Woolley & Wallis

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ENGLISH & EUROPEAN CERAMICS & GLASS Tuesday 24th November 2015

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20TH CENTURY DESIGN Michael Jeffery

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

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ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham — 424507 FURNITURE, WORKS OF ART & CLOCKS Mark Richards — Jim Gale — Anna Brown —

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JEWELLERY Jonathan Edwards FGAA Marielle Whiting FGA

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PAINTINGS Victor Fauvelle Jo Butler

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SILVER Rupert Slingsby Lucy Chalmers

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TRIBAL ART & ANTIQUITIES ARMS & ARMOUR Will Hobbs Ellie Osmond

Members of The Society

VALUATIONS FOR INSURANCE & PROBATE Paul Viney ASFAV — 424509 Clive Stewart-Lockhart FRICS FRSA 424598 ACCOUNTS Janice Clift (Office Manager) — Ruth Pike

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MARKETING Tamzin Corbett

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GENERAL OFFICE Sharon Ringwood Pauline Jones Nicola Young Amanda Lawrence SALEROOM MANAGER David Jordan BOARD OF DIRECTORS Paul Viney ASFAV Chairman John Axford MRICS ASFAV Deputy Chairman Clive Stewart-Lockhart Managing Director

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COMPANY SECRETARY Jim Macarthur CA — —

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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 24th November 2015 at 10.30am Viewing Times Saturday 21st November Monday 23rd November Tuesday 24th November

10.00am – 1.00pm 10.00am – 5.00pm 9.00am – 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 Friday 27th November. If you are collecting items on or after this date please contact the department on 01722 424507.

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Please register by 5pm Monday 23rd November.

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Front cover: Lot 119 Back cover: Lot 111 Catalogue £12.00 (£15.00 by post) Images and a catalogue word search facility are available at www.woolleyandwallis.co.uk

Glass from the Estate of the Late Christopher Sheppard To be sold without reserve.

1.

A set of six wine glasses, probably 19th century in the 1720 manner, with flared bell-shaped bowls raised on multiple knopped stems above domed and folded feet, 17cm. (6) £200-300

2.

Five cut glass rummers, c.1880, the wide shallow bowls cut with a border of diamond banding, raised on low knopped stems, and two similarly decorated pouring glasses with a narrow lip, 15cm max. (7) £100-150

3.

Two large glass rummers, early 19th century, of ceremonial size, one cut with diamond banding and other designs above a starcut foot, the other engraved with a formal jagged design, 23.8cm max. (2) £100-150

4.

Four small cut glass decanters and two stoppers, late 18th/early 19th century, of square form, variously cut with diamond banding, ribbing and lappets, and a large cut glass claret jug of heavy lobed form, 24.5cm max. (7) £150-250

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Three wine glasses, mid 18th century, one with a drawn trumpet bowl rising from an airtwist stem, another with a hammered bowl on a dense airtwist, the last with two rows of tears above a double series opaque twist stem, some trimming, 19cm max. (3) £100-150

6.

A large Union glass rummer, early 19th century, engraved with a continuous band of rose, shamrock and thistle, two smaller rummers, one engraved with a bird, the other with hops, barley and the initials RB, and a wine glass of Jacobite type engraved with a single rose and raised on a multiple teardrop knopped stem, the latter with a section restuck, 18.5cm max. (4) £150-250

7.

Two English wine glasses, c.1770-90, one gilded with floral sprays, probably by James Giles, raised on a multiple series opaque twist stem, the other with a wrythen bowl above a plain stem and folded foot, and a Bohemian wine glass decorated with gilded garlands, some damages and repairs, 15cm max. (3) £100-200

8.

Two large glass fly catchers, late 19th/early 20th century, of tall bottle shape with an interior inverted funnel, one with a cork stopper, 35cm max. (3) £50-100

9.

A pair of Richardson (Stourbridge) opaque glass ewers, mid 19th century, decorated in black monochrome with Classical figures beneath a key fret border, and a pair of Stourbridge decanters and stoppers engraved with continuous grapevine bands, both handles of the ewers broken off and restuck, 32cm max. (6) £80-120

10. A tall Stourbridge glass jug and a pair of goblets, late 19th century, all finely engraved with panels of fruit to one side and flowers to the other, reserved within a scrolling foliate design, the goblets raised on ropetwist stems and starcut feet, 28.5cm max. (3) £120-180

11. Three engraved decanters and stoppers, 18th century, one of square form cut with fluting and banding, engraved ‘Cherry B’, one engraved with a wine label titled ‘Mountain’, the last with two foliate panels, one including the name James Rae and ‘1790’ the reverse left blank, some faults, 25.5cm max. (6) £120-180

12. Four Nailsea glass flasks, 19th century, one a double flask and trailed with white, a similarly-decorated single flask, a flattened flask engraved with hops and barley, and a ruby-flashed bellow flask with clear glass detailing, 28.5cm max. (4) £100-200

13. A large square glass decanter and stopper, 1st half 18th century, with rounded shoulders and small airbead stopper, and a later carafe engraved with the monogrammed initials RS beneath a coronet and a key fret border, 25.5cm max.

(3) £100-200

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14. A set of four glass goblets, dated 1977, the cylindrical bowls engraved and stippled by Philip Lawson Johnston with a single African animal to one side, the reverse with a scene of the same animals in their natural habitat, including an elephant, a giraffe, a lion and a gazelle, each signed beneath the foot, 15cm. (4) £100-150

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Philip Lawson Johnston is a self-taught handengraver from Oxford, who started his career in 1971, and in 2009 was granted the Royal Warrant as Hand-Engraver to Her Majesty the Queen.

15. Seven wine glasses, 20th century in the 1760 manner, with bell-shaped bowls raised on composite stems with rows of air drops above an opaque twist, 17cm. (7) £100-200 16. A set of twelve glass fingerbowls, early 20th century, the fine rounded forms engraved with a continuous key fret border, one with a broken rim section, 12.7cm. (12) £100-200

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17 17. Three glass coolers, c.1800, perhaps Irish, of cylindrical shape and cut around the foot with a band of tall ovals, and a a water jug cut with a similar design, 17.8cm max.

(4) £50-150 18. A pair of English rummers, c.1800, with large rounded funnel bowls raised on square lemon squeezer bases, and a third smaller, 16cm max. (3) £80-120

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19. A large glass tankard and a wine taster, early 19th century, the tankard of ovoid form with a strap handle, the shallow taster cut with a row of polished ovals, and a 19th century French coin glass, the straight-sided form with a liard trapped in the base, 14cm max. (3) £100-200 20. Four various decanters and stoppers, 18th/19th century, of Prussian shape, two cut with polished lappets, one with deep lobes, the necks variously fluted or applied with three rings, the stoppers associated, 28cm max. (8) £150-200 21. Two pairs of rummers, 19th century, one pair with flared bucket bowls engraved with stylized foliate sprays, the other rounded with formal garlands, another rummer engraved with fern leaves and inscribed ‘A Happy New Year’, and a glass tankard engraved with the initials ‘JCW’ within hops and barley, 14cm. (6) £80-120

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22. A pair of green glass small decanters and stoppers, c.1800, the mallet shaped bodies gilded with chained labels titled Brandy and Hollands, the chain motif echoed to the flattened stoppers, some faults to the Brandy decanter, 21.5cm. (2) £200-300

23. A small collection of glass trompe l’oeuil models of fruit, including a pear, an orange, a satsuma and two lemons, 12.3cm max. (8) £50-100

24. A pair of green glass decanters and stoppers, early 19th century, of flattened globular form with a handle to one side, the necks with yellow coloured metal mounts, the stoppers of silvered metal in cork, engraved Gin and Rum, 25cm. (4) £80-120

25. Two wine bottles, 1st half 18th century, of mallet shape with tall tapering necks with string rim, and high kick-in bases, 24.2cm max. (2) £100-150

26. A set of eight Bohemian sherry glasses, early 20th century, the rounded bowls flashed in cranberry and cut with grapevine and star motifs, raised on multifaceted stems, 14cm. (8) £50-150

27. A Continental soda glass beaker, the flared form applied with four bands of trailed decoration in the medieval manner, a rummer with generous rounded bowl raised on a low stem with raspberry prunts, and a Venetian lobed goblet enamelled with putti and Classical motifs above a knopped and gilded stem, some faults, 19cm max. (3) £80-120

28. Twelve green wine glasses, late 18th century, with rounded funnel bowls raised on short plain stems, 13cm max. (12) £100-200

29. A Venetian glass candlestick, the emerald green sconce and drip pan supported on the curved tail of a gilded dolphin above a domed foot, a similar Salviati dolphin ewer with aventurine inclusions, and a Venetian vase moulded with elaborate latticino panels in pink, green, gilt and white, above a rich blue and aventurine foot, damages to the ewer, 24.5cm max. (3) £100-150

30. A set of eight Continental green glass rummers, the heavy wide flared bowls raised on low conical feet, 9.5cm. (8) £100-200

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31. A Scottish whisky decanter and stopper, late 19th century, of barrel shape and engraved with a logo for Roderick Dhu Old Highland Whisky, the stopper formed as a whisky barrel, 23cm. (2) £50-80

32. A large wine glass, c.1730, with wide flared trumpet bowl raised above a teardrop knop on a plain stem, above a folded foot, the bowl engraved in amateur style with the initials JC, 18.5cm. £120-180

33. An ormolu-mounted opaline glass ewer, 19th century, the milky glass with a haze of iridescence, of slender baluster form, mounted with a gilt bronze handle, 26.5cm. £100-150

34. A sweetmeat glass, c.1765, the slight ogee bowl cut with polished ovals and a shaped everted rim, raised on a faceted and knopped stem above a domed foot, 15cm. £80-120

36. A Bohemian glass flask, c.1740, of chamfered rectangular form, engraved with stylized ships between floral and foliate motifs, 15.5cm. £80-120

37. A Bohemian goblet of erotic interest, late 17th/early 18th century, engraved with a continuous scene of Diana and Actaeon, the naked goddess and two female attendants surprised at their ablutions, while the stag-headed Actaeon is chased by his hounds, with moulded gadrooning to the base of the bowl, raised on a multiple knopped stem, crizzled, the foot broken, 24cm. £50-100

38. A commemorative glass goblet of massive size, 19th century, the rounded bowl engraved with a titled portrait of General Sir David Baird, underneath inscribed ‘Captured Cape of Good Hope 1806’, the reverse with a three-masted ship at sea, raised on a moulded multiple knop stem, 35cm. £300-500

Wright and Greig produced this popular blended whisky at Speyside and named it after a character in Sir Walter Scott’s Lady of the Lake.

35. A massive ceremonial glass, mid 18th century, of exceptional size, with a tall flute bowl raised on a double-series airtwist stem above a wide foot, 48cm. £400-600 (Illustrated with lot 99 as a demonstration of size).

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This goblet was probably made to commemorate the 50th anniversary of Baird’s victory during the Napoleonic Wars.

39. A part suite of glass, 20th century, onlaid in silver with a kukri below an elaborate dress helmet, probably relating to the Nepal Army. Comprising: ten beakers, ten red wine glasses, six white wine glasses, and eleven liqueur glasses. (37) £200-300 40. Six glass rummers, the generous bowls cut with lappets and raised on low faceted stems, five on starcut feet, 15cm.

(6) 100-200

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41. A pair of Prussian decanters and stoppers, late 18th century, cut with bands of polished lappets, the necks with three faceted rings, the mushroom stoppers associated, and a pair of glass carafes, of ovoid form with pineapple or dimpled moulding, 25.5cm max. (6) £100-150 42. Fifteen glass rummers, most 19th century, of varying size, most with rounded bowls, raised on low plain or knopped stems, one with a blue line rim, 14.5cm max. (15) £150-250 43. Four armorial glass fingerbowls, late 19th/early 20th century, and a small beaker, all engraved and richly gilded with the crest of an egret standing atop a dead fish, above the monogrammed initials CW, 12cm max.

(5) £80-120 44. An Edinburgh Crystal vase, 20th century, the flared bucket form engraved by William McLaren with a cartouche enclosing the name Kathleen Wheston and the dates June 5th 1939-1960, the company name RPG Ltd to one side, a smaller glass vase showing a view of Aline Lodge on the Isle of Lewis, titled ‘James Denison-Pender 1992’ but also engraved ‘Steinberg’ beneath the foot, and a pair of goblets perhaps also by Denison-Pender, stipple engraved with a leopard, the other with a farmer and horses, 20.5cm max. (4) £100-200 45. Seven large glass flutes, 20th century in the 1760 manner, with tall slightly flared bowls raised on double series opaque twist stems on folded feet, 26cm. (7) £80-120 46. Four reproductions of Bohemian medieval glass beakers, late 20th century, the tall pale green glass forms variously applied with prunts and trailing, one with boar’s head handles, all raised on folded feet, engraved BON marks and dated ‘95 and ‘94, and a modern imitation of a German glass beaker with trailed decoration, marked JEF Glas, 34cm max. (5) £100-200

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47. Four items of blue glass, early 19th century, a cream jug and a footed sugar bowl with gilt decoration probably from a Tyneside workshop, titled ‘Be Canny with the Cream’ and ‘Be Canny with the Sugar’, a mallet-shaped decanter with a gilt cartouche titled ‘Rum’ and a deep bowl with everted rim, a crack to the cream jug, 19.2cm max.

(4) £100-200

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48. A small collection of Venetian glass, 19th and 20th centuries, including a Salviati lobed bowl with everted rim, striped in pale blue and gilt and red aventurine, a small millefiori bowl in shades of blue and gilt, a pair of moulded beakers with blue line footrims, three small rounded beakers applied with raspberry prunts, a spiralmoulded octagonal goblet in pink and green, and a green glass raised on a multiple knopped stem, 18cm max. (9) £100-150 49. A suite of Salviati glass, 20th century, the octagonal forms of a smoky amber colour. Comprising: a jug, five rummers, six wine glasses, five liqueur glasses and two associated cocktail glasses. (19) £100-200

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50. Ten English green wine glasses, c.1760, the rounded bowls raised on short stems applied with raspberry prunts above trailed feet, 12.3cm max. (10) £250-350 51. A Waldglass late medieval apothecary bottle, 14th/15th century, the slender form of a pale green tone and with a high kick-in base, a Dutch octagonal bottle flask, an early beaker, and two kuttrolf fragments of a blue tone, damages, 19.2cm max. (5) £80-120

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52. Seven English green wine glasses, c.1760 and later, with rounded bowls raised on short stems applied with raspberry prunts, above trailed and folded feet, of varying size and tone, 13.8cm max. (7) £200-300 53. An amethyst glass decanter and stopper, c.1820, perhaps American, moulded with starburst designs and diamond banding, 27cm. (2) £80-120 54. A Persian free-blown glass bottle, 12th/13th century, the rounded body impressed with panels of stylized grapes, with tall flared neck, and a 17th century Dutch glass beaker with pineapple type moulding, damages and repairs, 15.2cm max. (2) £80-120

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56 part

55. Four glass related prints, 18th century, two of Dutch gentlemen holding drinking glasses aloft, one by Abraham Blooteling after Jan van Mieris, the other by Jacob Gole and titled 'Cest tout son coeur', one after Annibale Caracci 'The Arts of Bologna', with a glassmaker peddling his wares, and a page from a German book, showing glass engravers, all within glazed wood frames, 42.5cm max. (4) £100-200

56. A pair of satirical prints, 18th century, printed by John Heywood after Tim Bobbin from Human Passions Delineated, Plate 2 of The Statesmen, Plate 37 of Contentment, both depicting figures drinking, a James Gilray print titled 'Uncorking Old Sherry', and a print of Dr Syntax in the Glasshouse, 39cm max. (4) £100-200

57. Sixteen various green wine glasses, late 18th/19th century, with rounded funnel bowls and raised on plain stems of varying thickness, 13cm max. (16) £200-300

58. A collection of thirteen Nailsea glass bells, 19th century, in red, green, blue and turquoise, of varying size with clear glass knopped handles, 34.5cm max. (13) £400-500

59. A part suite of armorial glass, early 20th century, the generous bowls engraved and richly gilded with the crest of the Styleman family, a camel’s head above the motto ‘Mihi Parta Tueri’, raised on delicate faceted stems and starcut feet. Comprising: six champagne saucers and six wine glasses. (12) £150-250

60. Eleven green wine glasses, late 18th/19th century, four with rounded hammered bowls on slender plain stems, four with flared bowls on double knopped stems, one on a narrow stem, two with polished facets on short stems, 13.4cm max. (11) £150-250

Other Properties

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61. A rare engraved commemorative rummer, dated 1853, the flared bucket bowl engraved in detailed diamond point by Thomas Sutherland of London, with two Royal coats of arms, one above the initials JW, with a ship, a coach and horses, a paddle steamer titled ‘Queen’, a view of Windsor Castle, and two poems, engraved with the date 1853, 14cm. £250-350

62. A glass two-handled porringer, early 18th century, the shallow bowl with moulded gadrooning beneath an engraved band of grapevine, 18cm. £500-600

64. A Liege openwork glass basket and stand, 18th century, the basket with flared sides and applied with two small handles, the centres domed, 29.5cm. (2) £100-200

65. Three glass caddy bowls, 19th century, one engraved with a continuous floral design, one cut with heavy banded flutes, the last with a geometric design, 11.4cm max. (3) £150-200

66. An Irish glass sweetmeat bowl, early 19th century, with navette-shaped bowl cut with a diamond design between foliate bands, raised on an oval foot with gadrooned moulding, 26.5cm across. £100-150

67. A commemorative glass rummer, 19th century, engraved with St Andrew holding a cross beneath the inscription ‘Woolwich Caledonian Society’, the reverse with a monogram of the initials WNA, raised on a low knopped stem, 17cm. £200-300

68. A pair of dwarf ale glasses, 1st half 18th century, with wrythen moulded bowls raised on moulded knopped stems above folded feet, 14cm. (2) £100-200

69. A glass patch stand, c.1740, the flat circular top with a vertical flange, raised on a bobbin-knopped stem above a domed and folded foot, 8.5cm high. £600-800

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63. An English glass mug, 18th century, of thistle shape, with spiral gadroon moulding around the base, raised on a low circular foot and applied with a wide strap handle, 10.5cm. £100-200 Provenance: from the estate of the late Peter James Rankin.

70. Two Williamite wine glasses, 18th century, engraved in the late 19th century by Franz Tietze, each with an equestrian portrait of King William, the reverse with ‘St Boyne 1st July 1690, TC, SC’, raised on knopped stems and folded feet, 15.5cm. (2) £500-800 Franz Tietze (1842-1932) was a Bohemian engraver of glass in 18th century style who was brought to Dublin in 1865 by Thomas and Richard Pugh, Irish manufacturers of flint glass. He engraved a number of genuine eighteenth century glasses in the historical manner during the late 19th century.

72. A pair of cut glass sweetmeat jars and covers, 19th century, cut with diamond banding to the bases and tall domed covers, raised on square feet, and a large cut glass bowl raised on a low starcut foot, 39cm max. (5) £200-300

71. A near pair of engraved commemorative rummers, dated 1853, the rounded bowls engraved in detailed diamond point by Thomas Sutherland of London, with varying Royal coats of arms, and poems relating to friendship and peace, engraved with the date 1853, 14cm. (2) £500-700

73. A pair of glass table lustres, 19th century, each hung with eleven heavy lustres in two parts from everted rims with polished circles, some faults, 26cm. (2) £300-500 Provenance: an English private collection, Hampshire.

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74. A large English export lead glass roemer, c.1700-20, with large rounded funnel bowl above a hollow stem applied with eight flattened raspberry prunts above a tall trailed foot, 16cm £700-900

76. A large and impressive Bohemian glass goblet and cover, 19th century, the rounded body cut with seven panels of an oval design, the eighth with an illegible white enamel inscription, decorated with an allover foliate gilt design and applied red jewels, minor faults, 40.5cm. (2) £1,000-1,500

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75. A Silesian goblet, c.1720-30, painted in schwarzlot probably by Tobias Hannusch, with two figures wearing theatrical costume and apparently play-fighting with sticks, the reverse with a traveller handing something to another figure, within tall trees, a peacock perched in the branches, with faceted knopped stem, raised on a slightly domed folded foot with continuous foliate garland, 15.4cm. £1,000-1,500

77. A Bohemian goblet, 19th century, ruby-flashed and well cut with a continuous scene of figures and dogs beneath trees, raised on a faceted baluster stem and eightlobed foot, 22.3cm. £150-250

78. A good and large Bohemian enamelled goblet and cover, late 19th century, the glass of a pale amber tone, finely enamelled with a couple in 16th century costume embracing amongst fruiting vine, the reverse inscribed ‘Ull was Ihr liebt und was Euch hold, Beim Traubengold Ihr preisen sollt’, a row of prunts above the tall domed foot, 42.5cm.

(2) £150-250

79. A façon de Venise tazza, late 16th/17th century, the fine glass of a pale yellow hue, the wide undulating bowl with moulded ribs and everted rim, set on a hollow inverted baluster stem over a small flat foot, 16.1cm high. £1,500-2,000 Cf. Museum fur Kunsthandwerk, Frankfurt, catalogue Glas, p. 71, fig. 131 and p. 81 for a similar tazza. Another tazza also related in shape in the Museo Vetrario, Murano, was shown in the 1,000 Years of Venetian Glass exhibition, Correr Museum 1982, p. 116, no. 145.

