Woolley & Wallis

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

English & European Ceramics & Glass Wednesday 2nd May 2018

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 446974

SALEROOM MANAGER David Jordan

424500

JAPANESE ART Alex Aguilar Doméracki

424583

CASTLE GATE MANAGER Matt Hill

446970

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

424595 424504 424586

CASTLE GATE RECEPTION Madeleine White

446950

MEDALS & COINS, ARMS & ARMOUR Ned Cowell Zoe Cordey

341469 446980

PAINTINGS Victor Fauvelle Jo Butler Hollie Grubb

424503 424592 424592

SILVER Rupert Slingsby Lucy Chalmers

424501 424594

TRIBAL ART & ANTIQUITIES Will Hobbs Zoe Cordey

339752 446980

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

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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ENGLISH & EUROPEAN CERAMICS & GLASS Wednesday 2nd May 2018 at 10.30am VIEWING TIMES Saturday 29th April Monday 30th April Tuesday 1st May Wednesday 2nd May

10.00am – 1.00pm 10.00am – 4.30pm 10.00am – 4.30pm 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 Tuesday 8th May. 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 Tuesday 1st May. LIVE BIDDING

ILLUSTRATIONS Front cover: Lot 96 Back cover: Lot 235 Catalogue £12.00 (£15.00 by post)

www.the-saleroom.com Please register by 5pm on Tuesday 1st May. Please note there is a 3% +VAT surcharge for using this service.

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1.

A near pair of small wine glasses, c.1760, with rounded funnel bowls raised on double knopped airtwist stems above conical feet, a chip to one foot, 15.4cm. (2) £100-200

2.

A pair of wine glasses, c.1770, the bucket bowls engraved with a flying insect and stylized flower, raised on double series opaque twist stems, and a single wine with bell bowl raised on a double series opaque twist stem, 16.7cm max. (3) £150-250

3.

Two large wine glasses, c.1770, with drawn trumpet bowls, one on a plain stem, the other on a dense airtwist stem, 18.1cm max. (2) £150-250

4.

Three small wine glasses, c.1760-70, with round funnel bowls, one moulded with flutes, one engraved with a bee and a stylized flower spray, all raised on differing double series opaque twist stems, 14.5cm max. (3) £200-300

5.

A small pair of Dutch firing glasses, 2nd half 18th century, with drawn trumpet bowls raised on short double series opaque twist stems above thick feet, 11.3cm. (2) £50-100

6.

Three wine glasses, c.1760, all with rounded funnel bowls, one moulded with vertical flutes, all raised on differing double series opaque twist stems above conical feet, 15.8cm max. (3) £200-300

7.

Two wine glasses, c.1760-70, one with a waisted bucket bowl raised on a dense airtwist stem, the other with a rounded funnel bowl over a knopped opaque twist stem, 16cm max. (2) £150-200

8.

A pair of small wine glasses, c.1760, with rounded funnel bowls, raised on plain stems above folded conical feet, 14.8cm. (2) £200-300

9.

Two wine glasses, c.1760-70, one with a thick bell bowl rising from an airtwist stem, the other with a drawn trumpet bowl above an airtwist stem with swollen knop, 17.3cm max. (2) £150-250

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10. Three moulded glass decanters and stoppers, c.1800, one with spiral flutes and engraved ‘Rne Bi’ above a star, another two with vertical moulded flutes and a continuous engraved band of flowers, and a cut glass decanter and stopper with a hobnail band between polished lappets, 34cm max. (8) £400-600

11. Four large cut glass candlesticks, early 19th century, the slightly tapering faceted forms with hexagonal neck rings, raised on domed feet, one sconce rebuilt, 30cm. (4) £100-200

12. A pair of commemorative glass vases, dated 1834, the flared forms engraved for William and Margaret Metcalf of the Royal George Inn in Hunslet, and a large cut glass U-shaped vase raised on a square foot, 27cm max. (3) £150-250

13. Two cut glass jars and stoppers, 20th century, a cut glass decanter and stopper, of square form with a heavy faceted globe stopper, and a mallet decanter with three neck rings, 25cm max. (7) £100-200

The 1851 census records William Metcalf and his wife, Margaret, as Yorkshire innkeepers. They took over the Royal George Inn seven years after their marriage in 1827. The 1861 census lists Margaret as the head of the household, still at The Royal George.

14. A set of four liqueur decanters and stoppers, c.1800, of chamfered square form, each titled in gilt with ‘Brandy’, ‘Rum’, ‘Hollands’ and ‘Shrub’, with small faceted globe stoppers, 18.7cm. (8) £100-200

15. A pair of decanters, c.1800, of mallet form with three neck rings, a ship’s decanter with three similar rings and a flattened stopper, together with a modern Austrian enamel label inscribed ‘Plonk’, 15.5cm max. (5) £150-250

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16. A rare Beilby ale glass, c.1770, the tapering funnel bowl lightly moulded with flutes and enamelled with a band of feathered foliage in white above a design of graduated dots in pale green, above a double series opaque twist stem, 18.1cm. £2,000-3,000

17. A good cider glass, c.1760, with a tall rounded funnel bowl engraved with a large branch of an apple tree, raised on a double knopped airtwist stem above a conical £2,000-2,500 foot, 19.3cm.

18. A rare colour-twist ale glass, c.1770, the tall flute bowl moulded with wide ribs, rising from a double series opaque twist stem edged in peppermint green, 17.1cm. £800-1,200

19. A rare Lynn ratafia glass, c.1765, the narrow drawn trumpet bowl moulded with horizontal ribs, rising from a double series opaque twist stem above a conical foot, 16.3cm. £1,200-1,500

Provenance: Bonhams, The Collection of A C Hubbard, Jr., 30th November 2011, lot 148.

20. A small Jacobite fingerbowl, c.1760, the rounded body with everted rim, engraved with a seven-petalled rose and bud spray, 9cm dia. £500-800

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21. A wine glass of Jacobite significance, c.1760, the bell bowl engraved with a rose and bud spray and with a six-pointed star, raised on a double-knopped airtwist stem, the conical foot engraved with two oak leaves beneath the inscription ‘Redi’, 15.8cm. £1,500-1,800

22. A Beilby wine glass, c.1770, the rounded funnel bowl enamelled in white with an obelisk between low trees, raised on a double series opaque twist stem, 14.8cm. £1,000-1,500

23. An engraved wine glass, c.1760-70, the bell bowl raised on a thick airtwist stem above a conical foot, the rim engraved with a continuous band of fruiting vine, 16.7cm. £100-200

24. A pedestal stem wine glass, c.1720, the generous bell bowl raised on a six-sided pedestal stem above a folded conical foot, 17cm. £300-400

25. A glass bowl and mug, early 19th century, engraved ‘Success to the Coal Trade’ beneath a tasselled border, £2,500-3,000 22cm max. (2) The inscription probably relates these pieces to the North East of England, where deep shaft mining began in earnest from the late 18th century.

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26. A rummer, c.1770-80, with generous bucket bowl moulded with flutes around the base, raised on a short knopped stem, and a toddy lifter cut with long flutes to the slender neck, 17.2cm max. (2) £100-200

27. A Baccarat cut glass beaker, 19th century, cut with eight sides, one enamelled with a full length portrait of Napoleon with arms folded, standing on a plinth with the Prussian eagle, raised on an octagonal foot, 11.5cm. £250-350

28. A large rummer, 19th century, engraved with two panels of flowers and the initials ‘ESJB’ beneath a Greek key border, and a Masonic firing glass, the flared bowl engraved with a set square, compasses and other emblems, 19cm max. (2) £100-150

29. A cut glass pineapple stand, c.1800, raised on a wide flared foot cut with a hobnail band rising to a stepped stem, 11.3cm high. £100-150

30. Four wine glasses, c.1760-70, a pair with round funnel bowls moulded around the base and engraved with flower swags, raised on airtwist stems, another with similar moulding, and the last with a plain bucket bowl, both raised on double series opaque twist stems, some faults, 15.5cm max. (4) £200-300

31. An Irish cut glass pedestal bowl, c.1800, with a turnover rim cut with vertical flutes, the bowl with bands of ovals, raised on a plain stem above a square lemon £150-250 squeezer base, 21cm high.

33. A cut glass sulphide goblet, 19th century, the tall rounded bowl cut with vertical bands above a stepped base, with a sulphide portrait of Lord Byron, raised on a short faceted stem above a starcut foot, 18cm. £200-300

34. Two rummers, late 18th/early 19th century, with funnel bowls, one moulded with flutes around the base and engraved with a simple continuous band of grapevine, the other cut with flutes around the base and engraved with fabric swags suspended from paterae, above a square lemon squeezer base, 13.3cm max. (2) £100-200

Provenance: the Lefroy family, Annemore, Co. Tipperary, Ireland. Thomas Langlois Lefroy had a brief affair with Jane Austen in 1795 and has been rumoured to be the inspiration for Mr Darcy.

32. Two wine glasses, c.1760-70, one with a tall trumpet bowl rising from a double series airtwist stem, the other with an ogee bowl moulded with vertical flutes above a double series opaque twist stem, 18.6cm max. (2) £150-250

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35. Twenty four Webb glass fingerbowls and ten stands, 20th century, engraved with a long branch of oak, marked ‘Webb England’, 17.1cm. (34) £150-250

36. A pair of cut glass sweetmeat jars and covers, early 19th century, the rounded funnel bodies cut with a wide hobnail band above square starcut feet, the domed covers with cut ball finials, one flange damaged, 37cm. (4) £150-250

37. A cut glass magnum decanter and stopper, 19th century, of mallet shape, cut with bands of hobnail and flutes with three rings to the neck and shoulders, the cork stopper with plated mounts, 29cm. (2) £100-200

39. Two rummers and three jelly glasses, late 18th/early 19th century, the rummers with round funnel bowls raised on short plain stems above square lemon squeezer feet, one jelly glass engraved with a band of grapevine, all raised on short domed feet, some faults, 12.5cm max. (5) £150-250

38. Three cut glass decanters and stoppers, 19th century, the tall bottle forms with vertical flutes and bands of polished circles, the tall stoppers similarly cut, 34.2cm. (6) £100-200

40. Five cut glass rummers, 1st half 19th century, a pair with generous rounded bowls cut with a wide hobnail band above short knopped stems, three graduated with cylindrical bowls cut with a band of narrow flutes at the base, raised on short plain stems and heavy feet, 16cm max. (5) £150-200

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41. A Dutch-engraved East India Company baluster goblet, c.1750, the round funnel bowl engraved with a three-masted ship at sail, the reverse with the monogram ‘VOC’ beneath the letter A, within tied branches, the rim inscribed ‘Het Wel Vaaren Van De Ost Indishe Compagnie’, raised on an inverted baluster stem beneath a beaded knop, above a conical foot, 17.5cm. £8,000-10,000 Cf. Ward Lloyd, A Wine Lover’s Glasses, pp.95-96, pl.139 for a similar example from the A C Hubbard Collection.

42. A Williamite wine glass, c.1750-60, the bell bowl engraved with the king on horseback beneath a banner proclaming ‘The Glorious Immortal Memory of King William III’, a formal scroll engraved to the other side, raised on a plain stem above a wide conical foot, 15.7cm. £800-1,200

43. A good Admiral Byng wine glass, c.1763, the round funnel bowl engraved with the admiral hanging from a gibbet flanked by the initials A B, the reverse inscribed JUSTICE, raised on an airtwist stem above a conical foot, 16cm. £2,000-2,500 Admiral John Byng was a Royal Naval officer and an MP from 1751 until his death in 1757. During the Seven Years War, Byng was sent to relieve a besieged garrison at Minorca. With his ships in a poor state of repair, Byng opted to return to Gibraltar to see to his ships and await further promised resources. On his return to Britain he was courtmartialled for failing to “do his utmost” to prevent the loss of Minorca.

