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Lot 37
FREDERICK LANDSEER MAUR GRIGGS R.A., R.E. (BRITISH 1876-1938)MEMORY OF CLAVERINGEtching, signed in pencil14.5cm x 23.5cm (5.75in x 9.25in)Note: Frederick Landseer Maur Griggs R.A., R.E. was one of the leading etchers and illustrators of the twentieth century whose meticulous technique and eye for architectural detail was unparalleled. Griggs studied at the Slade School of Art before going on to work as an architectural draftsman at C.E. Mallow's architecture firm from 1896 to 1898 where he was especially valued by leading architects of the Arts and Crafts fraternity for his skills in persepctive. In 1903 Griggs settled in the village of Chipping Campden in the Cotswolds, the centre of William Morris's Arts and Crafts Movement. Griggs was heavily influenced by the movement and his passion for locality and knowledge of vernacular architecture can be seen in this collection of etchings which feature rural townscapes depicted to such a high level of detail that every crumbling brick can be seen, transporting the viewer to a bygone age. Griggs worked within the English Romantic tradition and his etchings have a similar nostalgia to Samuel Palmer's pastoral landscapes but instead visualise the grandeur of England's historic architecture leading critics to describe his atmospheric compositions as ''poetic''. Figures in The Almonry wander in a landscape dominated by monumental Gothic facades, pointed arches and spires which reach skyward out of the frame while other etchings like Sellenger are unpopulated, leaving the crumbling buildings preseved in a tranquil silence. These etchings reflect a desire to preserve the gothic and medieval architecture of England's communities which Griggs feared to be endangered as a result of the Reformation of the sixteenth century, the Industrial Revolution of the nineteenth century and the First World War of the twentieth century. Griggs's highly wrought etchings were initially printed commercially but after finding the results unsatisfactory he designed his own etching press in 1921 to prove his plates which were then printed on paper selected to complement the subject matter of each individual composition. This high level of craftsmanship identified Griggs as one of the leading figures in the British Etching Revival resulting in him being one of the few etchers awarded full membership at the Royal Academy in 1931. Griggs was also a member of the Society for the Protection of Ancient Buildings which aimed to repair buildings with the ultimate goal of saving them from demolition and etchings like Memory of Clavering highlight Griggs's sensitivity to the endangered place of British architecture in the modern world. Memory of Clavering exemplifies the visionary technique Griggs later developed as the copper etching was executed fifteen years after he visited the town in Essex with friends in 1919. One friend later stated in a letter to R. L. Hine that during the visit Griggs only made "one or two very rough but decisive sketches on the backs…of old letters which he had in his pocket'' affirming his remarkable ability to immortalise a town in such realistic detail from memory.
Lot 371
A.W.N. PUGIN (1812-1852) FOR MINTON & CO.ENCAUSTIC EARTHENWARE BREAD PLATE, 1849bears inscription WASTE NOT WANT NOT, impressed mark verso 43033cm diameterProvenance: The Fine Art Society, LondonLiterature: Gere, Charlotte & Whiteway, Michael, 'Nineteenth-Century Design: From Pugin to Mackintosh', London 1993, p.53, pl.49 Atterbury, Paul & Wainwright, Clive (edits.), 'Pugin: A Gothic Passion', New Haven and London 1994, p.143, pl.260Note: Pugin’s interest in ceramic design appears to have been initiated by his meeting with Herbert Minton, the owner of the burgeoning pottery business, when looking for a manufacturer of medieval-style encaustic floor tiles. He had previously collected Italian maiolica and medieval floor tiles. The huge variety of designs Pugin produced for Minton is testament to the close friendship between himself and Herbert Minton. Their huge commercial success is evident as many of the designs remained in production well into the 20th century. This bread plate design is probably the most familiar of all Pugin’s ceramic designs. It was made in two versions, the most popular being this three colour version and another six-colour version. The encaustic process was probably favoured as it would resist scratching from a bread knife.
