Woolley & Wallis

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WOO L LE Y & WA L LI S SA L I S B U R Y SA L E R O O M S

English & European Ceramics & Glass Tuesday 21st April 2015

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

20TH CENTURY DESIGN Michael Jeffery Amanda Lawrence

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424505 329477

ASIAN ART John Axford MRICS ASFAV Sophie Lister Alex Aguilar Doméracki Freya Yuan

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CLOCKS, WATCHES & SCIENTIFIC INSTRUMENTS Richard Price (Consultant) — 07741 242421 Gemma Bush — 339752 ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham — 424507 Amanda Lawrence — 329477 FURNITURE Mark Richards Jim Gale Anna Brown JEWELLERY Jonathan Edwards FGAA Marielle Whiting FGA PAINTINGS Victor Fauvelle Jo Butler

ACCOUNTS Janice Clift (Office Manager) — Ruth Pike

424500 424599

MARKETING Tamzin Corbett

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GENERAL OFFICE Linda Garthwaite Pauline West Sharon Ringwood Nicola Young SALEROOM MANAGER David Jordan

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411854 339161 411854

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BOARD OF DIRECTORS Paul Viney ASFAV Chairman John Axford MRICS ASFAV Deputy Chairman Clive Stewart-Lockhart Managing Director

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SILVER Rupert Slingsby Lucy Chalmers

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TRIBAL ART & ANTIQUITIES ARMS & ARMOUR Will Hobbs Gemma Bush

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Members of The Society

VALUATIONS FOR INSURANCE & PROBATE Paul Viney ASFAV — 424509 Clive Stewart-Lockhart FRICS FRSA 424598

FRICS FRSA

COMPANY SECRETARY Jim Macarthur CA ASSOCIATE DIRECTORS Will Hobbs Michael Jeffery Mark Richards Rupert Slingsby Jonathan Edwards FGAA Janice Clift Clare Durham

of Fine Art Auctioneers

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

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ENGLISH & EUROPEAN CERAMICS & GLASS Tuesday 21st April 2015 at 10.30am Viewing Times Saturday 18th April Monday 20th April Tuesday 21st April

10.00am – 1.00pm 10.00am – 4.30pm 8.30am – 10.30am

ENQUIRIES Clare Durham 01722 424507 claredurham@woolleyandwallis.co.uk

CONDITION OF LOTS Buyers are advised to obtain a full condition report prior to bidding, as descriptions do not necessarily list all faults.

COLLECTION OF LOTS Please note that all lots will be cleared from our Castle Street saleroom to our Salt Lane office on Tuesday 28th April. If you are collecting items on or after this date please contact the department on 01722 424507.

LIVE BIDDING

Please register by 5pm Monday 20th April Please note there is a 3% surcharge for using this service.

Front cover: Lot 325 Catalogue £12.00 (£15.00 by post) Images and a catalogue word search facility are available at www.woolleyandwallis.co.uk

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Four ruby-flashed and cut glasses, early 20th century, the wide bowls with a design of interlocking circles and diamond panels, and three other similar glasses, all with starcut bases, 13cm max. (7) £100-200 2.

A set of ten wine glasses, with green glass bowls raised on hexagonal baluster cut stems, 13.6cm. (10) £80-120

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Two English wine bottles, late 18th century, the squat cylindrical bodies with long tapered necks, and a pair of Continental wine bottles of dark green metal, the inverted funnel bodies rising from flat bases, 27cm max. (4) £250-350 4.

A German wine bottle, 19th century, of flattened flask form, applied with a single ring handle to the shoulder, corked, traces of an old paper label, and a Dutch onion bottle of pale green glass, 19.5cm max. (2) £100-200

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The German bottle with an old lot label for an auction on 15th June 1972.

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Three tall coloured and cut glass goblets, 19th/20th century, two flashed in dark ruby, one in cranberry, cut with various designs and raised on hexagonal stems, 22cm max. (3) £80-120 6.

Five wine bottles, 19th century and later, of typical cylindrical form and green metal, one sealed for Chateau Lafite 1903, another moulded for Offley Boa Vista 1950, 30.5cm max. (5) £50-100

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A miniature Clichy millefiori paperweight, mid 19th century, set with concentric circles of flowers including the Clichy rose, and a later millefiori paperweight set with five concentric rings on a green ground, 7.2cm dia. max. (2) £100-150 Provenance: from a private collection in London.

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A set of six small sherry or port glasses, 20th century, the shallow bowls flashed in amethyst and cut with an interlocking design, raised on hexagonal stems, 13cm. (6) £100-200

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An enamelled glass beaker, 19th century, the faceted cylindrical form painted with a maiden standing beside trees in a garden landscape, a large rococo scroll to one side, the reverse with a single pink rose, gilt rim, 11.3cm. £300-400 10. A glass goblet, 2nd half 18th century, with generous funnel bowl raised on a Silesian stem above a high domed foot, 15cm. £150-250 11. A German enamelled spirit flask, mid 18th century, the flattened octagonal body enamelled with two birds perched on a heart within an oval cartouche, the reverse with a floral spray, 17.5cm. £150-250 Paper labels including for the Maria Baer Collection.

12. Seven millefiori paperweights, modern, three set with a random arrangement of colourful canes, two with concentric floral circles, the last two with concentric canes separated by latticino or spiral twists, 8cm dia. max. (7) £150-250 13. A sealed wine bottle, c.1830, the cylindrical body applied with a griffin crest above the initials GS, and another of similar form bearing an old paper label, 28.5cm max. (2) £100-200 The crest is for George Jonathan Scott JP of Betton Strange in Shropshire, born 1807.

14. A pair of opaline glass vases, 19th century, perhaps Baccarat, decorated with an embossed design of spiralling chrysanthemum garlands, enamelled in pink, yellow, blue and green against a milky white ground, 24.8cm. (2) £300-500 15. A Clichy paperweight, c.1860, set with three concentric rings of millefiori canes including the Clichy rose, on a bed of jumbled latticino twists, 7.5cm. £200-300

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16. A sealed and dated onion wine bottle, c.1709, with string rim and kick-in base, the glass of a dark green metal, the seal inscribed with the letters R and N either side of a shield bearing crossed bones, above the date 1709, 17cm. ÂŁ1,500-2,000 Cf. David Burton, Antique Sealed Bottles 1640-1900, Vol. II, p.553 for the catalogue entry of an identical onion bottle. The seal has yet to be identified but a very similar seal dated 1707 was unearthed in Derby.

17. A rare octagonal wine bottle, mid 18th century, the straightsided form rising to round shoulders and a tall tapering neck, and an onion bottle, with kick-in base and string rim, the surface of the latter degraded, 24cm max. (2) ÂŁ300-500 Provenance: from a private collection in London.

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18. A small sealed mallet bottle, mid 18th century, the straightsided form with a short tapering neck, applied with a circular seal bearing the initials H P A, with kick-in base and string neck rim, 17cm. ÂŁ500-1,000 Provenance: from a private collection in London.

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19. An engraved cordial glass, c.1765, the bowl with a band of wrythen moulding beneath an engraved foliate band, raised on a double series opaque twist stem, 16cm. £400-600 20.

A light baluster toasting glass, c.1740, the drawn trumpet bowl raised on a narrow knopped stem above a domed foot, 18.5cm. £300-400

21. A large goblet, engraved in the Jacobite manner with ‘Fiat’ above a small star, and with an oakleaf and a six-petalled rose, raised on a plain stem, 20cm. £200-300 22.

An ale glass, c.1765, the tall flute raised on a multi series opaque twist stem, 19.1cm.

£120-180

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A two-handled glass posset pot, late 17th century, the thistle-shaped body with a curved spout, applied with two loop handles, 10.5cm. £300-400 Cf. Helen McKearin, ‘Possets, Syllabubs and their Vessels’, Glass Circle Journal 5, p.67, fig.6d, for a similar example in the Corning Museum.

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A jelly glass and a syllabub glass, mid 18th century, each moulded with ribs and raised on domed folded feet, 10.4cm max. (2) £100-200

25. An engraved firing glass, mid 18th century, engraved for the Hammermen Corporation of Inverness, the flared bowl raised on a short plain stem above a thick foot, 10cm. £100-200 The ‘Hammermen’ were metal workers, or those who forged a living through the use of a hammer, including silversmiths, blacksmiths and goldsmiths. The Scottish National Archive holds the minute book for the Inverness Hammermen from 1690-1861.

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part 26. A glass sweetmeat stand or supper set, the oval stand set with seven cut glass dishes, together with twelve small glass plates with star-cut bases, 40.5cm max. (20) £50-100

27. A set of six Webb glass rummers, 20th century, the generous rounded bowls cut with polished petals, raised on low faceted stems above circular feet, etched marks, 14cm. (6) £150-250

28. An extensive suite of glass, late 19th/early 20th century, the delicate forms cut with hobnail panels above starcut bases.

Comprising: 13 champagne saucers, 12 sherry glasses, 12 port glasses, 11 wine glasses, 12 tumblers, seven finger bowls and eight stands. (75) £300-400

29. A pair of glass table lustres, 19th century, each hung with ten lustres in three parts around a faceted baluster stem, raised on shaped cut feet, 18cm. (2) £100-150

30. A large Continental glass rummer, mid 19th century, the generous bowl with a white enamel rim, raised on a short knopped stem above a heavy foot, engraved 0.3L to one side, 20.8cm. £80-120

31. A glass oil lamp, early 19th century, with flattened globular reservoir raised on a baluster stem above a heavy domed foot, and a glass peg lamp or lamp adaptor, of ogee shape with a cylindrical glass handle above, 19.5cm max. (2) £120-180

Glasses of this type were originally for drinking heffeweizen (white beer).

32. A large goblet, the generous funnel bowl raised on a double knopped stem above a domed folded foot, 21cm. £80-120

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33. A large goblet, c.1750, the generous bowl raised on a dense airtwist stem, 18.3cm. £350-450

Peg lamps were designed to sit in the sockets of candlesticks so oil could be burned instead of wax.

34. A large wine glass, 2nd half 18th century, the drawn trumpet bowl rising from a thick plain stem, 21.5cm. £100-150

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35. A cruciform carafe, c.1740, the moulded body with a kick-in base, the tall neck applied with engrailed rings, 24.5cm. £250-350

36. A wine glass, c.1765, with drawn trumpet bowl rising from an opaque twist stem, 16.7cm. £200-250

37. A massive drawn trumpet goblet, 18th century or later, the statuesque glass raised on a plain stem with small teardrop above a folded foot, 35cm. £300-400 Glasses of this size were typically used for ceremonial drinking and were passed around the company on special occasions.

38. An engraved cordial glass, c.1750, the small bowl engraved with a continuous foliate border with small flowerheads, raised on a double series air twist stem, 17.5cm. £800-1,200

39. A good and rare political firing glass, c.1768, the flared wrythen bowl engraved ‘Wilkes & Liberty No.45’, raised on a thick plain stem, 10cm. £1,500-2,000 In issue 45 of his publication, The North Briton, John Wilkes’ attack on George III’s 1763 speech endorsing the Paris Peace Treaty earned him a warrant for his arrest for libel. With strong public support, Wilkes was cleared by the Lord Chief Justice and returned from exile in France to stand for Parliament at the general election of 1768, using ‘Wilkes & Liberty’ as his slogan.

Provenance: Special Auction Services, 1999, lot 505C.

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40. Two cut glass eyebaths, late 18th/early 19th century, one with a small facet-cut bowl, the other with a plain bowl, raised on faceted baluster stems above plain circular feet, 6.5cm max. (2) £200-300

41. A cut glass eyebath, late 18th/early 19th century, the faceted bowl with a gilt border, raised on an inverted baluster stem above a hexagonal foot, 6cm. £300-500

42. A cut glass eyebath, late 18th/early 19th century, the bowl cut with a diamond design, raised on a faceted baluster stem above a plain circular foot, a little nibbling, 6cm. £100-200

43. A Vienna opaline glass eyebath, c.1800, gilded with foliate swags to the bowl, the flared foot with gilt pennants, 4.6cm. £800-1,200

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44. A French or Dutch flaçon scent bottle and stopper, 19th century, the flattened body carved with panels of motherof-pearl set into a gilt metal framework, all engraved with baskets of fruit and flowers within stylized scrolling motifs, 9cm. £500-800

45. A French silver scent bottle, 19th century, with niello decoration in a dense floral design, set with a gold shieldshaped plaque engraved with the initials MM, the hinged lid revealing a glass stopper, 6cm. £200-400

46. A French or Austrian enamel scent bottle, 19th century, the cylindrical body painted with a young girl scattering seed for the love birds that fly about her, a pair perched on a garland above her head, with silver mounted lid revealing a glass stopper, 5.6cm. £300-500

47. A blue glass scent bottle and stopper, 19th century, formed as a tall boot with stepped cutting to the sides, the top with a band of small hobnail motifs, 8cm. £250-350

48. Two miniature glass scent bottles, 19th century, one globular and elaborately cut, with a gold mount, one of flattened Austrian glass applied with intaglio medallions, and an enamel scent bottle formed as a bird’s egg, the speckled blue body split by a silver mount, 6.3cm max. (3) £350-500

49. Two miniature Paris porcelain scent bottles, 19th century, one formed as a small barrel decorated in yellow, black and pink enamels with wide gilt bands, the other as a small flask with a panel inscribed ‘Souvenir’ on a green ground, gilt metal mounts with suspension rings, 4.3cm. (2) £300-500

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50. A French opaline glass scent bottle, 19th century, the flattened pear-shaped body engraved and gilded to each side with a floral design, the narrow sides faceted towards the base, the chased metal cover revealing a glass stopper, 10.5cm. £350-500

51. A Paris porcelain scent bottle, 19th century, of flattened octagonal form, painted to one side with a girl tending her sheep beneath a tree, the reverse with a panel of flowers, reserved in gilt borders on a rich green ground, the gilt metal hinged cover revealing a glass stopper, 8.5cm. £400-600

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52. A small rectangular enamel snuff box, early 19th century, perhaps London, moulded with herringbone flutes, painted with flowers reserved on an apple green ground, with gilt metal mounts, some restoration, 6.5cm. £80-120

53. A Continental enamel double snuff box, 19th century, of rectangular form, painted with polychrome figures seated beneath en grisaille trees and bushes, the interior lid with single figures, and a shaped enamel snuff box decorated to the lid with a bird perched on a basket of flowers, the sides with further floral panels reserved on a pink scale ground, some cracks to the enamel, 9.1cm max. (2) £300-400

54. An English enamel rectangular snuff box, early 19th century, the lid painted with courting figures walking in a garden before a large palace, within a raised gilt cartouche on an apple green ground, the sides with small panels of flowers, a few cracks to the enamel, 8.2cm. £300-400

55. Two Bilston enamel candlesticks, c.1770, each raised on a knopped stem and set with a scalloped drip pan, painted with sprays of flowers in polychrome enamels, one with panels of aubergine showing traces of lustre hatching, damages and restoration, 25.5cm. (2) £150-250 56. A South Staffordshire enamel custard cup and cover, c.1770, of squat baluster shape, painted with panels of figures beneath tall Classical ruins reserved in raised gilt cartouches on a pale green ground, a little good restoration, 9cm. (2) £150-250

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57. Twelve Royal Worcester candle snuffers, late 19th/early 20th century, variously modelled as The Witch, The Owl, Mr and Mrs Caudle, a girl with a fan from the Town Girl series, three versions of a Japanese girl with chopsticks, an old woman, the French Cook, two of the girl in the feathered hat, impressed and printed marks, some restoration, 9.5cm max. (12) £100-200 58. Nine Royal Worcester candle snuffers, most 20th century, two modelled as young girls in bonnets from the Town Girl series, one as a monk frowning over his Bible, one as a nun, a Mandarin gentleman, a kneeling Japanese girl, two as an old woman with hands outstretched, the last as ‘Confidence’ modelled as Jenny Lind with the head of a nightingale, some restoration, 13cm max. (9) £100-200

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59. Seven Royal Worcester figures modelled by James Hadley, late 19th century and later, including The Warrior and Cobbly, the other four modelled with hands deep in their trouser pockets and wearing sullen expressions, and a blush porcelain Royal Worcester group of two boys on a bench, some restoration, 15.5cm max. (7) £250-350

60. A Davenport pearlware part toy or miniature coffee set, 19th century, printed in purple with bucolic scenes of cattle and sheep in village landscapes, including a coffee pot and cover, sugar bowl and cover, milk jug, slop bowl, five cups and five saucers, and a part miniature dinner service, printed in green with birds and flowers, including a soup tureen with ladle and stand, two vegetable tureens, four oval dishes, two plates and three soup plates, some damages, 15cm max. (30) £100-200

61. An unusual creamware pipe, late 19th century, modelled with a horse galloping from the bowl along the straight stem, decorated in a mottled manganese glaze with blue stripes, the stem impressed ‘I K Bree’, 14cm. £50-100

62. Three creamware eyebaths, early 19th century, the deep bowls raised on moulded baluster stems above oval feet, one with a blue border to the edges of the bowl and foot, some damages, 5.3cm. (3) £200-300

63. A creamware toothpick holder, late 18th century, probably Portuguese, modelled as a spineless hedgehog standing four square on a stepped rectangular base, his back pierced with holes, 8cm high. £100-200

64. Four tall pottery eyebaths, 20th century, the deep bowls raised on flared circular feet, decorated in allover glazes of pink, yellow, green and white, 7cm. (4) £80-120

65. Five pearlware and creamware eyebaths, most 19th century, with typical boat-shaped bowls raised on flared oval feet beneath short stems, some faults, 5cm max.

(5) £150-250

66. Three Creil (Leboeuf Milliet et Cie) eyebaths, 2nd half 19th century, the pearlware bodies of traditional form with boat-shaped bowls raised on short stems above oval feet, and a similar white-glazed eyebath marked for B P & C, minor faults, 5cm max. (4) £200-300

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67. A good and rare creamware eyebath, c.1780, perhaps French, finely potted with gadrooning to the bowl, raised on a flared and fluted foot, 4.8cm high. £300-500

68. An unusual creamware eyebath, c.1800, probably English, finely potted and decorated in a speckled green glaze, raised on a circular foot, a small chip to the base, 4.8cm high. £150-250

69. A tall English pearlware eyebath, 19th century, decorated in blue with a pagoda beside pine and prunus, raised on a quatrefoil moulded stem above a flared oval foot, restored, 7cm high. £100-200

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70. A tall creamware eyebath, late 18th/early 19th century, the generous bowl raised on a baluster stem above a wide circular foot, 7cm. £250-350

71. A pearlware moulded eyebath, 19th century, the boat-shaped bowl moulded with rococo scrolls, the rim with a wave design, all on a shaped quatrefoil stem and foot, 5.7cm. £150-250

72. Two creamware eyebaths, c.1790, probably Leeds, the bowls moulded with rococo scrolls picked out in blue, raised on baluster stems above moulded feet, some damages and restoration, 5.2cm max. (2) £200-300

73. A creamware eyebath, c.1790, the short stem raised on a thick circular turned base, 5cm high. £150-250 69

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74. A creamware teapot and cover and matching sucrier and cover, late 18th century, each decorated to one side with a loose rose spray, the reverse with a further polychrome flower spray, minor faults, 17cm max. (4) £80-120 75. Three Continental porcelain eyebaths, late 19th/20th century, variously moulded with ribbed and fluted feet and similar bowls raised on short flared stems, minor faults, 4.5cm max. (3) £200-300 76. A pair of creamware eyebaths, 1st half 19th century, the deep U-shaped bowls finely potted and raised on flared oval feet with light moulding, 5cm high. (2) £150-250

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77. Five white-glazed porcelain eyebaths, late 19th/early 20th century, four of squat oval shape, the last of traditional form, some with printed marks for Chivers, Regnas, Erin, and Shelley, 5.2cm max. (5) £100-150 78. A pair of Whieldon type creamware plates, c.1780, the shaped rims moulded with panels of basketweave, all sponged in manganese, and another creamware plate with a scallop edge, splashed in green and blue over sponged manganese, 24cm max. (3) £150-250 Provenance: from a private collection in London.

