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

Fine Porcelain & Pottery

Tuesday 20th February 2018


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Specialist Departments Please dial +44 (0)1722 followed by the number listed below 20TH CENTURY DESIGN Michael Jeffery Zoe Smith

424505 329477

ASIAN ART John Axford MRICS ASFAV Jeremy Morgan Marta Olszewska

424506 424506 424591

CHINESE PAINTINGS Freya Yuan-Richards

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

424509 424598

MARKETING Ilona Pichler Tamzin Corbett

424590 424590

ACCOUNTS Janice Clift (Office Manager)

424500

424589 GENERAL OFFICE Sharon Ringwood Pauline Jones Nicola Young Fleur Field

ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham

424507

FURNITURE, WORKS OF ART & CLOCKS Mark Yuan-Richards Jim Gale Suzy Becsy

411854 339161 411854

SALEROOM MANAGER David Jordan

424500

JAPANESE ART Alex Aguilar Doméracki

424583

CASTLEGATE MANAGER Matt Hill

446970

JEWELLERY Marielle Whiting FGA Jonathan Edwards FGAA (Consultant) Charlotte Glyde

424595 424504 424586

MEDALS & COINS, ARMS & ARMOUR Ned Cowell Gemma Bush

341469 341469

PAINTINGS Victor Fauvelle Jo Butler Hollie Grubb

424503 424592 424592

SILVER Rupert Slingsby Lucy Chalmers

424501 424594

TRIBAL ART & ANTIQUITIES Will Hobbs Gemma Bush

339752 339752

WATCHES Adrian Hailwood

424500

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

FRICS FRSA

COMPANY SECRETARY Natalie Milsted FCCA

424599

ASSOCIATE DIRECTORS Janice Clift Clare Durham Will Hobbs Michael Jeffery Mark Yuan-Richards Rupert Slingsby Marielle Whiting FGA

07775 788500

Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Tel: 01722 424500 • www.woolleyandwallis.co.uk

SOCIETY OF FINE ART AUCTIONEERS AND VALUERS


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FINE PORCELAIN & POTTERY

Tuesday 20th February 2018 at 10.30am VIEWING TIMES Saturday 17th February Monday 19th February Tuesday 20th February

10.00am – 1.00pm 10.00am – 5.00pm 9.00am – 10.30am

ENQUIRIES

Clare Durham 01722 424507 cd@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 Castle Gate office on Monday 26th February. If you are collecting items on or after this date please contact the department on 01722 424507. All accounts to be settled prior to collection. BUYER’S PREMIUM Each lot is subject to a Buyer’s Premium of 25% plus VAT TELEPHONE BIDDING Please note that requests for telephone bids cannot be accepted after 5pm on Monday 19th February. LIVE BIDDING

ILLUSTRATIONS Front cover: Lot 342 Back cover: Lot 166 Catalogue £12.00 (£15.00 by post)

www.the-saleroom.com Please register by 5pm on Monday 19th February. Please note there is a 3% +VAT surcharge for using this service.


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A PRIVATE WILTSHIRE COLLECTION OF STAFFORDSHIRE FIGURES

1. Two Staffordshire pearlware figures, c.1800, one of a fisher woman, standing beside a creel and holding two fish in the folds of her skirt, the other a figure of Summer, holding a sickle and a sheaf of corn, both raised on square bases, minor faults, 19.7cm max. (2) £150-250

2. Two Staffordshire figure groups, early 19th century, one of musicians before bocage, he with a horn, she playing the mandolin, raised on a square base, the other of two children flanking a square column before leafy bocage, raised on a stepped base, small damages and repairs, 19cm max. (2) £200-300

The figure of Summer with a paper label for the Evelyn Bowes Collection.

3. An unusual Staffordshire porcelain figure of Winter, late 18th century, modelled as a young boy huddled in a fur-lined cloak, a pearlware figure of a putto, and another pearlware figure of a young girl holding a chicken, all raised on square bases, some restoration to the putto’s arm, 14.5cm max. (3) £150-250

4. A pair of Staffordshire figures of the Welsh Tailor and his wife, early 19th century, after Meissen’s figures of Count Bruhl’s tailor, each astride a goat, he with a basket of two kids, his wife with three infants, raised on scrolled bases, some restoration, 14cm. (2) £250-350

Cf. The Rous Lench Collection, Christie’s, 30th May, 1990, lot 570 for a similar porcelain figure, previously attributed to Neale & Co.

5. A large pair of Walton pearlware figures of Elijah and the Widow, early 19th century, both seated atop rocky stumps with flowing water, Elijah accepting food from two ravens perched above and beside him, the widow holding a bundle of firewood and resting one hand on the head of a small boy, titled to the front, applied marks to the reverse, small restorations, 27cm. (2) £250-350

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6. A Staffordshire Tithe Pig figure group, c.1820, a couple standing beneath a tree with a clergyman before two pigs, sheaves of corn and a basket of eggs, the man holding a small dog, the woman a baby, some good restoration, 16.5cm high. £150-200


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Each lot is subject to a Buyer’s Premium of 25% plus VAT

7. A large Staffordshire figure of Diana, c.1790-1800, standing before a tree stump and taking an arrow from a quiver slung on her back, her bow held in her right hand, raised on a square base, a repaired chip to the back of the base, 29cm. £150-250

8. A Staffordshire figure of a shepherdess, c.1800, standing and tending a lamb which sits atop a tree trunk beside her, raised on a square base, some wear, 19.6cm. £100-200

9. A pearlware spill vase group of Andromache weeping over the ashes of Hector, early 19th century, seated beneath a hollow tree trunk and resting an urn on her lap, a lamb recumbent at her feet, a little restoration, 18cm. £150-250

10. Five Staffordshire figures of Classical mythology, late 18th/early 19th century, including a Pratt ware figure of Ceres holding a sickle and a sheaf of corn, two of Venus with Cupid, one with a dolphin, one of Neptune with a dolphin, the last of Andromache weeping over the ashes of Hector, some damages and repairs, 23cm max. (5) £400-600

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11. A pair of Ralph Wood figures of a gardener and his companion, c.1780-90, he leaning on a spade and standing beside a potted plant on a pillar, she holding a small posy of flowers with further blooms in her apron, each raised on a rocky base and decorated in washed glazes of green, blue and manganese, some damages, 19.5cm. (2) £400-600

12. A Nightwatchman Toby jug, 19th century, modelled seated with a large lamp on one knee, and a Staffordshire pearlware model of the Clerk and Moses, minor damages and restoration, 21.5cm max. (2) £150-250

13. Two Staffordshire figures of Hope and Charity, c.1800-10, both modelled as Classical maidens, the former standing beside a tall anchor and holding her cloak on top of her head, Charity holding an infant and with two further children clutching at her skirts, both raised on square bases, small damages, 19cm. (2) £250-350

14. A Neale & Co creamware figure of Apollo, c.1795-1800, standing and holding a lyre in his left arm, a pile of books by his right foot, raised on a square base, a little chipping to the base, 15cm. £200-300

15. A small Pratt ware figure of Apollo, c.1790, standing and holding a lyre in his left hand, a pile of books stacked up by his right leg, his robe patterned to the back with floral stripes in Pratt colours of blue, green and ochre, 11.7cm. £150-250

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Each lot is subject to a Buyer’s Premium of 25% plus VAT

THE REVEREND JOHN J PERRY COLLECTION OF WESLEYANA The Reverend John J Perry (1893-1964) was a Methodist minister of many years’ standing, who held a keen interest in the history of the denomination and in its founder John Wesley. He was active as a minister from 1918 until his death in 1964, and assembled his collection over a period of 25 years – from the mid 1930s to the late ‘50s. The collection leans largely towards ceramics and the plethora of Staffordshire busts and figures that were made to celebrate the life of Wesley. For further reading see Roger Lee, Wesleyana and Methodist Pottery, published 1988.

16. A good pearlware plaque of John Wesley, c.1800, the rectangular form printed with an oval portrait of the cleric reading a religious text, titled ‘Reverend John Wesley, MA, Aged 87’, the moulded frame edged in black, 21cm. £100-200 The print follows an engraving by William Ridley (1764-1838) after a miniature by R Arnold (fl.1770-1810).

17. Two pearlware busts of Reverend John Wesley, c.1815, modelled in his later years and wearing ministerial robes, each raised on a shaped socle glazed red or pink, the latter applied with small flowerheads, some chipping to one base, 28.5cm max. (2) £150-250 Provenance: from the collection of the late Reverend John J Perry.

Provenance: from the collection of the late Reverend John J Perry.

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18. Three busts of John Wesley, 19th century, two pearlware and one Parian, raised on circular socles, and four Staffordshire figures of John Wesley, two in a pulpit, two reading from prayer books, some damages, 28.5cm max. (7) £150-250 Provenance: from the collection of the late Reverend John J Perry.

19. A small collection of commemorative ceramics relating to John Wesley, modern, including a Wedgwood teapot copying that gifted to Wesley by Josiah Wedgwood, with matching sugar bowl and milk jug, two limited edition Edward Underhill plates, a pair of bone china beakers printed with Wesley’s Chapel, a limited edition mug from 1978, a Royal Winton mug and a matching saucer, some faults, 27cm max. (11) £80-120 Provenance: from the collection of the late Reverend John J Perry.

20. Eight ceramic figures of John Wesley, c.1830 and later, most Staffordshire pottery, variously depicted wearing ministerial robes, granting the benediction or reading from a prayer book, some faults, 22cm max. (8) £100-200 Provenance: from the collection of the late Reverend John J Perry.

21. Four Staffordshire figures of John Wesley, 2nd half 19th century, one in a pulpit above a clock dial, three standing and holding a prayer book, a small Staffordshire bust of Wesley, raised on a sponged socle, a modern stoneware bust, a Routh Pottery commemorative plate from 1969, applied with a profile of Susannah Wesley, and a limited edition Leeds Pottery loving cup printed with a portrait of Mary Bosanquet and with a John Kay print of Wesley walking in Edinburgh (no. 81 of 250), 28cm max. (8) £80-120 Provenance: from the collection of the late Reverend John J Perry.

22. A pearlware bust of John Wesley, 1st half 19th century, modelled in his later years wearing ministerial dress, raised on a square base edged in green and yellow, and four Staffordshire figures of Wesley, two in pulpits above clock dials, two standing and reading from a prayer book, some chipping, 28.5cm max. (5) £100-150 Provenance: from the collection of the late Reverend John J Perry.

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23. Two Wedgwood portrait plaques of John Wesley, 19th/20th century, one Jasperware, modelled in white relief on sage green and mounted on a frame, the other black basalt, a pair of Wedgwood Jasperware pin trays, a small Parian bust of Wesley raised on a circular socle, and a limited edition Edward Underhill plate, number 382 of 1,738, some restoration to the bust, 27cm max. (6) £100-150 Provenance: from the collection of the late Reverend John J Perry.


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24. Two Staffordshire pearlware busts of John Wesley, c.181525, the larger left in the white and with an indistinct circular dedication plaque to the reverse, the smaller enamelled and raised on a red marbled socle base, some damages, 30cm max. (2) £100-200 Provenance: from the collection of the late Reverend John J Perry.

25. Four pearlware plaques relating to Methodism and John Wesley, 19th century, all printed in black with a profile portrait of the minister with ‘The Best of All’ to one side and ‘God is With Us’ the other, titled beneath the print, within Sunderland lustre, black and Portobello type red moulded borders, some damages, 23cm max. (4) £100-200 Provenance: from the collection of the late Reverend John J Perry.

26. A matched pair of Staffordshire busts of John Wesley, early 20th century, after Enoch Wood, modelled in his later years wearing ministerial robes and raised on faux marble bases, indistinct dedication plaques to the reverse, 30cm. (2) £150-250

27. Literature: John Wesley ‘Forty-Four Sermons’, ‘Letters of John Wesley’ edited by George Eayrs, five other volumes by or about Wesley, and a Wesleyan Methodist Missionary Society collection box, dated 1904 to the base. (8) £50-80

Provenance: from the collection of the late Reverend John J Perry.

Provenance: from the collection of the late Reverend John J Perry.

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28. An Obadiah Sherratt pearlware table base bust of Reverend John Wesley, c.1820, modelled in his later years, facing forward and wearing clerical dress, raised on a blue socle on a square footed base, 31cm. £100-200 Provenance: from the collection of the late Reverend John J Perry.

29. A rare biographical script portrait of John Wesley, c.1885, printed after Glück Rosenthal, the portrait drawn using a continuous calligraphic script of his life taken from Richard Watson's 1831 biography, together with a printed transcript and six other prints relating to Wesley and Methodism. (7) £100-200 Cf. Proceedings of the Wesley Historical Society, Vol. XIX, 1933-34 for a history of the picture, only a handful of copies of which remain. Provenance: from the collection of the late Reverend John J Perry.

30. A small collection of commemorative ceramics relating to John Wesley, 19th/early 20th century, including a pearlware sugar bowl and cover and a milk jug, printed with a portrait of Wesley and with the Centenary Hall, a Wood & Sons, Burslem plate commemorating the 1907 Primitive Methodist Centenary, a creamware jug and a porter mug printed with varying portraits of Wesley, a similarly decorated pearlware cup and saucer, and a lustre goblet applied with a figure reading, some damages, 24cm max. (9) £100-200 Provenance: from the collection of the late Reverend John J Perry.

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31. A group of commemorative medals relating to John Wesley and Methodism, 19th century and later, two white metal and relating to the centenary of Methodism in 1839 and bearing portraits of John Wesley and Charles Wesley, mounted in a glazed free-standing frame, an 1830 medal of Robert Raikes, and unframed 1839 medal of John Wesley, three further 1839 bronze medals (one boxed), and three small framed plaques of John and Charles Wesley. (10) £50-80 Provenance: from the collection of the late Reverend John J Perry.


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32. A Copeland Parian figure of The Bride, c.1861, modelled by Raphaelle Monti for the Crystal Palace Art Union, a diaphanous veil clinging to the contours of her face and held in place by a floral diadem, raised on a circular socle, incised and impressed marks, a few small chips, 37.5cm. £800-1,200

33. An English dry-bodied stoneware bottle vase and cover, c.1805-15, the flattened globular shape printed and boldly enamelled with scrolling flowering plants and leaves, painted No. 68 to the underside, 27cm. (2) £200-300

Cf. Richard Dennis, The Parian Phenomenon, fig. 586.

34. A small Staffordshire redware milk jug, c.1760, the barrel shape applied with a fox circling three sheep between tall trees, between turned bands, 8.2cm high. £200-300

35. A Staffordshire redware small teapot and cover, c.1760, the cylindrical form applied with two Chinese figures, one holding a parasol, the other a bird in a ring, within an elaborate cartouche echoed to the cover, with straight spout and plain loop handle, 16.5cm across. (2) £150-250

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36. A small salt-glazed stoneware mug or coffee can, c.1745, the slightly waisted cylindrical form painted in polychrome enamels with a figure blowing a horn beneath large flowering plants, and a salt-glazed stoneware coffee cup left in the white with a grooved handle, some damages, 7cm max. (2) £100-200

37. A salt-glazed stoneware Scratch Blue milk jug, c.1750, engraved and coloured with a leafy flowering spray, raised on three paw feet issuing from masks, with a shaped rim and grooved strap handle, 8.5cm high. £150-250

38. A small Jackfield jug and cover, c.1760-70, applied with tendrils of fruiting vine, the cover surmounted with a bird finial with wings outstretched, decorated in gilt on a rich black ground, raised on three paw feet, 13.6cm high. (2) £150-250

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39. A creamware sucrier and cover, c.1760-70, printed in Liverpool by John Sadler with Pierrot creeping up on Harlequin and Columbine, the reverse with sheep grazing, the cover with a continuous scrolling foliate design, and a creamware jug printed in black with The Farmers Arms, the reverse with a print of a twelve line poem within a cartouche of farming attributes, signed and dated TW 1760 in the print, 12.8cm max. (3) £200-300

40. A creamware puzzle jug, c.1770, the baluster form pierced around the neck with an elaborate design, the rim with three short spouts and a leaf terminal at the top and base of the handle, a creamware teapot and cover decorated with Whieldon type colours of washed green and manganese, and a creamware jug with a band of fluting and double strap handle, some faults, 19.5cm max. (4) £300-500

Cf. Donald Towner, Creamware, pl.11A for a red-printed example of the sucrier.