He was executed by firing squad on 14th March 1757 - the engraving on the glass being symbolic rather than accurate - despite appeals to King George II for clemency. Byng was seen by many as a scapegoat for the Admiralty’s inefficiency and the execution in this way of such a high-ranking officer divided the country. His descendants today continue to campaign for a posthumous pardon.

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44. A Dutch-engraved ‘Friendship’ airtwist baluster glass, c.1740, engraved with a bunch of grapes and a banner proclaiming ‘Welkom Vriende in t Vaderland’, the reverse with a Jacobite rose, raised on a multiple series opaque twist stem with a single knop, 18cm. £1,000-1,500

45. A Jacobite goblet, c.1760, the generous funnel bowl engraved with a six-petalled rose and bud spray, a five pointed star to the reverse, raised on a multi-series airtwist stem above a conical foot, 18.7cm. £600-800

46. A pair of Dutch-engraved armorial goblets, c.1750-60, with generous rounded funnel bowls raised on knopped baluster stems enclosing a long tear, above folded conical feet, the bowls engraved with different shields beneath a shell and crown, a foliate scroll border encircling the glasses to baskets of flowers behind, 17.7cm. (2) £3,000-3,500

47. A privateer wine glass, c.1780, the drawn trumpet bowl engraved ‘J Barton / Success to the Unity’, raised on a plain stem with £600-800 a long teardrop above a folded conical foot, 18cm.

More than one ship called The Unity was involved in the American Wars of Independence and it is likely that this glass relates to one of them.

Paper label for the Scrivener collection.

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48. A light baluster glass, c.1720-30, the bell bowl above a ball knop enclosing a row of tears over a baluster stem with a long tear, 16cm. £200-300

49. A composite stem wine glass, c.1760, the drawn trumpet bowl rising from an airtwist stem above a knop enclosing two rows of tears over a short plain section and conical foot, 18cm. £250-350

52. A moulded sweetmeat glass, c.1740, the pan-topped bowl with wide flutes, raised on a pedestal stem above a domed foot, 13.8cm. £150-250

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50. A good wine glass, c.1770, the bucket bowl engraved with a sunflower and a bee, raised on a doubleknopped airtwist stem on a conical foot, 16.5cm. £300-500

53. A Williamite firing glass, mid 18th century, perhaps later engraved with the profile of King William beneath the inscription ‘The Immortal Memory’, the reverse with a crowned harp between grapevine sprays, raised on a short plain stem above a thick foot, 11.7cm. £150-250

51. A baluster wine glass, c.1720, the drawn trumpet bowl rising from a plain baluster stem enclosing a single tear above a squat basal knop and thick folded foot, 15.5cm. £300-400

54. A rare acid-etched wine glass for the Earl of Bristol, early 19th century, the generous bowl inscribed ‘Je N’oublierai Jamais: The King, Loyalte M’oblige’, raised on a conical foot, 12.5cm. £500-700 The motto is for the Hervey family, and probably relates to Frederick William Hervey (1769-1859), the 5th Earl of Bristol and later 1st Marquess of Bristol. He died of gout.

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55. A large glass rummer, 19th century, the flared bucket bowl engraved with two huntsmen on horseback with a pack of hounds, the reverse with the initials ‘EL’ between rose and thistle sprays, 20.7cm. £150-250

56. A glass claret jug and stopper, late 18th/early 19th century, the rounded body engraved ‘Hermitage’ within a deep chamfered panel, with a flattened bullseye stopper, 25.5cm. (2) £800-1,200

57. A Saxon armorial goblet, 19th century, the thistle-shaped bowl engraved with two armorial shields flanking a monogram beneath a crown, within elaborate floral swags and formal scrolls, raised on a short colour twist stem above a stepped starcut foot, 20cm. £100-200

58. A heavy baluster glass, c.1710, the rounded funnel bowl rising from a doubleknopped baluster stem enclosing tears over a thick folded foot, 16cm. £800-1,200

59. A rare champagne or mead glass, c.1750, the generous ogee bowl raised from, a short baluster stem enclosing a tear, above a domed folded foot, 12.5cm. £800-1,000

60. A Williamite firing glass, c.1760, engraved with a portrait of the King within the inscription ‘The Glorious Memory’, the reverse with a crowned harp flanked by grapevine, raised on a thick plain stem above a heavy foot, 11.7cm. £600-800

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61. A good Beilby wine glass, c.1760-70, the drawn trumpet bowl rising from a tapering opaque gauze stem and enamelled with fruiting grapevine, the rim with traces of gilding, 17.2cm. £2,200-2,500

62. A Beilby wine glass, c.1765, the round funnel bowl enamelled with a continuous floral garland, raised on a double series opaque £500-800 twist stem, 14.6cm.

Cf. James Rush, A Beilby Odyssey, p.64, no.22 for an example of the same decoration.

Cf. J. Rush, A Beilby Odyssey, p.60, pl.18 for a similar glass.

63. A Beilby wine glass, c.1765, the bucket bowl enamelled in white with a continuous floral band, raised on a double series opaque twist stem above a conical foot, 14.4cm. £1,200-1,500

64. An Irish Williamite goblet of large proportion, c.1750-60, the goblet bowl engraved with the dates of King William’s significant battle campaigns and the inscription ‘Glorious, Steady & Immortal’, raised on a thick plain stem above a domed folded foot, 20.3cm. £2,000-2,500

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65. A small armorial wine glass of Scottish interest, late 18th century, the rounded funnel bowl engraved with the arms of the Cameron family above the motto ‘Pro Rege et Patria’, flanked by flower sprays, raised on a faceted stem, 12.6cm. £400-600

66. A wine glass, c.1765, with bell bowl raised on a mixed twist stem, an opaque thread wrapping around an airtwist core, 17.2cm. £300-400

67. A deceptive baluster glass, c.1720, the thick-walled conical bowl rising from a ball knop above a plain stem and folded foot, 15.2cm. £300-500

68. A Bohemian or Saxon baluster glass, mid 18th century, the flared bowl engraved with a crowned monogram flanked by flowering branches, raised on a baluster stem enclosing a large tear on a folded conical foot, 17.2cm. £100-200

69. A façon de Venise goblet, c.1700, the wide flared bowl rising from a short stem with hollow quatrefoil knop above a folded foot, 13.5cm. £400-500

70. A light baluster glass, c.1720-30, the rounded funnel bowl engraved to the rim with a continuous floral design, above a baluster stem enclosing a tear, over a folded conical foot, 16.6cm. £200-300

71. A large baluster goblet, c.1730, with a bell bowl raised on an inverted baluster stem with a basal knop above a folded conical foot, 22.7cm. £600-800

72. A cut glass sweetmeat, c.1760, the slight ogee bowl cut with a continuous design below a shaped rim, raised on a swollen faceted stem above a domed octagonal foot, a few small chips, 15cm. £100-200

Green collector’s number for the Walter Smith collection.

73. An unusual wine glass, c.1760, the drawn trumpet bowl engraved with a band of polished ovals around the rim, raised on a hollow plain stem, 15.4cm. £100-200

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74. A Jacobite portrait firing glass, c.1740, the trumpet bowl rising from a short teardrop stem and engraved with the head and shoulders of Bonnie Prince Charlie, with the motto ‘Audentior Ibo’, raised on a thick firing foot, 10.5cm. £2,500-3,000 Cf. Geoffrey B. Seddon, Jacobites and Their Drinking Glasses, p.90, pl.30 for a similar example.

76. A baluster wine glass, c.1720-30, the drawn trumpet bowl enclosing a small tear to the base above a collar and swollen stem over a domed folded foot, 17cm. £250-350

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75. A Dutch-engraved Orangist goblet, c.1740-50, the rounded funnel bowl engraved with monogrammed initials within a crowned band inscribed ‘Honi Soit Qui Mal Y Pense’, flanked by fruiting orange branches, the reverse engraved ‘Vivat Oranje’, raised on a knopped baluster stem above a conical folded foot, 21cm. £1,200-1,500 A similar glass with a beaded knopped stem is in the collection of the Metropolitan Museum, New York, gifted by Mrs Edward Holbrook and John S Holbrook.

77. A heavy baluster wine glass, c.171020, the rounded funnel bowl rising from a thick stem with an angular knop above a ball knop enclosing tears above a folded conical foot, 17.5cm. £500-800

78. A large baluster goblet, c.1740, with a bell bowl over an angular knop and baluster stem above a conical foot, 23cm. £400-600

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79. A rare glass of Scottish Jacobite significance, c.1760, the large rounded funnel bowl engraved with a thistle and a rose spray, raised on a double-knopped airtwist stem above a conical foot, 18.4cm. £2,000-2,500

80. A wine goblet, c.1730-40, the generous funnel bowl engraved around the rim with a formal foliate scroll design, raised on a swollen plain stem above a conical foot, 16.3cm. £150-250

81. A baluster wine glass, c.1720, the drawn trumpet bowl rising from a slender plain stem above an inverted baluster enclosing a long tear, on a folded conical foot, 16.8cm. £150-250

Green collector’s number perhaps for the Walter Smith Collection.

82. Five miniature Venetian glass vases, 19th century, with pinched sides, three with aventurine inclusions, two stippled with opaque glass in white and turquoise, 5.6cm max. (5) £100-200

83. A rare white opaque glass scent bottle, dated 1778, probably Beilby, Newcastle-upon-Tyne, of flattened pear shape, painted in black enamel with the initials E * S and the date 1778, with a blue and green foliate surround, the reverse painted with pink roses and buds, 7.3cm. high. £300-500 Cf: a similar scent bottle dated 1780 and with the initials A*B was sold

by Christie’s, The Parkington Collection Part I, 16th October 1997, lot 113. Another, dated 1785, is in the Corning Museum of Glass, accession no. 86.2.23.

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84. A small sealed wine bottle, early 18th century, of transitional onion mallet shape with kick-in base, rising to a short tapering neck with string rim, applied with a circular seal bearing the initials ‘P/HA’, 17cm. £1,200-1,500 Cf. David Burton, Antique Sealed Bottles 1640-1900, Vol. II, p.91 for a slightly earlier seal with the same initials also enclosing a star and garter and found in Wiltshire.

85. An English wine bottle, c.1720, of small mallet form, with tapering neck, string rim and kick-in base, 16.2cm. £200-300 Provenance: disinterred in Eastcott, near Devizes in 2013. The bottle is sealed with a cork and the contents suggest it was deliberately buried and used as a witches bottle to guard against evil spirits.

86. Seven Venetian wine glasses, late 19th/20th century, the rounded bowls enamelled in white and black with grotesque swans, vases and foliate scrolls, raised on flared stepped stems beneath a blown knop applied with rapsberry prunts, the glass of a delicate orange hue, 20cm. (7) £80-120

87. Twelve German ‘Friendship’ glasses, 18th/19th century, with bucket-shaped bowls engraved and gilded with hearts, flowers and birds beneath differing sentiments of love and friendship, raised on varying knopped stems above folded feet, 16cm max. (12) £300-500

88. A pair of French opaque glass vases, 19th century, the slender forms finely painted with birds perched on flowering branches, on a white ground, the flowers extending around the vase, 28.2cm. (2) £300-400

89. A Bohemian double-overlay glass vase, 19th century, the flared form flashed in blue and white and cut with large panels and small stars, 29.5cm. £100-150

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Provenance: by repute, from a German drinking men’s club in Dresden.