79. Three pearlware sparrowbeak jugs, late 18th/early 19th century, one painted with a Chinese landscape, one with stylized flower sprigs, the last with husk garlands, a small pearlware teapot and cover painted in the Meissen manner, and a coffee pot printed with a courting couple, the reverse with recumbent cattle, some damages and restorations, 17cm max. (6) £200-300 80. A Minton blue and white transferware soup tureen and cover, c.1830, printed with figures in a sampan beside tall pagodas, titled Chinese Marine to the underside, with a matching vegetable tureen and cover, four soup plates, and a small plate with the same floral border but printed with an armorial crest of a dragon’s head, 38.5cm max. (9) £100-200 81. A large Whieldon type creamware plate, c.1790, the silver-shape rim moulded with basketweave, and a similar smaller plate with gadrooned rim, splashed in green, blue, ochre and manganese on a dark grey ground, 27.6cm. (2) £120-180 Provenance: from a private collection in London.

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82. A creamware cauliflower teapot and cover, late 18th century, the small bullet-shaped body modelled with fine creamy florets issuing from curled green leaves, the spout and handle with stylized leaf moulding, minor faults, 16.5cm across. (2) £150-250 Provenance: from a private collection in London.

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83. Four Wedgwood creamware plates, c.1770-80, three printed in black and one in purple, all with two Turkish figures before Classical ruins, the shaped rims with six floral sprays, impressed marks to the black plates, minor damages, 24.5cm. (4) £200-300 Provenance: from a private collection in London.

84. A Whieldon type creamware tea canister, c.1770, the cylindrical form splashed in yellow and green over sponged manganese, and a similarly decorated soup plate with gadrooned border, some faults, 24cm max. (2) £150-250

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85. Four Whieldon type creamware plates, c.1770-75, the shaped rims moulded with diaper and basketweave panels, all decorated in typical glazes splashed with yellow, green, manganese and blue, 23.5cm.

(4) £250-350

86. A massive Wedgwood pearlware charger, 19th century, of circular form with blue tinged feathering to the rim, impressed mark, 44cm. £80-120

87. A Spode blue and white transferware platter, 19th century, from the Indian Sporting Series, printed with Dooreahs Leading Out Dogs, with several figures holding a variety of dogs at the end of leads beneath a fringed palm tree, titled to the reverse, 47cm. £100-200 86

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88. A Fulham stoneware jug, late 17th century, the round-bodied form covered in a brown speckled glaze, raised on a tall foot, applied with a wide strap handle, minor damages, 13.7cm. £100-200 Provenance: Ernest Ohly, Berkeley Galleries, London. Old paper label stating that the jug was found in Wandsworth.

89. Seven pottery bin labels, 19th century, of coat-hanger form, titled in black on a whiteglazed ground for Claret, Sherry, Rum, Madeira (2), Brandy and Whisky, one impressed Farrow & Jackson London & Paris, 14.5cm across. (7) £200-300 Provenance: from a private collection in London.

90. A large Westerwald stoneware jug, probably 19th century, applied with a central roundel bearing the initials GR, the sides with stylized floral motifs on a bright blue ground, incised 1/2 to one side, the pewter mount lacking, 26.5cm. £150-250 Provenance: from a private collection in London.

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91. Two Westerwald stoneware jugs, 18th century, the larger applied with vertical stripes of flowerheads between incised lines, the smaller with scrolling floral tendrils, both reserved on a rich blue ground, the pewter mounts lacking, 19cm max. (2) £100-200 Provenance: from a private collection in London.

92. A massive brown stoneware mug, 19th century, and a similar jug, both applied with scenes of a hunt, with huntsmen dismounted and watching the hounds, and a small stoneware jug with silver-coloured metal hinged cover, sprigged with trees, topers and a windmill, a crack to the mug, 19.5cm max. (3) £100-200

93. A Westerwald stoneware jug, 17th/18th century, applied and incised with wavy vertical bands of flowers in blue and grey, and a stoneware tankard, decorated in high relief with figures at various pursuits beneath vine leaf bands, incised 1L beneath the hinged metal lid, 21cm max. (2) £150-250 Cf. The Metropolitan Museum of Art, Accession no. 08.56.2 for a jug in the same design.

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94. A Wedgwood black basalt bust of Sir Walter Scott with stand, 2nd half 19th century, modelled by E W Wyon in the Classical manner with head turned and draped in a tartan robe, raised on a low socle, the cylindrical Wedgwood base perhaps associated, impressed marks, 46.5cm overall. (2) £200-300 95. A large Gustafsberg (Sweden) Parian figure of Echo, c.1904, the nymph seated on a rocky stump applied with trailing ivy, her left hand raised to cup one ear, incised ‘G E 1904’ to the reverse, impressed mark, 55cm. £150-250 Provenance: the Property of a Nobleman.

96. A rare Coalport Parian figure group of a cat and monkey, c.1840-45, in human dress and modelled as a courting couple, the cat with her arm around the monkey, her right hand cupped under his chin, a little restoration, 20cm. £300-400 Cf. Geoffrey Godden, Coalport and Coalbrookdale Porcelains, p.269 pl.176, also pl.227A for the drawing in William Hedley’s sales pattern book.

This was the only figure illustrated in the sales book and is listed at the price of 18 shillings.

97. A Wedgwood tricolour Jasperware commemorative vase and cover of Australian interest, late19th/early 20th century, one side with a profile portrait of Captain James Cook in white on a sage green ground, suspended from a tied ribbon, the shoulder inscribed ‘Capt. Cook / Phillips’ to one side, the reverse with ‘Banks / Solander’ above the Sydney Cove application, all on a pale blue body, raised on a square base, the cover with a coronet finial, impressed mark, 30cm. (2) £250-350

98. A Wedgwood black Jasperware copy of the Portland vase, mid 19th century, applied in white with Classical figures and Cupid in flight above, impressed mark to the base, together with an early 20th century postcard of Henry Barnard beside one of his models of the vase, 24.5cm max. (2) £100-200 Several versions of the Portland vase were produced by Wedgwood from 1798 to Barnard’s version in the 1920s. The demure crossing of Cupid’s right leg over his left (a redesign from the original) helps to date this version to the mid-Victorian era.

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99. A Copeland Parian bust of Clytie, c.1868, modelled by C Delpech after the antique, scantily clad and with a downcast expression, emerging from a calyx of sunflower leaves, raised on a low socle impressed ‘Art Union of London 1868’, 34.5cm. £200-300 The c.50BC Roman sculpture of Clytie of which this is a copy entered the collection of the antiquary Charles Townley between 1771 and 1774. It features in Zoffany’s painting of Townley’s Library.

100. Two Wedgwood Jasperware vases, late 19th/early 20th century, applied with Classical maidens dancing with garlands of flowers and carrying fruit baskets, reserved on a black ground, impressed marks, 27cm.

(2) £100-200

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101. Two Staffordshire flatback figures, 19th century, one of Samson wrestling with the lion, the other of a sailor standing before a cannon and titled ‘Britain’s Glory’ to the base, some faults, 18cm max. (2) £100-150

102. A French pottery figure of a lacemaker, 19th century, seated at her pillow and manipulating the bobbins, decorated in blue, brown and cream glazes, minor faults, 21cm. £100-200

103. An interesting matched pair of figural spill vases, one a Staffordshire pearlware example c.1800, of a Classical maiden seated with a funerary urn on her knee, perhaps Antonia clutching the ashes of Germanicus, and a hard-paste porcelain copy of the figure’s pair, often called Poor Maria, of a girl crying while her dog looks on, 20cm max. (2) £100-200 Provenance: from a private collection in London. Lot labels for Christie’s, 22nd October 1998, lot 34.

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105

106

104. A maiolica figure group of Samson and the lion, 19th/20th century, his club discarded on the ground as he wrestles with the fearsome beast, decorated in shades of ochre, umber and green, the underside glazed turquoise, titled to the reverse ‘Vbaldi da movia in botytega de 777. Pico 1624’, some damages, 28.5cm. £200-300

105. Three pearlware Toby jugs, 19th century, two of Ordinary type, seated with foaming jugs of ale resting on one knee and holding their pipes in their right hands, the last standing and resting his hands on his stomach, minor faults, 25cm max. (3) £100-200

106. Two pairs of Staffordshire porcelain spaniels, 19th century, seated with heads turned, their coats decorated with red wheels of fire, 18cm max. (4) £50-100

107. A large Enoch Wood pearlware figure of the Madonna and Child, c.1800, the virgin mother seated on low stool and dandling the infant Jesus on her knee, wrapped in a long yellow robe, some wear, 34cm. £200-300 Provenance: the Property of a Nobleman.

Cf. Pat Halfpenny, English Earthenware Figures 1740-1840, p.164.

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108. A Ralph Wood ‘Sailor’ Toby jug, c.1785-90, seated on his sea chest with a foaming glass of ale in one hand, the other resting on the handle of an empty jug, wearing a yellow waistcoat beneath a pale brown coat, minor damages, 29.5cm. £1,500-2,000 Provenance: from a private collection in London.

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109. A Wood-type pearlware Toby jug, c.1790, of Ordinary type, resting a foaming jug of ale on his knee, a small upright barrel between his feet, wearing a sponged blue coat over a yellow waistcoat, 25.5cm. £300-500

110. A Ralph Wood Toby jug, c.1785-90, of Oridnary type, seated and holding an empty jug on his left knee, his clay pipe resting beside his right foot, wearing a blue coat over pale fawn breeches and waistcoat, 26cm. £600-1,000

Provenance: from a private collection in London.

111. A pearlware ‘Ordinary’ Toby jug, c.1800, of Enoch Wood type, seated and wearing a pale pink jacket over a striped waistcoat and yellow breeches, holding a jug of ale with red floral decoration, and a long-stemmed pipe, glaze wear and flaking, 24.3cm. £100-200

112. A Staffordshire Snuff-Taker Toby jug, 19th century, modelled as a portly woman taking a pinch of snuff from a box in her left hand, and a porcelain Town Crier Toby jug, holding his bell aloft and reading from a scroll, some restoration to the first, 25.5cm max. (2) £100-150

113. A Minton Majolica ewer, date code for 1867, moulded in high relief with four figures dancing around a stone wall, the neck and foot with continuous ivy branches, the cover’s finial modelled as the head of a jester, with a metal-mounted hinged lid, impressed marks, some damages to the cover, 33cm. £150-250

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114. A Continental Majolica wall pocket, 19th century, modelled as a young merboy clutching the side of a gnarled shell, a surprised fish to the other side, 32cm. £50-80

115. A French faience plate, 19th century, perhaps Rouen, painted with a maiden pouring a glass of wine from a jug, within a wide border of diaper panels and angel masks, and a tin-glazed ewer with ropetwist handle, painted with figures in a continuous landscape, the plate broken and restored, 23.8cm. (2) £100-150

116. A George Jones Majolica garden seat, late 19th century, of cylindrical form, applied with sparrows perched among bulrushes and above waterlilies, some chipping, 45cm.

117. A Marseilles faïence basket, 19th century, the shallow quatrefoil form painted to the exterior with panels of figures in rural landscapes, raised on four scrolled feet, VP monogram mark, and a square câchepot, perhaps Strasbourg, painted with flowers within puce and green scrolled borders, some faults, 35.5cm max. (2) £150-250

118. A Copeland Majolica plovers’ egg holder, 19th century, modelled with eight circular hollows lined with moulded fern, a lapwing perched on a grassy stump in the centre, impressed mark, some restoration, 21.5cm high. £100-200

119. A Dutch Delft bottle vase or guglet, 18th century, painted in blue with a tall pagoda and other smaller dwellings in a tree-lined landscape, and two small Delft plates, one painted in blue with an allover floral design, the other in manganese with a two-storeyed building between tall trees, some damages and repairs, 23.5cm max. (3) £150-250

120. A Villeroy & Boch Majolica tazza, 19th century, heavily moulded with a formal foliate scroll design, the well decorated with a berried sprig of holly, raised on a tall baluster stem, impressed marks, some restoration beneath the rim, 24.2cm dia. £100-200

121. Two Continental tin-glazed chargers, late 19th/early 20th century, painted in the Italian maiolica manner, one with Classical figures in an interior setting, the other with a Roman soldier standing before a harbour, each with a wide rim of mythical masks, creatures and foliate scrolls on a blue ground, impressed shield marks, 33.2cm. (2) £100-200

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A delicacy of English dining, plovers’ eggs (laid by the Northern Lapwing, or Green Plover) were traditionally eaten around Easter but were in such high demand during the Victorian era that it began to lead to the bird’s demise. The Lapwing Act of 1926 made the collection of plovers’ eggs illegal, which continues to this day.

Cf. Robert Cluett, George Jones Ceramics 1861-1951, p.57, fig.86. £200-300

122. A pair of Delft vases, c.1780, moulded with scrolling cartouches and painted in blue with floral arrangements, monogram marks for Anthony Pennis, and a Delftware punch bowl, the exterior painted with continuous floral sprays, the interior with simple stylized sprigs, some damages, 27cm max. (3) £200-300

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123. A pair of large Delft dishes, 18th century, painted in blue with bold floral arrangements within rims of garlands suspended from flowerheads, some rim chips, 34.6cm. (2) £100-150 124. A large pair of Delft dishes, 2nd half 18th century, decorated in blue with the Peacock pattern, of spread feathers issuing with flowers from a lobed jardinière, yellow line rims, painted marks for The Claw (De Klauw) factory, 31.5cm. (2) £180-220

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124

125

126

127

128

125. Three English delftware plates, 18th century, one painted with low huts beneath willow at the water’s edge, one with a bird perched on a peony branch, the last with flowering branches of Oriental trees within three peony sprays to the rim, some restoration, 26.5cm max. (3) £150-250 126. A pair of Dublin delftware soup plates, c.1760, each painted in blue with a bird perched in a prunus tree beside flowering peony issuing from rockwork, the rims with a formal foliate border, painted 14 marks to the bases, 23.5cm. (2) £200-300 127. A rare English delftware oval dish, c.1690, perhaps London, painted in blue with a bird perched on a branch issuing from holey rockwork, the rim with floral sprays, two rim sections repaired with rivets, 23.5cm. £100-150 128. A matched pair of English delftware plates, c.1760-70, painted in polychrome enamels with Oriental flowers issuing from stylized rockwork, the rims with further floral motifs, 23cm.

(2) £80-120 129. Four tin-glazed pottery plates, 18th century, including a large French faïence dish painted with flowers, a smaller North Italian dish painted in the Chinese famille verte manner, and two Dutch Delft plates, together with a small Delft vase painted with a bird and flowers, 33cm max. (5) £100-150 130. An English delftware plate, mid 18th century, painted in blue with a Chinese boy seated beneath a fringed willow tree and looking back over one shoulder, 23cm. £100-200

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130

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131. A London delftware lobed charger, c.1680, painted in yellow and manganese with a Chinese figure seated in a garden setting, the moulded rim with four further figures, damaged and repaired, 35cm. £100-200

132. A Continental tin-glazed plate, probably 18th century, the well painted in yellow, green, blue, red and manganese with a bird standing on a large lotus leaf beside a tall flower, the rim with a formal floral scrolled border, some glaze chipping, 31.2cm. £100-200

133. A large Dutch Delft charger, c.172040, painted in polychrome enamels with red flowers and blue feathery foliage issuing from a manganese vase, within a formal border, 36cm. £150-250

134. A Delft jug, c.1680, painted with Chinese figures in garden settings, the handle with scroll and dash motifs, 20cm. £100-200

135. A Mexican Talavera dish, c.1775, of rectangular form with chamfered corners, the well painted with a tall building flying a flag, the deep rim with stylized foliage, 31.5cm. £100-200

136. An unusual tin-glazed polychrome plate, c.1760-70, perhaps French, painted with a central flower spray in the famille rose palette, the rim with further enamelled sprays and bianco-sopra-bianco sprigs, 22.7cm. £200-300

137. A Delft dish or charger, 18th century, naively painted in blue with a stylized tulip design with a rim of circles and dashes, 31.5cm. £100-150

138. A Dutch Delft polychrome plate, c.1720, brightly decorated with an urn of flowers within a shaped cartouche, the rim with red scrolls on a yellow band, 22.4cm. £100-200

139. A good Liverpool delftware plate, c.1760, painted after the Chinese with two cockerels strutting beneath flowering branches, the rim with chrysanthemum sprays and borders of leaves within hatched diaper panels, 21.5cm. £100-200

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140. An unusual Cannakkale (Turkey) pottery bird ewer, 19th century, modelled as a mythical bird with narrow applied wings and curled tail, decorated in red and green over black, raised on a circular foot, the back with a circular opening, the beak open to form a spout, 20.5cm. £1,500-2,000 Cf. Sotheby’s, 6th April 2011, lot 424 for an identical example.

141. A small Continental tin-glazed drug jar or albarello, 18th century, painted in blue with a wide cartouche topped by two peacocks and a basket of flowers, titled ‘P Purganteshae’ in manganese, the waisted form raised on a low circular foot, some faults, 13.6cm. £100-200

142. A pair of Savona maiolica albarelli, 18th century, the waisted forms each painted with a seated figure wearing a blue hat and yellow coat, between butterflies and leafy branches, titled in blue with ‘Ungt. Reffrig. Gal.’ and ‘Ungt. de. Staphisagr.’, some restoration, 17cm. (2) £400-600 Unguent (ointment) of Refrigerans Galeni (made from white wax, chilled water and oil of roses or sweet almonds) was used as an emollient, while that made from the seeds of Stavesacre (Lousewort) was used in the treatment of lice.

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143. Nine Höchst eyebaths, modern, decorated in the 18th century style, with flowers, birds, small landscape scenes, geometric borders and coloured grounds, raised on knopped stems above small circular feet, printed wheel marks, each signed beneath the base in puce, 5.5cm. (9) £400-600

144. Six various eyebaths, 20th century, one Sarreguemines pearlware, one printed for Dr Schroeder’s, another for Eenhoorn Apotheken in Amsterdam, one Selna, one plain with a gilt rim, and a commemorative example printed with the arms of Blackpool, the last chipped, 5.5cm max. (6) £120-180

145. Seven porcelain eyebaths, 19th and 20th centuries, five white-glazed with plain or moulded bowls and feet, one with a gilt dentil rim in the Sèvres style, interlaced LL mark, the last painted with a band of pink and blue flowerheads within green bands, some faults, 5cm max. (7) £200-300

146. Seven porcelain eyebaths, 19th and 20th centuries, the squat oval forms variously decorated with flowers, one with a strutting cockerel and pecking chicken, one with, a fly, the last with a continuous monochrome landscape, some damages, 4cm high max. (7) £200-300

147. Eight porcelain eyebaths, 20th century, variously decorated with flowers including sweet pea, daffodil, rose and cornflower, and a pottery eyebath painted with violets, 5.5cm max. (9) £200-300

148. Seven Maw & Co eyebaths, 19th/20th century, six of traditional form with wide bowls raised on oval feet, four with gilt borders to the rims and feet, the last of squat oval form, pinched in the centre, various impressed and printed marks, 5cm.

