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Edward Clifford (British 1844-1907)A group portrait of The Broadlands Conference Pencil, watercolour and bodycolour with scratching out Signed and dated 1887 (lower right) 169 x 263cm (66½ x 103½ in.)Provenance:The Church Army, by 1887The Keswick Convention, by 1964Private Collection. Literature:Mrs R Cholmeley, Edward Clifford, London: The Church Army Book Room, 1907, p 42 and pp 86-94, reproduced opposite p 87.Edward Clifford, Father Damien and Others, London: The Church Army Book Room, 1904(?), p 34.This impressive group portrait, painted on a monumental scale, celebrates the Broadlands Conferences of the Higher Life which took place between 1874 and 1888 at Broadlands in Hampshire the country estate of the William and Georgina Cowper-Temple. In the picture he is seen in a tweed suit seated at the table with his wife in the upper right corner. William had an illustrious political career as a member of Parliament for over forty-five years, Private Secretary to his uncle Lord Melbourne and groom-in-waiting to Queen Victoria. With his second wife he shared an interest in Evangelical Christianity and embarked on a search for religious enlightenment. Georgina had a particular interest in mysticism and mixed with leading spiritualist figures from Britain, American and Europe, attending several séances. The annual conferences they founded brought together their religious interests and the beautiful surroundings at Broadlands aimed to create a "foretaste of heaven" with many of the services taking place under the Beech trees or in the orangery.Their interests were precipitated by the Holiness movement in America and the 1870s saw the emergence of the Higher Life movement in England which was named after William Boardman's book The Higher Christian Life (published in 1858) the main aim of the movement was to help in advancing the Christian's progressive sanctification, and enable one to live a more holy, less sinful, life. Though principally Evangelical, the movement was seen as non-denominational. Together with William Boardman, two other key figures helping to spread the holiness message in England were Robert Pearsall Smith and his wife, Hannah (the central standing figure in the composition), both of whom were acquainted with the Mount-Temples and were involved in the conferences at Broadlands.Edward Clifford was well placed to paint the picture. He had a strong faith, was honorary Secretary of the Evangelical Church Army (the first owners of the picture) and attended the conferences. He was a gifted artist and alongside Robert Bateman, Walter Crane and others, was part of a group of followers of, the Pre-Raphaelite painter, Edward Coley Burne-Jones and exhibited at the Dudley Gallery in the late 1860s and 1870s. Clifford's works often took passages from the Bible as its subject and according to Angela Thirkell, Burne-Jones's granddaughter `He had a peculiar gift for copying his paintings so that my grandfather himself could hardly tell the difference.' He also produced fine pencil portraits, a talent he used to much effect in the present work. Clifford has helpfully named many of the sitters and they reflect the social and geographical diversity of those that attended the various Broadlands conferences. The most notable includes several members of the Wilberforce and Gurney families including Canon Basil Wilberforce, the Church of England Bishop, and Emilia Gurney, the feminist reformer, suffragist, and abolitionist. Amanda Berry Smith is also included, and she spoke at the conference in 1879. She was born into slavery in Maryland and joined the African Methodist Episcopal Church. The Rev. H.B. Macartney vividly recorded his attendance at one of the conferences in his book England, Home and Beauty, 1878, p.73-90. A reprinted copy is included with this lot. The figures are identified, left to right:1 - The Hon Ion Keith Falconer (1856-1887), 2- The Reverend Barton Brown, 3 - Mrs Sumner, 4 - Boyd Carpenter, Bishop of Ripon (1841-1918), 5 - The Rev Evan Hopkins (1837-1918), 6- Mrs Wilberforce (Caroline Charlotte Jane Langford,1840-1909), 7- Rev Charles Armstrong Fox, (1836-1900), 8- Rev R Corbett, 9- Edward Clifford (1844-1907) Artist and Hon Secretary of the Church Army, 10 - Vernon Bayley (Perhaps the gardener at Broadlands), 11 - Stanley P Smith, 12 - Lt Herbert Wilberforce, (see 6 and 32 for his mother and father), 13- Mrs Charles, 14 - Sir Stevenson Arthur Blackwood (1823-1893), 15 - The Rev William Hay Macdowall Hunter Aitken (1841-1927), 16 - Lady Ashburton 1844-1930 (The Hon. Leonora Caroline Digby), 17 - Amanda Berry Smith (1837-1915), 18 - Canon Body, 19 - Hon. Mrs Butts, 20 - Ernest Gerard Leycester (1849-1914), 21 - Countess Dowager of Gainsborough, 22 - Rev. Alfred Clifford (1849-1931), 23 - Lord Chichester, 24 - Miles Tyndale, 25 - Countess of Darnley (1829-1905), 26 - Wilson Carlile, CH (1847-1942), 27 - Dr George MacDonald (1824-1905), 28 - The Rev. Andrew Jukes (1847-1931), 29 - Unknown Sitter, 30 - Mme Juliet Latour Temple (later Deschamps) (Possibly), 31 - Canon (Albert) Basil (Orme) Wilberforce (1841-1916), 32 - The Rev. Alfred Gurney (1843-1898), 33 - George Howard Wilkinson, (1833-1907), 34 - Mary Clifford (1842 - 1919), 35 - J W Farquhar, 36 - Hannah Tatum Whitall Smith (1832-1911), 37 - William Francis Cowper-Temple, 1st Baron Mount Temple (1811-1888), 38 - Théodore Monod (1836 - 1921), 39 - Theodor [sic] Monod, 40 - Emilia, Mrs Russell Gurney (1823-1896), 41 - Georgina Tollemache (married 1848, died 1901)For more information on the sitters please refer to our blog which can be found in 'News & Insights' on www.dreweatts.com

An Aesthetic Movement Maw six tile panel in the manner of Walter Crane, comprising three shepherdess tiles glazed tan and three birds perched in a tree bough glazed green, set alternately in an ebonised wood frame, 15.5cm. square. Provenance Paul Reeves An Eye for Design, Lyon & Turnbull,14th February 2019, lot 126.