The creamware jug with a paper label for the Donald Towner collection, no.95.

41. Two salt-glazed stoneware plates, c.1750, the shaped rims moulded with seeded and osier panels, the larger plate painted with flower sprays in polychrome enamels, and a salt-glazed stoneware punchbowl painted with bold flower sprays, the interior with a panelled diaper border, 25cm max. (3) £150-250

42. Three creamware plates, c.1770-90, the largest printed in red with a shepherd seated beneath a tree in a village landscape, the smallest in black with exotic birds by Sadler & Green, both with feather-moulded rims, the last printed in black with a three-masted ship at sea, 24.7cm max. (3) £150-200 Cf. Donald Towner, Creamware, pl.21B for the red-printed plate.

43. A small creamware lead-glazed plate of Whieldon type, c.1760-80, moulded with a large leaf spray reserved on a moulded ground of leaf veins, the rims with stylized acanthus leaves, decorated in green, ochre and manganese, and a salt-glazed stoneware plate with the same moulding but left in the white, 24.5cm max. (2) £200-300

44. Two good octagonal Whieldon type lead-glazed plates, c.1760-80, simply decorated with splashes of blue, green, ochre and manganese on a sponged ground, 23.7cm max. (2) £150-250

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45. An unusual Continental creamware centrepiece, 19th/20th century, the reticulated baskets with moulded flower swags and removable creamware inserts, impressed shield marks. Comprising: one large vase, four small vases, and 14 various baskets with inserts. (37) £600-800

46. A large creamware jug, c.1790, printed in black with The Farmers Arms, the reverse with a young gallant courting two maidens seated beneath a tree, beneath the spout with a twelve line stanza, restored, 30.5cm. £200-300

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47. A documentary creamware punchbowl, dated 1776, painted with small polychrome flower sprays, inscribed for ‘John Chapman Ann Kennedy Mucklowr 1776’, 19.6cm dia. £100-200 A John Chapman is listed in the Scottish Archives as father of a Jean Chapman, mother Ann Kennedy. However, Mucklow Hill is near Halesowen in the Midlands.


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48. A large Wilson creamware jelly mould cone, late 18th century, the domed and fluted form painted with eight panels of fruit and flowers in delicate polychrome enamels, raised on a shaped base pierced with eight holes and edged in blue, impressed mark, 20.5cm high. £800-1,200

49. A Wedgwood creamware jelly mould core, c.1780, the conical shape brightly enamelled with sprays of flowers above a geometric band, the circular base pierced with four small holes and painted with a continuous flower garland, impressed mark to the base, a small chip to the top, 21cm. £700-1,000

Cf. Diana Edwards, Neale Pottery and Porcelain, fig. 95 for an identical example attributed to Neale & Co. Provenance: from a private collection in Somerset.

50. A creamware jelly mould core, late 18th/early 19th century, possibly Wilson, of canted rectangular form, painted to one side with a threemasted ship at sail in a choppy sea, the sides and reverse with military trophies and motifs, the base pierced with six holes and edged in green, a crack around the base, 26cm across. £800-1,200 Cf. Diana Edwards, Neale Pottery and Porcelain, fig. 118 for a Wilson mould of the same shape with flower painting. Provenance: from a private collection in Somerset.

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51. Two large Mochaware jugs, 19th century, decorated with bands of stylized seaweed in blue on a white ground, above horizontal narrow bands in blue, white and brown on a buff ground, one cracked, 25.5cm max. (2) £300-400

52. A large mochaware jug, c.1800, the barrel-shaped body decorated with varying horizontal bands in brown, grey, blue and white, the moulded handle with foliate terminals, a restuck section to the spout, 23.7cm high. £150-250

53. A large creamware Fair Hebe jug, c.1788, one side titled ‘Fair Hebe’ on a notice nailed to the tree trunk, a young man offering a bird’s nest to his companion, the reverse with a further figure standing astride a bottle, his dog jumping up at his thigh, impressed ‘J Voyez 1788’ to one side, the whole decorated in Whieldon type colours, some restoration to the spout and handle, 25.5cm. £300-500

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54. A large creamware melon tureen and cover, c.1760-70, formed as a large gourd with moulded veining and decorated in a green Whieldon type glaze, the finial formed as a short stalk issuing three large leaves, some good restoration, 18cm across. (2) £400-600 Provenance: The Zorensky Collection, No. X313.

55. A rare Staffordshire creamware puzzle jug, dated 1752, of Whieldon type, with a long neck rising from a squat globular body, the neck incised with the initials IL within the date 1752 beneath a band of small pierced holes, the hollow rim with three small spouts, the whole decorated in a running manganese glaze, a little restoration to the rim and spouts, 18cm. £500-800

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56. A Wood-type creamware Toby jug, c.1790, modelled in typical seated pose with a foaming jug of ale, a small upright barrel between his feet, his long clay pipe resting vertically by his right side, his coat sponged in blue, his pipe stem chipped, some good restoration to his hat, 25.2cm. £300-400

57. A Yorkshire Toby jug, 19th century, seated with an empty jug in his left hand, a small glass held in his right, the interior brim of his hat sponged with panels in blue, black and ochre, echoed to the base, a caryatid handle to the reverse, a little restoration to his hat, 25.5cm. £300-400

58. A Pratt ware Toby jug, c.1800, brightly enamelled in the traditional palette, with striped socks beneath ochre breeches, his blue coat with yellow cuffs, a reddish brown beard matching his drinker’s nose, some good restoration to his hat, 25.5cm. £300-500

59. A Yorkshire Toby jug, c.1810-20, seated with an empty jug patterned in red and blue, a small glass held in his right hand, wearing a dark green coat over brown breeches, the base and the inside of his hat sponged in red and green, with a caryatid handle, the handle broken off and restuck, 26cm. £300-400

60. A Hearty Good Fellow Toby jug, c.1810, standing with one foot slightly behind him, holding his long-stemmed clay pipe across his body, a jug of ale in his right hand, wearing a pale lilac coat over a yellow waistcoat, good restoration to his hat, 29.5cm. £250-350

61. A creamware Toby jug of Wood type, c.1790, seated with a frothing jug of ale, with an upright barrel between his feet and a clay pipe leaning up by his right leg, decorated in manganese, black and ochre, some restoration, 25.2cm. £300-400

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62. A Martha Gunn Toby jug, c.1820-40, seated and holding a gin bottle and glass, her dress patterned with stylized flowerheads, raised on a base sponged in blue, green, red and ochre, 26cm. £400-600

63. A Sinner Toby jug, c.1800, wearing a green jacket over a bold striped waistcoat, his warty face turned slightly to one side as his eyes look askance, restoration to his hat, 19cm. £500-800

64. A Mexborough (Yorkshire) or Crown mark Toby jug, early 19th century, resting a miniature standing Toby jug on his left knee and holding a wine glass in his right hand, sponged around the base and inside his hat in a typical palette of ochre, blue and black, very faint impressed crown mark, replacement handle, 25.5cm. £400-600

65. A Pratt ware Toby jug, c.1790-1800, holding a frothing jug of ale and decorated in a typical palette of blue, brown, yellow and ochre, raised on an unusually tall base sponged in blue and ochre, a little good restoration to his hat, 24cm. £500-700

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66. A Royal Doulton ‘George Robey’ Toby jug and cover, c.1925, modelled as the Music Hall actor in his stage costume of a baggy black suit with red spotted handkerchief and bamboo cane, his face painted with his trademark thick black eyebrows, titled to the base, printed mark, 27cm. Together with two books: Peter Cotes, ‘George Robey’, and James Harding ‘George Robey & The Music Hall’. (4) £1,000-1,500 Sir George Edward Wade, CBE (1869-1954), known on the circuit as George Robey, was a popular English actor, singer and comedian on the Music Hall circuit, venturing into film in the inter war years.

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67. A rare female Snuff Taker Toby jug, c.1830, wearing a blue dress with a pink apron, holding a circular snuff box and raising a pinch to her nostril, a small filled chip to the rim, 23.7cm. £300-400

68. A ‘Long-Face’ Toby jug of Wood type, c.1780-90, seated with a large brown empty jug on one knee, decorated in a running manganese glaze, his shoes tied with laces rather than the usual buckles, some faults, 26.5cm. £600-800

Female snuff-takers are more commonly seen in the Portobello type, such as the example sold at these salerooms on 25th February 2014, lot 438.

69. Two Minton Majolica Toby jugs, date codes for 1876, modelled as a Quaker and his companion, he standing with his hands in his pockets, she holding a fan and clutching her shawl around her, their hair forming the handles behind, impressed marks, 27.5cm max. (2) £300-500

70. A Minton Majolica game tureen and cover, late 19th century, the oval basketweave dish with entwined branches of oak leaves, the cover surmounted with dead game including a hare, duck and rook lain on a ground of fern and oak leaves, indistinct date code, 36cm. (2) £200-300

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71. A Minton Art Pottery Iznik-style dish, date code for 1872, brightly enamelled in red, blue, turquoise and black, with a bold carnation spray and other flowering plants, on a cream ground, impressed marks, printed mark for Minton’s Art Pottery Studio, Kensington Gore, black WS monogram, 29.8cm. £150-250

72. A pair of Minton Majolica mosque lamps, date codes for 1872, the baluster forms with wide flared necks applied with four strap handles, decorated with stylized Iznik-style flowerheads in black on a rich turquoise ground, impressed marks, 22cm. (2) £300-500

73. A large Creil creamware charger, late 19th/20th century, painted in the Turkish manner with colourful saz leaves and flowering plants on a burgundy ground, the rim with a continuous floral border, printed mark for Creil et Montereal, 41.5cm. £100-200

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74. Three Samson Iznik-style plates, late 19th century, boldly decorated in red, blue, green and black with simple tulip heads within a fleur de lys type panel, between further flowers and curved leaves, black script mark, 25cm. (3) £300-500

75. A pair of Samson Iznik-style plates, late 19th century, painted in a typical palette of blue, green, black and red with stylized flowers and bold leaves, within a semi flowerhead border, black script mark, 25.3cm. (2) £150-250

76. Four Samson Iznik-style plates, late 19th century, the wells brightly enamelled with a single saz leaf flanked by flowering plants, within a green and black scroll border, the rims with a narrow border of flowerhead mons, black script marks, 25cm. (4) £300-500

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77. A Samson Iznik-style bottle vase, late 19th century, boldly enamelled in blue, green and red with stylized flowerheads linked by leaf scrolls, the knopped neck with vertical beaded stripes, a 1cm rim chip, 31cm. £250-350

78. A Cantagalli Iznik-style ewer, late 19th/early 20th century, the ovoid body painted with panels of stylized flowerheads reserved on a blue scale ground, the flared neck with geometric borders and scrolling leaves, black cockerel mark, 28cm. £300-500

79. A Cantagalli Iznik-style ewer, late 19th/early 20th century, boldly decorated in blue, black, red and turquoise with an allover design of scrolling flowerheads and leaves, manganese cockerel mark, 27.5cm. £200-300

80. A pair of Samson Persian-style bottle vases, late 19th century, each decorated with four shaped panels, with foliate gilt scroll designs, the necks with formal lappets and a narrow green band, the gilding heavily worn on one, both drilled, one with metal mounts, 38cm. (2) £200-300

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81. A large Cantagalli Iznik-style ewer and basin, late 19th century, boldly painted in turquoise, blue, black, green and pillarbox red with saz leaves, carnations and other flowers, cockerel marks, the ewer restored, 4cm max. (2) £800-1,200

82. A small collection of Cantagalli Iznikstyle pieces, late 19th/early 20th century, including two plates, two cups and two saucers, a small jar and cover and another with an associated cover, variously decorated in red, blue, green and black with tulips, carnations and other stylized flowers within narrow geometric borders, painted cockerel marks, minor faults, 22.2cm max. (10) £300-500

83. A Kutahya (Turkey) pottery hanging ornament, 18th century, the ovoid form painted in a simple palette of black, manganese and turquoise with winged maskheads between cross crosslets, fitted with a later metal suspension hook, the pottery 9.5cm. £500-800 Provenance: from the collection of Dr Venetia Newall. Illustrated: Dr Venetia Newall, An Egg at Easter, col.pl.VII.

84. A Kutahya (Turkey) hanging ornament, 19th century, the egg-shaped form simply painted with winged masks between manganese crosses, pierced with a central suspension hole, some crazing, 8.5cm high. £300-500 Provenance: from the collection of Dr Venetia Newall.

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85. Four Antonibon faïence plates, c.1775, painted with arrangements of fruit and vegetables including orange, pear, apple and beets, within shaped moulded rims painted with flowers, blue star marks, 23.7cm. (4) £300-500 86. A Continental faïence model of a lion, 18th century, probably Brussels, resting on his haunches with head slightly turned, raised on a sponged green and manganese base, his coat a rich ochre with manganese detailing, a little glaze chipping, 11.2cm high. £150-250 87. Three Italian maiolica albarelli, c.1700, the slender waisted forms painted in blue and black with St Francis receiving the Stigmata, standing with palms upwards beside a skull resting on a Bible, one inscribed ‘GUMMA D ROCCA’ above the foot, some damages, 26cm. (3) £300-500

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88. A Deruta or Marchigiana berettino maiolica syrup or wet drug jar, 1st half 17th century, the ovoid body painted in blue with a cartouche inscribed ‘S D ENDIVIA’ amidst stylized oak leaves reserved on a pale blue ground, with a double scroll handle and short, straight spout, some restoration, 21cm. £300-500 Provenance: formerly in the collection of H E Brocksom.

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89. An Italian maiolica syrup or wet drug jar, probably 18th century, painted with a winged mask above a shield containing a fleur de lys over two crossed ladders, possibly part of the Arma Christi, the letters To to one side, and CCIM to the other, the letter P in an oval cartouche beneath the green strap handle, all reserved on a ground of blue oak leaves, 19.5cm. £100-200


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90. A Continental faïence drug jar, 1st half 18th century, Belgium or Northern France, the cylindrical body painted in blue with the inscription ‘U. RESUMPTIU’ within a crowned cartouche flanked by term figures holding flowers, some glaze chipping to the rim, 18.5cm. £300-400 Cf. Rudolf E A Drey, Apothecary Jars, p.121, pl.62B for a similar jar. The ingredients of this restorative ointment include oil of violets, oil of sweet almonds and fenugreek seeds. It was used in the treatment of asthma and pleurisy.