(7) £300-400

149. Four Limoges white-glazed porcelain eyebaths, 1st half 20th century, the deep bowls each moulded with eight wide flutes and raised on narrow faceted stems on flat circular bases, printed marks to three, one with a short rim crack, 6cm. (4) £150-250

150. Three white-glazed porcelain eyebaths, early 20th century, of squat oval form, pinched near the base, one with a printed mark for Boots the Chemists, the other two with factory marks, a short crack to one, 4cm. (3) £100-150

151. Three Continental porcelain eyebaths, 19th century, one gilded to the inside and outside rim of the bowl and raised on a circular foot, the other two with a gilt band just beneath the rim, raised on flared oval feet, some small damages, 5.5cm max. (3) £100-150

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152. Three Limoges porcelain eyebaths, late 19th/early 20th century, of squat form, white-glazed and pinched towards the base, printed green marks, 4cm. £100-150

153. Two porcelain eyebaths, 19th/early 20th century, after Meissen, painted in polychrome enamels with wide floral garlands suspended from pink and blue tied ribbons, over-glaze crossed swords marks, 4.8cm. (2) £300-400

154. Three white-glazed porcelain eyebaths, 19th/early 20th century, two raised on a narrowly flared gadrooned stem, one marked 17b to the base in blue, the other with a generous bowl moulded with wide flutes above a wide circular foot with further fluting, a short crack to one bowl, 5.2cm max. (3) £150-200

155. A Pinxton teabowl and saucer, c.1800-10, brightly painted in pattern 104 with a wide band of red poppies and blue cornflowers, red P mark and pattern number, 13.9cm. (2) £100-150

156. An English porcelain taperstick holder, c.1820, probably Coalport, painted in the manner of William Pollard with trailing sprays of forget-me-not, some gilt wear, 10cm across. £50-100

157. An English porcelain spill vase, c.1820, finely painted with a panel of flowers between white beaded borders, reserved on a claret ground, pattern number 103, a high-handled ewer, perhaps Ridgway, with similar floral decoration on a blue ground, pattern number 197, and a Chamberlain’s Worcester cabinet cup and saucer with rose vignettes on a claret border, 20cm max. (4) £100-200

158. A Derby armorial coffee can and saucer, c.1790, painted with the crest of a recumbent dog above the gilt initials EC, puce factory mark, a coffee can and saucer decorated in the Church Gresley pattern, and a Barr Worcester tea cup and saucer decorated with a rich Imari pattern, incised B mark, 14.1cm max. (6) £200-300

159. An unusual pair of Wedgwood porcelain vases and covers, 19th century, decorated in the Jasperware manner with applications of dancing maidens reserved on a blue glazed ground, the feet and necks glazed pink beneath stiff leaf borders, impressed mark to one, some damages, 18.5cm. (4) £100-150

160. A pair of armorial Copeland plates, 19th century, each painted in an amateur hand with figures in rural scenes, titled Kirkandrews-on-Eden, Cumberland, with the crest and coat of arms for the Norman family, signed JB Norman 28 Aug 1879, 24.2cm. (2) £100-200

Provenance: from a private collection in London.

It is believed these plates were painted by the Reverend John Burton Norman, rector of Little Stanmore in Middlesex in 1879, but who was born in Kirkandrews-on-Eden.

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161. A good Royal Worcester dessert service, date codes for 1897, the wells painted with arrangements of fruit, flowers and nuts within panels of colourful birds, butterflies and other insects, reserved on a pink ground with gilt grapevine, the rims with panels of diamond piercing, printed factory marks and retailer’s mark for Phillips of Mount Street. Comprising: two tazzae, two oval dishes, two square dishes and ten plates. (16) £1,500-2,000

162. A Rockingham part dessert service, c.1830, the wells painted with colourful birds, reserved within large stylized grey leaves highlighted with gilt, printed marks to some. Comprising: a comport, a quatrefoil dish, a shaped dish and sixteen plates. (19) £300-500

163. An English porcelain part dessert service, early 19th century, richly decorated in the Imari palette with a continuous pattern of grapevine, painted pattern number 48 to some pieces. Comprising: an oval comport, two oval dishes, two shell-shaped dishes and sixteen plates. (21) £150-250

164. A collection of Spode tea wares, c.1810, bat-printed with patterns including 500, with flower arrangements and still lives of fruit, including two teapots of varying shape, both with covers and stands, a chocolate cup and cover, another two-handled cup, two large plates, a breakfast cup and saucer, three tea cups, five coffee cans and five saucers. (26) £100-200

Together with the original invoice dated January 31st 1810, from Rob Elliot of 131 Fenchurch Street.

165. A set of eight Barr Worcester dessert plates, c.1800, painted with sepia bunches of grapes on gilt vine tendrils, incised B marks, a little wear to the gilt rims, 19.5cm. (8) £200-300

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Provenance: the Brian Gill Collection of Bat-Printed Spode.

166. Four Chamberlain’s Worcester armorial dishes, c.1825, the wells decorated with the crest of the upper half of a blue seahorse within a gilt leaf band, reserved within orange-red borders with a pattern of gilt and white flowers, iron red factory marks, 29.7cm max.

(4) £250-350 Provenance: from a private collection in London.

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167. A Derby part dessert service, c.1785-90, decorated by William Billingsley in the manner of the Camden Service with sprays and borders of pink roses reserved on a green turquoise ground, puce factory marks and pattern number 185, the ice pail’s cover repaired. Comprising: an ice pail and cover, a tazza, a sauce tureen with cover and stand, two shaped dishes and a plate. (9) £1,500-2,000 Provenance: from a private collection in London.

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168. A pair of Derby dessert plates, c.1800, the decoration attributed to William Billingsley at Mansfield, painted in sepia monochrome with simple flower sprays, the rims with gilt and sepia sprigs, impressed 7 marks, 20.5cm. (2) £150-250

169. A Derby botanical shell-shaped dish, c.1815, finely painted with a large floral specimen, titled in red to the reverse with ‘Large Flowered St John’s Wort’, and a small Spode botanical plate, 20th century, decorated with a tulip in the manner of a Regency service, 25.2cm max. (2) £80-120 Provenance: from a private collection in London.

171. A pair of English porcelain cabinet plates, 19th century, the wells painted with an arrangement of fruit, within four panels of further fruits and flowers, the rims with a gilt geometric design on cobalt blue, some restoration, 23.8cm. (2) £100-150

174. A three vase garniture, 19th century, the ovoid forms painted with panels of fruit, the reverses with flower sprays, the necks with gilt motifs on a lilac ground, with marbled decoration to the interiors, the handles formed as gilt monkey heads, iron red marks perhaps for a decorator, 14.5cm max. (3) £150-250 Provenance: from a private collection in London.

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172. Three Derby dessert plates, late 18th/early 19th century, one from the Pepper Arden Hall service, painted by William Billingsley with a central arrangement of fruit, another in the same hand with a central rose and forget-me-not sprig within a salmon pink border, the last with three bold floral posies, perhaps decorated by Leonard Lead, 25.8cm max. (3) £200-300

170. A pair of H & R Daniel dessert dishes, c.1823-25, finely painted in pattern 3820, perhaps by William Pollard, with large sprays of native flowers including auricula, convolvulus, narcissus, tulip, rose and poppy, within moulded rims, 27.5cm. (2) £100-150 Cf. Michael Berthoud, H & R Daniel 18221846, p.63, which references the pattern number in a traveller’s price book.

173. A pair of Chamberlain’s armorial dishes from a dessert service, c.1820, the wells painted with the arms of the CliffordConstable family within gadrooned borders of three floral panels reserved on a claret ground, impressed and painted marks, 26.5cm. (2) £80-120 The armorial on the dish is of Constable quartering Clifford, Martin, Blount and Aston; impaling Chichester quartering Raleigh and Pownell for the marriage of Sir Thomas Aston Clifford-Constable, 3rd baronet of North Ferriby, Yorkshire to his first cousin, Marianne Chichester of Calverleigh Court, Devon on 28th September 1827.

175. A Coalport high-handled ewer and oval basin, c.1820-30, painted in pattern 630 with elaborate borders of foliate scrolls in yellow, puce, red and gilt, 33.5cm. (2) £80-120 176. A Barr Worcester saucer dish, c.18005, painted in sepia with a view of Worcester Cathedral within a wide border of gilt formal designs on salmon, incised B mark, some surface wear, 20.2cm. £100-150

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177. A pair of Royal Worcester vases, date codes for 1920, of shape G923, the flared bodies painted by Ernest Barker with scenes of sheep grazing in a moorland landscape, signed, printed marks, 15cm. (2) £200-300

178. A Royal Doulton cabinet plate, late 19th/early 20th century, painted by Joseph Birbeck Senior, with a ruffed grouse perched on a branch, signed in green, the rim with a raised gilt design of floral garlands, titled to the reverse, printed marks including for The Bailey, Banks & Biddle Co., Philadelphia, 23cm. £100-150

179. A pair of Royal Worcester spill vases, date codes for 1928, painted by James Stinton each with a pair of pheasants in a woodland setting, signed, a small rim chip, 10.5cm. (2) £80-120

180. A Chelsea-Derby vase and associated cover, c.1770, the main body applied with fabric swags issuing from ring handles and suspended from tied green ribbons, between bands of masks and flowerheads on a blue ground, raised on a square foot, some restoration, 28.6cm. (2) £100-200

181. A Royal Worcester circular plaque, c.1920, cut from the centre of a plate, painted by Albert Shuck with apples, grapes and blackberries on the woodland floor, signed, within a glazed and gilt wood frame, some damage to the frame, 21.5cm overall. £50-80

182. A large Royal Worcester vase and matched cover, date code for 1903, of shape 1575, painted by Charles Baldwyn with four swans in flight amongst reeds and gilded seedheads on a sky blue ground, the reverse with swallows in flight, signed, the flattened shoulder moulded with a stiff leaf border, the neck with foliate scrolls, the handles issuing from mythical masks, printed marks, some repainting to the cover, 27cm. (2) £800-1,200

183. A set of nine Royal Worcester busts of horses from the Equine Studies series, c.1985, representing the nine winged horses of the Greek Sun god Helios, naturalistically modelled and raised on square bases, printed marks, each titled beneath the base, ‘Aethon’, ‘Astrope’, ‘Bronte’, ‘Chronos’, ‘Eous’, ‘Lampon’, ‘Phaethon’, ‘Phlegon’ and ‘Pyroeis’, 13.5cm.

(9) £100-200

184. An English porcelain rectangular plaque, 19th century, painted with a basket of flowers including auricula, convovulus, tulip and rose, resting on a table top, the rim painted blue to form a frame, restored, 17cm x 20.8cm. £50-80

185. A Derby circular plaque, dated 1814, well painted with an effusion of flowers including tulip, chrysanthemum, roses and stock, within a narrow gilt border, the reversed inscribed ‘Gry March 1814’ in iron red, 14cm dia. £100-150 Provenance: purchased from Grosvenor Antiques Ltd in March 1998.

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186. A Grainger’s Worcester pot pourri vase and cover, c.1825, painted probably by David Evans with a basket of flowers including primrose, tulip, rose and forget-me-not, reserved on a blue ground, the ogee-shaped cover pierced with three bands of holes, 31.5cm.

(2) £150-250

187. An impressive Minton porcelain vase and cover, c.1830, the urn shape richly applied with a variety of flowers, painted to one side with a panel of figures on a bridge before a castle nestled in a valley, the reverse with a finely painted floral panel, the reticulated cover surmounted with a putto finial, cracked, 44.5cm. (2) £300-400

Cf. Henry & John Sandon, Grainger’s Worcester Porcelain, no.108.

Provenance: from a private collection in London.

188. A large English porcelain vase and cover, 19th century, of Coalbrookdale type, richly encrusted with flowers including apple blossom, carnation, rose, convolvulus and primrose, raised on a scrolled foot with pale yellow highlights, the tall cover reticulated and applied with further flowers, some damages, 40.5cm. £150-250

189. An English porcelain jug, c.1800, probably Derby, the decoration attributed to William Billingsley at either Pinxton or Mansfield, with a dense floral arrangement of rose, poppy and nigellus, the handle partially glazed black, puce arrow mark, 16.7cm high. £100-200

Provenance: from a private collection in London.

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190. A Nantgarw plate from the Duke of Cambridge service, c.1818, painted probably by Thomas Martin Randall with panels of birds, buildings in landscapes, and arrangements of fruit, reserved on a shaped border of red fabric, the well with a spray of native flowers, impressed mark, a clean crack to the well, 24cm. £400-600

191. A good Coalport ice pail with cover and liner, c.1800-1805, the decoration attributed to William Billingsley at Mansfield, painted to one side with a panel of various fruits surrounding a tall basket of flowers, the reverse with an upturned basket spilling flowers, reserved on a rich blue ground within gilt borders, 27.5cm. (3) £800-1,200

Provenance: from a private collection in London.

Illustrated: Geoffrey Godden, Coalport and Coalbrookdale Porcelain, pl.25, showing other items from the same dessert service then in the possession of J & E D Vandekar, London. The second ice pail illustrated since the publication of Godden’s book.

This dessert service was given as a wedding gift by the Prince Regent to his brother, Adolphus, Duke of Cambridge, in 1818, although slight variations in the ground and gilded detail suggest that more than one service may have been produced.

192. An English porcelain sauce tureen with cover and stand, c.1830, painted with baskets of flowers reserved on a claret ground, the foot of the tureen pierced with heart-shaped reticulations, gilt pattern number 304 to the stand, 16.5cm high. (3) £150-250 Provenance: paper label for the Peter Moller Collection.

193. A pair of English porcelain vases, c.1830, painted with panels of flowers including convolvulus, rose, auricula, peony and nasturtium, reserved on an apple green ground, the rococo moulded forms scrolled in pale yellow, white and gilt, red pattern numbers 4/200, 24.5cm. (2) £300-400

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194. A large and impressive pair of porcelain vases, 19th century, richly decorated with arrangements of flowers and further sprays covering most of the body, all on a dark green ground, the handles formed as gilt mythical masks, all raised on square bases, 40cm. (2) £1,000-2,000

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195. A pair of Dresden porcelain vases and covers, late 19th century, in the Helena Wolfson manner, each painted to two sides with scenes of children at rural pursuits, within wide floral borders, the domed covers with pierced shaped panels and floral finials, blue AR marks, a few small chips to the finials, 29.5cm max. (4) £100-200

196. An assembled Dresden garniture of three vases and covers, late 19th century, boldly painted with colourful flower sprays, the largest vase with a brightly coloured bird, the shoulders and covers with shaped panels of overlapping scale or feather in green, blue crowned Dresden marks, a star crack to one smaller vase, 35cm max. (6) £100-200

197. A matched Dresden porcelain five vase garniture, late 19th/early 20th century, painted with Watteau-esque scenes of figures in pastoral settings, alternating with panels of flowers on a bright yellow ground, the two ovoid vases with domed covers, crowned Dresden marks, the three bottle vases with AR monogram marks, some faults, 37cm. (7) £250-350

198. A massive Dresden porcelain octagonal vase and cover, 19th century, one side painted with two musicians beside a ruined castle, the reverse with a figure on horseback in conversation with another figure, alternating with two flower sprays on a primrose yellow ground, some restoration, 53cm. (2) £100-150

199. A tall Meissen-style comport or centrepiece, 19th century, the flared and reticulated basket painted and applied with flowers, raised on a stem encircled with further blooms, three children carrying flowers and grapes around the stem, minor faults, 47.5cm. £200-300

200. A large Berlin ovoid vase and cover, 19th century, later decorated with Watteauesque scenes of courting couples in garden settings, with panels of flowers reserved on a gold ground, cancelled sceptre mark, 36cm. (2) £150-250

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Provenance: the Property of a Nobleman.

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201. A Dresden hexagonal vase and cover, late 19th century, of Helena Wolfson type, painted with scenes of courting couples reserved on a puce scale ground, the handles formed as bacchanalian masks, the domed cover pierced, and a similarly decorated bottle vase, blue AR monogram marks, 35cm max. (3) £100-200

202. A framed set of twelve Continental porcelain plaques, 19th century, seven of the small oval plaques painted with the portrait of a lady, four with female companions, the last with a courting couple, all laid of brown velvet in a giltwood frame, further contained within a glazed case, 54.5cm overall. £400-600

203. Five Vienna style cabinet plates, 19th century, all painted with scenes of Classical figures and mythological scenes including the Three Graces and Virgins awakening Cupid, three within a border of gilt griffins and foliate scrolls on a blue ground, two with bright panelled borders, pseudo blue shield marks, 24.2cm. (5) £1,000-2,000

204. A Sèvres-style boxed desk set, 19th century, painted with panels of cherubs and flowers reserved on a turquoise ground, with ormolu mounts. Comprising: a covered inkwell, a pen tray and two candlesticks. All contained in a fitted monogrammed case. £100-200

205. A large Continental porcelain twohandled tray, 19th century, painted with an excerpt from Eugene Devaria’s painting of the Battle of Marseille, reserved within an elaborate gilt border on a dark blue ground, signed in the paint, titled in French to the reverse, printed mark for the Chateau Des Tuileries, a small rim chip, 45.2cm. £150-250

206. A pair of German porcelain cabinet plates, late 19th century, decorated in the Vienna manner, one with the portrait of a young boy wearing a red cap and smoking a pipe, the other with a girl wearing a red dress, the rims with a raised gilt border reserved on a rich blue ground, impressed and painted shield marks, 24cm. (2) £150-200

207. A Meissen Böttger stoneware rectangular plaque, c.1917-20, commemorating the Russian Revolution, moulded in relief with figures standing with guns and waving a flag, 17.4 x 28.5cm. In the original fitted box. (2) £200-300

208. A Continental porcelain circular plaque, 19th century, decorated with The Testament of Eudamidas after the painting

by Nicolas Poussin, the dying man dictating his will to a scribe while his mother and daughter sit grieving at his bedside, titled in French to the reverse, 15.8cm overall. £100-200

209. Four Russian (St Petersburg) porcelain plates, late 19th century, painted with four panels of flowers within gilt floral cartouches reserved on a caillouté ground on a rich blue, printed marks for Alexander III, 18cm. (4) £500-800

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210. A KPM (Berlin) rectangular plaque, 19th century, painted with a scene of the Italian Comedy after Watteau, the cast crowded round beneath a state of Venus and Cupid within trees, in a later frame, impressed marks, 18cm x 24cm. £300-500

211. A Meissen satirical saucer, c.1765, painted with a pig wearing a bonnet and a black cape, seated at a table and admiring a bonnet on a mannequin, being waited upon by a cat who carries away a further selection of bonnets, blue crossed swords and dot mark, and a Meissen plate, mid 19th century, painted with a lioness and three cubs, 24.3cm max. (2) £200-300 The saucer with a lot label for Christie’s, 31st March 2008, lot 222.

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212. A Meissen-style cabinet plate, 19th century, decorated in the 18th century manner with a quatrefoil panel of figures in a harbour setting within elaborate strapwork, the moulded rim set with three further panels, blue crossed swords mark, 25.3cm. £100-200

213. A Meissen sugar bowl and cover, modern, modelled as the Garden of Eden with Adam and Eve seated atop the cover and forming the finial, the sides of the bowl applied with pink flowers, and a Meissen rectangular plaque moulded in shallow relief with a figure seated at a table and holding a glass of wine, a steaming teapot above his head, reserved on a blue ground, blue crossed swords marks, 15.5cm max. (3) £200-300

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214. A Meissen sucrier and cover, c.1770, painted with sprays of deutsche Blumen, the cover with a floral finial, blue crossed swords mark, 12cm dia. (2) £100-150

215. A Kloster Veilsdorf saucer, c.1765, the well painted in purpurmalerei with an obelisk at the water’s edge, within a leafy border, together with a Marseilles faïence saucer painted with flower sprays within a gilt border, 13.3cm max. (2) £150-200

216. A Meissen rectangular tea canister and cover, mid 18th century, applied with bold sprays of flowering prunus, blue crossed swords mark, minor damages, 13.3cm. (2) £150-250

The Marseilles saucer with a paper label for Vandermeersch, Paris.

