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Art Nouveau style 9ct pendant set with articulated blue paste, hung from a modern 9ct chain necklace, 5.5g

A LARGE AND RARE CELADON JADE FOOD VESSEL, GUI, QING DYNASTYChina, Qing Dynasty (1644-1912). Masterfully crafted to resemble a Western Zhou Dynasty bronze vessel, demonstrating superior levels of craftsmanship quality achieved through meticulous manual carving and chiseling techniques, with no modern tool marks. Of compressed globular form, rising from a ring foot, the shoulders set with a pair of curved loop handles, the domed cover surmounted by a stepped finial. The exterior carved in relief with concentric ridges and fine archaistic scroll motifs. The semi-translucent stone of a deep celadon tone with extensive opaque brown surface alterations.Condition: Very good condition with minor wear, few natural fissures and minuscule nibbling here and there. The rims with very few small nicks. Provenance: Estate of Wolfgang Zacke (1942-2022), co-founder of Galerie Zacke, thence by descent. Acquired in the Hong Kong antiques market in the early 1990s.Weight: 1595 g Dimensions: Height 15 cm, diameter 27 cm (handle to handle)Auction result comparison: Compare to two models of jade censers, gui, also carved to resemble archaistic bronze vessels at Bonhams Hong Kong, Fine Chinese Ceramics and Works of Art on 30 May 2017, lot 105, sold for HKD 375,000, and Sotheby´s New York, The Hundred Antiques: Fine & Decorative Asian Art on 22 June 2021, lot 85, sold for 35,280 USD.

Jonathan Richard Turner, A large collection of notebooks, correspondence, newspaper cuttings, with some sketches. Also art related booklets inc Looking at Paintings by Michael Rothenstein and Penguin Modern Painters Paul Nash.

Chelmsford printing.- [Jennings (Henry Constantine)] Summary and Free Reflections, in which the great outline only, and principal features, of the following subjects are impartially traced, and candidly examined, Chelmsford, Clachar, Frost & Gray, for the author, 1783 [but ?1788]; A Physical Enquiry into the Powers and Properties of Spirit..., 1787; A Postscript to the Physical Enquiry..., 1787; A Free Enquiry into the Enormous Increase of Attornies..., 1785, together bound in 1 vol., the second and third misbound between parts X & XI of the first work, a few markings in pencil or blue crayon, ex-library copy with a few old ink stamps, modern half calf over marbled boards preserving old roan label on spine, 8vo, all Chelmsford, Clachar; sold not subject to return⁂ A complex collection of individual pieces by he collector Henry Constantine Jennings (1731-1819), who is known to history for his often ill-judged art collecting, his bankruptcies and his many personal idiosyncracies. (His one success seems to have been the acquisition of the ancient masterpiece of an over-life-sized crouching dog from the art dealer Bartolomeo Cavaceppi which realised £1000 at a Christies sale in 1778/9). The essays include recommendations for bathing and swimming and that children should "draw off both shoes and stockings" and "dabble in puddles". "I would even recommend that they should every day, for at least an hour or two, play about bare-foot in wet or dry". The Free Enquiry into the enormous increase of Attornies is remarkably objective in view of Jennings's recent stretch in Chelmsford prison as a consequence of his financial embarrassments. The collation is complicated (see ESTC for further details). According to ESTC 12 parts were originally issued together under the first title with the date 1783 stamped at foot of the title. Despite the presence of this stamped title this appears to be the reissue of the collection, probably in 1788, which includes a newer version of Part X 'An endeavour to prove that reason is alone sufficient to the firm establishment of religion...' which has a title dated 1785. Part X itself should be in 3 parts containing an Appendix and a later 4pp. section 'A form of daily prayer for the professors of rational theism' dated 1788, but these last 4pp. are not present here. Parts XI & XII are paginated 142-178 and otherwise all works appear to be complete.