91. A near pair of Italian maiolica berettino albarelli, early 18th century or later, Venice, the waisted forms painted with putti flanking shaped cartouches, titled in manganese, one reverse with baskets of flowers amidst foliate scrolls, the other with a panel containing a monochrome landscape, some damages, 20cm. (2) £400-600

92. Three Talavera albarelli, c.1760, the waisted forms each painted in blue with a variation of a crowned shield bearing the arms of the Order of Carmelites, some damages, 24.5cm max. (3) £300-500

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93. A good oval Castelli maiolica plaque, 1st half 18th century, painted with figures on a riverbank before a sprawling building with several towers, flanked by two trees, yellow line rim, collector’s inscription to the reverse, 31.5cm. £500-800

94. A Deruta maiolica tazza or crespina, early 17th century or later, the lobed form raised on a low flared foot, brightly enamelled with a winged putto holding a spear and leaning on a low column pedestal, the wide border with mythical creatures and grotesques, an 8cm rim crack, 24.7cm. £100-200 Cf. Bernard Rackham, Catalogue of Italian Maiolica,p.353, no 1054, for a similar example in the Victoria and Albert Museum.

95. A large Italian maiolica charger, 18th/19th century, painted in the Castelli manner with a figure standing amongst cattle and sheep, holding his arms aloft to two birds in flight above, yellow line rim, a section of the rim broken and restuck, 42.5cm. £200-300

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96. A good Deruta maiolica plaque, dated 1586, depicting the Madonna and Child after Benedetto di Maiano, the infant Jesus seated on a cushion and clutching the ends of his mother’s veil, which entwine around his body, Mary gently extending a hand to restrain his playful exuberance, painted in a simple palette of blue, green, ochre and umber, dated 1586 to the bottom right corner, 44.6cm x 36cm. £3,000-5,000 This plaque directly copies Benedetto’s Madonna and Child of 1490, including the depiction of an elaborate patterned background. Benedetto’s plaque was bequeathed to the Metropolitan Museum in 1941 by George Blumenthal.

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97. Two small lobed tin-glazed dishes, late 17th/early 18th century, Dutch Delft or German, one painted in blue with a Chinese figure bending down in a garden setting, the rim with flower sprays, the other with fluted moulding and painted with a fence within stylized foliate motifs, 21cm max. (2) £200-300

98. Three delftware plates, c.1760, one painted in blue with a version of the Gillyflower pattern, one with a loose flower spray within husk swags, the last of small size and painted with bamboo and peony issuing from holey rockwork, 23.4cm max. (3) £200-300

99. Three delftware plates, mid 18th century, one perhaps Vauxhall and painted with an octagonal panel of two Chinese figures standing beside a table, reserved on a powder blue border with panels of birds, one with a Chinese lady standing beside a pagoda and holding a fan, the other with a figure wearing a long robe and a crown, and holding a large fan, a little rim chipping, 22.3cm max. (3) £250-350

100. Two early delftware plates, c.1700-20, one a saucer dish painted in manganese with a stylized flowerhead and foliate design, the other of small size and painted with yellow flowering plants issuing from an ornamental fence, 22cm max. (2) £150-250

101. Two delftware plates, c.1760-70, finely painted in blue, one octagonal with a bird-catcher, holding a rail with a bird perched on either end, two further birds perched on a flowering branch above his head, the other painted with a figure wearing a long robe and feeding a deer, a duck swimming in the foreground, the rim with vignettes of squirrels on prunus, 22.2cm max. (2) £200-300

102. Three delftware plates, mid 18th century, one painted in blue, green, yellow and ochre with a central hexagonal design within two bold flower sprays, one with bamboo and peony with diaper panels to the rim, the last with an ornamental fence beneath bamboo and peony in green and manganese, 22.6cm max. (3) £200-300

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103. Three delftware plates, c.1720-60, one painted in manganese, blue, green and yellow with a Chinese lady standing beneath bamboo and holding a fan, another in the same palette with flowering peony sprays issuing from holey rockwork, script h mark, the last with geometric manganese bands edged in blue, 22.8cm max. (3) £150-250 The last with a paper label for the Lipski collection, no. 752.

105. A Bristol delftware punchbowl and a large plate, c.1760, the bowl painted in blue with a continuous landscape of two figures in a boat before buildings, the interior and exterior rims with a formal bianco-sopra-bianco border, the plate painted in polychrome enamels with a single Chinese figure before an elaborate pagoda, the shaped rim with pinecone vignettes in bianco-sopra-bianco, some faults, 26.4cm max. (2) £150-250

104. Three delftware plates, mid 18th century, one painted with a quail nesting on top of a corn stook beneath flowering plants, another with a wading bird standing in the water in a Chinese island landscape, the last a soup plate, probably Irish, painted with a bird in flight carrying a flower sprig in its beak, numeral 9 mark, 23.3cm max. (3) £150-200

106. A Bristol delftware punchbowl and a Lambeth charger, c.1760-70, the charger painted in blue with a low hut beneath tall pine trees, the cavetto with a trellis design, the bowl with a large spray of flowering peony, 30.6cm max. (2) £250-350

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107. A Bristol delftware plate, c.1720, painted in blue with a smouldering bottle kiln in a landscape, 22.5cm. £400-600 Cf. Michael Archer, Delftware in the Fitzwilliam Museum, p 97 for a similar plate.

108. A delftware plate, mid 18th century, probably Bristol, painted in blue with a tall house at the water’s edge, issuing smoke from a chimney, beside tall trees and a cross, script D mark to the base, 22.4cm. £150-250

The reverse with an old paper label describing the plate’s purchase from the collection of H C Maddicks of Bristol in 1936.

109. A large delftware charger, mid 18th century, painted in blue, green, red and yellow with a weeping willow before a fence and flowering Oriental shrubs, the rim with three floral sprays, blue circle mark to the base, a little rim chipping, 36cm. £200-300

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110. A large delftware charger, c.1730, probably Lambeth, painted with a central stylized flowerhead within five panels of further flowers in red, green and yellow, reserved on a diaper ground, 35.3cm. £150-250


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111. An early London or Brislington delftware charger, c.1660-80, the shallow form painted in a geometric design of stylized foliate motifs around a central design in blue and ochre, within blue line borders, 32.5cm. £400-600

112. A documentary Liverpool delftware plate, dated 1750, the front painted in blue with a bold peony flower before bamboo issuing from rockwork, the rim with tied scrolls between diaper panels, the reverse inscribed ‘Richard Bury of Royley in the Township of Wrighton, 1750’, 22.2cm. £500-700 In 1887-1889 The Oldham Standard published the diary of William Rowbottom, a handloom weaver of Burnley Lane, which includes the following entry - “Mr Richard Bury of Royley, buried 6th June 1790”, and the burial register of St Paul’s in Royton confirms that of Richard Bury, aged 75. The baptism of his daughter, Betty, is recorded in 1755, Jenny in 1758, Mary in 1760, John in 1763 and Hannah in 1767. In 1780 his son, John Bury, was articled as a Clerk to John Ogden. His widow, Hannah, was buried on 26th February 1795 and son, John, died aged 43 the following year. Cf. Louis L Lipski and Michael Archer, Dated English Delftware, pp.122-123 for similar examples from this group of named and dated delftwares. The names on the plates appear to be those of landowners in the Oldham and Bury areas of Lancashire, who are possibly connected to the coal-mining industry and the mines of James Lees (later the Chamber Colliery Company). Both Richard Bury and John Wallwork are mentioned in the Quarter Sessions at Rochdale on 3rd October 1757 for non repair of a stretch of the Kings Highway, leading to the sluice carrying water to the coal pits, and John Wallwork is recorded as marrying Ruth Lees in 1748, believed to be a relation of the aforementioned James Lees.

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113. A pair of Vauxhall delftware small plates, c.1710, painted in iron red, blue and ochre with small buildings beneath large fringed trees in an island landscape, the rims with flower half mon and hatched diaper panels, after a Chinese Kangxi original, some restoration, 18.8cm. (2) £200-300

114. A pair of delftware plates or shallow bowls, c.1720, possibly London, each painted in blue with a simplistic peacock perched on a leafy branch amidst clouds, within double line borders, 22cm. (2) £200-300

115. A small pair of delftware plates, mid 18th century, painted in blue with a flowering tree, the rim with stylized flowering panels reserved on a trellis diaper ground, 19.8cm. (2) £150-250 Provenance: the Liane Richards Collection.

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116. A good Delft lobed dish, c.1680-90, the octagonal well painted in blue with Chinese figures carrying fans in a garden setting, the rim with panels of similar scenes alternating with flowerheads reserved on a dense foliate ground, the underside with an X and O design, 34cm. £200-300

118. A large Delft fluted dish, c.1680-90, painted in manganese and yellow with a seated Chinese figure to the well, the rim with similar designs of Chinese figures in pine tree landscapes, painted numeral to the base, a chip to the footrim, a crack to the rim, 34.5cm. £200-300

117. A delftware bowl, mid 18th century, decorated in blue with figures fishing before boats at sail, beneath sponged trees, the interior with further boats, some glaze chipping, 19cm dia. £300-500

119. A large delftware plate or charger, c.1740-60, painted with a geometric design of a stylized flowerhead within foliate motifs, in a simple palette of blue, green, red and yellow, 34.7cm. £150-250

120. Two Irish delftware plates, c.1760-70, one an octagonal soup plate painted with a butterfly above flowering plants, the rim with a Fitzhugh type border, numeral 2 mark, the other octagonal and painted with a censer containing flowering peony, the rim with four vignettes of tied scrolls and other auspicious objects, 23cm. (2) £150-250

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121. A Delft tea canister, mid 18th century, the rectangular form painted in blue with large sprays of flowers, with small foliate scrolls to the corners, 10.2cm high. £200-300

122. A delftware flower brick, c.1740, the rectangular form painted to the longer sides with a figure in a boat before a windmill and a low hut, the shorter sides with flower sprays, the top pierced with three rows of small holes around a central aperture, some restoration, 16.2cm across. £200-300

123. An early London delftware small plate or dish, c.1720, painted in manganese with a church beside a gate beneath tall trees, the cavetto with a simple dash border, 19.5cm. £100-200

124. A large delftware dish or charger, c.1720, painted in blue with a wading bird standing between rushes, the rim with a stylized panel border, an old riveted repair, 32.2cm. £100-200

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125. Seven Minton ichthyological plates, late 19th century, variously painted by William Mussill with specimens of John Dory, herring, golden tench, roach, trout, Japanese telescope fish and lobster, signed, within gilt dentil rims, titled to the reverse, printed retailers mark for T Goode & Co., 25.8cm. (7) £400-600

126. Ten Royal Worcester plates, date codes for 1877, well decorated with butterflies and other flying insects before honesty, fern and other grasses, reserved on a pink ground within raised gilt dot rims, printed marks, 22.7cm. (10) £250-350

127. A Derby botanical part dessert service, c.1800, painted in pattern 313 with floral specimens including heartsease, Canterbury bell, Golden flower’d Henbane, tuberous rooted Limodorum, Moss Rose, Whorled Coreopsis, Cut-leav’d Violet, Prickly Poppy and Jerusalem Cowslip, edged in gilt and orange-red, titled in blue to the underside, blue crowned crossed batons and D marks, some damages and repairs. Comprising: a sauce tureen with cover and stand, a shaped dish, and four plates. (8) £300-400

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128. A good pair of English porcelain ichthyological plates, late 19th century, probably Brown, Westhead and Moore, painted by Joseph Birbeck (senior) with titled specimens of pike and trout swimming amidst aquatic plants, signed, the shaped rims with elaborate raised gilt designs with a shaped green border, printed Cauldon England, retailer’s marks for Davis Collamore & Co Ltd, New York, 23.8cm. (2) £100-200

129. A pair of Minton porcelain ornithological cabinet plates, late 19th century, painted with titled views of Snipe and Guinea Fowl with cobalt blue borders decorated with raised gilt medallions and white beaded swags, impressed marks and printed retailer’s marks for Davis Collamore & Co, New York, 24cm. (2) £200-300

130. A good pair of Barr, Flight and Barr (Worcester) plates, c.180810, attributed to William Billingsley, painted with central flower sprays amidst scattered single blooms, impressed and printed marks, 20.5cm. (2) £500-800

131. A pair of Flight, Barr and Barr (Worcester) dessert plates, c.1820, the wells painted with arrangements of sea shells and coral within sprays of gilt seaweed tendrils, impressed and printed marks, 22.5cm. (2) £500-800

132. Two English porcelain coffee cans, early 19th century, one New Hall and printed with landscape panels, one of smoking bottle kilns on an island, the other Derby and painted with a view of a thatched cottage beneath trees, titled in red to the underside ‘Near Mickleover, Derbyshire’, 6.3cm max. (2) £100-200

133. A Flight, Barr and Barr (Worcester) sauce tureen and cover, c.1820-30, finely painted with sprays of garden flowers and bright butterflies reserved on a pale green ground, impressed mark, 17.5cm high. (2) £450-650

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134. A good Spode part service, c.1820, richly decorated in the Imari palette with stylized flowering plants within a panelled border, pattern number 1250. Comprising: an ice pail and cover, two shell-shaped dishes, two oval dishes, two handled dishes, and twelve plates. (20) £2,000-2,500

135. A Wedgwood porcelain tea and coffee service, c.1810-15, painted in pattern 673 with naturalistic flower sprays of convolvulus, carnation, auricula, rose and other blooms, on a white ground with gilt rims, printed marks and painted pattern number. Comprising: a teapot with cover and stand, a milk jug, a sugar bowl and cover, two plates, eight tea cups, nine coffee cans and nine saucers. (34) £600-800

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136. A pair of Nantgarw plates, c.1818-20, London-decorated with colourful birds perched on and beneath leafy branches, the rims with small flower sprays and further birds in flight amidst moulded gilt flower wreaths and blue scrolls, spurious Sèvres marks, 25cm. (2) £300-400

137. A Nantgarw oval dish, c.1818-20, painted in the manner of William Pollard with simple sprays of strawberry, dog rose and heartsease within moulded C scroll borders edged in gilt, impressed Nantgarw CW mark and incised B, 30cm. £300-500 The incised letters or numbers on certain Nantgarw pieces are believed to relate to tally marks. Cf. David M Phillips, Swansea Nantgarw Review No 2, p 5 for a discussion of this theory.