NO RESERVE Design.- Wittlich (Petr) Prague: Fin de Siècle, English text, Paris, 1992 § Hillier (Bevis) The World of Arc Deco, 1971 § Spencer (Isobel) Walter Crane, 1975 § Justema (W.) Pattern: A Historical Panorama, Boston, 1976 § Hofer (T.) & Edit Fél. Hungarian Folk Art, Oxford, 1979 § Loewy (Raymond) Industrial Design, 1979, illustrations, some colour, original cloth or boards with dust-jackets; and c.35 others on design, ornament, decorative arts etc., and a box of periodicals on design, v.s. (sm.qty)

Late Victorian probably Sowerby after Walter Crane hand-painted opaque pressed glass panel,  featuring mother and child in a cornfield, unsigned, c. 1870s19.5 x 12 cm, framed Condition ReportSeveral small patches of paint loss to panel.Significant wear to frame but still structurally sound.

BILLS, M. & B. BRYANT. G.F. Watts: Victorian visionary. Highlights from the Watts Gallery Collection. (2008). - V.F. GOULD. G.F. Watts: the last great Victorian. (2004). - M. O'NEILL. Walter Crane: The arts and crafts, painting, and politics, 1875-1890. (2010). - 3 vols. Prof. ill. Dif. sizes. Or. binds. w. dust-j. -- And 1 o. (4).

WALTER CRANE: 'LINE & FORM' George Bell, 1900, and three similar books on design

PILKINGTON'S; a ceramic charger relief decorated with stylised fairies in landscape scene, possibly designed by Walter Crane, impressed marks to the underside, diameter 32cm.Additional InformationThere is minor crazing all over, there are four glaze imperfections to the front of the piece. Light scratches, but good condition. The handwritten scrawl will easily wipe off under the charger. We have tested this by removing one letter.

Edmund Dulac's Picture Book published Hodder & Stoughton c.1915 with tipped-in colour plates (one missing) in gilt decorated cloth, Rubaiyat of Omar Khayyam with colour plates by Willy Pogany bound in suede, Book of Christmas Verse with Designs by Walter Crane, Bannerman Little Back Sambo 1955 (lacking Model), Reeves The Wandering Moon illustrated by Ardizzone, Alice's Adventures in Wonderland by Lewis Carroll illustrated Bessie Pease and 3 others  (9)   

Two Victorian decorative tiles by Walter Crane for Maw & Co., both 6-inch tiles, including Little Boy Blue in a roundel, and Mistress Mary, both framed; and two other nursery rhyme tiles, also framed, 19cm square including frames.

CLASSIC ROCK/ POP/ SOUL - 7" COLLECTION. A lovely collection of around 220 7" singles. Artists include Paul Davis (HLM 10530), Judy Collins (K12270), Warren Zevon, Roy Wood, Bay City Rollers, Mud, Les Gray, Charlie Daniels, Mr Big, Les Crane, The Rubettes, Rosetta Stone, The Don Harrison Band, John Stewart, Andrew Gold, Walter Murphy, Roderick Falconer, Levinsky/ Sinclair. The Lookalikes, David Soul, Brian Protheroe, Hot Gossip, Sakkarin, The New World, Chris Spedding, Wild Willy Barrett, Disturbance, Eden, Tony Rivers, Julie & Gordon, Colin Towns, The Gentrys, Bobby Corrado, Billy Swan, Billie Davis, The Four Preps,

A set of nine water colours after Walter Crane from book illustrations of floral celebrations, 20.5 x 16cm. Circa 1912

EDGAR WOOD (1860-1935) ARTS & CRAFTS OAK SIDEBOARD, CIRCA 1896-8 oak, with patinated brass fittings(156cm wide, 134cm high, 49.5cm deep)Footnote: Provenance: Possibly designed for ‘Dunarden’, at Archer Park, Middleton, built 1897-98 for the Ashworth family Literature: Dekorative Kunst, illustrated magazine for applied arts, vol.3, Munich, 1899, p. 266 where the drawing for this sideboard is illustrated ‘Buffett aus eichenholz’ (oak sideboard) Academy Architecture and Architectural Review 1898: Vol 13, p.40 https://manchesterhistory.net/edgarwood/dunarden.html Note: Born in Middleton, near Manchester in 1860, the architect, artist and draftsman Edgar Wood was a prominent member of the Arts & Crafts Movement. He gained a national and international reputation, and his work was widely published in publications such as The British Architect, The Studio Magazine, Dekorative Kunst and Moderne Bauformen. Wood rejected large scale commercial practice and worked with a small number of assistants designing furniture, stained glass, sculpture, metal, and plasterwork as well as buildings. Many commissions were from friends and family Middleton, Huddersfield and Hale, Cheshire. Influenced by the artistic and socialist writings of William Morris, he saw himself as an artisan serving the people of these localities. He was a founder of the Northern Art Workers' Guild, set up by Walter Crane in 1896, one of the major provincial societies within the Arts and Crafts Movement and was president of the Manchester Society of Architects from 1911–12.