KODA SHUETSU (1881-1933)A Black-Lacquer Hexagonal Kogo (Box for Incense Wood) and Cover Showa era (1926-1989), 1928The lustrous black-lacquer ground decorated in gold takamaki-e with two tied bundles of sheaves of rice on the outside of the lid, willow branches and nandina plants on a sparsely sprinkled kinpun ground on the inside of the lid, the interior of the box also liberally applied with kinpun; the rims mounted in silver, signed on the underside of the box in gold lacquer Shuetsu; with a purple silk drawstring storage bag and a wood tomobako storage box inscribed outside the lid Mizuho kogo (Box for incense with a design of fresh ears of rice), inscribed inside the lid Showa tsuchinoe-tatsu aki, Masamichi dai (Autumn 1928, titled by Masamichi), signed underneath the box Maki-eshi Shuetsu with a seal Do. 2.7cm x 9cm (1 1/16in x 3½in). (5).Footnotes:Accompanied by an old receipt dated November 1928 issued by the retailer Kyukyodo (purveyor to the Imperial Household) detailing that the piece was made to commemorate the Showa Emperor's accession to the throne and to celebrate the beginning of his era. An almost identical kogo is in the collection of The National Museum of Modern Art, Kyoto (museum no. LC0070).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Postcards, Music, a mixed age collection of approx. 79 cards related to music, with comic, greetings, and children's illustrated art cards. Includes anthropomorphic hares, monkeys, bear, cats, frog, penguins, chicks, mouse (elves), rabbits etc. Many art cards of children playing bass, cello or violin. Also animal bands, valentine, cherub band, gnome band, fantasy babies band etc. Nice mix. Sold with approx. 67 mixed age modern cards, 4 scraps and 10 late 19th C advertising chromos (all with the music theme) (mixed condition) (approx. 180)

Orde (Cuthbert Julian, 1888-1968). British artist and First World War pilot. Pilots of Fighter Command. Sixty-Four Portraits by Captain Cuthbert Orde, 1st edition, George G. Harrap, 1942, 32pp. (including 19 pages of pilot biographies), 64 full-page double-sided portraits after Orde's drawings, including 9 signed by the sitters, plus one further clipped signature of Brian Kingcome pasted beneath portrait, with an additional 27 pilots' signatures in various pens to front endpapers and autographs of 6 Polish pilots to rear free endpaper, some overall spotting to endpapers, original two-tone cloth in dust jacket, old clear tape strengthening to all margins of verso, binding and dust jacket a little rubbed and soiled, large 8vo, together with two folders of related material, comprising photocopies of many of Orde's fighter pilot and other portraits, 54 RAF cut signatures (many with typed names below), including Elspeth C. Green, MM, WAAF; Air Vice Marshal James Edgar 'Jonnie' Johnson, CB, CBE, DSO & Two Bars, DFC & Bar, DL; Denys Edgar Gillam (the fastest confirmed victory of WWII - the time from take-off to landing being about eight minutes); and another page with 8 German night fighter signatures (Richard Marz, Dieter Brinkmann, Konrad Roesner, Heinz Misch, Willie Kleebauer, Walter Winterhoff, Gunter Schmidt, Rudolf Kotter, Emil Nonnenmacher), and two further RAF signatures, contained in two modern plastic folders, 4toQTY: (3)NOTE:Captain Orde is best known for his war art, especially his portraits of Allied Battle of Britain pilots. The 9 portraits signed directly by the sitters into the book are: Sqd. Ldr. A.G. 'Sailor' Malan DSO, DFC, 'Biggin Hill May 1943' - the RAF's leading ace during the Battle of Britain (pl. 1); Flt. Lt. John 'Cat's Eyes' Cunningham - the first man to shoot down an enemy plane with the aid of radar and the RAF's most successful night fighter pilot (pl. 9); Sgt. J.H. 'Ginger' Lacey DFM - the second-highest scoring RAF fighter pilot of the Battle of Britain (pl. 12); Sqd. Ldr. Douglas Bader DSO, DFC (pl. 14); Flt. Lt. W.D. David DFC, DFC (pl. 25); Wing Cdr. R.R.S. Tuck DSO, DFC (2 Bars) (pl. 38); Flt Lt. A.C. Deere DFC 'Biggin Hill May 1943' (pl. 42); Sqd. Ldr. J.A. Kent DFC, SFW, KW (pl. 43); Wing Cdr. J. Rankin DSO, DFC, 'Biggin Hill 27/8/43' (pl. 55). Provenance: The book was purchased by the previous owner with only three signatures on the portraits in May 1943 and the other signatures were mostly added while he worked as a guide at the RAF Museum Hendon; the Polish signatures at the back of the volume were obtained around 1996 when he helped to restore the 1/3 scale Spitfire war memorial model outside the The Orchard public house in Ruislip.

