Gorringe's Art & Design Post 1880 Auction, Tuesday 2nd December 2025

Art & Design post 1880

Tuesday 2 December 2025

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Art & Design post 1880

Tuesday 2nd December

10.00am

15 North Street, Lewes, Sussex BN7 2PE

John Holmes

Managing Director

+44 (0)1273 472503

johnh@gorringes.co.uk

Buyer’s Premium:

25% + VAT payable on the hammer price of all lots

Important changes to our bidding procedure:

Please note that, owing to the recent introduction of Money Laundering Regulations,

clients wishing to bid in this auction are likely to be asked to provide two forms of

identification. This applies to both new and existing clients.

General Enquiries:

Tel: 01273 472503

clientservices@gorringes.co.uk

Registered in England & Wales as a Limited Liability Partnership. Registration No. OC318535

Gorringes is a trading name of Gorringes LLP

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SALE NOTICES

SALE SYMBOLS

§ Artist’s resale right - 4% on the hammer price

† VAT on the hammer price

* Import tax of 5% on the hammer price

** Import tax of 20% on the hammer price

BIDDING

You may bid in the room, by commission bid, by telephone or live online. To register to bid in the room please visit the

cashiers desk on the day of the sale. To leave a commission bid please use the online facility, telephone, email or fill out

a bidding form. Bids must be received no later than 9 a.m. on the saleday.

TELEPHONE BIDDING

Telephone bids must be received no later than close of business on 1 December.

ONLINE BIDDING

There are three online bidding platforms to choose from; thesaleroom.com, easylive.co.uk and GorringesLive. All have

different additional charges on top of the hammer price and buyer’s premium.

CONDITION REPORTS

Rarely are things at auction in perfect condition so do satisfy yourself as to the condition of each lot. Condition reports

are not printed in the catalogue. Please email if you require further information about a lot.

VAT

Please note that due to the withdrawal of the Retail Export Scheme by HMRC, we are unable to provide VAT refunds

documentation for hand-carried exports. In order to qualify for a VAT refund, your lots must be exported by a shipper

and valid exportation documentation must be provided.

PAYMENT TERMS

Payment is required by Friday 5 December by debit card, BACS and cash (subject to money laundering regulations).

Please note we do not accept credit cards or American Express.

PACKING, DELIVERY & SHIPPING

Shipping can prove expensive so please ask us for a shipping quote before bidding. We aim to provide in-house packing

where practical but high value and delicate items may well require a specialist. Overseas shipping is best provided by

a shipper in order to access appropriate insurance cover. We can recommend local carriers, UK domestic carriers and

International shipping specialists.

BOOK A COLLECTION

Collection is by appointment only. You need to book a collection time by 4pm the previous day.

Visit the website or follow the link on your invoice to book a collection time. Purchases not collected within two weeks of

the sale date will be held in storage and charged at the rate of £5+ VAT per lot per day.

Please contact us if you require special arrangements to be made regarding storage.

CONDITIONS OF SALE

Visit www.gorringes.co.uk for full conditions of sale.

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VIEWING

Friday 28 November 9am - 4.30pm

Saturday 29 November 9am - 1.00pm

Monday 1 December 9am - 4.30pm

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Order of Sale

Pictures Lots 1 - 92

Ceramics Lots 93 - 120

Glass Lots 121 - 134

Works of Art Lots 135 - 166

Furniture Lots 167 - 188

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Pictures

Henry Wilson (1864-1934)

Henry Wilson (also known as Harry Wilson, and as H. Wilson) was one of the most

original and versatile architect-craftsmen of the early 20th century. He trained

initially as an architect but over his career found himself increasingly drawn to

the associated arts: church furnishings, stained glass, sculpture, metalwork and

jewellery.

Wilson studied at the Kidderminster School of Art, Westminster School of Art and

the Royal College of Art, before commencing his architectural training in the

offices of Edward Shrewsbury (1848-1924), John Oldrid Scott (1841-1913) and John

Belcher. From 1888 to 1891 he was chief architectural assistant to John Dando

Sedding (1838-91). The three years he spent in Sedding’s office shaped some of

his most deeply held beliefs including the notion that architects should be able to

decorate their own buildings and should therefore master other crafts. With this in

mind, Wilson turned his attention to designing the jewellery and metalwork pieces

he is arguably most well-known for.

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Henry Wilson (1864-1934):

An archive of material,

including figural studies, interiors,

architectural designs, and religious scenes,

pencil drawings, watercolours and rubbings.

the lot comprised of seven sketchbooks, two

framed and fourteen unframed works (23)

Provenance: The estate of the Artist;

A gift from the artist's daughter Orrea Pernel

Wilson (1906-1993) to the vendor's family, who

were renting Wilson's studio at The Thatched

House, St Mary's Platt, near Sevenoaks, Kent

£800 - £1,200

2

Henry Wilson (1864-1934) for St Mark's, Brithdir,

Gwynedd, Wales: A bronze catafalque handle

modelled in the form of an angel,

with wings and halo, apparently one of three cast, by family repute

modelled after the artist's wife, Margaret (1870–1931),

14cm x 9cm x 10cm

Provenance: The estate of the Artist;

A gift from the artist's daughter Orrea Pernel Wilson (1906-1993)

to the vendor's family, who were renting Wilson's studio at The

Thatched House, St Mary's Platt, near Sevenoaks, Kent

£200 - £300

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3

Henry Gibbs (fl.1879-1910)

'On the Coast of Cornwall' or 'On a fine day in November'

1879,

A Newlyn School style study of a woman walking along a cliff path,

signed lower left,

oil on canvas,

101cm x 126cm

Exhibited: The Royal Academy, London, 1879, no. 939, as

'On a fine day in November', winner of the Turner Gold Medal

Provenance: The Collection of George Orme Esq (d. 1895),

The Manor House, Sutton, Surrey (now Greater London);

His sale, Christie's, London, May 25th 1895, lot 23, as 'On the Coast

of Cornwall', sold for 32. 11-

£300 - £500

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4

Claude Hayes (1852-1922)

Normandy Landscape with Shepherd and Sheep,

signed lower right

oil on canvas

49.5cm x 80cm

£250 - £350

5

Harrington Mann (1864-1937)

'Spring Landscape'

1898,

a young girl gathering faggots in a wood,

signed and dated lower right,

oil on board,

23cm x 16cm

Provenance: With Paul Cassirer, Berlin

£200 - £300

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6

§ Sir Frank Brangwyn (1867-1956)

'Ex Libris'

pencil sketch of figures in a interior,

monogrammed lower right,

with ink inscription to the mount,

16cm x 10.6cm

£150 - £250

7

Edouard Vuillard (French, 1868-1940)

'Madam Hessel au Telephone'

monogrammed lower left,

pencil on paper,

17cm x 9.5cm

Provenance: With JPL Fine Arts, London;

Private Collection, Dorset

£200 - £400

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8

§ Henri Matisse (French, 1869-1954)

'Ne Bleu XI'

signed and dated ‘52 in plate lower right,

original 1954 lithograph after Matisse’s cutouts,

printed by Mourlot,

35cm x 26cm

Provenance: Purchased from Goldmark Gallery,

Uppingham, Rutland, stock no. 9485

£400 - £600

9

§ Manner of Frantisek Kupka

(Czech, 1871-1957)

Modernist composition with circles,

bearing signature lower right,

pencil and watercolour,

34cm x 25cm

£300 - £500

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10

§ Harry Robert Mileham

(1873-1957)

'The Adoration of the Shepherds'

1904,



50cm x 83cm

£300 - £500

11

§ Harry Robert Mileham (1873-1957)

Two figural studies,

unsigned,

sanguine chalks on paper,

each 45cm x 25cm

mounted and framed as one

£200 - £300

12

§ Harry Robert Mileham (1873-1957)