138. Two Swansea cabinet plates, c.181517, one painted with a basket of flowers within a gilt C-scroll border, the rim with small scattered moths, impressed SWANSEA mark, the other with a floral arrangement including narcissus, auricula, rose and forget-me-not, the moulded rim picked out with gilt and green foliate tendrils, the latter cracked, 21.5cm max. (2) £250-350

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139. A pair of Swansea porcelain tureens with covers and stands, c.1815-17, painted in polychrome enamels with bright sprays of flowers including convolvulus, rose, auricula and narcissus, iron red script marks, 19cm dia. (6) £800-1,200

140. A Nantgarw plate, c.1818-20, the well finely painted with a tight spray of flowers including rose, tulip and auricula, the rim with further flower sprays linked by a jagged blue ribbon between continuous leaf bands, impressed NANTGARW CW mark, 21.7cm. £200-300

141. A Swansea cabinet cup, c.1815-17, the generous cylindrical form painted with a titled view of the Old Bridge at Hawick, within gilt foliate scrolls on a white ground, the scrolled handle issuing from a mythical mask, the whole raised on three paw feet, iron red Swansea mark, a tiny chip to one foot, 12.5cm high. £400-600

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142. A Derby botanical dessert dish, c.1815, boldly painted with a specimen of Jacobean Amaryllis, with a simple gilt line to the scalloped rim, titled in red to the reverse, iron red crowned crossed batons and D mark, 30.5cm. £100-200 The decoration on this plate appears to directly derive from William Curtis’s Botanical Magazine, plate 47. 143. An English porcelain botanical plate, c.1810-20, painted with a spray of pink roses within an elaborate gilt border of shells and foliate tendrils, 22.8cm. £250-350 144 144. An English porcelain three vase garniture, c.1820-30, probably Chamberlain’s Worcester, the baluster forms painted with panels of exotic birds reserved within gilt borders on a rich blue ground, the interior rims with a faux marble design, some faults, 17cm max. (3) £300-500 Provenance: Margaret Cadman collection. 145. A Royal Worcester two-handled vase, date code for 1891, painted by Edward Raby with a spray of corn ears and red poppies on a blush porcelain ground, signed ER, printed marks, 19cm. £150-250 146. A Royal Worcester small bottle vase, date code for 1906, painted by Harry Stinton with boats at sail in a stormy sea, signed, printed marks, 14.8cm. £300-500

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147. A large pair of Derby topographical vases, c.1820, of campana shape, one painted with a scene of a weary traveller by the roadside in a mountainous landscape, the other with figures on and beside a lake, reserved in chamfered gilded panels on a deep blue ground, titled ‘In Italy’ to the underside, restoration to the handles of one vase, 33cm. (2) £500-800

148. A pair of Coalport vases, c.1885, of elaborate frilled form, painted with oval panels of figures in woodland settings, flanked by birds and rabbits amidst raised gilt scrolls, reserved on a turquoise ground, printed marks, a small rim section broken and restuck, 28.8cm. (2) £200-300

149. A Minton porcelain garniture, c.1830, of the Wellington vase and two small ewers, decorated perhaps by Thomas Till with an elaborate raised gilt design of birds perched on foliate scrolls, reserved on an apple green ground, 32.2cm max. (3) £400-600

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150. A Bilston enamel patch box, c.1780, the rectangular form painted with raised sprays of flowers including pink rose, reserved on a purple linen ground, with a white enamel scroll border, 5cm across. £200-300

151. A Bilston small enamel snuff box, c.1780, the lid painted with a turbanned figure playing a guitar and seated before two ladies on a grassy knoll, within a raised gilt scroll border, the ogee moulded base with two panels of cattle in a landscape, on a white ground with gilt hatching, 5.3cm across. £500-800

152. A Bilston enamel patch box, c.1770-80, the circular lid printed in dark purple with a gentleman playing the flute to his companion who sits reading from a book, reserved within a scroll border on a pink ground, the base printed with fisherman hauling in a catch before a sailing boat, the interior fitted with a convex mirror and inscribed ‘Ecouté ma Beauté’, 5cm across. £300-400

153. An English enamel snuff box, c.1770-90, the rectangular form painted in blue and black with small figures beside Classical ruins, the sides and base with sprays of flowers, with gilt metal mounts, a crack to the cover, 8cm across. £100-200

154. A rare enamel patch box, late 18th/early 19th century, the circular form painted with a colourful parrot perched on a large rococo scroll, the sides with small flower sprigs, all reserved on a yellow ground, 4.3cm across. £300-400

155. An English enamel oval snuff box, c.1770-80, probably Bilston, the lid painted with a figure standing and playing the flute before a lady seated before a spouting water fountain and reading a book, a stately home and statuary in the distance, reserved within a gilt scroll border, the sides and base with polychrome flower sprays reserved on a white ground with gilt hatching, 8.8cm across. £800-1,200

156. An English enamel patch box, c.1770-80, the circular lid painted with a solitary figure standing by the water’s edge between Classical ruins, the sides of the base moulded and painted to simulate basketwork, the interior fitted with a convex mirror, 4.5cm across. £200-300

157. A small enamel rectangular snuff box, late 18th/early 19th century, painted with a small panel of buildings within four dragonflies reserved on a blue ground with raised white enamel dots and scrolls, the decoration echoed to the sides, 5.7cm across. £200-300

158. An English enamel small snuff box, c.1770-80, the oval lid painted with a figure leading a horse and covered cart before a church in a rural landscape, reserved within raised enamel scrolls, the ogee sides with panels of flower sprays, reserved on a pale green ground, 5.2cm across. £250-350

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150

151

152

153

154

155

156

157

158

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159. A rare Bilston enamel patch box of American interest, c.1780, the oval form titled to the lid in black with ‘Great Washington to Thee We owe our Liberty’ within a simple continuous leaf border, raised on a pale pink base, with internal deteriorated mirror, 4.7cm. £2,000-3,000 Paper label for D M & P Manheim, New York and London.

160. A rare English enamel pill box of American interest, c.1780-90, the small circular form titled to the lid with ‘Freedom and Independency’, on a dark green base, 2.3cm dia. £1,500-2,000 Paper label for D M & P Manheim, New York.

161. A rare English enamel patch box of American interest, c.1770-80, probably Bilston. the oval form titled in black to the lid with ‘God Bless the United States’ within a simple green and red border, raised on a moulded green base, the interior fitted with a new mirror, 4.4cm. £2,000-3,000 Paper label for D M & P Manheim, New York and London.

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162. An English enamel writing or sewing box, c.1770, probably South Staffordshire, of rectangular form, the lid painted with figures beneath a tall gnarled tree and beside a moored boat, the sides with figures in smaller landscape and harbour scenes, within raised white enamel scrolls and diaper ground, the interior divided into four compartments with a gilt metal fitting, some restoration, 15.5cm. £400-600

163. A rare and large Bilston enamel table snuff box, c.1770-80, of chamfered rectangular form, the lid painted with a shepherd and his companion recumbent on a grassy bank beside water and a small flock of sheep, the sides with further panels of bucolic and rural landscape scenes, reserved on a pink ground with foliate scrolls in raised blue, white and gilt enamel, 10.5cm across. £2,000-2,500

Provenance: from the collection of Dr Venetia Newall.

164. A Bilston enamel mustard pot and cover, c.1780, modelled as a knight in armour with a plumed helmet, the main body of the pot painted with flags and other military trophies, the reverse with flowers, raised on three feet issuing from animal masks, some good restoration, 14.2cm. (2) £400-600

165. A framed group of Continental enamel plaques, 19th century, the central oval plaque well painted with Jupiter and Juno, a large eagle between them, two putti behind, within four small panels, 12.4cm overall. £400-600

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166. A good Meissen gold-mounted snuff box, c.1740, the tall oval form finely painted in purpurmalerei with scenes of courting couples and other figures in formal garden settings, the interior cover with a similar scene of a gallant approaching a lady with a fan while a further seated lady holds out a fan to a small child, the gold mount chased with a hatched design, discharge mark, 7.6cm across. ÂŁ1,500-2,000

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167. A Meissen scent flask, c.1760, of flattened rococo scroll form, painted to one side with a family seated beneath trees, the reverse with a courting couple beneath a stone bust, the narrow sides with pink scale panels, a later gilt metal stopper, 13cm. £300-500

169. A pair of Meissen stands, 19th century, of rectangular form, the longer sides painted with hunting scenes of stags with hounds, the shorter sides with flowers, the stepped bases edged in gilt, blue crossed swords marks, one with an incised triangle and crossed swords, a restored chip to one corner, 8.5cm high. (2) £200-300

168. A small pair of Meissen hausmaler pots or vases, c.1725, the rounded shape moulded with a continuous band of lappets, painted probably in Augsburg with scrollwork around colourful flowerheads, the rims with a continuous band of leaf scrolls, blue crossed swords marks, 7.6cm high. (2) £500-800

170. A pair of Meissen stands, c.1780, the rectangular forms painted to one side with a panel of birds perched on leafy branches, the other sides with sprays of flowers in polychrome enamels, blue crossed swords and star marks for the Marcolini period, 8.3cm high. (2) £200-300

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171. A Herend part dinner and coffee service, modern, painted in the Apponyi or Chinese Bouquet pattern, in the rust colourway, with orange-red sprays of Oriental flowers, the rims with osier moulding. Comprising: a large tureen with cover and stand, a circular stand, three large plates, six 25.7cm plates, six 20.8cm plates, two 19cm plates, seven 17.7cm plates, a coffee pot and cover, a hot water jug and cover, seven cups and six saucers. (45) ÂŁ600-800

172. A large Paris porcelain vase, 19th century, well painted in the manner of Feuillet with a mausoleum among trees, reserved on a blue ground, of elaborate rococo scroll form with pierced neck, 44.5cm. ÂŁ500-800

173. A Herend coffee and chocolate service, modern, painted in the Rothschild Bird pattern, with various songbirds perched on leafy branches. Comprising: a large coffee pot and cover, a large hot water jug and cover, a chocolate pot and cover, a small hot water jug and cover, two milk jugs, a sugar bowl, five cups, eight saucers, and six two-handled chocolate cups with covers and stands. (42) ÂŁ300-400

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174. A Royal Copenhagen Flora Danica dish, 20th century, the deep circular form decorated to the well with a spray of impatiens, within a jagged gilded rim, titled to the underside ‘Impatiens noli me tangere L.’, 23.4cm. £200-300

175. A Nymphenburg white-glazed tureen and cover, late 18th century, the squat cylindrical form applied with leafy swags around empty circular panels, the circular cover surmounted with a putto upending a bowl of leafy tendrils, the whole raised on four bun feet, 27cm dia. £400-600 Cf. Alfred Zimmer, Nymphenburg Porzellan, Baüml Collection, p.191.

176. A Paris porcelain cabinet plate, 19th century, the well painted with various Classical attributes including Mercury’s winged helmet, a tied quiver of arrows and sprays of laurel, reserved on a claret ground, the rim with roundels of mythical masks alternating with Classical figures and reserved on a blue ground, 22.5cm. £100-150

177. A pair of Sèvres cups and saucers, 2nd half 19th century, decorated with a continuous formal gilt band of leaves and flowers around a central geometric floral motif, all reserved on a rich mazarin blue ground, printed marks, 15.7cm. (4) £200-300

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178. A rare Sèvres small cup and saucer, date code for 1768, painted with sprays of pink roses reserved on a blue oeil de perdrix ground, with suspended berried swags, the saucer unusually incised ‘pate no. 43’, blue interlaced LL mark and painter’s initials SC, 10.7cm. (2) £200-300

179. A Sèvres coffee cup and saucer, c.1760-70, probably Londondecorated with panels of exotic birds in flight reserved on an oeil de perdrix ground within pink and gilt borders, blue interlaced LL marks, 13.7cm. (2) £150-250

180. A pair of Sèvres pots and covers, date codes for 1766, painted by Claude Antoine Tardy with small sprays of flowers on a white ground, edged in blue and gilt, blue interlaced LL marks and painter’s mark, 10cm dia. (4) £200-300

181. A Sèvres ecuelle and cover, date code for 1781, painted by Pierre-Antoine Méreaud with small sprays of pink roses and other flowers reserved within blue and gilt formal foliate scrolls, blue interlaced LL marks and S painter’s mark, 16.5cm dia. (2) £300-500

182. Two Sèvres cups and saucers, date codes for 1760 to one, painted by François Aloncle with panels of birds and small flower sprigs reserved on a lattice ground of blue, gilt and white, 13.4cm. (4) £150-250

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183. A St Cloud white-glazed coffee cup and trembleuse saucer, c.1730-40, applied with sprigs of flowering prunus, the cup with an angular handle with scroll terminal, 12.8cm. (2) £500-800

184. A St Cloud white-glazed coffee cup and saucer, c.1730-40, applied with sprigs of flowering prunus, the cup’s handle modelled as a twig, 11.6cm. (2) £450-550 The saucer with a paper label for Klaber & Klaber, Oriental Influences Exhibition, April 1978.

185. A St Cloud pot pourri vase, c.1730-50, the ovoid form rising from a rocky base applied with flowers and leaves, the vase applied with flower garlands around the reticulated shoulder, some losses to the flowers, a figure probably lacking from the base, 23.5cm. £200-300 185

186. A small Chantilly pot pourri vase, c.1740-50, the squat ovoid form applied with two flower sprays, the shoulder pierced with four floral roundel designs, raised on a low rocky base, a little good restoration, 7.7cm high. £250-350

187. A Meissen white-glazed bowl and cover, c.1740, the rounded cylindrical sides applied with sprigs of flowering prunus, blue crossed swords mark, 11.8cm dia. (2) £500-800 Paper label for Klaber & Klaber, Oriental Influences Exhibition, April 1978.

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188. A good and large Meissen dish or charger, c.1735, painted in the Kakiemon palette with a colourful crane confronting a kylin curled around a stem of bamboo beneath flowering peony, the rim with small scattered indianischeBlumen sprigs, blue crossed swords mark, four dot Dreher’s mark inside the footrim, 34.2cm. £4,500-6,000 Cf. Bonhams, The Hoffmeister Collection of Meissen Porcelain, Part III, lot 23 for a slightly larger example.

189. A good Meissen pâte-sur-pâte cabinet plate, late 19th century, finely decorated with a bacchanalian scene emblematic of Autumn, of the young god playing with three putti beneath a branch of fruiting grapevine, on a rich blue ground, the rim with a delicate foliate gilt border, blue crossed swords mark, titled to the reverse with ‘Herbst nach Hundrieser’, 26cm. £600-1,000

190. A large and early Meissen charger, c.1731-38, painted in underglaze blue with the Onion or Zweibelmuster pattern, blue crossed swords mark and painter’s numeral 4, impressed Dreher’s mark to the footrim, 38.2cm. £800-1,200

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191. A Meissen model of a cockatoo, 19th century, after the model by J J Kändler, perched on a tree stump with wings slightly outstretched and crest raised to reveal the coral plumage beneath, blue crossed swords mark, 22cm. £200-300

192. A pair of Meissen models of long-tailed parakeets, 19th century, after the models by J J Kändler, each perched atop a tall stump with head slightly turned, their plumage brightly decorated, blue crossed swords marks, small damages, 33.2cm. (2) £400-600

193. Five Meissen models of birds, 19th/20th century, including a green woodpecker, a bullfinch, a robin, a swallow and a sparrow, all perched on tree stumps, blue crossed swords marks, some damages, 26.5cm max. (5) £200-300

194. Two Meissen groups of birds, 19th century, one of a pair of bullfinches perched in a tree and pecking berries off the leafy branches, the other of two robins tending a nest containing three small eggs, blue crossed swords marks, incised J174 and J172, some damages, 30cm max. (2) £200-300

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195. A Meissen figure of a Bolognese terrier, 19th century, the small dog seated on its haunches with head turned to sinister, its long coat decorated with pale brown patches, blue crossed swords mark, incised C77, 15.3cm high. £100-200

196. A Berlin figure group of children, late 18th century, modelled with a boy playing the flageolet, the girl seated on a stump above him with a basket of flowers, raised on a grassy base, blue sceptre mark, 15.8cm. £200-300

197. A large Nymphenburg equestrian figure group, modern, a hunter in a red coat and tricorn hat riding a white stallion beside two running dogs, raised on a low scrolled base, printed and impressed marks, 30cm high. £300-400

198. A Naples porcelain figure group of putti, c.1775, one standing and embracing a swan with outstretched wings, the other reclining with a dove, a flaming torch and quiver of arrows resting on the rocky base, blue crowned N mark, some damages, 15.5cm high. £200-300

199. A Meissen figure group of a couple, 19th century, he holding a bird above her head, she holding a basket of flowers, a spaniel recumbent on the rocky base, incised E65, blue crossed swords mark, minor losses, 17cm. £200-300

200. A small Doccia figure from the commedia dell’arte, c.1760, probably Trivellino, wearing a wide-legged white costume edged in green, with a slouch hat and a black mask, his right hand outstretched, raised on a small square base, some good restoration to his right hand, 12cm. £200-300

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Trivellino often acted as a counterpart to Harlequin and his costume is often described as edged with triangles of blue or green.