Lot 378
COMPTON POTTERS’ ART GUILD POTTERY FIGURE OF ST MICHAEL, CIRCA 1920painted in tempera, impressed maker’s mark20.5cm highNote: The Compton Potters' Arts Guild was a pottery, founded by the Scottish artist, Mary Fraser Tytler, in 1899 at her home in Compton, Surrey. The group produced innovative terracotta garden ornaments, recommended by the garden designer Gertrude Jekyll. The pottery's output was extensive, from large terracotta garden pottery to smaller household figures, jugs, plaques and pendants. After World War I, pairs of bookends and other ornaments were made, including Archers, Galleons, Fruit and Flowers. The majority of the pottery was made from a soft white body and decorated with tempera, an egg-based paint. The designs and products of the Guild were sold in several London shops, including Liberty & Co.
Lot 38
FREDERICK LANDSEER MAUR GRIGGS (BRITISH 1876-1938)ST BOTOLPH’S BRIDGE NO. 2Etching, 2nd state of three, signed in pencil with initials25.5cm x 21cm (10in x 8.25in)Note: Frederick Landseer Maur Griggs R.A., R.E. was one of the leading etchers and illustrators of the twentieth century whose meticulous technique and eye for architectural detail was unparalleled. Griggs studied at the Slade School of Art before going on to work as an architectural draftsman at C.E. Mallow's architecture firm from 1896 to 1898 where he was especially valued by leading architects of the Arts and Crafts fraternity for his skills in persepctive. In 1903 Griggs settled in the village of Chipping Campden in the Cotswolds, the centre of William Morris's Arts and Crafts Movement. Griggs was heavily influenced by the movement and his passion for locality and knowledge of vernacular architecture can be seen in this collection of etchings which feature rural townscapes depicted to such a high level of detail that every crumbling brick can be seen, transporting the viewer to a bygone age. Griggs worked within the English Romantic tradition and his etchings have a similar nostalgia to Samuel Palmer's pastoral landscapes but instead visualise the grandeur of England's historic architecture leading critics to describe his atmospheric compositions as ''poetic''. Figures in The Almonry wander in a landscape dominated by monumental Gothic facades, pointed arches and spires which reach skyward out of the frame while other etchings like Sellenger are unpopulated, leaving the crumbling buildings preseved in a tranquil silence. These etchings reflect a desire to preserve the gothic and medieval architecture of England's communities which Griggs feared to be endangered as a result of the Reformation of the sixteenth century, the Industrial Revolution of the nineteenth century and the First World War of the twentieth century. Griggs's highly wrought etchings were initially printed commercially but after finding the results unsatisfactory he designed his own etching press in 1921 to prove his plates which were then printed on paper selected to complement the subject matter of each individual composition. This high level of craftsmanship identified Griggs as one of the leading figures in the British Etching Revival resulting in him being one of the few etchers awarded full membership at the Royal Academy in 1931. Griggs was also a member of the Society for the Protection of Ancient Buildings which aimed to repair buildings with the ultimate goal of saving them from demolition and etchings like Memory of Clavering highlight Griggs's sensitivity to the endangered place of British architecture in the modern world. Memory of Clavering exemplifies the visionary technique Griggs later developed as the copper etching was executed fifteen years after he visited the town in Essex with friends in 1919. One friend later stated in a letter to R. L. Hine that during the visit Griggs only made "one or two very rough but decisive sketches on the backs…of old letters which he had in his pocket'' affirming his remarkable ability to immortalise a town in such realistic detail from memory.