Study of figures labouring,

unsigned,

chalks and pencil on paper,

45cm x 65cm

£200 - £300

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13

Jessie Marion King (1875-1949)

'In Tír na nÓg - Knee deep in Faerie flowers'

signed lower right,

ink and watercolour on paper,

title in pencil to the margin,

the image 24cm x 32cm

£1,500 - £2,500

14

14

§ Attributed to Augustus John OM RA (1878-1961)

Female nude

signed lower right,

pencil on paper,

50cm x 35cm

£300 - £500

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15

Ambrose McEvoy (1878-1927)

A half-length portrait of a nude figure seated in a chair,


17.5cm x 13.5cm

Provenance: According to an inscription verso,

previously in the collection of Benjamin Wyndham

Theodore Vint (1882-1959)

£300 - £500

16

§ Ernest Howard Shepard (1879-1976)

A humorous cartoon relating to the Anglo-American

Loan Agreement,

circa 1946,

depicting Edward Wood, 1st Earl of Halifax and

John Maynard Keynes, 1st Baron Keynes,

riding a horse emblazoned with dollar signs,

signed lower right,

pen and ink heightened with white,|

28.5cm x 23cm

£100 - £200

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17

§ Sir William Russell Flint

(1880-1969)

'Her first ball dress',

signed lower right,

further signed and titled verso,

watercolour,

26cm x 17cm

Exhibited: The Fine Art Society Ltd.,

New Bond Street, London, August 1958

£3,000 - £5,000

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§ Sir William Russell Flint

(1880-1969)

'Autumn on the Cere'

signed lower right,


watercolour,

50cm x 68cm

£1,000 - £2,000

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19

Jean Marchand (French, 1883-1940)

A figure in a landscape,

signed lower right,

charcoal on paper,

28.2cm x 44.2cm

£150 - £250

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19

Study for the head of Christ

at Berwick Church

by Duncan Grant

The Bloomsbury Group and the Berwick Murals

The murals at St Michael and All Angels Church in Berwick, East Sussex, are a remarkable example of 20th-century church art.

Painted between 1941 and 1944 by Bloomsbury Group members Duncan Grant and Vanessa Bell, along with Bell’s son Quentin,

the murals form a complete decorative scheme that fills the ancient rural church with vivid modern imagery. This collaboration

brought together modern artistic vision and traditional Christian themes, blending the sacred with the everyday life of the

surrounding Sussex community.

This was the first time that contemporary artists of repute had been allowed to completely decorate the interior of an historic

country church. The Right Rev. George Bell, the Bishop of Chichester, hoped it would bring about a revival of the commissioning

of artists by churches, as painted churches were a rarity in England. Most medieval churches were elaborately decorated with

religious scenes, but these images were defaced or destroyed as idolatrous during the Reformation — part of that great shift

from the Catholic image to the Protestant word. Where traces of angels or apostles do remain, their eyes are often gouged out

by Cromwell’s men, a startling reminder of the ferocity with which Catholicism was expelled. During the early days of the Second

World War, Bishop Bell became determined to bring art back to the Church of England. He wanted to find a way of helping artists

struggling in wartime and believed the Church could take up its former role of patronage. “It is important to begin,” he wrote

firmly. “Even small beginnings help.” Bishop Bell, inspired by the work Kenneth Clark was doing to support artists, set in motion his

scheme for the decoration of St Michael and All Angels in 1940, with Duncan Grant and Vanessa Bell coming forward with their

proposal, which was commissioned in 1941.

Duncan and Vanessa envisioned a decorative scheme that went beyond a collection of framed paintings. Their goal was to

create an immersive environment with its own distinct atmosphere and aesthetic character. From the time they were proposed

and begun (Duncan had actually started work before formal permission had been granted), the murals stirred controversy

among the local villagers. One strong opponent was Nancy Sandilands, who feared that the murals would spoil the quiet

character of the village, and thought a wartime project of wall decoration was inappropriate when so much elsewhere required

attention. She formally objected, leading to a Consistory Court hearing in 1941, where arguments over suitability, cost, aesthetics,

and heritage were aired. On the other hand, there was significant support — from church leadership, from established art figures,

and from those who saw the murals as an uplifting and spiritually renewing experiment. The project was seen by some as

helping to reconnect modern art with religious worship, enriching the visual life of the church, and giving hope during the difficult

years of the Second World War. Over the longer term, the murals have come to be widely admired. Critics praise their vivid

colours, their blending of local landscape and people into biblical scenes, and their emotional resonance. More recent reactions

stress that they are an outstanding example of 20th-century ecclesiastical art, unique in being a complete mural scheme by

well-known modern artists in a rural church.

The scenes depicted include Grant’s monumental Christ in Glory, painted above the chancel arch, featuring figures drawn from

local people, including servicemen from the Second World War. Other panels include Grant’s Victory of Calvary (also known

as The Crucifixion), The Annunciation and The Nativity by Vanessa Bell, and The Supper at Emmaus by Quentin Bell. The pulpit

at Berwick was originally decorated to the three central panels, with portrayals of the Saints Gabriel, Raphael and Michael, by

Vanessa Bell, but these were vandalised in 1962, the year after Bell’s death. These were then repainted by Grant to designs by Bell

and Grant’s daughter, Angelica.

The Berwick murals combine traditional religious symbolism with recognisable local landscapes and individuals, creating an

intimate link between the biblical stories and the lives of those who worshipped in the church. Today, the murals are valued both

for their artistic importance and for their cultural significance.

The work offered here depicts a head-and-shoulders portrait of a man wearing a sailor’s uniform. It is not known who the model

for Christ in Glory was, though speculation has pointed to friend and fellow artist Edward Le Bas, who did model for the figure of

Christ in the Victory of Calvary mural.

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Previous page - ‘Christ in Glory’ by

Duncan Grant

Far left - St Michael and All Angels

Church in Berwick

Left - The Right Rev. George Bell, the

Bishop of Chichester by Duncan Grant

Opposite Page, Clockwise from top left:

The Wise and Foolish Virgins and the

Sacraments, both by Quentin Bell,

looking towards The Victory of Calvary

by Duncan Grant;

The Nativity by Vanessa Bell;

The Pulpit by Vanessa Bell and latterly

Duncan Grant;

The Annuciation by Vanessa Bell

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§ Duncan Grant (1885-1978)

'Study for head of Christ in the wall-painting in the Church at Berwick, near Firle, Sussex'

1941,

titled, dated and inscribed verso by John Steegman,

oil on canvas,

52cm x 32cm

Provenance: A gift from the artist to John Steegman, 1943;

Christie’s, London, 7th April 1988, lot 42;

Bonham’s, London, 12th July 1990, lot 237;

Private collection, London

£15,000 - £25,000

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21

§ Paul Lucien Maze (French, 1887-1979)

Coastal landscape.

signed lower left,

watercolour,

55cm x 76.5cm

Provenance: Presented to West Heath School, Sevenoaks, Kent, by Sir William Lithgow, in 1967

The sale of the contents of West Heath School, Gorringe's, Lewes, 1998.

