all lots will be cleared from our Castle Street saleroom to our Salt Lane office on Monday 2nd March and Furniture will beremoved to our Old Sarum warehouse for collection.If you are collecting items after this date pleasecontact the department to arrange in advance.

CONDITION OF LOTSReports on condition may be available on request.The absence of condition reports in the cataloguedoes not imply that the lot is free from imperfectionsor faults.

ARTISTS RESALE RIGHT / DROIT DE SUITE

Droit de Suite is a royalty payable to a qualifying artist or theartists heirs each time a work is resold during the artists lifetimeand up to a period of 70 years after the artists death.

Royalties are calculated on a sliding percentage scale based onthe hammer price excluding the buyers premium. The royaltydoes not apply to lots selling below the sterling equivalent of1,000 and the maximum royalty payable on any single lot is thesterling equivalent of 12,500.Droit de Suite, which is not subject to VAT, will be added to thebuyers purchase price and then passed on to the relevantcollecting agency by the auctioneer.

Please enquire for the accepted exchange rate on the day of the sale.

Royalties for Droit de Suite are as follows:

4% Up to 50,0003% 50,000.01 - 200,0001% 200,000.01 - 350,0000.5% 350,000.01 - 500,0000.25% In excess of 500,000Up to a maximum levy of 12,500Lots marked with a symbol are potentially subject to the levy.

VIEWING TIMES

Saturday 21st February 10.00am 1.00pmMonday 23rd February 10.00am 5.00pmTuesday 24th February 9.00am 5.00pmWednesday 25th February 9.00am 11.00am

2NICK ROCKE (1957-2014)

This auction contains one mans personal collection of art pottery, paintings and furniturepurchased at auction and antiques fairs to furnish his houses in Kent, London andBournemouth. A very private man, Nicholas Rocke was educated at Bryanston School(1957-1960), Dorset, a contemporary of Sir John Eliot Gardiner CBE, where he developedhis passion for music and the arts. Bryanston School remained very important to Nickand in 1995 he donated his single-manual harpsichord and the Jennings organ (in 2012)to the new music school.

His interest in pottery was probably also formed at Bryanston, and his collectionincludes work by former Bryanston pupil Richard Batterham (lot 250). Hiscollection of Ruskin and Pilkingtons Lancastrian are, in my opinion, amongst thefinest in private hands. Having known Nick for some 20 years I have watched thecollection develop. He attended virtually all of my 20th Century auctions at Woolleyand Wallis actively bidding on a multitude of items, mainly ceramics, and we hadthe pleasure of selling part of his collection in a specialist auction of British ArtPottery on 14th June 2006. He even intended to bid from Hospital for tiles in ourJune Arts and Crafts auction just days before he died.

Nick also pursued a wide and varied interest in contemporary ceramics fromBernard Leach to the present day potters, be they local to him, internationallyrenowned figures or emerging potters whose work he spotted and appreciated. Irecall his delighted reaction to seeing Tim Andrews pots (lots 291 & 292) for thefirst time as he walked into the saleroom. His interests also covered contemporaryart, running The Delf Stream Gallery in Kent and holding exhibitions of work byMichael Warren (lots 335-345) and Edwin Hunter (lots 324-325). Painting was alsohereditary, his uncle was the artist George Basil Rocke (1904-1966).

RUSKIN POTTERYIn 1898 William Howson Taylor established a new pottery in Smethwick, nearBirmingham, with his father. The pottery was a pure Art Pottery and took its namefrom the English Victorian writer, artist and historian John Ruskin the RuskinPottery. Inspired by the shapes and glazes of the ancient Chinese masters HowsonTaylor produced modern pots, exhibited internationally in St Louis (1904) andBrussels (1910), with highly secret glaze formula. The factory was closed on hisretirement in 1935 and under William Howson Taylors instruction the day booksand chemical glaze recipes were destroyed adding a further mystique to hisproduction.

PILKINGTONS LANCASTRIAN POTTERYIn stark contrast to the Ruskin Pottery Pilkingtons Lancastrian pottery wasformed first, through the chance find of clay and then through the appointmentand expertise of William Burton who had been traditionally trained at theWedgwood factory. Pilkingtons quickly developed a modern decorative ArtNouveau style of painted lustre ceramics using designs from the top Britishartists Walter Crane, C.F.A. Voysey and Lewis F Day. As well as these recognisedArts and Crafts artists, the factory employed designers including Gordon M.Forsyth, Charles Cundall and Richard Joyce alongside young women, Annie Burton(daughter of William Burton) and Gladys Rodgers.

Michael Jeffery

Chrysanthemums by Basil Rocke, exhibited at theWhitechapel Gallery, 1938.

31. A large collection of Art Reference,ceramic and design history books. (a lot)

100-200

2. A small Austrian iridescent glassPropeller vase, probably Loetz, covered inan iridescent finish, a WMF Ikora glass vase,a Murano glass vase, a Dennis G Helferglass vase and a collection of four otherglass vases 16cm. high (8) 50-100

MARTIN WARE

3. A Martin Brothers stoneware wallvesta by Robert Wallace Martin, incisedwith stiff-leaf foliate design, glazed blue andbuff, stamped Fecit R W Martin to the rim,13.5cm. diam. 100-200

4. A Martin Brothers stoneware tile,modelled in low relief with a sunflower,glazed green and brown, framed 13.5 x14.5cm., 100-150

5. A Martin Brothers stonewareheraldic tile, decorated with coat of armsVirtute Nono Verbis, framed, and anotherMartin Brothers tile incised and painted withorchid flowers,14.5 x 13.5cm. (2) 100-150

6. Four Martin Brothers stonewaretiles, one dated 1899, each modelled in lowrelief with ivy leaf design, inside simplechevron border, glazed brown incised MartinBros 3-1899 to chevron border on one, eachtile 16cm. square (4) 300-500

LiteratureMalcolm Haslam The Martin BrothersPotters, Richard Dennis, page 98 forcomparable tiles illustrated.

1 2

6

5

3 4

47. A Gothic Revival oak hall chair, withebonised wood detailing, and decoration tothe back, inset with two Mintons EarlyEnglish History tiles designed by John MoyrSmith depicting Canute and The Death ofHarold, 100cm. high. 100-150

LiteratureAnnamarie Stapleton John Moyr Smith1839-1912 A Victorian Designer, RichardDennis Publishing, page 61 for the tile seriesillustrated.

Hans Van Lemmen Tiled Furniture, ShireAlbum, page 16-17 for comparable chairsillustrated

8. A set of five large tiles, decoratedwith ducks and fowl in a farmyard setting,three later framed, an Aesthetic Movementtile printed and painted with a crane with afish in its beak, another similar, an originalwatercolour design for a tile panel, and acollection of tiles impressed XXX mark,20cm. square 100-200

9. Seven Josiah Wedgwood MidsummerNights Dream large tiles, by Helen J AMiles, each printed in green on a whiteground, comprising, Oberon, Demetrius,Puck, Moth, Hermia, Bottom, and Lysander,and a collection of sixteen various tilesimpressed marks, 20.5cm., square (23)

100-200LiteratureMaureen Batkin Wedgwood Ceramics 1846-1959, Richard Dennis Publications, page 112plate 245 for comparable tiles.

Provenance20th Century Design Woolley and Wallis, 5thMarch 2014 lot 298

10. A large Minton Hollins & Co Pre-Raphaelite tile, painted with a maidenholding a flaming torch before a crescentmoon and starry golden sky, in colours,framed impressed marks to reverse 30cm.square 100-150

11. A Carters Poole Pottery tile, dated1953, painted en grisaille with Corfe Castle,Dorset, two other Carters tiles printed incolours with a seagull designed by IreneFawkes and a barge design, a set of threetiles painted with sailing ships, and fourprints on rice paper of tile designs onesigned in the print Fawkes, and a Carterstile panel designed by Reginald Till for thestaircase at Poole Pottery impressed marks,minor rim chips, 15.5cm. square (11)

100-200ProvenanceTile panel salvaged from the Poole Potteryon its demolition.

TILES

7

8

9 10

11

512. A pair of Minton Hollins tiles, paintedwith a medieval couple he sowing seeds,she tiling the earth, in colours, framedimpressed marks, 29.5 x 19cm. 100-200

13. A Longden tile possibly retailed byMorris & Co, decorated with flower and foliatequartered design in blue on a white ground,two other tiles in the manner of Morris & Co aMintons tile printed with an AestheticMovement flying crane and a collection of tiles12cm. square (a lot) 100-150

14. A William De Morgan Tulip & Trellistile on Poole Architectural blank, painted inshades of blue and green on a white groundwith trellis and tulip design, a William DeMorgan Rose tile, and two other William DeMorgan tiles, impressed marks, glaze chips,minor old restoration to rose tile 15.5cm.square (4) 100-200

LiteratureJon Catleugh William De Morgan Tiles,Trefoil, page 97 colour plate IX b for acomparable tile.

15. A William De Morgan Merton AbbeyPersian large tile, square section, paintedwith a flower and foliate design in blue,green and aubergine on a white ground, andtwo others similar, framed impressed mark,20.5cm. square (3) 100-200

16. An early William De Morgan GreatCurassow tile, painted with a bird amidststylised foliage, in ruby lustre on a whiteground, in later wood frame, broken in treeand repaired, chips to lower edge, 15cmsquare 100-200

LiteratureMartin Greenwood The Designs of WilliamDe Morgan, Richard Dennis, page 127 figure930.

Provenance20th Century Design, Woolley and Wallis,21st September 2008, lot 631.

17. A William De Morgan late FulhamPeriod BBB tile, painted in shades of yellow,aubergine and green on a white ground, inlater frame, and two other William DeMorgan tiles impressed seal mark, 15.5cm.square (3) 150-200

LiteratureJon Catleugh William De Morgan Tiles,Trefoil, page 80 figure 87 this designillustrated.

18. Two William De Morgan ChelseaPeriod tiles, painted with berried foliage inshades of yellow and on a white ground,framed, and two other tiles impressedmarks, 15.5cm. square (4) 100-200

WILLIAM DE MORGAN

12

13 14

15 16

17 18

619. Two William De Morgan Galleon tiles, painted in ruby lustreon a white ground, and two William De Morgan ruby lustre tiles, inlater wooden frame, each tile 15cm square, frame 38.5cm. square

1,500-2,000

LiteratureMartin Greenwood The Designs of William De Morgan RichardDennis, page 120 figures 890 and 814 for these designs.

20. A small William De Morgan pottery charger, painted to thewell with a peacock, the rim with frieze of scrolling, intertwinedflowers, in ruby lustre on a white ground, the reverse with simplescroll design, unsigned 31cm. diam. 200-400

ProvenanceBritish Art Pottery Woolley and Wallis, 11th December 2013 lot 65

LiteratureMartin Greenwood The Designs of William De Morgan, Richard Dennis,page 57 figure 1296 for the original designs for the border design.