217. A Strasbourg porcelain cup and saucer, 2nd half 18th century, painted with polychrome flower sprays, blue factory and painter’s marks, and a Brussels fluted coffee cup and saucer painted with sprays of flowers including a large tulip, iron red LC mark, 14cm max. (4) £300-400

218. A Meissen flared cup and saucer, 19th century, with gilt decoration of scenes of a boar hunt, in the 18th century Hausmaler manner, blue crossed swords marks, 12.4cm. (2) £100-200

219. A Kloster Veilsdorf small teabowl and saucer, c.1770, painted with flower sprays within osier moulded rims, and another Kloster Veilsdorf saucer painted in purpurmalerei with a standing chinoiserie figure, the rim with an interlaced red and green border, blue CV monogram marks, 12.4cm max. (3) £250-350 The teabowl and saucer with a lot label for Christie’s, 31st March 2008, lot 292.

220. A pair of Meissen teabowls and saucers, c.1740, each applied with three sprigs of flowering prunus, probably hausmaler enamelled a little later in purpurmalerei with small vignettes of courting couples in pastoral settings, gilt line rims, blue crossed swords and dot marks, 12.3cm. (4) £400-600

221. Five Böttger stoneware Notgeld (emergency money) coins, c.1920-22, variously moulded and of differing values, moulded crossed swords marks, 4.2cm max. (5) £120-180 Necessity or emergency money was widely used in Germany and Austria at the end of the First World War during the period of hyperinflatiom, when the value of the metal used to make coinage became far greater than that of the coins themselves.

222. A Meissen milk jug, c.1730-40, painted in blue with the Fels und Vogel pattern of a bird in flight above flowering branches and rockwork, with a large scrolled handle, blue crossed swords and 2 mark, a small chip to the spout, 11cm. £100-200

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223. A Meissen coffee pot and cover, late 19th/early 20th century, applied with sprays of forget-me-not, painted with small flying insects, and a set of six Meissen tea cups and saucers, each brightly painted with floral arrangements, blue crossed swords marks, some restoration to the coffee pot, 16cm max.

(14) £200-300

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224

224. A Paris porcelain circular box and cover, 2nd half 18th century, and a mustard pot and cover, painted with polychrome flower sprays, a similarly decorated Hannong porcelain stand, and a Creil pottery coffee can, painted with figures in a landscape, some damages, 18.5cm max. (6) £50-100 225. A Vienna part tea service, late 18th century, decorated with a trellis pattern of green leaves intersected by pink roses, with fruit finials, including a teapot and cover, milk jug and cover, two cups and two saucers, and a Vienna three-footed jug, dated 1784, painted with grisaille portraits of Greek philosophers, titled ‘Theophraste’ and ‘Epimenide’, in cartouches suspended from blue ribbon, blue shield marks, 20cm max.

(9) £300-500 Paper label for the Collection of Vivian S. Hawes to the single jug.

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226

226. A small collection of Meissen teawares, 18th century and later, including a blue and white teabowl and saucer decorated with the Strawflower pattern, three teabowls decorated for the Turkish market, a trembleuse saucer painted with the letter O in flowers, and a coffee cup painted with the silhouette of an equestrian figure, blue crossed swords marks, 14.3cm max. (7) £250-350 227. A pair of Chantilly square blue and white dishes, c.1770, painted with floral sprigs in a naive fashion, blue hunting horn marks, a small rim chip, 26cm. (2) £100-200

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228. A Sèvres tasse à glâce, date code for 1758, the lobed form painted with simple floral sprigs within a blue feathered border, and a smaller hexafoil stand, later-decorated with a central flower arrangement within a gilt cartouche on a turquoise ground, interlaced LL marks, some damages to the rims, 23cm max. (2) £400-500 229. A Meissen model of a quail, 20th century, standing with head turned to dexter, and a crescent-shaped Meissen plate laterdecorated with a quail and ten chicks, blue crossed swords marks, cancelled to the dish, 21.5cm max. (2) £80-120

229

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230. A Sèvres sucrier and cover, 19th century, of fluted urn shape with twin gilt loop handles, and a reeded Sèvres cup and saucer decorated with a gilt diaper band on a pale blue ground, printed marks, 13.8cm max. (4) £200-300

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231. A Sèvres teacup and saucer, c.1789, painted by Jean-Charles Sioux l’ainé, with berried laurel garlands and single flower sprigs, the rims with blue rhomboid motifs on a lilac zig-zag ground, blue interlaced LL marks and painter’s marks, 12.6cm. (2) £450-600

232. A Sèvres ornithological coffee cup and saucer, date code for 1763, painted with a single bird perched beneath leafy autumnal branches, within gilded floral borders reserved on a rich green ground, interlaced LL marks and decorator’s marks for Étienne Evans and Chabry, possibly later decorated, 13.2cm. (2) £800-1,200

233. A Sèvres dish, date code 1769, finely painted with an arrangement of flowers including rose and poppy, within a gilt floral cartouche reserved on a rich blue ground, interlaced LL mark and painter’s mark, broken and riveted, 21.3cm. £50-150

234. A Sèvres teapot and cover, c.176575, finely painted by Mme Pierre with an urn and a basket containing fruit and flowers, reserved on a rich blue ground, the spout entwined with floral garlands, interlaced LL mark, painter’s mark and gilder’s mark for Chauveaux ainé, the cover perhaps associated, 18cm. (2) £700-900 233

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236

235. A Furstenberg teapot and cover, c.1760-70, one side finely painted with figures on a winding road beside a tumbledown thatched farm building, the reverse with further figures beneath tall trees beside further rural buildings, the moulded spout and handle with gilt detailing, blue F mark, impressed B 20, minor faults, 17cm across. (2) £500-800

236. A small Meissen teapot and cover, early 19th century, probably later decorated with scenes of ducks swimming on water, a cockerel standing beside, the spout formed as a gnarled trunk, blue crossed swords mark, the cover a replacement, 15cm. (2) £120-180

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237. A Limbach coffee pot and cover, c.1775, the reeded form painted in blue with the Strawflower pattern in the Meissen manner, crossed swords and star mark in imitation of Marcolini, 23.5cm high. (2) £80-120

238. A Meissen rococo-moulded candlestick, 19th century, painted and applied with colourful flowers, moulded with scrolls highlighted in puce and green, blue crossed swords mark, 24.2cm. £150-250

239. A Nymphenburg coffee pot and cover, c.1780, painted with an ikat textile pattern, sometimes known as a chintz pattern, impressed shield mark, a little restoration to the finial and handle terminal, 15.5cm. (2) £100-200 This type of fabric-inspired pattern is listed in the factory price list of 1792 as ‘en taffent geflammt’.

240. An Alcora porcelain plate, late 18th century, sparsely decorated with a small floral spray and two single sprigs, the lobed rim picked out in pink, painted A mark, 20.5cm. £50-100

241. A Russian porcelain ornithological plate, 19th century, painted with a small bird perched on a bunch of grapes with a spray of rosehips behind, reserved on a pale orange ground with grisaille flower scrolls, 22.8cm. £200-300

242. A Sèvres plate, 2nd half 19th century, decorated with a border of Islamic trelliswork around a central monogram of the initials JG, and a Sèvres can and saucer painted with a band of flowers above a faux lapis ground, 24.2cm max. (3) £300-500

243. A Sèvres-style coffee cup and saucer, 18th century, painted with flowers within moulded feuille de choux borders picked out in blue enamel, within a feathered gilt rim, 13.5cm. (2) £150-250

244. A Meissen octagonal teapot stand, c.1725, finely painted with merchants trading their goods beneath fringed palm trees, within a quatrefoil cartouche of puce, red and gilt laub-und-Bandelwerk, the underside of the rim painted with small sprigs of indianische Blumen in the Kakiemon palette, blue crossed swords mark, gilt B painter’s mark, 14.6cm. £600-1,000

245. A Chantilly cup and saucer, c.1760, decorated with a blue and gilt trellis pattern within gilt dentil rims, blue hunting horn and R marks, 13cm. (2) £100-200

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246. A Paris porcelain tête à tête service, 19th century, painted with the monogram of Marie Antoinette within leafy garlands and floral arrangements, printed red crowned A marks to some.

Comprising: a tray, a teapot and cover, a sucrier and cover, a milk jug, two cups and two saucers. (10) £150-250

247. Five Meissen ornithological plates, 19th century, decorated probably outside of the factory with specimens of birds perched on leafy branches, the rims with scattered insects and single blooms, cancelled marks, and two smaller plates with moulded rims, painted with finches perched in trees, blue crossed swords marks, 28.3cm max. (7) £300-400

248. A pair of Sèvres coffee cups and saucers, date codes for 1780, painted with small polychrome flower sprays within feuille de choux borders, interlaced LL marks, 13.8cm. (4) £650-850

249. A Russian porcelain box and cover, 19th century, modelled as a recumbent sheep or ram, with horns curled around its ears, the fleece finely curled, a chip to one ear and horn, 16.7cm. (2) £100-200

250. A matched pair of Meissen figural salts, 19th century, modelled as a boy and a girl seated on the edge of baskets with ankles crossed, each holding a posy of flowers, their clothing and the baskets painted in blue, raised on low scrolled bases, blue crossed swords marks, incised and impressed numbers, minor damages, 13cm high. (2) £100-200

251. A Meissen figural salt or sweetmeat dish, 19th century, modelled as a young chef seated between two shells, with a saucepan on his lap, the shells decorated with the Onion or Zweibelmuster pattern, blue crossed swords mark, restoration to the spoon he holds, 25cm across. £200-300

252. A Meissen pin or sweetmeat dish, c.1924-34, modelled by Paul Walther with a fox seated and patiently watching a large ladybird, his tail curling to form part of the rim, cancelled blue crossed swords and dot mark, impressed PW monogram, 14.5cm dia. £150-250

253. A Tournai tureen and cover, c.1770, the circular form moulded as lobed petals, painted in blue with suspended floral motifs separated by vertical cell diaper bands, 20cm. (2) £100-200

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254. A German porcelain blue and white eyebath, probably 19th century, painted in the Meissen manner with flower sprays, beetles and flying insects, raised on a flared foot, a small chip to the bowl, 4.4cm high. £300-400

255. A rare Mennecy eyebath, c.1750-60, delicately painted in polychrome enamels with floral sprays to the bowl and flared stem, puce line rim, 5cm high. £600-1,000

256. A Sèvres eyebath, c.1760, each side of the bowl painted with a panel of rose, convolvulus and primrose reserved within gilt borders on a bleu celeste ground, interlaced LL mark, restoration to the bowl, 4.1cm high. £300-500

257. A French porcelain eyebath, c.1760, the small bowl moulded in high relief with alternating bands of ribbing and fluting, raised on a flared circular foot with further flutes, a chip to the bowl, 5cm high. £250-350

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258. A Continental porcelain eyebath, probably 19th century, painted with an oval panel of a three-masted ship at sea beside a castle, the reverse with a gilt rose spray, raised on a low flared foot, blue g or B mark, some peppering, 4cm high. £200-300 259. A tall Vienna eyebath, late 18th century, the deep U-shaped bowl painted inside and out with sprays of flowers and single scattered blooms, the base of the bowl and foot moulded with petals highlighted in puce and gilt, blue shield mark, restoration to the bowl, 6.2cm. £400-600 260. A Meissen eyebath, late 18th century, painted around the bowl’s exterior with simple flower sprays, further single sprigs to the flared stem, blue crossed swords and star mark, 4.5cm high. £400-600

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264. A Paris porcelain eyebath, 19th century, the bowl and flared foot with feather-shaped gilt striped radiating from the top of the base, gilded to the interior, some wear to the gilding, 5cm high. £150-250

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261

262

263

264

261. A Paris porcelain eyebath, 19th century, the bowl’s exterior decorated to each side with a stylized gilt floral sprig reserved on a matt blue ground, the interior gilded, raised on a flared gilt foot, 5cm. £150-250 262. A fine Paris porcelain eyebath, 19th century, decorated with gilt palmettes suspended from the rim of the bowl, the interior richly gilded, 5cm. £600-1,000 263. A Berlin white-glazed eyebath, late 18th century, the shallow bowl raised on a flared foot moulded to simulate narrow folds of fabric, blue sceptre mark, 4.1cm high. £150-250

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265. A Sèvres cabaret set, date codes for 1782, painted with pastoral scenes of figures at various pursuits in rural landscapes, dancing, courting and drinking, all reserved on a pink ground with a formal gilt leaf border, blue interlaced LL marks, painter’s initials of BS, possibly some later decoration. Comprising: a teapot and cover, a sucrier and cover, a milk jug, a cup and saucer, and a two-handled tray. (8) £3,500-4,000

266. A Sèvres part dessert service, c.1788, decorated with continuous bands of blue convolvulus between yellow borders, and with further similar sprays, interlaced LL marks and ll date codes. Comprising: two monteiths, two sauce tureens and covers, two circular tazzae or syllabub stands, and twelve ice cups. (20) £1,500-2,000 Cf. David Peters, Sèvres Plates and Services of the 18th Century, Vol. IV, p. 867-8, service no.88-15, for a full listing of the Zone Jonquilles Volubilis service in the Sales Registers. The service was ordered in 1788 by a Parisian lady named Mme Huber.

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267. A pair of Meissen figural salts, c.1755, emblematic of Summer and Winter, probably modelled by J J Kändler, one as a lady holding a sickle and ears of corn, the other as a gentleman wearing ice skates and warming his hands over a small fire, each figure perched on the side of a rococo scrolled basket, blue crossed swords marks, minor damages, 15.5cm. (2) £400-600 Provenance: from a private collection in London.

268. A Meissen sweetmeat figure, 19th century, modelled as a Turkish gentleman wearing a purple robe over a flowered costume, and a tall hat with a red plume, kneeling beside a deep ogee-shaped bowl painted with flowers to the exterior, blue crossed swords mark, some restoration, 17.5cm. £200-300

269. A German porcelain blackamoor sweetmeat figure, 19th century, the female figure wearing a short skirt and tied headband, standing beside an oval bowl painted with panels of birds and flowers reserved on a pink ground, with a removable cover, blue sceptre mark, some restoration to her right hand, which prevents true closure of the cover, 18cm. (2) £200-300

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270. A Meissen figure group emblematic of Spring, 19th century, modelled as a boy and a girl beside a bird cage resting on a tree stump, a chick in a nest atop the cage, a second emerging from the base of the stump, the girl holding the ends of a floral garland, blue crossed swords mark, incised G91, some restoration, 14cm. £150-250

271. A pair of Meissen figures of children, 19th century, he seated on a chair and crying, a book open on his knee, she holding a pocket watch and smiling, raised on circular bases, blue crossed swords marks, incised F49, some restoration, 14.5cm. (2) £300-500

273. Two miniature Meissen figures, early 20th century, one of a farmer leaning against a milk cow, the other of a lady sitting on the back of a bullock with pannier baskets on his shoulders, blue crossed swords marks, some restoration, 8.5cm. (2) £120-180

274. A pair of Meissen seated figures, late 19th century, after the models by M V Acier, he holding a single cherry in one hand, his plumed hat in the other, she holding an open book but gazing in the opposite direction, raised on circular moulded bases, blue crossed swords marks, incised F51, some restoration, 13cm. (2) £150-250

275. A Sèvres biscuit porcelain miniature bust of Charles III, 19th century, wearing a long wig and an elaborate tied bow at his neck, raised on a circular socle, incised ‘AB’ to the reverse, and a Sèvres biscuit profile plaque of Marie Antoinette mounted on a velvet base in a wooden frame, incised ‘Sevres’ to the shoulder, 12.5cm max. (2) £350-500

276. A pair of Meissen chinoiserie figures, modern, perhaps emblematic of Liberty and Captivity, each seated with a colourful bird, one trapping it by its tail, the other feeding it from a small tray, wearing flowered robes over red harem pants, blue crossed swords marks, a chip to one bird, 13.5cm. (2) £300-500

277. A pair of Vienna porcelain figures of children, dated 1847, one holding a doll and a rattle, the other a toy sheep, later enamelled, embellished shield marks and later-added blue crossed swords marks, some damages, 15cm. (2) £150-250

278. Two Meissen figures of ladies, 19th century, one seated and feeding a striped cat on her lap from a saucer of milk, the other standing and holding a cock pheasant by its legs, blue crossed swords marks, some restoration, 14.5cm max. (2) £200-300

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272. A pair of Meissen figures of battledore and shuttlecock players, 19th century, a boy and a girl each holding a small racket, he holding a colourful shuttlecock, wearing plumed hats, raised on circular bases, blue crossed swords marks, incised F31, some restoration, 15.5cm. (2) £250-350 Battledore and shuttlecock or jeu de volant is an early predecessor of badminton, played by children in Europe for centuries.

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279. A large pair of Meissen-style figures of a gallant and his companion, 19th century, holding baskets of flowers and grapes, brightly dressed in flowered costumes and raised on circular grassy bases, blue crossed swords and dot marks, some chips, 41cm. (2) £200-300

280. A large pair of Meissen figures of female nudes, 20th century, modelled by Robert Ullmann, each seated on loose fabric with torsos turned and ankles crossed, blue crossed swords marks, impressed Robert Ullmann 1940, the other 1939, 33cm high.

(2) £400-800

281. A Meissen figure group of card players, 20th century, a gallant gentleman and two companions seated around a triangular table, each with a small pot of gold coins, blue crossed swords mark, 13.5cm high. £600-800

282. Two Meissen figures of children, 19th and 20th centuries, one of a young boy with a lamb slung over his shoulders, the other of a boy wearing a blue, white and gilt suit, holding a circular floral wreath before him, blue crossed swords marks, a few small chips, 12cm max. (2) £250-350

283. Four Continental porcelain busts of children, 19th century, two of the Bourbon children, the others of a girl wearing a fabric bonnet and a young boy wearing a plumed black hat, each raised on a low quatrefoil base, one with a blue AR mark, another with a shield mark, minor damages and restorations, 14.5cm. (4) £200-300

284. A Meissen figure group of two putti, 19th century, modelled by Juechtzer, one dancing with a tambourine, the other holding a ewer and putting out a hand to restrain his companion, a marble column between them, blue crossed swords mark, incised H36, some restoration, 13cm. £200-300

285. A Meissen figure of a boy and a dog, 19th century, the former seated on a low stool with a tasselled cushion and teaching a spaniel to jump through a hoop, raised on a low reticulated base, blue crossed swords mark, incised B97, some restoration, 12.3cm. £100-200

286. Four Berlin porcelain figures, 19th century, one a sweetmeat figure with a basket propped before him, one playing the goat bellows, a girl holding a pear, the last wearing a fox-skin bag on his back, all raised on scrolled triangular bases, blue sceptre marks, damages, 23cm max. (4) £100-200

287. Three Meissen chinoiserie figures, 20th century, one of an astronomer standing beside a celestial globe, the others female musicians, one seated with a pair of cymbals, the last holding a bell in one hand, all dressed in colourful costume, blue crossed swords marks, a little restoration to two, 12.8cm max. (3) £200-300

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288. Seven Continental porcelain monkey band figures, 19th century, the hirsute musicians in 18th century dress and raised on low scrolled bases, including a cellist, a bagpiper, a violinist, a French horn player, a bugler, a bassoonist and a clarinet player, some restoration, 14.5cm max. (7) £200-400

289. An eight-piece Continental porcelain monkey band (Affankapelle), 19th century, typically modelled wearing colourful costumes, raised on low scrolled bases, blue scissor marks, pseudo blue crossed swords marks, some damages. Comprising: a conductor, a bugler, a bagpiper, a bassoonist, a violinist, a cellist, a drummer and a clarinet player. (8) £150-250

290. Five German porcelain monkey band figures, 19th century, after Meissen, including a bagpiper, a violinist, a cellist, a bassoon player and a clarinet player, all dressed in 18th century costume, raised on a low scrolling bases, various marks, some restoration, 14.8cm max. (5) £150-250

291. A Meissen five piece miniature clown orchestra, modern, modelled by Peter Strang, the comical figures in exuberant pose and raised on low square bases, including a pianist with separate piano, a flautist, and two percussionists, together with a Peter Strang fairytale model of Puss in Boots, blue crossed swords marks, small damages to two, 10cm max. (6) £300-500

292. Four Meissen figures of musicians, 19th and 20th century, three from the Gallant Orchestra, one a lady holding an open songbook, one a gentleman violinist wearing a green coat, the last a flautist, and a figure of a female triangle player from the Paris Pedlar series, blue crossed swords marks, some restoration, 14.5cm max.