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201. A matched pair of Meissen figures of greyhounds, 20th century, after the models by J J Kändler, modelled running with front paws in mid air, their coats decorated with grey patches, raised on low bases applied with flowers and leaves, blue crossed swords marks, incised and impressed numbers, 25cm across. (2) £800-1,200

202. A Meissen figure of a blackamoor Levantine lady, mid 18th century, modelled by Kändler and Reinicke, standing and wearing a tall headdress, holding a basket of lemons in her left hand, raised on a low pad base applied with flowers, some good restoration to her right hand, 14cm. £1,000-1,500

203. A Meissen figure of a lemon seller, c.1750, modelled by F E Meyer, standing and holding the edge of his apron, full of lemons, with three further fruit scattered around his feet, his left arm lacking from the elbow, 13.5cm. £150-250 Cf. Martin Eberle, Cris de Paris-Meissener Porzellanfiguren des 18.Jahrhunderts, no. 7 for a similar figure, previously thought to have been part of this series.

204. A Frankenthal figure of a fruit vendor, c.1760, modelled as a lady standing beside a tall flat-backed basket of apples, wearing a Dutch-style cap, raised on a flat scrolled base picked out in puce and gilt, blue crowned CT monogram, workmans’ marks of AB and GHM, 14cm. £600-800

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205. A large pair of Meissen figures of a gardener and his companion, 19th century, each standing with a basket of flowers, he with a bobbin of garden twine at his feet, raised on scrolled bases picked out in gilt, blue crossed swords marks, some damages and repairs, 47.5cm. (2) £500-800

206. A Ludwigsburg figure of a Chinese woman, c.1767, modelled by Joseph Weinmüller, seated on a tasselled patterned cushion, her left foot resting on a shallower green cushion, her right hand raised, wearing a cap applied with delicate beads, a blue-sprigged dress and a pink tunic, decorator’s mark in iron red, good restoration to her right foot, 18cm high. £600-800 Cf. Dr Erika Pauls-Eisenbeiss, German Porcelain of the 18th Century, Vol II, p 248. See also Hans Dieter Flach, Ludwigsburger porzellan, fig. 515. Provenance: the Luise Hofmann Collection.

207. A Frankenthal figure of a lady, c.1762-65, modelled by Johann Friedrich Lück, standing gazing slightly upwards, her blue and white dress below a puce cape trimmed in ermine, her hands inside a fur-lined muff, raised on a shaped base moulded with scrolls picked out in puce, blue CT and crown mark, incised workman’s marks AB, R and numerals (tiny chips to the hem of her gown and lace sleeves) £600-800 Paper label for the Luise Hofmann Collection. Cf. Erika Pauls-Eisenbeiss, German Porcelain of the 18th Century (1972), pp. 140-41.

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208. A Frankenthal figure of a lady, c.1756-59, holding her skirt in her left hand, her right hand raised by her face and seemingly wagging her finger, wearing a low cut bodice and a green hat, raised on a low scroll base picked out in puce and gilt, blue lion mark, 14.5cm. £250-350


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RUSSIAN PORCELAIN EGGS FROM THE COLLECTION OF DR VENETIA NEWALL Dr Venetia Newall MA, FRGS, FRSA was a former correspondent of The Times whose interest in and knowledge of international folklore led to two appointments at the University of London and a position as Honorary Secretary of the Folklore Society. Her book ‘An Egg at Easter’ was awarded the 1971 Chicago Folklore Prize, and features several of the eggs contained in her extensive collection. Dr Newall’s interest in eggs was sparked in the late 1950s during a visit to central Europe, when she saw highly decorated examples being sold in the local markets as offerings at Easter. In her book she writes at length about the tradition of giving eggs at Easter, including that in pre-Revolutionary Russia which is said to stem from Mary Magdalen offering an egg to a centurion in Alexandria, who then allowed her to pass. The Tsar and Tsarina would present expensive eggs as gifts to each other, and also ordered eggs to be presented as gifts to courtiers. These latter were usually white porcelain from the Imperial Porcelain Manufactory in St Petersburg, and were decorated with the Royal’s personal monogram or cipher. The eggs were pierced and designed to be suspended by a r ibbon above an icon.

209. Three Russian porcelain Easter eggs, 19th/20th century, one Imperial Factory St Petersburg and painted with a portrait of Saint Sergei of Radonezh, his arms folded across his chest, reserved on a gilt ground, incised 34 to the base, another painted with a portrait of St Eugenia with hands clasped around a rosary, titled in gilt above the painting, the last with a portrait of Jesus and the initials of the Paschal greeting to the reverse, one damaged and restored, 11cm max. (3) £800-1,200 Provenance: from the collection of Dr Venetia Newall. Illustrated: Dr Venetia Newall, An Egg at Easter, col.pl.II for the egg far left.

210. Three Russian porcelain Easter eggs, 19th/early 20th century, probably Imperial Factory St Petersburg, one painted with the Archangel Michael holding a torch, two with portraits of a man in ermine-lined robes, believed to be Alexander Nevsky or St Alexander, all reserved on a gilt ground with foliate and star motifs, two with suspension ribbons, the porcelain 8.5cm max. (3) £1,000-1,500 Provenance: from the collection of Dr Venetia Newall. Illustrated: Dr Venetia Newall, An Egg at Easter, col.pl.III for the central egg.

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211. Two Russian porcelain presentation Easter eggs, late 19th/early 20th century, Imperial Factory, St Petersburg, one decorated in gilt and black enamel with the crowned monogram of the Empress Alexandra Feodorovna (1872-1918), the other with the gilt monogram of the Grand Duke Paul Alexandrovich (1860-1919), with suspension ribbons, the porcelain 6.5cm. (2) £400-600 Provenance: from the collection of Dr Venetia Newall. The Grand Duke Paul was nephew to Tsar Nicolas II (husband of Empress Alexandra Feodorovna) and it fell to him to inform the Empress of her husband’s abdication in 1917.

213. Two Russian porcelain presentation Easter eggs, early 20th century, gilded with the monogram of Grand Duchess Olga Alexandrovna (1882-1960), one with bold pink stripes around floral panels and leaf tendrils, the other with small panels of pink roses within stylized blue leaf cartouches, 9.8cm. (2) £800-1,200 Provenance: from the collection of Dr Venetia Newall. Olga Alexandrovna was the youngest child of Emperor Alexander III of Russia. In later life she emigrated to Canada and was a prolific artist.

215. Three Russian porcelain Easter eggs, late 19th/early 20th century, Imperial Porcelain Factory, St Petersburg, simply decorated with gilt monograms beneath the Imperial crown, reserved on a white crown, the monograms for Tsar Nicholas II and his daughters, Grand Duchess Maria Nikolaevna, and Grand Duchess Olga Nikolaevna, two with ribbon suspensions, 6.5cm max. (3) £800-1,200 Provenance: from the collection of Dr Venetia Newall.

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212. Two Russian porcelain Easter eggs, late 19th/early 20th century, probably Imperial Factory St Petersburg, boldly painted with flowers including rose, tulip, narcissus and auricula, the reverse with gilt foliate designs, a later Russian porcelain egg with floral decoration and a gilt inscription of Christ is Risen in Cyrillic script, with a miniature egg bearing the same inscription and a panel of flowers, 9.5cm max. (4) £500-800 Provenance: from the collection of Dr Venetia Newall.

214. Two Russian porcelain presentation Easter eggs, late 19th/early 20th century, one Imperial Factory St Petersburg and gilded with the monogram of Empress Alexandra Feodorovna (1872-1918), the reverse with an elaborate gilt cross between bands of pink roses, the other decorated with the monogram of the Grand Duchess Olga Alexandrovna (1882-1960) between leaf bands and stylized flowerheads, the latter restored, 10cm. (2) £400-600 Provenance: from the collection of Dr Venetia Newall.

216. Two Russian porcelain Easter eggs, 20th century, one probably Imperial Factory St Petersburg, finely decorated with butterflies in a mosaic effect between gilt panels with stylized foliate designs, the other with formal gilt scrolls on alternating green and white stripes, with yellow suspension ribbons, the porcelain 7cm max. (2) £600-1,000 Provenance: from the collection of Dr Venetia Newall.


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217. A Russian porcelain presentation Easter egg, late 19th/early 20th century, Imperial Factory St Petersburg, gilded with the cipher of Empress Alexandra Feodorovna (1872-1918), reserved on a deep blue ground, 10cm. £400-600 Provenance: from the collection of Dr Venetia Newall. Empress Alexandra Feodorovna was the wife of Tsar Nicholas II and a grand-daughter to Queen Victoria. Her reliance on the Russian mystic Grigori Rasputin led to her increased unpopularity and that of the Romanovs in general.

218. A Russian porcelain presentation Easter egg, late 19th century, Imperial Factory St Petersburg, richly gilded with the cipher of Alexander III (1845-1894), between formal gilt borders on a white ground, 11.5cm. £800-1,200 Provenance: from the collection of Dr Venetia Newall.

219. A large Russian porcelain presentation Easter egg, late 19th/early 20th century, Imperial Factory St Petersburg, richly gilded with the monogram of Empress Maria Feodorovna (1847-1928), reserved on a blue ground between formal gilt borders, 12cm. £800-1,200 Provenance: from the collection of Dr Venetia Newall. Maria Feodorovna was born Princess Dagmar of Denmark. She had been engaged to the heir apparent, Nicholas Alexandrovich, at the time of his death from meningitis in 1865. She married the future Alexander III the following year. The couple were crowned in Moscow in 1883.

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220. A small Russian porcelain wartime presentation Easter egg, c.1914-18, finely decorated in gilt, black and grisaille with the Lesser version of the Russian coat of arms reserved on a rich yellow ground, with a black suspension ribbon, the porcelain 7cm. £300-400 Provenance: from the collection of Dr Venetia Newall.

221. A large Russian porcelain presentation Easter egg, early 20th century, Imperial Factory St Petersburg, decorated with three vignettes of the Lesser version of the Russian coat of arms reserved on a white ground,, with a later striped suspension ribbon, some wear, the porcelain 11.5cm. £400-600 Provenance: from the collection of Dr Venetia Newall.

222. A Russian porcelain presentation Easter egg, late 19th/early 20th century, Imperial Factory St Petersburg, decorated with the cipher of Grand Duke Paul Alexandrovich (1860-1919), the reverse with the Lesser version of the Russian coat of arms, on a white ground, with a later silk cord suspension tassel, the porcelain 7.5cm. £500-800 Provenance: from the collection of Dr Venetia Newall.

223. A Russian porcelain Easter egg, late 19th century, Imperial Factory St Petersburg, richly decorated with a sang de boeuf glaze speckled with pale turquoise and with purplish-blue striations, with gilt-coloured metal mounts with small enamel flowerheads, 10.3cm. £300-400 Provenance: from the collection of Dr Venetia Newall. Illustrated: Dr Venetia Newall, An Egg at Easter, col.pl.IV.

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A PRIVATE COLLECTION OF CUTLERY

224. A six place set of Chinese porcelain knife and fork handles, Qianlong (1736-95), of pistol shape and painted in polychrome enamels with European flowers, with gilt scroll highlights, the forks with two prongs, 24.5cm overall max. (12) £300-500 Provenance: from a private collection in Somerset.

225. A rare boxed set of six Mennecy knives, c.1740, the moulded pistol hafts painted in Kakiemon enamels with flowering sprays issuing from a blue leaf scroll, the blades impressed BOOG, contained in a later fitted wooden box lined with red velvet. £500-800

226. A rare set of six Chelsea knives, c.1755, the straight faceted hafts left in the white, each with a red anchor mark, the silver blades engraved with the crest of a standing lion, hallmarked for 1805, all contained in a later fitted box lined with red velvet. £800-1,200

Provenance: from a private collection in Somerset.

Provenance: from a private collection in Somerset.

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227. Two pairs of forks with St Cloud porcelain handles, c.1720-40, one pair with pistol grip hafts painted in underglaze blue with formal designs and foliate scrolls, the other pair with faceted pistol hafts painted in blue with diaper panels and stylized floral motifs, 22.5cm max overall. (4) ÂŁ400-600 Provenance: from a private collection in Somerset.

228. Three Mennecy knife handles, c.1740-50, with cannon shaped hafts, two faceted, all decorated in Kakiemon type enamels with Chinese figures and large birds in pagoda landscapes, a crack to one haft, 26cm overall max. (3) ÂŁ300-500 Provenance: from a private collection in Somerset.

229. A dessert knife and fork with St Cloud porcelain handles, c.1720-40, with pistol hafts painted in blue with lambrequin and formal foliate scrolls, and two St Cloud two-pronged forks with cannon hafts painted with formal designs in underglaze blue, 21cm overall max. (4) ÂŁ300-500 Provenance: from a private collection in Somerset.

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230. Four St Cloud knife handles, c.1720-50, one with a cannon haft painted in blue with a Chinese figure holding a parasol, the reverse with a Long Eliza type figure, two with pistol hafts painted with lambrequin and foliate scroll designs, the last moulded with prunus and highlighted in green, 27.8cm overall max. (4) £300-500 Provenance: from a private collection in Somerset.

231. A small collection of ceramic cutlery handles, 18th century, including a Berlin knife and fork painted with puce monochrome flower sprays, an Ardus faïence knife, one Wedgwood tricolour Jasperware, applied with Neoclassical moulding in white and yellow on a sage green ground, a Bow fork with puce floral decoration, and an English porcelain handle with printed blue decoration, 23.5cm max overall. (6) £250-350 Provenance: from a private collection in Somerset.

232. A Doccia knife handle, c.1750, the faceted pistol haft with underglaze blue stencilled decoration of flowering sprays, 22cm overall. £100-200 Provenance: from a private collection in Somerset.

233. A pair of St Cloud knife handles, c.1720-40, with straight moulded hafts painted in underglaze blue with formal foliate designs, the blades marked ‘Bergerault, Blvd St Denis a Paris’, 24.3cm overall. (2) £150-250 Provenance: from a private collection in Somerset.

234. Three Chelsea white-glazed knife handles and three forks, c.1752, the knives and one three-pronged fork with pistol hafts moulded with tea plant sprays, a three-pronged dessert fork and a two-pronged fork moulded with entwined flowering branches, 29cm overall max. (6) £300-500 Provenance: from a private collection in Somerset.

235. Four St Cloud knife handles, c.1720, the cannon hafts painted in blue with lambrequin designs, one a fish knife with the blade marked for Alain fils du Commercial, Nevers, two with restoration, 25.5cm overall max. (4) £200-300 Provenance: from a private collection in Somerset.