21. A large William De Morgan pottery charger, painted to thewell with two classical dolphin motif on a calm sea ground, the rimwith palmette flowers in ruby lustre on a white ground, the reversewith simple palmette border, unsigned, minor glaze loss to the rimarea, 44.5cm. diam. 500-1,000

LiteratureMartin Greenwood The Designs of William De Morgan, RichardDennis, page 217 plate 111 the well design reproduced on aStaffordshire blank charger, circa 1880.

22. A Bushey Heath Pottery vase possibly by John or JamesHersey, shouldered form, painted with bands of geometric design ingolden lustre on a midnight blue ground painted JBH indistinctBushey roundel mark, small chip to foot rim, minor glaze frits to toprim, 15cm. high 100-200

19

20

21 22

723. A George Jones majolica tureen andcover, the cover modelled with a game birdon a bed of corn, in shades of brown,yellow, green and blue, a MintonJasperware jardiniere and stand, a parianboy and eagle jug, three Thun wall plates,and six other items moulded mark, restored23cm. diam. (12) 100-150

24. A Crystal Palace Art Union Parianfigure of LAllegro by E H Bailey R.A, withgilt highlights, printed mark, minorrestoration to front foot, 42.5cm. high

50-100

25. A Maw & Co charger, painted with aRenaissance soldier in profile portrait, insidefoliate border, in shades of sand, ruby andblue a Howell & James 1878 charger and anAshworth portrait charger impressed marks,33cm. diam. (3) 100-200

26. A Copeland Pre-Raphaelite wallplate, in the style of William Morris, paintedwith a maiden picking wild flowers inside ascrolling foliate border, in shades of blue andyellow, impressed mark, painted monogram,two small chips to rim, 32cm. diam.

50-100

27. A Mintons Pottery AestheticMovement jug, amorphic form, glazed inshades of green and blue with goldaventurine inclusions, an AestheticMovement vase decorated with waterlily, aSarreguemines vase, a Copeland cup andsaucer painted in ruby with a frieze of ducksflying, and five other items, impressedmarks, minor restoration to jug 21cm. high (9)

50-100

28. Julietta a Pre-Raphaelite wallcharger, painted with a portrait beforeforget me not flowers, in colours, a BrownWesthead and Moore charger by E MHeinemann dated 1882, two plates and atazza similar impressed marks, 37cm. diam.(5) 100-200

29. A Mintons encaustic stonewarebread plate designed by A.W.N Pugin, therim inscribed Waste Not Want Not, the wellwith radiating ears of corn roundel, in red,blue and cream unsigned 33cm. diam.

500-1,000

LiteraturePaul Atterbury and Clive Wainwright Pugin,V&A exhibition catalogue, 1994, page 143figure 260 for a comparable bread plate.

Charlotte Gere and Michael Whiteway, 19thCentury Design, Weidenfeld & NIcolson, page53 plate 49 for a comparable bread plate.

2324

2526

27

28

29

830. A Bretby Pottery Planta Ware jardiniere and stand, thetapering triangular stand with three flaring supports, the bowlmoulded in low relief with scroll design, painted with scenes ofsailing barges, in colours the rim highlighted in gilt, impressed marks,painted EH monogram to bowl, 115cm. high (2) 50-100

31. A Mintons Aesthetic Movement water jug, printed withfoliage and Japanese mon frieze in shades of terracotta, grey and tanon a white ground, a Craven Dunnill lustre vase, a Royal Doulton agatevase and a collection of ceramics, including thirteen Staffordshire flatbacks printed marks, minor damages 31cm. high (a lot) 100-150

32. A pair of Compton Pottery book ends, each circular, cast inlow relief with a classical archer unsigned, minor chips, 20cm. high

100-150ProvenanceBristol Guild of Applied Arts paper label

20th Century Design Woolley and Wallis, 5th March 2014 lot 29.

33. An Ashworth Pottery vase, ovoid with cylindrical neck, coveredin a burgundy red glaze with blue splashes, another Ashworth Potteryvase covered in a curdled, streaked blue and brown glaze with silveraventurine inclusions, another small green Ashworth Pottery vase, aSevres blue glazed vase, a Jerome Massier jardiniere and three othervases impressed Ashworth mark, 11cm. high (8) 100-200

ProvenanceBritish Art Pottery Woolley and Wallis, 30th November 2005, lot 974(main Ashworth Pottery vase)

34. An Ashby Guild vase, shouldered form, stencil decorated witha peacock and moth flying, in golden lustre on a red lustre ground,and a North State Pottery vase, covered in a sang de boeuf runningglaze with sage green patches impressed marks, Ashby vase21.5cm. high, North State vase 26cm. high 150-250

ProvenanceArts and Crafts Woolley and Wallis, 20th June 2012 lot 163 (AshbyGuild vase).

35. A tall pair of Sunflower Pottery candlesticks by Sir EdmundElton, each on three claw feet, with tapering cylindrical base andsectional column, with brass sconce, the base slip decorated withflower sprays, 61cm. high (2) 500-1,000

LiteratureMalcolm Haslam Elton Ware, Richard Dennis Publications, page 23figure 12 for five pencil designs for candlesticks.

30

3132

33 34

35

936. A small Wood & Sons Mikado wall charger designed byFrederick Rhead, printed to the well with aesthetic movement storksflying past waterlily flowers, the rim with stylised flower motif, in blueon a white ground printed factory mark, 36cm. diam. 100-200

ProvenanceArts and Crafts Woolley and Wallis 19th June 2013, lot 269.

37. A large Wood & Sons Mikado wall charger designed byFrederick Rhead, printed to the well with aesthetic movement storksflying past waterlily flowers, the rim with stylised flower motif, in blueon a white ground printed factory mark 41cm. diam. 150-200

ProvenanceArts and Crafts Woolley and Wallis, 19th June 2013 lot 272

38. A Royal Cauldron charger designed by Frederick Rhead,painted to the well with an exotic bird amongst stylised flowers andfoliage, in colours on a white ground, the rim with simple leaf friezeimpressed and printed marks, 38cm. diam. 100-200

39. A Shelley Pottery vase designed by Walter Slater, pattern no.8306, pedestal form, slip decorated with fish swimming in fast flowingwater, in white on a blue and pearl lustre ground, the interior pearl lustreprinted mark, facsimile signature Walter Slater 18.5cm. high 50-150

LiteratureChris Watkins, William Harvey and Robert Senft Shelley Potteries, Barrie& Jenkins page 61 colour plate V for a vase in this pattern.

40. A Clarice Cliff wall plaque, circular, moulded in low relief andpierced with flowers, glazed in colours on a turquoise ground, a PhoenixRonda ware plate painted with birds, a Carltonware vase, a modern PooleStudio charger by Janice Tchalenko and a collection of ceramics printedmark, Christies lot label, 34cm. diam. (a lot) 100-150

ProvenanceClarice Cliff Christies South Kensington, 24th May 1996 lot 111.

41. A Howsons Pottery vase, dated 1912, lobed shouldered formcovered in a veined flambe glaze, another Howsons Pottery flambesolifleur vase and two other vases incised Howsons and date 25cm.high (4) 100-150

42. A rare Bullers high-fired porcelain solifleur vase, covered in astreaked flambe and purple glaze over grey, another similar and twosmaller Bullers solifleur vases, printed Bullers England mark to mainvase and the two smaller vases 17.5cm. high (4) 100-200

43. A Hancock & Sons Morrisware vase by George Cartlidge, patternno. C17-3, swollen cylindrical form, tubeline decorated with thistle flowersin red and green on a streaked green ground printed marks, paintedfacsimile signature, paper collection label, 30.5cm. high 400-600

ProvenanceThe Harriman Judd Collection, Sothebys

LiteratureTony Johnson The Morris Ware, Tiles & Art of George Cartlidge, privatepress, page 97 figure 263 for examples of this shape.

3637

38

39

40

41 42

43

10

44. An unusual Royal Doulton Flambe vase, waisted, shoulderedform, covered in a streaked blue glaze over white a smaller RoyalDoulton solifleur Flambe vase covered in a white crystalline glaze,and a modern Royal Doulton limited edition Chengdu bowl printedmarks, vase 11.5cm. high (3) 80-120

45. A Royal Doulton Chang bowl probably by Charles Noke,grey veined glaze covered in a running volcanic white glaze withgreen splashes, printed Royal Doulton mark, 9.5cm. diam. 100-200

46. A Royal Doulton Chinese Jade scent bottle by Charles Noke,flattened ovoid covered in a green veined thick white glaze printedRoyal Doulton mark, painted Chinese Jade and facsimile signatureNoke, 8cm. high 300-500

47. A Royal Doulton Flambe vase, enamelled in turquoise withferocious dragon amidst clouds, on a flambe ground, with gilthighlights, impressed Royal Doulton Flambe mark, professionallyrestored, 21.5cm. high 100-200

48. A Doulton Lambeth Faience vase by Fanny Stable, dated1881, shouldered form painted with panels of prunus in colours onsimulated woven ground, another Doulton Lambeth Faience vaseand six other Doulton items impressed and painted marks,restoration 23cm. high (8) 100-150

49. A Doulton Lambeth Faience moonflask, flattened disk for onfour feet, painted with wild rose, in colours on a yellow groundimpressed mark, printed mark and painted artist cipher, one footprofessionally restored, 23.5cm. high 100-200

50. A Doulton Lambeth Faience moonflask by Eliza L Hubert,flattened disk form four feet, painted with fruiting blackberry frondsto both sides, in colours on a graduated yellow to brown groundimpressed and printed marks, painted artist cipher, restored neck andfeet 36.5cm. high 100-200

LiteratureDesmond Eyles & Louise Irvine The Doulton Lambeth Wares, RichardDennis Publications, page 145 for comparable moonflasks

ROYAL DOULTON

44 45

46

47

48

49front and back

50front and back

11

51. An A. Janin & Guerineau Art Nouveau dish, elliptical form, modelledin low relief with a maiden by lily pads, covered in a green iridescent glazeimpressed factory mark, professional restoration and minor glaze frits,33cm. wide 100-200

52. A Delphin Massier Vallauris jardiniere, ovoid with collar rim, paintedwith seagulls above waves in blue and white, painted marks, signed Max26cm.high 50-100

53. A terracotta model of a panther cast from a model by ThomasFrancois Cartier, modelled snarling on a rocky outcrop, cast facsimilesignature and foundry marks, 54cm. wide 100-200

Thomas Francois Cartier (1879-1943)

54. A rare Weller Pottery Lasa Ware lustre vase, possibly designed byJohn Lessell, swollen cylindrical form, decorated with trees in a landscapesetting with large clouds in the distance, in golden lustres fine scratchedsignature 29cm. high 100-200