80. A Continental opaque glass trinket box or casket, 19th century, the rich blue rectangular body decorated with bands of tiny gilt stars, raised on four metal ball feet, the sides with two ring handles, 13.5cm high. £80-120

81. A Moser glass vase, 19th century, the flattened ovoid body painted to one side with a sleeping maiden being kissed by Cupid, on a pale café au lait ground, the rim and foot with a gilt scroll border, signed Moser 699 in gilt to the base, 13.5cm £100-200

82. An amber flashed glass beaker, 19th century, the generous body cut with a scene of two gentlemen playing golf while a caddy carries their clubs, a small chip to the foot, 11.3cm. £150-250

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83. A cordial glass, c.1760, with bucket bowl raised on a double series opaque twist stem, 17cm. £500-700

86. A large baluster goblet, 1st half 18th century, the generous conical bowl raised on a knopped baluster stem with teardrop, above a tall domed foot, 24.8cm. £800-1,200 An old paper label titled ‘The Constable’ relates the glass to a family by the name of Elliot. Glasses of this sort were used on feast days and required to be drained. They were sometimes given to imbibers who were thought to be not drinking their fair share.

89. A Norwegian glass ‘cluck cluck’ bottle or decanter, early 19th century, of traditional pinched rounded shape, applied with raspberry prunts and trailing, a small chip to the foot, 24cm. £150-200

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84. A Dutch wine glass, c.1760, engraved perhaps in the workshop of Jacob Sang, with a view of the Academy building at the Leiden Observatory and Medical Centre, titled ‘Salus Academiae’, raised on a slender stem, some crizzling, 17.7cm. £500-800

85. A rare Jacobite type glass, mid 18th century, engraved with the motto ‘Turno Tempus Erit’ above a rose spray, raised on an inverted baluster airtwist stem and a folded foot, 17cm. £1,200-1,500

87. A Dutch goblet, 18th century, with generous rounded bowl raised on an airtwist stem and domed foot, later stipple engraved in Dordrecht with a large fruit, signed and dated 1933, 18.5cm. £400-600

88. A baluster wine glass, c.1740, with wide bell-shaped bowl raised on an inverted baluster stem with large teardrop, above a folded foot, 15.5cm. £600-800

90. A glass tazza, mid 18th century, the flat circular top with a raised edge, above a spiral-moulded stem and raised on a domed and folded foot, 24.5cm dia. £150-250

91. A glass candlestick, c.1760, the cylindrical sconce raised on a composite stem of air beaded knops either side of an airtwist stem, raised on a domed foot, 22.5cm. £100-200

Provenance: from the estate of the late Peter James Rankin.

The phrase Turno Tempus Erit is probably borrowed from Virgil, and roughly translates to mean ‘The time will come’; perhaps an insinuation that the Hanoverian victory at the Battle of Culloden could be short-lived.

92. A rare and small wine bottle, dated 1664, of half size onion shape, applied with a large seal bearing the Prussian eagle of the Royal Arms of Brandenburg or Prussia, with wide neck ring to the short tapered neck, around the seal an inscription including the words 'Ad Pavlt de Royal', the surface degraded, 14.2cm. £2,500-3,000 Possibly made for the court of the Friedrich William, The Great Elector of Brandenburg-Prussia 1640-88.

93. A glass wine bottle, late 17th/early 18th century, of onion shape, the squat body rising to a short tapering neck, chipping to the rim, the body showing signs of previous burial, 17cm. £150-250

94. A sealed wine bottle, dated 1763, of squat cylindrical form with a tapered neck rising from the brownish green body, applied with a seal titled ‘Mag Coll CR 1763’, for Magdalen College Common Room, a few small nibbles to the neck rim, 26cm. £800-1,200

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97. Two wine glasses, c.1760, both with lightly moulded bowls above double series opaque twist stems, some faults, 16cm max. (2) £120-180

98. Two Bohemian glass beakers, 18th/19th century, engraved and cut with birds and floral designs above a band of polished ovals, 11.8cm max. (2) £100-200

95. Two small glass tazzae and a patch stand, mid 18th century, one raised on a very low folded foot, the other on a triple knopped stem, the patch stand with a single knop and folded foot, 18.5cm max dia. (3) £200-400 Provenance: from the estate of the late Peter James Rankin.

96. Three wine glasses, 19th century, one engraved with a band of grapevine with polished grapes, raised on a knopped stem, one with a wide funnel bowl above a beaded baluster stem, the last with an opaque and airtwist stem, 18cm max. (3) £100-200

99. A ratafia glass, c.1760, the slender flared bowl raised on a double series opaque twist stem, 18.3cm. £350-400

100. A rare cordial glass with possible Jacobite significance, mid 18th century, the small bowl engraved with ‘The Club’ beneath a hatched border, raised on a double series opaque twist stem, 14cm. £1,200-1,500

101. A small commemorative wine glass, dated 1760, engraved with ‘King and Country’ and the date 1760, for the Coronation of George III, raised on a thick plain stem, 11.5cm. £800-1,000

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102. A glass dry mustard bottle, c.1800, the pale green body of chamfered square form and embossed with ‘LONDON’ to one side, with wide opening, 13.3cm. £150-200

103. A souvenir glass goblet, early 19th century, decorated in the Absolon workshop, moulded with seven flutes and inscribed in gilt with ‘May every Blessing thee attend, My much Esteemed and valued friend. A Present from Yarmouth to Elizabeth M..’, some wear to the gilding, 14.8cm. £100-200

105. Three green glass bottles, 17th century and later, a wine bottle of traditional cylindrical form with a long tapering neck, an apothecary bottle with a wide neck and flared everted rim, and another of narrow tapering form with a wide neck, 24cm max. (3) £120-180

107. A large pair of opaque glass vases, 19th century, of baluster form, the glass a bright turquoise colour with gilt banding to the neck, shoulder and foot, and a pair of opaline glass toilet bottles and stoppers, with a floral design in gilt and enamel, a chip to the foot of one blue vase, 36.5cm max. (6) £150-250

104. A German glass beaker, 16th century, the flared form applied around the foot with two rows of prunts above a pinched foot, wear and deposits commensurate with interment, 9.7cm. £800-1,200

106. A French glass toilet set, late 19th century, the opaline glass flashed blue and enamelled in white with Classical figures beneath husk borders, one cover broken and restuck. Comprising: two bottles and stopper, two cylindrical pots and covers, and a ring stand. (9) £150-250

108. A good Italian glass solifleur vase, late 19th century, the globular body rising to a tall slender neck with single ring beneath an inverted tear, the body mottled with shades of blue, red and aventurine, 21.3cm. £100-200 Old paper collection labels.

109. A German engraved wine glass, late 18th/early 19th century, decorated with a stag between trees beneath a three word inscription, and a faceted glass gilded with Cupid holding a plate on which stand three hearts, raised on a twelve-sided foot, 14.8cm max. (2) £100-200

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110. A rare Privateer glass, c.1765, the rounded bowl engraved with a ship at sea beneath the inscription ‘Success to ye Good Intent, Jas. Brooks Com.r’, raised on a double series opaque twist stem, 14cm. £8,000-10,000 Shipping lists record several English ships christened Good Intent during the period 1740-1800, many of which suffered an ignominious fate at the hands of French, Spanish and American privateers.

However, none of the recorded losses (in 1760, 1767, 1793, 1794, 1799 and two in 1800) record a James Brooks as captain of the vessel at the time. The National Archives hold a copy of a will for James Brooks, Mariner of London, dated 1770, which may relate.

Cf. John Shuckburgh-Risley, Sea Power under George III, Illustrated on Contemporary Glass, The Burlington Magazine, Vol. 35, No. 200, November 1919, which illustrated a decanter bearing the same inscription.

111. A rare Privateer wine glass, c.1750-60, the drawn trumpet bowl engraved with a ship and inscribed ‘Ye London Rob.t Young of Pool’, raised on a teardrop stem above a folded foot, 16.6cm. £5,000-6,000

112. A privateer glass, c.1760, the rounded funnel bowl engraved with a bunch of grapes beneath the inscription ‘Prosperity to the London’, the reverse with a single butterfly, raised on an airtwist stem, 15.7cm. £5,000-6,000

The National Archives hold copies of letters of marque awarded to Robert Young for voyages in 1756 and 1757 in The Somerset and St Kitts Planter, respectively, both against France. While no letter of marque appears to have survived in relation to The London, it would seem likely that the voyage was undertaken sometime between 1758 and 1770. This glass is sold together with a photocopy of Robert Young’s will, dated 20th June 1769, in which “being in good health of body… but considering the Perils and Dangers of the Sea” he leaves everything to his wife, Ann.

The London was once again a relatively common name for ships of this time, and letters of marque awarded to various vessels thus christened are recorded between 1756 and 1761 to captains including William Bushell (10th September 1756), William Cropton (5th November 1756), John Watt (3rd February 1758), Richard Allwright (14th February 1758), Richard Codling (30th March 1758), John Webb (24th April 1760), James Alexander (12th December 1760), Mathew Moran (9th February 1758 and again 30th December 1760), and Samuel Carter (21st October 1761). All of these missions against France were financed by various London merchants. Mathew Moran’s second voyage in 1760 sees him for the first time as owner of The London, so it is arguable that the ship had more significance to him than other owners.

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A Dockyard at Wapping by Francis Holman

113. A rare Privateer goblet, dated 1775, possibly unique, the wide rounded bowl engraved with a two-masted ship and inscribed ‘Success to the William and Elizabeth, William Snow Master 1775’, with a large floral spray to the reverse, raised on a faceted stem, 16.5cm. £13,000-15,000 William Snow was a privateer from Jersey, listed as captain and partowner of the William and Elizabeth between 1774 and 1776. He has a long and successful recorded career in this vein, listed as captain and part owner of the Charming Nancy during the Seven Years War, and with which he is recorded as having captured at least two enemy ships in 1758. He went on to captain the Charming Betty between 1776 and 1778, and the Alert in 1779. The William and Elizabeth is recorded by Lloyds as having been built by Maitland & Co, and was immortalised by Francis Holman, along with two other ships, in his painting c.1780 ‘A Dockyard at Wapping’.

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114. A small glass millefiori paperweight, late 19th/20th century, probably Murano, comprising a dense jumble of colourful canes, 6cm. £100-200

115. A large glass paperweight, perhaps 19th century Baccarat, with a spaced shamrock arrangement of floral canes in blue, red, green and white, some scratching, 7.6cm dia. £300-500

116. A Baccarat mushroom paperweight, c.1850, the millefiori tuft with a multitude of close-packed colourful canes encircled by a blue and latticino glass band, star cut base, 6.6cm. £400-600

117. Two Baccarat paperweights, dated 1848, the larger set with silhouette and floral canes on a jumbled latticino twist ground, the smaller a dense millefiori cluster including silhouette canes of a deer, dog and horse, both with date and B canes, the smaller recut, 8cm max. (2) £250-350

118. A Thomas Webb & Sons (Stourbridge) cameo glass laydown scent bottle, c.1887, the flattened teardrop body cut with large natural leaves and a trademark Webb butterfly, on a yellow ground, the silver-mounted hinged cover revealing the original glass stopper, hallmarked for London 1887, 10.6cm. £500-800

118

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119. A good Thomas Webb & Co (Stourbridge) cameo glass scent bottle, c.1887, formed as a swan’s head, finely cut with small feathers in white on a turquoise ground, the silver screw cap hallmarked for Gorham, Rhode Island, and bearing monogrammed initials and the date 1887, the glass moulded underneath with ‘Rd 11109’, 14.7cm. £2,000-3,000

120. A Thomas Webb & Sons (Stourbridge) cameo glass lay down scent bottle or flask, c.1884, of exceptional size, the tapering body overlaid in white on a bottle green ground and finely cut with continuous sprays of blossom, with internal clear glass stopper and screw fitted silver-gilt cover, hallmarks for Frederick Bradford McCrea, London 1884, 25.8cm. £800-1,200

121. A Thomas Webb & Sons (Stourbridge) cameo glass scent bottle or flask, c.1885, of exceptional size, the tapering form overlaid in white on a yellow ground and finely cut with a rooted small leaved plant, with butterflies in flight between, the repoussé silver cover with a screw fitting, marked for Theodore Starr of New York, 23.5cm. £800-1,200

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122. A large pair of Minton stoneware wine coolers, c.1830, moulded in high relief with The Drunken Silenus after Frans Wouters, the reverse with a young Bacchus on the back of a donkey, being supported by two fauns, the handles formed as gnarled branches, the rims with fruiting vine, impressed STONE 77, 25.5cm high. (2) £100-200

123. A massive brown stoneware model of an eagle, 19th century, probably a shop front figure, with wings outstretched, talons spread and head turned to sinister, 54cm high. £100-200

124. Four brown stoneware Bellarmine jugs, 18th/19th century, the largest moulded with a bearded face to the neck, one incised with a horseshoe type motif, some surface damages, 45.5cm max. (4) £200-300

125. A large brown stoneware hunting jug, 19th century, Brampton or Fulham, sprigged with a toper drinking at a table above a scene of hounds chasing a stag, unusually applied with a vignette of Fame to the spout and underneath the handle, a floral roundel to the top of the handle, 19.8cm. £200-300

126. A large Verwood pottery jug, c.1900, the large earthenware body simply glazed to the upper section and wide strap handle, and a small slipware jug, the upper section decorated in a striated treacle glaze, 29.5cm max. (2) £100-200

127. A green-glazed earthenware jug, 19th century or earlier, the rounded body decorated to the upper half in a light green glaze, surface wear and chipping, 18cm. £80-120

128. Two large brown stoneware hunting jugs, 19th century, one perhaps Grosvenor and applied with sprigs of topers from the Modern Midnight Conversation, one barrel inscribed ‘You may talk about income tax but give me XX’, the other jug with farming and hunting scenes, the handle formed as a greyhound, 24.5cm max. (2) £100-200

129. A German salt-glazed stoneware Bellarmine jug, 17th century, perhaps Rhineland, moulded with a Prussian eagle crest beneath the traditional bearded face, and a smaller Bellarmine similarly decorated with a floral roundel in place of the crest, some damages, 25cm max. (2) £200-300

130. Six pearlware bin labels, early 19th century, of coathanger form, titled in black for Sherry, Madeira, Port, Burgundy, Sauterne and Claret, 14.2cm. (6) £100-200

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131. A large Rouen faïence wine cistern and cover, late 17th century, modelled as a young Bacchus seated astride a barrel with a wine flask resting atop, and clutching a goblet to his chest, decorated with branches of fruiting vine, the barrel set with a metal tap, the top of his head lifting as a cover, the cover a replacement, 59cm.

(2) £4,000-6,000 Cf., Hetjens-Museum, Deutsches Keramikmuseum, p.202, fig.25 for a similar example in the collection.

132. An Elkins & Co blue and white transferware soup tureen and cover, c.1830-40, printed with the South East view of Blenheim Palace, Oxford, with swan handles, printed marks, 39cm across. (2) £100-200

133. A salt-glazed stoneware tureen and cover, late 18th century, the oval body moulded with differing diaper panels between shell handles, the cover with a plaited finial, some damages, 31.5cm across. (2) £100-200

The print engraved by William Radclyffe after John Preston Neale.

Provenance: The Property of the late Anthony Hobson, The Glebe House, Whitsbury, Hampshire.

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134. Two large salt-glazed stoneware chargers, c.1760-70, one octagonal and moulded to the rim with three flowering branches, the other of silver-shape and moulded with six diaper panels to the rim, some rim chips, 38.5cm max. (2) £150-250

135. A pair of large Wedgwood creamware circular chargers, late 18th century, and an oval Hanley creamware charger, all well painted in bright enamels with large exotic birds perched on and around short berried branches, within shaped rims, one impressed Wedgwood, the oval charger with a rare mark for Samuel Perry and a London wholesaler, together with another dish bearing the same mark and printed in black with a lady and two children in a garden, some damages, 46cm max. (4) £150-250

136. Two pearlware jugs, 1st half 19th century, one printed and hand-coloured with scenes of Chinese figures within moulded panels on a salmon pink ground, the other printed in purple with figures before stately homes, minor faults, 17.5cm max. (2) £100-150

137. Three pearlware lustre jugs, 1st half 19th century, one decorated with a ship and inscribed for ‘Fanny Jeans, Lyme, Born Feb 28th 1773’, another printed with a ship and two four line stanzas, the last naively painted with landscapes in a pink lustre, some damages and restoration, 20cm max. (3) £100-200 Fanny Jeanes is recorded on the 1851 census as living at 50 Silver Street in Lyme Regis at the age of 79, a widow born in Kilmington in Devon.

138. A pair of Melbourne creamware plates, c.1765, the scalloped rims with alternating panels of pierced and gilt decoration, the wells with gilt fancy birds, and a Turner serving dish of elongated octagonal form, painted with a sepia monochrome leaf border, printed with a circular fleur de lys mark, 38.3cm max. (3) £150-200

139. A pair of Shorthose & Co creamware baskets and stands, c.1800, the oval forms pierced with bands of arches, hearts, diamonds and other geometric shapes, the stands with reticulated borders, impressed marks to the baskets, one handle broken and restuck, 26cm. (4). £100-200

Cf. Donald Towner, Creamware, p.111, pl.508 for a similar plate.

Provenance: The Property of the late Anthony Hobson, The Glebe House, Whitsbury, Hampshire.

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140. A pearlware jug, dated 1810, printed and hand-coloured with The Farmers Arms to one side, Toby Philpot to the other, beneath the spout inscribed with a six line poem and the names Matthew and Ellen Bayley, and a creamware sauceboat with monochrome floral decoration between gadrooned borders, some damages, 18.5cm max. (2) £120-180

141. A Pratt ware loving cup, c.1800, the round-bellied body applied with two handles, painted in typical palette with stylized flower sprays, the rim with a continuous fruiting border, 20cm across. £100-150

142. A pearlware jug, dated 1813, printed and hand-coloured with the Farmers Arms to one side, the other side with a twelve line poem extolling the virtues of farming, titled beneath the spout for ‘Jeffery, Austin 1813’, 19.5cm. £100-150

143. A Leeds Pottery pearlware tea canister, late 18th/early 19th century, of flattened rectangular form with chamfered corners and domed shoulders, painted in polychrome enamels with sprays of flowers, impressed marks, a short rim crack, the cover lacking, 12cm. £50-100

144. A documentary creamware Sunderland mug, dated 1798, printed and titled with the East View of the Iron Bridge at Sunderland, signed ‘Edward Barker’ in the print, inscribed to Rob and Catharine Pickles, Rushton, May 29th 1798, and a Jackfield loving cup decorated in a rich black glaze, the creamware with a replacement handle, rim cracks, 16cm max. (2) £100-150

145. A creamware teapot and cover, c.1770, painted in red and black enamels with a single figure holding flower stems and standing before a lattice fence, the reverse with a simple landscape, some restoration, 18cm. (2) £100-200

146. A Pratt ware wall pocket, dated 1807, formed as a cornucopia and moulded with a putto holding a two-handled pot, the rim with a band of formal leaves, inscribed with the initials MR, the date 1807 to the reverse, minor damages, 30cm. £100-200

147. A Samuel Alcock Parian ware jug, 19th century, moulded in high relief with four Indian musicians to one side, the reverse with an Indian family before a palace, reserved on a lilac ground, minor restorations, 23cm high. £100-150

148. A Pratt ware loving cup, early 19th century, of generous size with two handles, painted in typical palette with simple flower sprays and a continuous foliate border, 21cm across. £100-150

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149. A pearlware botanical basket and stand, c.1800-10, possibly Swansea, painted with specimens of Striped Geranium and Bladder Hibiscus, titled in red to the underside, within reticulated rims highlighted with silver lustre, a section of the basket’s rim repaired, 27.7cm. (2) £80-120

150. A large creamware food warmer, c.1790, the shallow oval form pierced to the top with an attractive geometric arrangement, a narrow spout to one side, the fluted handles issuing from applied flowers and leaves, some good restoration, 38cm. £150-250

151. A pair of pearlware botanical plates, c.1810-20, perhaps Swansea, each painted with a specimen of Winter Aconite, the rims with silver lustre, titled in red to the reverse, restoration to one, 21.2cm. (2) £150-250

152. Three dry-bodied stoneware teapots and covers, 19th century, of Castleford type, variously moulded with Classical figures between foliate motifs and bands, one with foliage highlighted in green enamel, otherwise with blue rim highlights, one cover hinged, minor faults, 25cm max. (5) £120-180

153. A pair of Wedgwood models of sphinxes, 19th century, each couchant on a rectangular black basalt base, with wings folded over their backs and wearing an Egyptian headdress, decorated in a rich copper lustre, impressed marks, candle sconces lacking from between the wings, 16.5cm across. (2) £200-300

154. Four dry-bodied stoneware small mugs or coffee cans, early 19th century, perhaps Chetham and Woolley, two applied with scenes of putti and of Andromache crying over the ashes of Hector, reserved on a brown ground, one with an oval panel of a putti and a lion between applied trees, the last with a band of palmettes, impressed MIST LONDON for the retailer James Mist, 6.5cm. (4) £120-180

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155. Two pearlware Toby jugs, 1st half 19th century, of Ordinary type, modelled with foaming jugs of ale, one with a clay pipe, one restored, 25.5cm max. (2) £200-300

156. Two porcelain Toby jugs, early 20th century, copying the earlier pearlware examples, modelled in the Ordinary manner with foaming jugs of ale, wearing bright coats over yellow breeches, a repair to the hat of the smaller, 25cm max. (2) £150-250

157. A Staffordshire pearlware Toby jug and stopper, c.1820, and a similar later example, each of Ordinary type, modelled with a foaming jug of ale on one knee, minor faults, 25cm max. (3) £150-250

158. Two character Toby jugs, 19th and 20th century, one modelled as Nelson in a Hearty Good Fellow pose, his right sleeve tucked into his waistcoat, titled to the base, the other a Copeland Spode jug modelled as Winston Churchill wearing a top hat and smoking the stub of a cigar, 30cm max. (2) £150-250

159. Three pearlware Toby jugs, 19th century, each of Ordinary type, one Davenport decorated in Portobello type colours with yellow breeches above striped stockings, the other similarly decorated, each with green and red sponging to the base and handle, the third decorated in a muted Pratt ware palette, some restoration, 25cm max. (3) £150-250

160. Four Toby jugs, 19th/early 20th century, one of traditional form with a goblet and jug of ale, two Snuff Takers standing on circular moulded bases, the last standing with hands in the pockets of his waistcoat, and a teapot and cover modelled as a seated Toby, 25cm max. (6) £100-200

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161. A pearlware model of a sheep, late 18th century, recumbent on a rocky base with head turned to dexter, decorated with splashes of blue, green and manganese, and a tall creamware fluted mug painted in blue with large peony sprays, some faults to the mug, 12cm max. (2) £80-120

162. A small pearlware model of a shoe, 19th century, lightly moulded to the toe and brightly enamelled in orange, blue, black and purple, a little good restoration around the opening, 11.5cm. £100-150

163. A Brussels faïence model of a sheep, c.1780, recumbent on a grassy base with curly fleece sponged in black, and a small tin-glazed spongeware jug, with a wide band of decoration sponged in blue, red, yellow and black, a few small chips, 19cm max. (2) £150-250

164. A pearlware cottage pastille burner, 1st half 19th century, formed as a square cottage with removable thatched roof, the windows with diamond latticing, a little good restoration, 8.8cm. (2) £100-150

165. A pair of Staffordshire porcelain animal groups, 19th century, one modelled as a spaniel with two puppies, the other a cat with two kittens, each seated on a blanket in a two-handled basket, 10.5cm. (2) £250-350

166. A Staffordshire model of a rabbit, 19th century, seated on its haunches and eating a leaf it holds in its front paws, its coat decorated with black patches, 10cm. £40-60

167. A Staffordshire pearlware model of a pointer dog, early 19th century, standing on a grassy base applied with flowers and leaves, his tail erect and head slightly turned, some restoration, 15cm across. £200-300

168. A pair of Staffordshire models of Rocs 19th century, the mythical birds perched on a rocky stumps with brightly coloured plumage, 25cm. (2) £150-250

169. A Staffordshire pearlware model of a deer, late 18th/early 19th century, recumbent with head turned to sinister, before leafy flowering bocage on a domed grassy base, a little good restoration to the tail, 11cm. £100-200

Provenance: from the estate of the late Peter James Rankin.