(4) £500-800

293. Two Meissen figures of musicians from the Gallant Orchestra, late 19th/early 20th century, one of a gentleman seated and playing the cello, the other of a lady standing and holding a songbook in her left hand, blue crossed swords marks, some restoration to the cellist, 13.5cm max. (2) £150-250

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294. A Meissen figure group emblematic of Astronomy, late 19th century, after the model by M V Acier, modelled as two putti, one looking through a telescope that rests on a small table, the other kneeling beside a globe with a pair of dividers, raised on an oval base, blue crossed swords mark, incised C46, a small chip to the dividers, 14cm high. £300-500

295. Four Meissen figures of Cupid in Disguise, 19th century, one wearing a short crinoline and holding a fan, one in a fur-lined robe and holding a muff, one in a chequered top and dancing with a sword, the last wearing a tricorn hat and holding a dagger and staff, blue crossed swords marks, some restoration, 9.7cm max. (4) £300-500

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298

299

296. A Meissen figure group of a mother and baby, late 19th century, the lady seated on an upholstered stool and supporting her infant to stand on her knees, blue crossed swords mark, incised R168, some restoration, 14cm. £150-250

297. A Meissen figure of The Merchant’s Wife, 19th century, after the model by J J Kändler, seated beside a small table with parcels beneath, a basket of bottles by her feet, writing in a ledger, with another laid open on her lap, blue crossed swords mark, incised 2654, some damages, 17cm. £150-250

298. A Meissen group of rustic lovers, 20th century, she seated on a stump and he beside her, each holding the end of a flower garland, blue crossed swords mark, 17cm. £300-500

299. Two small Meissen allegorical figures, 18th and 19th centuries, one of Prometheus holding firebolts above his head while further flames lick around his feet, a large eagle perched by his side, the other emblematic of Taste, a maiden raising a bunch of grapes to her lips while a monkey holds a fruit by her feet, blue crossed swords mark to the former, some restoration, 15cm. (2) £150-250

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301

302

303

300. A Meissen figure of Minerva, c.1745, after the model by J J Kändler, wearing a plumed helmet and a long flowered robe, standing beside her shield with the Gorgon’s face, blue crossed swords mark, raised on a later square white pedestal base, some damages, 22.5cm overall. £80-120 301. A Meissen figure emblematic of Sight, c.1880, from a set of The Senses, modelled as a Classical maiden with a telescope raised to her left eye, holding an open book in her right hand, an eagle with outstretched wings perched by her feet, blue crossed swords mark, incised 2737, 15.5cm. £100-200 302. A Berlin white-glazed figure of a gallant, 19th century, standing with one hand on his hip, his dog seated behind, raised on a low square base, blue sceptre and G mark, impressed D 855, 15cm. £50-100 303. A Meissen figure of The Juggler, modern, modelled by Peter Strang, dressed in a Harlequin costume and juggling five plates between his hands and feet, juggling clubs and balls discarded at his feet, blue crossed swords mark, 26.5cm. £250-350

304. A pair of Meissen figures of an officer and his companion, 19th century, after the models by M V Acier and J C Schönheit, he holding his watch in his right hand, standing before a marble column, his companion standing beside a small table and playing cards, raised on circular bases, blue crossed swords marks, incised F64, some restoration, 15.2cm. (2) £250-350

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305. Two Vienna figures of The Racegoer and his companion, mid 19th century, after Meissen, he resting on a stick and looking through an eyeglass in his right hand, the lady holding a small book and a feathered muff, impressed shield marks, the lady with a blue crossed swords mark, some restoration, 20.3cm. (2) £120-180

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306. A Meissen figure of the Racegoer’s Companion and a Minton copy, 19th century, each standing with one hand inside a feathered muff, wearing a hooded cloak, the Meissen lady holding a letter in her right hand, each with a blue crossed swords mark, some restoration, 20.2cm max. (2) £150-250

307. Two good Meissen figures of the Racegoer’s Companion, 19th century, each standing with one hand inside a feathered muff, one holding a letter or racecard in her right hand, the other holding a small posy of blue flowers, blue crossed swords marks, incised D66, 20.5cm. (2) £400-600

308. A Continental porcelain figure of Catherine the Great, 19th century, modelled after the painting by Dmitry Levitzky of the Russian queen as the Legislator in the Temple of the Goddess of Justice, an eagle perched atop a pile of books while a fire blazes on a plinth behind, left in the white and raised on a low square base, indistinct signature to the reverse, a little restoration, 25cm. £600-1,000

309. A Russian bisque porcelain figure of an Eijnar Laplander Mother and Child, late 19th century, from the People of Russia series, each swaddled in fur clothes, the mother seated on a rocky stump with the child on her lap, titled to the front of the base, impressed mark, 20cm. £1,000-1,500 The figures from this series were derived from a book by T de Pauli published in 1861 and titled Description Ethnografique ded People de la Russe.

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310. A French biscuit porcelain figure group, 18th century, of Bacchus seated on a rocky outcrop and raising his right hand in a toast, a club held in his left, a child satyr kneeling at his feet, minor damages, 22.3cm. £100-200

311. A Meissen figure of the Moenchgut Skipper, late 19th century, from the Villager series, modelled by Hugo Spieler, the old salt wearing a striped waistcoat beneath his oilskins, holding tight to a furled sail while the sea breaches the deck boards on which he stands, blue crossed swords mark, incised Q190, some restoration, 16.3cm. £200-300

312. A Meissen model of Winter, mid 18th century, modelled as a putto wearing a furlined purple cloak wrapped around his standing form, blue crossed swords mark, broken across the base and restuck, 14cm. £200-300

313. A Meissen figure of Cupid in Disguise, mid 18th century, a female putto disguised as a baker, carrying a tray of wares, wearing a green bodice and yellow skirt with a blue purse hanging from her waist, blue crossed swords mark, 8.5cm. £200-300

314. A Furstenberg figure of a dancing girl, c.1770, holding a corner of her apron in each hand and twisting it away from her body, wearing a striped skirt and a yellow bonnet with a large black peak, blue F mark, 14.8cm. £300-500

315. A Meissen figure of a hurdy-gurdy player, c.1775, standing and playing her instrument, wearing a turquoise bodice with matching shoes, blue crossed swords and dot mark, incised B79 to the reverse, some restoration, 13.5cm. £150-250

316. A Meissen biscuit porcelain figure of Apollo, c.1820, standing beside a triangular plinth, with arms raised to loose an arrow from his bow, raised on a square base, incised crossed swords mark in a triangle with H60, some restoration, 28.2cm. £120-180

317. A Meissen-style crinoline figure group of lovers, c.1770, after the model by J J Kändler, the amorous pair seated beneath a tree and enjoying an embrace, blue crossed swords and dot mark, some restorations, 19cm. £100-200

318. A large Meissen-style gardening figure group, 19th century, modelled with six figures on and around a rocky stump, variously holding baskets of flowers and gardening implements, blue crossed swords mark, some restoration, 28.5cm. £200-300

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319. A white glazed Meissen figure of an otter, 20th century, modelled by Max Esser, standing on a rocky outcrop with head turned to dexter, various marks including cancelled blue crossed swords, 24.5cm. £100-200

320. A large Meissen white-glazed figure of a lioness, 20th century, modelled by August Gaul, standing on a low rectangular plinth with head slightly turned to sinister, signed ‘A. Gaul’ to one corner, impressed crossed swords and Weiss mark, 41cm across. £200-300

321. Four Meissen equestrian models, modern, one of a Shetland pony standing four square with shaggy mane, one a young pony grazing, one of a foal standing with ears laid flat, the last in Böttger stoneware of a recumbent foal cleaning his leg, incised and painted crossed swords marks, 24cm across max. (4) £150-250

322. Four Meissen Böttger stoneware models of animals, 20th century, one of two bear cubs playing, one of a lynx or similar big cat raised on its haunches and washing itself, one of a recumbent lion, the last of a terrier standing four square, the last two modelled by Eric Oehme, incised marks, 31cm max. (4) £200-300

323. Three Meissen figures of animals, modern, the first a goat kid standing with front hooves on a broken and upturned Meissen bowl, another of a young donkey, with head back and braying, left in the white, the last of a cat wearing a blue bow round its neck and crouched in a playful pose, blue crossed swords marks, 15.5cm max.

(3) £150-250

324. An English porcelain model of a Bolognese hound, 19th century, after Meissen, seated and scratching beneath its chin with his its right back paw, the fur finely detailed and picked out with splashes of brown, 21.5cm high. £200-300

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325. A Meissen figure of a Bolognese Terrier, late 18th/early 19th century, after the model by J J Kändler, seated on its haunches with head slightly turned, its curly coat picked out with patches of grey, blue crossed swords marks to the two forepaws, small damages, 23cm. £600-1,000 Provenance: the Property of a Nobleman.

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326. A large Meissen model of a hawk with its prey, 19th century, the predator perched on top of a rocky stump with a dead bird beneath its talons, its wings protectively outstretched, blue crossed swords mark, incised Z60, 34cm. £800-1,200

328. A Rosenthal model of a jay, early 20th century, modelled by F. Heidenreich, its wings partially unfurled, perched on a low branch of oak with head turned and beak agape, printed marks, 28.5cm. £150-250

327. A massive pair of Meissen models of magpies, 19th century, after the models by J J Kändler, perched on tall stumps with tails erect and beaks agape, blue crossed swords marks, some restoration, 52.5cm. (2) £800-1,200

329. A large Minton pottery model of a magpie, date code for 1903, after Meissen, perched atop a tree trunk with beak agape and tail erect, the whole glazed in green, impressed marks, some restoration to the beak, 52.5cm. £100-150

330. A Meissen model of a Golden Oriole, 19th century, perched on a tall tree stump with head turned to sinister, its wings slightly flexed, with finely detailed plumage in yellow and black, blue crossed swords mark, incised 820, some small chips, 26.5cm. £150-250 Provenance: the Property of a Nobleman.

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332

331

333 331. Six miniature Meissen models of birds, modern, three of owls, one of a hen pheasant, one of a quail or grouse, and the last of a goose, blue crossed swords marks, a little restoration to two of the owls, 5cm max. (6) £200-300 332. Three miniature Meissen models of chickens, modern, standing with heads slightly turned and plumage brightly decorated, blue crossed swords marks, 5cm max. (3) £100-200 333. Six miniature Meissen models of game birds, 20th century, all naturalistically modelled and decorated, including three pheasants, a guinea fowl, a pea hen and a female turkey, 6cm max. (6) £250-350

334

335 334. Eight Meissen models of birds, 20th century, in Böttger stoneware and white-glazed porcelain, including a pair of ducks modelled by Eric Oehme, a blackbird, two waxwings and three robins, various marks including blue crossed swords, 21cm max. (8) £200-300 335. Five Meissen models of birds, modern, including a pair of canaries, a goldfinch, a bullfinch and a greenfinch, and a Meissen-style model of a chaffinch, all naturalistically modelled and decorated, blue crossed swords marks, some restoration, 10cm max. (6) £200-300 336. Three Meissen models of finches or buntings, 19th century, modelled as a bullfinch, a chaffinch and a yellowhammer, all perched on tall stumps, blue crossed swords marks, some restoration, 14cm max. (3) £200-300

336

337

337. Three Meissen models of swans with cygnets, 19th century, after the model by J J Kändler, each standing with head turned to dexter, a cygnet standing on its back and another crouched beneath its breast, blue crossed swords marks, incised E177, restoration to two, 13cm. (3) £250-350 338. A Meissen figure of a starling, 19th century, decorated with iridescent plumage, standing with head turned to dexter, a later Meissen figure of a thrush, naturalistically modelled in the 18th century manner, raised on a rocky stump applied with ears of corn, and a Meissen model of a wren, incised with the initials MB to the reverse, blue crossed swords marks, a few small restorations, 15cm max. (3) £150-250

338

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339. Three small Meissen models of parrots, 19th and 20th centuries, each modelled with head turned to sinister, with varying brightly coloured plumage, perched on tall stumps, two with leafy branches, blue crossed swords marks, some restorations, 14.5cm. (3) £250-350

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340. An attractive pair of porcelain green woodpeckers, modern, perhaps by Anne Gordon, each modelled in naturalistic pose with heads alert and feet gripping a grassy mound, their plumage brightly coloured, 24.5cm. (2) £50-100

341. A pair of Meissen models of green woodpeckers, modern, after the 18th century figures, each perched on a tall leafy stump with head slightly turned and beak agape, their plumage naturally coloured, blue crossed swords marks, a little restoration, 27.5cm. (2) £200-300

342. A large white-glazed Meissen group of two hawks, 1st half 20th century, perched on a rocky outcrop with intent expressions, blue crossed swords marks, impressed Weiss mark, 35cm. £150-250

343. Two Meissen figures of kingfishers, modern, one modelled by Paul Walther, perched on a low rocky stump, the other more naturalistically modelled in the 18th century manner, perched on a low branch applied with flowers, blue crossed swords marks, 15cm max. (2) £200-300

344. A Meissen model of a parrot, 19th century, modelled with brightly coloured plumage, his head turned over one shoulder, perched on a tall rocky stump, blue crossed swords mark, incised 59, impressed 124, a little restoration to one wing tip, 22cm. £300-500

345. A Meissen-style model of a hoopoe, 19th century, perched atop a tall trunk with head slightly turned, enamelled in shades of brown and ochre, cancelled blue crossed swords mark, damages, 31.5cm. £100-200

346. A Hutschenreuther (Germany) porcelain group of two terns, 20th century, one seabird perched on a rocky stump, the other taking flight above, printed mark, 35.5cm. £100-200

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348

349

350

347. A Derby figure group of Venus and Cupid, c.1765, seated on the back of a large dolphin whose tail flicks up behind, a waterfall spouting from his mouth, all raised on a tall base of shells and seaweed, damages, 25.5cm. £50-100 Provenance: from a private collection in London.

348. A large Derby figure of Britannia, c.1765, standing and resting one hand on her shield bearing the face of the Gorgon, wearing a plumed helmet and a long flowered skirt, some damages and restoration, 34cm. £100-200 Provenance: from a private collection in London.

349. A Bow figure of a huntress, c.1765, holding a pistol in her right hand, a small bird perched on her left, a dog seated by her side, red anchor and dagger mark, some restoration, 13.1cm. £80-120 350. A Derby white-glazed figure of the French Shepherdess, c.1760, modelled as a young girl holding a lamb and standing beside a twohandled urn, raised on a low pad base, some restoration, 13cm. £80-120 Provenance: from a private collection in the Cotswolds.

351. A pair of Bow candlestick figures, c.1765, of a musical shepherd and his companion, each standing before tall trunks supporting sconces, entwined with flowers, raised on scrolling bases picked out in puce, green and yellow, damages, 25cm. (2) £100-200

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352. A near pair of Derby candlestick figures, c.1760, of Mars and Venus, each standing before a tall column entwined with blue flowers, raised on scrolled bases picked out in turquoise and gilt, some restorations, 26cm. (2) £100-200

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353. A pair of Bow figures of Summer and Autumn, c.1765, from the Rustic Seasons series, Autumn modelled as a man sitting stop a basket of grapes, a glass in his left hand, Summer as a lady sitting beside a beehive, a cascade of flowers tumbling from her lap, raised on tall scrolling bases picked out in blue and puce, minor damages, 16cm.

(2) £300-500 Provenance: from a private collection in London.

354. A Bow figure of Columbine, c.176065, seated on a low stump and playing the hurdy-gurdy, her skirt decorated with a pattern of playing cards, raised on a tall scrolled base, 14cm. £150-250

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354

355

356

357

358

Provenance: from a private collection in London.

355. A Meissen-style figure group of two putti with a goat, 19th century, the playful pair clambering on the back of the patient animal, blue crossed swords and star mark, some restoration, 12.5cm. £100-150

356. A Plymouth figure of Autumn, c.1775, modelled as a putto holding a bunch of grapes and a goblet of wine, further grapevine encircling his head, raised on a tall scrolled base, some good restoration, 13.5cm. £250-350

357. A small pair of Derby figures of a gallant and his companion, c.1770, he standing with one hand on his hip, a dog by his right leg, she with a lamb, both standing before flowering bocage, incised No. 60, 13cm. (2) £150-200

358. A Bow figure of Winter, c.1755, from the Rustic Seasons series, wearing a hooded cloak, seated on a pile of logs and warming his hands over a flaming brazier, 13cm. £150-250 Paper label for the E E Cashmore Collection.

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359. A Chelsea-Derby two-handled chocolate cup and saucer, c.1770-75, painted in green and black with scenes of figures in a harbour and before rural buildings, gold anchor marks, and a Chelsea saucer decorated in the same palette with a windmill before small terraced buildings, one saucer broken and restuck, 12.5cm. (3) £150-200

360. A Philip Christian (LIverpool) teabowl and saucer, c.1765, moulded with small flower sprays over a band of narrow fluting, and a Worcester saucer printed in black with the Milkmaids pattern, blue crossed swords and 9 mark, 14cm max. (3) £150-250

361. A Lowestoft dolphin ewer creamer and a milk jug, c.1770-80, the creamer enamelled with flowers beneath a pale green rim, the jug painted with two Chinese figures in garden settings beneath an iron red border, 8.8cm max. (2) £100-200

362. An early Bow famille rose plate, c.1752-55, the well painted with an insect in flight above flowering chrysanthemum and leafy bamboo issuing from blue holey rockwork, the rim with three sprays of lotus, and a coffee cup, perhaps Christian’s Liverpool, similarly decorated with a bird perched on a flowering peony branch, cracks, 24.5cm max. (2) £100-200

363. A Plymouth teapot and a Bristol coffee pot, c.1770, the small teapot brightly painted with flower sprays and single sprigs, the tall coffee pot with large flower sprays in a more muted palette, with a large crabstock handle, some damages, the covers lacking, 19.2cm max. (2) £150-250

364. A Lowestoft teabowl and a sparrowbeak jug, c.1780, the teabowl painted in polychrome enamels with two Chinese figures seated at a table in a garden setting, the jug with floral sprays and garlands in black and gilt, minor faults, 8.2cm max. (2) £150-200

366. A Chinese armorial octagonal plate and soup plate, Qianlong 1733-95, the wells painted with the arms of the Gregory family, the rims with garlanded flowers in the famille rose palette, suspended from a narrow chain link band, one broken and restuck, 24.2cm. (2) £100-200

367. A Worcester leaf dish, c.1755-60, of vine leaf shape, painted with flying insects and moths on a ground of puce veining, and a Worcester double leaf dish, painted with fancy birds, the rim with colourful moths, damages and restoration, 26.7cm max. (2) £150-250

Cf. D S Howard, Chinese Armorial Porcelain, Vol.1, p.621 where a plate from this service is illustrated.