55. A Pierrefonds high-fired stoneware vase, shape no.603, shoulderedform with collar neck, covered in a claret crystalline glaze with bluesplashes to the shoulder, another smaller, a Rambervillers tall vase coveredin a purple, blue and grey high-fired glaze, a Sarreguemines pale greenlustre solifleur vase, and four other items, impressed marks, 21.5cm. high(8)) 100-150

56. A Jerome Massier Vallauris pottery vase, compressed form withswollen neck, painted with flower stems in gilt on a deep red ground, andfive other vases painted and impressed marks, small glaze chip to top rim,15.5cm. high (6) 100-200

57. A Rookwood Pottery vase, shouldered form, model no.6319D, coveredin a flambe graduated to brown glaze with aventurine inclusions, a Sevreshexagonal bowl on wooded foot, and a collection of continental ceramicsimpressed mark, shape and XXXII date, 12cm. high (a lot) 100-150

58. A Bing & Grondahl flambe stoneware vase by G Mee, shouldered form,covered in a streaked high-fired glaze, another Bing & Grondahl flambe vase, ALachenal plate, ten Royal Copenhagen Faience items and a Danish vaseimpressed marks, one copenhagen dish damaged 15cm. high (14) 100-150

59. A pottery jardiniere and stand probably continental, modelled inrelief and covered in a red flambe glaze unsigned 73cm. high (2) 50-100

60. A Royal Bonn Vienna Old Dutch solifleur vase, painted with flowers ina Persian palette, and two other Royal Bonn vases printed marks, 28cm. high

100-200

Provenance20th Century Design, Woolley and Wallis, 9th October 2013 lot 1437(solifleur vase)

CONTINENTAL CERAMICS

51 52 53 54

55

56

57

58

59 60

12

61. Two Crown Ducal Spectria flambemodels of oriental figures, each covered ina rich red glaze, another Crown Ducal modelof a grotesque, two E R Wilkes flambe vasesand a small collection of flambe wareprinted marks, 11.5cm. high (14) 100-200

62. A Bernard Moore vase by JohnAdams, dated 1910, shouldered, cylindricalform, painted with a bird perched in fruitinggrape vine, in red flambe on a white groundpainted Bernard Moore, 1910, artistmonogram 23cm. high 100-200

63. A Bernard Moore vase, ovoid withcollar rim, painted ears of corn in ruby lustrepainted Bernard Moore 10.5cm. high

100-150

64. A Bernard Moore vase by HildaLindop, shouldered cylindrical form, paintedwith scaly fish swimming in turbulent waterpainted Bernard Moore, artist monogram23cm. high 100-200

65. A Bernard Moore vase by Evelyn HopeBeardmore, shouldered bottle form with tall,swollen cylindrical neck, painted with afrieze of flying birds before scrolling foliage,in red flambe, painted Bernard Moore andpainted artist monogram 23cm. high

100-200

66. A Bernard Moore vase by EvelynHope Beardmore (1886-1972), ovoid withswollen cylindrical neck, painted with afrieze of rabbits inside scrolling foliage, inflambe red painted Bernard Moore and artistmonogram, small frit chip to foot rim,24.5cm. high 100-200

BERNARD MOOREPOTTERY

61

63

62

64

66

65

13

67. A Bernard Moore vase by CicelyJackson, shouldered, flaring cylindricalform, painted with scrolling flower stemsand Japanese mon below Greek Key border,in red flambe painted Bernard Moore and CJmonogram 23cm. high 100-200

68. A Bernard Moore Gu vase, shape no.1167, covered in a streaked blue and goldlustre glaze over flambe Bernard Mooremark, 22cm. high 100-200

69. A Bernard Moore vase by R RTomlinson, dated 1908, flaring, shoulderedcylindrical vase, painted with a pair of foxesbefore formal trees, a bird watching on, inshades of flambe red on a cream groundpainted Bernard Moore artist monogram ,dated 08, 24.5cm. high 100-200

70. A Bernard Moore bottle vase, ovoidwith solifleur neck, decorated with prunusflowers, the neck with simple leaf design, inred flambe, another Bernard Moore flambevase and a miniature vase Bernard Mooremark, painted HB monogram, main hasprofessionally restored neck, 16cm. high (3)

100-200

71. A Bernard Moore vase, shouldered,tapering, cylindrical form, painted with aband of scrolling foliage, in red flambe on adeep ground, and another vase painted witharched design, highlighted in gilt BernardMoore mark, JC monogram to first 15.5cm.high (2) 100-150

72. A Bernard Moore gourd vase,covered in a thick grey glaze, anotherBernard Moore solifleur porcelain vasecovered in a sand glaze, and a small BernardMoore square box printed Bernard Moore,small glaze frit, 7cm. high (3) 100-150

73. A Bernard Moore high-firedporcelain vase, shouldered, baluster form,white, covered in a running, red flambeglaze with green spots, painted BernardMoore 13.5cm. high 100-200

LiteratureAileen Dawson Bernard Moore, MasterPotter 1850-1935, Richard Dennis, page 28plate II for comparable examples.

67

68 69

70

71

72

73

14

74. A Bernard Moore double gourd vase, enamelled with a ferociousdragons flying amidst clouds, in turquoise and cream on a flambe ground,highlighted in gilt, and another near pair decorated with clouds on aflambe ground first with Bernard Moore mark, second has etched BMmonogram, professionally restored neck to first 14cm. high (2) 100-200

75. A Bernard Moore flambe bowl by R R Tomlinson, painted to thewell with a winged heraldic lion passant, incised border with inscription,glazed in rich flambe, the exterior with a frieze of winged lion BernardMoore mark, painted monogram 19.5cm. diam. 100-200

76. A Bernard Moore porcelain ginger jar and cover, painted withfish swimming amidst waterweed in golden lustre on a deep flambe redand blue ground printed Bernard Moore mark, cover professionallyrestored, 12cm. high 400-600

77. A rare Bernard Moore porcelain ginger jar and cover, covered ina golden aventurine glaze, printed Bernard Moore mark, 12cm. high (2)

100-200LiteratureBernard Moore Master Potter 1851-1935,, Victoria & Albert Museum,1983, page 71 catalogue number 71 for a comparable example.

78. A Bernard Moore porcelain vase, solifleur form, painted with along boat rowing in choppy seas, in colours and red flambe, highlightedin gilt on a sand flambe ground printed Bernard Moore mark, 20cm. high

500-800LiteratureBernard Moore Master Potter 1850-1935, Victoria & Albert Museum, thisshape with the simple wave design illustrated page 11 cataloguenumber 38.

Aileen Dawson Bernard Moore Richard Dennis, this design illustrated on4 comparable pieces page 72 plate XII.

79. A Bernard Moore porcelain ginger jar and cover, painted withbats flying in starry night sky, in golden lustre on a deep black and blueflambe ground printed Bernard Moore mark, 16cm. high 1,500-2,000

LiteratureAileen Dawson Bernard Moore Master Potter 1850-1935, Richard Dennis,page 60 figure 37 for a comparable bat ginger jar and cover illustrated.

7475

7776

7879

15

16

80. A Ruskin Pottery stoneware vase by William Howson Taylor, with hammered copper rimand cover, painted with a band of fruiting grape vine in blue on a brown ground, and a Ruskinvase painted with grape vine motif painted scissor mark to both 12.5cm. diam. (2) 100-200

81. A Ruskin Pottery stoneware ginger jar and cover by William Howson Taylor, dated 1906,painted with a band of fruiting grape vine in apple green and mottled purple, and another RuskinPottery ginger jar and cover decorated with grape vine, glazed blue impressed Ruskin Smethwickmark and date, professionally restored cover to purple jar 10.5cm. high (2) 100-200

82. A Ruskin Pottery vase by William Howson Taylor, dated 1906, waisted cylindricalform, decorated with a frieze of berried ivy foliage to the shoulder, covered in a blue-greensouffle glaze, a vase decorated with a band of flowering foliage on a blue souffle glaze, agreen coffee can and saucer and a pink coffee can impressed marks and date marks to thevases, cups with painted scissor mark 18.5cm. high (5) 100-200

LiteraturePaul Atterbury and John Henson Ruskin Pottery, page 36 for comparable examples.

83. A Ruskin Pottery stoneware caddy by William Howson Taylor, dated 1922, coveredin a blue lustre glaze, a Ruskin Pottery pierced ginger jar and cover covered in an orange lustreglaze, a Ruskin pearl lustre jar and cover, a vase similar and eleven other Ruskin Pottery itemsimpressed marks and date 7.5cm. high (15) 100-200

84. A Ruskin Pottery vase by William Howson Taylor, dated 1912, cylindrical form witheverted rim, resist decorated with a band of fruiting grape vine, glazed mottled blue-greensouffle, another decorated with a band of ivy, dated 1919, and another decorated with a bandof flowers dated 1906 impressed marks, first with scissor mark, small bruise to foot rim of 3rdvase 24cm. high (3) 100-200

ProvenanceThe Albert E Wade Collection: Part II, Sothebys 8th November 2002 lot 268 (third vase)

85. An early Ruskin Pottery vase by William HowsonTaylor, shouldered form with collar neck,decorated with a simple band of painted interlinked clover stems in pale blue on a pink souffleground, and a pair of early Ruskin shouldered vases similar, main vase impressed WHT monogramand painted scissor mark, pair of vases impressed Taylor, 16cm. high (3) 100-200

86. A Ruskin Pottery egg shell bowl by William Howson Taylor, footed form, covered ina green tea dust glaze, and a Ruskin Pottery Elephants Foot vase covered in an apple greenlustre glaze, dated 1922, impressed and printed Ruskin England 23.5cm. diam. (2) 100-150

87. A Ruskin Pottery stoneware vase and cover by William Howson Taylor, balusterform, covered in a mottled green souffle glaze impressed Ruskin 21cm. high 100-200

RUSKIN POTTERYBY WILLIAM HOWSON TAYLOR

80 81

8283

84

85

86

87

17

88. A pair of Ruskin Pottery stonewarevases by William Howson Taylor, dated1905, meiping form, painted to the shoulderwith fruiting grape vine in green on a brightyellow ground, and a near pair of Ruskinvases painted with ivy on a yellow groundimpressed Ruskin Smethwick mark and dateand no.167, hairline crack to base rim ofone, 20cm. high (4) 100-200

89. A tall Ruskin Pottery stoneware vaseby William Howson Taylor, slender meipingform, covered in a lemon lustre glaze, and aRuskin Pottery vase covered in a lavender lustreglaze impressed Ruskin England, purple vaserestored top rim, 28.5cm. high (2) 100-200