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170. A creamware model of a cat, c.1780, seated on its haunches with head turned to dexter, its coat decorated in the Whieldon manner with a running manganese glaze, minor faults, 12.8cm. £300-500

171. A large Delft model of a cat, 19th century, seated on an oval base and washing its ears with its right forepaw, painted in blue with tortoiseshell striping, O/A mark to the base, a little glaze chipping, 21cm high. £100-150

172. A pair of pearlware models of cats, late 19th/early 20th century, seated with heads turned, on low rectangular bases, 13.5cm. (2) £100-150

173. A faïence model of a cat, 19th century, modelled lying on its side with head turned in a playful pose, its coat decorated with manganese patches, 21.5cm. £300-500

174. A small Dutch Delft model of a bird, c.1770, decorated in polychrome enamels with black and red wing feathers contrasting with yellow and green plumage, perched on a rocky stump, and a Brussels faïence model of a cat, splashed in blue, red and manganese, recumbent on a rectangular yellow base, some restoration, 9.5cm max. (2) £400-600

175. A tin-glazed model of a cat, 18th or 19th century, forming a pouring vessel with its mouth forming the spout, an opening between the ears, with manganese and blue highlights, small damages, 15cm across. £200-300

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176. A Villeroy & Bosch Majolica sweetmeat dish, 19th century, modelled as two dachshund puppies playing tug of war with a slipper either side of a wicker basket, printed mark, 22cm. £100-200

177. A Continental maiolica fish tureen and cover, late 19th century, modelled as a long fish with brown and black scales, a lemon finial to the cover, 45.5cm. (2) £60-100

178. A Minton Majolica oyster dish, late 19th century, the rim with six oyster-shaped wells and a larger recess around a central circular well, impressed marks, and a Majolica butter tub stand moulded and painted with a continuous band of buttercups, a chip to the oyster dish, 25cm max. (2) £100-200

179. A large Spanish pottery bowl, probably 17th/18th century, the wide flared form decorated with feathers of green and manganese issuing from the rim, some wear, 38.2cm. £100-200

180. A large Hispano-Moresque charger, 17th century, decorated in copper lustre with a large bird amidst feathery foliate motifs, a section broken and restuck, 36.2cm. £300-500

181. A Continental creamware figure of Cleopatra, wearing a skirt of feathers and a long cloak extending down her back, holding an asp before her, some damages and restoration, 29.5cm. £100-200

182. A tall Chanakkale (Turkey) pottery coffee pot and cover, 19th/early 20th century, formed as a two-headed eagle with beaks agape and wings outstretched, decorated in a green glaze with incised circles, and a similar pouring vessel applied with two floral roundels, raised on three feet, some damages, 43cm max. (3) £150-250

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183. An Iznik pottery dish, Turkey 17th century, the rounded shallow well painted with five floral buds, the narrow rim with a stylized band of floral motifs, some faults, 24cm. ÂŁ2,000-3,000

184. A tin-glazed earthenware hollow pedestal, dated 1764, probably a section of a fountain, moulded in the rococo fashion and decorated in an allover white glaze, indistinct incised mark to the reverse, surface chipping, 21.5cm. ÂŁ100-200

185. A massive medieval earthenware partial tile, c.1453, probably Malvern, decorated in cream slip with a formal geometric foliate design inlaid, fragment, 26cm. ÂŁ300-500 Cf. Jonathan Horne, English Pottery catalogue 2003, p.3 for a similar example from Malvern School. A large wall of some 1300 similar tiles, including a design near identical to this, is on the wall behind the high altar at Great Malvern Priory. The wall includes the date 1453, and it is believed that the tiles were made locally specifically for the Priory.

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186. Six English delftware tiles, 18th century, two painted with vases of flowers, one with a figure seated beneath a bower in blue on a powdered manganese ground, one with a traveller in an octagonal panel, another in manganese with a fisherman in a circular panel, the last with a formal floral and foliate design, some damages, 13cm max. (6) £150-250

187. Five Delft tiles, 17th and 18th centuries, one painted with a leaping stag within fleur de lys corners, one with a figure carrying a tray of wares, three with trees, boats and buildings with stylized flowerhead motifs to each corner, a little chipping, 13.6cm max. (5) £80-120

188. Seven Dutch Delft tiles, most 18th century, three painted in blue with a central animal within stylized scroll corners, one with a fish, one with a soldier carrying a gun, one in manganese with an equestrian figure, the last with a polychrome vase of flowers, some faults, 13cm max. (7) £100-200

189. Five Dutch Delft tiles, 17th/18th century, painted in a dark blue with courting couples and other figures beneath tall leafy trees, small floral motifs to each corner, each in an individual wood frame, 20cm overall. (5) £100-200

The tile with the fish bearing a paper label for the Christiaani Collection.

190. A pair of Dutch Delft tiles, 17th century, each painted in blue with a ship at full sail, the corners with small flowerhead motifs, some glaze chipping to the edges, 13cm. (2) £100-150

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191. Six English delftware tiles, mid 18th century, probably Lambeth, three Biblical and depicting the Death of Jezebel, Abraham and Isaac, and Christ appearing to Mary Magdalen, two with peasant figures in a landscape, the last with a boat in a harbour, all within a double line circle with stylized foliate motifs to each corner, some chipping, 12.8cm. (6) £100-200

192. A set of eight London delftware tiles, mid 18th century, painted with scenes of peasants in landscapes and figures in boats before a jetty, all within octagonal panels reserved on a powdered manganese ground with thistle head corners, some damages, 12.6cm. (8) ÂŁ300-500

193. Eight Delft bird tiles, 19th century, each decorated with a garden bird in polychrome enamels, the corners with a stylized foliate motif in blue, crazing, 13.3cm. (8) ÂŁ100-150

194. A large Dutch Delft tile panel, 18th century, painted in manganese with Joseph and his brothers beneath tall trees, formed of twenty square tiles mounted in a black frame, 80cm x 70.6cm overall. ÂŁ300-400 Cf. Anne Berendsen, Tiles, pp.186 and 191 for the same scene on a tile panel made in Rotterdam by the De Bloempot workshop.

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195. Three delftware blue and white tiles, 18th century, one painted with a figure fishing from a bank, one with a figure kneeling with a shotgun while his dog flushes out a grouse, the last from a larger tile panel, showing a tree before a building, 12.6cm. (3) £80-120

196. A London delftware tile, mid 18th century, decorated with an octagonal panel containing buildings with a smoking chimney in an island landscape, reserved on a powdered manganese ground with floral corners, 13.2cm. £50-80

197. Three Dutch Delft tiles, 18th century, each boldly painted in blue with a large rose issuing from one corner, individually framed in wood, 19cm overall. (3) £100-200

198. 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) £100-200

199. A Dutch Delft model of a shoe or slipper, 19th century, painted in blue with flowers and a formal stitched border echoed to the kitten heel, marked after Lambertus van Eenhorn, 22.5cm. £100-200

200. A faïence inkstand, 18th century, the rectangular form painted with simple flower sprays, the top set with two removable inkwells either side of an oval depression, each corner with a small hole, 17cm across.

(3) £80-120

201. 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. £150-250

202. An Italian faïence campana vase, 18th century, applied with ring handles issuing from lion masks, painted in blue to each side with a tall building between two trees, raised on a flared foot, a chip to one side, 15cm. £100-200

203. A Brussel faïence jug and cover, late 18th/early 19th century, painted with a stylized floral spray within a quatrefoil panel reserved on a sponged manganese ground, a hairline crack, the cover restored, 15.5cm.

(2) £100-200

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204. Two Northern European tin-glazed vases, 18th century, one of lobed cylindrical form with a flared rim and foot, simply painted with stylized blue borders, the other decorated with a lotus motif to each side, with two elaborate scroll handles, some damages and restoration, 14.5cm max. (2) £120-180

205. A Continental tin-glazed sauceboat and cover, late 18th/early 19th century, with shell moulding, the handle formed as a serpent, the long body raised on four feet, an acanthus leaf forming the handle, glazed in white, a little chipping, 25.5cm. (2) £80-120

206. Two Nevers faïence apothecary flasks, c.1700, the flattened circular bodies applied with two handles to the shoulders, titled ‘Boy’ between blue dashes, with tall cylindrical necks, some faults, 18cm max. (2) £200-300

207. A large Dutch Delft charger, 18th century, decorated in green and red with blue highlights, with a stylized floral design, and a smaller English delftware plate painted with a peony spray in polychrome enamels, 34.5cm max. (2) £150-200

208. A Pesaro (Italy) maiolica albarello, late 18th century, from the workshop of Casali Callegari, the squat cylindrical form painted with continuous leafy branches bearing simple flowers in yellow, blue and manganese, and a Continental tin-glazed vase and cover, painted in the Imari palette with a band of chrysanthemum, minor faults, 15.5cm max. (3) £100-200

209. A Moustiers plate, probably 18th century, painted in polychrome enamels with a grotesque scene of dancing dogs, orange PF mark to the reverse, and a pair of Seville maiolica pilgrim flasks, painted with scenes of dogs and other animals, titled Gomez Triana to each foot, 24.5cm max. (3) £150-250

210. A Continental faïence two-handled tray, 19th century, painted with a scene of courting couples in a garden setting, beneath a crowned coat of arms, the border with foliate motifs in red and white on a blue ground, blue GS mark to the base, 40cm. £100-200

211. A pair of Continental faïence lobed dishes, 19th or early 20th century, brightly enamelled with vases and censers of Oriental flowers and foliage, the rims with five panels of stylized flowers, monogram marks to the bases, 29cm. (2) £80-120

212. A Continental faïence tureen and cover, 19th century, of silver-shape, decorated in a pattern derived from the Chinese and similar to that employed by the Ferniani factory, Faenza, with stylized flowers beside low fences, the cover’s finial formed as a gourd, 32cm across. (2) £100-150

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213. A large Italian maiolica two-handled vase, 19th century, the wide boat-shaped body painted with Classical figures and sirens with dolphins calling out to sea on conch shells, the shoulders applied with large dolphin handles, raised on a square foot, 42.5cm. £150-250

214. A large Spanish (Talavera) faïence plate or charger, 18th century, painted with a stag being chased by a dog, the wide rim with various animals including hares, bulls, horses and a hedgehog, broken and restuck, 44.8cm. £150-250 Paper label for Litchfield’s. The plate inscribed ‘Bt at Litchfield’s Dec. 91. p.770, VI.4.II’.

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214 215. An Italian maiolica plate, probably 19th century, painted with three hunting figures with bows and arrows before buildings amidst hills, a head in a tree, perhaps portraying Apollo and Daphne, a 2.3cm rim chip, 21.4cm. £200-300

216. A large Italian maiolica charger, 19th century, depicting the Adoration of the Golden Calf, painted in blue with yellow and red lustre, some wear and glaze chipping, 40.8cm. £100-200

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217. A Faenza albarello, c.1510-30, the waisted form titled in blue with ‘Empi de Bacci Lauri’ between two bands of continuous fruiting branches in a muted palette of blue, green and yellow, small damages, 20cm. £300-500 The jar is for a poultice made from laurel berries, which had uses as an astringent and as a salve for open wounds.

218. A Continental maiolica charger, possibly 17th century, the well decorated with St Francis of Assisi receiving the stigmata, the rim with panels of peacocks and stylized flowers, in a bright palette of blues, green, yellow and ochre, 11cm rim crack, 32cm. £100-200

217

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219. A Castelli maiolica teabowl and saucer, mid 18th century, the saucer painted with a gentleman wearing an open blue coat, leaning on a marble tomb with a basket over one arm, the teabowl with Cupid holding a circular mirror, 13.2cm. (2) £800-1,200

220. A Castelli maiolica teabowl and saucer, mid 18th century, the saucer painted with a lady seated with a basket of fruit in her lap, beneath a ruined archway with the sun setting behind, the teabowl with Cupid holding a circular mirror, 13.2cm. (2) £800-1,200

221. A pair of Italian maiolica plates, 19th century, decorated in the Castelli manner, one with a Diana holding her dog on the end of a leash, one with Classical figures on the back of a Dolphin, and a similar oval dish painted with a family, all within borders of winged putti and blue scrollwork motifs, 31cm max. (3) £150-250

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222. A Moustiers faïence serving dish, c.1740, painted in shades of blue, green, yellow and manganese with stylized floral arrangements, the shaped rim with a narrow border, 41cm. £100-200

223. A large Continental tin-glazed dish, 19th century, painted in blue and yellow with a parrot perched on a branch within a shaped foliate rim, and a smaller plate decorated in blue, red, green and manganese with a floral design, some glaze chipping, 34.8cm max. (2) £150-250

224. A pair of Moustiers faïence plates, c.1740, painted in a palette of green, blue, yellow and manganese with a central floral spray, the rim with similar formal arrangements, 25.3cm. (2) £50-100

225. Three delftware punchbowls, c.173080, one early with steep sides painted in blue, red and green with birds between flowering Oriental branches, one with a shaped rim and painted in blue with a large scaly dragon spilling over the rim to encircle the exterior, the last decorated with a standing Chinese figure, extensive damages and restoration, 27cm max. (3) £150-250

226. An English delftware bowl, c.1720, painted in red, green and blue with a single standing Chinese figure holding a flower, beside large sprays of flowering peony, some chipping to the footrim, 22.5cm dia. £400-600

227. A rare English delftware King of Prussia plate, c.1757-60, painted in blue with a portrait of Frederick II of Prussia between the initials KP, and an early delftware lobed dish left in the white, both extensively damaged and repaired, 29.7cm max. (2) £100-200

228. A Dublin delftware plate, mid 18th century, painted in blue with a Chinese landscape of a tall mountain behind a low pagoda, painted 7 to the reverse, and a large delftware dish painted with shaped stylized landscape panels, the latter broken in half and restuck, 30.5cm max. (2) £100-200

229. A polychrome delftware plate, 18th century, brightly painted with bamboo and chrysanthemum beside holey rockwork, and a Delft plate painted in blue with a figure kneeling beside a basket in a garden setting, some glaze chipping, 25.3cm max. (2) £100-200

Provenance: from the estate of the late Peter James Rankin.

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Cf. Leslie B Grigsby, The Longridge Collection, Vol. II, D56 for a similar King of Prussia plate.

230. Three delftware plates, mid 18th century, one Bristol and painted with a blue flower spray within a woolpack shaped panel on a powdered manganese ground, one also Bristol painted with a low pagoda beneath weeping willow, repeated in three panels to the rim and reserved on a manganese caillouté ground, the last painted in blue, manganese and yellow with bamboo and flowering branches issuing from rockwork, 22.7cm. (3) £200-300

231. Three delftware ointment pots or apothecary jars, late 17th/18th century, one of squat albarello form decorated in a white glaze, one rounded and raised on a low foot, the smallest with a blue foliate motif, minor damages, 7cm max. (3) £250-350

232. A delftware flowerbrick, c.1750, probably Dublin, painted in blue with simple sprays of Oriental flowers, each narrow side with a single leaf sprig, the top pierced with three rows of three holes either side of a central larger opening, minor restorations, 14cm. £300-500 Provenance: from the estate of the late Peter James Rankin.

233. A small English delftware vase, c.1730, of squat baluster shape, decorated in blue with sprays of flowers between a bird and flying insects, a little glaze chipping, 12cm. £150-250 Cf. John C Austin, British Delft at Williamsburg, p.254, no.607.

234. A Delftware tea canister and cover, late 17th/early 18th century, of chamfered rectangular form, painted in blue with sprays of Oriental flowers, the shoulders with simple scroll motifs, partial mark to the base, some chipping, 14cm. (2) £150-250

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235. A pair of Dublin delftware plates, c.1760, simply decorated with bold flower sprays in yellow, red, blue and green, numeral marks to the underside, 23.7cm. (2) £150-200 Provenance: from the estate of the late Peter James Rankin.

236. A pair of English delftware plates, mid 18th century, probably London, painted in blue with a weeping willow tree and large flowering branch before an openwork fence, repeated three times to the rim, 22.5cm. (2) £100-200

237. A pair of Lambeth delftware plates, c.1750, the wells painted in polychrome enamels with a long-tailed bird perched on flowering branches, the powdered manganese rims with sgraffito motifs of insects and flowers highlighted in yellow enamel, some rim chips, 22.8cm. (2) £200-300

238. Two delftware moulded dishes, c.1720, one decorated in blue, the other with blue, red and green, both with stylized floral designs within stiff leaf borders, both cracked, 26.7cm. (2) £150-200

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239. A large English delftware charger, 18th century, simply decorated with a floral spray in manganese, yellow, red and green, with four similar sprays to the rim between crossed foliate motifs, a rim crack, 34cm. £100-200

240. A Dutch Delft lobed dish, c.1690, the well painted in blue with birds in flight above a building, reserved on a powdered manganese ground, 29.5cm. £200-300

242. A Liverpool delftware plate, mid 18th century, painted in blue with a Chinaman standing before an ornamental fence, a bird and insects in flight above, rim chips, 21.7cm. £100-200

243. A Delft plate, 18th century, brightly decorated with a parrot perched at the top of a yellow ring above stylized Oriental foliage, the rim with a hatched design on red and green on a rich yellow ground, 23.2cm. £120-180

244. A delftware polychrome plate, c.1760, probably London, painted with feathery foliage stems issuing from a hatched fence, the rim with stylized garlands issuing from a blue feathered border, 23cm. £100-200

245. A large delftware plate, 18th century, painted in polychrome enamels with tulips and chrysanthemum issuing from a twohandled basket, with insects in flight above, the rim with further insects and leaf sprays, some glaze chipping, 34cm. £100-200

246. A small lobed delftware dish, late 17th century, probably London, decorated with a stylized floral design echoed to the rim, 21.5cm. £100-200

247. An English delftware large plate, c.1725, perhaps Lambeth, decorated with a formal floral panelled design in blue, red and green, 29.2cm. £200-300

Cf. The Victoria and Albert Museum, Accession No. C.134-1926 for a similar dish.

241. A London delftware plate, mid 18th century, painted in a palette of red, yellow, green and blue with a seated Chinaman in a landscape scene, the border with a floral garland, 22.5cm. £100-200 Cf. Michael Archer, Delftware, p.235, colour plate 160 for a similar example made in Lambeth.

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248. A pair of Bristol delftware plates, c.1760, painted in the Bowen manner, each with two ladies beneath tall sponged trees in a European landscape, 22.8cm. (2) £200-300 Provenance: from the estate of the late Peter James Rankin.