Lot 39
FREDERICK LANDSEER MAUR GRIGGS R.A., R.E. (BRITISH 1876-1938)MEPPERSHALL CHAPELEtching, 3rd and final state, signed, dated 1918 and inscribed ‘To J. Short – For his steady kindness and help’16.5cm x 12.5cm (6.5in x 5in)Note: Frederick Landseer Maur Griggs R.A., R.E. was one of the leading etchers and illustrators of the twentieth century whose meticulous technique and eye for architectural detail was unparalleled. Griggs studied at the Slade School of Art before going on to work as an architectural draftsman at C.E. Mallow's architecture firm from 1896 to 1898 where he was especially valued by leading architects of the Arts and Crafts fraternity for his skills in persepctive. In 1903 Griggs settled in the village of Chipping Campden in the Cotswolds, the centre of William Morris's Arts and Crafts Movement. Griggs was heavily influenced by the movement and his passion for locality and knowledge of vernacular architecture can be seen in this collection of etchings which feature rural townscapes depicted to such a high level of detail that every crumbling brick can be seen, transporting the viewer to a bygone age. Griggs worked within the English Romantic tradition and his etchings have a similar nostalgia to Samuel Palmer's pastoral landscapes but instead visualise the grandeur of England's historic architecture leading critics to describe his atmospheric compositions as ''poetic''. Figures in The Almonry wander in a landscape dominated by monumental Gothic facades, pointed arches and spires which reach skyward out of the frame while other etchings like Sellenger are unpopulated, leaving the crumbling buildings preseved in a tranquil silence. These etchings reflect a desire to preserve the gothic and medieval architecture of England's communities which Griggs feared to be endangered as a result of the Reformation of the sixteenth century, the Industrial Revolution of the nineteenth century and the First World War of the twentieth century. Griggs's highly wrought etchings were initially printed commercially but after finding the results unsatisfactory he designed his own etching press in 1921 to prove his plates which were then printed on paper selected to complement the subject matter of each individual composition. This high level of craftsmanship identified Griggs as one of the leading figures in the British Etching Revival resulting in him being one of the few etchers awarded full membership at the Royal Academy in 1931. Griggs was also a member of the Society for the Protection of Ancient Buildings which aimed to repair buildings with the ultimate goal of saving them from demolition and etchings like Memory of Clavering highlight Griggs's sensitivity to the endangered place of British architecture in the modern world. Memory of Clavering exemplifies the visionary technique Griggs later developed as the copper etching was executed fifteen years after he visited the town in Essex with friends in 1919. One friend later stated in a letter to R. L. Hine that during the visit Griggs only made "one or two very rough but decisive sketches on the backs…of old letters which he had in his pocket'' affirming his remarkable ability to immortalise a town in such realistic detail from memory.
Lot 41
WALTER RICHARD SICKERT (BRITISH 1860-1942)THE OLD BEDFORD (LARGE PLATE)Etching, drypoint, pentimenti and engraving29cm x 16.5cm (11.5in x 6.5in)Provenance: Johnnie Shand KyddThe Fine Art Society, London, January 2003Exhibited: London, Thomas Agnew & Sons Limited, ‘Centenary Exhibition W.R. Sickert 1860-1942,’ March – April 1960Literature: Bromberg 130
Lot 414
JOHN WALSH WALSH, BIRMINGHAM ENGLISH ART NOUVEAU OPALESCENT GLASS POSY VASE, CIRCA 1900the frilled tapering body with short stem raised on a spreading base, 11cm high; also a PAIR OF JAMES POWELL & SONS GREEN GLASS VASES, CIRCA 1890, each with frilled rim, short stem and spreading base, 19cm high; and a VICTORIAN GLASS STEMMED VASE, amber glass, 28cm high (4)Provenance: Paul Reeves, London
![[§] ROBIN TANNER (BRITISH 1904-1988)MARTIN’S HOVEL - 1927Etching, 3rd state, signed18.5cm x 23cm (7.25in x 9in)Provenance: Th](https://cdn.globalauctionplatform.com/1304ecaf-2163-4f92-bf18-a95900c00e1f/b0d85d1e-67c2-43b3-cf32-6bc4a07172a5/468x382.jpg)
Lot 471
FREDERIC, LORD LEIGHTON (1830-1896)THE SLUGGARDbronze, with dark brown patina, inscribed to the base THE SLUGGARD and signed FRED. LEIGHTON, on a hardwood stand55cm high overallProvenance: The Fine Art Society, LondonNote: Sir Frederic Leighton was one of the pioneering figures in New English Sculpture, who during his eighteen year period as President of the Royal Academy, succeeded in elevating the status of British sculpture through teaching and exhibitions. Leighton became known as the father of New English Sculpture as a result of his guiding influence over the new generation of sculptors like Alfred Gilbert who recalled that the students at the Academy ''all had an ideal to emulate Leighton in his aims in Art''. The original figure of 'The Sluggard' is a life-size bronze sculpture and one of Leighton's seminal artworks. The clay sketch was exhibited at the Royal Academy's Exhibition in 1896 with a fig leaf over his genitalia in order to avoid sexualising the sculpture when on display to the Victorian public. The muscular youth languidly arches his back in an elegant contrapposto pose in the manner of classical Greco-Roman sculptures which celebrated the athletic male nude as the pinnacle of perfection. The work was initially titled Athlete Awakening From Sleeping in reference to the quick clay sketch Leighton made of his life model Giuseppe Valona who rose to stretch after a particularly long sitting making this sculpture an intriguing marriage of idealism and naturalism. 'The Sluggard' has been interpreted by Benedict Read as Leighton freeing himself from the shackles of sculptural convention as his work abandons frozen classical prototypes for a distinctly modern pose.