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90. A small collection of glass toys and trinkets, 19th century and later, including an amethyst glass scent bottle moulded with a rose and a crown, a cut glass pipe, an opaline glass posy holder and three Venetian glass pens, 17cm max. (10) £100-200

91. A small Bohemian glass vase, late 19th century, the ruby glass body finely decorated in the Islamic manner with formal borders in blue and black within gilt foliate scrolls, 8cm. £100-200

92. Two glass paperweight, possibly Paul Ysart, one with a concentric design of floral canes and filigree stripes, the other with an unusual domed millefiori design above further star-shaped floral canes on a dark ground, 6.5cm dia max. (2) £100-200

93. A large French millefiori paperweight, mid 19th century, probably Clichy, set with a multitude of different canes on a rich green ground, 8cm dia. £250-350

94. A French spaced millefiori paperweight, mid 19th century, probably Clichy, enclosing differing large floral canes reserved on a turquoise ground, a small surface dint, 6.3cm dia. £200-300

95. Two French miniature paperweights, c.1860, one a Clichy scramble weight set with a jumble of canes including the Clichy rose, the other a Baccarat close-packed millefiori weight including several silhouette canes, some scratching, 5cm dia max. (2) £300-500

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96. A good Thomas Webb (Stourbridge) cameo glass vase, c.1880-90, the squat ovoid form overlaid in white on a brown amber ground and cut with an elaborate continuous design of flowering plants above a band of stiff leaves, 9cm high. £1,500-2,000

97. A part French (Launay Hautin et Cie) opaque glass dessert service, mid 19th century, decorated in the Sèvres manner with central floral arrangements within five floral panels within elaborate gilt cartouches on a turquoise ground, printed red marks for Launay Hautin, Robert ainé Sèvres. Comprising: ten plates and four stands, 23cm. (14) £1,500-2,500 Provenance: from the collection of Mr George Athenogenes.

Jean-François Robert was the Art Director at Launay, Hautin & Cie between 1845 and 1855. Cf. Christine Vincendeau, Les Opalines, p.107-8 for a history of Robert’s association with Launay and also with Baccarat and St Louis.

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98. Thirteen Continental enamel bin labels, 19th/early 20th century, of chamfered rectangular form, variously inscribed in black including ‘Vermouth’, ‘St Joseph’, ‘Pommard’, ‘Bourgogne’ and ‘Armagnac’, 7cm. (13) £100-200

99. Thirteen Continental enamel bin labels, late 19th/early 20th century, of rectangular form, inscribed with various wines and spirits including ‘Var’, ‘Brandy’, ‘Pouilly’, ‘Demi Bourgogne’, ‘Frontignan’, £100-200 ‘Absinthe’ and ‘Rivesaltes’, 7.3cm. (13)

100. Eleven Continental tin-glazed bin labels, 19th century, of shield shape, variously inscribed in blue including ‘Sillery Blanc’, ‘Bordeaux 1814’, ‘Romanée 1842’, ‘Vollenay 1852’, ‘Madère’, ‘Corin’ and ‘Valnes 1854’, 9.5cm. (11) £150-250

101. Fourteen Continental enamel bin labels, 19th/early 20th century, the rectangular forms variously inscribed with the names of wines and spirits including ‘Bourgogne’, ‘Malaga’, ‘Vin pour Vinaigre’, ‘Rhum’, ‘St Christoly 1870’ and ‘Fine Lunel’, 7.3cm. (14) £100-200

102. Fourteen Continental porcelain bin labels, 19th/early 20th century, of rectangular form, variously inscribed in black with the names of different wines and spirits including ‘Laffitte’, ‘St Péray’, ‘Tintot’, ‘Bergerac’ and ‘Chambertin’, 7.5cm. (14) £150-250

103. Seven pearlware and creamware bin labels, 19th century, five of coathanger form and variously inscribed with numbers and one with ‘E I Madeira’, two circular and inscribed ‘Crofts Port 1861’, 13.5cm max. (7) £150-250

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104. Six pearlware bin labels, 19th century, including Davenport and Wedgwood, of coathanger form, variously titled ‘Goosberry’ [sic], ‘Pauillac’, ‘Parfail Amour’, ‘Busellas’, ‘Rudesheim’ and ‘Claret’, 14.5cm max. (6) £300-500

105. Six pearlware bin labels, 19th century, including Copeland and Garrett, of coathanger form with rounded shoulders, variously inscribed ‘No 1 Sherry’, ‘Pink Champagne’, ‘Constantia’, ‘Oakley £300-500 Sherry’, ‘Bronti’ and ‘Shrub’, 14.2cm max. (6)

106. Four Wedgwood bin labels, 19th century, of coathanger form, inscribed in black with ‘St Emilion’, ‘Guldewater’, ‘Poganyvar’ and ‘Marsalla’, impressed marks, a similar label inscribed ‘Punch’, and a later creamware label inscribed ‘Loire’, one restored, 14.5cm max. (6) £300-500

107. Six pearlware bin labels, 19th century, including Wedgwood, of coathanger form, variously inscribed ‘Citronelle’, ‘Old Rum’, ‘Beer’, ‘Gooseberry’, ‘Arrack’ and ‘Cyprus’, impressed marks to some, 14.5cm max. (6) £300-500

108. Seven pearlware bin labels, 19th century, four circular and inscribed ‘Whisky’, ‘Port’ and ‘Claret’, three of small coathanger form, titled ‘Cowslip-Wine’, ‘Chablis’ and ‘Sherry’, one broken and restuck, 12.2cm max. (7) £150-250

109. Six pearlware bin labels, 19th century, including Wedgwood and Davenport, of coathanger form, variously inscribed ‘Niersteiner’, ‘Scharzberg’, ‘Hock’, ‘Brandy’, ‘Noyau’ and ‘Port W[indistinct] 1890’, some with impressed marks, 14.2cm max. (6) £300-500

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110. A pair of creamware bin labels, early 19th century, of stepped coathanger form, inscribed in black with ‘Elder Wine’ and ‘White Port’, 12.8cm. (2) £100-200 Provenance: the Watney collection.

111. A rare pair of Herculaneum creamware bin labels, c.1810-15, of circular form, painted in black with ‘Arrack’ and ‘Blackcurrant’ within borders of moulded oak leaves, impressed Herculaneum’ to the reverse, two small chips £200-300 to one, 7.6cm dia. (2)

112. A good pair of pearlware bin labels, c.1820, of coathanger form, printed in blue with curved banners within rococo scrolls and small roses, inscribed ‘Hock’ and ‘Brandy’, 11cm across. (2) £200-300

Illustrated: Peter Hyland, The Herculaneum Pottery: Liverpool’s Forgotten Glory, fig.32.

113. Thirteen Continental enamel bin labels, 19th/early 20th century, of rectangular form, titled with various wines and spirits including ‘Bourgogne Rouge’, ‘Malvoisie’, ‘Porto’, ‘Beaujolais Rouge’ and ‘Champagne’, 7.3cm. (13) £100-200

114. Five Continental pearlware bin labels, 19th century, of chamfered rectangular form, inscribed ‘Barsac’, ‘Pouillac’, ‘Romanée Conti’, ‘Porto Paxarète’ and ‘St Estéphe’, and four modern coathanger labels inscribed ‘Burgandy’, ‘White’, ‘White Burgandy’ and ‘Old £100-200 Sherry’, 13.3cm max. (9)

115. Twenty five Continental porcelain bin labels, late 19th/early 20th century, of rectangular form, variously titled in black with different wines and spirits including ‘Leoville’, ‘Chypre’, ‘Musigny’, ‘Muscatello’, ‘Crenache’ and ‘Hermitage Rouge’, 7cm. (25) £200-300

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116. A pearlware two-handled ale frog mug, 1st half 19th century, titled to two sides and with a large yellow frog to the interior, a smaller pearlware ale mug, a creamware ale mug and a creamware jug inscribed ‘Beer’ within a scrolled cartouche, some damages, 14.5cm max. (4) £200-300

117. Five creamware bottle coasters, c.1800, the cylindrical sides pierced with a continuous band of small shaped holes, with a moulded band to the rim and foot, 13.3cm. (5) £300-500

118. A large pair of creamware bottle coasters, c.1780-1800, the sides pierced with a vertical panel design, the rim moulded with a band of beading, 14.5cm dia. (2) £150-250

119. Two pearlware bowls and two small jugs, 1st half 19th century, the bowls painted in blue and titled to the interior, one ‘Gin’, the other ‘Brandy’, the larger jug inscribed ‘Rum’ beneath a wide brown border, the smaller jug glazed brown with a reserved heartshaped panel inscribed ‘Gin’, one bowl cracked, 16cm max. (4) £150-250

120. Two pearlware spirit barrels, c.1840, moulded with coopered bands to each end, painted with bold flower sprays, one inscribed ‘LJK’ above the date 1840, the other with the initials ‘JEN’, 12cm max.

(2) £100-200

121. Three large and two small creamware bottle coasters, c.17801800, the straight sides pierced with a continuous flowerhead design beneath a raised beaded band, 14cm dia max. (5) £300-500

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122. A good set of small creamware bottle coasters, late 18th century, Staffordshire or Yorkshire, the flat cylindrical forms pierced to the sides with a continuous stylized floral band, 8cm dia. (8) £600-1,000

123. A small creamware jelly mould core, late 18th century, of canted rectangular form, painted to four sides with sprays of fruit including strawberries, grapes, cherries, blackberries and a cucumber, £400-600 20.3cm across.

124. A Wedgwood jelly mould core, c.1780, of canted rectangular form, painted with a continuous garland of flowers suspended from tied red ribbons and floral roundels, edged in brown, impressed mark, minor faults, 22cm across. £500-800

125. A creamware jelly mould core, late 18th/early 19th century, possibly Wilson, of canted rectangular form, painted to one side with a three-masted 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. £500-800 Cf. Diana Edwards, Neale Pottery and Porcelain, fig. 118 for a Wilson mould of the same shape with flower painting.

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128. An agateware gimmel flask, 19th century, one side moulded with a medallion containing a profile portrait within laurel branches, in pale blue reserved on a striated ground of blue, brown and grey, 20cm. £100-150

126. A small Astbury-type teapot and cover, mid 18th century, the flattened globular body raised on three paw feet, applied with flower sprays in cream slip on a treacle ground, the cover with a bird finial, a small amount of good restoration, 15.5cm across. (2) £150-250

127. A creamware ale jug, c.1765, painted in purple monochrome with two putti harvesting barley with a scythe and pitchfork, the neck and foot with a band of moulded beading, 16cm high. £100-200

129. A creamware pounce pot, c.1770, the waisted form finely fluted and painted in purple monochrome with flower sprays, the concave top pierced with small holes within a shaped rim, and a miniature pearlware serving dish printed in blue with flowers, 9.3cm max. (2) £200-300

130. A Staffordshire solid agateware beaker, mid 18th century, of cylindrical form with an everted rim and flared foot, the body with striations of cream, blue and brown, 7cm. £100-200

131. A small creamware cauliflower teapot and cover, late 18th century, the cover, shoulder and spout modelled as creamy florets rising from rich moulded green leaves, 16cm across. (2) £200-300

133. An unusual creamware dish or stand, late 18th/early 19th century, the oval form with raised husk swags linking winged angel masks, some glaze wear, 33.5cm. £100-200

134. A creamware sugar caster, c.1770, painted in polychrome enamels with an oval panel of flowers encircling the word ‘Sugar’, the domed cover pierced with an arrangement of holes below an acorn finial, the finial broken off and restored, 16.7cm. £150-250

Provenance: the Tom Walford collection.

The pounce pot with paper labels for the Tom Walford Collection. Purchased from Jonathan Horne.