Cf. Frank Britton, English Delftware in the Bristol Collection, pp 276-297 for a discussion of the Bowen style of painting.

249. A pair of English delftware plates, c.1740-50, Lambeth or Wincanton, each decorated in manganese with a European scene of a lady standing beside an overgrown wall, with one hand on her hip and pointing towards a house beneath a tall tree and beside a three bar gate, some glaze chipping to the rim, 22.6cm. (2) £400-600

250. Two Dublin delftware octagonal plates, mid 18th century, both painted in blue, one with a large peony spray beside a vase of peacock feathers standing beside holey rockwork, the other with peony and bamboo, the rims with further flower sprays, painted number 8 mark to the former, 23cm max. (2) £200-300 Provenance: from the estate of the late Peter James Rankin.

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251. A delftware tulip charger, c.1730-40, probably Brislington, brightly decorated in blue, green, yellow and ochre with a large tulip flanked by two smaller blooms and a row of stiff leaves, within a stylized leaf border and a sponged blue rim, damages and restoration, 32.5cm. £200-300

252. A good Bristol delftware charger, c.1750-70, painted in blue in the ‘Bowen’ style with two ladies walking among buildings beneath a tall tree, 33.5cm. £700-1,000 Cf. Anthony Ray, English Delftware Pottery in the Robert Hall Warren Collection, no. 81, pl.42.

Cf. The Victoria and Albert Museum, Accession No. C.247-1911, also Woolley and Wallis, 15th September 2015, lot 41 for a similar dish.

253. Three blue and white plates decorated with the Broken Scroll pattern, 18th century, one Chinese porcelain, one Bow porcelain and one Dublin delftware, painted with an unfurled manuscript depicting flowering peony issuing from holey rockwork, the delftware plate cracked, 22.5cm. (2) £200-300 Provenance: from the estate of the late Peter James Rankin.

254. A pair of Liverpool delftware wall pockets, c.1750-60, of cornucopia shape, each moulded and painted in polychrome enamels with a bird perched on a flowering branch, the flared rims with flowers and shell motifs, 21.5cm. (2) £1,200-1,800 Cf. F.H. Garner and Michael Archer, English Delftware, pl. 86B for a similar example.

Cf. Peter Francis, Irish Delftware, pl.12 and pp.105-106 for a discussion on the influence of Bow porcelain on Dublin delftware.

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255. Four Wedgwood Jasperware plaques, 19th century, one a portrait plaque of Lady Banks, facing to the right, one a rectangular plaque of five Classical maidens allegorical of the Arts and Sciences, an oval plaque of four putti with a goat, and another of a seated maiden with Cupid, all in white on a blue ground, impressed marks, 15.1cm max. (4) £200-300

256. A Wedgwood Jasperware portrait plaque of Charles Fox, late 18th/early 19th century, applied with a head and shoulders portrait of the politician after his portrait by Joshua Reynolds, in white on a pale blue ground, impressed mark and incised Fox to the reverse, in a glazed wood frame, 18.3cm overall. £100-150

257. Four silver-mounted Wedgwood Jasperware menu card holders, early 20th century, each with a circular roundel applied with Classical maidens and other figures in white, two on a pale blue ground, two on a sage green ground, impressed Wedgwood, the mounts hallmarked for Cohen and Charles, Chester, 1905, 3.2cm high. (4) £200-300

258. Two Staffordshire enamel counter dishes, late 18th/early 19th century, of basket form, one painted with playing cards, the other with travellers beside Classical ruins, and an unusual oval enamel patch box painted with a hunting scene to the lid, the base with a stag and a black boar, some damages, 8cm max. (3) £100-200

259. A Dutch Delft snuff box, late 18th/early 19th century, painted in blue with two figures before a boat, the sides with flower sprays, letter marks to the base, and a faïence snuff box with raised enamel decoration around polychrome motifs, 7cm max. (2) £100-150

260. Five English enamel patch boxes for a sailor’s lass, late 18th/early 19th century, one painted in manganese with a three masted ship, one inscribed ‘Peace and Plenty’, the last three with poems and sentiments of love in absence, some damages, 4.3cm max. (5) £250-350

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Charles James Fox (1749-1806) was the arch-rival of William Pitt the Younger, a prominent Whig statesman with a notorious private life, famed for womanising, drinking and gambling.

261. Three English enamel patch boxes, c.1800, one painted with an optical illusion portrait of a couple titled ‘One Month Before Marriage’, and ‘One Month After Marriage’, one painted with a pair of doves and titled ‘A Pledge of Love’, the last with a couple and inscribed ‘How Sweets the Love that meet return’, on pink and yellow bases, two with mirrored interiors, some damages, 4.8cm max. (3) £150-250

262. Six English enamel patch boxes, late 18th/early 19th century, of oval form, variously inscribed with mottoes of friendship and poems of love, the bases pink, blue and yellow, with mirrored interiors, some damages, 5.2cm max. (6) £250-350 261

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263. Six enamel patch boxes, late 18th/early 19th century, three round and three oval, five inscribed in black with poems and sentiments of love, friendship and loyalty, the last painted with a star motif, the bases pink, lilac, green and blue, the three oval with mirrored interiors, some damages, 4.5cm max. (6) £200-300

264. Six English enamel patch boxes, late 18th/early 19th century, four of them souvenir boxes from Doncaster, Leicester, Yarmouth and Cranbrook, one titled ‘Trifles shew Respect’, the last circular and inscribed ‘Love for Love’, on blue and green bases, most with mirrored interiors, some damages, 4.8cm max. (6) £200-300

265. An enamel snuff box and a similar patch box, 19th century, decorated with panels of figures in rural landscapes reserved on a bright pink ground with white raised enamel detailing, and a gilt metal snuff box with an earlier enamel lid painted with three figures, some faults, 8.8cm max.

(3) £250-350

266. Thirteen Halcyon Days commemorative seals or scent bottles, modern, formed as posies of flowers in the manner of 18th century Chelsea and Derby, with gilt metal mounts, each in its own presentation box, dating between 1989 and 2000. (13) £80-120

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267. A Royal Worcester cased coffee set, date codes for 1938, retailed by Mappin & Webb, the rims decorated with a colourful border of flowers above sponged turquoise bands. Comprising: six coffee cups, six saucers and six silver coffee spoons, all contained in a fitted blue case. £100-200

268. A Royal Worcester vase in the form of an elephant, c.1880, modelled by James Hadley, wearing a large open caparison, faint impressed mark and registration diamond, 19.8cm high. £100-200

269. A Staffordshire porcelain cockfighting jug, 19th century, decorated with six scenes of a pair of cocks fighting, the handle formed as a mythical beast, 22cm. £100-150

270. Three Royal Worcester vases, date codes for 1925 and 1928, one painted with a pair of pheasants perched in the branch of a pine tree, signed W H Austin, a vase and cover painted with fruit by Ricketts, and a sack-shaped vase painted by E Townsend with apples and cherries, printed marks, 18.5cm max. (4) £250-350

271. A Kerr & Binns Worcester triple cornucopia centrepiece, date code for 1858, each vase formed as the head and neck of a stag, separated by a three female masks reserved on gilt palmettes, printed marks, 16cm across. £50-80

272. A Belleek solitaire tea set, c.1930, the bodies moulded and enamelled with sprays of shamrock over a basket-weave design, third period black marks, 20.5cm max.

Comprising: a teapot and cover, a sugar bowl, a milk jug and a cup and saucer. (6) £100-150

273. An English porcelain basket, 19th century, of narrow oval form, the moulded sides decorated in a primrose yellow, the interior painted with flower sprays, the rim applied with further blooms, 17.5cm. £250-350

274. A Flight Barr & Barr Worcester muffin dish, c.1830, of circular form with a domed cover, the stand and cover brightly painted in the Kakiemon palette with the Two Quail pattern, crowned impressed mark, 21.2cm.

(2) £100-150

Provenance: by repute, gifted as a wedding present to Viscount Cowdray and Lady Anne Bridgman upon their marriage on 19th July 1939.

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Provenance: The Property of the late Anthony Hobson, The Glebe House, Whitsbury, Hampshire.

275. An English or Welsh porcelain small tazza or pin dish, c.1820, raised on a low circular foot, the dish painted with polychrome flowers reserved on a gold ground, the rim applied with white and gilt flowerheads, a chip beneath the footrim, 11.1cm dia. £120-180

276. A Copeland cabinet plate, c.1875, painted by Lucien Besche with a courting couple on a swing in a woodland setting beside a stream, signed L Besche, printed mark, 25cm. £100-200

277. A Royal Doulton cabinet plate, late 19th/early 20th century, painted by Percy Curnock with a central roundel of flowers including auricula, rose and tulip, reserved on a deep blue ground with elaborate raised gilt scrolls, signed P Curnock, printed mark and retailer’s mark for Tiffany & Co, New York, 22.2cm. £100-200

278. A large Derby plate, c.1800, richly decorated in the Church Gresley pattern with a central panel of flowers within a wide border of smaller panels of pink roses, green and red ovolu, and cornflower sprigs on a yellow ground, puce mark, 25cm. £150-200

279. A Spode spill vase, c.1820, painted with a bird perched on a branch beside water, titled Willow Wren beneath the base and with pattern number 1805, and a New Hall mug moulded with putti and animals in white against a lilac ground, 12cm max. (2) £120-180

280. A New Hall teapot and cover, late 18th century, the shaped straight-sided body decorated with a stylized gilt leaf border, a New Hall sucrier and cover decorated in pattern 288, a slop bowl in pattern 4710, and a milk jug painted with simple flower sprigs and pink diaper panels, some restoration to the teapot, 24.5cm max.

(6) £120-180

281. Two Minton porcelain breakfast cups and small plates, early 19th century, decorated by Donovan of Dublin with longtailed pheasants perched on flowering Oriental branches, red Donovan marks, 20cm max. (4) £50-150

282. 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) £100-150

283. Three Derby dessert plates, c.1815 and later, one painted with a raging waterfall in an octagonal panel within a rich orange and gilt border, titled Near Hugh Lloyd’s Pulpit, Merionethshire, the other two variously decorated in the Imari palette, one with a formal design, the other with loose flower sprays, the latter Bloor Derby, 22cm max. (3) £100-200

Provenance: from the estate of the late Peter James Rankin.

284. A pair of Rockingham dessert or fruit plates, c.1830, the wells painted with fruiting branches of an apple and a plum, reserved within blue and pale yellow borders, the rims gadrooned and moulded with small shells, printed mark to one, 23cm. (2) £120-180

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285. Two Worcester armorial plates, early 19th century, one Barr Flight and Barr, painted with the coat of arms for the Kerr family above the motto A Deo Lumen, within a wide purple vine leaf border, the other Chamberlain’s, decorated in sepia and gilt with the crest of a dog wearing a collar, the rim with fruiting strawberry tendrils, 24.2cm max. (2) £150-250

287. A pair of English porcelain plates, 1st half 19th century, decorated in London with scenes of Chinese figures, including a fishmonger and a woman preparing tea, the borders with panels containing fish and tea leaves and flowers respectively, reserved on an orange-red ground, titled in red to the reverse, one with an extensive description, one cracked, 21.6cm. (2) £100-200 The subjects depicted here were copied from George Henry Mason’s The Costume of China, which was published c.1800.

Many of the plates were copied in turn from original Chinese watercolours signed by PuQua of Canton.

290. A pair of Chamberlain’s Worcester dessert plates, mid 19th century, the wells brightly painted with floral arrangements reserved on a white ground, the square rims with shaped gadrooned borders highlighted in gilt, impressed marks, 24cm. (2) £80-120

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286. Two Worcester armorial plates, one late 18th century and decorated in blue and gilt with the Prince of Wales feathers within a shaped rim, the other Flight, Barr and Barr, early 19th century and painted with the crest and motto for the De Burgh family, a mountain cat seated beneath a banner entitled ‘A Cruce Salus’, within a purple and gilt vine leaf band, 22cm max. (2) £150-250

288. 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) £100-150 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.

291. 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) £100-200

289. Two Flight Barr and Barr Worcester armorial plates, c.1830 and 1834, both decorated with the arms for Sophie Elizabeth Wykeham, 1st Baroness Wenman of Thame Park, one with a plain shaped shield, the other with the same shield surmounted by a crown and flanked by two greyhounds, each with shaped maroon borders, printed marks, 27.8cm. (2) £200-300 The Wenman title became extinct with the death of the 7th Viscount in 1800 but was revived for his granddaughter in 1834 as a personal favour from King William IV, whom she had come close to marrying in 1818.

292. A pair of Spode Felspar Porcelain botanical dessert dishes, c.1825-30, one painted with a branch of cherries and a narcissus spray, the other with pears and dog rose, within shaped gilt foliate borders on a green ground, puce printed marks, gilt pattern number 4494, 28cm. (2) £80-120

293. A Minton part botanical dessert service, c.1824-28, decorated in pattern 865 with bold mixed flower specimens within wide moulded borders with gilt and white detailing on a rich blue ground. Comprising: two round dishes, one square dish and nine plates. (12) £150-250

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

295. An English porcelain sauce tureen with cover and stand, 1st half 19th century, and a footed tazza, the latter painted with a figure fishing from a bank in a rural landscape, with white bands gilded with flowers within a matt blue border, pattern number 115 to the tazza, 29.5cm max. (4) £100-150

296. Four saucers and two saucer dishes from the Flight and Barr Worcester partnerships, late 18th/early 19th century, richly decorated in the Oriental manner with birds in flight above panelled fences and large peony and chrysanthemum blooms, incised B and impressed BFB marks, 20cm max. (6) £100-150

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297. A pair of Swansea plates, c.1815-17, painted in pale blue monochrome with four floral arrangements around a single central sprig, within gilt dentil rims, impressed marks, a rim crack to one, 21.3cm. (2) £150-200

298. A pair of Derby botanical soup plates, c.1800, painted in the manner of William Pegg in pattern 197 with bold floral specimens of Nettle Leaved Bell Flower and Large Flowered St John’s Wort, titled to the reverse, blue crowned crossed batons marks, and a Derby botanical plate decorated with a specimen of Adonis Vernalis within a gilt foliate border, similarly titled and marked, the soup plates cracked, 25cm max. (3) £200-300

299. A Minton cabinet plate, date code for 1890, painted by Antonin Boullemier with a naked girl seated on a blue-edged white cloth and playing the pipe beside a low flowering shrub, signed, impressed mark and later gilt mark for Davis Collamore & Co., New York, 24.5cm. £200-300

300. An English porcelain armorial plate, c.1820, probably Coalport, decorated with the arms of King George IV within a shaped turquoise border, 25.8cm. £150-250

302. An English porcelain spill vase, c.1820-30, the flared form painted with a tumbling basket of flowers, the reverse with a similar spray, the inner rim with a continuous gilt flowerhead border, 11.5cm. £150-250

303. An English porcelain ice pail and cover, early 19th century, simply decorated with polychrome flower sprigs beneath a puce foliate swag border, 23.5cm. (2) £100-150

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Provenance: formerly in the collection of Charles Wentworth Waas, whose collection of armorial porcelain was exhibited at Thomas Goode & Co. South Audley Street in 1898. His collection label to the reverse.

301. A Minton cabinet plate, c.1889, painted by Antonin Boullemier with a putto standing in the branches of a tree and blowing a horn, wearing a green cap, signed, impressed marks and later gilt retailer’s mark for Davis Collamore & Co, New York, 24.3cm. £150-250

304. An English porcelain two-handled vase, c.1820, well painted with flowers including tulip, lilac, rose and convolvulus spilling from a tall openwork basket, the reverse with a single pink rose, the flattened handles with a row of white beading, gilt pattern number 3789, a chip beneath the foot, 12.5cm. £150-250

305. An impressive Chamberlain’s Worcester dessert basket and stand, c.1800, of quatrefoil shape, decorated in sepia and gilt with continuous borders of fruiting strawberry vine, the sides reticulated with arched panels, 32.5cm. (2) £500-700 Cf. Geoffrey Godden, Chamberlain-Worcester Porcelain, pp. 86-87 for dessert baskets of a similar form.

307. A Rockingham shallow basket, c.1835, finely painted with a view of the north-west side of Salisbury Cathedral with groups of figures before, within a wide reticulated border highlighted in gilt and with leaf motifs to the edge, puce mark, titled in red to the base, 30cm across. £300-400

306. A good Nantgarw plate, c.1817-20, of Brace Service type, painted in London in the Bradley workshop with a central spray of flowers, the rim moulded with flowers and C scrolls reserving six panels painted with a bird, floral sprigs and a spray of strawberries, impressed NANTGARW CW mark and a faint incised D, 25cm. £1,000-1,500 Provenance: from the collection of Lady Cynthia Postan.

308. 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) £500-800 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 has been destroyed since publication.

309. A Derby coffee cup and saucer, c.1790, finely painted by Zachariah Boreman, the cup with figures in a boat and fishing from the riverbank, titled beneath ‘Near Foremark, Derbyshire, the saucer with figures by a bridge titled ‘ View near Duffield, Derbyshire’, the rims with gilt palmette borders, blue factory marks and pattern number 107, 13cm. (2) £400-600

310. A pair of Swansea plates, c.1815-17, painted probably by Henry Morris with colourful floral posies and single scattered sprigs, the rims with continuous berried tendrils in green and gilt, 22.8cm.

(2) £150-250

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311. A large French porcelain vase, 19th century, of campana shape, painted with a wide band of pink roses and small white flowers on a gold ground, between matt blue borders, raised on a square foot, some wear, 36.5cm. £150-250

312. A Continental porcelain bottle vase, 19th century, mounted as an oil lamp, unusually enamelled in the Chinese manner with dragonflies, moths and other insects in flight around a large branch of flowering prunus, reserved on a powdered manganese ground, mounted on a Chinese style bronzed metal base, 49cm. £200-300

315. A pair of Sèvres vases and a matching pair of plates, c.1846, after the Service Ordinaire de Fontainebleau, with bands decorated with stags, foxes and birds of prey amidst scrolling foliage, reserved with panels containing LP monograms and small grisaille motifs, printed factory marks, 27.5cm max. (4) £250-350

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313. A large Continental porcelain vase of flowers, early 19th century, the campana shaped urn decorated with faux marble striations, modelled with a profusion of colourful flowers including geranium, convolvulus and chrysanthemum, some damages, 38.5cm. £100-200

314. A Meissen composite cup on stand, 18th and 19th centuries, comprising a Meissen moulded coffee cup painted with peasant couples, the stand formed from a partial walking stick handle decorated with a figure on horseback, the base comprising an English porcelain cover, fitted together with metal mounts, 17cm overall. £100-200

316. A Paris porcelain tea and coffee service, late 19th century, painted with bucolic scenes of figures at various pursuits in rural settings, blue crossed swords type marks to the cups and saucers.

Comprising: a coffee pot and cover, a teapot and cover, a milk jug, a slop bowl, six cups, six saucers, and a matching English porcelain sugar bowl and cover. (20) £100-200

317. A pair of Sèvres coffee cans and saucers, c.1840, decorated with a continuous formal flowerhead border in gilt on a rich blue ground, printed marks, marked in green with various dates, 13cm.

(4) £100-200

λ 318. A matched pair of Meissen flower pots, c.1775, the small flared forms applied with leaves and painted with flower sprays between mask head handles, set with later coral additions, blue crossed swords and star marks, 14cm. (2) £250-350

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321. A collection of Meissen miniature tea wares, 19th century, variously applied and painted with flowers, comprising a teapot and cover, two milk jugs, a sugar bowl and cover, a double gourd vase and a cup, together with a miniature teapot painted in the Fels und Vogel pattern with later gilt decoration, some damages and restoration, 7.5cm max. (9) £150-250

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322

322. A pair of Meissen scent flasks, late 19th century, each modelled as a miniature pilgrim bottle, finely jewelled in pink, blue and white enamel on a rich blue ground, blue crossed swords marks, small restorations, 6.7cm. (2) £250-350

323. A pair of Continental porcelain miniature vases, mid 18th century, probably Vienna, the wide-shouldered forms moulded with rococo scrolls and raised on square bases, minor faults, 7cm. (2) £100-200

324. Two Meissen cups and saucers, 19th century, one applied and painted with flowers, one painted with deutscheBlumen within moulded rims, a late 18th century Meissen tea cup painted with puce indianischeBlumen, and a saucer painted with monochrome flower sprays, blue crossed swords marks, 13.4cm max. (6) £200-300

319. A Meissen pounce pot and an inkwell, late 19th century, the shaped bodies painted with Kakiemon panels of birds and branches reserved on a blue ground, blue crossed swords marks, the inkwell’s liner lacking, 8.5cm dia. (2) £100-200 320. A pair of Meissen-style salts, 19th century, the oval bowls raised on quadruped bases with term supports, painted in the Kakiemon palette with flower sprays and corn stooks, a repair to one bowl, 8.7cm high. (2) £250-350

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324

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325. A Meissen teapot and cover, c.1765, the globular body painted with figures at various pursuits in an extensive harbour scene, with a shaped green diaper border to the rim, blue crossed swords and dot mark, gilder’s numeral 5, some restoration, 20cm.