£400 - £600

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22

§ Laurence Stephen Lowry RBA, RA (1887-1976)

'Sailing Boats'

signed in pencil to the margin lower right,

Fine Art Trade Guild blindstamp lower left equating to 81 from the edition of 850

limited edition offset lithograph,

published in 1975 by Venture Prints Limited of Bristol,


Provenance: Purchased from Frost & Reed (Worthing) Ltd., May 16th 1977 for £100

and to be sold with invoice

£2,000 - £4,000

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23


'The Family'

1972,

signed in ballpoint pen to the margin lower right,

Fine Art Trade Guild blindstamp lower left equating to 772 from the edition of 850,

offset lithograph printed in colours by Max Jaffe, Vienna,

published by The Adam Collection Ltd.,

the image 26.3cm x 21.2cm

£600 - £1,000

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24


'Station Approach'



offset lithograph printed in colours in 1962,

printed by Max Jaffe, Vienna,

published by The Adam Collection Ltd.,

the image 40.2cm x 51cm

£1,200 - £1,800

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25


‘Level Crossing with Train’

1973,


offset lithograph printed in colours, on wove,

from the edition of 750, published by Patrick Seale Prints, London,


£2,500 - £3,500

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26


‘Landscape with Farm Buildings’

1974,



offset lithograph printed in colours by Venture Prints Limited of Bristol,

the image 40cm x 50cm,

£1,200 - £1,500

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27


‘Crime Lake’

1972,

apparently unsigned,

Fine Art Trade Guild blindstamp lower left (number obscured)

from the edition of 500,

printed by Max Jaffe, Vienna, on wove,

published by Adam Collection Ltd.,

the image 45.6cm x 60.5cm

£1,500 - £2,500

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28

§ Jean-Gabriel Domergue (French, 1889-1962)

'L'élégante'

A full-length study of an elegant lady holding a fan,

the sitter depicted standing before Japonesque panels,

oil on canvas laid on board,

29cm x 43cm

£2,000 - £4,000

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29

§ Bernard Meninsky

(1891-1950)

'Apples in White Bowl'

signed lower right,

titled verso,

oil on canvas,

40cm x 50cm

£800 - £1,200

30

§ Bernard Meninsky

(1891-1950)

'Rose Ellenby'

titled and numbered 115 to the stretcher verso,

oil on canvas,

40.5cm x 50.5cm

Provenance: With The Froyle Gallery, Hampshire

£1,000 - £1,500

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31

§ Jacob Kramer (Ukranian, 1892-1962)

'Head of a Girl'

signed lower right,

pastel,

26.5cm x 24.5cm

£200 - £400

32

§ Ben Nicholson OM

(1894-1982)

'Two Sculptural forms'

(LaFranca 89)

1967,

signed, dated '68' and numbered 30/50 in

pencil to the margin

etching printed with tone on wove,

blindstamp lower left,

published by Leslie Waddington Prints,


£1,500 - £2,500

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33

§ Georgios Kosmadopoulos (Greek, 1895-1967)

A Greek coastal scene with a figure relaxing to the foreground,

signed 'Kosm" lower right,

oil on board,

15.5cm x 24cm

£300 - £500

34

§ Raymond Crétot-Duval

(French, 1895-1986)

'Le Pont Neuf, Paris'

signed lower left,

watercolour and gouache,

42cm x 48cm

£100 - £200

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35

§ Eric Slater (1896-1963)

'Seaford Head, Sussex'

1930,

signed and titled in pencil to the margin,

woodcut in colours,


£1,000 - £2,000

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36

§ Percy Frederick Horton RBA (1897-1970)

‘The Home Farm, Firle, circa, 1965’

signed in ink to the frame verso,

titled in ink to a label verso,

oil on board

56.5cm x 75cm

£400 - £600

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37

§ Marcel Dyf (French, 1899-1985)

L'Oise a L'lle Adam (Ile de France)'

signed lower right,

oil on canvas,

45cm x 54cm

Provenance: With E. Stacy-Marks, Eastbourne, East Sussex

£4,000 - £6,000

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38

§ John Piper OM, CH (1903-1992)

'Preliminary sketch design for Oedipus Rex,

Old Vic New Theatre, Oct. 1945, Producer: Michel St Denis'

1945,


further signed and with ink inscription below,

ink and gouache on paper,

19.5cm x 28cm

£1,500 - £2,000

39

§ John Piper OM, CH (1903-1992)

'Death in Venice (side panel left)'

(Levinson 224),

1973,

signed and numbered 39/70 in pencil,

screenprint in colours, on Arches,

printed at Kelpra Studio,

published by Marlborough Fine Art

77.8cm x 68.1cm

£600 - £800

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40

§ Albert Houthuesen (Dutch/British, 1903-1979)

'Beach, 1965'

signed lower left,

titled and inscribed verso,

casein tempera on board,

17cm x 24.5cm

Exhibited: Richard Nathanson, London, 1975

£400 - £600

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41

§ Ray Howard-Jones (1903-1996)

'Nr Llangorse Lake'

1949,

signed "Ray" and dated lower left,

watercolour and gouache on paper,

26.5cm x 36cm

£300 - £500

42

§ PIerre Jérôme (French, 1905-1982)

A still life study of flowers in a vase,

signed lower right,

mixed media on paper,

91cm x 73cm

£200 - £400

43

§ Zdzislaw Ruszkowski (Polish, 1907-1991)

'Seaside'

signed lower left,

watercolour,

17cm x 24cm;

together with a copy of 'Unofficial War Artist, from

France to England, A pictorial record by Z. Ruszkowski

with the tale told by Michael Simonow', published by

Mechanick Excercises, 1985 (2)

Provenance: With Roland, Browse and Delbanco,

Old Bond Street, London

£200 - £400

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44

§ Victor Pasmore RA, CH, CBE (1908-1998)

'The Image in Search of Itself'

A group of five framed screenprints,

two double page and six framed together as three

double pages,

from the portfolio of 11 published in 1972

unsigned,

each spread 50cm x 70cm (5)

£500 - £800

40

45

§ Robert Chailloux (French, 1913-2006)

‘Les Chandon Bleus’

signed lower left,

oil on canvas,

54cm x 45cm

Provenance: Purchased from E. Stacy-Marks,

Eastbourne, East Sussex, 20th April 2001, for £4,500

£600 - £800

46

§ Frank Wootton (1914-1998)

‘High and Over and the River Cuckmere, Sussex’

signed lower right,

signed and titled verso,

oil on canvas,

50cm x 75cm

£1,500 - £2,500

46

§ Frank Wootton (1914-

1998)

'High and Over and the River Cuckmere,

Sussex'

signed lower right,

signed and titled verso,

oil on canvas,

50cm x 75cm

£1,500 - £2,500

41

William Gear RA RBSA (1915-1997)

Scottish artist William Gear was born in Methil, Fife, and attended Edinburgh

College of Art. In 1937 he studied briefly under Fernand Léger in Paris. After the war

Gear worked in Germany, mounting exhibitions for the Allies. From 1948 to 1950 he

lived in Paris, where he became affiliated to the COBRA movement. The COBRA

artists (the initials stand for Copenhagen, Brussels and Amsterdam, the home

cities of many of the group’s members), advocated a gestural, near abstract style

of painting, influenced by primitivism and the art of children.

In 1950 he returned to England, where he painted his best-known work, ‘Autumn

Landscape’, recipient of the Festival of Britain Purchase Prize. The painting’s

dynamic, abstract forms created a controversy which established him as a

well-known artist in the following years.

In 1958, Gear was appointed curator of Towner Art Gallery in Eastbourne. However,

the local community was resistant to the Modernist art championed by Gear,

and every purchase had to overcome fierce opposition. He later said of this time

that “I won the battle, I was a casualty if you like, but I won the battle”. In 1960, two

paintings by Gear were included in the Royal Academy Summer Exhibition - the

first abstract works ever to be shown at the Academy, and which were met with

much derision in the press. At the 1962 Summer Exhibition, his submissions were

rejected by the RA Hanging Committee, prompting the sculptor FE McWilliam to

resign in protest.

William Gear in his studio, Paris 1949

In 1964, he was appointed head of the Department of Fine Art at the Birmingham

College of Art, remaining there until his retirement in 1975. He also served as

chairman of the fine art committee of the Council for National Academic Awards.