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236. Two Worcester knife handles and two forks, c.1758-65, a twopronged fork with a white-glazed pistol haft moulded with a strung coin motif in the St Cloud manner, the other fork in underglaze blue with the Rose and Floral Sprays pattern, a knife with the Formal Floral pattern, the last with polychrome enamel flower sprays and fitted with an elaborate 19th century Continental gilt metal blade, 29cm max overall. (4) £250-350

237. Two Chelsea knife handles and two forks, c.1752, with moulded pistol hafts, a two-pronged fork and knife applied with flowering prunus sprays, a three-pronged dessert fork and a dessert knife with flowering branches of Gotzkowsky type, 25.4cm overall max. (4) £300-500 Provenance: from a private collection in Somerset.

The blue and white knife from the Watney Collection. Provenance: from a private collection in Somerset.

238. Four Bow blue and white knife handles and two fork handles, c.1750-58, of pistol shape, variously decorated with lambrequin designs and foliate scrolls, the forks with two prongs, one knife blade impressed Lamprey, another UNIT, some damages, 28.7cm max overall. (6) £250-350 One small knife previously in the Watney Collection. Provenance: from a private collection in Somerset.

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239. Three Bow cutlery handles, c.1755-58, an armorial knife with a pistol haft moulded and painted in polychrome enamels with a mermaid crest for the Minett or O’Bryne family, a two-pronged fork white-glazed and moulded with foliate scrolls, and a four-pronged fork later enamelled with fruiting vine on a yellow ground, 27.3cm overall max. (3) £150-250 Provenance: from a private collection in Somerset.


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240. Two Chelsea-Derby knife handles, c.1770, one moulded with the tea plant design and picked out in gilt and blue, the other with stylized flower sprays picked out in white, green and gilt on a claret ground, 24.2cm overall max. (2) £250-350

241. A knife and fork with Bow porcelain handles, c.1760, the straight hafts with feather moulding, enamelled in green, puce and blue on a yellow ground, the knife blade impressed ‘A Risler & Carre, Paris’, 25cm overall. (2) £400-600

Provenance: from a private collection in Somerset.

Provenance: from a private collection in Somerset.

242. A knife and fork with Chelsea porcelain handles, c.1760, with scroll moulded pistol hafts, painted with panels of exotic birds and sprays of European flowers within gilt detailing, 28.5cm overall. (2) £400-600

243. A Chelsea white-glazed knife handle and a Bow fork, c.175255, the knife with a faceted pistol haft moulded with flowering branches, the two-pronged fork with formal scrolls and a band of leaves, 20cm overall max. (2) £150-250

Provenance: from a private collection in Somerset.

Provenance: from a private collection in Somerset.

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244. A knife and fork with Longton Hall porcelain handles, c.1755, the pistol hafts moulded with scrollwork and painted with the armorial crest of an eagle for Middleton of Leighton Hall in Lancashire, the scrollwork picked out in purple, red and gilt, 27.6cm overall. (2) £300-500 Provenance: from a private collection in Somerset.

245. A rare Vauxhall blue and white knife and fork, c.1758, with hexagonal pistol hafts painted with a lambrequin design and formal foliate scrolls, the knife blade impressed ‘Parker’, the fork with two prongs, 29.5cm overall. (2) £500-800 Provenance: from a private collection in Somerset.

246. A good Chelsea dessert knife and fork, c.1753, the moulded pistol hafts finely painted with polychrome flower sprays on a white ground, 21.3cm overall. (2) £500-800 Provenance: from a private collection in Somerset.

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247. A large pair of Chelsea sweetmeat figures, c.176065, seated with open baskets resting on their knees, the interiors painted with fruit, he with a rake, she with a short mop, a tabor and flageolet at her feet, both raised on flower-encrusted scroll bases, gold anchor marks, some restoration, 27cm. (2) £700-900

248. A pair of Minton sweetmeat figures, 19th century, after Meissen, modelled as a gentleman and his companion reclining with large baskets applied with flowers and painted on the interior with a cornflower design, raised on scrolled bases with pink, green and gilt detailing, minor faults, 17cm across. (2) £200-300

249. A pair of Chelsea sweetmeat figures, c.1760-65, modelled as a gentleman and his companion each standing beside a large basket resting on a flowerencrusted stump and holding up the lid in one hand, each with a dog at their feet, raised on pierced scrolled bases picked out in gilt, some restoration, 19cm. (2) £700-900

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250. A Derby figure group of Music, c.1775-80, of two children seated around a tree, he playing the flute, she with the bagpipes and holding a musical score on her knee, raised on a rocky base, incised No.139 to the base, minor losses, 23.2cm. £600-800

251. A good and large Derby figure of Mars, c.1760-65, standing before his shield and a large flag, wearing a plumed helmet and a chainmail tunic, his right hand resting on his hip, raised on a circular base moulded with leaf scrolls, 34.5cm. £600-800

254. Two pairs of Derby figures, c.1760-65, one pair of seated musicians, he playing the bagpipes and she the mandolin, the other pair of gardeners, he with a basket of flowers, she with further blooms in her apron, each standing beside flowering bocage, all raised on scrolled bases, some damages, 26.5cm max. (4) £400-600

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252. A Derby figure of Andromache weeping over the ashes of Hector, c.1775-80, after the painting by Angelica Kauffman, the widow leaning on a funerary urn with her head leant wearily on one hand, raised on a chamfered rectangular base moulded with a key fret band, incised No 100 to the base, and with ‘2 si’, 23.7cm. £150-250

253. A large Derby figure of Athena, c.1760-65, resting one hand on her shield bearing the face of the Gorgon, an owl perched on a pile of books beside her, holding a trident in her right hand and standing on a scrolled base picked out in green and puce, minor damages, 35.5cm. £400-600

255. A pair of Longton Hall figures of an abbess and her novice, c.1754-58, each seated and reading from religious texts, the abbess with a rosary draped over her right knee, each wearing a burgundy habit lined in pink, a little restoration, 13cm. (2) £800-1,000


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256. A large Derby mythological figure of Europa and the Bull, c.1765, she seated on the back of Zeus in bovine form and garlanding his head with flowers, raised on a rococo scrolled base, a chip to one horn, 28.5cm. £1,200-1,500

257. A large Derby mythological figure of Leda and the Swan, c.1765, she seated on a scrolled stump and embracing the god Zeus in his altered state, the base picked out in gilt and turquoise, some restoration, 26cm. £1,000-1,500

258. A Derby figure of Neptune, c.1760-65, standing on top of a tall base encrusted with shells, coral and seaweed, holding his billowing at the ends, a mythical dolphin beside him, his trident lacking, a few minor chips, 22.2cm. £500-800

259. A large Bow figure of Ceres, c.1760-65, emblematic of Earth from the Four Elements, standing before a recumbent lion, holding a cornucopia of fruit and flowers, with a single fruit in her extended left hand, raised on a tall scrolled base picked out in puce, blue and gilt, some good restoration, 23.4cm. £400-600

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260. A pair of Bow candlestick figures of Cupid, c.1760-65, each modelled with the putto reaching up to the branches of the flowering bocage, each with a dog beside him, one with a quiver of arrows, the other a flaming torch, raised on pierced scroll bases, red anchor and dagger marks, the sconces associated, minor damages, 24.2cm. (2) £200-300

261. A pair of Derby figures of a young musician and his companion, c.1760-65, the young man playing the flageolet with his dog standing beside him, his companion holding the edge of her skirt in one hand, a recumbent sheep by her feet, both standing before flowering bocage, a few small losses and restorations, 22.5cm. (2) £450-650 Provenance: Sotheby’s, 1st June, 1994, lot 235.

262. A pair of Bow figures of Winter and Spring from the Adolescent Seasons, c.1765, Winter wearing a hooded overcoat beneath his hat, his hands tucked inside an ermine muff, a small flaming brazier at his feet, Spring holding a basket of flowers, with a small posy in her right hand, both standing before fruiting or flowering bocage, on scrolled four-footed bases, red anchor and dagger marks, each with a blue cross mark, some good restoration, 19.5cm. (2) £700-900

263. A pair of Bow New Dancers, c.1765, the young couple with arms raised in typical pose, their clothing modelled in motion, raised on tall scrolling bases before elaborate flowering bocage, red anchor and dagger marks, some restoration, 24cm. (2) £500-800

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264. A rare set of Derby figures from the Four Quarters of the Globe series, c.1760, emblematic of Asia, Africa, America and Europe, each with varying attributes of their Continent, raised on low bases applied with flowers and leaves, small damages and restorations, 24.8cm. (4) £2,000-3,000 A series of adult models of the Four Quarters of the Globe was first created by Kändler at Meissen around 1745, and adapted a few years later by Meyer using children instead. Meyer’s series was copied at Chelsea, and it is likely that this Derby series derives from Chelsea rather than the German originals.

265. A set of Bow figures of the Rustic Seasons, each modelled seated on a tall footed base, Spring with flowers, Summer with sheaves of corn, Autumn with grapevine and a wine glass, Winter huddled over a brazier, some small restorations, 17cm. (4) £1,800-2,200 Paper labels for the C R Stephens Collection, and for Beauchamp Galleries, London, SW3.

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266. A pair of Derby models of sheep, early 19th century, each standing and nibbling at a grassy base applied with colourful flowers, their coats decorated with rust patches, the ram with curved horns, 9cm high. (2) £250-350

267. A pair of Derby candlestick figure groups, c.176570, each modelled with a fox standing over a chicken or cockerel before tall flowering bocage, raised on scrolled bases picked out in turquoise and gilt, 25.5cm. (2) £500-700

268. Two Derby models of dogs, late 18th/early 19th century, one of a setter, scratching at the ground with his left forepaw, his tail erect, the other of a pointer with ears pricked and head slightly turned, both raised on grassy bases applied with flowers, some good restoration to both tails, 12cm high max. (2) £300-500

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269. A rare Bow model of a pug dog, c.1755, seated on a low grassy mound and scratching his left ear with his left rear paw, one forepaw resting on a toy, decorated in polychrome enamels, a small chip to the base, 11cm. £1,000-1,500

270. A matched pair of Bow white-glazed models of finches, c.1755, each perched on a low stump on a circular base with head turned, one tail lacking, one broken and restuck, 10.2cm high. (2) £700-1,000

271. A rare Bow model of a pug, c.1755, seated on a grassy mound and scratching his left ear with his left hind paw, one forepaw resting on a toy, decorated in polychrome enamels, a few small chips, 11cm. £1,000-1,500

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272. A set of Derby biscuit porcelain figure groups of the Elements, c.1775-80, each modelled with two putti, Fire as a putto grinding an arrow on a wheel, his companion holding a flaming torch, Air as two putti taking birds from a nest, Water as two putti fishing, and Earth with a putto holding a spade and his companion a flower garlands, all incised N 48, Earth with a triangle repairer’s mark for Joseph Hill, minor damages and restorations, 23cm max. (4) £1,600-2,000

273. A rare set of Derby figures of the Four Seasons, c.1765-70, modelled as children in animated poses with varying attributes, Spring garlanded in flowers, Summer holding a large sheaf of corn, Autumn with a large basket of grapes strapped to his back, and Winter carrying a basket containing a goose and fastening a fur-lined coat about her shoulders, raised on low scrolled bases, some damages and repairs, 21.5cm max. (4) ÂŁ1,200-1,500

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274. A rare Derby biscuit porcelain figure of a female musician, c.1780, wearing Classical dress and playing a tabor suspended from her left hand, standing before a short column on a circular base applied with flowers, incised crowned crossed batons mark and N392, some restoration and chipping to her fingers, 26cm. £500-800

275. A Longton Hall candlestick figure of Ceres, c.1758, standing on a rocky base and holding a sheaf of corn in her right hand, a putto standing beside her, the sconce and drip pan supported on a slender stem highlighted in pink and blue enamels, some chips to the flowers, a little restoration to the putto’s arm, 29.8cm. £600-800

276. A rare Derby biscuit porcelain figure of the Alpine Shepherdess, c.1780, wearing a mob cap and flowing dress, raised on a circular base applied with flowers and leaves, incised crowned crossed batons mark and N389, some restoration, 26cm. £400-600

277. A rare Bow figural candlestick, c.1760-65, modelled as a courting couple seated at the base of a tall trunk entwined with flowers, she playing a stringed instrument, raised on a scrolled base picked out in puce, blue and gilt, some good restoration, 27.2cm. £400-600

Cf. Peter Bradshaw, Derby Porcelain Figures, p.395 which lists no.392 as an unknown pair of large figures.

278. A pair of Bow candlestick figures of Cupid, c.1760-65, kneeling before flowering bocage and reaching up to a bird in a nest, each with a dog recumbent on the base, one beside a quiver of arrows, the other beside a flaming torch, raised on scrolled bases, minor losses, 25cm. (2) £400-600

279. Three Bow white-glazed figures from the Seated Rustic Seasons, c.1755, emblematic of Spring, Autumn and Winter, the former modelled as a lady with a basket of flowers, Autumn a vintner seated on a basket of grapevine, Winter wrapped in a cloak and huddled over a brazier, some restorations, 13cm. (3) £1,000-1,500

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280. A Bow candlestick bird group, c.1765, modelled with a single finch perched on a low flowering branch and pecking at a further bloom, raised on a scrolled base picked out in puce, some restoration to the base and branches, 19cm. £450-650

281. A Bow figure of Summer, c.1755-58, from the Seated Rustic Seasons series, resting on a stook of corn with a small sheaf supported by her left hand, a handful of ears held in her outstretched right hand, raised on a low pad base, her right arm broken and repaired, 13.5cm high. £300-400

282. A rare small Bow white-glazed figure of a musician, c.1756, seated on a rocky stump and playing the flute, wearing a turban and with his feet splayed, some restoration, 9.7cm high. £500-800

283. A rare Longton Hall figure of Summer, c.1758, modelled as a young man seated upon a wide scrolled base picked out in puce, holding a single flower in his left hand and wearing a diadem of corn, with further scattered corn ears beneath his feet, minor losses to the flowers, 13cm high. £800-1,200

284. A small Chelsea figure of a musician, c.1760-65, naked except for a flowered robe wrapped around his waist, playing the flute and standing beside a stump applied with flowers, gold anchor mark, good restoration, 13.5cm. £450-650

285. A small Derby figure of a flower seller, c.1756, standing on a low pad base and carrying a basket of flowers over his left arm, a single bloom in his right hand, some restoration to his right arm and coat tails, 11.8cm. £500-800 Cf. John Twitchett, Derby Porcelain, p.41, pl. 3.

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286. A rare matched pair of Bow candlestick figures of the Dutch Dancers, c.1765-70, he standing with his hands behind his back and right leg extended, she with her hands on her hips, each on a footed base before a flowering tree stump supporting a pierced candle sconce, a few small chips, replacement nozzles, 26.5cm. (2) £1,000-1,500

287. A matched pair of Derby figures of the Ranelagh Dancers, c.1765, each standing with one hand on their hip and the other extended, raised on scrolled bases applied with flowers, some good restoration to his left hand, 22.5cm. (2) £600-800

288. A near pair of Bow figures of a shepherd and shepherdess, c.1760, he standing with a dog beside him and playing the bagpipes, she with a recumbent lamb and dancing to her partner’s music, each raised on footed bases applied with flowers, minor restorations, 16cm. (2) £500-800

289. A matched pair of Bow candlestick figures emblematic of Spring and Autumn, c.1760-65, modelled as Flora and Bacchus each with a putto, Flora garlanding flowers around the scrolled stem, Bacchus drinking from a wine glass and wearing a leopard skin pelt, each raised on a scrolled base, some good restoration, the sconces associated, 27.5cm. (2) £800-1,200

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290

291

292

293

290. A large Derby figure of John Wilkes, c.1765-70, standing and resting one hand on a square plinth, atop of which rests a scroll inscribed ‘Bill of Rights’, draped in a long pink cloak, a putto to his right, holding a phrygian cap on the end of a stick and supporting a book titled ‘Lock [sic] on Gov’t’, raised on a scrolled base, small losses, 30cm. £450-650 John Wilkes (1725-1797) was an English politician and radical journalist whose criticism of the King in his magazine The North Briton earned him a warrant for his arrest for libel in 1763. Citing parliamentary privilege he was cleared of the charge and went on to become Lord Mayor of London in 1774.