(2) £250-350

326. A German porcelain oval plaque, 19th/early 20th century, painted with two putti detailed from Michelangelo’s Sistine Madonna, in a gilt frame, 27cm overall. £100-150

327. A Meissen coffee cup and saucer, mid 18th century, the rims moulded with osier panels, painted with birds perched on branches amidst scattered insects and moths, blue crossed swords marks, 13.8cm.

(2) £200-300

328. 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. £150-250

329. 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. £150-200

330. 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. £200-300

331. A large Meissen teabowl, c.1740, finely painted with a moth, a ladybird, an earwig, ants and other insects, the interior with a large crane fly, with osier moulded rim, blue crossed swords mark, 8.6cm dia. £150-250

332. A Sèvres-style saucepan or warming pot and cover, late 18th/early 19th century, the flattened circular body painted with sprays of flowers within a blue and gilt rim, fitted with a turned wooden handle, interlaced LL mark, painter’s and initial marks in blue, 18.3cm. (2) £150-250

333. A Meissen shallow bowl, c.1740, painted in the Kakiemon palette with bright sprays of prunus and peony issuing from a banded hedge, the reverse with a long-tailed bird in flight, blue crossed swords mark, the cover lacking, 15.3cm dia. £150-250

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334. A Sèvres coffee can and saucer, c.1825, decorated with a continuous formal flowerhead border in gilt on a rich blue ground, printed marks, gilt FB monogram for François-Hubert Barbin, marked in green with ‘29 Av 24 E’, 13cm. (2) £200-300

335. A Meissen teapot and cover, 19th century, painted with sprays of deutscheBlumen and scattered flying insects, the spout and handle formed as twigs, blue crossed swords mark, 19.5cm.

(2) £80-120

336. A Nymphenburg covered cup and saucer, c.1780, painted with delicate floral garlands spelling out the letter R to the cup, and the number 2 to the saucer, each with a floral diadem above, the cover surmounted with a large blue flower, impressed shield mark to the saucer, 14.2cm. (3) £350-450

337. A Paris (La Courtille) monteith, late 18th/early 19th century, the oval form with a curved shaped rim with a simple gilt dentil border, blue crossed arrows mark, some restoration, 31.5cm across. £100-200

338. A Vienna-style plate, 19th century, decorated with a portrait of a young girl wearing a lace collar and band of pearls in her hair, within a wide gilt and mazarin blue border, inscribed ‘H Schmiechen’ to the reverse, 24.5cm. £120-180

339. A German porcelain pipe, 19th century, the long bowl well painted in sepia with a continuous topographical scene looking down on a river flowing through a town, titled ‘Heidelberg’, the long stem with green and white tassels, 16.5cm overall. £100-200

340. A Vienna coffee pot and cover, late 19th century, decorated in underglaze blue with the Fels und Vogel pattern, later decorated with polychrome enamel and gilt highlights, the domed cover with a fruit finial, blue shield mark, and a Höchst cylindrical jar and cover, painted probably outside the factory with puce ruins and butterflies, the cover broken and repaired, 21.5cm max. (4) £100-200

341. A Samson porcelain jardinière, late 19th century, the large flared form decorated in the Sèvres manner with a floral garland and gilt monogram for Marie Antoinette to one side, the reverse with the interlaced LL motif, within gilt garlands and bands, iron red mark for Clignacourt, Paris, 14.5cm high. £150-200

342. Two Continental porcelain plates and a saucer, 19th century, a Meissen plate painted with figures beside a windmill, a Sèvres-style plate painted with a harbour scene within a border of gilt palmettes on a pale blue ground, and a Paris porcelain saucer painted with a green woodpecker in flight within a coral rim, various marks, minor faults, 25.3cm max. (3) £200-300

Provenance: The Property of the late Anthony Hobson, The Glebe House, Whitsbury, Hampshire.

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343. A pair of Paris porcelain jardinières and stands, 19th century, each painted to two sides with Classical figures representing the Arts in sepia on a pink ground, the other two sides with griffins either side of a lyre beneath a floral garland and gilt portrait of a Roman warrior, raised on four paw feet, some damages and repairs, 29cm. (4) £400-600

344. A large pair of Berlin vases and covers, 19th century, each fluted ovoid form painted to two sides with panels of courting couples and children at play, within raised gilt laurel leaf borders, painted with colourful flower sprays, the covers surmounted with an eagle, blue sceptre marks, one cover restored, 36.5cm. (4) £300-500

Provenance: The Property of the late Anthony Hobson, The Glebe House, Whitsbury, Hampshire.

345. A pair of Continental porcelain câchepots and stands, 19th century, the large flared forms painted with scenes of native figures hunting lions and tigers within raised gilt panels on a blue ground, the handles formed as lion masks, some faults, 18.7cm high. (4) £300-400

346. A Paris porcelain part petit-dejeuner set, 19th century, comprising a square tray and two cabinet cups and saucers, painted after David Teniers with scenes of figures drinking and smoking, reserved on a rich gilt ground, some gilt wear, 27.2cm. (5) £200-300

Provenance: The Property of the late Anthony Hobson, The Glebe House, Whitsbury, Hampshire.

Provenance: from the estate of the late Peter James Rankin.

347. A set of six Haviland Limoges plates, c.1900, richly decorated with formal gilt floral and foliate designs on a deep blue ground, printed and gilt marks, 21.7cm. (6) £300-500

348. A large Berlin punchbowl and cover, c.1780, painted with scenes of carousing gentlemen from William Hogarth’s A Modern Midnight Conversation, the rims with a formal gilt border, the cover’s finial formed as a partially sliced lemon, blue sceptre mark, broken and riveted, 29.5cm dia. (2) £100-200

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349. A pair of Meissen-style soup plates, 19th century, one with a heron catching a fish by the water’s edge with a duck in flight above, the other with two birds perched on a low branch, both with floral garlands to the rim suspended from blue bows, blue crossed swords and star marks, 22.7cm. (2) £100-200

350. A pair of Meissen bird plates, 19th century, decorated outside of the factory with colourful garden birds perched in leafy branches, within elaborately moulded rims, cancelled blue crossed swords marks, 24.2cm. (2) £100-150

351. A Meissen anthropomorphic cabinet plate, 19th century, the well painted with a goat wearing a red robe and a crown of grapevine seated beside a wooden bucket of further grapes within a reticulated rim, and a plate commemorating Wenzel Müller’s Die Zauberzither with part of the score running around the rim, c.1791, blue crossed swords marks, the latter broken and restored, 23cm. (2) £150-250

352. A pair of Spode Copeland’s China dessert plates, c.1900, richly decorated in the Sèvres manner with gilt and floral DD monograms to the wells, the moulded rims with three panels of flowers within rich gilt panels on a green ground in the manner of the Bertin service, printed marks and gilt retailer’s mark for T Goode & Co., 25.7cm.

(2) £100-200

353. Two Meissen saucer dishes, c.1760, painted with deutscheBlumen sprays of tulip, chrysanthemum, rose and heartsease, within shaped brown line rims, blue crossed swords marks, a few small rim chips, 22cm.

(2) £600-800

354. A pair of large Furstenburg serving dishes, 18th century, the oval forms with moulded shaped rims, painted in underglaze blue with naturalistic flower sprays, blue F marks, and a Berlin (KPM) circular dish decorated with polychrome flowers, blue sceptre and KPM mark, 37.5cm max. (3) £150-250

355. A Meissen coffee pot and cover, modern, of baluster form, painted with simple sprays of bright flowers, and a Meissen-style coffee pot and cover decorated with sprawling floral arrangements, the spout formed as a mythical beast, blue crossed swords marks, one finial restored, 26cm max. (2) £150-250

356. A French porcelain teapot and cover, early 19th century, of cylindrical form, decorated by Halley-Lebon with a sepia flower garland entwining around a pink ribbon, iron red mark, and a Niderviller basket decorated with cornflower sprigs, the pierced sides detailed in blue and green, a chip to the basket’s foot, 23cm max. (3) £150-250

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357. A Meissen hausmaler two-handled beaker and similar saucer, c.1730, probably decorated in Augsburg, perhaps by Elizabeth Wald, with chinoiserie scenes of figures making tea and feeding birds, with scrollwork borders in gilt, purple, puce and red, blue crossed swords mark to the saucer, the two associated, the beaker restored, 14.6cm. (2) £300-500

358. A Meissen hausmaler sugar box and cover, c.1730, the flattened octagonal form simply decorated in the famille verte palette with Classical ruins and flower sprays, the cover restored, 11cm. (2) £300-500

359. A Continental porcelain etui, probably 19th century, modelled as the arm of a lady holding a bunch of grapes, wearing a black fingerless lace glove, with a gilt metal mount and hinged lid, 8.8cm. £150-250 359

360. A Sèvres tea cup and saucer, c.1757, the cup painted with two sheep beside a basket of flowers, the saucer with two goats in a wooded landscape, within gilt rococo borders on a bleu lapis ground, interlaced LL marks, 12.7cm. (2) £150-250

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361. A Sèvres cup and saucer, dated code for 1757, painted with panels of colourful birds in flight and with leafy sprigs in their beaks, reserved within gilt foliate cartouches on a bleu lapis ground, interlaced LL mark, date code E to the cup, 13.5cm. (2) £400-600

362. Two Meissen figural salts, 19th/20th century, each modelled as a boy seated between two baskets painted with flowers to the interior, and a basket salt formed of three sections with an overhead handle tied with blue ribbon, blue crossed swords marks, some damages and repairs, 14cm max. (3) £200-300

363. A matched Vienna coffee can and saucer, dated 1796 and 1802, the cup painted with a Classical maiden standing beside a flaming plinth, titled ‘Unsre Freundschafft wahre’ (Our true friendship), a Meissen saucer painted in puce monochrome with a figure in a European landscape, and a Zurich saucer painted with a figure fishing beneath a tree, 13.2cm max.

(4) £100-150

364. Two German porcelain cups and saucers, 1st half 19th century, one Furstenberg and painted with figures in rural landscapes, the other probably Gotha and painted in purple monochrome with topographical scenes titled ‘Greitz von Mittag’ and ‘Kolteritz von Nord Ost’, blue F and G marks, 13.6cm max. (4) £120-180

365. A pair of Meissen wall-mounted candelabra, 19th/20th century, each rococo scrolled shield painted with flowers and applied with a winged putto between two branches, blue crossed swords marks, some damages, 38.5cm. (2) £200-300

366. A large French porcelain pastille burner or vase and cover, late 19th/20th century, modelled as a richly caparisoned elephant bearing three seated Chinese figures on his back, one playing a mandolin, the other holding a pierced gilded vase, the shaped base moulded with a Tibetan buddhistic figure, red dt mark, some damages, 31cm across. (2) £150-250

367. A German porcelain oval portrait plaque, 19th century, finely painted with the head and shoulders portrait of Beatrice d’Este after Leonardo da Vinci, wearing a fine headdress edged with pearls, printed factory or retailer’s mark to the underside, mounted in a gilt wood frame, 15.8cm overall. £100-200

368. Four Meissen-style covered cups and saucers, late 19th/early 20th century, one decorated in the 18th century manner with figures in a harbour within scrollwork panels, one with courting couples, two with Watteau-esque panels alternating with panels of flowers on blue or turquoise grounds, blue crossed swords and AR marks, some faults, one saucer matched, 11cm. (12) £100-200

369. A matched pair of Meissen figural salts, 19th century, modelled with a gentleman and his companion recumbent on shaped bases and holding the edges of baskets painted or applied with flowers, together with a further example of the female salt, blue crossed swords marks, small restorations, 18cm. (3) £300-500

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370. A large Nymphenburg figure of Diana, c.1800, modelled by Joseph Anton Kirchmayer, standing and petting a greyhound to her right, raised on a low square base, impressed shield mark, damages, 43cm. £800-1,200

371. A French terracotta figure, late 18th/19th century, possibly Sèvres, of a water carrier, wearing a flowing Grecian style dress, an upturned urn behind her, raised on a low base with rococo scrolling, incised interlaced LL mark and number 115, some damages, 30.5cm £200-300

372. A large Niderviller biscuit porcelain figure, late 18th century, modelled by Charles-Gabriel Sauvage (called Lemire), of a Bacchanalian figure carrying a large wine jug on his left shoulder, draped in an animal skin robe, applied Niderviller mark, incised No. 188, small damages, 43.2cm. £200-300 Cf. The Victoria and Albert Museum, Accession No. 387-1874.

373. A massive Niderviller biscuit porcelain figure, late 18th century, modelled by Charles-Gabriel Sauvage (called Lemire), as a shepherd boy holding a pipe in his right hand and leaning on a tree stump with his dog at his feet, impressed MIER PERE to the front of the base, damages, 62.5cm. £300-500 Cf. The Victoria and Albert Museum, Accession No. 385-1874.

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374. A pair of Meissen figures of Harlequin and Columbine, 18th century, modelled by J J Kändler, Harlequin seated on a rocky outcrop and playing the bagpipes, Columbine with a hurdy gurdy resting in her lap, some damages and restoration, 14.7cm. (2) £600-1,000

375. A pair of Derby busts of Classical figures, c.1765-70, from the Four Seasons, after Meissen, emblematic of Summer and Winter, the former modelled as a maiden wearing a diadem of of corn, the latter as a bearded old man wrapped in a fur-lined cloak, raised on shaped socles, some restoration, 10.5cm. (2) £150-250 Provenance: The Property of the late Anthony Hobson, The Glebe House, Whitsbury, Hampshire.

376. A Meissen figure of Flora, 18th century, holding a cornucopia of fruit and flowers, wearing a crown, and a figure probably allegorical of Spring, holding a basket of flowers and with a nesting bird on the base beside her, some restoration, 14cm max. (2) £200-300

377. A pair of Vienna figures of Harlequin and Columbine, 2nd half 18th century, after Kändler’s models at Meissen, he seated and playing the bagpipes, she the hurdy-gurdy, their costumes decorated with playing cards and pink scale, blue shield marks, some restoration to Columbine’s left arm, 13cm. (2) £100-200

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378. A matched pair of German porcelain figures with dogs, 19th century, the gentleman Meissen and holding his gun before his excited hound, the lady after Meissen and showing her lap dog his reflection in a mirror, blue crossed swords marks, some restorations, 14.5cm. (2) £150-250

379. Three Meissen figures of putti, 20th century, two emblematic of Spring and Winter with appropriate attributes of a basket of flowers and a fur-lined cloak respectively, the last of two putti sharing a yellow robe, blue crossed swords marks, 13.5cm max. (3) £100-150

380. Two Meissen models of putti, 19th and 20th centuries, emblematic of the Seasons, one of Spring carrying a basket of flowers and holding a single rose in his left hand, the other of Autumn wearing a diadem of grapevine and holding a further length of fruiting vine, blue crossed swords marks, restoration to Autumn, 13.5cm. (2) £100-150

381. Three Meissen seated figures, 19th/early 20th century, the gentlemen seated with one ankle resting on the other knee, one holding a book, the lady with a blue ribbon tied around her right wrist, all raised on pierced scrolled bases, blue crossed swords marks to two, one with an incised swords in triangle mark, damages and restoration, 12.5cm. (3) £250-350

382. A Vienna porcelain figure group of lovers, late 18th/early 19th century, seated on a rocky outcrop, he playing with her hair while a sheep munches on flowers strewn in her lap, a basket of flowers resting on the rocks beside him, faint impressed shield mark, 19.5cm. £300-400

383. A Ludwigsburg white-glazed figure of a woodcutter, 2nd half 18th century, modelled by Johann Jacob Louis, standing with a heavy wooden club in his left hand, an axe slung over his right shoulder, crowned interlaced Cs mark, and a pair of Continental porcelain busts of Classical women, perhaps Italian, modelled with elaborate hairstyles, each raised on a low socle, some damages, 12.2cm max. (3) £100-200

384. Three Continental porcelain figures of children, 19th century, Meissen or Meissen-style, one of a girl playing the triangle, one of a boy holding his hat full of flowers, the last of a boy carrying bunches of grapes, damages and restoration, 13.6cm max. (3) £120-180

385. A pair of Vienna figures of children playing at archery, c.1846, after Meissen, he pointing a crossbow at a target, she with an arrow resting on her left hand, each standing beside a marble pillar, impressed shield marks and date codes, overglaze blue crossed swords marks, some restorations, 15cm. (2) £150-250

386. A Samson figure of Aeneas rescuing Anchises and Ascanius, late 19th century, after Meissen, Aeneas carrying Anchises who holds the statue of Athena, holding the hand of Ascanius behind Aeneas’s back, and a Continental porcelain figure of a street vendor standing beside his basket of wares, minor damages, 22.5cm max. (2) £100-200

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387. Three Meissen figures of the Racegoer’s Companion, 19th century, elaborately dressed and each with one hand tucked inside a brightly coloured feathered muff, one holding a letter, another a posy of flowers, blue crossed swords marks, incised D66, some restorations, 21cm max.

(3) £200-300

388. A Meissen figure group of lovers, modern, after the model by Acier, a young lady seated and playing the tambourine while her companion stands over her and places a floral diadem on her head, raised on a circular base with Vitruvian scroll detailing, blue crossed swords mark, incised D86, 19cm. £200-300

389. A Meissen figure of the Mater Dolorosa, 20th century, after the model by J J Kändler, the Virgin Mary clasping her hands before her breast, draped in a long purple robe, and a white-glazed figure of a Classical maiden, holding a heralding trumpet and a scroll, blue crossed swords marks, a little restoration to the latter, 20cm max. (2) £400-600

390. A pair of Carl Thieme (Potschappel) figures of badminton players, 19th century, after Meissen, each holding a racket, raised on circular bases, some restoration, 16.5cm.

(2) £100-200

391. A pair of Meissen figures of children, 19th century, she holding a basket of flowers and a small posy, he with a pink rose and other flowers, raised on scrolled bases picked out in gilt, blue crossed swords marks, some restoration, 14cm. (2) £150-250

392. A matched 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, she with an incised crossed swords in triangle mark, he with a cancelled blue crossed swords mark, some restoration, 15.2cm. (2) £150-250

393. A Nymphenburg figure of Pantalone, modern, after Bustelli’s figures from the Commedia dell’Arte, wearing pointed yellow shoes and a black cloak over his red costume, impressed shield mark, 18cm. £100-150

394. Four Meissen figures of children, 19th/early 20th century, one of a boy playing a pipe, another carrying a basket of grapes on his back, one of a girl dancing, the last of a girl carrying flowers in her apron, blue crossed swords marks to three, some damages and repairs, 12cm max. (4) £250-350

395. A Meissen figure of a girl spanking her doll, modern, holding her unfortunate toy by her skirt and brandishing a brush in her right hand, raised on a circular scrolled base, blue crossed swords mark, 15.5cm. £150-250

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396. A Höchst chinoiserie figure, c.1775, of a Chinese lady dancing, wearing a green robe tied at the waist with a pink and white sash, raised on a square base with chamfered corners, blue crowned wheel mark, restoration to her left hand, 18.2cm. £150-200

397. A Meissen Cris de Paris figure of a flower seller, 18th century, modelled by P. Reinicke, a basket of flowers supported on a tray suspended on a ribbon around her neck, wearing a black headscarf, some restoration, 13.5cm. £200-300

400. A Meissen biscuit porcelain figure of Taste, late 18th century, after the model by Schönheit, modelled as a lady seated at a table with a bottle of wine and a plate of small biscuits, incised crossed swords and triangle mark, and a later figure emblematic of Sight, seated before a dressing table mirror, some restoration to the latter, 15cm max. (2) £300-400

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398. A Continental porcelain scent bottle or perfume figure, late 19th/early 20th century, modelled as a standing Chinaman wearing an elaborate pattern robe and holding a gold ball in his left hand, an opening to the top of his head, impressed letters to the base, 21.5cm. £120-180

401. Three white-glazed Nymphenburg figures, 20th century, two of musicians, one playing a pipe, the other a stringed instrument, the third of a figure on horseback, impressed shield marks, some damages and repairs, 19cm max. (3) £100-150

399. A Meissen group of apple pickers, 19th century, one figure up a tall ladder propped against the tree, picking the apples and throwing them to a figure reclining at the base of the tree below, blue crossed swords mark, losses and restoration, 25.5cm. £350-500

402. Five Meissen figures of shepherds and shepherdesses, 20th century, two of maidens holding a basket of flowers, a further figure with a lamb on a leash beside her, one of a shepherd playing a pipe, the last holding a tall gardening implement and one corner of his coat, blue crossed swords marks, 14cm max. (5) £300-500

403. A Meissen figure of Cupid in Disguise, mid 18th century, modelled as a wig powderer, wearing a flowered purple cloak, a long yellow bag suspended from his wrist, blue crossed swords mark, slight damages, 9cm. £100-200

404. Two Meissen busts or kinderkopf, 19th century, each of Princess Marie Zephirine de Bourbon modelled by J J Kändler, wearing a floral corsage and a tied headscarf, raised on a quatrefoil base, blue crossed swords marks, some damages and restoration to the flowers, 15cm. (2) £400-600

405. A Meissen figure of Cupid in disguise, mid 18th century, wearing a white robe around his waist, blue crossed swords mark, damages, 10cm. £100-200

406. A Copenhagen figure of a girl, late 18th century, holding her doll by the skirt and beating her with a stick, raised on a circular base with a faint moulded band, small damages, 15.8cm. £100-200

407. A Meissen figure of a sleeping girl, 19th century, sometimes called Sleeping Louise, modelled by Acier after a painting by Jean-Baptiste Greuze, relaxed in a large chair with one arm on a tall wooden table, her shoes discarded and a love letter tucked into the top of her bodice, cancelled blue crossed swords mark, incised E58, 18.5cm. £200-300