90. A Ruskin Pottery stoneware tobaccojar and cover by William Howson Taylor,dated 1907, shouldered form, painted with afrieze of ivy leaf to both cover and rim, inwhite on a blue souffle glaze, and a RuskinPottery jar and cover covered in an orangelustre glaze, dated 1909, impressed RuskinPottery Smethwick roundel and date , hairlineto rim of cover, 16cm. high (2) 100-200

91. A Ruskin Pottery stoneware vase byWilliam Howson Taylor, shouldered,slightly swollen cylindrical form covered in agreen tea dust glaze, a Ruskin Pottery vasecovered in a deep blue glaze, and a tallervase dated 1926 impressed Ruskin England21.5cm. high (3) 150-200

92. A Ruskin Pottery stoneware vase byWilliam Howson Taylor, dated 1907,compressed body with tapering neck,covered in a purple souffle glaze, and anotherRuskin Pottery shouldered vase dated 1911,impressed marks, date marks, hairline to toprim of 1911 vase, 22cm. high (2) 100-200

ProvenanceThe Albert E Wade Collection, SothebysLondon, 2002, lot 211 (1907 vase)

93. An unusual Ruskin Pottery vase byWilliam Howson Taylor, dated 1925, ovoidwith cylindrical neck and flaring rim, coveredin a rose lustre overlaid with blue ice glaze,and two Ruskin Pottery blue lustre glazedvases impressed Ruskin England and date18cm. high (3) 100-200

94. A Ruskin Pottery stoneware vase byWilliam Howson Taylor, shouldered form,covered in a pink Hares fur souffle glaze,another Ruskin Pottery baluster vase andanother Ruskin Pottery mottled crushedstrawberry glaze vase main vase paintedscissor mark, others impressed marks,21cm. high (3) 100-200

95. A Ruskin Pottery Elephants Footvase by William Howson Taylor, dated1916, covered in a streaked crushedstrawberry lustre glaze, 25.5cm. high

100-150

88

89

90

91

9293

94 95

18

96. A pair of Ruskin Pottery coveredpots by William Howson Taylor, covered ina pale blue lustre glaze, A Ruskin scent bottlewith metal mount and ivory stopper coveredin a pale blue lustre glaze, a Ruskin Ginger jarand cover painted with a floral frieze and fiveother Ruskin Pottery lustre items, impressedRuskin England 6cm. high (9) 100-200

97. A Ruskin Pottery stoneware vase byWilliam Howson Taylor, dated 1919,shouldered cylindrical form with everted rim,covered in a deep purple lustre glaze, a RuskinMeiping covered in an orange lustre vase andtwo other lustre vases, impressed RuskinEngland and date 25cm. high (4) 100-200

98. A Ruskin Pottery stoneware vase byWilliam Howson Taylor, dated 1930,shouldered form with everted rim, covered inan apple green lustre glaze impressed RuskinEngland and date, 25.5cm. high 100-150

99. A Ruskin Pottery stoneware vase byWilliam Howson Taylor, compressed formwith cylindrical neck, covered in a streaked bluematt crystalline glaze, and a stand impressedRuskin England 21cm. high (2) 100-150

100. A large Ruskin Pottery stonewarelamp base by William Howson Taylor,hexagonal section, covered in a graduatedyellow to blue crystalline glaze, and twoother Ruskin Pottery lamp bases impressedRuskin marks, remains of paper label 28cm.high (3) 100-150

101. A Ruskin Pottery stonewareElephants Foot vase by William HowsonTaylor, covered in a pale blue, yellow andsand streaked glaze, and three other RuskinPottery vases impressed Ruskin England20cm. high (4) 100-150

102. A Ruskin Pottery high-fired stonewarevase by William Howson Taylor, dated 1927,compressed form with a tapering neck,moulded in low relief with a band of flowersand foliage, covered in a pale blue curdledglaze, and a Ruskin Pottery bowl, painted witha frieze of fruiting vine impressed RuskinPottery and date, bowl painted scissor mark,14cm. high (2) 100-200

103. A Ruskin Pottery stoneware solifleurvase by William Howson Taylor, dated1922, covered in a matt blue hares fur glaze,another Ruskin Pottery sky blue vase andfifteen other Ruskin Pottery items impressedRuskin Pottery and date, yellow vase restoredneck 19.5cm. high (17) 100-150

104. A Ruskin Pottery stoneware vase byWilliam Howson Taylor, dated 1915,meiping form, covered in a mottled pinksouffle glaze impressed Ruskin England anddate 24cm. high 100-150

96

97 98

99 100

101102

103 104

19

105. A Ruskin Pottery high-fired stoneware miniature vase byWilliam Howson Taylor, ovoid with tapering neck, covered in amottled sang de boeuf glaze with green spots impressed Ruskin,4cm. high 300-500

LiteraturePaul Atterbury and John Henson Ruskin Pottery Baxendale Press,page 112 for comparable miniature vases

106. A Ruskin Pottery high-fired stoneware miniature vase byWilliam Howson Taylor, ovoid with three lug handles to the rim,sang de boeuf with lavender trails and mint-green spotsimpressed Ruskin England mark 3.5cm. high 300-500

LiteraturePaul Atterbury and John Henson Ruskin Pottery Baxendale Press,page 112 for comparable miniature vases

107. A Ruskin Pottery high-fired stoneware miniature vase byWilliam Howson Taylor, dated 1908, ovoid with flaring cylindricalneck, covered in a mottled red sang de boeuf glaze with lavenderand mint green impressed Ruskin Pottery and date 7.5cm. high

300-500

108. A Ruskin Pottery high-fired stoneware vase by WilliamHowson Taylor, dated 1909, ovoid with flaring cylindrical neck,covered in lavender glaze with mint green spots to the shoulder,impressed Ruskin Pottery West Smethwick and date, hairline crack7.5cm. high 300-500

109. A Ruskin Pottery stoneware vase by William Howson Taylor,shouldered, flaring cylindrical form, covered in a streaked blue andyellow souffle glaze, internally decorated with lavender souffle glazeimpressed WHT monogram mark 26cm. high 100-200

LiteraturePaul Atterbury and John Henson Ruskin Pottery, Baxendale Press,page 90 for a vase decorated with a similar technique.

110. A Ruskin Pottery high-fired stoneware vase by WilliamHowson Taylor, dated 1923, covered in a red flambe glaze withgrey patches and rims, and a fissured glaze patch to sideimpressed Ruskin England and date 1923, 25cm. high 300-500

111. Three Ruskin Pottery stoneware tiles by William HowsonTaylor, each covered in a deep green-blue souffle glaze, splashedwith purple and blue moulded Taylor West Smethwick to reverse,15.5cm. square (3) 300-500

ProvenanceThe Albert E Wade Collection, Sothebys 2nd May 2002 lot 227(originally 4 in the lot)

LiteraturePaul Atterbury and John Henson, Ruskin Pottery, Baxendale Press,page 33 for a group of tiles illustrated which includes one of thetiles in this lot.

105 106

107 108

109 110

111

20

112. An early Ruskin Pottery high-fired bowl by William Howson Taylor, ontocky body, shouldered form, covered in a flambe glaze with lavender shoulder andmint green spots impressed Taylor, 18.5cm. diam. 100-200

113. A Ruskin Pottery high-fired stoneware bowl on three feet by WilliamHowson Taylor, dated 1927, the exterior modelled in low relief with flowerheadmotif, covered in a mottled grey glaze, the interior glazed flambe and lavenderimpressed Ruskin England and date 24.5cm. diam. 100-200

114. A Ruskin Pottery high-fired egg shell bowl by William Howson Taylor,dated 1924, covered in a streaked red flambe glaze, another Ruskin Pottery bowlcovered in a pitted lavender glaze, and two miniature Ruskin bowls one high-firedthe other lustre impressed Ruskin England and date 12.5cm. diam. (4) 100-200

115. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor,dated 1926, shape 261, shouldered form covered in a leopard skin mottled flambeglaze, impressed Ruskin England and date, Ferneyhough and Taylor Made exhibitionpaper labels, 21.5cm. high 400-500

ProvenanceW Howson Taylor Collection; Ferneyhough Collection; Albert E Wade Collection

The Albert E Wade Collection part I, Three Artist Potters, Sothebys 2nd May 2002,lot 370

ExhibitedTaylor Made Birmingham City Museum and Art Gallery, 1976 no.260b

LiteraturePaul Atterbury and John Henson Ruskin Pottery, Baxendale, page 107 this actual vaseillustrated.

116. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor,dated 1928, cylindrical form with flaring rim, covered in a running Leopard Skin blueand purple glaze on a sand and yellow ground impressed Ruskin England and date14.5cm. high 300-500

117. A Ruskin Pottery high-fired stoneware small baluster vase by WilliamHowson Taylor, dated 1905, purple glaze covered in a fissured green and whiteglaze impressed Ruskin mark, dated 1905, paper label 10.5cm. high 600-1,000

ProvenanceThe Albert E Wade Collection Part I Three Artist Potters, Sothebys 2nd May 2002 lot 249.

118. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor,compressed form with everted rim, covered in a green and purple reticulated glazeon an ivory ground impressed WHT monogram 19cm. diam. 200-300

112113

114

115

116

117

118

21

119. A Ruskin Pottery high-firedstoneware vase and stand by WilliamHowson Taylor, vase dated 1906, waistedcylindrical form, with everted rim, whiteglaze covered in purple and lavender withmint green spots, the stand with white glazepartially covered in a lavender impressedRuskin Pottery and date, stand with papercollection label vase 24cm, high, and stand32cm. high (2) 1,000-1,500

ProvenanceThe Albert E Wade collection part II,Sothebys 8th November 2002, lot 426 forthe stand.

120. A tall Ruskin Pottery high-firedstoneware vase by William HowsonTaylor, dated 1921, slender, shoulderedform with everted rim, covered in a pale pinkand blue glaze, over grey, with brightturquoise spots impressed Ruskin Englandand date 30.5cm. high 600-1,000

121. A Ruskin Pottery stoneware vase byWilliam Howson Taylor, dated 1908,compressed body with long neck andeverted, flaring rim, covered in a streakedblue and purple souffle glaze impressedmark and date mark, 15cm. high 100-200

119two sides

120

121

22

122. A large Ruskin Pottery Souffle glazedpendant in wirework frame, by William HowsonTaylor, in the form of a stylised flower bud, lavenderand blue glaze, and three pewter mounted boxes setwith stoneware medallions impressed Ruskin 9cm.high (4) 100-150

123. A Ruskin Pottery stoneware inkwell byWilliam Howson Taylor, dated 1909, shape 19,covered in a pink souffle glaze impressed RuskinPottery date and Patent, 4.5cm. high 100-150

LiteraturePaul Atterbury and John Henson, Ruskin Pottery,Richard Dennis, page 34 for an identical examplewith a cover illustrated.