291. A large Bow figure of a piping shepherd, c.1760-65, playing the bagpipes and standing on a tall scrolled base, a sheep by his side, his dog looking up at him, the base applied with flowers and leaves, a small amount of good restoration, 28cm. £600-800

292. A Chelsea figure of a gardener, c.1760-65, standing with a satchel slung over his shoulder, holding a basket of fruit in his left hand and extending a single fruit in his right, his dog seated beside him, raised on a low scrolled base applied with flowers, gold anchor mark, a small amount of good restoration, 23.2cm. £500-800

293. A Bow figure of a Centurion c.1760-65, possibly Epona, dressed in Roman attire before a recumbent horse, one hand resting on a shield, the other holding a sword aloft, raised on a rococo scroll base, red anchor and dagger mark, some restoration to the helmet, 20.5cm. £250-350 In Gallo-Roman religion, Epona was a protector of horses, donkeys, and mules. She was particularly a goddess of fertility, as shown by her attributes of a patera, cornucopia, ears of grain and the presence of foals in some sculptures.

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294. A Bow figure of Neptune, c.1760, standing astride a large mythical dolphin with his patterned cloak billowing around him, raised on an unusual openwork base applied with shells, coral and seaweed, some good restoration to both arms, 19.7cm. £500-800

295. A rare Bow figure of the Poultry Chef, c.1755, wearing a yellow coat over red breeches, holding a large plate with the edges of his apron, with two cooked birds surrounded by slices of orange, raised on a low pad base, 17.5cm. £1,000-1,500

296. A rare Vauxhall figure of a man, c.1760, reclining on a scrolled base, his right arm raised above his head, a basket supported in his left hand, painted in bright colours, the base picked out in red, some good restoration to his right arm, 15.5cm high. £800-1,200 A similar figure, attributed to Longton Hall, is illustrated by Peter Bradshaw, 18th Century English Porcelain Figures, colour plate S. More recently, the class of figures to which this lot belongs have been reattributed to Vauxhall. See ECC Trans, vol 16, pt 1, p 68.

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297. A Derby model of the Four Seasons, c.1760-70, personified as four figures gathered around a central obelisk, holding attributes of corn, fruit and flowers, Winter wearing a fur-lined coat and holding a gun, some restoration, 24cm. £600-800

298. A Bow figure of Water, c.1758-60, from the Elements series, modelled as Neptune standing before a large dolphin and holding an upturned urn of flowing water in his left hand, a little restoration to the dolphin’s tail, 19cm. £500-800

Cf. Peter Bradshaw, Derby Porcelain Figures, p.116.

299. A rare Bow figure of a fish seller, c.1758-62, modelled as a young girl supporting two large fish in the folds of her apron, a bucket of further fish at her feet, the square base applied with seashells and seaweed, some good restoration, 15.5cm. £550-850

300. A Derby dry-edge figure of a lady, c.1756, emblematic of Music or Hearing, holding a sheet of notation in her left hand, her right outstretched as if to play an instrument, raised on a low pad base, some good restoration, 14cm. £900-1,200

Cf. Bonhams, London, 23rd April 2008, lot 91 for a similar example. Also Peter Bradshaw, Bow Porcelain Figures, p.136 for another example with her companion figure.

Cf. John Twitchett, Derby Porcelain, p.41, pl.1.

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301. A Derby part dessert service, c.1790, painted to the wells with a single spray of pink roses within narrow blue bands with gilt dash borders, blue crowned D marks. Comprising: an ice pail and cover, two sauce tureens with covers and stands, five square dishes in two sizes, three oval dishes in two sizes, and ten plates. (26) £800-1,200

part 302. A pair of Caughley teabowls and saucers, c.1790, painted in the Chinese export manner with the Target pattern, a small polychrome roundel within famille rose floral borders, 12.5cm. (4) £300-400

303. An English-decorated Chinese porcelain cup, 18th century, pencilled in black with two figures standing in a European landscape before a house with smoking chimneys, 6.5cm high. £200-300

304. Literature: a large collection of books and catalogues relating to pottery and porcelain, including Aileen Dawson ‘The Art of Worcester Porcelain’, The Catalogue o the Lady Ludlow Collection of English Porcelain at the Bowes Museum, Simon Spero ‘The Bowles Collection of 18th Century English and French Porcelain’, and a large number of catalogues from Bonhams, Sotheby’s and Christie’s, plus dealers including Simon Spero and Jonathan Horne. (A lot) £200-300

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305. A Bow prunus cup and matched saucer, c.1750-55, applied with sprigs of flowering prunus, the saucer with additional enamelling of small flower sprays in the Kakiemon palette, small painted W to the underside, 11.5cm. (2) £200-300

306. A rare New Hall trio, c.1785-90, comprising a teabowl, coffee cup and saucer painted with swags of flowers in green, black and gilt, suspended from gilt dots, a crack to the saucer, 12.9cm. (3) £100-200

307. A rare Worcester teabowl and saucer, c.1760-70, enamelled in a dark famille rose palette with chrysanthemum and peony sprays within an orange-red band of half flowerheads and gilt geometric design, 12.7cm. (2) £200-300

308. A pair of Worcester teabowls and saucers, c.1760-65, painted with panels of flowers and banded hedges in the Kakiemon palette, reserved on a blue scale ground, open crescent marks, 12cm. (4) £200-300

The coffee cup with a paper label for the Watney Collection.

Provenance: from the collection of Sir Anthony Tuke.

309. A Chelsea moulded bowl, c.1758-60, of deep U-shape, spirally moulded with formal leaves picked out in green, yellow and pink, painted with scattered flowers and insects, brown line rim, some good restoration, 9cm high. £200-300

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310. A rare Chelsea hexagonal teapot, c.1750, painted in Kakiemon enamels with sprays of prunus, chrysanthemum and other flowering plants, the cover lacking, the spout and handle lacking and replaced with wicker-bound metal handles, 9cm high. £200-300


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311. A Worcester tea and coffee service, c.1770-80, the fluted forms painted with simple flower sprays and small scattered sprigs on a white ground. Comprising: a coffee pot and cover, a teapot, a tea canister and cover, a jug and cover, a sucrier and cover, six teabowls, six coffee cups and six saucers. (27) £300-400

312. A Worcester Giles-decorated dessert dish, c.1770, painted in the London atelier of James Giles with a loose spray of flowers including rose, forget-me-not and chrysanthemum, the moulded cavetto with a brown line border garlanded with leaves, with a gilt dentil rim, 29.5cm. £300-500

313. A Worcester Giles-decorated teapot and cover, c.1770, the globular body painted in the London atelier of James Giles with loose sprays of flowers in dry blue, the spout and handle with a gilt dash design, the cover’s finial formed as a single flower stem, a few small chips, 19cm across. (2) £600-800

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314. A Worcester tea canister and cover, c.1765-70, painted with panels of exotic birds in flight and perched on and beneath leafy branches, reserved within gilt foliate borders on a blue ground, 17.2cm. (2) £300-500

315. A small Worcester bell-shaped mug, c.1758, printed in black with the Parrot Pecking Fruit pattern, the eponymous bird on a fruiting vine branch between large moths, some good restoration, 8.7cm high. £200-300 Paper label for the Nicholas Lyne Collection.

316. A Chelsea dessert plate, c.1760-65, painted with a central pear to the well, the cavetto with three panels of fancy birds perched amidst leaves, reserved on a blue ground with gilt butterflies, gold anchor mark, 21.8cm. £350-450

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317. A Chelsea rose box and cover, c.1753-55, modelled as a large rose bloom with petals edged in pink, the cover’s finial formed as a short stem with a single bud, a few small chips, 7.5cm high. (2) £500-800 Cf. F Severne Mackenna, Chelsea Porcelain The Red Anchor Wares, pl.35, no.71 for a similar example.

318. A rare Derby small basket and cover, c.1765, the rounded sides moulded with hatched banding and applied with yellow flowerheads at the intersections, the pierced cover applied with further flowers and leaves, the finial formed as a small yellow bird, the whole raised on a scrolled base picked out with gilding, a few small chips, 15.5cm high. (2) £600-800

319. A Plymouth shell salt, c.1768-70, left in the white, the large shell supported on a base of further smaller shells and coral, a small amount of good restoration, 12.7cm across. £500-800 Cf. F Severne Mackenna, Cookworthy’s Plymouth and Bristol Porcelain, pl. 35, fig. 57 for an enamelled pair of the same form.

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320. A Worcester circular basket, c.1760, well painted to the interior with a spray of flowers, the rim with a continuous band of flowerheads in orange and puce, the sides applied with flowerheads where the interlocking circles join, 16.4cm. £400-600

321. An early Bow mug, c.1753-55, the bell-shaped body painted with a spray of pink peony and other flowers issuing from holey rockwork, the rim with stylized flower mons between bands of hatched diaper on a green ground, a 1.5cm rim crack, 9cm high. £750-1,000

322. A Bow vase or bulb pot, c.1758-60, the baluster form applied with three mask handles encircled by applied flowers, in between painted with flower swags, the neck and foot applied with small blue flowerheads, the flattened top with a hexagonal opening within smaller holes edged in pink, blue and yellow, some faults, 12.5cm high. £300-500

323. A rare Chelsea wine cooler, c.1755, the sides moulded with aquatic reeds and scrolls rising to shell handles, painted with small flower arrangements and single scattered blooms, brown line rim, red anchor mark, some good restoration to the rim, 26cm. £1,000-1,500

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324. A Worcester cauliflower tureen with cover and stand, c.1757-60, naturalistically modelled with white florets enclosed by leaves shaded in tones of yellow and green, the stand moulded in the form of single curling leaf with stalk handle, the raised veins picked out in dark puce, 21.5cm. (3) £1,000-1,500 Cf. John Sandon, Worcester Porcelain, the Ewers-Tyne Collection, fig. 34.

325. A rare Longton Hall reticulated stand or dish, c.1755, the well painted with three colourful birds on and above water in front of a small mountainous island settlement, the sides moulded with overlapping leaves and painted with small flower sprays, a faint crack to the base, a rim chip, 25.5cm dia. £1,200-1,800

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326. A documentary Worcester blue and white mug, c.1780, the tall cylindrical form painted with the Rock Strata pattern and inscribed with the name ‘Jno Griffith’, a hatched trellis border to the inside rim, open crescent mark, a secured crack, 11.5cm. £300-500

327. A rare Derby blue and white sweetmeat or pickle stand, c.1768, modelled with a tier of three scallop shells painted with pagoda landscapes within cell diaper borders, a further shell rising from the centre and supporting on an openwork stem applied with seaweed and shells, the whole raised on a rocky base with further shells and seaweed, a little restoration, 22.5cm high. £1,000-1,500

328. A large Worcester blue and white mug, c.1758, the generous bell shape painted with the Walk in the Garden pattern, a Chinese boy holding a bird perched on a long stick beside a tall female figure carrying various attributes, beneath a tall pine tree, workman’s mark, some good restoration to the rim, 11.5cm. £200-300

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329. A Lowestoft blue and white butterboat, c.1775, of leaf shape, painted to the interior with small huts in an island landscape with a double trellis border, a tiny chip to the rim, 7.2cm. £150-250

330. A Longton Hall blue and white octagonal coffee cup, c.1755, painted with two small panels of an island landscape reserved on a wide border of diaper trellis and scrolls, a blue line to the interior rim, 6.2cm high. £300-400

331. A miniature Worcester blue and white saucer, c.1760, painted with the Prunus Root pattern, open crescent mark, a very small restored rim chip, 7.5cm. £100-200

332. A miniature Caughley blue and white guglet, c.1785-95, painted in the Island pattern with two ships and low buildings around a low island with a tree, the body rising to a knopped neck, blue C mark, some good restoration to the neck, 6cm. £500-800

333. A Philip Christian (Liverpool) blue and white sauceboat, c.1765, moulded with rococo panels containing willow trees issuing from holey rockwork before ornamental fences, 15cm across. £100-200

334. A Vauxhall blue and white creamboat, c.1760-65, of gadroon boat form, painted with a pagoda on an island beside a tall pine tree, the interior spout with a cailloute panel, a little restoration to the rim, 14cm. £400-600 This form of creamboat is known and Vauxhall with and without the gadroon moulded rim.

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335. An Isleworth blue and white plate, c.1765, of small size, painted with fan-shaped panels around a central circular panel of a Chinese pagoda landscape, reserved on a powder blue ground, pseudo Chinese script mark, a small rim chip, 18cm. £250-350

336. A small Worcester blue and white teapot, c.1765, painted with a rare version of the Waiting Chinaman pattern which omits the fence behind him, the cover with small flower sprigs and a floral finial, open crescent mark, 15.5cm. (2) £200-300

337. A Bow blue and white sweetmeat stand or pickle dish, c.1765-70, formed as three joined scallop shells, a circular dish rising from a central pillar, all painted with a pagoda landscape scene within a cell diaper border, the stem applied with small shells and coral, raised on three peg feet, 13cm high. £400-600

338. A Bow blue and white plate, c.1760, painted with a large butterfly in flight above a posy of tulip and other flowers, the rim with insects and single floral sprigs, 22.6cm. £150-250

Paper label for the Stirling-Lee Collection, Albert Amor Ltd, 1994.

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Paper label for D M & P Manheim.


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339. A rare Lowestoft blue and white feeding cup, c.1765-70, the bucket-shape body painted with bamboo issuing from an ornamental fence between flowering plants, the shaped partial fixed cover painted with a further flowering sprig, echoed to the long straight spout, painter’s numeral inside the footrim, a crack to the base and spout, 15.5cm across. £400-600 Cf. Sheenah Smith, Lowestoft Porcelain in Norwich Castle Museum, Vol. I, no. 182.

340. A Philip Christian (Liverpool) blue and white mug, c.1765, the bell shape crisply moulded with flowering branches encircling scrolled panels containing Chinese landscape vignettes, one with a figure fishing from rocks, the rim with a hatched diaper band, 10.1cm. £450-650 Provenance: the Geoffrey Godden reference collection. Exhibited: Liverpool Exhibition 1997, Phillips.

341. A Lund’s Bristol blue and white pickle dish, c.1750, modelled as a small scallop shell and painted with a Long Eliza figure standing between low trees, the rim with three hatched diaper panels, a clean crack, 7.6cm. £600-800 Cf. Ray Jones, The Origins of Worcester Porcelain, p.379 for a similar dish; analysis of which has shown the inclusion of soaprock in the body, indicating an attribution to Lund’s rather than Broad Street, Worcester.