In 1995, he was elected to the Royal Academy and continued painting throughout

the later years of his life.

47

§ William Gear RA RBSA

(1915-1997)

'Couple, April 1975',


acrylic on paper,

56cm x 74cm

Provenance: From the family of the artist

£300 - £500

42

48


(1915-1997)

'Yellow Centre, July 1969',


acrylic on paper,

59cm x 77cm

Provenance: From the family of the

artist

£300 - £500

49


(1915-1997)

'Yellow Vertical, 1970',


acrylic on paper,

63cm x 45cm


£200 - £400

43

50


(1915-1997)

‘Summer Piece, June 1983’,

signed lower right,

acrylic on paper,

70cm x 51cm


£300 - £500

51


(1915-1997)

‘Untitled, October 1974’,


acrylic on paper,

50cm x 76cm

Provenance: From the family of the

artist

£250 - £450

44

52

§ Mary Fedden OBE R.A. PPRWA (1915-2012)

'Shells and Pebbles'


lithograph,

the sheet 57cm x 77cm

£150 - £250

53

§ Mary Fedden OBE R.A. PPRWA (1915-2012)

'Poppies 2006'

Signed and numbered 15/75 in pencil to the margin,

giclee print,

the image 45cm x 45cm (mounted, unframed),

with Aquarelle Publishing Ltd certificate of authenticity

£150 - £250

54

§ Mary Fedden OBE RA PPRWA (1915-2012)

'Red Sunset'

signed and numbered 348/500 in pencil to the margin,

offset lithograph on wove paper,

published by Bow Art in 2000 and with their blindstamp,


£100 - £150

45

55

§ Kyffin Williams (1918-2006)

'Torridon from Skye'


ink and wash on blue/grey paper,

21.5cm x 29.5cm

£800 - £1,200

57

§ Joan Gilchrest (1918-2008)

A woman seated beside a table with a

potted flower, a coastal view behind her,


oil on board,

18.8cm x 13.5cm

£500 - £800

46

47

57

§ Adrian Heath (1920-1992)

‘AH/5/70’

1970,

monogrammed and dated lower right,

oil and pencil on paper,

21.6cm x 22.9cm

Provenance: Purchased from JPL Fine Arts,

Grafton Street, Mayfair, London, 6th February 1975;

Private collection, East Sussex

£200 - £300

58

§ Cirilo Martinez Novillo

(Spanish, 1921-2008)

'Landscape',

1971,

signed lower right,

inscribed verso "Best wishes to Mr Hobbs, Martinez

Novillo"

oil on canvas board,

26.7cm x 34.3cm

Exhibited: New Grafton Gallery, Mayfair, London, 1972

Provenance: Purchased from the above exhibition,

3rd November 1972;

Private Collection, East Sussex

£300 - £500

59

§ Sandra Blow RA (1925-2006)

'Four Collages - Paper and Charcoal'

1977,

signed, titled and dated in pencil to the mount,

mixed media collage,

17.75cm x 20.3cm

Provenance: Private collection, East Sussex

£150 - £200

48

60

Boris Pavlovich Nakhalov

(Russian, 1925-2008)

Bedroom interior,

1954,

signed and dated lower right

oil on canvas

48cm x 65.5cm

£600 - £800

61

Vladimir Grigorevich Vlasov

(Ukranian, 1927-1999)

‘Knock Out’

boxing scene,

signed lower right,

oil on masonite,

57.5cm x 73.5 cm

£400 - £600

49

62

§ Anthony Fry (1927-2016)

'Small Nude 2'

1970,

oil-bound pastel on paper

17.5cm x 26cm

Provenance: With The New Art Centre,

Kensington and Chelsea, London;

A distinguished private collection

£400 - £800

63

§ Anthony Fry (1927-2016)

'Nude XVII'

circa 1970,

pastel on paper,

21.6cm x 29.2cm

Provenance: With The New Art Centre,

Kensington and Chelsea, London;


£400 - £800

64

§ Joash Woodrow (1927-2006)

'Still Life'

collage on paper,

73cm x 47.5cm

£300 - £500

50

65

§ Joe Tilson RA (1928-2023)

'Liknon Version B'

1985

signed, inscribed and stencilled verso,

oil on canvas on wood relief,

42cm x 52 cm

Provenance: With Waddington Graphics, Mayfair, London;


£1,000 - £2,000

51

66

§ Gisela Horstkotte (German, b. 1928)

Stylised landscape

1973,

signed and dated lower left,

oil on canvas laid on panel,

63cm x 152cm

Gisela Horstkotte was born in Germany in 1928, and initially studied music

after the Second World War. From 1960 she has lived and worked in London.

From 1994 she has been studied print making techniques at Morley College,

London, and also worked with her own studio press.

£100 - £200

67

§ Fred Cuming RA (1930-2022)

Cannons on the Embankment, with Tower Bridge beyond,

1966,


oil on board,

42cm x 102cm

£800 - £1,200

52

68

§ Dame Elisabeth Frink (1930-1993)

'The Grey Rider'

1970,


lithograph in two colours on grained zinc,

printed at Curwen Studio on T H Saunders paper,

published by Leslie Waddington Prints Ltd and distributed by Observer Art,


£500 - £1,000

53

69

§ John Houston OBE, RSA (1930-2008)

'Sunset over Sea'

1980,

signed titled, dated and numbered 9/75 in pencil to

the margin,

lithograph,

56.5cm x 76.5cm (sheet)

£200 - £300

70

Yuri Matushevski (Russian, 1930-1999)

'Dacha in Winter'

1959,

signed and dated lower right

oil on board

32.5 x 46.5cm

£400 - £600

71

§ Sir Peter Blake CBE, RDI, RA, (b.1932)

'Side Show, 1974-8'

folio of five artist's proof wood engravings:

'Fat Boy', 'Bearded Lady', 'Tattooed Man' and

'Giant and Midget',

each signed and numbered from the edition

of 30 artist's proofs in pencil,

on thin laid Japan paper,

printed at White Ink Studio, published by

Waddington Graphics, London,

30 x 25cm

£400 - £600

54

72

§ Endre Zoltan Eugene Roder

(Hungarian, b. 1933)

'Sequins'

1994,

figural study,


mixed media on paper,

35cm x 24cm

£300 - £500

73

§ George Large (b. 1936)

'Fives & Threes'

1988,


watercolour on paper,

72cm x 41cm

Exhibited: RI at the Mall Galleries, 1989

£300 - £500

55

74

§ Richard Bawden (1936-2024)

'Morning Room'

signed, titled and numbered 6/85 in pencil

to the margin,

etching,


£200 - £300

75

§ Patrick Procktor RA (1936-2003)

'High Mo, Aug 68'

1968,

signed lower right,

titled and dated lower left,

watercolour on paper,

34.5cm x 24.5cm

Provenance: Purchased from The Redfern

Gallery, Mayfair, London, 25th April 1969;


£600 - £800

56

76

§ Archie Forrest (b. 1950)

'The Artist and his Wife'

signed in pencil upper left,

gouache,

30cm x 47cm

£400 - £800

77

§ Alan Furneaux (b.1953)

'London Embankment'

2024,

signed lower right,

further signed, titled and dated verso,

oil on canvas,

30cm x 40cm

£300 - £500

78

§ Piers Ottey (b. 1955)

'Gornergrat Zermatt- Morning and Evening'

2008,

signed and dated to the stretcher verso,

oil on canvas,

101cm x 101cm

£400 - £600

57

79

Raymond Campbell (b. 1956)

'Dusty Inheritance'

trompe l'oeil study of wine bottles and

paraphernalia on a shelf,

signed lower right,


oil on board,

40cm x 60cm

80

§ Raymond Campbell (b. 1956)