408. A Meissen figure of a young vintner, mid 18th century, seated on a low rocky stump and holding a bunch of grapes up to his mouth, resting his left elbow on a tall basket of grapes by his side, blue crossed swords mark, some restoration to the basket, 10.5cm. £250-350

409. A Meissen figure group of lovers, 19th century, modelled as a couple dancing, he with his hat tucked under one arm, holding her right hand in his left, blue crossed swords mark, incised C75, a little restoration, 15cm. £200-300

410. Two Meissen allegorical figures, 19th century, one of Demeter holding a sickle in one hand and a serpent in the other, the other figure of a Classical maiden holding a book, a putto seated beside her with a goblet and a jug of wine, blue crossed swords marks, some restoration, 16.5cm. (2) £300-400

411. A biscuit porcelain figure of a lady, c.1770-80, probably French and perhaps emblematic of Smell, seated on a rocky stump with a basket of flowers in her lap, holding a posy stem in her right hand, small damages, 14.5cm. £100-200

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412. A Volkstedt figure of Diana, dated 1786, holding her bow in her left hand and with a quiver of arrows slung over one shoulder, her dog recumbent at her feet, raised on a low grassy base, the dog’s collar inscribed ‘JCW 1786’, 19.5cm. £500-700

413. A Samson figure group of The Betrothal, late 19th century, after the Meissen model by J J Kändler, the young man kneeling by his intended, before Cupid seated at a table and dressed as a merchant, raised on a low base, imitation crossed swords mark, some damages and restoration, 20cm high. £100-200

414. A Continental porcelain seven piece monkey band (affenkapelle), late 19th/early 20th century, each wearing a frock coat over an elaborately patterned waistcoat, including a cellist, a flautist, a violinist, a bagpiper, a trumpeter, a clarinet player and a conductor, gold anchor marks, some damages, 13.5cm max. (7) £200-300

415. A pair of Continental biscuit porcelain groups of putti, probably 18th century, each group of two putti with large fish, all raised on rocky bases, and a Sèvres-style biscuit figure of Cupid and Psyche beside a pillar, incised LL mark and signed ‘P. Bachelier’, damages, 30cm max. (3) £200-300

416. Four Meissen white-glazed figures of children gardeners, late 18th/early 19th century, one girl with flowers in her apron and a further bundle upon her head, another carrying a basket of vegetables, a boy digging with a small spade, and another holding a floral wreath, blue crossed swords and star marks to three, some small restorations, 12.5cm. (4) £300-500

417. Two miniature Meissen figures, 19th/20th century, one of a Turk brandishing a curved sword over his head, the other of a blackamoor wearing a turban, and a Meissen model of a sphinx recumbent on a stepped floral base, blue crossed swords mark, some restoration, 10cm max. (3) £200-300

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418. A near pair of Meissen figures of a shepherd and his companion, mid 18th century, each reclining on a low stump with legs outstretched, he holding the handle of a jug from which a plant issues, she the handle of a basket of flowers, a dog and sheep recumbent at their feet respectively, blue crossed swords marks, she marked 3 underneath, minor faults, 13.5cm high. (2) £1,000-1,500

419. A pair of Meissen Classical figures on pedestals, mid 18th century, probably modelled by J F Eberlein, one of Diana with a quiver of arrows on her back and her hound by her side, the other probably allegorical of Charity, holding one infant and with a further child hiding beneath her robe, each raised on a high moulded pedestal base with scroll corners, blue crossed swords marks, damages and repairs, 30.5cm. (2) £600-800

420. A Meissen biscuit porcelain figure of The Bowls Player, c.1900, modelled by Walther Schott, stooped in concentration and with a ball poised in her extended right hand, raised on a circular base, impressed crossed swords in triangle mark, incised Q180, some restoration to her right hand, 30cm. £250-350 Following the acclaim given to Walther Schott’s bronze of The Bowls Player at the 1897 Dresden Art Exhibition, Meissen bought the rights to produce the figure in porcelain.

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421. Five Meissen figures of dogs, modern, including three white-glazed models of a poodle, a bulldog and a terrier, a small polychrome model of a standing bulldog, and a Böttger stoneware model of a dachshund puppy, various marks, 21cm max. (5) £150-250 422. Six Meissen figures of birds, 20th century, all naturalistically modelled perched on tree stumps, including a sparrow, a bullfinch, a canary and a chaffinch, blue crossed swords marks, some restorations, 13cm max. (6) £250-350 421

422 423. Five Meissen models of birds, modern, naturalistically modelled of a bullfinch, a sparrow, a greenfinch, a siskin and a canary, all raised on low stumps, two with leafy branches, blue crossed swords marks, minor damages, 14.5cm max. (5) £200-300 424. Three miniature Meissen models of dogs, 20th century, two recumbent on low bases, one of a playful pug dog, and a small Meissen model of a tabby cat seated on its haunches with head turned to sinister, blue crossed swords marks, 7.8cm max. (4) £200-300

423

424 425. A pair of Meissen hunting groups, c.1775, one of a dog and a hare, the other of a fox and chicken, each towering over their prey, raised on pierced scrolled bases, blue crossed swords and star marks for the Marcolini period, minor damages and restorations, 6.5cm high. (2) £300-400 426. A Meissen model of a sea lion, modern, after the model by Otto Jarl, naturalistically modelled and resting on a rocky base, together with a Meissen model of a penguin, scratching its beak with one foot, blue crossed swords marks, 14cm max. (2) £300-400

425

426 427. A French porcelain figure group, 19th century, of a young child and a nanny goat, recumbent beside a tree stump on a shaped rectangular base, the horns broken and restuck, 20.5cm across. £100-150 428. Five Meissen figures of animals, 20th century, most white-glazed, two of squirrels perched on tree stumps with heads turned and tails erect, one of a bear crouched over his paws and eating, one of an owl perched on a low stump, and a small Böttger stoneware model of a hedgehog, underglaze blue and impressed crossed swords marks, 14.5cm max. (5) £100-200

427

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428

429. A Meissen model of a waxwing, 19th century, perched on a tall tree stump with head slightly turned to dexter, the plumage naturalistically decorated with bars of white and yellow to the wings and tail, cancelled blue crossed swords mark, some restoration to the leaves and beak, 24cm. £300-400

430. A Continental porcelain model of a parrot, 19th century, after Meissen, perched on a tall stump applied with flowers, its plumage brightly coloured and head slightly turned, blue crossed swords mark to the reverse, 31.2cm. £100-200

429

430

431

432

433

434

431. A large Meissen model of a gull, modern, modelled by Max Esser with wings outstretched, together with a Meissen model of a horse’s head by Eric Oehme, and a figure of a recumbent foal, all whiteglazed, cancelled crossed swords marks, 42.5cm max. (3) £150-250

432. Seven Meissen models of animals, 20th century, six white-glazed of deer, donkeys and young calves, one of a calf modelled in red Böttger stoneware, underglaze blue and impressed crossed swords marks, 21.5cm max. (7) £120-180

433. A Meissen model of a chaffinch, c.1775, naturalistically modelled perched on a low stump with wings folded and head slightly turned, blue crossed swords and star mark, a little restoration to the beak, 9.8cm. £200-300

434. A Meissen model of a German Shepherd dog, 20th century, seated on a rectangular base with ears pricked, its coat coloured tan and black, blue crossed swords and dot mark, impressed modeller’s mark to one corner, 18cm high. £200-300

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Chinese Armorial Porcelain 435. A pair of Chinese porcelain armorial octagonal plates, Qianlong c.1760, decorated in the famille rose palette with a coat of arms believed to be for the Ryder or Rider family of Yorkshire, a gilt chain border to the cavetto, the rims with four sprays of Oriental flowers, 23cm. (2) £200-400 Provenance: from the estate of the late Peter James Rankin.

Cf. David Sanctaury Howard, Chinese Armorial Porcelain, Vol. I, Q6, p.561.

436. A pair of Chinese armorial octagonal plates, Qianlong c.1750, decorated en grisaille with the arms of Montague quartering Monthermer impaling Richards with Richards in pretence, the shield with the motto Otium Cum Dignitate, within a gilt spearhead border, four floral sprays to the rim, 22.3cm. (2) £200-400 Provenance: from the estate of the late Peter James Rankin.

This service was made for George, the last Earl of Halifax, descended from the Dukes of Manchester, of Montague and of the Earls of Sandwich. For a full explanation cf. David Sanctuary Howard, Chinese Armorial Porcelain, Vol. I, L5, p.354.

437. Two Chinese armorial plates, Kangxi c.1720, one decorated with the arms of Cholmondeley impaling an unknown arms, within rouge de fer and gold bands, the rim with dragons and phoenix in a pale blue to emulate anhua decoration, the other with the arms of Stanley impaling Granville, the rim with famille verte flowers, 23cm max. (2) £250-350 Provenance: from the estate of the late Peter James Rankin.

Sir John Stanley of Grange Gorman near Dublin was created a baronet in 1699. He died without heirs in 1744.

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438. A Chinese porcelain armorial circular dish, Qianlong c.1795, decorated with the arms of Francis, Earl Annesley, the rim with a gilt and blue vine garland, the crest supported by a Roman Knight and a Moorish Prince above the motto Virtutis Amore, some damages to the rim, 25cm. £200-300 Provenance: from the estate of the late Peter James Rankin.

Francis Annesley, the 1st Earl of Annesley and 2nd Viscount Glenawly was born in 1740 and created an earl in 1789. He died in 1802. Cf. David Sanctuary Howard, Chinese Armorial Porcelain, Vol. I, F11, p.280.

439. A Chinese porcelain armorial custard cup and cover, Qianlong c.1795, decorated with the arms of Francis, Earl Annesley, the cover with a gilt and blue vine garland, the crest supported by a Roman Knight and a Moorish Prince above the motto Virtutis Amore, a chip to the inside footrim, 8.5cm.

(2) £200-400 Provenance: from the estate of the late Peter James Rankin.

440. A Chinese armorial deep saucer or sweetmeat dish, Yongzheng c.1730, painted in underglaze blue with lotus beneath weeping willow to the well, the exterior with the crest for the Nicholson family in coloured enamels between blue peony sprays, 14.4cm. £100-200 Provenance: from the estate of the late Peter James Rankin.

The service possibly made for Christopher Nicholson of Balrath, High Sheriff of County Meath in 1735, or for Richard Nicholson, a supercargo at Canton in 1724.

441. A Chinese armorial teabowl, Qianlong c.1750, painted in the famille rose palette with the arms of Langton, the reverse with sprays of European flowers, the interior with a red and gilt foliate band, 7.7cm dia. £50-100 Provenance: from the estate of the late Peter James Rankin.

This service was one of two made for Nicholas Langton of Danganmore, Co. Kilkenny, and of Cadiz in Spain. Cf. D S Howard, Chinese Armorial Porcelain Vol. I, p.952.

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442. A large Chinese armorial porcelain serving dish, Yongzheng, c.1730, painted in the famille rose palette with the arms of Carter to the well, the cavetto with prunus spray panels reserved on a green diaper ground, the rim with peony sprays, broken in half and very cleanly repaired, 34.2cm. £300-500 Provenance: from the estate of the late Peter James Rankin.

This service was probably made for The Rt. Hon. Thomas Carter of Robertstown in Co. Meath, variously Master of the Rolls, Secretary of State and Privy Councillor.

443. Three Chinese armorial plates, Qianlong c.1750-80, one with a shaped rim, painted with the arms of Langton of Co. Kilkenny, Ireland, the rim with an elaborate gilt and red border, one octagonal and decorated with the arms of Meares impaling Downes within famille rose flower sprays, the last an octagonal soup plate simply decorated with the arms of Cantillon above the motto Fortis in Bello, 23cm max. (3) £300-500 Provenance: from the estate of the late Peter James Rankin.

444. Two Chinese armorial octagonal serving dishes, Qianlong c.1755-75, decorated en grisaille with a central coat of arms for Templar within a spearhead border and a continuous floral garland to the rim, the smaller decorated in puce camaieu with a crest believed to be for Verelst above a central basket of flowers, the rim with bianco-sopra-bianco flower sprays, 32.5cm max. (2) £250-350 Provenance: from the estate of the late Peter James Rankin.

Henry Verelst of Aston Hall in Yorkshire became Governor of Bengal in 1767 and was a director of the East India Company in 1771. George Templar was in the East India Company Civil Service and owned Shapwick in Somerset.

445. Two Chinese armorial plates, one Kangxi c.1720 and painted with the arms of Carter of St Columb in Cornwall, the cavetto with simple landscape panels reserved on a gilt and red diaper border, the other Qianlong c.1748 and decorated with the arms of King of Rockingham within a gilt spearhead border, 23cm. (2) £250-350

446. A pair of Chinese armorial octagonal plates, Qianlong c.1770, painted with a coat of arms believed to be for Shepheard beneath the motto Mean Harm to None, the wells with sprays of famille rose flowers, further sprigs to the rims within gilt spearhead borders, some chipping, 23.5cm. (2) £80-120

Provenance: from the estate of the late Peter James Rankin.

Provenance: from the estate of the late Christopher Sheppard. Paper labels for the Diana Edwards Collection.

The first service was perhaps made for the Rt Hon Thomas Carter, Master of the Rolls and a Privy Councillor who married in 1719, while the second service is believed to have been made for Robert King around the time that he was elevated to the Irish peerage as Baron Kingsborough.

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Cf. D S Howard, Chinese Armorial Porcelain, Vol. I, p.522, P.24.

The Geoffrey Godden Collection of Chinese Export Porcelain Some of the reference collection being sold here was assembled to assist in the writing of Mr Godden’s 1979 publication, Oriental Export Market Porcelain and its Influence on European Wares, a book which has remained especially popular with ceramic collectors and historians. The remainder, the bulk of the items, were purchased for a follow-up reference work which never got written.

The collection includes a variety of examples of Chinese porcelains spanning the18th century and demonstrating both the influence on the production of English porcelain, and the change in European taste throughout the 1700s. From the blue and white shipwreck and cargo wares of the early 18th century, through bespoke armorial and crested wares, to bright polychrome Mandarin patterns, porcelain enthusiasts will find their imagination captured by the evolving style of shape and decoration as the enormous buying power of the East India companies wrought its influence.

Collectors of Bow, Worcester, Liverpool and Lowestoft porcelains will recognise original copies of patterns well-known at these factories.

For example, the Jumping Boy saucers in lot 482 were copied especially faithfully by Richard Chaffers at Liverpool, while Worcester pencilled their own version of a Boy on a Buffalo pattern derived from objects such as the teapot in lot 481 (see lot 494 for the Worcester version). The hexagonal saucer in lot 454 was copied by Worcester c.1754, and the Mandarin designs in lot 452 were picked up by several factories from the 1760s onwards.

As would be expected, the collection has been put together with an educated and appreciative eye, and the whole offers wonderful scope for further research and development.

447. A rare Chinese porcelain armorial dish, dated 1791, of small size, painted with the quartered arms of Chadwick within blue and gilt borders, the reverse inscribed ‘Canton in China 24th Jan. 1791’, 15.9cm. £200-300 The arms are those of the old Staffordshire family of Chadwick quartering the ancient family coats of Malvesym, Carden and Bagot. Cf. D.S.Howard, Chinese Armorial Porcelain, Vol II, W1, p.741.

448. Two Chinese export porcelain breakfast teabowls and saucers, late 18th century, and three similar coffee cups, decorated in the European manner with suspended shields decorated with flowers or monograms, one with central blue and gilt vases, a Chinese armorial coffee cup with the crest of a swan, and a saucer with a monogram between tied swags, 14.2cm max. (9) £100-200

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449. A Chinese export porcelain punchbowl and guglet, 18th century, painted in the European manner with a suspended shield bearing the monogrammed initials JSM in blue and gilt, and a similarly decorated large mug with the initials JS, 29cm max. (3) £100-200

450. Four Chinese porcelain tea canisters, 18th century, one square with chamfered corners and painted with famille rose flower sprays, one hexagonal and enamelled with birds and insects in peony branches, one moulded with chrysanthemum petals and applied with grapevine, the last ovoid and painted with European flower sprays, the last two with covers, some damages, 14cm max. (6) £200-300

450

451

451. A Chinese export porcelain slop bowl, dated 1750, decorated en grisaille and in gilt with monogrammed initials within stylized foliate motifs, bearing the date 20/9/1750, a European subject teapot and tea canister and cover, similarly decorated with Jupiter holding a thunderbolt and Juno with a peacock, beneath an elaborate border, some damages, the teapot’s spout a replacement, 19.2cm max. (4) £150-200

452

453

452. A small collection of Chinese export porcelain tea wares, 2nd half 18th century, decorated in the Mandarin palette with scenes of Chinese figures in garden settings, within elaborate scrolled borders of landscape panels and floral motifs on gilt or diaper grounds. Comprising: a saucer dish, a milk jug, a rare salt, two saucers, a coffee cup and an ogee shape cup. (7) £150-250

454

455

456

457

Elements of the designs shown here were picked up and recreated on New Hall (especially the Boy in the Window pattern), and also on Swansea pieces from c.1815-17 which echoed the elaborate border as well as the palette used.

453. A small collection of Chinese blue and white export porcelain, 18th century, decorated with dense scenes of Chinese pagoda landscapes within Fitzhugh and cell diaper borders, including a teapot stand, a small plate, two cups, a teabowl and a custard cup, three pieces with traces of European gilding, 17.6cm max. (6) £30-50 Patterns of this type were widely copied at many English factories, especially when transfer printing began, and elements of these landscapes are widely recognisable in today’s Willow Wares.

454. A Chinese export porcelain teabowl and saucer, 18th century, painted in underglaze blue and overglaze red with birds in bamboo and prunus, a similar saucer in the Imari palette, a Batavian ware saucer with later red enamel decoration, a jug and cover with later European decoration in red and gilt, and a hexagonal saucer decorated with panels of auspicious objects, some damages, 13.5cm max. (7) £80-120

455. A small collection of Chinese export porcelains, 18th century, two saucers decorated with peony sprays, a bird and auspicious objects, a fluted sauceboat with similar decoration to the interior, a large cylindrical mug with raised decoration and sprays of European flowers, a jug with similar painted decoration, a small jug and cover painted with a tied bouquet in the European manner, an octagonal tea cup, and a bowl cover, some damages, 20cm max.

(9) £50-100

456. Four Chinese porcelain teabowls and saucers, 18th century, two from the Ca Mau cargo, variously painted with Chinese figures beneath willow trees, one octagonal and simply painted with a landscape, one of miniature size decorated with two buffalo, another saucer from the Ca Mau cargo decorated with the Search for Plum Blossom pattern, and a lobed saucer painted with an equestrian figure, 11.6cm max. (10) £100-200

457. Two Chinese export porcelain patty pans, 17th/18th century, one decorated with a stag within a panelled Kraak type border, the other with a pagoda landscape, a jug painted with a vase of auspicious objects on a low table, a small bowl from the Tek Sing Cargo, and an undecorated ovoid tea canister from the Nanking Cargo, encrusted with coral and other sealife, 13cm max. (5) £100-150

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458. Two Chinese export porcelain trios and other teawares, 18th century, one trio decorated in the Bristol manner with green and black flower swags, one fluted with European flower sprays within green and gilt bands, a teabowl and saucer decorated with grisaille and gilt flowers, a similar coffee cup, a teabowl and saucer with European flower garlands, three saucers various decorated, and two teabowls painted with figures and flowers, 14cm max.

(16) £100-200

459. Four Chinese export porcelain teabowls and saucers, 18th century, three variously decorated with sprays of European flowers, the last with peony and chrysanthemum, a coffee cup and saucer with later floral panels sympathetically added to an underglaze blue design, a saucer well decorated with Chinese figures, a white-enamelled saucer and a similar teabowl, minor faults, 14.2cm max. (13) £100-200

460. Four Chinese export porcelain blue and white teabowls and saucers, 18th century, one from the Cau Mau cargo with figures in a landscape, one from the Nanking Cargo with a pagoda landscape, one of large size with a formal design, one Batavian ware, an ogee shape large cup and saucer with a pagoda landscape, and a coffee cup and saucer with a formal design, old paper labels to the base for ‘Oriental Lowestoft’, 14cm max. (12) £100-200

461. A collection of Chinese export porcelain blue and white tea wares, 18th century, with later European gilding, variously decorated with pagoda landscapes. Comprising: two teapots and covers, a saucer dish, a plate, two saucers, a teapot stand, a milk jug, two coffee cups and three teabowls. (15) £150-250

458

459

460

461

462

464

463

465

462. A small collection of Chinese export porcelain tea wares, 2nd half 18th century, decorated in the famille rose palette, a teabowl and saucer painted with a cockerel amidst peony, a similarly decorated coffee cup, a cup and saucer and a milk jug painted with Chinese figures, a cup painted with a figure and a buffalo, and a small jug with later English enamelling of Oriental flowers in panels, some faults, 12.2cm max. (8) £100-200

463. A small collection of Chinese export porcelain, 18th century, decorated in the European manner with sprays of polychrome flowers within pink diaper and pink scale borders, including a plate, a saucer, two small bowls, a covered jug, another jug, and a coffee cup, 23.5cm max.