132. A documentary pearlware jug, dated 1821, printed with a detailed version of The Masons Arms to one side, the other with The Farmers Arms, beneath the spout inscribed ‘Joseph Booth Stockporte September 12th 1821’, within simple flower sprays in red and pink, small faults, 16cm high. £100-150

Paper label for the Tom Walford Collection.

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135. A pearlware meat charger, c.1820, decorated in the Etruscan manner with Roman-style vases and panels of Classical figures, in sepia monochrome on a rust-orange ground with vermicelli design, moulded with a hollow and draining channels, 46.3cm. £200-300

136. Nine Sunderland lustre plaques, early 19th century, eight rectangular and printed with various religious inscriptions within pink and copper lustre borders, two circular and of similar decoration, and a modern Carltonware plate in a similar manner, inscribed with a verse about Guinness, some damages, 23.5cm max. (10) £300-500

137. Four creamware plates, c.1760 and later, one of Whieldon type, one painted in manganese with a pagoda island landscape, one painted in blue with a Long Eliza figure holding a parasol, the last glazed green with incised decoration, a Cambrian pearlware plate with a pagoda landscape in blue, and a pearlware pickle dish moulded with £150-250 grapevine and picked out in green, 24cm max. (6)

138. Nine creamware cups and eleven saucers, late 18th/early 19th century, moulded with narrow beaded borders, the cups with double strap handles, a two-handled cup and cover and two preserve pots and covers, some damages, 12.2cm max. (26) £100-150

139. A collection of Wedgwood creamware baskets and stands, 19th century, with pierced arched borders and basketweave moulding, impressed marks. Comprising: a circular basket, a small oval basket, six oval stands in three sizes, and seven circular stands in five sizes.

(13) £100-200

140. Four pearlware plates, late 18th/early 19th century, one inscribed in black with ‘Mary Baker, Ditsham Cott. 1781’, another titled ‘A present to Mary’ within yellow and green bands, one printed in brown with a ship at sail, the last painted in Pratt type colours with a large flower spray, and a pearlware mug painted with flower sprays on coloured bands, some faults, 23.5cm max. (5) £150-200 Ditsham Cottage probably refers to Dittisham in Devon (pronounced locally as Ditsum).

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141. A pair of Wedgwood pearlware plates, 1st half 19th century, each moulded with a large leaf reserved on a basketweave ground, picked out in green and yellow, impressed marks, and four small pearlware plates, c.1810, painted with simplistic flower sprays reserved on a canary yellow ground, 20.7cm max. (6) £100-200

142. A William Greatbatch creamware teapot and cover, c.1770-90, printed and coloured with ‘Harlequin and Columbine discovered in an arbor’, the reverse with ‘A lady, her suitor and her father in a garden’, signed ‘Greatbatch’ in the print, and a creamware tripod teapot, applied with trailing flowers and raised on three paw feet, damages and losses, 16.5cm max. (3) £100-200 Provenance: the Watney collection.

143. Three pearlware miniature chamber pots, 2nd half 19th century, the rounded forms variously printed with ‘A Token of Respect’, ‘Hand it Over to me My Dear’, and ‘For a Kiss I’ll Hand You This’, 5.5cm £100-200 high. (3)

144. A pearlware vomit pot or miniature chamber pot, 1st half 19th century, printed in black with children fishing, the reverse with a girl and dog playing with a hoop, on a washed green ground, and a yellow ground mug painted with a scene of sheep within silver lustre bands, 8.8cm high. (2) £100-200

145. A creamware chestnut basket and stand, 19th century, the oval form with a wide band of piercing, echoed to the rim of the stand, edged in brown, the handles restored, 24cm. (2) £100-150

146. Three salt-glazed stoneware dishes, c.1770, one modelled as a large scallop shell and supported on two feet, one a straining dish, raised on three peg feet and pierced with holes to the well, the last a small elaborately moulded plate with reticulated panels to the rim, damages, 24.5cm max. (3) £100-200 Provenance: the Watney collection.

147. Two Dutch-decorated creamware plates, 2nd half 18th century, one painted with a scene of figures receiving the communion, the other with the baptism of Christ in black monochrome with flesh highlights, and two creamware bowls decorated in red and black, some damages, 24.8cm max. (4) £100-200

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148. Two creamware tazzae, 19th century, one painted with a botanical specimen of a poppy to the interior and other flowers to the sides, the other Wedgwood and decorated with scattered leaves and nuts, a New Hall teapot decorated with the Boy in the Window pattern, and a Continental coffee pot and cover painted in blue, some damages and restorations, 32.5cm max. (6) £200-300

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149. A pearlware cow creamer and cover, the heifer standing four square on a shaped flat base within a milkmaid seated by her side, decorated in ochre, manganese and green, small damages, 18cm across. (2) £100-200

150. A Staffordshire figure of Samson, 19th century, wrestling with the Asiatic lion, 20.5cm. £100-150

151. A creamware model of a goat, 19th century, probably Scottish, standing four square on a rectangular green base, being suckled by one kid with another recumbent before her, some restoration to the horns and ears, 12cm high. £100-150

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152. Three Staffordshire pearlware groups of animals, 1st half 19th century, one of a recumbent stag, one of a lamb, the other of a goat standing above a kid, all before leafy bocage, and a Pratt ware model of a lion, recumbent with head turned to sinister, some restoration, 11cm high max. (4) £150-250

153. A pair of Italian faïence candlestick figures, 20th century, modelled by Luigi Zortea of Bassano, each with a dog seated beneath leafy branches supporting a sconce and drip pan, raised on scrolled bases in the 18th century style, impressed marks, 21.3cm. (2) £80-120

154. A pair of Staffordshire models of greyhounds, mid 19th century, each seated on its haunches and carrying a dead rabbit in its mouth, beside a low fence on a grassy base, 24.5cm. (2) £80-120

155. A Staffordshire Gretna Green figure group, c.1820, of a couple standing before a blacksmith beneath a tree in which is suspended a plaque inscribed ‘John MacDonald aged 79, A Scotch run of with a English girl aged 17 to Gratnall Green to the old blacksmith to be married’, raised on a rectangular base, some restoration, 19.5cm. £200-300 Since the Marriage Act of 1753 prevented those under the age of 21 marrying without parental consent, Gretna Green became a destination for elopers. The Gentleman’s Magazine of 1819 records an elderly nobleman running away with a much younger woman, which possibly sparked the inscription on this figure.

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INSPIRATION FROM THE THEATRICAL ARTS The London stage has long been an inspiration for producers of ceramics and enamels, going back to the first Bow porcelain figures of actors including Henry Woodward and Kitty Clive from the early 1750s. One of the key figures of the 19th century was the comic actor John Liston, who is depicted in several of the following lots in some of his most famous roles.

156. A pair of Enoch Wood pearlware theatrical figures, c.1830, of John Liston in two of his comic roles, one as Sam Swipes from Exchange No Robbery, the square base inscribed ‘No am I a Gentleman? Upon your Soul tho’ Mother’, the other as Van Dunder from T’would Puzzle a Conjuror, dressed in comical Elizabethan costume and holding a scroll, the base inscribed ‘Read it indeed that’s very easily said, read it’, impressed numbers to both, one impressed WOOD, a restored chip to the scroll, 18.5cm max. (2) £400-600

157. A pearlware theatrical figure of Madame Vestris, c.1820, as the Broom Girl, standing and holding two small twig brooms in her left hand, a third in her right, a small purses hanging from her waist, raised on a square base, some good restoration, 16.3cm. £150-250 Lucia Elizabeth Vestris (1797-1865), was born Elizabeth Bartolozzi and married the dancer Armand Vestris at the age of sixteen. She first sang The Broom Girl at the Haymarket Theatre in 1826.

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158. A Salt pearlware theatrical figure of John Liston, c.1820, dressed as Lubin Log, wearing striped breeches, with a red spotted scarf tied around his throat and a yellow muffler around his head, carrying an umbrella and a hat box, applied Salt mark to the reverse, a small amount of good restoration, 17cm. £200-300 Liston first played the character of Lubin Log in James Kenney’s Love, Law and Physic at the Covent Garden Theatre in 1812.

159. A Bloor Derby theatrical figure of John Liston, c.1825-30, in his role as Domine Sampson from Walter Scott’s Guy Mannering, a large book tucked under one arm, the circular base inscribed with Sampson’s trademark exclamation ‘Prodigious’, iron red factory mark, repaired through the ankles, 17.3cm. £400-600

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160. An unusual Cantagalli pottery figure, early 20th century, of the Captain from the commedia dell’arte, wearing a brightly coloured costume, his right hand reaching for his hat, gilt cockerel mark, some damages, 30.5cm. £100-150

161. A Derby biscuit porcelain figure of Shakespeare, c.1775-80, standing beside a pillar moulded with masks, his right elbow resting on top of a pile of books, his left pointing towards a scroll, raised on a chamfered rectangular base, incised ‘No.305’ to the base, some wear, his left forefinger £100-200 lacking, 24cm.

163. A large Derby figure of James Quinn as Falstaff, c.1765-70, the corpulent actor wearing gaudy costume and holding his shield and sword, a bill of fare tucked into his coat pocket, raised on a scroll base, and a smaller version of the same figure, more usually painted with a beard, some damages, 37cm max. (2) £350-500

162. A Derby theatrical figure of Edmund Kean as Richard III, c.1810, dressed in elaborate costume and ermine-lined cloak, his right arm extended and hair windswept, his plumed hat on the ground between his feet, some restoration, 28.5cm. £300-500 Edmund Kean took over the role of Richard III from John Philip Kemble who, in turn, had taken over the role from David Garrick. The original Derby figure of Garrick in the role was reissued with a new head. Cf. Peter Bradshaw, Derby Figures, pp.186-188.

164. A pair of Derby figures of the Sailor and his lass, c.1800, he wearing a tricorn hat and customary wide-legged trousers, holding the King’s shilling in his outstretched left hand, she beckoning him hither with her bare right hand, her glove held in her left, raised on pierced and scrolled bases, incised No. 316, small damages and restoration, 25.2cm. (2) £400-600 These models are believed to depict the actors Henry Woodward and Nancy Dawson, possibly as Black-Eyed Susan and Sweet William from John Gay’s ballad featuring a sailor’s farewell to his beloved.

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165. An English enamel patch box of theatrical interest, c.1785-90, the oval cover printed and titled with ‘Mrs Siddons as Isabella in Measure for Measure’, after a print for the Lady’s Magazine, the actress with arms extended in a beseeching pose, raised on pink enamel sides, with a polished steel mirror to the interior, some good restoration, 4.7cm. £400-600 Sarah Siddons (1755-1831) was one of the Kemble acting dynasty, whose career was launched at the Theatre Royal, Drury Lane by David Garrick. Her most famous role was as Lady Macbeth.

166. An English enamel patch box of theatrical interest, c.1785-90, the oval top printed in black and titled ‘Mr Kemble in Hamlet’, the actor depicted in traditional costume and brandishing a sword, the sides enamelled pink, a mirror to the interior lid, 5.1cm. £500-800 John Philip Kemble (1757-1823) was the brother of Sarah Siddons and played Hamlet at Theatre Royal, Drury Lane in 1783.

167. An English enamel patch box of theatrical interest, c.1805, the oval top printed in black with a titled profile portrait of ‘Young Roscius’, the moulded sides enamelled green, a mirror to the interior lid, 4.2cm. £300-400 William Henry West Betty (1791-1874) was a popular child actor of the early 19th century, known as the young Roscius. He retired from the stage in 1808 to attend Christ’s College in Cambridge, and although he tried to stage two comebacks he officially gave up acting in 1824.