A still life study of a crab, grapes, wine and

bread on a ledge,

signed lower left,

oil on canvas,

49cm x 76cm

£400 - £600

£1,400 - £1,800

58

81

§ John Martin RBA (b. 1957)

‘The Falls at Roquebrun, Herault’

monogrammed lower left,

oil on canvas,

45cm x 60cm

£400 - £600

82

Le Thiet Cuong (Vietnamese, b.1962)

Figures before houses,

1996,


gouache on cloth,

48cm x 75cm

£300 - £400

59

83

§ Sir Grayson Perry (b. 1960)

'Sad'

2017,

caricature of Donald Trump,

signed in pencil lower right,

coloured felt pens on paper,

29cm x 20cm

Provenance: The artist, by whom gifted to;

Action for Children Charity Auction, London, March 2017;

'British Cool', Bonham's, London, 25th February 2021, lot 175, sold for £2,500

£1,500 - £2,500

60

84

§ Dame Tracey Emin DBE RA (b. 1963)

‘Fighting for Love’

1998,

signed, dated and numbered 185/300 in pencil,

offset lithograph on apple green wove paper,

29.5cm x 21cm (sheet)

Provenance: Modern Culture at the Gershwin Hotel, 3 East 27th Street,

New York, 13th November 2001

£600 - £800

61

85

George Bodis (Contemporary)

Abstract composition,

oil on board,

102cm x 61cm

£100 - £200

62

87

§ Nathalie Picoulet (French, b. 1968)

'Portrait 1'

a head and shoulders study of a young woman,

signed lower left,

titled verso,

pastels,

32cm x 28cm

£200 - £400

89


‘Femme au Bandeau 1’


signed lower left,

titled verso,

pastels,

35cm x 27cm

£200 - £400

90


‘Femme au Bandeau 2’


signed lower right,

titled verso,

pastels,

27cm x 22cm

£200 - £400

63

86


'Safran'

a study of a young woman,

signed lower left,

pastels,

60cm x 78cm

£400 - £600

64

88

§ Nathalie Picoulet

(French, b. 1968)

'Sienne'

a study of a young woman resting her head on her hand,

signed lower right,

titled verso,

pastels,

36cm x 43cm

£300 - £500

65

91


(French, b. 1968)

'Petit trois quart'

a head and shoulders study

of a young woman,

signed lower left,

titled verso,

pastels,

26cm x 26cm

£200 - £400

92


(French, b. 1968)

'Rouge Anglais'

a head and shoulders study

of a young woman,

signed lower right,

pastels,

32cm x 38cm

£200 - £400

66

67

Ceramics & Glass

93

Medmenham Pottery: A quantity of Arts and Crafts tiles,

decorated with plants, foliage and birds, impressed marks verso

Provenance: St Raphael's, Buxted

Medmenham Pottery was a pottery founded by sculptor and artist

Conrad Dressler in Marlow, England, around 1896. It specialised in

hand-crafted tiles and large architectural panels, known for producing

high-quality decorative tiles in the Arts & Crafts style.

£200 - £300

94

A large Doulton faience

portrait charger,

c.1882, by Katherine Sturgeon, painted

with a Pre-Raphaelite style portrait of

a lady with a background of lemons

and foliage, impressed and painted

marks, artists initials KS to the front,

52cm diameter

£200 - £300

68

95

A Mintons Art Pottery Studio pottery plaque,

designed by Henry Stacey Marks,

late 19th century, ‘Lover', third panel from a series the 'Seven

Ages of Man' depicting a gentleman penning a letter with

two cranes beside him, impressed Minton, printed mark

“Mintons Art Pottery Studio Kensington Gore”,

25.2cm x 50cm, framed

£600 - £800

96

Martin Brothers: A stoneware vase,

decorated with birds amongst flowers and

foliage, incised marks to the underside "Martin

Bros, London & Southall" and dated "12-1897",

21.5cm high

£200 - £300

69

97

Eweny Pottery: A large green-glazed

figure of a seated cat,

incised "Ewenny" and dated 1903 to the underside,

38.8cm high

£400 - £600

98

A Rare Pilkington's Royal Lancastrian

model of a Border Collie,

modelled seated on a rectangular base, incised "P"

to the underside, 10cm high

Exhibited: Richard Dennis Pilkington's Royal

Lancastrian Pottery Exhibition, 1980, number 480

£150 - £250

70

99

William S. Mycock (1872-1959) for Pilkington's

Royal Lancastrian: A lustre Albarello,

decorated with a central lion rampant on a red shield

against a blue ground with scrolling foliage, painted marks to

the underside, 20cm high

£300 - £500

100

Gwladys M. Rodgers (1888-1946)

for Pilkington's Royal Lancastrian:

A lidded jar,

all-over decorated with with blue and pale

green swirls and patterns against a grey ground,

model number 3351, impressed and painted

marks to the underside, 16.5cm high

£150 - £250

71

101

Daisy Makeig-Jones (1881-1945) for Wedgwood:

A Fairyland lustre Imperial bowl,

circa 1925, the interior in the 'Jumping Faun' design, the exterior

in the 'Woodland Elves III' design. With a printed mark to the base

and partially rubbed pattern number, 25cm diameter x 11cm high

£800 - £1,200

72

102

Keith Murray MC RDI FRIBA

(New Zealand/British, 1892-1981)

for Wedgwood: A pale blue glazed globe

or 'bomb' vase,

printed marks, 23.5cm high

£150 - £250

103

David D'Yerna (French, 20th century) for Malakoff:

An Art Deco ceramic model of a prowling panther,

raised on a naturalistically modelled rocky base, signed "D'YERNA"

to the base, seal mark to the underside, 44cm long x 22cm high

£300 - £500

73

104

§ Jean Lurçat (1892-1966):

An ochre glazed earthenware plate,

decorated with a stylised central figure, the rim

glazed in black and white and the underside in a

deep brown, painted marks to the underside

"Dessin J. Lurcat Sant-Vicens VA6", 24.5cm diameter

£100 - £200

105

§ Jean Lurçat (1892-1966):

A green glazed earthenware plate,

decorated with a stylised central figure, with

rust-brown glazed rim and underside, painted marks

to the underside “I Dessin J. Lurcat Sant-Vicens, V i 4”,

25cm diameter

£100 - £200

106

§ Jean Lurçat (1892-1966): An ochre

and black glazed earthenware plate,

decorated with a stylised central figure, incised marks

to the underside “dessin J. Lurcat, Sant Vicens, 945”,

24.7cm diameter

£100 - £200

107

§ Jean Lurçat (1892-1966):

A yellow glazed earthenware plate,

decorated with a stylised central figure, painted

marks to the underside “III Dessin J. Lurcat Sant-Vicens

V-Z-G 4”, 21.5cm diameter

£100 - £200

74

108

§ Jean Lurçat (1892-1966): A white glazed

earthenware plate,

decorated with a central stylised cockerel, painted

marks to the underside “Dessin J. Lurcat Sant-Vicens

V-K 4”, 21.7cm diameter

£100 - £200

109

§ Jean Lurçat (1892-1966): A green glazed

earthenware plate,

decorated with a stylised central figure, with black

and white rim and black glazed underside, painted


V.A.6”, 24.7cm diameter

£100 - £200

110

§ Jean Lurçat (1892-1966): A brown glazed

earthenware plate,



V-Z-G 3”, 21.5cm diameter

£100 - £200

111

§ Jean Lurçat (1892-1966): A yellow glazed

earthenware plate,


marks to the underside “III Dessin J. Lurcat, Sant-Vicens,

L.T”, 24.7cm diameter

£100 - £200

75

112

§ Jean Lurçat (1892-1966): A rust glazed

earthenware plate,


marks to the underside "Dessin J. Lurcat, Sant Vicens,

12", 21.5cm diameter

£100 - £200

113

§ Jean Lurçat (1892-1966): A yellow

glazed earthenware plate,

decorated with a stylised central figure,

painted marks to the underside "Dessin

J. Lurcat Sant-Vicens V-E4", 21.3cm diameter

£100 - £200

114

§ Jean Lurçat (1892-1966):