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342. An important and previously unrecorded American porcelain teapot attributed to John Bartlam (Cain Hoy, South Carolina), c.1765-69, printed in underglaze blue, one side with two cranes beneath a tall palm tree beside figures in a sampan and a solitary figure in another boat, the reverse with a version of the Man on the Bridge pattern, the eponymous structure linking small islands in a Chinese pagoda landscape, the cover lacking, the handle broken off and restuck, 9cm (3 ½ inches) high, 17.5cm (5 inches) across. £10,000-20,000 This teapot has only recently been identified as a piece of early American porcelain, believed to be part of a matched tea service that reached England in in the late 1760s or 1770s. It is only the seventh recorded piece of John Bartlam’s porcelain and relates to a group of wares sold at auction in the UK in 2002. Among that group were four teabowls which were found to match sherds excavated at Bartlam’s factory site in Cain Hoy, South Carolina. Two of the teabowls were sold to American museums by private treaty, another to a private collector by the same method, and the fourth was sold at Christie’s, New York, on 25th January 2013, lot 179; being bought by a dealer on behalf of a private collector in the US. Alongside the teabowls in 2002 were sold two saucers, which have since been reclassified as Bartlam and both sold by private treaty to separate American collectors. The design on these saucers matches exactly that on one side of the teapot. More details of one of the saucers (illustrated below) can be found in Steven Goss’s new publication British Blue and White Saucers 1745-1795. Although the pattern on the saucers is not the same as that of the teabowls (known as the Bartlam on the Wando pattern), there are a number of significant similarities. The teabowls feature an unusual palmetto as part of one of the printed landscape vignettes, a device which is echoed to the interior and not known on any recorded piece of English blue and white porcelain of this era. The Salbas Palmetto is not a tree native to China or the Far East, whose designs Western potters were used to copying and adapting, but it is the state tree of South Carolina. It features more predominantly on the two saucers and the teapot, towering above two cranes standing at the water’s edge. In Chinese Art, cranes are commonly depicted alongside pine trees as a common birthday or wedding motif and a wish of long-life and happiness (cf. Terese Tse Bartholomew, Hidden Meanings in Chinese Art, p.180). However, as Sandhill Cranes are native to South Carolina then it is likely that the engraver of this print was used to witnessing such birds standing beneath palmetto on the banks of the Wando and adapted a Chinese design accordingly. The Man on the Bridge pattern on the reverse of the teapot is known at several English factories including Bow, Isleworth and (at a later date) New Hall. The pattern here most closely resembles that of the London factories and, given the skill of the engraver, it is likely that Bartlam had employed an English decorator who had previously worked for one of these concerns.

Fig 1. A detail from the Bartlam on the Wando pattern. Photo credit: Robert Hunter.

Fig 2. One of two John Bartlam saucers from the same set as the teapot. Photo credit: Steven Goss.

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Little is known of John Bartlam before he travelled to America. The UK Register of Duties Paid of Apprentices’ Indentures, 1710-1811 has a record of a payment made on 30th May 1761 when one Simon Chawner is apprenticed to John Bartlam, Potter of Lane Delph, Staffordshire (see below). Lane Delph was one of the principal areas of the ceramics industry and Bartlam would have been one of a growing number producing creamware, pearlware and other earthenwares. He left England around 1763, possibly in some debt, to settle in South Carolina and set up business as a potter, establishing himself first in Cain Hoy around 1765. The move was a canny one – South Carolina was at the time one of the wealthiest and most fashionable, with residents vying to have the latest and finest ceramics shipped over from England. South Carolina was also part of the lucrative kaolin belt, which shipped Cherokee clay by the ton over to potters in the UK, including Josiah Wedgwood. In a letter to his partner, Thomas Bentley, in May 1767 Wedgwood writes, “I am informed they have the Cherok[ee clay] to a Pottwork at Charles Town”; the potter in question undoubtedly being John Bartlam. The proximity of a supply of kaolin, the wealthy local clientele and his clear entrepreneurial spirit meant it was inevitable that Bartlam tried his hand at making porcelain to rival that being imported from England at great expense. It is almost certain that he had help from someone with knowledge of the porcelain industry, perhaps a fellow Brit from one of the London factories, since not only is the Bartlam body extremely close to several of the London concerns, the decoration also bears similarities to some established patterns at both Bow and Isleworth. As early as 1766, Josiah Wedgwood writes again (this time to his patron Sir William Meredith), “[we] have at this time among us an agent hiring a number of our hands for establishing new Pottworks in South Carolina: having one of our insolvent Master Potters there to conduct them”. By 1768 it appears that once again Bartlam was having some financial difficulties and, based on a newspaper advertisement of the time, was looking to relocate his manufactory to Charlestown itself. This he seems to have achieved by the end of 1770, but the Charleston pottery failed and closed in 1772. Bartlam relocated further inland to Camden, backed by a man called Joseph Kershaw, and continued to produce pottery there until his death in 1781.

Further Reading Cinda K Baldwin, A Great and Noble Jar: Traditional Stoneware of South Carolina, pp.8-9 for an account of Bartlam’s financial backers and various concerns. Steven Goss, British Blue and White Saucers 1745-1795, pp.244-245 for a discussion on a John Bartlam saucer in the same pattern. Robert Hunter, “John Bartlam: America's First Porcelain Manufacturer”, Ceramics in America, The Chipstone Foundation, Milwaukee, 2007, pp. 193-195. Stanley South “John Bartlam's Porcelain at Cain Hoy, 1765-1770”, Ceramics in America, The Chipstone Foundation, Milwaukee, 2007, pp. 196-202. Lisa R. Hudgins, “John Bartlam's Porcelain at Cain Hoy, A Closer Look”, Ceramics in America, The Chipstone Foundation, Milwaukee, 2007, pp. 203-208. J. Victor Owen, “Geochemistry of High-Fired Bartlam Ceramics”, Ceramics in America, The Chipstone Foundation, Milwaukee, 2007, pp. 209-219. Robert Hunter, “A newly discovered eighteenth-century American porcelain teabowl”, The Magazine Antiques, January/February 2011, pp. 254-257.

The UK Register of Duties Paid of Apprentices’ Indentures 1710-1811.

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ENGLISH & EUROPEAN CERAMICS & GLASS Wednesday 2nd May 2018 Closing date for entries, 16th March

A rare German ruby glass bottle by Johann Friedrich Böttger, c.1720, with silver gilt mounts. Estimate: £2,800 - £3,500

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


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FURNITURE, WORKS OF ART & CLOCKS

INCLUDING THE COLLECTION OF THE LATE GEOFFREY HARLEY REMOVED FROM PICKWICK END, CORSHAM

Wednesday 11th April 2018

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


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OLD MASTERS, BRITISH & EUROPEAN PAINTINGS Wednesday 7th March 2018

Edouard Cortès (French 1882-1969) The July column, Place de la Bastille, Paris at Dusk Signed, oil on canvas, 50 x 85cm Estimate: £15,000 - £20,000

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


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CLARICE CLIFF, ART DECO & DESIGN Wednesday 21st March 2018

A private collection of Moorcroft Pottery designed by William Moorcroft. Estimates from £150 ENQUIRIES Michael Jeffery | Tel: +44 (0)1722 424505 | mj@woolleyandwallis.co.uk


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FINE SILVER & OBJECTS OF VERTU

Tuesday 24th & Wednesday 25th April 2018 Closing date for entries, 2nd March

By Fabergé, a silver model of a snail, with work master’s mark of Henrik Wigstrom, St. Petersburg, circa 1911. Estimate: £3,000 - £5,000

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


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FINE JEWELLERY & WATCHES Thursday 26th April 2018 Closing date for entries, 28th February

A diamond spray brooch by Van Cleef & Arpels. Estimate: £10,000 - £20,000 A pair of diamond spray ear clips by Van Cleef & Arpels. Earrings estimate: £20,000 - £30,000

ENQUIRIES Marielle Whiting | Tel: +44 (0)1722 424595 | mw@woolleyandwallis.co.uk


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Auction Information OPENING HOURS Monday to Friday 9am – 5.30pm and 10am to 1pm on Saturdays. VIEWING All our auctions are on view at least two days prior to the sale and details will be found in the relevant catalogues. BIDDING IN THE ROOM To bid at auction you will need a paddle number. This can be obtained from the office either during the view or on the day of the sale. We now provide permanent paddle numbers which can be used for any future sale, once registered. REGISTERING WITH US All first time buyers need to register with us. Once registration is complete you will be provided with a permanent paddle number which can be used in all future sales. To register, you will need to provide two forms of identification: 1. a passport or photographic driving licence 2. a utility bill or document showing your name and address

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.

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.

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.

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

The colours printed in the catalogue are not necessarily true.

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.

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

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

TELEPHONE BIDDING It is usually possible to bid on the telephone by prior arrangement with the office. BUYER’S PREMIUM The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter.

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


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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 10,000. 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. 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.

LOT SYMBOLS VAT Lots marked with an dagger (†) are subject to VAT on the hammer price. Lots marked with an omega () 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  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 Lots marked with a ‡ symbol are potentially subject to a levy. Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of 1,000 and the maximum royalty payable on any single lot is the sterling equivalent of 10,000. 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 10,000 FIREARMS Lots marked Ƒ in the catalogue are subject to the UK firearms/shotgun licencing regime, and may only be viewed and/or purchased by individuals with appropriate licences. Such lots are offered on an auctioneer’s permit, and must be collected prior to the expiry thereof. For further information, please contact Ned Cowell.


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SOCIETY OF FINE ART AUCTIONEERS AND VALUERS and the ROYAL INSTITUTION OF CHARTERED SURVEYORS CONDITIONS OF BUSINESS INFORMATION FOR BUYERS 1. Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand. 2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed. Accordingly if you buy your primary contract is with the seller. 3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive. 4. The purchase price. The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter. 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 omega 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. 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). 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. 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).

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. 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. 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. 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. 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


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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 5 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 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter. 5. VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with a † or . Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant lots. (Please refer to ‘Information for Buyers’ for a brief explanation of the VAT position). 6. PAYMENT (a) Immediately a lot is sold you will: (i) give to us, if requested, proof of identity, and (ii) pay to us the total amount due in pounds sterling (b) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied. 7. TITLE AND COLLECTION OF PURCHASES (a) The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due. (b) You shall at your own risk and expense COLLECT any lots that you have purchased and paid for from our premises not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment (IF LATER) after which you shall be responsible for any COLLECTION, storage and insurance charges. (c) No purchase MAY be COLLECTED AND WE SHALL NOT RELEASE ANY LOT TO YOU OR YOUR AGENT until it has been paid for. 8. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES (a) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (i) to proceed against you for damages for breach of contract; (ii) to rescind the sale of that lot and/or any other lots sold by us to you; (iii) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (iv) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (v) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale; (vi) to retain that or any other lot sold to you until you pay the total amount due; (vii) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (viii) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of any of your property in our possession for any purpose until the debt due is satisfied. (b) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.


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10. COMMISSION BIDS Whilst prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition, we will if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer nor our employees or agents shall be responsible for any failure to do so save where such failure is unreasonable. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made. 11. WARRANTY OF TITLE AND AVAILABILITY The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims. 12. AGENCY The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers. 13. TERMS OF SALE The seller acknowledges that lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot. 14. DESCRIPTIONS AND CONDITION (a) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 ‘information to buyers’. (b) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation. 15. FORGERIES Notwithstanding the preceding Condition, any lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the lot is a deliberate forgery we shall refund the money paid by you for the lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition. The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale.

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

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

GENERAL 16. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. 17. (a) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (b) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them. 18. Any notice to any buyer, seller, bidder or viewer may be given by first class mail or Swiftmail in which case it shall be deemed to have been received by the addressee 48 hours after posting. 19. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing in the catalogue. 20. Any indulgence extended to bidders buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect.

ARTIST’S RESALE RIGHT / DROIT DE SUITE

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

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

Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of 1,000 and the maximum royalty payable on any single lot is the sterling equivalent of 10,000. 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 10,000


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Valuations PROBATE VALUATIONS We offer a speedy and professional service for executors and trustees and provide bound valuations for probate and duplicate copies when required. Since security is often a consideration, we can usually arrange for a house to be cleared and sent for auction, our Valuations Department ensures that executors are informed of which sales are involved and the results thereof.

Valuations are a core part of our business and are usually carried out by a senior specialist or directors. Accuracy, speed and above all confidentiality are paramount. INSURANCE VALUATIONS Written valuations for insurance can vary from a single item to a large estate. Before starting we discuss the various options available so that the valuation is specifically tailored to individual client’s needs.

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

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

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


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WOO L LE Y & WA L LI S Absentee Bid Form Fine Porcelain & Pottery

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

Brief Decription

Price Excluding buyer’s premium & VAT

Tuesday 20th February 2018 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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www.wo o lleyan d wallis.co .u k


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Auction Calendar PAINTINGS 7th February 2018 – Modern British Art from the estate of the late Geoffrey Harley 7th March - 2018 – Old Masters, British & European Paintings Victor Fauvelle +44 (0) 1722 424503 • vf@woolleyandwallis.co.uk Jo Butler +44 (0) 1722 424592 • jb@woolleyandwallis.co.uk ENGLISH & EUROPEAN CERAMICS & GLASS 20th February 2018 – Fine Porcelain & Pottery 2nd May 2018 – English & European Ceramics & Glass Clare Durham +44 (0) 1722 424507 • cd@woolleyandwallis.co.uk TRIBAL ART & ANTIQUITIES 21st February 2018 Will Hobbs +44 (0) 1722 339752 • wh@woolleyandwallis.co.uk 20TH CENTURY DESIGN 21st March 2018 – Clarice Cliff, Art Deco & Design 20th June 2018 – Arts & Crafts Michael Jeffery +44 (0) 1722 424505 • mj@woolleyandwallis.co.uk FURNITURE, WORKS OF ART & CLOCKS 11th April 2018 Mark Yuan-Richards +44 (0) 1722 411854 • myr@woolleyandwallis.co.uk SILVER 24th & 25th April 2018 – Fine Silver & Objects of Vertu Rupert Slingsby +44 (0) 1722 424501 • rs@woolleyandwallis.co.uk Lucy Chalmers +44 (0) 1722 424594 • lc@woolleyandwallis.co.uk JEWELLERY 26th April 2018 – Fine Jewellery & Watches Marielle Whiting +44 (0) 1722 424595 • mw@woolleyandwallis.co.uk Jonathan Edwards (Consultant) +44 (0) 1722 424504 • je@woolleyandwallis.co.uk WATCHES 26th April 2018 – Fine Jewellery & Watches Adrian Hailwood +44 (0) 7775 788500 • ah@woolleyandwallis.co.uk MEDALS & COINS, ARMS & ARMOUR 3rd May 2018 Ned Cowell +44 (0) 1722 341469 • nc@woolleyandwallis.co.uk ASIAN ART, CHINESE PAINTINGS & JAPANESE WORKS OF ART 22nd & 23rd May 2018 John Axford +44 (0) 1722 424506 • jea@woolleyandwallis.co.uk Jeremy Morgan +44 (0) 7812 601098 • jm@woolleyandwallis.co.uk Alex Aguilar Doméracki +44 (0) 1722 424583 • aad@woolleyandwallis.co.uk


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www.woolleyandwallis.co.uk

Woolley & Wallis  

Fine Porcelain & Pottery | Tuesday 20th February 2018

Woolley & Wallis  

Fine Porcelain & Pottery | Tuesday 20th February 2018