124. A Ruskin Pottery high-fired stoneware bowlby William Howson Taylor, footed form, covered ina purple flambe glaze with mint green spots, theinterior with lavender and mint spots apparentlyunsigned 22cm. diam. 100-150

125. A Ruskin Pottery high-fired stoneware standby William Howson Taylor, circular section on fourfeet with pierced decoration and incised band ofstylised foliage, covered in a grey under light flambeand green spots impressed Ruskin England 12.5cm.high, 8.5cm. diam. vase aperture 100-200

126. A Ruskin Pottery high-fired stoneware standby William Howson Taylor, pierced form covered ina red flambe and lavender glaze over grey impressedRuskin England mark, Albert Wade paper label, smallchip to top rim, 14.5cm. high 200-300

ProvenanceAlbert E Wade Collection part II, Sothebys 8thNovember 2002 lot 426 (part)

127. A Ruskin Pottery high-fired stoneware standby William Howson Taylor, circular on three feet,with crenellated rim, covered in flambe and lavenderover a grey glaze impressed Ruskin England,professionally restored 14cm. wide, 11cm. diam.aperture 50-100

128. A Ruskin Pottery high-fired stoneware standby William Howson Taylor, octagonal form, sang deboeuf glaze over grey with mint spots impressedRuskin England, 16.5cm. diam. 7.5cm. vase diameter

150-200

129. A Ruskin Pottery high-fired stoneware standby William Howson Taylor, circular on four flaringfeet, covered in a sang de boeuf glaze speckled withlavender, impressed Ruskin England, original paperlabel 11.5cm. wide, stand aperture 7cm. diam.

200-300

122 123

124

126125

127128

129

129 label

23

130. A large Ruskin Pottery high-fired stoneware vase by William Howson Taylor, shouldered form with tapering neck, covered in a sangde boeuf glaze speckled with lavender and mint green impressed Ruskin England, glaze fault to base rim, 39cm. high 1,000-2,000

LiteraturePaul Atterbury and John Henson, Ruskin Pottery, Baxendale Press, page 130 for a comparable vase, the shape introduced in the 1920s.

It is thought this was Nicks first Ruskin vase, the vase that started the collection.

24

131. A Ruskin Pottery high-fired stoneware stand by WilliamHowson Taylor, circular section, white glaze covered in flambe withlavender highlights impressed Ruskin England, 6cm. high, 16.5cm.diam. vase aperture 100-200

132. A Ruskin high-fired stoneware stand by William HowsonTaylor, dated 1926, octagonal section, covered in a sang de boeufglaze with mint green spots impressed Ruskin England and date18cm. wide, 7.3cm vase diameter 150-250

133. A large Ruskin Pottery high-fired stoneware stand by WilliamHowson Taylor, circular, glazed in flambe and lavender over grey,impressed Ruskin England, repaired damages, 26cm. diam. 100-200

ProvenanceChristies South Kensington, 5th February 2002 lot 40

134. A Ruskin Pottery high-fired stoneware stand by WilliamHowson Taylor, on four feet, circular base, covered in a pale blueand purple glaze impressed Ruskin 15.5cm. wide, stand aperture12.5cm. diam. 200-300

135. A Ruskin Pottery high-fired stoneware stand by WilliamHowson Taylor, dated 1926, pierced, square section, impressedRuskin England and date marks, hairline to top rim, 15.5cm. square,6.5cm. high, aperture 10cm. diam. 100-200

136. A Ruskin Pottery high-fired stoneware vase by WilliamHowson Taylor, dated 1922, shouldered cylindrical form, covered ina grey flambe glaze, impressed Ruskin England date 1922, 17cm. high

100-200

LiteraturePaul Atterbury and John Henson, Ruskin Pottery, Baxendale Press,page 96 for two examples glazed in the grey flambe glaze.

137. A Ruskin Pottery high-fired stoneware vase by WilliamHowson Taylor, dated 1925, slender, swollen cylindrical form, silvergrey glaze with lavender and mint green splashes, impressed RuskinEngland 1925 16.5cm. high 150-250

138. An early Ruskin Pottery stoneware vase by William HowsonTaylor, dated 1905, shape 100, meiping form, covered in a runningturquoise glaze over sage green, with signs of crystalline to theshoulder, impressed Ruskin Smethwick roundel, date and 25515.5cm. high 100-200

LiteraturePaul Atterbury and John Henson, Ruskin Pottery, Baxendale, page 60for this shape illustrated in a green flambe glaze also dated 1905.

139. A Ruskin Potter high-fired stoneware vase by WilliamHowson Taylor, dated 1922, ovoid with everted collar rim, covered ina curdled sky blue and lavender glaze over white impressed RuskinEngland and date 15cm. high 200-300

140. A Ruskin Pottery high-fired stoneware vase by WilliamHowson Taylor, compressed form with everted neck, streakedlavender glaze over ivory white with mint green spots, impressedWHT monogram 8cm. high 300-500

141. A Ruskin Pottery high-fired stoneware vase by WilliamHowson Taylor, compressed ovoid form with cylindrical neck, whiteglaze with green spots and lavender and purple streaks appliedRuskin paper label, 10cm. high 150-200

131132 133

134135

136 137

138139

140 141

25

142. A Ruskin Pottery high-firedstoneware vase by William HowsonTaylor, dated 1920, shouldered cylindricalfrom, covered in a fissured purple andlavender glaze over Ivory White glazeimpressed Ruskin England and date, painted106, 20.5cm. high 300-500

143. A large Ruskin Pottery high-firedstoneware vase and stand by WilliamHowson Taylor, vase dated 1927, taperingcylindrical form with everted rim, modelled inlow relief with a meandering flower stem,glazed lavender and sang de boeuf over ivorywhite with intense green spots vaseimpressed Ruskin England and date, standimpressed Ruskin England, stand with fourrestored chips to rim 28cm. high 600-1,000

LiteraturePaul Atterbury and John Henson, RuskinPottery, Baxendale Press, page 130 for acomparable vase with the mouldeddecoration, glazed ivory, illustrated.

144. A Ruskin Pottery high-fired vase byWilliam Howson Taylor, compressed formwith tall flaring neck, covered in a mottledmint green glaze and black, over ivory whitewith some lavender highlights feint RuskinSmethwick roundel mark 14.5cm. high

250-350

LiteraturePaul Atterbury and John Henson RuskinPottery, Baxendale Press, page 108 for avase decorated in a comparable glaze.

145. A Ruskin high-fired stoneware vaseby William Howson Taylor, shoulderedform, mint green over pink with greenspeckling impressed Ruskin mark andHowson Taylor monogram 10.5cm. high

200-400

146. A Ruskin Pottery high-fired stonewarevase by William Howson Taylor, dated 1910,mei ping form (shape 353), off-white glazepartially covered in a red flambe running glazeturning to lavender, the shoulder with mintgreen speckles, impressed Ruskin Potteryand date, 28.5cm. high 1,000-2,000

ProvenanceN. Chamberlain Collection

LiteraturePaul Atterbury and John Henson RuskinPottery, Baxendale Press, page 63 for acomparable vase also dated 1910.

142 143

144 145

146

26

147. A Ruskin Pottery high-firedstoneware bowl by William HowsonTaylor, dated 1916, covered in a rich flambeglaze with lavender patches impressedRuskin England and date 25cm. diam.

100-200

148. A Ruskin Pottery high-firedstoneware vase by William HowsonTaylor, compressed form with cylindricalneck, covered in a flambe red glaze withsplashes of white to the foot impressedWHT monogram 10cm. high 100-150

149. A Ruskin Pottery high-firedstoneware vase by William HowsonTaylor, dated 1933, single-handled form,covered in a streaked flambe glaze overwhite, with lavender and mint green spotsimpressed Ruskin 1933 21.5cm. high

200-300

150. A Ruskin Pottery high-firedstoneware jug by William Howson Taylor,shouldered form, white covered in a sang deboeuf glaze with lavender and mint spotsimpressed Ruskin England 11.5cm. high

100-200LiteraturePaul Atterbury and John Howson, RuskinPottery Baxendale Press, page 112 for anexample of this jug with a cover.

151. A Ruskin Pottery high-firedstoneware vase by William HowsonTaylor, shouldered form, covered in arunning flambe glaze over silver withlavender patch and mint-green spotsimpressed Ruskin, professional restoration tobase rim 20.5cm. high 100-200

152. A Ruskin Pottery high-firedstoneware perfume bottle by WilliamHowson Taylor, shouldered cylindrical form,sang de boeuf with lavender and mint spots,and another Ruskin scent bottle, impressedRuskin England, second bottle with chip toneck, both missing covers, 10.5cm. high (2)

100-200LiteraturePaul Atterbury and John Henson RuskinPottery, Baxendale Press, page 131 for acollection of scent bottles illustrated.

153. A Ruskin Pottery high-firedstoneware vase by William HowsonTaylor, dated 1920, ovoid with cylindricalneck, covered in a fissured lavender andflambe glaze over white impressed Ruskinand date, three fine stress lines to base rim,17cm. high 200-300

147

148 149

150

151

152 153

27

154. A Ruskin Pottery high-fired stonewarevase by William Howson Taylor, dated 1920,shouldered form with flaring neck, covered ina rich sang de boeuf fissured glaze over ivorywhite impressed Ruskin England and date17.5cm. high 250-350

155. A small Ruskin Pottery high-firedstoneware vase by William Howson Taylor,dated 1921, ovoid body with cylindrical neckand everted rim, covered in a flambe glazewith blue and grey spots impressed RuskinEngland and date 10cm. high 100-150

ProvenanceThe Albert E Wade Collection part II,Sothebys 8th November 2002 lot 411

156. A Ruskin Pottery high-firedstoneware vase by William Howson Taylor,dated 1933, ovoid with cylindrical neck,covered in a streaked red flambe glaze overwhite, with black spots impressed RuskinEngland and date 17.5cm. high 150-200

157. A Ruskin Pottery high-firedstoneware vase by William Howson Taylor,dated 1920, ovoid with tall, flaring cylindricalneck, covered in a fissured flambe, lavenderand grey glaze over white impressed RuskinEngland date 15.5cm. high 150-250

158. A Ruskin Pottery high-firedstoneware vase by William Howson Taylor,dated 1920, shouldered form, covered in adeep sang de boeuf glaze over white, withlavender splashes impressed Ruskin Englandand date 1920 20.5cm. high 200-300

159. A rare early Ruskin Pottery high-firedvase by William Howson Taylor, dated1908, waisted cylindrical form, covered in adeep sang de boeuf mottled glaze, withlavender and green on an ivory ground,impressed Ruskin Pottery date 1908, papercollection labels 20cm. high 300-500

ProvenanceFerneyhough Collection

The Albert E Wade Collection, part I ThreeArtist Potters, Sothebys 2nd May 2002 lot 261.