WALTER CRANE OR KATE GREENAWAY WALLPAPER FRAGMENT, CIRCA 1880 later framed, bears registration lozenge to selvedge(70cm x 56cm)

WALTER CRANE (1845-1915, DESIGNER) AND WILLIAM S. MYCOCK (1872-1950, ARTIST) FOR PILKINGTON’S TILE decorated with classical figures in sailing ships, painted artist's, designer's and date cyphers to the base, painted artist's marks and designer's monogram, impressed maker's marks 2472/ ENGLAND/ VI, applied paper label ROYAL LANCASTRIAN(26.5cm high)Footnote: Literature: Cross, Anthony Pilkington's Royal Lancastrian Pottery and Tiles, Richard Dennis, 1980, page 9, plate V, where similar examples are illustrated. Provenance: Property from an Important Private Collection

ALESSANDRO MAZZUCOTELLI (1865- 1938) LARGE CEILING LIGHT, CIRCA 1910 wrought iron, stamped maker's mark to the frame MAZZUCOTELLI(68cm diameter, 160cm high)Footnote: Provenance: A Private European Collection of Design Note: Alessandro Mazzucotelli was born into a wealthy family of blacksmiths who founded their wealth on the need for iron during the wars of the 18th and 19th centuries. When he was eighteen the company fell on hard times and he moved to the Milan to complete his apprenticeship at Defendente Oriani. In 1891, six years later, he left the company and began to focus on his own work. Most of his designs were for decorative features for buildings and his work took him from Italy to Germany and even to Thailand, where he provided ironwork for the buildings of the architect Annibale Rigotti in Bangkok. His style was initially influenced by the Stile Liberty, which he explored during his travels through Europe with the Italian furniture maker Eugenio Quarti. He took inspiration from the ideas of artists such as Burne-Jones, William Morris and Walter Crane in England and Émile Gallé in France. Mazzucotelli made his name at the International Exhibitions starting in Turin in 1902, Brussels in 1910, Paris 1925 and many others. He also became a regular lecturer at the crafts school of the Società Umanitaria. Examples of his work can be seen today, particularly in Milan, and include the balustrades and handrails of the Palazzo della Borsa (1907) and the street lights in the Piazza del Duomo (1927-28).

ART DECO, ART NOUVEAU, AUSTRIAN SECESSION, BAUHAUS; ARTS & CRAFTS REFERENCE LIBRARY DECORATIVE ARTS Hiroshi Unno Harry Clarke: An Imaginative Genius in Illustrations and Stained-Glass, Pie Books; Bilingual edition, 2014; Jenny Uglow Walter Crane: The Illustrators Thames and Hudson Ltd, 2019; August Sarnitz Otto Wagner, Taschen 2018; Jugendstil: 1880 bis 1915, Badisches Landesmuseum, Karlsruhe 1987; Ernst Riegel Goldschmied zwischen historismus und werkbund Kehrer Verlag, 1996; Hellmut Th. Seemann (Editor), Thorsten Valk (Editor) Prophet des Neuen Stil Wallstein, 2013; Jeannine Fiedler Bauhaus Ullmann, 2013; Hans Maria Wingler The Bauhaus: Weimar, Dessau, Berlin, Chicago, The MIT Press, 1969; Janis Staggs, Renée Price, Ronald S. Lauder Wiener Werkstätte Jewelry Hatje Cantz Verlag, 2017; Thirties, British Art and Design before the War, Arts Council, 1979; William Buchanan Mackintosh's Masterwork: Glasgow School of Art, Chambers 1995; Ina Bahnschulte-Friebe Die Künstlerkolonie Mathildenhöhe Darmstadt 1899-1914, 1995; Karen Livingstone, Linda Parry International Arts and Crafts V&A, 2005; Randell L. Makinson Greene and Greene: Architecture as a Fine Art, 1979; and Greene and Greene: Furniture and Related Designs, 1982

SUTHERLAND (MILLICENT, DUCHESS OF)Wayfarer's Love. Contributions from Living Poets, NUMBER 62 OF 100 COPIES, signed by the editor on the colophon, original decorative morocco gilt designed by Walter Crane, bound by Zaehnsdorf, t.e.g., 4to, Archibald Constable, 1904This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

John Adams for Bernard Moore, a large Flambe Three Fates vase, 1910, cylindrical shouldered form, painted with three Classical figures, below a band of text, the neck decorated with honeysuckle motifs, in the style of Walter Crane, painted marks, 52.5cm high

NO RESERVE Ardizzone (Edward) The Young Ardizzone: An Autobiographical Fragment, signed presentation inscription from the author to endpapers, illustrations, original boards, dust-jacket, 1970 § Warr (George) Echoes of Hellas, illustrated by Walter Crane, original pictorial boards, gilt, soiled and faded, [c.1887] § Cundall (H. M.) William Callow: An Autobiography, plates, many in colour, 1908 § Toshirō (Morita) Nō Photographs, photographic illustrations in colour, slip-case, 1987; and c.60 others, art, v.s. (65)