A modern Art Nouveau style bronze figurine depicting a winged fairy holding an oversized petal

XU BEIHONG (1895-1953)BambooInk on paper, hanging scroll, titled and signed Beihong, with one seal of the artist.71cm (28in) high x 28cm (11in) wide.Footnotes:徐悲鴻（1895-1953） 竹報平安 水墨紙本 立軸Provenance: Monk Fayin (1927-1992)Bonhams Hong Kong, 2 June 2022, lot 721來源：法因法師（1927-1992）香港邦瀚斯，2022年6月2日，拍品編號721款識：竹報平安。悲鴻試筆。鈐印：徐Xu Beihong is widely recognised as the father of modern Chinese painting, both for his innovative ink works that revitalised the traditional Chinese form, and for his willingness to embrace Western techniques.Born in Yixing, Jiangsu Province, in 1895, Xu grew up in an artistic family and showed talent at an early age. In 1915, he moved to Shanghai, then a melting pot of Chinese and Western cultures, to begin his studies. There he met Kang Youwei, the scholar and political reformer, who became his mentor and greatly influenced Xu's thinking about the need to incorporate Western practices and ideas into Chinese art. During the Second World War, Xu was active in selling paintings to raise money for the war effort.Compare with a related painting of bamboo stalks, Xu Beihong, which was sold at Christie's Hong Kong, 27 November 2012, lot 1517.For further information on this lot please visit Bonhams.com

A cased Edwardian silver egg cup and spoon, Birmingham 1907; together with a modern silver topped ribbed blue glass vesta; a small drum mustard with gadrooned borders Birmingham 1910 by Elkington and Co. two silver peppers, three silver napkin rings, an Art Nouveau gold plated overlaid fountain pen, a cased pair of silver plated fish servers and a quantity of silver plated flatware including a part rat tail canteen. 8.12 ozt gross weight, weighable.

A collection of silver to include; An S. Blanckensee & Sons Ltd, Birmingham plain silver cigarette case, a Birmingham silver handled letter opener with ring handle, an 800 silver topped ink blotter, a Chester embossed silver topped small vanity jar, a 925 modern Art Nouveau silver pill box, a 925 silver bonbon shaped pill box, along with a plated ink blotter and a plated small pill box. (1 bag)Weighable silver: Approx.  83.9 grams (2.7ozt)Further Details: Some slight wear, tarnishing, denting and scratching. 

John Smellie (British, 1886-1925)On the Clyde signed 'John Smellie' (lower right)oil on canvas50.8 x 66cm (20 x 26in).Footnotes:ProvenancePrivate collection, UK (purchased in 1942-3); thence by descent to the present owner.John Smellie's distinctive depictions of summers on the West Coast, particularly Largs, Millport, Tarbert and Hunter's Quay, constitute an enduring niche in modern Scottish art. Taking his cue from Sir John Lavery and the Impressionists, he sketched his family on day trips and holidays 'doon the watter', revelling in the summer light and atmosphere on the steamers and bustling resorts in their 1920s heyday.Smellie's paintings are rare as he died aged just 38, having only recently had the opportunity to devote himself to the life of a professional artist. Nonetheless, he exhibited extensively at the Royal Glasgow Institute, The Royal Scottish Academy and the Paisley Art Institute between 1909 and 1926, and in 1923 had been elected a member of the Glasgow Art Club.The central figure's elegant yellow coat and stylish accessories, clearly demonstrate an element of modernity, youth and wealth, and is likely to have been the artist's sister Margaret, his principal model. The smart luggage and golf bag continue to provide hints of holidaying on the Scottish coast. Smellie uses the diagonal lines of the deck, the narrowing wake and hint of the steamers smoke as effective devices to lead the eye into the composition and create the illusion of depth and movement. We, the viewer, are transported on their holiday journey with them. This painting has been in the same private family collection for the past eighty years and clearly demonstrates that Smellie was an artist with an original vision and a burgeoning talent, sadly cut short.For further information on this lot please visit Bonhams.com

RON ARAD (Né en 1951)'Blovoid 1'2008Edition The Gallery Mourmans, signé et numéroté AP IV, en aluminium anodiséH: 118cm.(46 7/16in.); L: 198cm.(77 15/16in.); P: 44cm.(17 5/16in.).A signed and numbered 'Blovoid 1' in anodized aluminum by Ron Arad designed in 2008, edition The Gallery Mourmans.Footnotes:Bibliographie:P. Antonelli, Ron Arad : No Discipline, Museum of Modern Art Exhibition Catalogue, Ed. Centre Pompidou, New York, 2009. Modèle similaire reproduit p.124 (unpaginated)This lot is subject to the following lot symbols: AR WAR Goods subject to Artists Resale Right Additional Premium.W Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com