168. A Staffordshire enamel snuff box, c.1780, the rectangular form painted with a portrait of a lady raising a shell to her hair, possibly the actress Lavinia Fenton, the sides painted with flower sprays reserved on a white ground with gilt trelliswork, 6.8cm. £600-1,000 The portrait bears a marked resemblance to that of Lavinia Fenton, later Duchess of Bolton, attributed to George Knapton. She was most famous for her role as Polly Peachum in The Beggar’s Opera.

169. An English enamel patch box of theatrical interest, c.1770-90, the oval lid painted with a portrait of an actress, probably Nancy Dawson, reserved within a scrolled gilt panel on a dark blue ground, a mirror to the interior lid, some good restoration, 4.7cm. £350-500

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170. An English enamel snuff box, c.1790, the oval form painted with a theatrical portrait of a lady with an elaborate hairstyle, reserved on a pink gingham ground with colourful flower sprays, a little good restoration to the sides, 7.3cm. £400-600 The lady depicted is possibly Isabella Mattocks in her role as Nysa in O’Hara’s Midas. An anonymous print in the collection of the British Museum bears a marked similarity.

171. A Staffordshire enamel patch box of theatrical interest, late 18th century, the lid printed with a bust of Mrs Hartley as Lady Jane Grey in chocolate camaieu, reserved in a panel on a pink ground with raised gilt leaves, the sides with polychrome flower sprays, original polished steel mirror to the inside lid, 5.2cm £400-600

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The bust appears to derive from a print of Mrs Hartley as Lady Jane Grey, in Rowe’s eponymous tragedy, from Bell’s British Theatre, published 26 December 1776.

Provenance: formerly in the Ralph Richardson collection.

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172. A good South Staffordshire enamel wine funnel, c.1770, the bell-shaped top painted in puce monochrome with a small bird perched on a bunch of grapes within flower sprays, with gilt metal mounts, further small flowers to the curved interior rim and tapered spout, 11cm. £500-800

173. A pair of South Staffordshire enamel candlesticks, c.1770, with knopped stems above wide moulded feet, brightly enamelled with flower sprays, echoed to the detachable drip pans, some good restoration, 23.5cm. (4) £400-600

174. Three English enamel patch boxes, 2nd half 18th century, one rectangular and decorated in grisaille on a blue ground, titled ‘A small Token of Friendship’, one oval and inscribed ‘Love constitutes the Value’, one circular and decorated with Faith as a Classical maiden resting against a titled pillar, the base yellow, some faults, 4.5cm max.

(3) £200-300

175. A pair of English enamel small jugs, c.1770, painted in bright colours with panels of flowers within rococo scroll borders, reserved on a white ground and raised on three paw feet, some damages, 9.5cm. (2) £100-200

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176. Ten Wedgwood and other small plaques or medallions, late 18th/19th century, one Wedgwood and Bentley black basalt of Marcus Tarentius Varro, a Leeds Pottery basalt plaque of Napoleon, another of Alexander the Great, a terracotta roundel of Edward III, a Jasperware medallion of Apollo and Minerva, two Wedgwood Jasperware square plaques of Classical figures, a similar brooch and a roundel, and a small Wedgwood basalt plaque of Horatius Cocle and Mucius Scaevola, 7.4cm max. (10) £300-500

177. A framed collection of Wedgwood Jasperware plaques, 19th century, nine of them tricolour, including a circular plaque with the twelve signs of the zodiac, one of Venus and Cupid, the others with Classical gods and putti, in white on coloured grounds of blue, lilac, green and yellow, mounted in a glazed oval frame, 35.5cm overall. £300-500

178. A Jasperware rectangular plaque, 19th century, probably Wedgwood, applied in white on a black ground with the Dancing Hours, framed and glazed, 27cm overall. £150-250

179. Three Wedgwood tricolour Jasperware coffee cans and saucers, 19th century, the cans applied with small plaques of putti suspended from leafy swags in lilac and green on a white ground, impressed marks, 13.5cm. (6) £500-800

180. A pair of terracotta Etruscan-style vases, 19th century, decorated in a matt black glaze and enamelled with red figures at various pursuits between formal borders and Classical motifs, 25.5cm. (2) £150-250

181. A Wedgwood black basalt ewer, 19th century, designed by John Flaxman, modelled with Neptune seated on the shoulders of the ewer, applied with waves and a fearsome dolphin, raised on a square base, impressed ‘WEDGWOOD’, 38.7cm £300-500

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182. A large stoneware Bellarmine jug or Bartmannskrug, 17th/18th century, the bulbous body moulded with a roundel enclosing various symbols beneath a bearded mask to the neck, a short grooved strap handle to the reverse, and a Rhenish stoneware flagon or jug the ovoid body decorated in a tigerware glaze, some faults, 43cm max. (2) £300-500

183. A large German stoneware ewer, 19th century, elaborate moulded with panels of figures reserved on a dense foliate ground and flanked by angels above twisted serpents, the neck with dragons and a female mask, glazed in blue on a grey ground, 42cm. £150-250

184. A large stoneware Bellarmine jug, late 18th/19th century, the ovoid body with three small roundels around a long bearded face to the tapering neck, with a short handle, 37cm. £100-200

185. Five small stoneware Bellarmine jugs, one late 17th century, with a mottled tiger-ware type glaze, three 19th century, all with bearded masks to the necks above moulded medallions, and a modern whisky Bellarmine jug with a roundel of castellated towers titled ‘Chequers’, restoration to one, 21.5cm max. (5) £200-300

186. A study collection of ceramics, 18th century and later, including a French terracotta plaque of Louis XV after Jean-Baptiste Nini, a Chinese porcelain saucer dish painted in the European manner, a pearlware leafshaped pickle dish, a hard-paste porcelain Worcester-style sauceboat, a Majolica small jug, five salt-glazed stoneware covers, and a knife rest, some damages, 18.5cm max. (11) £150-250

187. A Buckley pottery jug, late 18th/early 19th century, the ovoid body decorated to the upper half and interior with a rich treacle glaze, applied with a short strap handle, 18.5cm high. £100-150

188. A Canakkale (Turkey) basket, c.1900, the lozenge shape formed over overlapping canes glazed in green, brown and manganese, with a wide moulded rim, some glaze loss, 37.5cm across. £100-200 Cf. Sadberk Hanim Museum, Turkish Tiles and Ceramics, No. C56 for a similar basket.

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189. An Islamic cuerda seca tile fragment, probably 17th century, decorated with an Iznik style design of geometric flowerheads and scrolling leaves in blue, turquoise, green and umber on a yellow ground, 23.7cm. £100-150

190. A Cantagalli two-handled vase, late 19th/early 20th century, in the Islamic manner with two flat jagged handles, the body painted in yellow, blue, green and manganese with continuous bands of a geometric design, cockerel mark, one handle broken and restuck, 27cm. £100-200

191. A cuerda seca square tile, 16th century, probably Safavid, decorated with a central panel banded in turquoise and containing a blue motif reserved on a yellow ground, within a band of stylized white flowers and leaves on a deep blue ground, some chipping, 11.3cm. £150-250

192. A large Hispano-Moresque charger, late 17th/early 18th century, decorated in copper lustre with a large bird amidst feathery foliate motifs, some surface chipping, 37cm. £150-250

193. A Spanish faïence dish, 18th century, painted in blue and black with a soldier on horseback, broken and riveted, 31.3cm. £80-120

194. A large Kutahya (Turkey) Iznik-style dish, 20th century, boldly decorated in typical palette with saz leaves and flower sprays within a continuous scrolling border of red carnations, small rim chips, 43cm. £80-120

195. Two Spanish tin-glazed tile panels, probably Catalonia 2nd half 16th century, one painted in blue and green and forming an eight pointed star decorated with floral motifs, the other similarly decorated with a cross, mounted in later wooden frames, small damages, 32.5cm overall. (2) £500-800 Provenance: by repute, found on the site of Christ’s Hospital, Newgate Street, London in 1900.

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196. Three Iznik-style plates, probably 19th century Turkish, variously decorated in bright palettes of turquoise, blue, black and red with carnations, saz leaves and other stylized leaves, minor faults, 24cm max. (3) £200-300

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197. A large pair of Spanish maiolica vases, dated 1889, painted in blue with large bearded masks suspended from ribbons, titled ‘Betica’ and ‘Hispalis’ on cartouches within foliate scrolls, reserved on a rich yellow ground, marked ‘Tortosa’ and ‘1889’, inscribed ‘Fo Daa’ inside the necks, 54cm. (2) £500-800

198. A large Italian maiolica moulded platter, 18th century, the well moulded with Ceres attended by two putti, Vulcan behind her, forging a tool with a hammer, Neptune in a stream before her and leaning on an upturned urn issuing water, the rim moulded with winged putti amidst formal foliate scrolls, one side moulded with a courting couple, signed ‘MP’ to the rim, the reverse inscribed ‘OCZ’, 54cm. £200-300

199. A Castelli maiolica rectangular plaque, 1st half 18th century, painted with a female traveller holding a long staff and with a flask suspended from her waist, walking beneath trees alongside a river, with buildings and mountains visible beyond, 27.3cm. £250-350

200. Three Italian maiolica dishes, early 20th century, two by Vincenzo Molaroni of Pesaro, one painted with a scene depicting the Rape of the Sabine Women within a wide border of mythical creatures and putti, the other with a portrait and the inscription ‘Multo se Ipsum Quam Nostem Superasse Operosius Est’ quoting Valerius Maximus, in a giltwood frame, the third dish with a bridge in a rococo landscape, one dish cracked, 32.5cm max. (3) £100-200

201. An Italian maiolica armorial crespina, c.1720, Deruta or Urbino, the well painted with an armorial shield surmounted with the crest of a bird holding a banner faintly inscribed ‘De Lucul’ the cavetto with four panels of mythical figures, raised on a low foot, 27.3cm across. £200-300

202. A Savona faïence dish, c.1720, painted with Cupid carrying a bow and arrow along a road, the wide rim with a continuous scene of buildings before mountains, a section of the rim broken out and restuck, 30.6cm. £100-150

203. An Italian maiolica istoriato crespina, 19th century, the moulded well painted with Neptune and Venus standing on a low horsedrawn chariot, with two putti jumping into waters behind, raised on a low circular foot, impressed mark, 27.3cm. £100-150

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204. A Nove faïence monteith, 19th century, the oval moulded body boldly painted with flowers including cornflower, rose and nasturtium, blue star mark, and a Milan faïence plate with a small flower spray to the well, with a rich formal design to the rim in green, red, puce and gilt, 28cm max. (2) £100-150

205. A pair of Minton tin-glazed jardinières, c.1867, painted by Edouard Rischgitz in shades of pink and purple with ducks taking off over a river, the reverse of one with a goat, the other with a stag, initialled, raised on foliate scroll feet, painted and impressed marks, some restoration to the rims, 27cm across. (2) £150-250

206. A Delft doré buttertub and cover, c.1740, the circular form painted in green, black, red and gilt with birds perched on bamboo above banded hedges, some chipping, one handle and the kylin finial partially lacking, 12.3cm dia. (2) £100-150

207. A Delft doré butter tub, c.1760, painted in the Meissen manner with figures reclining before buildings in European landscapes, above a moulded band of coopering in petit feu enamels, blue numeral 14 to the interior, some chipping, the cover lacking, 13cm across. £150-250

208. A pair of French faïence bough pots and covers, 19th century, the square forms painted in the Strasbourg manner with one panel of songbirds perched on leafy branches, the others with bold floral arrangements, between stylized leaf scrolls rising from scroll feet, the covers pierced with five holes, monogram marks in the Hannong manner, original marks removed, 12.5cm high. (4) £200-300