160. A Ruskin Pottery high-firedstoneware small Elephants Foot vase byWilliam Howson Taylor, cylindrical withswollen body, sang de boeuf over grey withgreen spots impressed Ruskin England10cm. high 100-150

161. A Ruskin Pottery high-firedstoneware Elephants Foot vase byWilliam Howson Taylor, dated 1911,covered in a running blue-lavender glazeover purple, partially fissured, impressedRuskin Pottery, dated 1911, small bruise tofoot rim, 21cm. high 200-300

LiteraturePaul Atterbury and John Henson Ruskin Pottery,Baxendale Press, page 59 for three similarelephants foot vases with fissured glazes.

154155

156 157

158 159

160161

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162. A Ruskin Pottery high-firedstoneware vase by William Howson Taylor,dated 1905, shape 193, shouldered balusterform, covered with a fissured sang de boeufand lavender glaze over ivory, with lavenderspots impressed Ruskin Pottery Smethwickmark, date and No.200, 16.5cm. high

800-1,200

LiteraturePaul Atterbury and John Henson, RuskinPottery, Baxendale Press, page 60 for acomparable vase, shape 193, purchased bythe Victoria & Albert museum in 1906.

163. A Ruskin Pottery high-firedstoneware vase by William HowsonTaylor, dated 1933, carafe form, white glazewith mottled lavender and sang de boeufpatches and mint green spots impressedRuskin England 1933, professionallyrestored neck, 23cm. high 200-300

164. An early Ruskin Pottery stonewarevase by William Howson Taylor, dated1905, shouldered form covered with a blackcherry fissured glaze, over ochre impressedRuskin Pottery West Smethwick mark, date1905 and painted scissor mark, Albert Wadepaper label 27cm. high 800-1,000

ProvenanceThe Albert E Wade Collection, Part I, ThreeArtist Potters Sothebys 2nd May 2002 lot 288.

LiteraturePaul Atterbury and John Henson RuskinPottery Baxendale Press page 61 this vaseillustrated.

162

163

164

29

165. A Ruskin Pottery high-firedstoneware vase by William HowsonTaylor, dated 1908, baluster form covered inan off white glaze with sang de boeuf bandsand mint green speckles impressed RuskinPottery West Smethwick mark, and date22cm. high 500-800

166. A Good Ruskin Pottery high-firedstoneware vase by William HowsonTaylor, dated 1915, ovoid with cylindricalneck with everted rim, covered in a splashedturquoise and purple glaze over silver greyground impressed Ruskin England and datemarks, paper label 25cm. high 300-500

ProvenanceFlorence Howson Taylor, thence by descent

167. A Ruskin Pottery high-firedstoneware vase by William HowsonTaylor, the ovoid body with cylindrical neckand everted rim, covered in a sang de boeufand lavender glaze over ivory white, withmint green spots feint Ruskin PotterySmethwick roundel to the base concealedby glaze 15cm. high 200-400

165

166

167

mark

30

168. A Ruskin Pottery high-firedstoneware egg-shell bowl by WilliamHowson Taylor, the exterior decorated withmottled sage and flambe over a grey glaze,the interior mint green with black spots, onmodern hardwood stand, and another earlyTocky body egg shell bowl main bowlunsigned, Albert wade paper label, small fritchip to foot, second bowl with scissor mark15cm. diam. (2) 150-200

ProvenanceThe Albert E Wade Collection Part II, Sotheby's,8th November 2002 lot 289 (main bowl)

169. A Ruskin Pottery vase by WilliamHowson Taylor, dated 1933, ovoid withbroad cylindrical neck and everted rim,covered in a clouded lavender streakedglaze with blue patches impressed RuskinEngland, date and incised facsimile HowsonTaylor signature 14cm. high 100-200

170. An early Ruskin Pottery vase byWilliam Howson Taylor, ovoid with waistedcylindrical neck, covered in a rich blue glazeimpressed WHT monogram 25cm. high

100-150

171. A Ruskin Pottery high-firedstoneware vase by William HowsonTaylor, dated 1922, ovoid with tall flaringneck, covered in a lavender and pale blueglaze, with mint green spots, impressedRuskin England date 1922, 17cm. high

200-300

172. A Ruskin Pottery high-firedstoneware vase by William HowsonTaylor, dated 1917, ovoid form, covered in arich red flambe glaze with lavenderstreaking and mint speckles, impressedRuskin West Smethwick mark, dated mark,16cm. high 300-500

173. A rare Ruskin Pottery high-firedstoneware lamp base by William HowsonTaylor, the hexagonal base tapering to acylindrical stem, mottled red flambe glazewith lavender to the base, with green specklesimpressed Ruskin England 28.5cm. high

100-200

174. A Ruskin Pottery high-fired stonewarevase by William Howson Taylor, dated 1933,shouldered form with single-handle, coveredin a running flambe glaze with lavender andgreen glaze impressed Ruskin England anddate 19cm. high 200-300

175. A Ruskin Pottery high-firedstoneware pot pourri with plated rim andcover by William Howson Taylor, dated1911, pierced to the shoulder withflowerhead aperture, covered in a green,lavender and sang de boeuf glaze on anivory ground impressed Ruskin and date8.5cm. high 100-200

168

169

170

171

172

173

174 175

31

176. A Ruskin Pottery stoneware perfumebottle and stopper by William HowsonTaylor, dated 1927, covered in a mottledgreen matt glaze impressed Ruskin Englandand date 15cm. high (2) 100-200

177. A Rare Ruskin Pottery high-firedstoneware scent bottle, stopper and standby William Howson Taylor, dated 1907,silver grey glaze covered with mottled sangde boeuf glaze and mint green spotsimpressed Ruskin England and date 18.5cm.high (3) 1,000-1,500

LiteraturePaul Atterbury and John Henson, RuskinPottery, Richard Dennis Publications, page131 for comparable scent bottles.

178. A Ruskin Pottery high-firedstoneware vase by William HowsonTaylor, dated 1907, shouldered cylindricalform, covered in a purple glaze withstreaked blue and lavender and greenspotting, impressed Ruskin West Smethwickmark, dated 1907, 22.5cm. high 400-600

179. A Ruskin Pottery high-firedstoneware vase by William HowsonTaylor, dated 1905, meiping form, lavenderflambe glaze covered in mint speckles, theshoulder with white patches impressedRuskin Pottery West Smethwick mark, datepartially obscured 19.5cm. high 700-1,000

180. A Ruskin Pottery stoneware vase byWilliam Howson Taylor, dated 1933, whiteglaze covered in a running red flambe andlavender glaze with mint green spotsimpressed Ruskin England and date 22.5cm.high 400-600

176 177

178

179

180

32

181. A large Ruskin Pottery stonewarevase by William Howson Taylor, dated 1922,shouldered form, covered in a white glazewith red flambe splashed band impressedRuskin England and date 37cm. high

800-1,200

LiteraturePaul Atterbury and John Henson, RuskinPottery, Baxendale Press, page 110 forcomparable glazes, page 115 for a periodphotograph of a near identical vase given (aspart of a group of Ruskin Pottery) by WilliamHowson Taylor to the Birmingham ArtGallery, 1926.

182. A Ruskin Pottery high-firedstoneware vase by William HowsonTaylor, dated 1932, tapering cylindrical formwith flaring neck, covered in a grey flambeglaze impressed Ruskin England and date,Ferneyhough paper label 28.5cm. high

1,000-2,000

Provenance Ferneyhough exhibition, 1981, cataloguenumber 10.

LiteraturePaul Atterbury & John Henson, RuskinPottery, Baxendale Press, page 96 for twosimilar examples.

183. A Ruskin Pottery high-firedstoneware vase by William HowsonTaylor, dated 1907, shouldered low bodywith waisted cylindrical neck, covered in aspeckled and running green flambe glazeimpressed Ruskin West Smethwick mark,dated 1907 26.5cm. high 500-800

LiteraturePaul Atterbury and John Henson RuskinPottery, Baxendale Press, page 58 for threecomparable green flambe vases.

181

182

183

33

34

184. A Pilkingtons Lancastrian tile designed by Lewis F Day, modelled inlow relief with a flower design in green and blue on a cream ground, and twoother tiles attributed to Lewis F Day and three ruby lustre tiles probably Maw& Co, all framed 15.5cm. square (6) 100-200

LiteratureJoan Maria Hansen Lewis Foreman Day (1845-1910) Unity in Design & IndustryAntique Collecting Club, page 188 figure 6.34 a and b this design illustrated.This design was shown at the Wolverhampton Exhibition of 1902.

185. A Pilkingtons tile, modelled in low relief and painted with a lion rampanton a heraldic shield, inside scrolling foliate border, in shades of blue, ruby andgolden lustre, in later ebonised wood frame impressed P to back 15.5cm.square 150-200

LiteratureA J Cross Pilkingtons Royal Lancastrian Pottery and Tiles, Richard Dennis, page36 for two related tiles which were exhibited in a fireplace at the 1908 Franco-British Exhibition.

186. A Pilkingtons tile designed by J. Henry Sellers, modelled in low reliefwith a lion rampant, in golden lustre in a blue lustre ground, framed, and anotherPilkingtons Lancastrian tile modelled in low relief with foliage 15.5cm. square (2)

200-300

LiteratureA J Cross Pilkington's Royal Lancastrian Pottery & Tiles, Richard Dennis, page36 plate 38a for this tile design which was used in a fireplace as thecentrepiece of the Pilkington's stand at the Franco-British Exhibition in 1908.

The Studio Yearbook, 1908, the fireplace featuring this tile design illustratedpage 31.

PILKINGTONS LANCASTRIAN POTTERY

184

185

186

35

187. A large Pilkingtons Lancastrian ginger jar and cover by Richard Joyce, dated 1911, modelled in low relief with scaly fish swimmingin turbulent waters in ruby and golden lustre on a green lustre ground impressed mark, painted artist cipher, painted date mark, 1911, coverrestored, 23cm. high (2) 1,500-2,000

LiteratureA J Cross, Pilkington's Royal Lancastrian Pottery and Tiles, Richard Dennis, page 34 plate XIX for a comparable vase and cover by Joyce dated1914 with similar fish decoration , held in the collection of Manchester City Art Gallery.

The Studio Yearbook, 1911, two comparable examples illustrated, page 132 and colour plate page 133 entitled The Green Sea.