RON ARAD ( Né en 1951)Chaise tapis 'Narrow Pappardelle'Création en 1992, modèle de 1995Edition Ron Arad Studio, signée et numérotée 10/20, en maille d'acier Inox sur une armature d'acier brut ciréH: 108cm.(42 1/2in.); L: 40,5cm.(15 3/4in.); P: 70cm.(15 3/4in.)/350cm.(137 13/16in.).Nous y joignons la copie du certificat d'authenticité du Ron Arad Studio.A signed and numbered 'Narrow Pappardelle' carpet-chair in steel mesh by Ron Arad designed in 1992, model of 1995, Edition Ron Arad studio.Footnotes:Bibliographie:P. Antonelli & P. Juncosa Vecchierini, Ron Arad: No discipline, Catalogue d'exposition, Museum of Modern Art, New York, 2009. Modèle similaire reproduit p. 52B. Friedman, Ron Arad, Ed. Barry Friedman Ltd., New York, 2005. Modèle similairereproduit pp. 36 et 37This lot is subject to the following lot symbols: AR WAR Goods subject to Artists Resale Right Additional Premium.W Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com

Jennifer Durrant (b.1942)Small Blue, 1990/91acrylic on board25.5 x 30cm. Provenance:Francis Graham-Dixon Gallery, London;The collection of Paul Whitfield (1942–2018).Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Some wear and abrasion to the edges and corners of the board, and also some patchy wear to the surface. Minor scratches, surface dirt and discolouration.

Joe Juster for William De Morgan (1839-1917)Jugpainted with Persian-style blue birds within scrolling foliage, the handle with purple glazeimpressed De Morgan mark and painted 'JJ 91/2'20cm high. Provenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Crack running from rim, approx 6cm. some minor glaze chips to the rim. otherwise ok.

Leonard Rosoman (1913-2012)Looted Chinese Gravesigned (lower left)oil on canvas20.5 x 33cm. Provenance:The collection of Paul Whitfield (1942–2018).Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.

Katherine Hartnell (1886-1970)Cottage with Figures Outsidesigned (lower right)oil on board42 x 54cm. Provenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.

Graham Sutherland (1903-1980)Cottage in Dorset, Wood End, 192720/60, signed and numbered in pencil (in the margin)etching16 x 19cm. Provenance:Colnaghi & Co., London; The collection of Paul Whitfield (1942–2018).Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Appears in good condition. Minor marks and dirt to margins. Framed and glazed.

Margaret Gere (1878-1965)Cactussigned and titled (to artist's label on the reverse)oil on board32.5 x 25cm Provenance:The collection of Paul Whitfield (1942–2018).Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection..Painted onto glass. Small chip to glass very top centre.Taken out of frame for condition report - please see photos. Photos of front and back.

Alan Peters (1933-2009)'Chinese/Gothic' coffee tableyew and cherry woodstamped 'Alan Peters' to the underside42cm high, 142cm wide, 55cm deep. Provenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Structually solid, minor surface ware but nothing major.

David Tindle (b.1932)Rocky Coastline, 1957inscribe and dated (to reverse)watercolour26 x 29cm. Provenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.

William Staite Murray (1881-1962)Vasestoneware, with an iron glaze and single gold patch detail to the bodyimpressed potter's seal, incised 'KI/SKD' and painted '49'20cm high. Provenance:The collection of Paul Whitfield (1942–2018).Paul Whitfield’s distinguished auctioneering career began in in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Overall good condition, with minimal glaze and firing faults.

Attributed to Loetz for Boudon and KlurA secessionist iridescent glass and pewter vaseiridescent glass with pewter mount, pierced and cast with sinuous stems forming twin-handles26.5cm high. Provenance:The collection of Paul Whitfield (1942–2018).Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Overall wear, marks and some scratches, consistent with age and use. Evidence of possible solder joins to the pewter mount. Some tiny scratches evident where the mount is just above the vase. Otherwise seems ok.

Michael Ayrton (1921-1975)Study of Joan Walsh's Head, 1942signed with initials and dated (upper left)mixed media on card9 x 6.5cm. Provenance:The collection of Paul Whitfield (1942–2018).Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Good condition

Pilkington's Royal LancastrianCuplustre pattern on blue grounddecorator's mark and impressed 'ENGLAND'6cm high, 9.5cm diameter. Provenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.The condition appears good. It does have quite a dull ring when tapped. But we have looked under the glass and cannot see any cracks. Some minor glaze imperfections.