A Victorian Minton Walter Crane "Here we go round the Mulberry Bush" plate

Myths and Martyrs of Astronomy by Richard A Proctor, London 1878; Early Adventures in Persia, Susiana and Babylonia by Sir Henry Layard (vol II); A Sentimental Journey Through France and Italy by Laurence Sterne; A History of British Quadrupeds by Thomas Bell, London 1874 and Don Quixote Re-Told by Judge Parry and Illustrated by Walter Crane (5)

Four Walter Crane for Limoges porcelain dishes decorated with figures from Shakespeare's Garden; together with a German porcelain bowl decorated with flowers; an English porcelain dish decorated with ships in a harbour and Aesthetic Movement charger decorated with swallows over a lily pond (7).

Rackham (Arthur).- Barrie (J.M.) Peter Pan in Kensington Gardens, second edition, 50 colour plates by Arthur Rackham tipped to grey leaves, captioned tissue guards, upper hinge weak, original pictorial russet cloth, gilt, spine very slightly rubbed and faded, 1910 § Wagner (Richard) The Rhinegold & the Valkyrie, translated by Margaret Armour, 34 tipped-in colour plates by Rackham, captioned tissue guards, original limp brown morocco, gilt, spine gilt, t.e.g., others uncut, rubbed, 1920; and 7 others, childrens' and illustrated, one by Walter Crane, 4to & 8vo (10)

Childrens prints by Kate Greenway, Walter Crane and Willebeek Le Mair

* CHARLES OPPENHEIMER RSA RSW (BRITISH 1875 - 1961), THE WOODSMEN oil on canvas, signed 37cm x 45cm Framed and under glass. Note: Charles Oppenheimer was born in Manchester in 1875. His mother was Scottish and the family-owned a mosaic manufacturing business. He studied under Walter Crane at Manchester School of Art and in Italy. Although not a native Scot, (he didn't settle in Scotland until he was in his mid-thirties) he was passionate about his adopted hometown of Kirkcudbright and found an endless source of subject matter in the 53 years he lived in the town. Kirkcudbright drew some of Scotland's greatest artists, such as Cadell and Fergusson, and many painters gathered here following the lead of E.A. Hornel. They were primarily attracted to the effect of the light on the hilly ground which produced soft colours and a spectrum of grey. Oppenheimer was a keen fisherman and many of his paintings dealt with the effect of light on water. His views of The Solway Coast and Whitby were used by British Rail for their advertising campaign 'See Britain By Rail'. He retained a love of Italy and produced some excellent canvasses of Venice and Florence. He exhibited regularly at the Royal Scottish Academy in Edinburgh, where he became a full member in 1934.

Spenser, Edmund - Walter Crane, illustrator Spenser's Faerie Queene London: George Allen, 1894-1897. 4to, in original parts, comprising parts 1-17 and 19 only (i.e. lacking part 18), original pink paper wrappers, part 1 with some slight dampstaining, some dust-soiling and spotting, a little chipping and wear to the edges of wrappers (18)

Raleigh (Sir Walter), History of the World, In Five Books, London, 'Printed by William Jaggard for Walter Burre and to be sold at his Shop in St Paules Church-yard at the signe of the Crane', 1617 (facsimile 1676 engraved frontispiece inserted), full calf (some losses)

NO RESERVE Jacobs (W. W.) The Lady of the Barge, 1902 § Stockton (Frank) The Late Mrs. Null, 1886; Mrs. Cliff's Yacht, § Allen (James Lane) The Reign of Law, 1900, § Dale (Nellie) The Dale Readers, 2 vol., illustrated by Walter Crane, 1917, all but the last first editions, plates and illustrations, some in colour, some endpapers browned, original pictorial or decorative cloth, some gilt, minor bumping to spine ends, else bright clean copies; and 13 others, similar, 8vo (19)

Viennese Secession.- Katalog der V. Ausstellung der Vereinigung Bildender Künstler Österrichs Secession, decorative borders, pictorial advertisements at end, shaken and loose in binding, original grey/green wrappers by ?Josef Olbrich with decorations and text printed in pale blue, a little rubbed, spine worn and slightly defective at head (reinforced on verso), oblong 8vo, Vienna, Adolf Holzhausen, [1899].⁂ Rare catalogue with exhibitors including Aubrey Beardsley, Boutet de Monvel, Frank Brangwyn, Walter Crane, Joseph Hoffmann, Gustav Klimt, Max Klinger, Kathe Kollwitz, Koloman Moser, William Nicholson, Emil Orlik, Renoir, and Toulouse-Lautrec.