![[§] SIR MUIRHEAD BONE H.R.S.A., H.R.W.S., H.A.R.I.B.A., L.L.B., D.LITT (SCOTTISH 1876-1953)A MANHATTAN EXCAVATION - 1923Drypo](https://cdn.globalauctionplatform.com/1304ecaf-2163-4f92-bf18-a95900c00e1f/128e63b6-c0e4-4ffb-9c8c-ab675f18230a/468x382.jpg)
![LUMSDEN, E.S.THE ART OF ETCHING. [LONDON: SEELEY, SERVIE & CO., 1925]8vo, copy 125 of 150, quarter cloth over boards, slight](https://cdn.globalauctionplatform.com/1304ecaf-2163-4f92-bf18-a95900c00e1f/20b1575b-a156-4bdd-cc2d-76f877b38544/468x382.jpg)
Lot 509
THE COUNCIL OF ART UNION OF LONDON, ALBUMDESIGNED BY MISS M. LILLIAN SIMPSON, 1896Blank album in highly decorative electroplate embossed covers, over morocco or seal leather, showing an Art Nouveau fruit and floral pattern with central figures of angels to each cover, and four angels emerging from chrysalises on each cover, signed ‘Art Union of London 1896’ to covers [see Marianne Tidcombe, 'Women Bookbinders', p.89]25 x 20cmLiterature: Greensted, Mary and Carruthers, Annette 'Simplicity or Splendour', 1999, item 183, for the copy in the Cheltenham Collections.Note: An example of one of the 'prizes' distributed by the Art Union of London to its members. The nineteenth century European Art Unions would typically offer paintings and proof engravings on the basis of a lottery to their subscribers. However, The Art Union of London often chose to offer more utilitarian pieces of decorative art, such as Lilian Simpson's album. Other prizes included an illustrated copy of Tennyson's 'Idylls of the King' in 1863, an alabaster bust of Apollo in 1861 and a cast iron tazza depicting classical figures. Several copies of Simpson's album seem to have been awarded to subscribers, each album being predominantly blank inside with the title-page reading:"The cover which encloses these pages was designed and modelled by Miss M. Lilian Simpson, on a commission from the Council of Art in London, and gained…a gold medal…It was exhibited in the Royal Academy in 1896."The idea embodied in the design is that of the growth of life (represented by the flowering fruit) watched over by Spirits…whilst Love kisses the buds into bloom, and, as shown on the clasp, binds together the pages of the Book of Life."