A porcelain carafe,

decorated in black with a stylised sun and leaves,

signed to the underside, on a Haviland Limoges blank,

18cm high

£100 - £200

76

115

Eric Ravilious (1903-1942) for Wedgwood:

A 1953 Queen Elizabeth II Coronation

commemorative mug,

with pink band to the lower half, printed marks,

10.4cm high

£150 - £250

116

Gilbert Portanier (French, 1926-1923): Two large studio pottery bowls,

one decorated to the interior with a stylised animal, the other deep bowl with small stylised

animals and figures to the exterior, both with painted marks to the underside, 32.5cm diameter

and 24.9cm diameter; together with a smaller studio pottery bowl by James Walford (1913-2003),

impressed seal mark to the underside, 18cm diameter (3)

£300 - £500

77

117

§ John Maltby (1936-2020):

A free-form stoneware jug,

painted in blue, iron red and silver oxide

with flowers in a landscape on a cream resist

and grey ground, painted signature to the

underside, 17cm high

£150 - £250

118

§ Lawson E Rudge (b. 1936):

A raku fired pottery cow,

the flat body decorated to one side

with stylised black spots, numbered

"25" verso, 24.5cm high x 30cm wide

£200 - £300

78

119

A Haviland Limoges ‘Val De Loire Or’

part dinner/coffee service,

comprising: lidded tureen, two oval serving

dishes, two serving bowls, two sauce boats, six

dinner plates, six bowls, twelve side plates, six

bread and butter plates, six coffee cans, six

saucers, twin handled lidded sugar jar and a

cream jug (51)

£1,500 - £2,000

120

A Haviland Limoges ‘Louveciennes’

afternoon tea service,

comprising: a three-tier cake stand, two tart

platters, eight dessert plates, a teapot and

cover, a hot water pot and cover, eight tea

cups, eight saucers, twin handled sugar jar

(lacking cover) and a cream jug (31)

£500 - £800

79

121

Daum Frères, Nancy: A ‘Venetian Lagoon’

cameo glass pillow-shaped vase,

the textured body with enamelled decoration of figures

on gondolas and small boats, signed “Daum, Nancy”

beside the Cross of Lorraine to the underside,

18cm wide x 10cm high

£300 - £500

122

René Lalique: A Lampe De

Cheminee 'Poissons',

designed 20th April 1931, clear and blue

stained glass table lamp moulded with

two fish, stencilled "R.LALIQUE, FRANCE"

mark, 19cm

diameter (lacking stand and shade)

Literature: 'R. Lalique - Catalogue

Raisonné De L'Oeuvre De Verre'

Felix Marcilhac, page 622, no. 2171

(illustrated)

£100 - £200

80

123

René Lalique: An 'Ondines'

opalescent glass dish,

designed circa 1921, frosted and polished,

engraved mark "R LALIQUE, FRANCE",

27.5cm diameter

Literature: 'R. Lalique - Catalogue Raisonné

De L'Oeuvre De Verre' Felix Marcilhac,

page 699, no. 3003 (illustrated)

£500 - £800

124

Lalique, France: A clear and frosted

glass 'Mossi' vase,

originally designed by Rene Lalique in 1933,

engraved 'Lalique France' to base, 21cm high,

with original grey Lalique box

£300 - £500

81

125

Lalique: A suite of 'Bourgueil' pattern drinking glasses,

comprising: 13 x 12cm high glasses; 18 x 10.5cm high glasses and

medium and 3 x 8.5cm high glasses (34)

£400 - £600

126

Rosenthal for Versace: A suite of 'Medusa Lumiere' drinking glasses,

comprising: ten tall long drink tumblers and twelve whisky tumblers, all of octagonal form

with Medusa mask to the base, steched marks, 15cm and 9cm high (22)

£200 - £300

82

127

Flavio Poli (Italian, 1900-1984) for Seguso

Vetri D'Arte: A Murano sommerso glass fish,

circa 1954, 54cm long

£200 - £400

128

Ronald Stennett-Wilson (1915-2009)

for Wedgwood: A pair of nine-ring

'Sheringham' amethyst glass

candlesticks,

acid-etched marks to the undersides, each

32cm high (2)

£150 - £250

83

129

Whitefriars: A rare and possibly unique yellow Textured

range 'Banjo' vase designed by Geoffrey Baxter,

pattern number 9681, 32cm high

Note: According to former Whitefriars employee M Walters (Marjorie?),

this vase in its uncatalogued colour was produced in the late 1960s or

early 1970s, by either Harry Dyer or Ronnie Wilkinson. It is believed by

former Whitefriars employees Brian Slingsby and Ray Annenberg that

the vase was created using glass from either the stained glass

department, or from a paperweight cane pot.

Provenance: The collection of a former Whitefriars employee;

The collection of Steve 'Wolfie' Rayner;

Private collection, Kent

£8,000 - £12,000

84

130

Whitefriars: A Textured range 'Banjo' vase

designed by Geoffrey Baxter,

pattern number 9681, in 'Kingfisher' colourway,

32.5cm high

Provenance: Private collection, Kent

£1,500 - £2,500

85

131

Whitefriars: A Textured range 'Banjo'

vase designed by Geoffrey Baxter,

pattern number 9681, in 'Cinnamon' colourway,

31.5cm high


£1,000 - £2,000

86

132

Whitefriars: A Textured range 'Banjo'


pattern number 9681, in 'Aubergine' colourway,

31.8cm high


£2,000 - £3,000

87

133

Whitefriars: A Textured range 'Drunken Bricklayer'


pattern number 9673, in 'Willow' colourway, with applied

"Whitefriars, Made in England" label, 34cm high


£600 - £800

134

Whitefriars: A Textured range 'Drunken Bricklayer'


pattern number 9673, in 'cinnamon' colourway, 33.2cm high


£600 - £800

88

89

Works of Art

135

Emmanuel Villanis (French, 1858–1914)

'Salome'

an Art Nouveau bronze bust, signed and with

foundry mark, raised on an onyx plinth base,

23cm high

£800 - £1,200

90

136

Paul-Jean Martel (Belgian, 1879-1944)

'Jean Mermoz'

signed in cast "Jean Martel" and stamped in cast FRANCE BRONZE, 33cm high x 36cm wide,

raised on a rectangular black marble base, 38cm x 39cm overall

Jean Mermoz (1901–1936) was a pioneering French aviator celebrated for his daring contributions

to early long-distance aviation and airmail service. Born in Aubenton, France, he joined the French

Air Force in 1920 and later became a key pilot for Aéropostale, the company that established air

routes across Africa and South America. Known for his courage and technical skill, Mermoz

completed numerous perilous flights, including the first nonstop crossing of the South Atlantic in 1930.

Often called 'L’Archange' ('The Archangel'), he symbolised the spirit of adventure and human

determination during aviation’s heroic age. Mermoz disappeared on December 7, 1936, while flying

over the South Atlantic, leaving behind a lasting legacy as one of France’s greatest aviators.