The Studio, 1911

36

188. A Pilkingtons Lancastrian vase,dated 1909, compressed form, the flutedbody covered in a fiery crystalline aventurineglaze impressed mark and date code IX,17cm. high 100-200

189. A Pilkingtons Lancastrian vase,dated 1910, shouldered form with cylindricalneck, covered in a ruby flambe lustrous glazewith feathered white decoration, and threeother Pilkingtons vases with similar glazeexperiments impressed marks, impressed Xdate mark, 20cm. high (4) 100-150

190. An early Pilkingtons Lancastrianvase, shouldered form, covered in a fierycrystalline glaze, a Pilkingtons RoyalLancastrian vase modelled in low relief withfish a Pilkingtons Royal Lancastrian platemodelled in low relief with a flowerheaddesign, and a green crystalline vase incisedP mark 9cm. high (4) 100-150

191. A Pilkingtons Lancastrian vase, dated1909, compressed ovoid form with swollenneck, covered in a curdled blue glaze, and twoPilkingtons Lancastrian solifleur vasesdecorated with experimental glazes, a tallRoyal Lancastrian vase and a matt glaze vase,impressed marks, small bruise to curdled vase11cm. high (5) 100-200

192. A Pilkingtons Lancastrian vase,shouldered form, modelled in low relief withfoliate sprays, covered in a red lustre glaze,and five other Pilkingtons vases covered inred glaze impressed marks, 18.5cm. high (6)

150-250

193. A Pilkingtons Lancastrian vasedated 1909, shape no.2819, compressedform with moulded design, covered in a redflambe lustre glaze, a PilkingtonsLancastrian twin-handled vase a Pilkingtonsvase glazed green and a matt glaze tazzaimpressed marks, date code, 18cm. high (4)

100-200

194. A Pilkingtons Royal Lancastrianvase by William S. Mycock, dated 1929,shouldered form, painted with panels ofscrolling foliage in blue on a turquoiseground, another Pilkingtons vase modelledin low relief with a leaping scaly fish, twoother Pilkingtons vases and a Denby mattglaze vase impressed mark and incisedmonogram 25cm. high (5) 100-200

195. A Pilkingtons Lancastrian Potteryvase by Richard Joyce, modelled in lowrelief with fish swimming amongstwaterweed, covered in a streaked red lustreglaze, and another Pilkingtons vasemodelled in low relief with leaping Ibex,covered in a streaked flambe red andlavender glaze impressed mark, paintedartist cipher, 17cm. high (2) 100-200

189

190

191

192

193

194

195

188

37

196. A Pilkingtons Lancastrian twin-handled vase by Gordon M. Forsyth, dated1910, shouldered form, painted with a lionrampant to both sides, between panels of heart-shaped flowers and foliage, in ruby and gold lustre on a blue ground, theneck inscribed Festina Lente, impressedmark, painted artist cipher and date code,24cm. high 700-1,000

197. A Pilkingtons Lancastrian vase byGordon M. Forsyth, dated 1908, shoulderedform, painted with a band of heraldic LionPassant, between Tudor rose and heart-shaped foliate borders, in red and goldenlustre on a pale blue ground impressedmarks, painted artist cipher and date code19.5cm. high 700-1,000

198. A Pilkingtons Lancastrian vasedesigned by Walter Crane painted byWilliam S. Mycock, dated 1911, shape2469, painted with a frieze of lion Passant,above heart shaped foliage and Tudor rosemotif in bronze lustre on red and greenlustre, with modern wooden stand,impressed marks, painted artist ciphers anddate code 13cm. high 400-600

ProvenanceBill Coles collection

LiteratureA J Cross Pilkingtons Royal LancastrianPottery and Tiles, Richard Dennis, page 9plate III for a comparable exampleillustrated.

A Catalogue of the Lancastrian Pottery atManchester City Art Galleries, cataloguenumber 186 for a comparable piece. Thisdesign, also known as the Lion Bowl,painted by Richard Joyce was exhibited atthe Franco British Exhibition in 1908.

196

197

198

mark

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199. A Pilkingtons Lancastrian vase byAnnie Burton, shouldered, taperingcylindrical form, painted with berried foliagein copper and yellow lustre on a mottled redground impressed mark, painted artistmonogram 10cm. high 100-200

ProvenanceBritish Art Pottery, Woolley and Wallis, 11thDecember 2013 lot 99, private collection.

200. A Pilkingtons Lancastrian vase byCharles Cundall, dated 1911, ovoid withcollar rim, painted with a frieze of stylisedtrees, in golden lustre on a red and orangelustre ground impressed mark, painted artistcipher and date code 9.5cm. high 300-500

201. A Pilkingtons Royal Lancastrianvase by Richard Joyce, ovoid with evertedcollar rim, painted with scaly fish swimmingamongst waterweed, painted in ruby andgold on a streaked green ground impressedmarks, painted artist cipher, 11cm. high

300-500

202. A Pilkingtons Lancastrian vase byAnnie Burton, shouldered form, paintedwith a frieze of flowers and foliage in rubyand ochre on a midnight blue groundimpressed mark, painted B monogram11cm. high 300-500

203. A Pilkingtons Royal Lancastrianvase by Richard Joyce, painted with rubyred flowers on scrolling golden foliage on amidnight blue ground impressed mark,painted artist cipher 12cm. high 100-200

204. A rare Pilkingtons Lancastrian vaseby Annie Burton, dated 1908, ovoid withsolifleur neck, painted with panels offlowers and scrolling foliage, in copper andruby lustre on an orange and brown lustreground impressed marks, impressed VIII dateand painted cipher variant, professionallyrestored 19cm. high 100-200

205. A Pilkingtons Lancastrian vase byCharles Cundall, dated 1910, painted withrabbits amidst gnarled trees in golden lustreon a pale blue-green ground impressedmarks, painted artist cipher and date code15.5cm. high 400-600

206. A Pilkingtons Lancastrian vase byCharles Cundall, shouldered form, paintedwith panels of wild flowers in red andgolden lustre on a deep blue lustre groundimpressed marks, painted artist cipher anddate code 14cm. high 300-500

199 200

201 202

203

204

205 206

39

207. A Pilkingtons Lancastrian vase byRichard Joyce, dated 1908 shouldered formpainted with a frieze of lions betweenflowering trees in golden lustre on a redlustre ground impressed mark, paintedcipher and date mark, impressed VIII date,27.5cm. high 1,000-1,500

208. A Pilkingtons Lancastrian vase byRichard Joyce, dated 1910, shouldered form,moulded with twin loop handles, painted withheraldic lion rampant before scrolling foliage,in copper and golden lustre on a brightorange ground impressed mark, painted artistcipher and date mark, 14.5cm. high

300-500

209. A Pilkingtons Lancastrian vase byWilliam S. Mycock, dated 1922, shoulderedform, painted with heraldic lion rampantshield, the reverse with helmet and shield, ingold and ruby lustre on a blue lustre groundimpressed mark, painted cipher, dated,23cm. high 800-1,200

210. A Pilkingtons Lancastrian vase byRichard Joyce, dated 1908, shoulderedform, painted with hummingbirds in copperlustre on a red flambe ground impressedmark and date code, painted artist cipherand date code a variant of 1908, 15cm. high

300-500

ProvenanceBritish Art Pottery Woolley and WallisAuctioneers

211. A Pilkingtons Lancastrian vase byWilliam S. Mycock, dated 1908, shapeno.2364, ovoid with solifleur neck, paintedwith foliate sprays in ruby and copper lustreon a pale yellow lustre ground impressedmarks, painted cipher and impressed VIIIdate, 17.5cm. high 300-500

212. A Pilkingtons Lancastrian vase byRichard Joyce, dated 1907-8, ovoid withsolifleur neck, painted with fish amongstwaterweed, in shades of red and goldenlustre on a blue ground, impressed marks,VII date mark, painted artist cipher and datecode, 13cm. high 300-500

213. A Pilkingtons Lancastrian vase byGordon M. Forsyth, dated 1912,shouldered cylindrical form, painted withCypress trees between scrolling foliage inshades of copper lustre on an orangeground impressed marks, painted artistcipher and date code 15cm. high 300-400

ProvenanceMellors & Kirk auctioneers

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208

209

210

211

212 213

40

214. A Pilkingtons Royal Lancastrianvase probably by Richard Joyce, ovoidwith collar rim, painted with fish swimmingamidst waterweed in red and bronze on agreen lustre ground impressed marks,indistinct artist cipher, 10.5cm. high

300-500

LiteratureA J Cross Pilkingtons Royal LancastrianPottery and Tiles, Richard Dennis, page 61plate XXXV for comparable fish vases byRichard Joyce.

215. A Pilkingtons Lancastrian vase byGordon M. Forsyth, dated 1910, balusterform, painted with flower stems andscrolling foliage in red flambe on a greyground, impressed mark, painted cipher anddate code 19cm. high 200-400

216. A Pilkingtons Lancastrian vase byWilliam S. Mycock, shape no.2767, slender,swollen cylindrical form painted withwaterlily flowers in bronze lustre on astreaked red and green glaze impressedmark, painted monogram 13cm. high

100-200

217. A Pilkingtons Lancastrian vase byRichard Joyce, dated 1908, swollencylindrical form, painted with scaly fishswimming amidst seaweed, in golden lustreon a ruby ground impressed marks,impressed VII date mark, painted artistcipher and date code, tiny glaze frit to baserim,15.5cm. high 300-400

218. A Pilkingtons Lancastrian solifleurvase, dated 1911, shape 2581, slenderbottle form, painted with fruiting grape vinein ruby and copper lustre on an orangeground impressed mark and date mark,20cm. high 300-500

219. A Pilkingtons Lancastrian vase byGordon M. Forsyth, dated 1915, ovoid formwith solifleur neck, painted with stylisedfleur de lys repeat in gold on a brown andorange streaked ground impressed mark,painted artist cipher and impressed date XIIpainted cockerel mark, small glaze frit tobase rim, 19.5cm. high 100-200

220. A Pilkingtons Royal Lancastriansolifleur vase by Gladys Rodgers,compressed form with waisted cylindricalneck, painted with a frieze of radiating scrollpanels, in ruby and orange lustre impressedmarks, painted artist monogram 10.5cm. high

100-150

221. A Pilkingtons Lancastrian vase byGladys Rodgers, ovoid with cylindrical neck,painted with fruiting grape vine in orange andgolden lustre on a mottled red lustre groundimpressed marks, painted artist cipher,professionally restored neck, 12.5cm. high

100-200

214 215

217216

219

218

220 221

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222. A Pilkingtons Lancastrian vase, dated 1909, shape no. 2801,compressed form with everted rim, modelled in low relief with heart-shaped panels in golden lustre on a red lustre ground, the inner rimwith golden lustre glaze, and another vase dated 1909, covered in amatt green glaze impressed marks and date, fine hairline to toprim,12cm. high (2) 150-250

ProvenanceArts and Crafts Woolley and Wallis, 19th June 2013 lot 238 (red lustre vase)

British Art Pottery Woolley and Wallis, 11th December 2013 lot 137(matt green vase, part lot)

223. A Pilkingtons Royal Lancastrian vase by William S. Mycock,dated 1916, twin-handled form, painted with flowers in dark green onan orange lustre ground impressed marks, painted artist cipher anddate code, remains of Pilkingtons paper label, 19cm. high 150-200

224. A Pilkingtons Lancastrian vase by William S. Mycock, dated1912, twin-handled form, painted with foliage panels in golden lustreon a yellow ground impressed marks, painted cipher and impresseddate XII, 18cm. high 300-400

225. A Pilkingtons Lancastrian vase by Gordon M. Forsyth, dated1913, shape 2363, shouldered form, painted with panels of lionRampant, between Cypress tree columns, in golden lustre on a red lustreground, with a blue lustre band to the base, 23cm. high 800-1,200

LiteratureA J Cross Pilkingtons Royal Lancastrian Pottery and Tiles, RichardDennis, page 57 colour plate XXXII for another, larger example of thislion by Forsyth illustrated.