Guild of HandicraftArts and Crafts silver and enamel box, 1902possibly designed by Arthur Cameron or William Marksdepicting two gurnardshallmarks for London6cm high, 10.5cm wide. Provenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Damage to the surface of the enamel to right edge, lower middle edge, left edge. Main area of enamel with the fish is OK. Surface of the silver is rubbed in places, and with light surface marks.

Michael Canney (1923-1999)Blasted Oak, Shoreham, 19472/25, signed, dated, and numbered in pencil (in the margin)etching23 x 20cm. Provenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Faint scratch to the the left margin and to the bottom right margin. Print area looks in good condition. Framed and glazed.

Frederick Landseer Griggs (1876-1938)St Botolph's Bridge, 1937signed in pencil (in the margin)etching25 x 21cm. Provenance:The collection of Paul Whitfield (1942–2018).Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Very minor marks to the margins. Overall good with no sign of damage or problems.

Malcolm Arbuthnot (1874-1967)Landscape with Upturned Boat, circa 1955signed (lower right)watercolour26 x 36cm. Provenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Colours vibrant however picture has some foxing spots.

Levi & SalamanArts and Crafts silver casket, 1908hallmarks for Birmingham7cm high, 10cm wide. Provenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.It doesn't stand flat and has a wobble. Hinges are fine. In need of a good clean. Surface wear and scratches.

Modern British SchoolFish Poem, 1950indistinctly signed (lower)pencil40 x 54cm. Provenance:The collection of Edward James;The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Mainly good but with marks and tape residue to glass.

Louise Powell (1865-1956) for WedgwoodPot and coverpainted with repeated foliate design in green and bluepainted 'LP 1295' mark, label from the catalogue of C.H. StJ. Hornby12.5cm high. Provenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.There i slight rubbing to the decoration near the rim, where it has been handled. In need of a clean. Overall good with no sign of damage or restoration.

Carlyle Brown (1919-1964)Still Life - Eggs in a Bowl next to an Ewer, 1953signed and dated (lower right)oil on board29 x 40cm. Provenance:The collection of Paul Whitfield (1942–2018).Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Condition appears sound.

Art PotteryVase, circa 1900metallic-type red glaze14cm high; and A Keswick School of Industrial Art silver plated pot and cover, 8cm high (2). Provenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Red vase in good condition.Keswick pot has surface wear and scratching, in need of a good clean.

Prunella Clough (1919-1999)Man Asleep on a Barge, 1954signed in pencil (lower right)etching12 x 17cm. Provenance:Gwen Hughes Modern British Art;The collection of Margaret Bailey.The condition appears good. Very slight ripple in the paper when viewed at an angle

Louise Sturgis (b.1962)Barn, 2013signed and dated (to reverse)oil on board16.5 x 12cm. Provenance:The collection of Paul Whitfield (1942–2018).Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Good condition.

Rupert Spira (b.1960)Two bowls flambé glaze with turquoise highlightsimpressed potter's seals8cm high, 24cm diameter (2). Provenance:The collection of Paul Whitfield (1942–2018).Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.With overall display wear, some scratches and crazing. One is a second, the seal has been covered to the underside. The second bowl with hairlines.

Bernard Sleigh (1872-1954)The Land of Heart's Desire, 1922signed and dated in pencil (in the margin)wood engraving15 x 20cm. Provenance:The collection of Paul Whitfield (1942–2018).Paul Whitfield’s distinguished auctioneering career began in in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.

Harold Holden (1885-1977)Southam Barnsigned and titled in pencil (in the margin)etching31 x 22cm. Provenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.

Estelle Thompson (b.1960)Littoral Ground, 1989indistinctly signed and dated (to reverse)oil on canvas30.5 x 30.5cm. Provenance:The collection of Paul Whitfield (1942–2018).Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Looks like the canvas has had a slight knock as there is a small indentation above the lighter green square. This has not pierced the canvas and there is no paint loss. Otherwise appears good with strong colours.

Norman Ackroyd (b.1938)Suffolk, 2000signed, dated, numbered, and titled in pencil (in the margin)etching20 x 17cm. Provenance:Gwen Hughes Modern British Art, 2000;The collection of Margaret Bailey.the sheet appears in very good clean condition. Framed and glazed well/

Manner of Edward Barnsley (1900-1987)Low occasional tablemacassar58cm high,104cm wide, 47cm deep. Provenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Some noticeable scratches to the top, other signs od wear from use. Structurally solid and free from any major damage.