£400 - £600

91

137

Manner of Louis-Albert Carvin

(French, 1875-1951)

An Art Deco bronze group of a stag and doe,

each stamped "BRONZE" to a rear leg,

raised on a rectangular specimen marble base,

40cm high x 65cm wide overall

£200 - £300

138

After Thomas François Cartier

(French, 1879-1943)

'Wounded Lioness'

the animal modelled roaring in pain, arrows

embedded in her flank, patinated spelter,

on a naturalistic rocky base, 60cm long overall

£200 - £300

92

139

After Pablo Picasso (Spanish 1881-1973):

A patinated bronze figure of an

Andalusian bull,

naturalistically modelled and with flat back,

14cm high x 24cm long

£80 - £120

140

After Rembrandt Bugatti (Italian, 1884-1916):

A patinated bronze of a prowling panther,

inscribed "2006.3" to the naturalistic base, "Bronze Garanti

Paris J.B. Deposee" foundry stamp, raised on a rectangular

black marble base, 52cm wide overall

£120 - £180

93

141

Marcel Bouraine (French, 1886-1948):

'Les Joyeuses de Flutes'

An Art Deco bronze group depicting three flautists, raised on

rectangular plinth with further black marble base, 81cm wide x

17cm deep x 43cm high

£800 - £1,200

142

Attributed to Karel Opatrny (Czech, 1881-1961)

and Ignaz Mansch (Austrian, 1867-1925):

An impressive Art Nouveau 'Mermaid Pool' vase,

silvered pewter, decorated with two mermaids in high relief on a

background of aquatic vegetation, a crayfish, a fish and a snail,

apparently unmarked, 60cm high

Provenance: The Tanyards Collection, East Sussex

£200 - £300

94

143

A pair of French Art Deco spelter

bookends,

each modelled as a reclining nude female holding a

book, both signed "BERCOS" to the rectangular base,

and with seal marks, raised on banded onyx plinths,

17cm high x 23cm wide

£200 - £300

144

§ Pierre Le Faguays (French, 1892-1962)

'Olympia'

the figure modelled leaping with arms raised,

signed "FAYRAL" to the rectangular base, green

patinated spelter inset to a sloping stepped base,

51cm high overall

£400 - £600

95

145

§ Brian Willsher (1930-2010)

'Untitled'

abstract wooden sculpture of interlocking

organic and rectilinear form,

1980,

signed and dated to the base,

35.5cm high x 15.5cm wide

£800 - £1,200

96

146

§ Bryan Kneale mbe (1930-2025)

‘Untitled’

Abstract sculpture,

2007,

signed and dated to the base,

teal and dark blue patinated bronze,


£300 - £500

97

147

§ Robert Crutchley (b. 1943)

'Siting Dog'

patinated bronze, unsigned, 20.5cm high x 20.5cm wide

£200 - £300

148

Manner of Mark Coreth (b. 1958):

A patinated bronze model of a

cheetah in full flight,

unsigned, naturalistically modelled,

raised on a rectangular black marble base,

27cm high x 38cm wide overall

£80 - £120

98

149

Manner of WMF: A pair of

Art Nouveau pewter vases,

decorated in relief with two Art Nouveau

maidens and sinuous handles,

lacking liners and bases, each 36cm high (2)

£150 - £250

150

Manner of Daum Frères and Edgar Brandt

(French, 1880–1960): A textured glass and

cast-iron mounted table lamp,

50cm high (inc. later fittings)

Note: A similar piece is in the collection of the Victoria & Albert

Museum, London, the glass listed as being made by Daum,

probably by Paul Daum for Daum Frères, the mounts possibly

designed by or in the style of Edgar Brandt, made by Louis

Majorelle, 1925 (accession number CIRC.357-1971)

This shape was also produced as a vase - see the example in

the city museum, Place Stanislas, Nancy. Around 1900, Daum

Frères were central to the École de Nancy, the group of glassmakers,

furniture makers, architects and designers of whom

perhaps the most celebrated was Emile Gallé. By 1925, Daum

Fréres had moved on from their own distinctive art nouveau

style to a highly polished commercial line in cast, chunkily

modelled glass in the taste of the mid and later twenties.

Louis Majorelle, furniture designer and the maker of the bronze

mount also collaborated with the glass maker Argy-Rousseau.

£150 - £250

99

151

Eileen Gray (Irish, 1878-1976) for Jumo:

A brass and wood veneer desk lamp,

designed circa 1935, with adjustable arm and

shade, 47cm high

£200 - £300

152

Piero Fornasetti (Italian, 1913-1988):

A table lamp,

the cylindrical body with lithographic transfer

print of classical heads, brass fittings,

53cm high (including conical shade)

£200 - £300

100

153

A Jaeger-LeCoultre 'Atmos' clock,

with white enamel dial and Roman numerals, numbered 325695,

lacquered brass five glass case, 22.5cm high

£400 - £600

101

154

Gio Ponti (Italian, 1891-1979) for Christofle:

A silver plated table candlestick,

in the form of two stylised crossed horns on a circular base,

the base stamped with maker's marks, 20.25cm high

£600 - £800

102

155

A set of six Glasgow School Arts & Crafts silver

plated and cabochon glass set dinner plates,

each stamped "J B Glasgow", the flat outer rim with eight inlay

paste cabochons, each 30cm diameter (6)

£200 - £300

156

Arne Jacobsen (Danish, 1902-1971) for

Anton Michelson: A canteen of 'model 660'

stainless steel cutlery,

each piece stamped "A MICHELSEN STAINLESS DENMARK" beside

Jacobsen's monogram, boxed as issued in ten 8 piece settings,

80 pieces overall

£800 - £1,200

103

157

Sam Fanaroff BEM (1926-2019)

A large patinated copper bowl,

the broad rim with scrolling and trailing

decoration inset with two green cabochon,

stamped initials "SF" to the footed base,

45cm diameter

£150 - £250

158


An asymmetrical patinated copper dished tray,

2003,

decorated with geometrical patterns and two orange

enamelled squares, the central dish with a planished finish,

raised on four short hexagonal legs, stamped initials "SF" tand

dated to the underside, 47cm long x 31.5cm wide

£100 - £200

104

159


A patinated copper boat-shaped dish,

raised on a brass socle base, stamped initials "SF"

to the underside, 34cm wide x 21cm high

£80 - £120

160


A patinated copper ewer and similar vase,

the ewer of traditional form, with polished decoration

and strapwork handle, stamped initials "SF" to the

underside, 32cm high; the vase similarly decorated,

stamped initials "SF" to the underside, 29cm high (2)

£150 - £250

105

161


A patinated copper wall mirror,

1999,

the frame with scrolling and trailing decoration

inset with a single red cabochon,

stamped initials "SF" and dated verso,

62.5cm x 58.5cm

£150 - £250

106

162

Attributed to J & F Pool of Hayle, Cornwall:

An Arts and Crafts copper coal bucket,

the body with stylised floral motifs, swing handle, 65cm

high

£150 - £250

163

An Arts and Crafts copper and

wrought iron fire screen,

the central copper screen decorated with an owl

between two oversized flowers in a landscape,

87cm high

£150 - £250

107

164

Ruddspeed Ltd: A Bugatti radiator

liquor decanter,

with red enamel badge, radiator cap stopper

and black painted mesh grille, reg. design

number 909778, 20cm high

£100 - £200

165

Ruddspeed Ltd: A Mercedes-Benz

radiator liquor decanter,

22cm high

£150 - £250

166

Ruddspeed Ltd: A Jaguar SS radiator

liquor decanter,

with wire grille enamel radiator badge and

complete with cap, 18.5cm high

£200 - £300

108

109

Furniture

167

John Bratby (1928-1992):

The artist’s easel,

complete with extensive paint splatters,

101cm wide x 84cm deep x 235cm high

(adjustable)