209. Two Delft tureens or milk strainers and covers, 18th century, of circular form, each painted in blue with Chinese figures in garden settings, each with a straining compartment to one side of the rim, pierced with small holes, some damage and restoration, 28cm dia. max. (4) £100-200

210. Six delftware tiles, mid 18th century, including Liverpool, one Biblical and painted in blue with Samson carrying off the gates of Gaza, one painted in manganese with a figure driving a cow, two with figures blowing a horn, one of them reserved on a sponged manganese ground, one painted in blue with a lady seated beneath a tree, the last printed by Sadler with four children representing the Seasons, reserved on a green ground, 13cm. (6) £200-300

211. A pair of Liverpool delftware tiles, c.1760, painted in blue with The Singing Shepherdess, after Nicolaes Berchem etchings, some damages, 12.7cm. (2) £100-200

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212. A Portuguese faïence jug, early 18th century, the globular body painted in blue with female musicians, one playing a stringed instrument while the other holds sheet music and sings, the strap handle flanked by two large birds, rising to a narrow neck, 21.5cm. £100-200

213. A Dutch Delft candle lantern, late 19th/early 20th century, the rectangular form with three glass panels, the hinged door painted in blue with sailing boats on a lake before mountains, the decoration echoed to the pitched cover, DRXC 48 mark inside, 22cm. £100-150

214. A Continental faïence flask or bottle vase, c.1770, the rounded body painted in blue and ochre to two sides with a circular panel containing birds in flight over buildings with tall roofs, the neck and shoulder with bands of stylized stiff leaves, applied with two handles on two sides, 29.5cm. £150-250

215. A large Delft vase, 18th century, of octagonal baluster form, painted in blue with panels of boats in pagoda landscapes and birds perched amidst flowering branches, reserved on a formal scroll ground, the cover lacking, 33.5cm. £100-200

216. Two Continental faïence tankards, 18th century, of cylindrical form, one painted with a horse, the other with sponged trees flanking a stylized flowering plant, with a pewter cover inscribed ‘HS’, some damages, £100-200 21.8cm max. (2)

217. A Delft ewer and cover, 19th century, the rounded body moulded with flutes and painted with panels of sailing boats, the short narrow neck moulded with a mask, 26cm. (2) £100-150

218. Three Delft plates, 18th century, variously painted in blue and polychrome enamels with Chinese landscape and garden scenes, and a small English delftware plate painted in blue with peony and willow, 26.3cm max. (4) £100-200

219. Three delftware chargers, 18th century, one painted in blue, green and manganese with a landscape, another in polychrome enamels with a geometric design, one in the Kraak manner with a Chinese figure within a panelled border, and a delftware bowl painted with bold flower sprays, some faults, 34.5cm max. (4) £200-300

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220. A large London delftware charger, c.1770-80, painted in blue with an arrangement of roses and other flowers, the rim with five panels of further flowers reserved on a hatched diaper ground, some glaze chipping, 35.5cm. £100-200

221. A pair of London delftware plates, c.1720, painted in blue, red and green with a formal design of fleur de lys motifs around a central flowerhead, the rim with foliate £300-400 sprays, 22.3cm. (2)

222. A Delft Biblical plate, dated 1788, the well painted with a scene of Jesus with Simon (Peter) and his brother Andrew from Matthew 4:19, the rim with four panels of flowers reserved on a hatched diaper ground, incised ‘AA 1788’ to the base, 23.3cm. £150-200

223. A London delftware plate, c.1720, painted with two Chinese figures seated on a hillside beneath willow trees, the rim with a formal border in red, blue, green and yellow, some rim chipping, 22.6cm. £200-300

224. A London delftware plate, c.1710-20, painted in red, blue and green with a longtailed bird perched on a flowering branch within a wide border of stylized floral panels on a diaper ground, some glaze chipping, £200-300 22.9cm.

225. A Delft plate, early 18th century, painted with a large hare or rabbit being pursued by a figure beneath tall sponged trees, a simple church building in the background, 23.2cm. £200-300

226. Two Delft vases and a ewer, 18th/19th century, one ovoid and painted in blue with birds perched on flowering branches, the other of baluster shape with a knopped neck, painted in polychrome enamels with Chinese figures and birds in panels, the ewer with a peacock, swan and other birds amidst Oriental flowers above a stiff leaf border, AK marks to two, 29cm max. (3) £150-200

227. A large Delft dish or charger, c.174060, painted in bold polychrome enamels with a basket of fruit and flowers, the rim with four similar sprays, some glaze chipping, 34.7cm. £150-200

228. A pair of French faïence vases and covers, late 19th century, probably Quimper, the octagonal forms painted in shades of blue with a formal foliate design between shaped diaper panels, HB monogram marks, a large chip to one rim, 33cm. (4) £150-250

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229. A near pair of large Dutch Delft vases, late 17th/early 18th century, the baluster bodies rising to slender necks with an onion knop, painted with scenes of Chinese figures at various pursuits in landscapes above a stiff leaf border, the knopped necks with dragons chasing flaming pearls, marked 7 to the undersides, the larger with restuck sections to the rim, 44.5cm max. (2) £800-1,200

230. A delftware sweetmeat dish, c.1740-60, probably Liverpool, moulded with four shaped compartments around a central small square well, painted in blue with flower sprays within a border of diaper panels and foliate scrolls, good restoration, 24.7cm. £200-300

Provenance: Warren House, Bramshaw, New Forest.

231. A tall Delft vase, early 18th century, of octagonal baluster form, painted with three small panels of a figure in a sampan, overlapping larger panels of flowers, the tall neck rising to a swollen knop, a 3cm chip to the rim, 35.5cm. £150-250

232. A Liverpool delftware wall pocket, mid 18th century, the cornucopia shape moulded with three birds converging on fruiting branches, detailed in blue, good restoration to one side, 21cm. £200-300

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233. A delftware model of a dog, dated 1761, seated on its haunches on an oval pad base, its head slightly turned, the coat decorated with blue wheels of fire and small dots, wearing an ochre collar with manganese stud, the tail enamelled in ochre, inscribed ‘K 1761 S’ to the underside, some glaze chipping, 12.5cm. £1,000-1,500 Cf. Louis L Lipski and Michael Archer, Dated English Delftware, p.420, pls. 1761 and 1761A for a similar pair of dogs.

234. A small delftware flower brick, c.1760, of rectangular form, the long sides painted with peony sprays beside holey rockwork, the shorter sides with further peony blooms, the recessed top pierced with three rows of small holes around a central aperture, some glaze chipping, 12.9cm across. £300-500

235. A delftware dog moneybox, dated 1756, seated on its haunches on an oval pad base, its coat decorated with blue wheels of fire and small dashes, wearing a manganese collar, an open slot running partly down its spine, inscribed ‘1756’ to the underside, restoration to both ears, 12.8cm high. £1,000-1,500 Cf. Louis L Lipski and Michael Archer, Dated English Delftware, p.420, pls. 1761 and 1761A for a similar pair of dogs.

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236. A rare Nuremberg faïence metal-mounted jar, c.1720, reduced from a ewer, the spiral moulded form painted by Justus Alexander Ernest Glüer with figures holding children beneath a tall tree, in a panel flanked by putti holding cornucopia, large flowering branches extended over the rest of the body, signed ‘Glüer Nu nberg’ to the front, the screw-fit pewter lid mounted with a cherub finial, the handle lacking and neck reduced, 25.3cm. (2) £3,000-5,000 Provenance: purchased from Max Rosenheim in August 1894 and thence by descent. By repute, previously in a schloss in Bad Kissingen, Bavaria, occupied by Otto von Bismarck.

Cf. The Metropolitan Museum, New York, Accession No. 1991.149.11 for a similar complete ewer.

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237. Five Continental faïence apothecary jars, 18th/19th century, the largest of cylindrical form and inscribed ‘Martiatum’ within a floral cartouche, one inscribed ‘Ext. Arnicae’ between snakes, the others a set of three ointment pots, 18.7cm max. (5) £150-250

238. A pair of Naples maiolica albarelli, dated 1791, decorated with sprays of flowers, the reverse with the initials DP above 1791, and a Talavera jug painted with a dromedary camel, beneath trees, damages £100-200 and repairs, 26.5cm max. (3)

239. A Continental faïence drug jar, late 18th/19th century, the globular body titled ‘Philon:Roman’ between bands of polychrome flowers, a small panel containing the initials ‘AS’, and a maiolica jug, probably 19th century Pesaro, painted with a double-headed eagle with a stylized shield to its chest, reserved in a panel within leaf scrolls, 23cm max. (2) £150-250

240. Two Talavera albarelli, c.1760, each waisted form painted in blue with an armorial device derived from the Hapsburg coat of arms, a crowned double-headed eagle centring a blank shield, some faults, 24.5cm max. (2) £150-250

241. A large Naples maiolica albarello, early 18th century, the slightly waisted form painted in polychrome enamels with a Chinese figure seated beside a large urn beneath a fringed tree, the foot and neck edged in horizontal blue bands, small sections of the rim broken out and restuck, 25cm. £200-300

242. A French faïence albarello, late 18th century, Paris or Rouen, the large cylindrical form painted in green, yellow and black with two snakes entwining around narrow branches, flanking the inscription ‘Nitraec Potassae’, restored, 26.7cm £150-180

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Compound of potassium continues to have a variety of uses, not all medicinal, but helps to combat high blood pressure.

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243. An Italian maiolica albarello, mid 16th century Venice, of dumbbell form, with an inscription between continuous bands of foliate scrolls, 21cm. £300-500

244. A Portuguese faïence drug jar, c.1625-50, of waisted albarello form, painted in blue and manganese with a large rabbit between big plants, the reverse with an armorial shield, restored, 23.5cm. £200-300

245. A Portuguese faïence albarello, late 17th century, of tall waisted form, painted in blue with a diagonal cartouche inscribed ‘S. ACETOS’, within a simple scroll design, some £150-180 damages, 24cm.

In this instance the term ‘Acetos’ probably refers to Rumex Acetosa (Common Wood Sorrel) which has a variety of culinary and medicinal uses.

246. A Continental faïence drug jar, early 18th century, Belgium or Northern France, painted in blue with a shaped cartouche inscribed ‘MITHRIDAT.DAM’, each side with a larged stylized carnation beside a bird with outstretched wings, broken and well restored, 19.3cm. £150-250 This preparation was used as an antidote to poisons and was named after the man who devised it, Mithridates, King of Pontus (131-64 BC).

247. Two small delftware cylindrical pill jars, early 18th century, both painted with winged putti flanking flower stems and large shells above banners inscribed ‘P:COCHIÆ’, and ‘P:BALSAM’, the latter with a metal cover, a little chipping, 9.3cm high. (3) £250-350

248. Two small delftware dry drug or pill jars, 1st half 18th century, both painted in blue with birds among branches flanking a basket of fruit, one cylindrical and inscribed ‘THER:ANDROM’, the other ovoid and inscribed ‘PHILON:ROM’, small faults, 9.8cm max. (2) £300-500

Pilulae Balsamicae were antitussive pills made from Balsam of Peru, saffron and other ingredients. Pilulae Cocciae were purgative pills including aloes, scammony and colocynth.

The cylindrical jar with a paper label for the Lipski Collection, no. 758.

Theriac of Andromachus was a traditional remedy containing 73 ingredients including viper flesh, making it a popular choice as an antidote to poisonous bites. Philonium Romanum included opium and was used to promote sleep.

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249. Two small delftware dry jug or pill jars, 1st half 18th century, painted in blue with two birds flanking a basket of fruit above shaped banners and angel masks, one inscribed ‘P:ÆTHEIOP’, the other ‘P:MATTHÆI’, the latter with an old metal cover, small faults, 11.3cm max. (3) £400-600 Mercury pills were used as a treatment for syphilis, among other things.