Crane, Walter  "The Bluebeard Picture Book ...", George Routledge & Sons (nd), colour plates throughout, small inscription on tp with date November 16th '93, front board detaching but blue pictorial cloth in good order, corners bumped "Flora's Feast, a Masque of flowers", Cassell & Co 1889, colour ills throughout, pages uncut, decorated ep, pictorial boards  "Cinderella's Picture Book", vol 3, engraved and printed by Edmund Evans, John Lane The Bodley Head (1887), colour plates, pictorial cloth, rebacked, original backstrip laid down but some loss  "Bluebeard's Picture Book", John Lane The Bodley Head (1899), half title possibly missing, yellow pictorial ep, blue cloth with blue lined pictorial decoration (5) 

A Mounted Print of Napoleon, Bill Sykes Print and Coloured Lithograph, Medieval Procession After Walter Crane Published by Franz Hanfstingl 1908, Latter 65x48cm

SOLIDARITY OF LABOUR A3 SIZE POSTER BY WALTER CRANE  31cm x 44cm

Stevenson (Robert Louis). Travels With a Donkey in the Cevennes, 1st edition, London: C. Keegan Paul & Co., 1879, wood-engraved frontispiece by Walter Crane, a little slight marginal toning, light spotting to endpapers, bookplate of bibliophile Oliver Nowell Chadwyck-Healey (1886-1960), original blue-green cloth gilt, spine a little darkened and rubbed at ends, a few tiny marginal flecked marks, 8voQty: (1)NOTESPrideaux 3. Robert Louis Stevenson's humorous account of his journey in the Cevennes region of South-Central France, accompanied by a donkey called Modestine, who he had bought to carry his belongings.

Crane (Walter, illustrator). Don Quixote of the Mancha, retold by Judge Parry, London: Blackie & Son, 1900, half-title signed in ink by the illustrator, 11 colour plates (including frontispiece), decorative title and frontispiece margins lightly toned (from tissue guard), p.126 with minor surface skinning at gutter (affecting 2 letters), bookplate 'W. L. Phillips', original pictorial cloth, lightly rubbed in places, rear cover a trifle scratched, spine somewhat darkened, 8vo, together with: A Wonder Book for Girls & Boys, by Nathaniel Hawthorne, London: Osgood, McIlvaine & Co., 1892, preliminary blank signed in ink by the illustrator, 60 colour designs, many full-page, bookplate as above, original pictorial cloth, somewhat rubbed and scratched, mainly to rear cover and extremities, darkened spine slightly cocked, 8vo, plus: Crane (Walter), Ideals in Art: Papers, theoretical, practical, critical, London: George Bell & Sons, 1905, half-title signed in ink by the author, numerous black & white illustrations (many from photographs), by Walter Crane and others, bookplate as above, front free endpaper with book ticket 'Library of J. Leon Williams', top edge gilt, original pictorial cloth gilt, a little rubbed and marked, some fading or darkening, 8voQty: (3)

* Crane (Walter, 1845-1915). Six illustrations to The Tempest by William Shakespeare [1893], 6 woodcut illustrations printed on tissue, from the set of 8 printed by Duncan C. Dallas in 1893, and issued in an edition of 650, mounted on off-white card, some marks to blank margins, image size 193 x 142 mm (7.6 x 5.6 ins),Qty: (6)

Rackham (Arthur [illustrator]). The Rhinegold & The Valkyrie, by Richard Wagner, William Heinemann, 1910, 34 tipped-in colour plates, period inscription to the front endpaper, some light spotting, front & rear gutters cracked, publishers original gilt decorated brown cloth, boards & spine slightly rubbed, 8vo, together with; Crane (Walter), The Bases of Design, 1st edition, George Bell and Sons, 1898, numerous black & white illustrations, front gutters cracked, some light spotting & toning, top edge gilt, publishers original gilt decorated blue cloth, boards & spine lightly rubbed, 8vo, and Bunyan (John), The Pilgrim's Progress, new edition, Ward, Lock and Tyler, circa 1880, 100 black & white wood engraving illustrations by Thomas Dalziel, bookplate to front pastedown, some minor toning, all edges gilt, contemporary gilt decorated black full morocco, boards & spine slightly rubbed, 8vo, plus other late 19th & early 20th century literature, including The Works of William Shakespeare, 9 volumes, edited by William George Clarke & John Glover, MacMillan & Co., 1863-66, uniform gilt decorated plum cloth, 8vo, some leather bindings, mostly original cloth, overall condition is generally good/very good, 8vo, 4to, plus a small collection of vellum & paper deedsQty: (6 shelves)

The Louis Wain Kitten Book; Kate Greenaway A-Apple Pie; Walter Crane Slate and Pencil Vania; three books by Randolph Caldecott; two Nonsense books by Edward Lear; and two other illustrated children's books (10) - Condition Report

TWENTY TWO UNFRAMED PRINTS OF COLOURED ILLUSTRATIONS, to include Walter Crane (1845-1915) Flowers from Shakespeare's Garden and various Hugh Tomson prints

DULAC EDMUND.  Fairy Book. Tipped in col. plates. Quarto. Orig. dec. cloth. N.d.; also 8 children's books incl. Caldecott, Walter Crane & 3 Struwwelpeters.  (9).