The former with a paper label for the J & S Wyatt Collection.

Provenance: from a private collection in Surrey.

Provenance: from a private collection in London.

365. A large Chelsea-Derby pot pourri vase, c.1770-75, left in the white and applied with large and detailed flowers, supported on large scrolls above a circular foot, and a Derby coffee pot well-painted with a seated Chinese dignitary holding a parasol and being waited on by an attendant, the covers lacking, 25cm max. (2) £150-250

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368. A pair of Derby toilet pots and covers, c.1760, each painted with rural landscapes of small villages and isolated buildings, the feet with scattered insects and moths, the handles formed as mythical horned masks, the domed covers with floral finials, some restoration, 10cm. (4) £100-200 Provenance: from a private collection in London.

369. A Lowestoft coffee cup and saucer, c.177080, painted in polychrome enamels with two Chinese ladies and a small boy beside a low bench or table in an exterior scene, and a further Lowestoft saucer decorated with two figures in a garden with a bird perched in a tree above a table, red crowsfoot borders, a few small rim chips, 12.1cm. (3) £200-300

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369

370

371

372

373

374

375

370. Two Worcester porcelain coffee cups and saucers, c.1765-75, one printed and coloured with European landscape scenes of small figures beside a river, the other fluted and printed black with Classical figures beside ruined arches and columns, 14cm max. (4) £250-350 371. A small collection of Worcester tea wares, c.1760-70, including a globular teapot painted with a peony spray in the Imari palette, a coffee cup printed and coloured with figures amongst ruins, a milk jug painted with sprays of European flowers, and a slop bowl with a tied peony spray in famille rose enamels, some faults, 16cm max.

(4) £150-250 372. A Worcester jug and cover and a matching slop bowl, c.1770-75, painted with panels of exotic birds and smaller panels of brightly coloured moths and insects reserved on a blue scale ground, square seal marks, 16.4cm max. (3) £150-250 Provenance: from a private collection in London.

373. A Worcester chocolate cup and saucer and a teacup and saucer, c.1770-75, the former of ogee shape, both painted with panels of colourful flower garlands and smaller cartouches of single sprigs, all reserved on a blue scale ground, square seal marks, 15cm max. (4) £120-180 Provenance: from a private collection in London.

374. Six Chelsea-Derby coffee cups, c.1770-80, two with angular handles, variously painted with leaf swags and floral wreaths between blue and gilt narrow bands, one fluted and decorated with green monochrome flowers, one spiral-moulded and one plain, both with polychrome flowers, the last moulded with vertical ribs beneath a blue and gilt border, various marks, 7cm max. (6) £300-400 375. A rare Bow peach-shaped jug or sauceboat, c.1752-56, left in the white and applied with sprays of flowering prunus, together with a saucer, three coffee cups and two small mugs or cans with similar decoration, damages, 13cm. (7) £150-250 Cf. Nicholas Panes, British Porcelain Sauceboats, fig.

109 for a similar example of the peach-shaped jug.

Provenance: from a private collection in the Cotswolds.

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376. A Worcester partridge tureen and cover, c.1765, naturalistically moulded with incised feathers, the base with an applied band of leaves and twigs, the bird’s head slightly turned to the right, unusually left in the white, 18.5cm. (2) £800-1,200 Paper labels for the T. Grant Dixon Collection, no. 75.

Cf. Bonhams. The Zorensky Collection of Worcester Porcelain Part I, lot 222 for a pair formerly in the Rous Lench Collection.

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377

377. An unusual fluted Worcester plate, c.1770-75, decorated probably outside of the factory with the Kakiemon Two Quail pattern, the usual blue of Worcester replaced with a matt grey, square seal mark, some wear, 18cm. £150-250 Provenance: from a private collection in London.

378. A Bow octagonal plate, c.1755, painted in the Kakiemon palette with the Two Quail pattern, the birds pecking at millet beneath tall flowering branches, the rim with a continuous floral border in red and gilt, minor damages, 23.4cm. £150-250 Provenance: from a private collection in London.

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379

379. A large Bow bell-shaped mug, c.1755, decorated in the Imari palette with flowering branches of Oriental plants issuing from blue rockwork and lattice fences, a hatched diaper border to the rim, a band of half petals above the foot, painter’s number 7 to the base of the wide strap handle, cracked, 12.3cm. £200-300

380. A Chelsea strawberry plate, c.1755, the well painted with a posy of flowers, the rim moulded with three sprays of wild strawberries, red anchor mark, 22.8cm. £150-250 Provenance: from a private collection in London.

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381. An unusually large Chelsea silvershape dish, c.1752-55, decorated in the Kakiemon palette with a red tiger gazing up to a large scaly dragon entwined around a bamboo stem above prunus spikes, with colourful ruyi scrolls issuing from its sinuous tail, damages, 38.2cm. £300-400

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382. A good Chinese porcelain Dutch-decorated bowl, Qianlong 1736-95, the bowl originally lightly moulded and with an underglaze blue motif to the central well, later enamelled in the Fine Line manner with standing cranes between large sprays of European flowers issuing from rockwork, the interior rim with a formal floral border, 13cm dia. £200-300 Provenance: from a private collection in London. Old paper labels referencing the Sir Edward Dean-Paul Collection.

383. A Bow frill vase and associated cover, c.1765, finely painted with moths and other flying insects within applied flowers and leaves, the sides applied with mask heads, the cover surmounted with a yellow bird, 26cm. (2) £200-300

384. A Worcester cabbage leaf jug, c.1765-70, printed in black by Robert Hancock with the May Day print beneath the spout, the sides with a milking scene and Rural Lovers, the neck with floral garlands, 21cm. £200-300 Provenance: the Joseph M. Handley Collection. Purchased from the collection of Fred Tongue, Santa Monica, California in 1970.

Illustrated: Simon Spero, 18th Century English Transfer-Printed Porcelain and Enamel, The Joseph M. Handley Collection, no.2.24.

The May Day print derives from a Charles Grignon engraving after a painting by Francis Hayman.

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385. A Worcester teapot stand, c.1758-60, printed in black with the Tea Party (version 2) pattern, a fashionable couple seated at a bench and taking tea while a cavalier spaniel plays in the foreground, 15.4cm. £80-120

386. A Worcester leaf-moulded butterboat, c.1755-56, formed from overlapping geranium leaves with a short stalk handle, the interior painted in polychrome enamels with Oriental flower sprays, 8.3cm. £250-350

387. A Worcester teapot stand, c.1770, painted perhaps in the Giles atelier with a purple spray of fruit with scattered gooseberries and currants, a small chip beneath the rim, 15.2cm. £80-120

Cf. Bonhams, The Zorensky Collection of Worcester Porcelain Part II, 23rd February 2005, lot 5 for an identical example.

388. An English porcelain slop bowl, c.1770, painted with the Stag Hunt pattern within cloud-shaped panels, the interior rim with a gilt spearhead border, some good restoration, 14.3cm. £100-150

389. A Liverpool coffee cup, c.1760-70, painted in polychrome enamels with a version of the Queens Pattern, each shaped panel containing a floral sprig, beetle or flying insect, the interior with a gilt and red crowsfoot border, 6.3cm. £50-100

390. A Chamberlain’s Worcester creamer, late 18th century, of low Chelsea ewer form, decorated in polychrome enamels with the Stag Hunt pattern, 12cm. £150-200

391. A Worcester fork handle, c.1765-75, possibly decorated in the Giles atelier, the pistol grip form painted in the Meissen manner with puce flower sprays, cracked, 18cm overall. £150-250

392. An English porcelain Goat and Bee jug, 19th century, possibly Coalport, modelled after Chelsea with two recumbent goats at the base of the jug, a single bee clambering over leafy branches, incised triangle mark, a few small chips to the applications, 11.5cm. £100-150

393. A Worcester coffee cup, c.1760-65, printed in black with Les Garçons Chinois pattern of chinoiserie figures perched on rococo scrollwork, 6.5cm. £300-500

Provenance: from a private collection in London.

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Paper label for the Godden Reference Collection.

Provenance: paper label for the Zorka Hodgson Collection.

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394. A small Chelsea two-handled dish, c.1755, the oval form moulded with basket work to the exterior, the interior painted with sprays of fruit including sloes, plums, strawberries and a large apple, together with a mushroom and asparagus spear, the handles issuing from applied flowers and leaves, red anchor mark, some restoration, 22cm across. £100-200

395. A Worcester double leaf dish, c.176570, painted in the London manner with socalled ‘Agitated’ birds amidst leafy branches, with five colourful moths in flight around, the veining of the leaves highlighted in puce, the stalk of one leaf lacking, 26.5cm. £80-120

396. A large Chelsea-Derby oval basket, c.1775, the interior painted with small floral sprays, the exterior of the pierced sides applied with small flowerheads highlighted in turquoise and yellow enamels, the twist handles issuing from further applied flowers and leaves, gilt anchor and D mark, 24.8cm. £200-300

397. Two Worcester dessert dishes, c.1765-75, the larger painted with panels of floral garlands, the smaller with fancy birds and colourful insects, all within shaped giltedged panels on a blue-scale ground, square seal marks, the larger with a chip to the footrim, 29cm max. (2) £200-300

398. A Worcester lobed dessert dish and a plate, c.1770, decorated in the Marchioness of Huntley manner with tapering spirals of flowers issuing from shaped apple green borders, 26.5cm max.

(2) £100-200

399. Two Worcester scallop-edged plates, c.1770-75, painted with various floral garlands and single sprigs of fuchsia, heartsease and auricula reserved within gilt cartouches on a blue scale ground, square seal marks, 19.3cm max. (2) £150-250

Provenance: from a private collection in London.

Provenance: from a private collection in London.

Provenance: from a private collection in London.

400. Eleven Chinese porcelain blue and white plates, late 18th/early 19th century, decorated with floral and landscape scenes, later decorated in polychrome enamels, spurious red seal marks, 23cm. (11) £100-200

401. A Worcester part tea service, c.1770-80, richly decorated with a Scarlet Japan type pattern of alternating panels of flowers in the Kakiemon palette, between blue bands with small floral panels.

Comprising: two cake plates, two saucers, a spoon tray, a teapot stand, eight tea cups and two coffee cups. (16) £150-250 Provenance: from a private collection in London.

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402. A good and large Worcester fluted dish, c.1768-70, decorated in the atelier of James Giles with two dishevelled birds perched among leafy branches, the shaped rim with large colourful moths and sprays of fruit, 24.8cm. ÂŁ400-600 Provenance: from a private collection in London.

403. A small Worcester scallop-edged plate, c.1768-70, decorated in the atelier of James Giles, the well with a small spray of fruits, the rim with colourful insects and sprays of redcurrant, cherries and plum, 19.7cm. ÂŁ300-500 Provenance: from a private collection in London.

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404. A Worcester cylindrical mug, c.1760, printed in black with the Whitton Anglers of two ladies fishing beside a small summerhouse, the reverse with the Fortune Tellers, a 1.5cm hairline, 12cm. £250-350

405. A Lowestoft teapot and cover, c.1770-80, painted with Chinese figures in garden settings within iron red and black foliate bands, cracked, 19cm. (2) £150-250

Provenance: the Joseph M Handley Collection. Purchased from Simon Spero in 1977.

Illustrated: Simon Spero, 18th Century English Transfer-Printed Porcelain and Enamels, The Joseph M. Handley Collection, no. 2.25.

The Whitton Anglers is taken from a small detail of an engraving by William Woollett showing the garden of the Duke of Argyll’s home at Whitton in Middlesex. The Fortune Teller, also known as ‘La Diseuse d’Aventure’ is after a painting by Watteau.

406. Two Worcester dessert plates, c.1780, the wells painted with star-shaped floral arrangements reserved within scrolling gilt borders on a wet blue ground, square seal marks, and a coffee cup with a five-lobed saucer bearing similar decoration, open crescent marks, 20cm max. (4) £250-350

407. Two Chelsea dessert plates, c.1760, one painted with an arrangement of fruit and a large colourful moth, the other with a floral spray and single scattered blooms, both within feather-moulded rims, brown anchor marks, minor faults, 22.3cm max. (2) £150-250 Provenance: from a private collection in London.

Provenance: from a private collection in London.

408. A large Worcester mug, c.1775-80, painted with polychrome flower sprays and small scattered sprigs, the handle with a stylized puce motif, restored, 15.7cm high. £100-150

409. A Worcester coffee cup and saucer, c.1770, painted with arrangements of spotted fruit and single scattered sprigs within a shaped border of green enamel edged in gilt rococo scrolls, blue crossed swords and 9 mark, 13.4cm. £100-150

410. A Derby ‘spectacle’ plate, c.1760, the well painted with floral arrangements and single sprigs, the shaped rim moulded with circles and applied with yellow flowerheads, a small chips to the footrim, 18.7cm. £100-150

Cf. Bonhams, The R. David Butti Collection, 10th May 2006, lot 96 for a similar example.

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411. Two Worcester blue and white teabowls and saucers, c.1770, one printed with the European Landscape pattern of figures beside a fence regarding a village beyond, the other printed with the Circled Landscape pattern reserved within fluted borders, hatched crescent and disguised numeral marks, 12.3cm. (4) £150-250

414. A Worcester blue and white sparrowbeak cream jug, c.1765, painted with the Bird in a Ring pattern, and a matched teabowl and saucer printed with the Mother and Child pattern, 12.2cm max.

(3) £100-200

412. A Lowestoft blue and white coffee cup, c.1770, painted with bold peony sprays, a Lowestoft teabowl painted with a house beside a low fence, a Lowestoft saucer painted with peony issuing from beside a small fence, and a finely potted teabowl painted with peony and bamboo, some damages, 12.2cm max. (4) £100-150

413. A Philip Christian (Liverpool) blue and white teabowl and saucer, c.1770, strap-moulded with three panels painted with a fisherman beneath willow and with further flowers issuing from rockwork, and two moulded coffee cups with vertical ribbing beneath a blue floral rim, minor rim chips, 12.8cm. (4) £150-250

Provenance: from a private collection in the Cotswolds.

Provenance: from a private collection in the Cotswolds.

415. A Worcester blue and white teabowl and saucer, c.1770, printed with the Fruit and Wreath pattern, hatched crescent marks, and a Worcester pickle dish, painted with the Pickle Leaf Vine pattern, open crescent mark, a section of the saucer broken and restuck, 12.5cm. (3) £100-150

416. Three English porcelain blue and white pickle dishes, c.1760-80, one Worcester of vine leaf shape and painted with flower sprays, one Caughley of deep leaf shape and printed with the Fisherman pattern, and a Pennington’s (Liverpool) double-leaf dish with a moulded flower spray, together with Spode pearlware leafshaped spoon, 13.2cm max. (4) £200-300 Provenance: from a private collection in the Cotswolds.

417. A Richard Chaffers (Liverpool) blue and white coffee cup and saucer, c.1760, unusually decorated with a flowering tree behind a low fence, a coffee cup painted with the Trellis Fence pattern, a Philip Christian saucer painted with the Long Bridge pattern, and a coffee can painted with small dwellings beneath towering bamboo, some damages to the can, 12cm max. (5) £150-250 Provenance: from a private collection in the Cotswolds.

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418. Three Worcester blue and white teabowls and saucers, c.1770-80, two decorated with simple floral sprigs within cell diaper borders, one with a band of narrow fluting, the last printed with fruit sprays, and a small Worcester cylindrical mug printed with the Gilliflower pattern, open and hatched crescent marks, 12.5cm max. (7) £250-350

419. Two Philip Christian (Liverpool) blue and white teapots and covers, c.1765-70, one painted with a figure fishing beneath willow, reserved within moulded panels, the other printed with floral sprays within moulded arches above a band of leaves, and a Lowestoft coffee pot painted with peony and rockwork beside an ornate fence, damages, the coffee pot’s cover lacking, 22.5cm max. (5) £200-300 Provenance: from a private collection in the Cotswolds.

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420. Three Worcester blue and white bowls, c.1770, a punch bowl painted with pagodas and a bridge in The Precipice pattern, open crescent mark, a sugar bowl painted with the Candle Fence pattern, and a slop bowl printed with the Three Flowers pattern, hatched and open crescent marks, 21.5cm max. (3) £100-200

421. A John Pennington (Liverpool) blue and white teapot and cover, c.1775, painted with simple flower sprigs in the Chantilly manner and a shaped blue panel with flowerhead mons, and a Liverpool teabowl and saucer with matching coffee can, painted with naive flower sprays, some damages and restoration, 18.2cm. (5) £200-300

422. Two Caughley blue and white teabowls and saucers, c.178090, one printed with the Birds in Branches pattern, the other with the Fenced Garden pattern, a smaller saucer in the same pattern with a coffee cup in the Fence and House pattern, together with a small plate painted with stylized floral sprigs, S marks to some, one teabowl cracked, 17cm max. (7) £100-200

423. A group of English porcelain blue and white teawares, c.1765-80, including a hexagonal Worcester teapot stand and a Lowestoft saucer printed with the Three Flowers pattern, a Worcester saucer printed with the Fisherman pattern, a coffee cup printed with the Fence pattern, a coffee cup painted with the Waiting Chinaman pattern, a large teabowl painted with buildings beside a flowering tree, a coffee cup with a dwelling beside a low bridge, and a New Hall teabowl printed with figures in an Oriental landscape, the last with a lion crest mark, some faults, 14.5cm max. (8) £100-150

Provenance: from a private collection in the Cotswolds.

Provenance: from a private collection in the Cotswolds.

424. Three English porcelain blue and white teabowls, c.1770-80, one Seth Pennington (Liverpool) printed with the Rural Lovers pattern, one Worcester printed with the Fence pattern, the last printed with the European Landscape Group, and a Worcester leafshaped pickle dish printed with the Pickle Leaf Fruit pattern, disguised numeral mark, 8.8cm max. (4) £100-150

425. A pair of Caughley blue and white teabowls, c.1780, painted with the Island pattern, a moulded Caughley saucer printed with a chrysanthemum head within a moulded floral band, and a slop bowl printed with the Fisherman and Cormorant pattern, painted and printed S and C marks, 12.5cm max. (4) £80-120 Provenance: from a private collection in London.

Provenance: from a private collection in London.

426. Two Worcester blue and white teabowls and saucers, c.1765-70, one painted with the Bird in a Ring pattern, the other with the Prunus Root pattern, and a third saucer in the same pattern, minor faults, 12.4cm max. (5), £150-250 Provenance: from a private collection in the Cotswolds.

427. Three English porcelain blue and white creamers, c.1760-75, two Lowestoft, one of strap-fluted form, painted with a vignette of a Chinese fisherman, on a promontory, the other fluted and painted with a pagoda beneath tall trees, the last Bow and painted with a dwelling beneath a pine tree, some damages, 12.5cm max. (3) £250-350

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428. Four Pennington’s (Liverpool) blue and white sauceboats, c.1770-80, one of helmet shape, decorated with Chinese figures beneath willow and before rockwork, one strap-moulded and printed with a peacock, the last two similarly moulded with panels and painted with simple stylized floral sprays, the larger with a mask face to the handle terminal, some restoration, 19cm. (4) £250-350

429. A Worcester strap-moulded sauceboat, c.1770-80, painted with the Strap Flute Sauceboat Floral pattern, and a small cabbage leaf jug printed with the Parrot Pecking Fruit pattern, hatched crescent mark, 14.5cm max. (2) £150-250

430. Four Worcester blue and white slop bowls, c.1770-80, one printed with the Fence pattern, one painted with the Peony pattern, another with the Mansfield pattern, the last printed with the Mother and Child and Man Fishing pattern, open and hatched crescent marks, 15.5cm max. (4) £100-200

431. Three Worcester blue and white bowls, c.1754 and c.1770, one painted with the Plantation pattern, one painted with fruit sprigs, the last printed with the Three Flowers pattern, a Philip Christian (Liverpool) saucer painted with the Cannonball pattern, and Lowestoft saucer similarly decorated with characteristic round rocks, 15.5cm max. (5) £250-350

Provenance: from a private collection in London.