226. A Pilkingtons Lancastrian vase by Gordon M. Forsyth, dated1913, shouldered form with collar rim, painted with a frieze of lionpassant, in golden lustre on a golden-lime green ground impressedmark, painted artist cipher, date code, professionally restored top rim,14cm. high 300-400

227. A Pilkingtons Lancastrian vase by Annie Burton, shoulderedform, painted with a band of fruiting grape vine, in ruby and goldenlustre on a mottled blue and orange, impressed mark and date markXII and painted artist cipher 14cm. high 200-300

228. A Pilkingtons Lancastrian vase by Richard Joyce, dated1915, ovoid with swollen neck, painted with medieval mountedhuntsmen, between scrolling foliage and birds, in golden lustre on ared and brown streaked lustre ground impressed mark, painted artistcipher and date code 13cm. high 300-500

229. A Pilkingtons Lancastrian box and cover by Gladys Rodgers,the cover painted with a stylised flowerhead design in golden lustre ona red lustre ground painted artist cipher 16cm. diam. (2) 100-200

ProvenanceBritish Art Pottery Woolley and Wallis 11th December 2013, lot 83from a Private collection of Pilkingtons Lancastrian Pottery.

230. A Pilkingtons Lancastrian bowl by Jessie Jones, flaringform, painted with stems of heart-shaped foliage, in golden lustre ona blue ground, the interior glazed gold impressed mark, painted artistcipher, small glaze chip to top rim, 10cm. diam. 100-150

222

223224

225 226

227 228

229230

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231. A large Pilkingtons Lancastrian vase and cover by GordonForsyth, dated 1919, shape no.2229, shouldered form, painted withsprays of carnations and bell flowers below inscription Ave MariaGratia Plena in golden lustre on a red lustre ground, impressed mark,painted artist cipher and date mark, hairline crack to cover, 44cm.high (2) 500-1,000

232. A Pilkingtons Lancastrian vase by William S. Mycock, dated1906, shouldered form, painted with a frieze of partridge, betweenbands of scallop, in golden lustre on a speckled blue groundimpressed mark and date VI, painted artist cipher 17cm. high

500-1,000

ProvenanceBritish Art Pottery, Woolley and Wallis, 11th December 2013 lot 160.

233. A Pilkingtons Lancastrian vase by Richard Joyce, dated1917, shape 2651, ovoid form with everted rim, painted with deeramidst foliage borders, in silver lustre on a midnight blue groundimpressed marks, painted artist cipher and date code 8.5cm. high

400-600

234. A Pilkingtons Lancastrian vase by Richard Joyce, dated1908, shouldered form, painted with a frieze of prowling leopards,between scroll and wave borders, in red and golden lustre on acream ground impressed mark and date code 17.5cm. high

800-1,200

231

232 233

234

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235. A Pilkingtons Lancastrian vase byWilliam S. Mycock, dated 1930, shoulderedform with collar rim, painted with seagullsflying above waves in a dark gold and rubylustre on a midnight blue lustre groundimpressed mark, painted artist cipher anddate mark for 1930, 33.5cm. high

1,000-2,000

LiteratureA J Cross Pilkingtons Royal LancastrianPottery and Tiles, Richard Dennis, page 69plate 109 this vase illustrated.

236. A Pilkingtons Lancastrian vase byWilliam S. Mycock, dated 1924, shoulderedcylindrical form, painted with sprays ofcarnations in red and golden lustre on amottled green lustre ground impressedmark, painted monogram and date, paperexhibition label no.17, 33.5cm. high

1,000-2,000

235

236

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237. Sylvia Fox Strangewaystwo studio pottery tiles dated 1927 and 1928, one painted with ablossom tree, the other with a flower spray, in colours on a turquoiseground, Crazy Daisy a Harris G Strong tile panel, another Harris GStrong tile panel, framed, painted marks, date and SFS monogram,minor chips 15.5cm. square (4) 100-150

Catalogue notesSylvia Fox Strangeways was a private pupil at the Leach Pottery in 1926.

238. Charles Vyse (1882-1971)a stoneware Chun glazed dish, covered in a lavender and blue glaze overgrey, and a pair of terracotta busts possibly by Charles Vyse incisedCharles Vyse Chelsea to dish, busts incised CV 16cm. diam. (3) 50-100

LiteratureTerence Cartlidge Charles & Nell Vyse, Richard Dennis and Ed Pascoe,page 51 for two bowls and a vase covered in comparable Chun glazes.

239. Henry & Denise Wren, attributedan unusual Oxshott Pottery vase, with applied handle, covered in arunning blue and purple glaze over apple green, a small Oxshott jug,six Upchurch Pottery items and four other items incised Oxshott,23cm. high (12) 100-200

240. Winchcombe Potterya slip glazed earthenware jug, decorated with simple grass motif,two piecrust rimmed slipware dishes and a Leach Pottery vasedecorated with an oak leaf motif impressed Winchcombe seal mark,19.5cm. high (4) 50-100

241. Seth Cardew (born 1934)a Wenford Bridge stoneware bowl, painted to the well with radiatingscroll design in blue and brown on a grey ground, the exterior withsimple wavy line design, impressed seal marks, 31cm. diam. 100-150

ProvenanceBritish Art Pottery, Woolley and Wallis 11th December 2014, lot 351

242. Clive Bowen (born 1943)a large wood-fired earthenware floor vase and cover, shoulderedform with four loop handles, decorated with alternate panels of fish,shrimp and foliate spray, covered in a graduated brown to yellowglaze unsigned, small chip to side, 65cm. high (2) 100-200

STUDIO POTTERY237

238239

241

240

242 243

244 245 246

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243. Phil Rogers (born 1951)a large stoneware bottle vase, with carved flutes to shoulder,covered to the foot with a speckled ash glaze impressed seal mark,36cm. high 100-200

LiteraturePhil Rogers Tradition Renewed, Pucker Gallery, catalogue number 32for a comparable bottle vase.

244. Jim Malone (born 1946)an Ainstable Pottery slab built vase, shouldered, footed form incisedwith simple stem design, the shoulder covered in an ash glaze, thebody a tenmoku glaze to foot, impressed seal marks, exhibitionnumber to base, 32cm. high 100-150

245. Mike Dodd (born 1943)a cut-sided stoneware jar and cover, covered to the foot in an ashglaze impressed seal mark, 21.5cm. high (2) 50-100

ProvenanceBritish Art Pottery, Woolley and Wallis, 11th December 2013, lot 367.

246. Mike Dodd (born 1943)a slab-built stoneware vase, shouldered form with swollen, squaresection neck, incised with panels of grasses, covered to the foot with anash glaze, a stoneware vase with fluted decoration, covered to the foot ina celadon glaze by Phil Rogers, a jug by Phil Rogers and two other vasesimpressed seal mark, 31cm. high (Mike Dodd vase), (5) 100-200

247. David Leach (1911-2005)a Lowerdown Pottery stoneware vase, shouldered drum form withcut decoration, glazed to the foot in speckled olive green and brownglaze impressed DL seal, 21cm. high 100-150

248. Shoji Hamada (1894-1978)a stoneware incense burner, cauldron form with hatched decorationcovered to the feet with a tenmoku glaze unsigned 10cm. high

400-600

LiteratureShoji Hamada Master Potter, Lund Humphries, page 58 plates 27 and28 for a two comparable incense burners.

249. Edward Piper (1938-1990)a Ridge Pottery plate, painted with a seated female figure, in blue,green and ochre on a celadon ground impressed seal mark, paintedEP monogram 26cm. diam. 100-150

250. Richard Batterham, (born 1936)a large stoneware platter, decorated with a band of incised combdecoration under a pale celadon glaze 50cm. diam. 100-150

251. John Dunn (born 1944)a large raku charger, covered in a crackled cream lustre glaze to thefront, four John Dunn bowls and a raku vase by another artistimpressed seal mark, 57.5cm. diam. (6) 100-150

247

248

249

250 251

mark

mark

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252. Peter Lane (born 1932)a flaring conical porcelain bowl, covered in a celadonglaze, two other Peter Lane footed bowls and anotherbowl incised signature 23cm. diam. 11cm. high (4)

100-200253. Mary Rich (born 1940)a porcelain teapot and cover, banded in blue and purplewith gilt decoration with wicker handle, another MaryRich teapot and cover, a David Leach Lowerdown Potteryteapot and cover, and four Lowerdown egg cups,impressed seal marks, 9.5cm. high (Mary Rich teapot),(7) 100-200

254. Joanna Constantinidies (1927-2000), attributeda stoneware deep sided bowl, covered in a mottled andpitted sand and rush glaze, and a Mashiko vase unsigned15cm. high (2) 100-150

255. Jane Hamlyn (born 1940)a salt-glazed stoneware vase, shaped square section, ajug similar, a Geoffrey Whiting porcelain teapot andcover, a Geoffrey Whiting hare's fur stoneware teapotand cover, and a large collection of studio potteryimpressed seal marks, 12cm. high (a lot) 100-150

LiteratureGeoffrey Whiting, Aberystwyth Arts Centre, touringexhibition 1989-1990, page 79 for a comparable teapotand cover.

256. John Dunn (born 1944)a large Raku pottery vase, elliptical form with spilt neck,glazed with brushed panels of sky blue on a splashedgrey and white ground, another taller John Dunn vase, aJohn Wheeldon raku pottery vase and another vasepainted signature John Dunn 32cm. high (5) 100-200

ProvenanceBritish Art Pottery Woolley and Wallis, 11th December2013, lot 516, John Wheeldon vase and the Unomi.

257. Bernard Forrester (1908-1990)a porcelain vase, ovoid with cylindrical neck, incised with afrieze of fish in sand and blue on a buff ground, and twoother Thomas F