Thackeray, William Makepeace. The Works, in 13 volumes, London: Smith, Elder, & Co., 1910. Octavo, half crushed morocco lettered in gilt, top edge gilt, marbled endpapers, bookseller's tickets on front pastedowns (Henry Walker, Leeds). Contents generally good and bright with some spotting; some wear to edges of what must have been uncut pages; bindings tight and solid with some handling marks to cloth and light wear to extremities of morocco; spines discoloured. Together with The Baby's Opera, by Walter Crane, London: Warne Ltd., no date, worn dust-jacket (14)

Walter Crane, section of nursery wallpaper, 27.5" x 22.5", unframedA few very minor tears on the right-hand edge, generally good

Don Quixote retold by Judge Parry and illustrated by Walter Crane, Blackie & Son Ltd, London 1900, Longleat, published by The Longleat Estate Co, 1949 and signed by Lord Bath, etc (4)

ANTIQUE ILLUSTRATIONS AND PRINTS ETC, to include Edmund Dulac, Arthur Rackham and Walter Crane, etc, sport, romance, humorous, etc, approximately 45

THE HAPPY PRINCE AND OTHER TALES BY OSCAR WILDE illustrated by Walter Crane and Jacob Hood, 1902, David Nutt, London Condition Report: Available upon request

MOTHER HUBBARD'S PICTURE BOOK BY WALTER CRANE  IN ACCEPTABLE CONDITION

Art Nouveau Mahogany Framed Fire Screen, designed by Theodore Barker, early 20th century the stylised female figure and peacock embroidered by his sister Edith Firth (nèe Barker), it was created for an Owen Jones Competition 71cm by 72cm With original photograph to the reverse, it also features in Copies of Application and Testimonials of Theodore Barker, Art Master A Collection of Printed Ephemera Relating to Theodore Barker Including a black leather mounted sketch book, titled in pencil Theo Barker, **** ***** Pendleton, Manchester, comprising pen and ink figural sketches, heraldic designs, handwritten notes, last date appears to be 27.4.04, 12cm by 18cm, two Christmas cards dated 1908 and 1909 designed by Theo and printed with his details, 14 Dunraven Road, West Kirby, Cheshire, a photograph of Theo in academic gown and mortar board, photograph of his father, John Francis Barker (1847-1917) seated, another of his parents stood outside 127 Lower Seedley Road, Manchester, several photographs of Theodore in his army uniform, family groups, glass negatives including classical statutory, busts, decorative objects, photographs of Theodore in uniform and letters from the front etc, a small brown suede Mudies Ltd of Manchester photograph case, The Work of Walter Crane paper back volume, handwritten to the front and dated 1898 Easter, inscribed inside J F Barker from Theo November 20th 1911, four unframed certificates to Theodore Barker dated 1894 from the Department of Science and Art, London SW, Art Class Teachers Certificate dated 1901 and Board of Education South Kensington Certificate for Art Instruction 1902 in a red leather mounted parchment holder, Memorium card and envelope for Alice Dean, died aged 21 years, 20th January 1872, copy of the Journal, Friday 25 May 1917 with the obituary of Second Lt Theodore Barker of Pine Grove, Monton etc (qty)

Crane (Walter).- Spenser (Edmund) The Faerie Queene, edited by Thomas J. Wise, 6 vol., one of 1,000 copies, illustrations and decorations by Walter Crane, usual browning to endpapers, original pictorial cloth, gilt, some very light spotting or marking, but an unusually bright and fine set overall, t.e.g., others uncut, 4to, 1897

NO RESERVE Ellis (F.S.) The History of Reynard the Fox, presentation copy from the author inscribed on front free endpaper, frontispiece, title and decorations by Walter Crane, old library stamp to verso of frontispiece, original cloth, uncut, a little rubbed, rebacked preserving original spine, 1894; and 5 others including 2 Nonesuch Press volumes, 4to & small folio (6)

After Walter Crane, four mounted Children's illustrations, circa 1910, and four similar mounted Nursery Rhymes (8)

[MISCELLANEOUS]. ILLUSTRATED Ingoldsby, Thomas [Barham, Richard Harris], & Rackham, Arthur, illustrator. The Ingoldsby Legends or Mirth and Marvels, Dent, London, 1905, pictorial green cloth gilt, top edges gilt, frontispiece and another eleven colour plate illustrations (as called for), further black and white text illustrations, octavo; Crane, Walter. Flora's Feast, A Masque of Flowers, Cassell & Co., London, 1895, cloth-backed decorative boards, colour illustrations throughout, octavo (hinges tender); and three other works, in four volumes, (6).

Walter Crane (1845-1915), ‘Der Triumph der Arbeit’ (The Triumph of Labour), a print on cream paper c.1891, printed Heinrich Scheu and Walter Crane with cypher, ‘Uitgave - Ontwikkeling - Amstredam’ A German language version print of the Worker’s parade poster designed to commemorate the International Labour Day, 1st May 1891, designed by Crane and after the woodcut by Henrich Scheu, depicting an allegorical representation on the subject of socialism, work, freedom with various banners; glazed and painted black oak frame Frame 55.2 cm high, 103.4 cm wideA few old marks, smudges to border. Frame possibly original, paper covering on the back has been removed. Some rubbing and wear to the oak frame.