Guild of HandicraftArts and Crafts silver spoon, 1931hallmarked for London13.5cm long; and an Arts and Crafts style silver lid, by Guild of Handicraft, 2014; and a Liberty & Co. silver handle (3). Provenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.

Art NouveauArt Pottery vasethe body with four pierced and moulded decorative panels, the slender turned neck with a turquoise glaze and pewter stopperimpressed factory mark31cm high. Provenance:The collection of Paul Whitfield (1942–2018).Paul Whitfield’s distinguished auctioneering career began in in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.The cork stopper has broken in the rim so we cannot take this out. The pottery looks in good condition.

Emmanuel Cooper (1938-2012)Footed bowlpurple glazeimpressed potter's seal8cm high, 20cm diameter. Provenance:The collection of Paul Whitfield (1942–2018).Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Hairline crack running from the rim.

John Christopherson (1921-1996)Unknown Region, 1961signed, titled, and dated (to reverse)oil on board46 x 28cm. Provenance:The collection of Paul Whitfield (1942–2018).Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Painting and board appear good with no damage and good colours. In need of a light clean. Frame has some minor wear.

Charles Shannon (1914-1996)Atalanta, 1893signed in pencil (lower right), from an edition of 50lithograph22 x 17cm. Provenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Tiny dirt spot but otherwise good.

Alan Reynolds (1926-2014)Time and October Landscape, 1953signed and dated in pencil (upper left)ink, watercolour and gouache28 x 38cm. Provenance:James Huntington-Whiteley Modern & Contemporary Art;The collection of Margaret Bailey.The left edge of the paper is rough as shown in the image. No damage or rips to the paper. Colours appear vibrant and bright. Gallery framed and glazed.

John Morley (b.1942)Derelict Garden, Great Tew, 1988signed and dated (lower left)pencil25.5 x 23.5cm. Provenance:The collection of Paul Whitfield (1942–2018).Paul Whitfield’s distinguished auctioneering career began in in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.

James Powell & SonsGlass jugdesigned by Harry Powell and W.A.S. Benson, designed before 1878dark green glass with threading to neck, metal handle27cm high. Literature:See Lesley Jackson, Whitefriars Glass: The Art of James Powell and Sons, 1996, page 99, plate 9, for a similar example. Provenance:The collection of Paul Whitfield (1942–2018).Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.The glass appears free from cracks or major damage. Some small scratches and surface wear consistent with age. The mounts are ok but fairly tarnished.

Graham Sutherland (1903-1980)Sluice Gatesigned in pencil (in the margin)etching16 x 15cm. Provenance:Colnaghi & Co., London;The collection of Paul Whitfield (1942–2018).Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.There seems to be slight time staining where the mount meets the sheet. The sheet and image look good. Minor specks of dirt under the glass. Frame has some knocks.

Attributed to Edmund Blair Leighton (1853-1922)Woodlandpencil inscription (to reverse)oil on board20 x 27cm. Provenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.

Donald Hamilton Fraser (1929-2009)Green I, April 1963signed (lower right), inscribed, and dated (to reverse)oil on paper25 x 26cm. Provenance:The collection of Paul Whitfield (1942–2018).Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Faint scratch to teal coloured paint and a tiny blemish nearby.

Doulton, LambethVasewith prototype silver glaze16cm high. Provenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Overall signs of display wear and minimal use. Expected flaws and uneven glaze distribution. Is dull when tapped but we cannot see any damage. Otherwise seems ok.  Examined under UV light and did not show signs of restoration.

Arts and CraftsA pair of candlestickspewter28cm high. Provenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.

James Walford (1913-2003)Vasestoneware, with celadon glaze and raised leaf motifsimpressed potter's seal26cm high. Provenance:The collection of Paul Whitfield (1942–2018).Paul Whitfield’s distinguished auctioneering career began in in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.

Edward Calvert (1799-1893)The Sheep of His Pasturewood engraving5 x 8.5cm. Provenance:The collection of Paul Whitfield (1942–2018).Paul Whitfield’s distinguished auctioneering career began in in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection. The sheet is consistently time stained to the visible area. Otherwise appears good with no rips or fading. Note to reverse mentions this was the property of Samuel Palmer.

John Minton (1917-1957)A Farmyard, 1945signed and inscribed with colour notes, and dated (lower left)pen, brown ink and wash27 x 36cm. Provenance:Spinks, London;The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.

Peter Beard (b.1951)Large vesseltenmoku glaze with gold highlightsimpressed potter's seal33cm high. Provenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Appears in good condition with no sign of damage or restoration.