Lot 525
PRIVATE PRESS AND ILLUSTRATED14 BOOKS INCLUDING MORRIS, WILLIAMArt and the Beauty of the Earth. London: Chiswick Press, 1898. 8vo, original boards; [Idem] An Address…Delivered at the Distribution of the Prizes to Students of the Birmingham Municipal School of Art… London: Chiswick Press, 1898. 8vo, original boards; King, Jessie M., illustrator. The Grey City of the North. Edinburgh: T. Foulis, 1910. Tall 8vo, original illustrated wrappers; Crane, Walter, illustrator. A Book of Christmas Verse. London: Methuen and Company, 1895. 8vo, original pictorial cloth; Ellis, F.S. – Walter Crane, illustrator. The History of Reynard the Fox. London: David Nutt, 1897. 8vo, inscribed by Mrs Ellis, original cloth gilt; Crane, Walter. The Book of Wedding Days. London: Longmans, Green and Co., 1889. 4to, original red cloth with silver illustration; Housman, Laurence. Of Aucassin and Nicolette. London: Chatto & Windus, 1925. 8vo, original boards; Chisholm, Louey. The Enchanted Land. London: T.C. & E.C. Jack, 1906. 8vo, original cloth gilt; Gilbert, Henry – Walter Crane, illustrator. King Arthur’s Knights. Edinburgh: T.C. & E.C. Jack, [n.d.] 8vo, modern grey morocco gilt; and 5 others (14)
Lot 527
ART REFERENCEA COLLECTION INCLUDING MCEWAN, PETERDictionary of Scottish Art and Architecture. Woodbridge: Antique Collectors’ Club, 1988; William Morris (1834-1896). London: Taschen, 1999; Parton, Anthony, Goncharova: The Art & Design of Natalia Goncharova. Woodbridge: Antique Collectors’ Club, 2010; Design and the Decorative Arts, Britain 1500-1900. London: V&A, 2001; and a quantity of others
Lot 82
SELWYN IMAGE (1849-1930) FOR THE FITZROY PICTURE SOCIETY‘THE ANNUNCIATION’ FRAMED POSTER, CIRCA 1893chromolithograph, bears artist’s initials SI, and maker’s marks PUBLISHED BY THE FITZROY PICTURE SOCIETY, 20 FITZROY ST. LONDON. W. COPYRIGHT REGD./ JAMES AKERMAN PHOTO-CHROMO-LITH. LONDON. W.C.117cm x 78cmProvenance: Paul Reeves, LondonLiterature: The Studio Yearbook, 1893, p. 29 illus.;Tilbrook, Adrian J., and Fischer, 'Fine Art Truth, Beauty and Design: Victorian, Edwardian and Later Decorative Art', 1986, pp. 49-50, no. 113 illus.Note: Selwyn Image attended Marlborough College and the New College, Oxford in 1868 where he studied drawing under John Ruskin. Intending to enter the clergy and follow his father as Vicar of Bodiam, Image took Holy Orders at the age of 24. He was ordained deacon in 1872, and priest the next year. He was a curate at Tottenham and later at St. Anne's, Soho. Image began studying art with A. H. Mackmurdo and Ruskin's assistant, Arthur Burgess, in 1880. Image was dismissed from the clergy in 1882 and in 1884 designed the cover of 'The Hobby Horse', the Century Guild magazine. In 1893 along with Mackmurdo, Christopher Whall and Heywood Sumner, he assisted in forming the Fitzroy Picture Society, which aimed to disseminate religious values using colour and decoration. The present lot is from the ‘Jesus Hominum Salvator’ series by Image of which this poster, ‘The Annunciation’, was the only one published.
Lot 85
WALTER FRANCIS CRITTALL (DESIGNER, 1887-1956) AND ERNEST BECKWITH (MAKER, 1872-1952)ARTS & CRAFTS WALNUT OPEN ARMCHAIR, 1925the latticed back above shaped open arms and drop-in seat raised on square tapered legs linked by stretchers63cm wide, 98cm high, 51cm deepProvenance: Paul Reeves, LondonLiterature: Rogers, John C., 'Modern English Furniture', Country Life 1925, illus.Note: W. F. Crittall, known as ‘Pink’ apparently due to his Communist sympathies, joined his father’s metalworking firm and his design work lead to a major breakthrough in steel window design which is still the basis for their manufacture today. His interest in the welfare of his workers and improvements in their living conditions led to an involvement in the Design & Industries Movement. Established in 1915, the D.I.A. was founded by members of the Art & Crafts Movement Exhibition Society. Its aim was to promote design in industry by organising exhibitions, publishing magazines and books. For over forty years Crittall collaborated with Ernest Beckwith, a cabinetmaker from Coggeshall, Essex, to make a series of pieces of furniture, mainly for the homes and businesses of the Crittall family. He considered this furniture making as a hobby and his notebooks contain hundreds of designs for articles of furniture, only a small proportion of which were ever built.
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