WILLIAM DE MORGAN (1839-1917) ARTS & CRAFTS SIX-TILE PANEL, CIRCA 1880the tiles painted with a vase of flowers entwined by a serpent, within an ebonised wood frame(50cm x 35cm)Footnote: Exhibited: William De Morgan Exhibition, Leighton House, London, 18 May - 24 June 1972, No. 50. (part) Literature: Greenwood, M. The Designs of William De Morgan, Richard Dennis 1989, p. 180, pl. 458 (design drawing illustrated) Provenance: Metford Warner The Roger Warner Collection, Christies, 20th January 2009, lot 225 Private Collection, London Note: Metford Warner (1843-1930) owned the wallpaper manufacturing company Jeffrey & Co., and contributed to the change away from French taste in wallpaper design employing designers such as Walter Crane, Owen Jones, Charles Eastlake, William Burges and Edward W. Godwin to produce designs for wallpapers. His grandson Roger Warner was a renowned antique dealer based in Burford Oxfordshire who directed taste towards objects that previously had been disregarded or even derided, ensuring that popular, regional and vernacular arts, whether wooden furniture, pottery, treen, metal-wares, textiles and domestic utensils, were saved and studied. The Tiles of William de Morgan There had not been a tile-making tradition in England since the reformation and it was not re-introduced until the 1830s, at the beginning of the great period of Victorian church building and restoration. Initially confined to tiling for floors by the 1870s the market for decorative tiles was enormous, and virtually every new building project incorporated a tiled element of one sort of another, extending in some cases to the walls and even the ceilings. It was in this burgeoning market that the renowned Arts & Crafts ceramicist William de Morgan (1839-1917) made his name. The eldest of seven children, de Morgan was born in 1839 and showed early promise as an artist. During his formal education at the Royal Academy Schools he met influential artists like Simeon Solomon and Henry Holiday. In 1862 Holiday introduced de Morgan to William Morris who was to become a life-long friend and collaborator and who offered him a job. Morris & Company was only two years old at this point and de Morgan began with the firm designing stained glass with Burne-Jones and also decorating tiles, to the designs of Morris. During his work with glass De Morgan noticed that if silver nitrate stain was fired at the wrong temperature on the glass it would reduce and produce an iridescence on the surface. Fascinated by this lustrous effect he began experimenting with glass and ceramics, buying blank tiles and plates, decorating and firing them in a makeshift kiln at his home in Fitzroy Square, which subsequently burnt the roof off. Doubtless this unfortunate event precipitated a move to Chelsea in 1872, marking the end of his stained glass career. It also marked the beginning of his own business producing tiles and other ceramics to his own designs. De Morgan went on to produce tiles for many large commissions. After his period at Merton Abbey he moved the business nearer to his home at Fulham. By the turn of the century his designs had fallen out of fashion and he stopped production in 1907 lamenting that “All my life I have been trying to make beautiful things...and now that I can nobody wants them.” Despite this setback he managed to change his career late in life and became a successful novelist. His tile designs can broadly be categorised as plants and flowers, usually of Middle Eastern influence; exotic or fantastical animals and medieval galleons at sea, of which there are several fine examples of each type in this sale.

ENGLISH SCHOOL, MANNER OF WALTER CRANE ARTS & CRAFTS EMBROIDERED PANEL, CIRCA 1880worked in coloured threads and silks on a linen ground, depicting a Classical harvest scene, later framed(24cm x 136cm)

ENGLISH SCHOOL, MANNER OF WALTER CRANE FOR LIBERTY & CO., LONDON ARTS & CRAFTS COPPER PANEL, CIRCAcopper, embossed with a relief scene of putti in a sailing ship, later framed(54cm x 114cm)

COLLECTION OF BOOKS & PRIVATE PRESS PUBLICATIONS .including Walter Crane, illustrator. The History of Reynard the Fox. London: David Nutt, 1897. 8vo; Moller, Muriel. Wood-carving designs, a portfolio of six sheets of facsimile drawings with a foreword by Walter Crane; Ashbee, C.R. Craftsmanship In Competitive Industry. Essex House Press, 1908, 8vo, original quarter cloth; Jameson (Anna). Legends of the Madonna, Unit Library Ltd. 1904; Walter Crane: 'The Decorative Illustration of Books. London, 1905; Eric Gill. The Law the lawyers. Concerning dragons. both St Dominics Press, Ditchling; Sculpture and the living model. Sheed & Ward; and Unemployment. Faber & Faber; In Praise of Bishop Valentine. London, Chiswick Press, 1893, octavo, one of 125 copies printed on hand-made paper, title in red and black, engraved frontispiece of a pair of lovers, original vellum jacket with silk ties; Golden Cockerel Press. A Tale of Rosamund Gray and Old Blind Margaret by Charles Lamb, 1928, port. frontis., orig. vellum backed boards, small 8vo (ltd. ed. 137/500); Keats. Odes. De La More Press; The Essays of Sir Roger De Coverley. The Bibelots. J. Potter Briscoe, Ed. vellum covers, limited edition 14/60, published by Gay and Bird, 1901; The book of Ruth, private press, orig. vellum backed boards; Gregynog Press. Bones (Thomas Gwynn) Elphin Lloyd Jones, printed in red, blue and black, illustrations, original boards, 4to, Privately Printed, 1929; Virgil an address to the boys of Sevenoaks School Sir Arthur Quiller-Couch. Cambridge University Press 1930;

WALTER CRANE (1845-1915) FLOWERS FROM SHAKESPEARE'S GARDEN: A POSY FROM THE PLAYS, CIRCA 1906group of TWELVE FRAMED PRINTS, two mounted in each frame(each 22cm x 16cm)

Pair of Arts & Crafts pokerwork panels depicting Pre-Raphaelite ladies in the manner of Walter Crane for Morris & Co

A PAIR OF ARTS AND CRAFTS WALLPAPER FRIEZES, IN THE MANNER OF WALTER CRANE, LATE 19TH/EARLY 20TH CENTURY, each depicting rustic scenes of children. Overall 36.5cm by 70.5cm