Matthew’s Pills were marketed by Richard Matthews, an apothecary from Holt in Norfolk, and were an imitation of the earlier concoctions

by George Starkey, being used in the treatment of mental illness.

250. Two small delftware dry drug or pill jars, 1st half 18th century, both painted in blue with birds in leafy branches flanking baskets of fruit above banners inscribed ‘O:MACIS’ and P:RHABARB’, the larger with a painted number to the underside, a rim crack, 9.6cm max. (2) £600-800 The smaller with paper labels for Jonathan Horne.

Both rhubarb and mace are used in the treatment of digestive disorders.

251. Two delftware dry drug or pill jars in two sizes, 1st half 18th century, painted in blue with birds among branches flanking a basket of fruit above banners in scribed ‘P:RUDII’ and ‘P:RUFFI’, small damages, 11.7cm max. (2) £300-500 Pilulae Rudii (pills of Rudius) were a purgative used in the treatment of melancholy and lethargy. Pilulae Rufi were anti-pestilential pills named after the physician Rufus of Ephesus

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252. A rare set of five London delftware dry drug or pill jars, c.1720, painted in blue with peacocks flanking baskets of fruit above inscribed banners, titled ‘PL:COCHIÆ MINO’, ‘TROCH.CAPPAR’, ‘P:RUSSY’, ‘T:DECARRABE’ and ‘TROCH.ALKEK’, some glaze chipping, 9.6cm. (5) £2,500-3,000 The jars contained a variety of pills and lozenges used as purgatives, expectorants and sedatives, with ingredients including aloes, wild cherry, capers and scammony.

253. A small delftware dry drug or pill jar, 2nd half 18th century, the baluster body painted in blue with paterae around husk swags and a shaped banner inscribed ‘P: ex OPIC’, some glaze chipping, 9.5cm. £600-800

254. A small London dry drug or pill jar, 1st half 18th century, painted in blue with winged putti flanking flower sprays and a scallop shell above a banner inscribed ‘CONF:ALKERM’, a rim crack, 10cm high. £400-600

Pilulae Opticae, sometimes known as Pilulae Lucis Majores, were used in the treatment of opthalmic disorders.

Confection of Kermes (a type of insect from Southern Europe) included apple juice, rosewater and sugar as well as occasional exotic ingredients such as lapis lazuli, pearls and gold leaf.

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255. An early delftware dry drug or pill jar, c.1680, painted in blue with an angel with oustretched wings above a banner inscribed ‘P: EX: DUOBUS’, the glaze degraded, 9.6cm high. £800-1,200 The surface of the glaze suggests that this jar has been submerged in water for some time and may have come from a shipwreck. It contained purgative pills prepared from colocynth and scammony, which would have been used to treat a broad range of conditions, probably to little effect.

256. An early London delftware dry drug or pill jar, c.1680, painted with a bold blue cartouche above a fleur de lys and stylized garlands, inscribed ‘P:ALEOPHAN’, 9.5cm high. £200-300 Pilulae alephanginae were scented pills made from aloes, cinnamon, nutmeg, rose petals and other ingredients used in the treatment of epilepsy, migraine and melancholy.

257. An early small delftware dry drug or pill jar, c.1680, painted in blue with an angel with outstretched wings above a banner inscribed ‘T.ALB.RHAS’, a chip to the inside rim, 10cm high. £600-800 Trochisi Albi Rhasis were lozenges made from ingredients including white lead. They could be dissolved in white wine or rose-water to make an eyewash. They could also be used to treat gonorrhoea.

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part 258. Literature: David Barker, William Greatbatch; Lipski and Archer, Dated English Delftware; Diana Edwards, Black Basalt; Meteyard, The Life of Josiah Wedgwood, Vols I & II; Williams and Wood, English Transfer-Printed Pottery and Porcelain; and a number of other books relating to English pottery and porcelain. (38) £100-200

part 261. Literature: Evison, Wheel-Thrown Pottery in Anglo-Saxon Graves; Jesse Walter Fewkes, Design on Prehistoric Hopi Pottery; Heather Lawrence, Yorkshire Pots and Potteries; K J Burton, Medieval Sussex Pottery, and a number of other books and catalogues on prehistoric, medieval and modern pottery. (46) £50-100

part 264. Literature: Robin Hildyard, European Ceramics; Ayers, Impey & Mallet, Porcelain for Palaces; Anthony Ray, Spanish Pottery 1248-1898; Rudolf Drey, Apothecary Jars; Jan Pluis, The Dutch Tile; and a number of other books relating to European and Oriental ceramics. (21) £80-120

part 259. Literature: The Longridge Collection of English Slipware and Delftware, Volumes 1 and 2 contained in a slip case; Leslie B Grigsby, English Pottery 1650-1800, The Henry H Weldon Collection; Peter Williams and Pat Halfpenny, A Passion for Pottery. (3) £200-250

part 262. Literature: Edward A Downman, Blue Dash Chargers; Graeme Cruikshank, Prestonpans Pottery; Aronson Antiques, Oriental Sources for Dutch Delftware Chinoiserie Figures; Alan Caiger-Smith, TinGlazed Pottery; Gordon Elliott, John and David Elers and their Contemporaries; and a number of other books on Scottish and English pottery. (38) £80-120

part 265. Literature: Frank Tilley, Teapots and Tea; Bernard Watney, English Blue and White Porcelain; Terence A Lockett, People and Pots; Eliza Meteyard, The Life of Josiah Wedgwood (in two volumes); The Catalogue of the Schreiber Collection (in three volumes); Michael Messenger, Caughley and Coalport Museum in Clive House Museum, Shrewsbury; a number of other books and a collection of auction catalogues relating to private collections including those of Watney, Rous Lench, Norman Stretton and Lipski. (A lot) £100-200

260. Literature: Bernard Rackham, The Glaisher Collection of Pottery and Porcelain, Volumes I and II; Bernard M Watney, Liverpool Porcelain; Sheenah Smith, Lowestoft Porcelain; Helen L. Hallesy, The Glamorgan Pottery; J & G Lewis, Pratt Ware; and a number of other books on English and Welsh ceramics. (54) £100-200

part 263. Literature: John D Griffen, The Don Pottery; Donald Towner, Creamware; The Letters and Correspondence of Josiah Wedgwood (in three volumes); Cyril Cook, The Life and Works of Robert Hancock; F Severne Mackenna, Chelsea Porcelain (two volumes); and a number of other books on Wedgwood and other English pottery and porcelain. (49) £100-200

part 266. Literature: E Morton Nance, The Pottery and Porcelain of Swansea and Nantgarw; Edwards & Hampson, WhiteGlazed Stonewares of the British Isles; William H Tapp, Jefferyes Hamett O’Neale (no.201 of 250 - signed); and a number of other books including those relating to the A J Smith collection, the Klepser collection and the Freeman collection. (28) £80-120

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part 267. Literature: Maria Gordon-Smith, Pillement; Jonathan Horne, English Tin-Glazed Tiles; Michael Archer, Delftware; Edwards & Hampson, White-Glazed Stonewares of the British Isles; J K Crillen, Medical Ceramics in the Wellcome Institute; and a number of other books relating to English and European pottery and porcelain. (31) £100-200

part 268. Literature: Lady Charlotte Schreiber’s Journals (in two volumes); Robert Sayer, reprint of The Ladies Amusement; Shaws Chemistry of Pottery (a limited edition of 250); J & E Hodgkin, Early English Pottery; W Roberts, Memorials of Christie’s (in two volumes); three books relating to Thomas Bewick, and a number of other largely antiquarian books relating to ceramics and art. (28) £100-150

269. A large Belleek plate or charger, c.1881, elaborately moulded with a formal flowerhead, picked out in pink and gilt, first period black mark, 36.8cm. £100-200

271 A small Copeland Toby jug, late 19th century, modelled as a seated Mandarin figure wearing a flowered robe, and a small Derby snuff-taker Toby jug, standing and taking a pinch of snuff, raised on a square base, some good restoration to the latter, 13cm max. (2) £100-150

270. A massive Royal Worcester figure of a Grecian water carrier, date code for 1880, modelled by James Hadley, a two-handled urn resting on the top of her head, a further slender vase in her right hand, dressed in a flowing turquoise robe and raised on a circular base, impressed factory mark and R date code, some restoration, 86.5cm. £400-600

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272. A Royal Worcester equestrian figure, c.1960-80, modelled by Doris Lindner, titled ‘The Winner’, a jockey on the back of a chestnut stallion mounted on an oval base, signed beneath, set in a wood stand, 30.3cm. (2) £100-200

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273. Ten Royal Worcester ichthyological plates by Harry Ayrton, date codes for 1934, brightly painted with different specimens of fish swimming amidst coral and reeds, on a pale yellow ground, titled to the undersides, signed, 23.2cm. (10) £100-200

274. A Royal Worcester cup and saucer by Ernest Phillips, date code for 1919, and a matching side plate, all painted with arrangements of fruit, signed, and a Royal Worcester dessert plate by Thomas Lockyer, similarly painted with grapes and apples on the woodland floor, within a moulded rim, 31cm max. (4) £150-250

275. A Royal Worcester cabinet plate by Richard Sebright, date code for 1918, painted with fruit within a wide panelled border with elaborate gilt design, signed, and a Coalport plate similarly painted by Fred Howard, 23.5cm max. (2) £150-250

276. Three Royal Doulton plates, c.1920-30, two painted by Reginald Brown, one with a view of Tintern Abbey, the other of Caerlaverock Castle, the last painted by Charles Hart with a view of Kenilworth Castle, signed, titled to the reverse, all within elaborate raised gilt borders, the latter with a monogram mark for Herbert Betteley, one cracked, 26.4cm max. (3) £250-350

277. Four Royal Doulton plates, late 19th/early 20th century, one painted by Curnock with roses, one by J Wilson with grouse, another

by C Hart with mallard ducks, the last with an unsigned landscape, 27cm max. (4) £150-250

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278. Two Royal Worcester porcelain plaques by Raymond Rushton, date code for 1918, one painted with a figure in a boat before an arched bridge, titled ‘Meaux on the Marne’, the other with figures in a square before a tall spire, titled ‘Brussels Hotel de Ville’ to the reverse, mounted in glazed giltwood frames, the larger plaque 15.5cm. (2) £1,000-1,500

279. Two Royal Worcester vases by Harry Stinton, c.1910-30, the two-handled shapes painted with Highland cattle in moorland landscapes, signed, one with a date code for 1930, the other indistinct, 17cm max. (2) £400-600

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280. A Royal Worcester vase by Harry Stinton, date code for 1903, painted with sailing boats in a choppy sea, signed, printed mark, 10.5cm. £300-500

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281. A good pair of Royal Worcester plaques by William Hawkins, date codes for 1915, one painted with a portrait of the Duke of Wellington after Francisco de Goya, the other with Admiral Nelson after Lemuel ‘Francis’ Abbott, both signed W A Hawkins, mounted in elaborate gilt wood frames, the plaques 15cm x 11cm. (2) £3,500-5,000 Old paper labels to the reverse.

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282. A Minton punchbowl, 19th century, decorated in the Mandarin manner with four Chinese figures outside of a house, the exterior with panels of stylized trees in iron red, reserved on a pink scale ground, blue factory mark, 26cm dia. £150-250

283. A Barr, Flight and Barr teapot and cover, c.1810, the spiral moulded body richly decorated in the Imari manner with stylized flower sprays suspended from a shaped band of white flowers on red beneath a band of gilt flowers on blue, impressed marks, £150-250 24.5cm. (2)

284. A Chamberlain Worcester basket, c.1840, the large circular dish painted with a central view of a boat race on the river in Worcester, other figures in boats watching on, the rim moulded and gilded with overlapping leaves, with an overhead handle, iron red script mark and titled ‘Worcester’ to £100-200 the underside, 25.5cm across.