Provenance: The estate of the artist

Exhibited: ‘John Bratby: Everything but the Kitchen

Sink, including the Kitchen Sink’, Jerwood Gallery,

Hastings, 2016

£400 - £600

110

168

John Bratby (1928-1992): A monumental mirror

backed buffet sideboard,

polychrome decorated by the artist, 242cm wide x 242 cm high

x 71cm deep


Exhibited: ‘John Bratby: Everything but the Kitchen Sink, including

the Kitchen Sink’, Jerwood Gallery, Hastings, 2016

£800 - £1,200

111

169


An oak bible box on stand,

polychrome decorated by the artist,

64cm wide x 98cm high x 45cm deep overall


Exhibited: ‘John Bratby: Everything but the

Kitchen Sink, including the Kitchen Sink’,

Jerwood Gallery, Hastings, 2016

£300 - £500

170


An oak bureau,

polychrome decorated by the artist,

96cm wide x 113cm high x 60cm deep


Exhibited: ‘John Bratby: Everything but the

Kitchen Sink, including the Kitchen Sink’,

Jerwood Gallery, Hastings, 2016

£400 - £600

112

171

Liberty & C0: An Arts and Crafts Egyptian

revival copper mounted oak wardrobe,

with stepped pediment over a glazed, mirrored door

with tulip strap hinges and single drawer on square

splay feet, 102cm wide x 62cm deep x 212cm high

£600 - £800

172

Manner of Liberty & Co: An Arts and

Crafts embossed copper mounted oak

hall cupboard,

the panelled door flanked by a mirrored three

division stick stand on square feet,


£300 - £500

113

173

Manner of Edgar Brandt

(French, 1880-1960): An Art Deco

style wall mirror,

the wrought-iron frame decorated with fruit,

foliage and spirals, housing a shaped and

bevelled mirror plate, 89cm wide

£200 - £300

174

Gerrit Rietveld (Dutch, 1888-1964)

for Cassina: A 'Red and Blue' chair,

designed in 1917, the frame in yellow and black

stained beech, blue seat and red back in

lacquered multi-plywood, with Cassina tag

and numbered 585, 86.5cm high x 59.5cm wide

£300 - £500

114

175

Charlotte Perrland (French, 1903-1999):

A pair of 'N° 27' or 'Meribel' side chairs,

the stained wood frames possibly in sipo,

with turned cylindrical legs and curved backrest

above a rush seat and flat-section crosspiece,

each 75cm high x 42cm wide (2)

The 'N° 27' chair by Charlotte Perriand,

often referred to today as the 'Meribel' chair,

was initially designed in 1941 for the two-bedroom

Tokyo apartment of Etienne Sicard, an employee

at the French embassy, whom she met shortly

after arriving in Japan in 1940. The first examples

of these chairs had a crosspiece with a cylindrical

cross-section, which differed from later models

executed with a rectangular cross- section.

£800 - £1,200

176

Charles Eames (American, 1907-1978)

for Herman Miller: A 'Time Life'

executive office chair,

designed in 1960, with original leather back,

seat and arms, worn, raised on a revolving

stand with seat adjustor, on castors,

original labels to the underside,


£300 - £500

115

177

Osvaldo Borsani (Italian, 1911-1985) for Atelier Borsani Varedo:

A large Indian rosewood and mahogany credenza,

designed in 1948, the rectangular top with inset marble panel, the bombe front

with central fluted fall-front cupboard, flanked by twin fall-front cupboards,

raised on four splayed legs, 276.5cm wide x 49cm deep x 94cm high

£800 - £1,200

178

Ernest Race (1913-1964) for Race Furniture:

A 'DA1' armchair,

designed in 1946, upholstered overall in navy blue

velvet, raised on four aluminium legs,


£400 - £600

116

179

Torbjørn Afdal (Norwegian, 1917-1999) for

Bruksbo Tegnekontor: A mid-century teak desk,

the rectangular top suspended above twin pedestals of three

graduated drawers, separated by a canework panel, the reverse

with open shelving, 153cm wide x 71cm deep x 76cm deep

£200 - £400

117

180

Hans Olsen (Danish, 1919–1992)

for Frem Røjle: A Danish teak

'Roundette' extending dining

table and six chairs,

circa 1960s, the table with integrated

rising central leaf; the six three-legged

chairs with triangular black vinyl seats,

each stamped "FREM ROJLE, MADE IN

DENMARK", and with Danish Furniture

Control stickers to the undersides, each

71cm high; the table 106cm diameter

(closed) x 73cm high (7)

£1,000 - £1,500

181

Hans Olsen (Danish, 1919–1992)

for Frem Røjle: A Danish teak

'Roundette' extending dining

table and four chairs,

circa 1960s, stamped to underside of chairs

"FREM ROJLE, MADE IN DENMARK", the four

three-legged chairs with triangular black

vinyl seats, 71cm high, the circular table

106cm diameter (closed) x 74cm high (5)

£600 - £800

118

182

Norman Cherner (American, 1920-1987)

for Plycraft (Bernardo): A set of eight

plywood 'Pretzel' chairs,

designed 1958, comprising one elbow chair and

seven side chairs, each with applied stickered

manufacturer's labels (some partial), each 79.5cm

high, the elbow chair 65cm across the arms;

together with an associated English teak mid-century

extending dining table, 209cm long x 118.5cm x 73cm

high (128cm closed) (8)

£2,000 - £3,000

119

183

Niels Otto Møller (Danish, 1920-1982)

for JL Møllers Møbelfabrik:

A pair of ‘Model 62’ carver chairs,

the mahogany frames supporting padded seats

upholstered in black leatherette,

78cm high x 48cm wide x 52cm deep (2)

£1,500 - £2,500

120

184

Sven Ellekaer (Danish, 1926-1984)

for Christian Linneberg Møbelfabrik:

A coffee table and three nesting stools

ensuite,

designed in 1962, the coffee table with glass top

to concave tripartite base, the stools

with cream leatherette upholstered seats,

Danish Furniture Control labels to the

table base and one stool,

the table 100cm diameter x 46cm high,

the stools 50cm diameter x 40cm high (4)

£600 - £800

185

NIels Koefoed (Danish, b. 1929)

for Koefoeds Møbelfabrik:

A teak ‘Oval Klap’ dining table,

designed in 1966, the oval top raised on a sculptural

gateleg base, Danish Furniture control marks to the

underside, 195cm long x 130cm wide x 72cm high

£800 - £1,200

121

186

Manner of Trioh Møbler, Denmark:

A mid-century teak coffee table,

the rectangular top with a sliding black laminate tray,

above a woven cane undertier,

180cm long x 57cm wide x 52cm high

£150 - £250

187

A Scandinavian mid-century sideboard,

possibly by Sibast,

the central section with five graduated drawers,

flanked by twin sliding cupboard doors revealing a

shelved interior, raised on four tapering turned legs,

227cm wide x 80cm high x 48cm deep

£400 - £600

122

188

Yrjö Kukkapuro (Finnish, 1933-2025)

for Haimi: A Model 417 ‘Junior’

lounge chair,

the contoured seat, backrest and arms

upholstered in red leather over a moulded

plastic frame, raised on a swivel column

support, terminating in four ‘petal’ feet, retailer’s

label to the column, 86cm high x 70cm wide

£400 - £600

189

James Leonard (British, 20th century)

for Esavian (E.S.A) Education Supply

Association Ltd: A School (Scgool)

bank of drawers,

designed in the 1950s, teak and beech wood

frame with twenty pull-out drawers,


£400 - £600

123

Jewellery, Silver and Watches

3 February 2026

Gorringe’s are pleased to be inviting consignments

for this auction until Tuesday 6th January

For further information, or should you wish to consign,

please contact Gorringe’s on 01273 472503

or email samh@gorringes.co.uk

An impressive diamond collar, mid 20th century

Sold for £45,000 (inc. fees)

124

125

126

Gorringe's Art & Design Post 1880 Auction, Tuesday 2nd December 2025

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