Walter Crane: 'The Baby's Opera', London, Warne, circa 1900, coloured illustrations throughout, original cloth backed pictorial boards; Arthur Rackham (illustrated): 'J.M. Barrie's Peter Pan in Kensington Gardens', Hodder, 1937 reprint, 6 coloured plates as called for, original cloth; J & A Taylor: 'Little Ann and other poems', illustrated Kate Greenaway, London, Routledge, circa 1882, coloured illustrations throughout, original half cloth, pictorial boards, plus 3 other Kate Greenaway illustrated books circa early 1900's, 'Marigold Garden' & 'Under the Window' (2 copies), each 4to, original cloth backed pictorial boards (6)

§ William Ratcliffe (British 1870-1955) The Red Curtain, circa 1916 signed (lower right), oil on canvas(48.5cm x 49cm (19in x 19.3in))Footnote: Exhibited:The Goupil Gallery, London, The London Group, 1916, no.114.See R. Allwood, William Ratcliffe: paintings, prints and drawings, North Hertfordshire, 2011. The intimate domestic space and atmosphere in The Red Curtain instantly places this work amongst the Camden Town Group and their distinctive palette. As the critic Frank Rutter noted:'tainted with the disease of purplitis. Messrs. Spencer Gore, Robert Bevan, William Ratcliffe, and many others of this group of artists, who attach themselves with real passion to the pictorial interpretation of their own daily surroundings and of modern life, all look up on the world with purple spectacles.'(Frank Rutter, The Observer, 14 July 1912, p.9.)Born near King’s Lynn, Ratcliffe grew up in Manchester where his father worked in the Mills. After leaving school Ratcliffe attended Manchester School of Art, partly studying under Walter Crane and by 1901 he was working as a wallpaper designer. The family moved to the new Garden City of Letchworth by 1906, perhaps tempted by the social idealism that was a central tenet of this new society and an emphasis on cooperative working. In 1908, the artist Harold Gilman (1876-1919) and his family moved to Letchworth as a neighbour of the Ratcliffe's and soon after Gilman became a mentor to Ratcliffe. By 1910, Gilman had introduced Ratcliffe to the members of the Fitzroy Street Group, and persuaded him to abandon his career as a pattern designer at the Wallpaper Manufacturers Combine, propelling him to a professional artist. When the Fitzroy Street Group had been succeeded by the Camden Town Group, Ratcliffe was nominated by Gilman and ended up exhibiting in all three Camden Town exhibitions.In The Red Curtain the heavy impasto handling of paint and compositional form of the interior particularly show the influence of Gilman, who alongside Charles Ginner had been investigating the use of thickly applied paint and a pronounced impasto throughout their Camden Town works. The curtains, wall hanging, and patterned rugs also hark back to his time as a wallpaper designer. The result in The Red Curtain is a harmony of colours, touches of green, next to pinks, purples and blues heightening the cool tone of the interior, with strokes of orange adding warmth. As a whole it produces a work clearly indebted to the Post-Impressionist movement that was sweeping through the British avant-garde art scene at this particular moment in time.Ratcliffe was constantly on the move, living an itinerant existence and altering his lodgings almost on a yearly basis, periodically staying with family and friends, which makes pinning down the exact location of most of his domestic works difficult. However, in this work there are close compositional similarities to The Artist’s Room, Letchworth in The Tate Gallery collection, with similar furnishings, curtains, wall hangings, rugs and art & crafts furniture, and a day bed running underneath the hanging which suggest that the present work shows the sitting room where Ratcliffe stayed at 102 Wilbury Road in Letchworth Garden City, the home of Stanley and Signe Parker. This could in fact be a more finished example of the Tate Gallery’s work, although taken from a different angle.102 Wilbury Road was designed in the arts and crafts tradition for the Parker family in 1908, by Stanley Parker’s brother Barry Parker (1867-1947) and his partner Raymond Unwin (1863-1940), who were the quintessential arts & crafts architects of Letchworth, and Wilbury Road is considered a major and complete example of their best work in the Arts & Crafts idiom. The arts and crafts elements of the interior are clearly evident in The Sitting Room, including a Clissett ladderback armchair, an oak circular table (a similar model table can also be found in Cottage Interior, circa 1914, also identified in a photograph of the Interior of the Parker’s home, circa 1909), and overall the scene depicted reflects a relaxed and simple life that many of the occupants of the Garden City aspired to.Like Ratcliffe, Stanley Parker had also studied at the Manchester School of Art, and it was possible that they became friends at this point. Ratcliffe is noted as staying with the Parkers at Wilbury Road at least twice, between 1930-2 and 1946-54, but the fragmentary nature of Ratcliffe’s life and the particular colour palette make it possible that The Sitting Room was painted on an earlier stay. It is remarkable and a reflection on Ratcliffe’s talents as an artist, that although he was perpetually on the move without a home of his own, he manages to create a warmth and intimacy in The Sitting Room, and an authentic depiction of a domestic space that also positions him as a significant painter in the Camden Town grouping. As N. D. Deuchar noted in the artist’s obituary '...his subjects were quiet and perhaps almost tame, but he had such exactitude and care in handling the shapes of building and apparatus, as well as great skill in laying his colour, that he was marked out as a true artist.' (N.D.Deuchar, The Citizen, 21 January 1955)