Provenance: from a private collection in London.

432. A pair of Chinese porcelain blue and white teabowls and saucers from the Nanking Cargo, 18th century, painted with small pagodas on islands with hatched diaper borders, a Liverpool teabowl moulded with thee panels and painted with Oriental landscapes, and a Liverpool small jug printed with three roundels containing an 8pointed star, the jug cracked, 10.2cm max. (6) £150-250

434. A Liverpool blue and white creamer or small sauceboat, c.1765, painted with Oriental landscapes within moulded panels, a Bow creamer painted with a fisherman within similar moulded panels, and a Pennington’s helmet-shape sauceboat, painted with a bird perched on a long branch above a band of moulded acanthus leaves, raised on a circular foot, some damages and restoration, 15.5cm max. (3) £200-300 Provenance: from a private collection in the Cotswolds.

433. Four English porcelain blue and white bowls, c.1760-70, one a large Worcester bowl painted with The Precipice pattern, a Richard Chaffers (Liverpool) bowl painted with the Dragon pattern, and two other Liverpool bowls (probably Philip Christian) painted with Chinese landscape scenes, some damages, 21.2cm max. (4) £200-300 Provenance: from a private collection in the Cotswolds.

435. Two Worcester blue and white teapots and covers, c.1760-70, one painted with the Mansfield pattern, the other with the Cannonball pattern, each with an open floral finial, open crescent mark to the latter, and a larger Caughley teapot printed with the Three Flowers pattern, the cover broken and restuck, 19.5cm max. (6) £250-350 Provenance: from a private collection in the Cotswolds.

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436. A Worcester fluted blue and white teabowl and saucer and a matching plate, c.1765, painted with the Hollow Rock Lily pattern, open crescent and script W marks, and a Worcester teabowl with a Lowestoft saucer painted with the Mansfield pattern, 18.5cm max. (5) £80-120

437. A Lowestoft blue and white teabowl and saucer, c.1770, painted with Oriental flowers and foliage issuing from within a hatched fence, a Bow coffee cup and saucer painted with the Mansfield pattern, and another Bow coffee cup painted with small dwellings, some damages, 12.2cm. (5) £150-250

Provenance: from a private collection in London.

Provenance: from a private collection in the Cotswolds.

439. A pair of Bow blue and white vine leaf dishes, c.1765, painted with fruiting grapevine, and with scattered flying insects around the rim, some damages and restoration, 26.5cm. (2) £200-300

440. An interesting group of six blue and white porcelain saucers, 18th century, one Lowestoft and printed with the Dromedaries on a Raft pattern, one Richard Chaffers (Liverpool) painted with two bowing Chinese figures in a river landscape, one Pennington’s (Liverpool) printed with the Chinese Lady and Servant pattern, a deep saucer painted with the Dragon pattern, a fluted Chinese porcelain saucer painted with a phoenix and chilong, and a heavily crazed saucer painted with a Chinese landscape, damages, 13.5cm max. (6) £100-200

438. Two Worcester blue and white cabbage leaf jugs, c.1775, printed with the Bouquets pattern, hatched crescent marks, and a Caughley cabbage leaf jug left in the white with a blue line rim, S mark, minor faults, 20cm max. (3) £150-250

441. Two Bow blue and white dishes, c.1760, one a large leaf shape, the other oval with a shaped moulded rim, both painted with fruiting grapevine and small flying insects around, pseudo Chinese character marks, and a Derby blue and white dish, moulded with fruiting vine and painted with a spray of peony, damages, 28.5cm max. (3) £200-300 Provenance: from a private collection in the Cotswolds.

Provenance: from a private collection in the Cotswolds.

442. A Worcester blue and white pickle leaf dish, c.1756, painted with the Two Peony Rock Bird pattern, and a Bow pickle leaf dish painted with a large spray of fruiting grapevine within a shaped serrated edge, the undersides moulded with veins, 11cm max. (2) £100-200

443. Two Lowestoft sparrowbeak jugs, c.1770, one painted in blue with pagodas beside a decorative fence in a Chinese landscape, the other with blue and iron red in the Imari manner, with two figures conversing on an arched bridge beside small boats and pagodas, a small chip to one spout, 9.5cm. (2) £150-250

444. Two Lowestoft blue and white coffee cups, c.1765-75, painted with a small building behind towering rocks and beside a long bridge, the interior rims with hatched diaper borders, some damages, 6.5cm. (2) £80-120 Provenance: from a private collection in London.

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445. A Worcester blue and white twohandled sauceboat, c.1760, painted with the Two-Handled Sauceboat Landscape pattern, the exterior moulded with small panels of landscape vignettes, workman’s mark, minor faults, 19.3cm. £500-700

446. A Bow blue and white plate, c.175865, painted with flowering chrysanthemum and other Oriental plants beside stylized holey rockwork and an elaborate fence, the rim with three peony sprays, small rim chips, 22.4cm. £100-200 Provenance: from a private collection in the Cotswolds.

445

447. A Worcester blue and white spittoon, c.1770-75, printed with the Three Flowers pattern, the wide rim with single stems of rose and chrysanthemum, hatched crescent mark, 10cm. £100-200 Provenance: from a private collection in London.

446

447

448. A Worcester blue and white egg cup, c.1758-60, painted with floral sprays beneath a formal border, the foot with small sprigs, open crescent mark, a section broken out and restuck, 6.5cm. £150-250

449. A John and Jane Pennington (Liverpool) blue and white mask jug, c.1770-75, boldly painted with a spray of flowers including rose, heartsease and convolvulus, the reverse with a smaller similar spray, a few small chips, 18cm. £80-120 448

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449

Provenance: from a private collection in London.

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450. A rare Worcester blue and white button, c.1780-90, formed as a flat disc decorated with a wide band of blue, an arched aperture to the underside, 3.1cm dia. £750-900 Cf. Henry Sandon, Worcester Porcelain, fig. 147 for three glazed buttons excavated on the Warmstry House site. The white space in the centre was perhaps left for later decoration of the addition of gilt initials.

452. An English porcelain eyebath, c.1770-80, probably Derby, the bowl with feather scroll moulded picked out in gilt, the baluster stem above an oval foot moulded with fabric folds, 5.2cm high. £300-500

451. A Caughley blue and white eyebath, c.1775, printed with excerpts from the Fisherman and Cormorant pattern, raised on a moulded baluster stem above a lightly fluted foot, some restoration, 5.2cm. £400-600

453. A rare Lowestoft blue and white eyebath, c.1765, moulded to the bowl and foot with small floral and scroll panels, simply painted with an Oriental flower spray to each side, the interior with a crowsfoot rim, a little staining, 5.3cm. £1,000-1,500 Cf. Bonhams, The Billie Pain Collection, 26th November 2003, lot 231 for a similar example.

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454. A Lowestoft blue and white teabowl, c.1770, printed with a figure standing on a bridge before a pagoda on a small island, a further figure fishing in the background, and a Worcester blue and white small mug or coffee can printed with the Plantation pattern, a restored rim chip to the mug,, 7.8cm max. (2) £120-150

455. Two Worcester blue and white mask jugs, c.1770, one painted with the Cannonball pattern, a hatched border to the interior rim, workman’s mark, the other printed with the Naturalistic Florals pattern, crescent mark, each spout modelled as a bearded mask, minor damages, 17.5cm. (2) £150-250

456. A Seth Pennington (Liverpool) small bowl, c.1775, one side painted with a Chinese figure standing beneath willow, the reverse with a further figure holding a plate, and a Liverpool blue and white coffee cup printed with Oriental flower sprays, a short crack to the cup, footrim chip to the bowl, 11.5cm max. (2) £100-150

457. Two miniature Caughley blue and white teabowls and a saucer, c.1780, painted with the Island pattern of two sailing boats before a rocky island, one teabowl and the saucer with painted S marks, the other teabowl cracked, 7.4cm. (3) £120-180

458. A pair of English porcelain blue and white butterboats, c.1770, Worcester or Caughley, the interior of the leaf-shapes printed with a figure in a sampan before rocks, 7.5cm. (2) £100-200

459. An English porcelain blue and white trio, c.1780, probably Worcester, of a flared beaker, coffee cup and saucer, decorated in the Chantilly style with naive flower sprigs, blue hunting horn marks, 11.8cm. (3) £200-300

460. A rare Worcester blue and white fluted sauceboat, c.1765, painted with the Mission Church pattern, one side with an arched bridge beside a pagoda, the reverse with a figure in a boat beside an island, open crescent mark, 18cm. £150-200

461. A Worcester low footed blue and white tazza, c.1770, the quatre-lobed well printed with the Gillyflower pattern, the rim with osier moulding, script W mark, two rim sections broken and restuck, 30cm. £50-100

462. A Seth Pennington (Liverpool) blue and white pickle dish, c.1780-90, formed as a deep scallop shell, printed with a thorny rose spray and blown tulips within a blue dash rim, raised on three short feet, some restoration to the feet, 11.2cm. £50-100

Cf. Branyan, French and Sandon, Worcester Blue and White Porcelain 1751-1790, I.B.6.

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463. A large Worcester blue and white cabbage leaf jug, c.1765, printed with the rare Heavy Naturalistic Floral design, open crescent mark, some restoration to the handle, 29.5cm. £100-150

464. A Lowestoft blue and white milk jug, c.1765, painted with the Boy on a Bridge or Tight-Rope Walker pattern, a figure on a narrow scrolling bridge above a waterfall, 8.1cm. £600-800

465. A Lowestoft blue and white coffee pot and associated cover, c.1770, painted with a pagoda beneath a pine tree, the reverse with a small boat sailing between islands, painter’s numeral 5 to the base, some damages, 21cm. (2) £300-400

466. A Worcester blue and white fluted sauceboat, c.1755-60, painted with the Fringed Tree pattern, one side with a figure fishing from rocks, the reverse with a figure in a boat beside buildings beneath willow, workman’s mark, 14.5cm. £150-250

467. A pair of Worcester blue and white dishes, c.1775, printed with the Pinecone pattern, the lobed rims with five flower sprays, hatched crescent marks, 23cm. (2) £150-200

468. A Lowestoft blue and white sauceboat, c.1770, moulded with floral panels and printed with mixed arrangements of rose, auricula and chrysanthemum, the shoulder painted with a formal border, the foot with single flower stems, hatched crescent mark, 19cm. £150-250

469. A large Worcester blue and white junket dish, c.1770, printed with the Pinecone pattern, the sides moulded with three scallop shells containing fruit sprays, the exterior with vegetables and moths, hatched crescent mark, 26cm. £100-200

470. A near pair of large Lowestoft blue and white sauceboats, c.1765, of Hughes type, moulded with floral panels, painted with vignettes of Chinese figures in boats and fishing off a small island, the interiors with peony sprays, some damages, 21cm. (2) £250-350

Provenance: from a private collection in London.

Slightly earlier Lowestoft sauceboats of this moulding are known with the date 1761 and the initials IH worked into the moulded panels. The initials are assumed to relate to the modeller and designer, James Hughes.

471. A Lowestoft blue and white punchbowl, c.1780, printed with the Woman and Squirrel pattern, the lady reclining in an arched bower while the squirrel scampers along an elaborate fence, repeated twice and alternated with floral prints, the inside of the bowl printed with a carnation and narcissus spray, some wear, 23cm dia. £100-200 Provenance: from a private collection in London.

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472. A Lowestoft blue and white small teabowl and saucer, c.1785, painted with the Robert Browne pattern of shaped floral panels alternating with blue scale panels, open crescent marks, 11cm. (2) £200-300

473. A Vauxhall blue and white coffee can, c.1758-60, painted with a bird perched on a fence beneath weeping willow, beside a small pagoda, the interior with a narrow border, 6cm high. £200-300

The pattern is so named as a service in this design is known to have descended through the family of Robert Browne. The pattern was produced over several years and is discussed by Sheenah Smith, Lowestoft Porcelain in the Norwich Castle Museum, Vol I, p 88.

474. A Richard Chaffers (Liverpool) blue and white teabowl and saucer, c.1760-65, painted with the Jumping Boy pattern, the protagonist leaping above a maiden seated on holey rockwork and holding a small posy, a reglued section to the saucer, 12.6cm. (2) £150-250

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475. A Lowestoft moulded blue and white teabowl and saucer, c.1770, with Hughes type decoration, moulded with a spray of carnation and chrysanthemum within a painted continuous floral border, 12.3cm. (2) £450-600 Cf. Geoffrey Godden, The Illustrated Guide to Lowestoft Porcelain, pl.50 for a similarly decorated teapot in the collection at the V&A.

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476. A Worcester blue and white small bowl, c.1756-58, painted with the Gazebo pattern, a Chinese figure in a boat while another waits on the shoreline beside small buildings, workman’s mark to the base, a short restored crack, 12.5cm dia. £100-200

477. A Lowestoft blue and white butterboat, c.1780, the interior printed with a figure in a boat before a rocky island, moulded as a leaf with three trefoil-shaped feet, a small rim chip, 7.7cm. £150-250

478. A Bow blue and white buttertub, c.1760, painted with the Golfer and Caddy pattern of two figures beneath curly prunus branches, the cylindrical sides topped with shell lug handles, the cover lacking, restoration to one handle, 11.5cm. £200-300

479. A good Longton Hall blue and white coffee cup, c.1755, the lower part of the body moulded with ribbing, the rim painted with a formal panelled border, workman’s mark to the base, 6cm high. £300-400

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Fine Porcelain & Pottery Tuesday 15th September 2015 Entries are now being accepted for this sale

A rare English delftware dry drug jar, dated 1663, inscribed ‘DIASCORDIUM’ for Water Germander, cultivated in Britain for use as an antidote to poisons and as an antiseptic.

Estimate: £1,500 - £2,000

ENQUIRIES Clare Durham Tel: +44 (0)1722 424507 claredurham@woolleyandwallis.co.uk

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20th Century & Contemporary Art Wednesday 3rd June 2015

ENQUIRIES Victor Fauvelle Tel: +44 (0)1722 424503 victorfauvelle@woolleyandwallis.co.uk

Simon-Albert Bussy (French 1869-1954) Paradis Bleu Signed, oil on canvas 42 x 33cm Estimate: £3,000 - £5,000

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Fine Silver & Objects of Vertu Wednesday 29th April 2015

A pair of German silver models of a parrot and parakeet, with import marks for Chester 1905.

Estimate: £4,000 - £6,000

ENQUIRIES Rupert Slingsby Tel: +44 (0)1722 424501 rupertslingsby@woolleyandwallis.co.uk Lucy Chalmers Tel: +44 (0)1722 424594 lucychalmers@woolleyandwallis.co.uk

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Jewellery Thursday 30th April 2015

ENQUIRIES Jonathan Edwards FGAA Tel: +44 (0)1722 424504 jonathanedwards@woolleyandwallis.co.uk Marielle Whiting FGA Tel: +44 (0)1722 424595 mariellewhiting@woolleyandwallis.co.uk

An Art Deco stylised palm design brooch by Cartier, set with six graduated Burmese rubies.

Estimate: ÂŁ25,000 - ÂŁ30,000

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Asian Art Wednesday 20th & Thursday 21st May 2015

ENQUIRIES John Axford Tel: +44 (0)1722 424506 johnaxford@woolleyandwallis.co.uk

A large pair of Chinese Imperial famille rose gu beaker bajixiang vases, Qianlong 1736-95. 44.8cm high.

Provenance: an English private collection.

Estimate: ÂŁ30,000-50,000

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Arts & Crafts Wednesday 17th June 2015

ENQUIRIES Michael Jeffery Tel: +44 (0)1722 424505 michaeljeffery@woolleyandwallis.co.uk

A fine early Martin Brothers stoneware bird jar and cover

by Robert Wallace Martin.

Estimate: ÂŁ20,000 - ÂŁ30,000

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Auction Information OPENING HOURS Monday to Friday 9am – 5.30pm and 10am to 1pm on Saturdays.

VIEWING All our auctions are on view at least two days prior to the sale and details will be found in the relevant catalogues.

BIDDING IN THE ROOM To bid at auction you will need a paddle number. This can be obtained from the office either during the view or on the day of the sale. We now provide permanent paddle numbers which can be used for any future sale, once registered.

REGISTERING WITH US All first time buyers need to register with us. Once registration is complete you will be provided with a permanent paddle number which can be used in all future sales.

To register, you will need to provide two forms of identification: 1. a passport or photographic driving licence 2. a utility bill or document showing your name and address You can register in person or by contacting the office on 01722 424500 or emailing enquiries@woolleyandwallis.co.uk You will be asked to show your documents, or fax or email copies.

PLEASE NOTE: Registering with the-saleroom.com or through our website does not automatically register you with us.

COMMISSION BIDDING If you are unable to attend the sale you can leave a commission bid. This will be executed on your behalf by the auctioneer who will purchase the lot as cheaply as possible bearing in mind any reserve price and other bids.

TELEPHONE BIDDING It is usually possible to bid on the telephone by prior arrangement with the office.

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LIVE ONLINE BIDDING Live online bidding is now available for most of our auctions via the-saleroom.com, enabling you to take part in the bidding from anywhere in the world, live as it happens. To bid online you need to register at www.the-saleroom.com, subject to approval.

There is a 3% charge for this service.

In completing the bidder registration on www.the-saleroom.com and providing your credit card details and unless alternative arrangements are agreed with Woolley and Wallis Salisbury Salerooms Ltd, you: 1. authorise Woolley and Wallis Salisbury Salerooms Ltd, if they so wish, to charge the credit card given in part or full payment, including all fees, for items successfully purchased in the auction via thesaleroom.com, and 2. confirm that you are authorised to provide these credit card details to Woolley and Wallis Salisbury Salerooms Ltd through www.the-saleroom.com and agree that Woolley and Wallis Salisbury Salerooms Ltd are entitled to permit the shipping of the goods to the card holder name and card holder address provided in fulfilment of the sale.

CONDITION REPORTS The relevant department will be pleased to give condition reports on any lot, where practical. All weights and measures given in the catalogue should be regarded as approximate.

The colours printed in the catalogue are not necessarily true.

SALE RESULTS These will be posted on our website shortly after the sale.

BUYER’S PREMIUM Each lot is subject to a Buyer’s Premium of 22% + VAT on the first £500,000 of the hammer price and 12% + VAT thereafter.

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PAYMENT AND CLEARANCE Payment is due immediately after the auction in pounds sterling. If you are a first time buyer we will need your name, address and bank details and will require funds to be cleared before purchases can be released.

The following methods of payment may be made: Bankers draft, cashiers cheque, personal cheque, travellers cheques, debit and credit cards and cash up to a sterling equivalent of €15,000. We are no longer able to accept card payments of over £1,000 where the card-holder is not present.

Wire transfers should be sent to: Lloyds TSB, Blue Boar Row, Salisbury SP1 1DB. Account no. 00957707 Sort code 30-97-41 IBAN no. GB20LOYD30974100957707 BIC code LOYDGB21063 Credit cards: Visa or Mastercard for which there is a 2% surcharge + VAT Debit cards: Delta, Switch, Connect Where practical, payment can be made and purchases collected during the auction.

Please note that furniture and clock lots will normally remain in our salerooms for three working days following each sale, after which they will be removed to our store and arrangements for collection must be made in advance with the office.