(8) £100-200

464. Two Chinese export porcelain small dishes, 18th century, painted in underglaze blue with peony and other floral sprays, a saucer with similar decoration, a jug with tangled stems of flowers, and a pistol-grip knife handle decorated with European flowers, one dish and the jug with traces of European gilding, 27.8cm max. (5) £80-120

465. A small collection of Chinese export porcelain blue and white teawares, 18th century, variously decorated with flowers, figures, birds and formal designs, including a teabowl and saucer, a moulded teabowl and saucer mounted with silver as a cup, two teabowls, four saucers, a capuchine and a small mug, some damages, 13.5cm max. (12) £100-200

466. A Chinese export porcelain part tea service, 2nd half 18th century, decorated in the European manner with dragonflies in flight above tied censers of flowers within gilded garlands, en grisaille and in gilt. Comprising: a teapot and cover, a sugar bowl and cover, a milk jug and cover, a slop bowl, a coffee cup, a teabowl, a saucer, a saucer dish and an English porcelain plate in the same pattern, made as a replacement. (12) £100-200

467. Five Chinese export porcelain teapots and covers, 18th century, one decorated for the European market with an elaborate gilt monogram over chrysanthemum moulding, another similarly moulded and painted with floral panels, one Batavian ware with peach and fan-shaped panels of figures, one decorated in the Mandarin palette with figures in a garden, the last miniature and painted with peony, 17cm max. (10) £200-300

468. Three Chinese export porcelain spoon trays, 18th century, two shell-shaped pickle dishes and a patty pan, all decorated in underglaze blue, variously with figures in pagoda landscapes, with peony sprays, and one with a formal floral design, 12.8cm max. (6) £100-200

469. Two Chinese export porcelain teapot stands, Qianlong 173695, and three spoon trays, one stand painted with a vase of European flowers within a blue Fitzhugh border, the other with Chinese figures seated around a table, one spoon tray painted in the Mandarin style with figures, one en grisaille with a Chinese landscape, the smallest of toy size and decorated with birds, one broken and restuck, 13.2cm max. (5) £100-200

470. Two Chinese porcelain blue and white teapots and two jugs, 18th century, one teapot of rounded square form and applied with European silver mounts, the other lacking its cover and painted with prunus sprays, a helmet ewer painted with a pagoda landscape, a covered jug moulded with lotus petals and with European silver mounts, and a miniature vase mounted in silver as a teapot, 13.5cm max. (7) £100-200

471. Four Chinese export porcelain plates, 18th century, painted in the famille rose palette with peony and rockwork beside ornamental fences, one with two figures and a deer, another with auspicious objects, and a small bowl with flowers and pink diaper panels, some damages, 23.4cm max. (5) £100-150

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472. Two Chinese porcelain coffee pots, 18th century, one painted with Chinese figures in a garden setting, one playing the flute and another preparing tea, the other with large famille rose chrysanthemum sprays, fitted with an English silver and wood handle, hinged to the cover, the other cover lacking, 25cm max. (2) £100-200

473. A Chinese export porcelain European subject tea canister and cover, 18th century, the ovoid form depicting Dutch or English traders in a harbour scene, and a milk jug commemorating a marriage, painted with a couple holding a heart above gilt monogrammed initials, some faults, 12.2cm max. (3) £100-200

474. A Chinese export porcelain punchbowl, 18th century, painted in underglaze blue with panels of Chinese figures reserved on a cracked ice ground, with overglaze red highlights, two plates, one with a formal design, the other with a moulded rim, and a straining dish for the European market, some damages, 26.5cm max. (4) £50-100

475. A pair of Chinese export porcelain blue and white meat platters, 18th century, painted with long-tailed birds perched on rockwork beneath prunus and peony sprays, the shaped rims with further floral sprays, and an octagonal plate painted with similar flowers within a formal border, 28.2cm max. (3) £80-120

476. A Chinese export porcelain plate, 2nd half 18th century, finely painted with sprays of European flowers within a reticulated border, and a coffee cup painted with three brightly coloured exotic birds beneath a gilt chain border, 23.5cm. (2) £100-200

477. A Chinese export porcelain strawberry dish, 18th century, painted in underglaze blue to imitate Worcester’s Pinecone pattern, an octagonal plate painted with a European landscape scene, and another plate from the Nanking Cargo decorated with a Chinese landscape, 23.3cm max. (3) £100-200

Plates of this type are known in Meissen and were copied by Longton Hall.

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478. A Chinese export porcelain European subject milk jug, Qianlong 1736-95, painted with a continuous scene of traders at the East India port of Surat, 10.5cm. £100-200

479. A Chinese export porcelain coffee pot and cover, Qianlong 1736-95, finely painted with four Chinese figures taking tea in a garden setting, with a puce monochrome landscape panel beneath the handle, reserved on a diaper ground, 23.2cm. (2) £100-200

480. A Chinese porcelain blue and white teabowl and saucer, Kangxi 1662-1722, of large size, painted with a scene of Guanyin nursing a baby beneath birds perched on tall chrysanthemum sprays, with two small attendants beside, a flowerhead mark to the base, 13.8cm. (2) £50-100

481. Three Chinese export porcelain pear-shaped teapots, 18th century, one painted in underglaze blue with the Boy on a Buffalo pattern, one side with the eponymous figure chasing a butterfly, the reverse with a single buffalo beneath willow, a fluted teapot painted with chysanthemum and peony sprays, and a teapot from the Ca Mau Cargo, left in the white, some faults, 15cm max. (6) £100-200

482. Two Chinese porcelain blue and white saucers, Kangxi 16621722, painted with the Jumping Boy pattern of a small boy and his mother, one with a peony panel and diaper border the other with a simple border of auspicious objects, four character marks, 10.5cm.

(2) £80-120

483. A Chinese export porcelain European subject saucer, Qianlong 1736-95, painted with the Judgment of Paris, the eponymous hero offering the golden apple to Venus flanked by Juno and Minerva, with Cupid beside, rim cracks, 12cm. £100-200

End of Collection

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484. An unusual Chinese porcelain saucer, 18th century, painted with ducks at the water’s edge, a further in flight above and one having taken to the water, beside a spray of pink peony, 13.5cm. £50-70

485. A Chinese porcelain Europeandecorated teabowl, 18th century, the lobed shape with faint anhua lines and originally enamelled in white with flower sprays, later painted in Europe in puce monochrome with a lady in Western dress standing in a garden, the interior with a landscape scene, mounted on an ormolu tripod stand, the teabowl with a hairline crack, 7.5cm overall. £100-200

486. A Worcester sucrier and cover, c.1770, of fluted form, later decorated with bright moths and sprays of spotted fruit within feathered sea green borders, the interior with a large butterfly, 12cm high. (2) £100-200

487. A Worcester teabowl and saucer, c.1765, brightly painted with the Hibiscus pattern of Oriental flowers within an iron red crowsfoot border, starcrack to the saucer, 12.7cm. (2) £100-150

488. A Worcester slop bowl, c.1760, painted in polychrome enamels with a large flower spray and further scattered single stems, the interior with further flowers and a fruiting gourd vine, 15.2cm dia. £150-200

489. A Worcester bell-shaped mug, c.1770, painted with shaped cartouches of fancy birds reserved on an apple green ground, the interior rim with formal gilt borders, the decoration perhaps later, 8.4cm. £400-600

490. A Bow slop bowl, c.1765, printed and coloured with Chinese figures, one side seated before large vases and stands, the reverse with figures in a garden with a cockerel, some wear, 15.7cm. £100-200

491. A Derby dolphin ewer sauceboat, c.1765-70, with shell moulding, beneath the spout moulded with two entwined dolphins with a trident, painted in polychrome enamels with sprays of English flowers, brown line rim, a few small rim nibbles, 15.5cm across. £100-150

492. A fluted Worcester plate, c.1770-75, decorated with the Kakiemon Two Quail pattern, square seal mark, some wear, 18cm. £150-250

Provenence: the Geoffrey Godden reference collection.

Exhibited: English Ceramic Circle Exhibition, 2006, no. 54.

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Provenance: from a private collection in London.

493. A pair of Worcester armorial dessert plates, c.1772, each painted probably in the atelier of James Giles with the arms of Calmady, a winged horse above and azure shield with three golden pears, below a banner bearing the initials WC, the shaped rims with a gilt dentil border, 23cm. (2) £800-1,200 Provenance: from the estate of the late Peter James Rankin.

The service is believed to have been made either for Captain Warwick Calmady (1711-88) or else his illegitimate son, also named Warwick (175380). Warwick Junior married his cousin Pollexfen and a tea and dessert service descended through her family until they were sold in 1985.

494. A Worcester teabowl and saucer, c.1754, pencilled in black with the Boy on a Buffalo pattern, after a Chinese original, a youngster seated on the back of a water buffalo beneath a gnarled pine tree, workman’s mark to the base of the teabowl, 12cm. (2) £400-600

495. A Worcester dolphin ewer creamboat, c.1765-68, of traditional form, moulded beneath the spout with two dolphins with tails entwined, the handle formed as a lamprey, picked out in polychrome enamels, a single blue flower sprig to the inside spout, minor faults, 9.1cm across. £250-350 Cf. Bonhams, The Zorensky Collection of Worcester Porcelain Part I, 16th March 2004, lot 218 for a similar example.

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496. A Pennington (Liverpool) teabowl, c.1780, printed in black with Serenade to one side, and La Cascade to the other, a Bow white-glazed coffee cup applied with prunus sprigs, and a Liverpool coffee cup painted in polychrome enamels with Chinese figures, minor damages, 7.5cm max. (3) £100-200

497. Two Liverpool porcelain coffee cups and a coffee can, c.1770-80, one cup painted with a large polychrome flower spray, another in blue with peony and bamboo issuing from a fence, the coffee can with two simple floral sprays, a blue and white sparrowbeak jug printed with the Gilliflower pattern, and another painted with polychrome flowers, minor damages, 9cm max. (5) £120-180

498. Three Liverpool porcelain coffee cups and two teabowls, c.1770-80, two blue and white Pennington’s cups painted with pine and prunus trees in an Oriental landscape, a polychrome coffee cup painted with two Chinese figures beside a tree, one teabowl painted in polychrome enamels with a large flowering peony spray, the other printed and coloured with Oriental figures in garden settings, some minor damages, 8.5cm max. (5) £150-250

499. Three English porcelain coffee cups, 2nd half 18th century, one Worcester with Warmstry fluting, painted with the Sir Joshua Reynolds pattern, another Worcester gilded with flower swags, the last Pennington’s (Liverpool) painted in polychrome enamels with the Scolding Woman pattern, with a moulded scrolled handle, 6.3cm max. (3) £300-500

500. A William Reid (Liverpool) teabowl, c.1756-58, decorated in the Imari palette with peony sprays issuing from holey rockwork, the interior rim with an iron red feathery border, and a Liverpool coffee cup, Christian or Pennington, decorated with the Profile Bud pattern, 8cm max. (2) £100-200

501. A Worcester moulded sauceboat, c.1775, the moulded arches painted with a colourful bird to each side, a Worcester saucer painted with sprays of polychrome flowers within a shaped apple green border, blue crossed swords and 9 mark, and a tall spiralmoulded creamer painted with flowers, some faults, 13.2cm max. (3) £150-250

502. A Worcester sparrowbeak milk jug and a pickle dish, c.177585, the jug painted with a large pink chrysanthemum spray and single scattered sprigs, the leaf-shaped pickle dish printed in blue with the Gilliflower pattern, open crescent mark to the latter, 9cm. (2) £200-300

503. A Worcester teapot and cover, c.1770, the globular body painted in polychrome enamels with colourful flower sprays beneath a red crowsfoot border, and a similarly decorated sparrowbeak milk jug, some chipping, 19cm max. (2) £120-180

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504. A Worcester dessert dish, c.1780, of kidney shape, painted in polychrome enamels with a peacock and other fancy birds within an osier-moulded and gilt dentil rim, and a Worcester cup and saucer painted with floral vignettes within a blue and gilt shaped rim, open crescent marks, some faults, 26cm max. (3) £200-300

505. A Worcester cabbage leaf jug, c.1775, the moulded form decorated with cobalt blue and gilt stripes, open crescent mark, and a Derby slop bowl of fluted form, decorated with blue and gilt bands, puce crowned D and crossed batons mark, 17cm max. (2) £100-150

506. Three Worcester leaf dishes, c.176070, a small pair of cabbage leaf dishes edged in green and with purple veining, and a double-leaf dish painted with the Chinese Musicians pattern within a gilt spearhead border, some damages and restoration, 24cm max. (3) £150-250

507. A Worcester chocolate cup with cover and associated stand, c.1770, the ogee forms decorated with panels of polychrome flower garlands within formal gilt borders reserved on a wet blue ground, open crescent and square seal marks, 14.5cm. (3) £100-200

508. A Chinese porcelain milk jug, 18th century, with European decoration perhaps from the workshop of James Giles, of fancy birds perched and in flight among leafy and berried branches, and a Chamberlain’s Worcester spiral-moulded teabowl painted with a bird after the Sir Joshua Reynolds pattern, the jug’s handle restored, 10.2cm max. (2) £80-120

509. A Worcester teapot and cover, c.1770, painted to each side with a Chinese lady between two boys, within a panel reserved on a gilt swirl ground, beneath the spout and handle with a puce monochrome landscape, a chip to the cover, 19cm. (2) £100-200

510. A Worcester saucer dish, c.1770, painted with the Royal Wedding pattern of three differing floral swags around a turquoise caillouté band, open crescent mark, 19.7cm. £200-300

511. A New Hall teabowl and saucer with matching saucer dish, c.1790, decorated in pattern 421 of Chinese figures in a garden, a boy trying to catch a butterfly, and a pearlware teabowl and saucer decorated in the same pattern, some faults, 21.4cm max.

(5) £80-120

512. A Chelsea-Derby shaped dish, c.1770, painted in green monochrome with swags of flowers suspended from puce rings, puce anchor mark, 27.2cm. £80-120

The pattern was so named when a service of this type was presented by the Borough of Cheltenham to HRH Queen Elizabeth and the Duke of Edinburgh on their wedding in 1948.

Provenance: from the estate of the late Peter James Rankin.

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513. A pair of Worcester dessert dishes, c.1770, of lobed oval form, painted with panels of Oriental flowers in the Kakiemon palette, reserved on a blue scale ground, square seal marks, 25.7cm.

(2) £150-250

514. A pair of Caughley stands or dishes, c.1790, of quatrefoil form, decorated with a single gilt sprig to the centre within a wide band of gilt dots, 23.5cm. (2) £80-120

515. A near pair of Chelsea plates, c.1760, each painted with a spray of flowers and further single scattered sprigs, the feathered rims picked out in brown and green, brown anchor marks, one broken and restored, 21.3cm. (2) £150-200

516. A pair of Chelsea-Derby plates, c.1772, painted in the manner of Richard Askew, each with a putto in puce monochrome, seated on clouds, within elaborate borders of flower garlands, C scrolls and pink rose roundels, 21.2cm. (2) £200-300

517. A Chelsea hexagonal vase, c.1765, the slightly flattened body painted with two wide panels of exotic birds perched in tall leafy branches, the narrower sides applied with rococo scrolling handles and painted with a pair of birds in flight, gold anchor mark, some restoration, 21cm. £100-200

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518. Two Chamberlain’s Worcester plates, c.1790, one painted in sepia monochrome with monastic ruins on a hillside, titled in gilt with ‘Baccarah Church on the Rhine’, the other painted by George Davis with a peacock and other fancy birds, within spiral moulded rims decorated with gilt husks and oval designs on blue borders, gilt factory marks, the latter restored, 21.7cm. (2) £200-300 519. A Derby fluted sauceboat, c.1760, moulded with wide flutes, painted with colourful sprays of flowers and single sprigs, the handle with a stylized puce scroll, brown line rim, 19.7cm across. £150-250

517

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520. A small Chelsea silver-shaped dish, c.1758, the moulded oval form finely painted with fruiting branches of plum and cherry, with small strawberry sprigs, and with two sprouting onion bulbs, brown anchor mark, 21.3cm. £400-600

521. A rare Chelsea lemon box and cover, c.1754, modelled as a large citrus fruit forming part of a posy with stems of flowers around, tied with an orange ribbon, the cover with a rosebud finial, some restoration, 18.5cm. (2) £500-800 Cf. Elizabeth Adams, Chelsea Porcelain, p.101 for a similar example.

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523 522. A Worcester tea cup and unusual saucer, c.1780-85, painted with the Royal Wedding pattern of three differing floral swags around a turquoise caillouté band, the saucer with a slight trembleuse to the well, the cup with a twist handle, open crescent marks, 13.4cm. (2) £200-300 The pattern was so named when a service of this type was presented by the Borough of Cheltenham to HRH Queen Elizabeth and the Duke of Edinburgh on their wedding in 1948.

523. 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. £150-250 524. A Chelsea botanical plate, c.1758-60, painted with a large stem bearing red flowers with three scattered nuts around, the feathered rim picked out in green and brown, brown anchor mark, some wear, a chip to the rim, 21.3cm. £100-200

524

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525. A Worcester saucer, c.1760, printed in black with three birds, two perched on a sparse branch, the third beneath them on a low rock, 12.2cm. £150-200

526. A Worcester saucer, c.1758-60, printed in black with a thrush and a robin perched on a rough wooden fence, two more birds in flight above, a fifth perched on the branch of a tree in the distance, 12.2cm. £150-200

527. A Worcester saucer, c.1758, printed in black with a cock and hen with three chicks, three further birds in flight above, based on a design by Francis Barlow, 12.3cm. £150-200 Paper label for the Bayley Collection.

Cf. Cyril Cook, Supplement to The Life and Work of Robert Hancock, no.170 for the print from The Ladies Amusement.

528. A Worcester coffee cup and saucer, c.1765-70, printed in puce monochrome with scenes of Classical ruins, the saucer with a prominent statue before the Temple of Peace, the cup with figures before further ruins and in a rural landscape. £150-200

529. Two Worcester fluted teabowls and saucers, c.1770, one spiral-fluted with a gilt rim, the other with a black rim, both printed in black with figures before Classical ruins, 14cm. (4) £200-300

530. A Worcester coffee cup, c.1760-65, printed in black with Les Garcons Chinois pattern of chinoiserie figures perched on rococo scrollwork, 6.5cm. £200-300

532. A Worcester leaf-shaped dish, c.1760-65, printed in black with figures in a rural landscape, crossing an arched bridge, fishing from the riverbank, and promenading before buildings, framed to one side by a tall curved tree, 26.7cm. £200-300

533. A large Worcester dessert dish, c.1770-75, printed in black with two figures and a dog beside the water’s edge, a statue of Hercules beneath a Classical ruined arch and further ruins behind, the rim with garlands of fruit and flowers, a few tiny rim chips, 27.8cm. £200-300

Provenance: paper label for the Zorka Hodgson Collection.

Cf. 18th Century English Transfer-Printed Porcelain and Enamels, The Joseph M Handley Collection, p.170, no.5.20 for the cup’s prints, p.157 for the 1753 engraving by J S Müller after Panini, showing from where the saucer’s print derives.

531. A Worcester dessert dish, c.1770-75, printed in black with an unknown scene of two figures seated beneath Classical ruins, the rim with arrangements of fruit and flowers, a little restoration to the rim, 25.8cm. £180-220 Illustrated: 18th Century English TransferPrinted Porcelain and Enamels, The Joseph M Handley Collection, p.164.

Provenance: The E & J Handley Collection.

Klaber & Klaber, London, June 1989.

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Paper label titled ‘Ex Mullens Collection’.

Paper label for the E & J Handley Collection.

534. A Longton Hall bell-shaped mug, c.1758-60, printed in black with the arms of the Ancient and Honourable Society of Bucks, signed ‘Sadler Liverpool’, between smaller prints of Justice and Fame, some damages, 12.5cm. £400-600 The print is after an engraving by H Copeland, dated 1748 and is attributed to Jeremiah Evans. The same print can be found on Worcester porcelain and also on Liverpool porcelains and creamwares. It is likely that Sadler bought Longton Hall blanks in the last years of the factory.

536. A Worcester small mug, c.1760, the bell-shaped body printed in black with La Terre, three Chinese figures potting up exotic plants in a garden landscape, between scattered moths and butterflies, cracked, 8.8cm. £400-600 Cf. 18th Century English Transfer-Printed Porcelain and Enamels, The Joseph M Handley Collection, no.4.7 for a similar mug also printed with Le Feu, both after a design of the four elements by P. Aveline after Boucher.

535. A good Worcester King of Prussia mug, dated 1757, printed black with a titled portrait of Frederick II of Prussia pointing towards an arrangement of victory motifs issuing three banners listing nine of his victories, signed in the print R H Worcester for Robert Hancock, and with an anchor rebus for Richard Holdship, 8.6cm high. £250-350 Provenance: from the estate of the late Peter James Rankin.

537. A Worcester bell-shaped mug, c.1765, printed in puce monochrome with sprays of fruit and flowers, including pear, apple and gooseberry, with a grooved strap handle, 11.8cm. £150-250 Provenance: Bonhams, The Sir Jeremy Lever Collection of Worcester Porcelain Part II, 23rd January 2008, lot 227, and The Zorensky Collection of Worcester Porcelain Part I, 16th March 2004, lot 273.