Storage charges will be levied on all lots in the furniture and works of art and clock sales not collected within 30 calendar days of the sale. This will include a handling fee of £20 (+ VAT) per consignment and a storage charge of £2 (+ VAT) per lot per day. No goods will be allowed to be collected until these charges have been paid.

VAT Lots marked with an asterisk (*) are subject to VAT on the hammer price. Lots marked with an omega (Ω) have been temporarily imported from outside the EU and are subject to VAT at 5% on the hammer price and the buyer’s premium. In online catalogues, the Sales Tax % column indicates the rate of VAT on hammer price.

CITES REGULATIONS Please note that lots marked λ may be subject to CITES Regulations when exported.

The CITES Regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites/

ARTIST’S RESALE RIGHT / DROIT DE SUITE Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death.

Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €12,500.

Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency.

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

Royalties for Droit de Suite are as follows: 4% Up to €50,000 3% €50,000.01 - 200,000 1% €200,000.01 - 350,000 0.5% €350,000.01 - 500,000 0.25% In excess of €500,000 Up to a maximum levy of €12,500 Lots marked with a ‡ symbol are potentially subject to the levy.

PACKING AND SHIPPING Woolley & Wallis do not offer a packing and despatch service but the following are carriers in our area.

Alban Shipping

01582 493 099 info@albanshipping.co.uk www.albanshipping.co.uk

APS

0800 118 5868 sales@apservices.info 07736 544 362 www.apservices.info

Mailboxes

01264 360 333 info@mbeandover.co.uk www.mbe.co.uk/andover

Pack & Send

0845 465 0564 sales@packsend.co.uk www.packsend.co.uk

Please note that we cannot be held responsible for any damage or loss to items once they are in the hands of a carrier.

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SOCIETY OF FINE ART AUCTIONEERS AND VALUERS and the ROYAL INSTITUTION OF CHARTERED SURVEYORS CONDITIONS OF BUSINESS INFORMATION FOR BUYERS 1. Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand.

2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed.

Accordingly if you buy your primary contract is with the seller.

3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it.

Estimates do not include the Buyer’s Premium or VAT (where chargeable).

Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive.

4. The purchase price. The Buyer shall pay the hammer price together with a premium thereon of 22% on the first £500,000 and 12% thereafter + VAT at the appropriate rate.

5. VAT. (*) indicates that VAT at the current standard rate is payable by the purchaser on the hammer price as well as being an element in the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. The double symbol (**) indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5%) on the gross lot price (i.e. both the hammer price and the buyer’s premium). Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the Premium is not recoverable as input tax.

12. Collection and storage. Please note what the Conditions of Sale state about collection and storage. It is important that goods are paid for and collected promptly. Any delay may involve the buyer in paying storage charges.

TERMS OF CONSIGNMENT FOR SELLERS 1. Interpretation. In these Terms the words ‘you’, ‘yours’, etc. refer to the Seller and if the consignment of goods to us is made by an agent we assume that the Seller has authorised the consignment and that the consignor has the Seller’s authority to contract. Similarly the words ‘we’, ‘us’, etc. refer to the Auctioneers.

2. Commission is charged to sellers at the following rates: 15% + VAT on each lot sold for up to £999, 10% + VAT on each lot realising £1,000 and above.

3. Removal costs. Items for sale must be consigned to the sale room by any stated deadline and at your expense. We may be able to assist you with this process but any liability incurred to a carrier for haulage charges is solely your responsibility.

4. Loss and damage waiver. We are not regulated by the FSA for the provision of insurance to clients. However, we for our own protection assume liability for property consigned to us at lower pre-sale estimate.

To justify accepting liability, we make a charge of 1.5% of the hammer price plus VAT or, if unsold, our mid estimate of the hammer price. If the owner of goods consigned instructs us in writing not to take such action, they then remain at owner’s risk unless and until the property in them passes to the Buyer or they are collected by or on behalf of the owner, and clause 4 is inapplicable.

5. Illustrations. The cost of any illustrations is borne by you. If we consider that the lot should be illustrated your permission will usually be asked first.

The copyright in respect of such illustrations shall be the property of us, the auctioneers, as is the text of the catalogue.

6. We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. However, in so far as we have examined the goods and make a representation about their condition, we shall be liable for any defect which that examination ought to have revealed to the auctioneer but which would not have been revealed to the buyer had the buyer examined the goods. Additionally, in specified circumstances lots misdescribed because they are ‘deliberate forgeries’ may be returned and repayment made. There is a 3 week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale).

6. Minimum bids and our discretion. Goods may be offered subject to a reserve agreed between us before the sale in accordance with clause 7.

7. Electrical goods. These are sold as ‘antiques’ only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first.

8. Electrical items. These are subject to detailed statutory safety controls.

Where such items are accepted for sale you accept responsibility for the cost of testing by external contractors. Goods not certified as safe by an electrician (unless antiques) will not be accepted for sale. They must be removed at your expense on your being notified. We reserve the right to dispose of unsafe goods as refuse, at your expense.

8. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required for the goods to leave the U.K. and (b) whether there is any specific prohibition on importing the goods in question into the destination country because, e.g. they may contain prohibited materials such as ivory. Charges may be applicable for export licences. Ask us if you need help.

The denial of any permit or licence shall not justify cancellation or rescission of the sale contract or any delay in payment.

9. Bidding. Bidders will be required to register before the sale commences and lots will be invoiced to the name and address on the registration form.

Some form of identification will be required if you are unknown to us.

Please enquire in advance about our arrangements for telephone bidding.

10. Commission bidding. Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding buyers’ premium. They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received. Please enquire in advance about our arrangements for the leaving of commission bids by telephone or fax.

11. Methods of Payment. As a general rule any cheques tendered will need to be cleared before removal of the goods is permitted. Please discuss with our Office in advance of the sale if other methods of payment are envisaged (except cash).

7. We may sell lots below the reserve provided we account to you for the same sale proceeds as you would have received had the reserve been the hammer price. If you specifically give us ‘discretion’ we may accept a bid of up to 10% below the formal reserve. .

Reserves. (a) You are entitled to place prior to the auction a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve (in which case goods carry the storage and insurance charges stipulated in these Terms of Consignment). (b) A reserve once set cannot be changed except with our consent. (c) Where a reserve has been placed only we may bid on your behalf and only up to the reserve (if any) and you may in no circumstances bid personally.

9. Soft furnishings. The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense.

The rights of disposal referred to in clause 8 and 9 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection on request.

10. Descriptions. Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary. Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds.

The liability to reimburse the sale proceeds shall not arise where you are acting reasonably and honestly and are unaware of the forgery but we are or ought to have been aware of it.

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11. Unsold and withdrawn items. If an item is unsold it may with your consent be re-offered at a future sale. Where in our opinion an item is unsaleable you must collect such items from the saleroom promptly on being so informed. Otherwise, storage charges may be incurred. We reserve the right to charge for storage in these circumstances at a reasonable daily rate.

12. Withdrawn and bought in items. These are liable to incur a charge of up to 10% plus VAT of the reserve or low estimate on being bought in or withdrawn after being catalogued.

13. Conditions of Sale. You agree that all goods will be sold on our Conditions of Sale. In particular you undertake that you have the right to sell the goods either as owner or agent for the owner. You undertake to compensate us and any buyer or third party for all losses liabilities and expenses incurred in respect of and as a result of any breach of this undertaking.

14. Authority to deduct commission and expenses and retain premium and interest. (a) You authorise us to deduct commission at the stated rate and all expenses incurred for your account from the hammer price and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement. (b) You authorise us in our discretion to negotiate a sale by private treaty not later than the close of business on the day of the sale in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these terms apply.

15. Warehousing. We disclaim all liability for goods delivered to our saleroom without sufficient sale instructions and reserve the right to make minimum warehousing charge of £2 per lot per day. Unsold lots are subject to the same charges if you do not remove them within a reasonable time of notification. If not removed within three weeks we reserve the right to sell them and defray charges from any net proceeds of sale or at your expense to consign them to the local authority for disposal.

16. Settlement. Subject to our normal trading conditions, payment will be made by BACS or cheque four weeks after the sale unless the buyer has not paid for the goods. In this case no settlement will then be made but we will take your instructions in the light of our Conditions of Sale. You authorise any sums owed by you to us on other transactions to be deducted from the sale proceeds. You must note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 10 above. You should therefore bear this potential liability in mind before parting with the proceeds of sale until the expiry of 28 days from the date of sale.

CONDITIONS OF SALE Woolley & Wallis Salisbury Salerooms Ltd carries on business with bidders, buyers and all those present in the auction room prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein.

1. DEFINITIONS In these Conditions: (a) ‘auctioneer’ means Woolley & Wallis Salisbury Salerooms Ltd or its authorised auctioneer, as appropriate; (b) ‘deliberate forgery’ means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of the sale had a value materially less than it would have had if it had been in accordance with the description; (c) ‘hammer price’ means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer; (d) ‘terms of consignment’ means the stipulated terms and rates of commission on which Woolley & Wallis Salisbury Salerooms Ltd accepts instructions from sellers or their agents; (e) ‘total amount due’ means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions; (f) ‘sale proceeds’ means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising. (g) ‘‘You’, ‘Your’, etc. refer to the buyer as identified in Condition 2. (h) The singular includes the plural and vice versa as appropriate.

2. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion. (c) Bidders shall be deemed to act as principals. (d) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved.

3. INCREMENTS Bidding increments shall be at the auctioneer’s sole discretion.

4. THE PURCHASE PRICE The Buyer shall pay the hammer price together with a premium thereon of 22% on the first £500,000 and 12% thereafter + VAT at the appropriate rate.

5. VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with an asterisk or double asterisk. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant lots. (Please refer to ‘Information for Buyers’ for a brief explanation of the VAT position).

6. PAYMENT (a) Immediately a lot is sold you will: (i) give to us, if requested, proof of identity, and (ii) pay to us the total amount due in pounds sterling (b) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied.

7. TITLE AND COLLECTION OF PURCHASES (a) The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due. (b) You shall at your own risk and expense COLLECT any lots that you have purchased and paid for from our premises not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment (IF LATER) after which you shall be responsible for any COLLECTION, storage and insurance charges. (c) No purchase MAY be COLLECTED AND WE SHALL NOT RELEASE ANY LOT TO YOU OR YOUR AGENT until it has been paid for.

8. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES (a) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (i) to proceed against you for damages for breach of contract; (ii) to rescind the sale of that lot and/or any other lots sold by us to you; (iii) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (iv) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (v) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale; (vi) to retain that or any other lot sold to you until you pay the total amount due; (vii) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (viii) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of any of your property in our possession for any purpose until the debt due is satisfied. (b) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements.

Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

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10. COMMISSION BIDS Whilst prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition, we will if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer nor our employees or agents shall be responsible for any failure to do so save where such failure is unreasonable.

Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made.

11. WARRANTY OF TITLE AND AVAILABILITY The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims.

12. AGENCY The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers.

13. TERMS OF SALE The seller acknowledges that lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot.

14. DESCRIPTIONS AND CONDITION (a) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 ‘information to buyers’. (b) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation.

15. FORGERIES Notwithstanding the preceding Condition, any lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the lot is a deliberate forgery we shall refund the money paid by you for the lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition. The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale.

PAINTINGS, DRAWINGS, LITHOGRAPHS, ENGRAVINGS AND PRINTS In accordance with long standing practice in Fine Art Sale Rooms certain terms used in descriptions in the Catalogue have the meanings ascribed to them in the glossary below.

Glossary Any statement as to authorship, attribution, origin, date, age, provenance and condition is a statement of opinion and is not to be taken as a statement of fact. The Company reserves the right, in forming their opinion, to consult and rely upon any expect or authority considered by them to be reliable. (a) Edward Lear: In our opinion a work by the artist. (When the artist’s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named. (b) Attributed to Edward Lear: In our opinion probably a work by the artist but less certainly as to authorship is expressed than in the preceding category. (c) Studio of Edward Lear: In our opinion a work by an unknown hand in the studio of the artist which may be or may not have been executed under the artist’s direction. (d) Circle of Edward Lear: In our opinion a work by an as yet unidentified but distinct hand, closely associated with the named artist but not necessarily his pupil. (e) Style of ...; Follower of Edward Lear: In our opinion a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil. (f) Manner of Edward Lear: In our opinion a work in the style of the artist and of a later date. (g) After Edward Lear: In our opinion a copy of a known work of the artist. (h) The term signed and/or dated and/or inscribed means that in our opinion the signature and/or date and/or inscription are from the hand of the artist. (i) The term bears a signature and/or date and/or inscription means that in our opinion the signature and/or date and/or inscription have been added by another hand. (j) Dimensions are given height before width. (k) Pictures are framed unless otherwise stated.

BOOK AUCTIONS If, on collation, any named item in this catalogue proves defective in text or illustration, the lot may be returned within 14 days of the sale with the defects stated in writing. This proviso shall not apply to defects stated in the catalogue or announced at the time of sale; nor to the absence of blanks, half titles, tissue guards or advertisements, damage in respect of bindings, stains, spotting, marginal tears or other defects not affecting completeness of text or illustration; nor to drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps or periodicals; nor to books not identified by title; nor to books sold not subject to return.

GENERAL 16. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person.

17. (a) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (b) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them.

18. Any notice to any buyer, seller, bidder or viewer may be given by first class mail or Swiftmail in which case it shall be deemed to have been received by the addressee 48 hours after posting.

19. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing in the catalogue.

20. Any indulgence extended to bidders buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect.

ARTIST’S RESALE RIGHT / DROIT DE SUITE

21. English law applies to the interpretation of these Conditions.

Lots marked with a ‡ symbol are potentially subject to the levy.

Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death.

Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €12,500.

Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency by the auctioneer.

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

Royalties for Droit de Suite are as follows: 4% Up to €50,000 3% €50,000.01 - 200,000 1% €200,000.01 - 350,000 0.5% €350,000.01 - 500,000 0.25% In excess of €500,000 Up to a maximum levy of €12,500

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Valuations PROBATE VALUATIONS We offer a speedy and professional service for executors and trustees and provide bound valuations for probate and duplicate copies when required.

Since security is often a consideration, we can usually arrange for a house to be cleared and sent for auction, our Valuations Department ensures that executors are informed of which sales are involved and the results thereof.

Valuations are a core part of our business and are usually carried out by a senior specialist or directors.

Accuracy, speed and above all confidentiality are paramount.

INSURANCE VALUATIONS Written valuations for insurance can vary from a single item to a large estate. Before starting we discuss the various options available so that the valuation is specifically tailored to individual client’s needs.

We also carry out valuations for Family Division, Capital Gains Tax, and Private Treaty Sales.

For valuations of an entire house contents an itemised bound valuation is produced and can be accompanied by photographs when required. In addition to providing an inventory, written valuations can prevent painful arguments with a loss adjuster in the event of a claim.

Contact Christine Johnson 01722 424509 FREE AUCTION VALUATIONS Free verbal valuations of items for sale are available at our Castle Street salerooms. Please telephone the relevant specialist or call our office on 01722 424500.

Woolley & Wallis valuations are accepted by all leading insurance companies.

DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO OLD SARUM

DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO OLD SARUM

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CENTRAL CAR PARK

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WOOLLEY & WALLIS

Woolley & Wallis Salisbury Salerooms 51 – 61 Castle Street SP1 3SU

AMESBURY & MARLBOROUGH

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CASTLE RD A345

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LONDON, ANDOVER & WINCHESTER

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A345 Castle Rd

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SALISBURY A36

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Old Sarum

Follow A345 for 1.7 miles. At Beehive Park & Ride follow the signs for A338 Swindon and Marlborough.

Follow A345 for 1.7 miles. At Beehive Park & Ride follow the signs for A338 Swindon and Marlborough.

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DIRECTIONS FROM WOOLLEY & WALLIS CASTLE TO SALT LANE TOSTREET CASTLE STREET & WALLIS WOOLLEY FROM DIRECTIONS PEDESTRIAN ROUTE DRIVING ROUTE TO SALT LANE DRIVING ROUTE TO CASTLE ST.

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94 NEW H

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WOOLLEY & WALLIS Salt Lane

Woolley & Wallis Carter House 6 – 10 Salt Lane SP1 1EE

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ENDLESS STR

Registered in England No. 2998482

Salisbury Salerooms

CHIPPE

WOOLLEY & WALLIS

SCOTS LANE

Woolley & Wallis Salisbury Salerooms Ltd. 51-61 Castle Street, Salisbury Wiltshire SP1 3SU

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A354 DORCHESTER WEYMOUTH & BLANDFORD

A338 BOURNMOUTH & RINGWOOD

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Woolley & Wallis Salisbury Salerooms 51 – 61 Castle Street SP1 3SU

ARN HAM

SALT LANE

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W OOLLEY & W ALLIS S ALEROOMS

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SOUTHAMPTON CATHEDRAL

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Qudos CASTLE STREET

VAT No: 631 9832 29 TESCO

Design & Production by Jamm Design Ltd. Tel. 020 7424 7830 www.jammdesign.co.uk

Due to the one-way system of Salisbury please follow the red route when driving from Salt Lane to Castle Street.

Due to the one-way system of Salisbury, please follow the red route when driving from Salt Lane to Castle Street.

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WOO L LE Y & WA L LI S Absentee Bid Form English & European Ceramics & Glass

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

Brief Decription

Price Excluding buyer’s premium & VAT

Tuesday 21st April 2015 Please bid, on my behalf, for the undermentioned lots up to the prices shown which do not include the buyer’s premium or any V.A.T. payable on lots. These bids are to be executed as cheaply as is permitted by other bids, and/or reserves if any, and subject to the Conditions of Sale printed in the Catalogue. Please note we cannot guarantee that bids received after 4pm on the day prior to the auction will be executed.

Billing Name (please print)

Address

Postcode Daytime telephone Email All accounts must be settled within 21 days. There is no surcharge for debit card payments, but for credit cards there will be a 2% (+VAT) surcharge. ID is required for all first time bidders.

Signature

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

www.woolleyandwallis.co.uk

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AUCTION CALENDAR 2015 20TH CENTURY DESIGN 15th April 17th June – Arts & Crafts Michael Jeffery +44 (0) 1722 424505 • michaeljeffery@woolleyandwallis.co.uk ENGLISH & EUROPEAN CERAMICS & GLASS 21st April – English & European Ceramics & Glass Clare Durham +44 (0) 1722 424507 • claredurham@woolleyandwallis.co.uk SILVER 29th April 14th & 15th July 28th October Rupert Slingsby +44 (0) 1722 424501 • rupertslingsby@woolleyandwallis.co.uk Lucy Chalmers +44 (0) 1722 424594 • lucychalmers@woolleyandwallis.co.uk JEWELLERY 30th April 16th July Jonathan Edwards +44 (0) 1722 424504 • jonathanedwards@woolleyandwallis.co.uk Marielle Whiting +44 (0) 1722 424595 • mariellewhiting@woolleyandwallis.co.uk ASIAN ART 20th & 21st May John Axford +44 (0) 1722 424506 • johnaxford@woolleyandwallis.co.uk Sophie Lister +44 (0) 1722 424591 • sophielister@woolleyandwallis.co.uk PAINTINGS 3rd June – 20th Century & Contemporary Art Victor Fauvelle +44 (0) 1722 424503 • victorfauvelle@woolleyandwallis.co.uk Jo Butler +44 (0) 1722 424592 • jobutler@woolleyandwallis.co.uk FURNITURE & WORKS OF ART 1st July Mark Richards +44 (0) 1722 411854 • markrichards@woolleyandwallis.co.uk CLOCKS, WATCHES & SCIENTIFIC INSTRUMENTS 17th July Richard Price +44 (0) 7741 242421 • richardprice@woolleyandwallis.co.uk

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www.woolleyandwallis.co.uk