538. A small Worcester bell-shaped mug, c.1760, printed in black with a rare print of The Harvesters by Robert Hancock, three figures holding rakes and pitchforks and chatting after a hard day’s work, the reverse with The Minuet after a design by Francis Hayman, some faults, 8.3cm. £400-600 Cf. Phillips, The Norman Stretton Collection, 21st February 2001, lot 28 for a restored mug with the same prints.

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539. Two Derby figural candlesticks, c.1765-70, each modelled as Mars standing before a tall flowering stem supporting a single sconce, raised on a scrolled base highlighted with green and gilt, some damages and repairs, 26cm. (2) £150-250

540. A Bow figure of a female musician, c.1760, seated on a low stump and playing the flute, wearing a flowered skirt, raised on a high rococo scrolled base applied with flowers, some good restoration, 15.5cm. £150-250

541. A large pair of Derby candlestick figures, c.1760-65, of a gallant and his companion each standing before flowering bocage with baskets of flowers, raised on tall scrolling bases highlighted in green and gilt, some restoration, 32cm. (2) £200-300

542. A pair of Derby figures of Mars and Minerva, c.1760, standing in warlike poses, Mars frowning and with one hand resting on his right hip, Minerva resting her left hand on her shield bearing the face of the Gorgon, some good restoration, 17.5cm. (2) £150-250

543. A Bow figure emblematic of Liberty, c.1755-60, modelled as a man standing and supporting a bird aloft, a sheep recumbent at his feet, raised on a tall scrolled base, damages and restoration, the bird lacking, 24.5cm. £100-200

544. A matched pair of Derby figures of Shakespeare and Milton, late 18th/early 19th century, each leaning on one elbow resting on a stack of books above a pillar, Shakespeare pointing towards a scroll inscribed in gilt with lines from The Tempest, Milton holding a scroll bearing words from Paradise Lost, each on a chamfered rectangular base, iron red mark to one, incised No 297 and No 305, 25cm.

(2) £200-300

545. Five Derby porcelain figures, c.177080, one of a lady seated and playing the mandolin, another of a girl with an apron of flowers standing before flowering bocage, three of putti standing with baskets of flowers, some damages and repairs, 19.5cm max. (5) £150-250

546. A Derby figure of Mars, c.1765, modelled as a Roman centurion, standing beside a flag on a low base applied with scrolled leaves and flowers, damages and restoration, 17cm. £40-60

547. A pair of Bow figures of musicians, c.1770, he playing the flageolet, she dancing beside a lamb, both before flowering bocage, red anchor and dagger marks, damages and repairs, 18cm. (2) £100-200

Provenance: from the estate of the late Peter James Rankin.

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548. A pair of Bow figures of children, c.1760, dressed in Turkish costume patterned with flowers, raised on low bases applied with flowers and leaves, some restoration, 12.8cm. (2) £150-250

549. A small matched pair of Derby figures of children, c.1765, dressed as Harlequin and Columbine in bright chequered outfits, raised on low bases applied with flowers, some restoration, 11.5cm. (2), £250-350

550. Two Chelsea porcelain candlseticks, c.1758-60, each modelled with two playful lambs at the base of a trunk entwined with flowering branches, supporting a single sconce, all raised on low scrolled bases, some restoration, 21.5cm. (2) £200-300

551. A large pair of Derby candlestick figures, c.1765-70, of a gardener and his companion, he with a basket of flowers behind him and holding a spray of pears in his left hand, she with an apron full of fruit, each supporting a sconce atop a branch entwined with flowers, raised on scroll bases, some good restoration, 25.5cm. (2) £200-300

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552. A pair of Worcester blue and white baskets and stands, c.1770-80, printed with the Pinecone pattern, the circular baskets applied with flowerheads to the exteriors, hatched crescent marks, 19.5cm. (4) £200-300

553. Fourteen blue and white Worcester dessert plates, c.177080, printed with the Pinecone pattern, the shaped rims with five differing floral sprays, hatched crescent marks, 24.5cm. (14) £450-600

554. A Richard Chaffers (Liverpool) teabowl and saucer, c.176064, painted with a spray of rose and a butterfly, and five other Chaffers saucers decorated with variations of Chinese landscapes, four with hatched or diaper borders, 12.4cm max. (7) £200-300

555. Five Lowestoft blue and white saucers, c.1770-80, one painted with small buildings in a Chinoiserie landscape, one with a rare pattern of flowering peony issuing from a zig-zag fence, three painted with the Mansfield pattern, one with an open crescent mark, another with a workman’s mark, 12.7cm max. (5) £200-300 Cf. Simon Spero, The Simpson Collection of Eighteenth Century English Blue and White Miniature Porcelain, p.34 for a teapot in the peony and fence pattern.

556. Three Worcester blue and white saucers, c.1755-65, two moulded and painted with the Chrysanthemum pattern, the other with the Fisherman and Willow pattern in strap-moulded panels, workman’s and open crescent marks, and two Bow saucers, one painted with peony and bamboo, the other with an Oriental river landscape, some damages, 13.7cm max. (5) £120-180

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557. Five Worcester blue and white saucers, c.1755-60, variously moulded with different types of reeding and feathered or herringbone designs, painted with sprays of flowers and with continuous floral bands to the rims, workman’s marks, a section of one rim broken out and restuck, 12.3cm max. (5) £150-250

558. A Worcester blue and white teapot and cover, c.1780-90, printed with the Bat pattern, the eponymous creatures in flight above vases of flowers and an ornamental fence, disguised numeral mark, minor faults, 20cm. (2) £120-150

559. A large Worcester blue and white mug, c.1758-60, the cylindrical body flaring to the foot and applied with a grooved strap handle, painted with the Walk in the Garden pattern, workman’s mark to the inner footrim, 14cm. £150-250

560. A small Worcester blue and white teapot and cover, c.1765, the globular body painted with the Mansfield pattern, the cover with a simple knop finial, open crescent mark, the end of the spout chipped and fitted with a metal cover, 16cm. (2) £100-200

561. A Worcester dessert basket, c.1775, painted in dry blue with sprays of flowers including auricula, tulip and convolvulus, the exterior applied with flowerheads highlighted in blue and gilt, the twist handles issuing from further applied flowers, 21.5cm. £300-500

562. A Liverpool blue and white teapot, c.1760-70, Chaffers or Christian, painted to each side with a figure fishing from a jetty beneath trees, the spout broken, the cover lacking, 17cm. £80-120

563. A Worcester blue and white slop bowl, c.1765, painted with the Cannonball pattern, one side with round rocks before a pagoda, the reverse with a further pagoda beneath gnarled trees, open crescent mark, 15.5cm dia. £80-120

564. A Worcester blue and whuite mask jug, c.1765, printed with the Natural Sprays group of loose rose, chrysanthemum and convolvulus flowers, open crescent mark, some chipping, 17.5cm. £100-150

565. A Worcester blue and white fluted sauceboat, c.1780, painted to the interior with the Full Moon pattern, the celestial body in the sky above a figure on a bridge in a Chinese river landscape, the exterior with flower sprays beneath a formal border, 20.7cm. £100-150

566. A large Lowestoft blue and white jug, c.1790, finely printed with a Chinese landscape pattern of a multi-storeyed pagoda beside tall trees and rockwork, small figures and boats beside, the rim with an elaborate cell diaper border, the spout fitted with a strainer, the cover lacking, a small chip to the spout, 19.2cm. £150-200 Cf. Sheenah Smith, Lowestoft Porcelain in Norwich Castle Museum, pl.18, no.210 for an identical example.

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567. A Lowestoft blue and white teapot and cover, c.1765, painted with a low building beneath tall trees and beside a simple fence, a small island in the distance, the same design mirrored to the reverse, workman’s mark to the base, 21cm. (2) £700-900

568. A Worcester blue and white bough pot, c.1760, printed with the floral sprays from the Pinecone Group pattern, with scattered stems and butterflies to the rococo-scrolled top, pierced with a large shaped opening and 28 smaller holes around, hatched crescent mark, the back section broken off and restored, 17cm high. £100-150

569. A Bow blue and white teapot with associated cover, 1760-65, printed with a figure on a bridge before tall pagodas and trees in a Chinese river landscape, the reverse with bamboo and a fence, the cover painted with Oriental landscape vignettes, the cover matched but still Bow, 17.8cm across. (2) £150-250

570. A Worcester blue and white mustard or preserve pot and cover, c.1770, and a Caughley tea canister, both printed with versions of the Three Flowers pattern, printed hatched crescent mark and C mark respectively, the cover of the mustard pot chipped, 11.7cm max. (3) £100-150

571. A Worcester blue and white cup, c.1758, painted with the Gazebo pattern, a small pagoda peeping out from between tall rocks, with wishbone handle, workman’s mark, 6cm. £100-200

572. A Caughley blue and white mustard pot and cover, c.1780, printed with the Fence pattern, the cover with flower sprays, and a Worcester two-handled chocolate cup of ogee form, printed with the same pattern, printed marks, the cover probably associated, 9cm max. (3) £100-200

573. A Worcester blue and white buttertub and cover, c.1770, printed with the Fence pattern, the rim with a silverplated ovolu mount, the finial with a silvered band, hatched crescent mark, a small filled chip to the cover, 12.3cm. (2) £100-150

574. A Caughley blue and white strainer, c.1775, printed with the Fisherman and Cormorant pattern and pierced with an arrangement of small holes, 9cm. £80-120

575. A rare Worcester blue and white creamboat, c.1780, printed with the Obelisk Fisherman pattern, a European figure fishing from the riverbank beside a crumbling stone obelisk, the reverse with further ruins, disguised numeral mark, a crack to the base of the handle, 11cm. £150-250

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Provenance: a private collection, London.

Cf. Elizabeth Adams and David Redstone, Bow Porcelain, pl.80 for a saucer printed in the same pattern. Transfer-printing in underglaze blue never reached the output of contemporary factories such as Worcester, Caughley and Lowestoft.

576. A Worcester blue and white trio and two coffee cups and saucers, c.1770-80, the trio printed with the Three Flowers pattern, one cup and saucer with the Fence pattern, the other with the Plantation pattern, a Worcester fluted teabowl decorated with a Gillyflower, and a Caughley teabowl printed with the Mother and Child pattern, hatched crescent marks to some, minor faults, a restuck section to the fluted teabowl, 12.5cm max. (9) £150-250

577. Three English porcelain blue and white teabowls and saucers, c.1755-65, one Worcester of six-lobed form and painted with the Prunus Root pattern, two Lowestoft and decorated with Oriental landscapes and flowers, workman’s marks to some, 12.5cm max. (6)

578. A Worcester blue and white moulded sauceboat, c.1765, painted with the Little Fisherman pattern within strapmoulded panels, the interior with a simple flower spray, some rim faults, 15.5cm. £150-200 The Little Fisherman pattern is a rare condensed version of the Fisherman and Billboard Island pattern which appears on the smaller sizes of sauceboat.

579. A Bow blue and white punch bowl, c.1760, painted with the Golfer and Caddy pattern, the two Chinese figures separated by a gnarled branch of flowering prunus, the interior with a blue wavy border, a section broken and restuck, 21.4cm dia. £150-200

580. A small collection of English porcelain blue and white teawares, c.1760-80, two Worcester teabowls and a saucer printed with the Birds in Branches pattern, a Worcester Fence pattern saucer, a Caughley saucer printed with the Bell Toy pattern and a teabowl printed with the Mother and Child pattern, a Philip Christian (Liverpool) coffee cup and a teacup moulded beneath a narrow blue foliate band, 12.2cm max. (8) £200-300

581. Four Lowestoft blue and white teabowls and two saucers, c.1765, of large or breakfast size, moulded in the Hughes manner with scrolled panels containing floral sprigs, with cell diaper or key fret borders, two teabowls broken and restuck, 13.8cm. (6) £200-300

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579

580

581

582

583

582. A pair of Worcester blue and white sauceboats, c.1770, the exteriors moulded in high relief with sprays of rose and auricula, painted to the interiors with peony and other Oriental flowers with a cell diaper border, open crescent marks, 17.5cm. (2) £250-350

583. A Worcester blue and white chocolate cup and saucer, c.1765, of ogee form, printed with the Three Flowers pattern, hatched crescent marks, and a Richard Chaffers (Liverpool) saucer, lightly moulded with a foliate design and painted with flowering sprays, 14.5cm max. (3) £200-300

One with a paper label for the Southern Collection.

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584. A rare Worcester blue and white chocolate cup and saucer, c.1757, the large ogee forms painted with the Departing Chinaman pattern, a solitary figure crossing a bridge away from a pagoda on a small island, within a formal foliate and hatched diaper border, workman’s marks, some damages, 16cm. (2) £1,500-2,000 Illustrated: Branyan, French and Sandon, Worcester Blue and White Porcelain, p.132 (the saucer) where it is stated to be one of only two known to exist at the time of writing. The cup exhibited by Robyn Robb, 2005, cat. no.26 and paper label for same.

585. A Worcester blue and white trio, c.176570, of small size, comprising a teabowl, coffee cup and saucer, decorated with the Arcade pattern, with alternating petal shaped panels containing a standing Chinese figure or flower sprays, character marks, 10.4cm. £800-1,200 The saucer with a lot label for Christie’s, 6th December 2004, lot 113.

586. A Worcester blue and white teabowl and saucer, c.1768, well painted with the Gardener pattern, a Chinese figure kneeling at the edge of a flowerbed, watched by a further figure seated at a low table beneath a willow tree, 11.8cm. (2) £500-600 Provenance: Bonhams, The Zorensky Collection of Worcester Porcelain Part I, 16th March 2004, lot 383.

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587. A Worcester blue and white moulded sauceboat, c.1755, painted with the Triangular Platform pattern, a figure on a bridge approaching a small hut on a platform, the interior with sprays of Oriental flowers, workman’s mark, 18.5cm. £150-250

588. A large and rare Worcester blue and white two-handled sauceboat, c.1755-60, painted to the interior with the Two-Handled Sauceboat Landscape, with two boats beside small pagodas on rock strata, the exterior with further landscape vignettes within crisply moulded leafy borders, the handles modelled with grotesque animal heads, workman’s mark, a small rim chip, 22.5cm across. £400-600

587

588

589

590

591

592

Cf. Bonhams, The Geoffrey Godden Collection of Blue and White Porcelain, 30th June 2010, lot 57 for an identical sauceboat with the same workman’s mark.

589. A Worcester blue and white coffee cup and saucer, c.1765-70, painted with the Bird in a Ring pattern, a long-tailed bird perched on a suspended ring beside a low table and flowering branches, open crescent marks, 12cm. (2) £200-300

590. A Worcester blue and white sauceboat, c.1765, the strap fluted body decorated with the traditional Strap Flute Sauceboat Floral pattern, the interior with a single tulip, open crescent mark and incised cross beneath the foot, 17cm across. £50-100

591. A small Chaffers (Liverpool) blue and white mug or coffee can, c.1758-60, of narrow cylindrical form, painted in the Oriental manner with two figures standing on a rocky outcrop, a small pagoda on an adjacent island, two small rim chips, 6cm. £400-600

592. A small Lowestoft blue and white sparrowbeak jug, c.1765, painted with a large spray of flowering peony beside holey rockwork, with a hatched diaper border to the interior rim, 8cm. £200-300

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593. A Worcester blue and white punch pot and cover, c.1768, sometimes known as Dr Johnson’s Teapot, printed with the Thorny Rose pattern, the naturalistic flowers loosely arranged beneath a continuous garland suspended from ribbon ties, the cover with similar tied sprays, a crack to one side, 29.5cm. (2) £150-200 The name ‘Dr Johnson’s Teapot’ derives from an identical pot in the collection at Pembroke College, Oxford, which belonged to Dr Samuel Johnson and is referenced by Boswell as holding two quarts.

594. 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) £100-200 Provenance: from a private collection in the Cotswolds.

595. Two English porcelain blue and white pickle leaf dishes, c.1770-80, one Derby and painted with flowering branches, the other Worcester and printed with the Pickle Leaf Fruit pattern, a Caughley wine taster and a Caughley asparagus service both printed with the Fisherman pattern, 9.5cm max. (4) £150-200

596. A Worcester blue and white coffee cup and saucer, c.1770, painted with the Floral Queen’s pattern, each shaped panel containing a single Oriental bloom, script W marks within a square, small star crack to the saucer, 12cm. (2) £150-250

597. Three Worcester blue and white teabowls and saucers, c.177080, 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) £150-250

598. A large Bow blue and white sauceboat, c.1765, the exterior moulded with a floral panel to each side reserved on an overlapping leaf ground, painted with a peony spray beneath the spout with similar designs echoed to the interior, the rims with cell diaper borders, some rim faults, 21.5cm. £100-150

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Paper label for Mercury Antiques.

599. A rare Worcester blue and white teabowl and saucer, c.1758, painted in the Scroll Border pattern, with low huts on an island beneath weeping willow, the border with two large foliate scrolls, workman’s marks, a small chip to the saucer, 12cm. (2) £1,000-1,500

600. A rare Worcester blue and white trio, c.1758-60, comprising a teabowl, coffee cup and saucer, painted in the Heron on a Floral Spray pattern, each piece with a single bird standing on one leg atop a large lotus leaf and flanked by flowering branches, within a blue scroll and flowerhead border, workmen’s marks, 11.8cm. (3) £2,000-3,000

601. A rare Worcester blue and white teabowl and saucer, c.1785, of generous size, decorated in the Trellis Lily pattern with a formal arrangement of stylized blooms within panels, open crescent marks, 12.3cm. (2) £250-350

602. A Worcester blue and white trio, c.1760-65, comprising a teabowl, coffee cup and saucer, painted with the Dragon pattern, each piece with a large scaly dragon chasing a flaming pearl of wisdom amidst small cloud scrolls, open crescent marks, 11.7cm. (3) £1,000-1,500

The Trellis Lily pattern bears a strong resemblance to the Royal Lily, but is complete in itself without the gilding. Very few examples are recorded.

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Fine Porcelain and Pottery Tuesday 23rd February 2016 Entries are now being accepted for this sale Six Nantgarw dessert plates of Brace Service type, c.1818-20.

To be sold in pairs.

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

British Art Pottery Wednesday 25th November

A fine Martin Brothers stoneware bird jar and cover by Robert Wallace Martin, dated 1895.

Estimate: ÂŁ30,000 - ÂŁ50,000

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

Furniture, Works of Art & Clocks Thursday 7th January 2016

A collection of late 19th century/early 20th century carved wood and polychrome decorated models of mushrooms.

Estimate: ÂŁ300 - ÂŁ400

ENQUIRIES Mark Richards Tel: +44 (0)1722 411854 markrichards@woolleyandwallis.co.uk

Paintings Part I - 20th Century & Contemporary Art Part II - Fine Old Masters & 19th Century Wednesday 9th December 2015

ENQUIRIES Victor Fauvelle Tel: +44 (0)1722 424503 victorfauvelle@woolleyandwallis.co.uk Jo Butler Tel: +44 (0)1722 424592 jobutler@woolleyandwallis.co.uk

George Engleheart (1750-1829) Portrait miniature of Elizabeth Gaussen, née Bosanquet Oval, in a gilt metal frame, 50 x 41mm Estimate: £4,000 - £6,000

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.

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% + VAT 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.

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 Bank plc, 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.

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.

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.

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.

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.

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

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.

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

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.

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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 24th November 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

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AUCTION CALENDAR ASIAN ART 17th & 18th November 18th & 19th May John Axford +44 (0) 1722 424506 • johnaxford@woolleyandwallis.co.uk Sophie Lister +44 (0) 1722 424591 • sophielister@woolleyandwallis.co.uk ENGLISH & EUROPEAN CERAMICS & GLASS 24th November 23rd February – Fine Porcelain & Pottery Clare Durham +44 (0) 1722 424507 • claredurham@woolleyandwallis.co.uk PAINTINGS 9th December –

Part I - 20th Century & Contemporary Art Part II – Fine Old Masters & 19th Century Paintings 16th March – Oils, Watercolours, Prints & Miniatures Victor Fauvelle +44 (0) 1722 424503 • victorfauvelle@woolleyandwallis.co.uk Jo Butler +44 (0) 1722 424592 • jobutler@woolleyandwallis.co.uk FURNITURE, WORKS OF ART & CLOCKS 7th January 6th April Mark Richards +44 (0) 1722 411854 • markrichards@woolleyandwallis.co.uk SILVER 19th & 20th January – Silver, Vertu, Coins & Medals 27th April – Fine Silver & Objects of Vertu Rupert Slingsby +44 (0) 1722 424501 • rupertslingsby@woolleyandwallis.co.uk Lucy Chalmers +44 (0) 1722 424594 • lucychalmers@woolleyandwallis.co.uk JEWELLERY 21st January 28th April Jonathan Edwards +44 (0) 1722 424504 • jonathanedwards@woolleyandwallis.co.uk Marielle Whiting +44 (0) 1722 424595 • mariellewhiting@woolleyandwallis.co.uk TRIBAL ART & ANTIQUITIES 9th February Will Hobbs +44 (0) 1722 339752 • willhobbs@woolleyandwallis.co.uk ARMS & ARMOUR 6th April Will Hobbs +44 (0) 1722 339752 • willhobbs@woolleyandwallis.co.uk 20TH CENTURY DESIGN 25th November – British Art Pottery 20th April – Clarice Cliff, Art Deco & 20th Century Design Michael Jeffery +44 (0) 1722 424505 • michaeljeffery@woolleyandwallis.co.uk

www.woolleyandwallis.co.uk