285. A Chelsea-Derby vase and cover, c.1780, painted with panels of flowers within simple gilt borders on a turquoise ground, and a Derby campana vase painted with small figures in a landscape, some damages and repairs, 26.3cm max. (3) £100-200

286. A pair of English porcelain vases, 19th century, probably Minton, the ovoid forms painted with sprays of flowers in polychrome enamels, above the foot moulded with acanthus leaves, the handles with raised moulded beading, the covers lacking, 17.8cm. (2) £200-300

287. Two Derby vases, c.1800-20, one painted with panels of tall trees in black monochrome on orange, reserved on a rich black and gilt ground, titled to the base ‘View in Leicestershire’ and ‘View in Eltham, Kent’, with an interesting internal pipe, perhaps to assist watering, the other vase of campana shape and painted with ruins beside a river, titled ‘View of Switzerland’ to the base, restorations, 22.8cm max. (2) £150-250

288. Two English porcelain plaques, 19th century, one perhaps Derby, painted with a bullfinch perched above a nest of eggs beneath a bold arrangement of flowers, signed to the reverse ‘J.B. March 24th 1825’, the other painted with a bullfinch perched on a stem of fruiting grapevine above other fruits including raspberries and peaches on a marble ledge, some restoration to the former, 39cm overall max. (2) £100-200

289. Two Samuel Alcock porcelain vases, c.1850-60, one two-handled, the other a spill vase, both decorated in the Etruscan manner with Classical figures at various pursuits on a rich blue ground, the larger inscribed beneath with ‘Victors of Public Games fulfilling their Vows in the Temple of Venus’, printed S A & Co marks, 21cm max. (2) £100-200

290. A Derby porter mug, c.1815-20, the generous cylindrical form painted with swags of flowers within shaped archways picked out in blue and gilt, a gilt leaf border to the interior rim, iron red crowned crossed batons and D mark, 13.3cm high. £100-200

Provenance: the Cordwent Collection.

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291. A Spode pearlware part dessert service, c.1825-33, richly decorated with sprays of peony and other Oriental flowering plants, the rims with further blooms reserved in shaped panels, printed and impressed marks, some damages. Comprising: a tazza, two shell dishes, a two-handled dish, an oval dish and 26 plates. (31) £150-250

292. A Staffordshire porcelain part dessert service, c.1830-40, the wells painted with small arrangements of flowers, reserved within shaped green borders edged in gilt with large leaves, pattern number 2712 to most. Comprising: two square dishes, two shaped dishes and five plates. (9) £150-200

293. A Coalport ornithological part dessert service, c.1850, painted with various birds, some attributed to John Randall, including several birds of prey titled to the reverse, within reticulated S scroll rims picked out in blue and gilt. Comprising: a tazza and six plates. (7) £350-550

294. A Spode Felspar porcelain part dessert service, c.1820-25, painted to the wells with colourful birds perched on autumnal leafy branches within continuous gilt foliate borders, the moulded rims picked out in gilt, printed puce marks, pattern number 4962.

Comprising: four rectangular dishes, four shaped dishes, one oval dish and eight plates. (17) £300-500

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295. A good pair of Coalport ice pails with liners and covers, c.180005, decorated in London, each with a continuous band of Classical warriors in sepia monochrome with fine gilt detailing, the covers with mythical beasts and Classical motifs, 23.5cm. (6) £500-800

296. A Nantgarw cabinet plate, c.1815-20, finely painted, probably in London, with a tall basket of flowers including rose, tulip, convolvulus and auricula, low mountains visible in the distance, the rim with a formal foliate gilt design, 23.5cm. £800-1,200

Early wares by John Rose at Coalport were often sent as blanks to London ateliers, especially the Baxter workshop.

Provenance: The Leslie Joseph Collection, No. 316.

Provenance: Warren House, Bramshaw, New Forest.

297. A good pair of Chelsea Derby dishes, c.1765-70, the elongated octagonal forms painted with central urns draped in flower garlands, within four profile portrait medallions in sepia on a pink ground, the rims glazed in a deep blue, gold anchor marks, 22.8cm. (2) £200-300

298. A small pair of Derby dessert plates, c.1795, painted with small floral arrangements and scattered sprigs, the rims with a continuous band of pink roses within interlaced leaf garlands, puce crowned D marks, 20cm. (2) £200-300

299. A pair of Derby dessert plates, c.1795, the wells painted with arrangements of flowers including rose, convolvulus and auricula, within spiral moulded rims with a blue band edged in gilt, puce crowned crossed batons and D marks, pattern number 100, 21.2cm.

(2) £150-250

300. A good pair of Spode pearlware plates, early 19th century, brightly painted in the manner of Worcester porcelain with large floral sprays and single scattered blooms, iron red marks, 20cm. (2) £150-250

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301. Three Derby teapots and covers, 1st half 19th century, one of generous globular form and painted with a cornflower design, another in a panelled Imari pattern, one with horizontal gilt bands and including a matching teapot stand and sucrier and cover, and a sucrier with cover and stand painted with red and gilt flower bands, some damages, 26.5cm max. (12) £100-200

302. A pair of English porcelain câchepots and stands, c.1810-20, probably Coalport, decorated in monochrome with scenes of Venus and Cupid performing archery, on a rust-coloured ground, and three other câchepots, one perhaps London-decorated with a girl holding a cat, one with gilt foliate scrolls on a salmon-pink ground, the last with panels of children asleep on a hayrick or playing with a sheaf, some faults. (7) £200-300

303. Six Derby coffee cups and three teabowls, c.1790-1810, decorated in gilt with various designs of flower garlands, husk swags and interlaced ovals, a Derby spiral-moulded breakfast cup, a quatrefoil teapot stand and a large bowl, both edged in blue and gilt, 16.3cm max. (12) £120-150

304. Fourteen Derby tea cups and three coffee cans, c.1790-1830, one spiral moulded, two fluted, variously decorated with cornflower sprigs and garlands, leaf tendrils and scrolls, and formal borders, some damages, 6.5cm max. (17) £100-150

305. Eleven Derby saucers, c.1800-25, variously decorated with gilt flower sprigs, continuous flower garlands and formal scrolls, puce and iron red factory marks, 14.2cm max. (11) £50-80

306. A New Hall part tea service, c.1800, richly decorated in pattern 943 with ruined buildings amidst bold flowering plants. Comprising: a teapot and cover, a slop bowl and a cup and saucer. (5) £100-200

307. Ten Derby teabowls and two milk jugs, c.1790-1810, variously decorated with flower sprigs, garlands and formal scroll borders, the jugs spiral-moulded and similarly decorated, some faults, 12.7cm max.

(12) £80-120

308. A collection of New Hall tea wares, late 18th century, variously decorated with flower sprigs, scenes of Chinese figures, and formal designs in blue and gilt. Comprising: a saucer dish, a sucrier and cover, £200-300 13 teabowls, four coffee cups and three saucers. (23)

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309. A pair of Derby dessert dishes, c.1780, of lozenge shape, painted with small polychrome flower sprays within gilt and rich blue borders, one with a blue crowned D mark, 32.3cm. (2) £100-200

310. Two Chamberlain’s Worcester teapots and covers, c.1810-30, one painted with a wide band of gilt strawberry plant on a rich orangered, the other spiral moulded and gilded with small flower sprigs, with a matching teapot stand, sucrier and cover, painted marks inside the covers, 27cm max. (7) £150-250

311. Three New Hall plates with a matching cup and saucer, c.1800, one in pattern 398 with an additional matching jug, another in 445, and the last in 449 also with a matching jug, 19.8cm max. (11) £150-250

312. Six Derby cups and saucers, c.1790-1810, and a breakfast teabowl and saucer, variously ogee-shaped, spiral moulded and fluted, decorated with various borders in blue and gilt, two other Derby coffee cups and five saucers with similar decoration, 16.5cm max. (21) £100-150

313. A Chamberlain’s Worcester part tea service, early 19th century, decorated in the Dragons in Compartments pattern. Comprising: a milk jug, two tea cups, a coffee cup and seven saucers. (11) £100-150

314. A Herculaneum porcelain miniature ewer and stand, c.1815, finely painted with colourful flower sprays on a blush ground, and three New Hall milk jugs, painted with Chinese figures and flower sprays including patterns N297 and 338, some faults, 11.3cm max. (5) £100-200

315. A Chelsea-Derby part tea service, c.1770-80, the fluted forms painted in green camaieu with sprays of flowers and small scattered sprigs, within gilt dentil rims, blue crowned D and gilt D and anchor marks, some damages. Comprising: a teapot and cover, a sucrier and cover and a slop bowl. (5) £150-250

316. A group of Derby tea wares, c.1800-20, including seven coffee cups, four tea cups, three teabowls and a sucrier, decorated in blue and gilt with leaf bands, formal borders and garlands, some faults, 9.5cm max. (15) £80-120

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317. A Derby part dessert service, c.1815-20, gilded with husk swags suspended from a jagged formal rim around small gilt sprigs, iron red crowned crossed batons and D marks, some damages.

Comprising: two sauce tureens with covers and stands, three lozenge shaped dishes, two kidney-shaped dishes, and fourteen plates. (25) £150-250

318. A Flight Worcester tea service, c.1790, the spiral moulded forms simply decorated with bluebell sprigs in cobalt blue and gilt.

Comprising: a teapot and cover, a sucrier and cover, a slop bowl, a milk jug, four cake plates, 12 teabowls, 12 coffee cups and 12 saucers. (46) £300-500

319. Five Derby dessert dishes, c.1815-20, decorated in Imari colours in the Partridge pattern with two birds perched on the branch of a flowering prunus tree, iron red crowned crossed batons marks, some gilt wear, 34.7cm max. (5) £150-200

320. A set of six Derby coffee cans and saucers, c.1815, the fluted forms decorated with a wide border of orange ribbon interlaced with a gilt foliate band, puce crowned crossed batons and D marks, pattern number 500, 14.6cm. (12) £50-80

Cf. John Twitchett, Derby Porcelain 1748-1848: An Illustrated Guide, p.156 for some of the remaining service. Over 200 pieces of this service were sold at Christie’s on 9th October 1989, lot 317.

321. Four Derby cups and saucers and a trio, c.1800-1825, five Derby teabowls, three coffee cups, and a Flight Worcester coffee cup and associated saucer, all richly decorated in blue and gilt with bands of flowers, leaf scrolls and scattered sprigs, some faults, 15cm max.

(22) £150-200

322. A small collection of English porcelain tea wares, c.1790-20, including two Derby sucriers and covers, one ribbed with a simple gilt and blue border, the other with a pattern of stars on a red ground, two slop bowls with salmon and gilt patterns, a small Derby bowl, three Flight Worcester teabowls and saucers with blue and gilt patterns, and a Derby cup and saucer decorated in orange and gilt, some faults, one finial lacking, 16.5cm max. (15) £100-150

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323. Twelve English porcelain coffee cups, c.1790-1820, including Chelsea-Derby, Derby and Flight Worcester, and a Derby teabowl, variously decorated with flower sprays, leaf bands, garlands and formal borders, 7cm max. (13) £100-200

324. A group of New Hall tea wares, c.1800, a fluted trio with a blue scroll and gilt shell border, a teabowl and saucer in pattern 83 with a band of pink roses in gilt panels, and two coffee cans, one with a black stylized barley border, the other with gilt ovals on a blue band, 13.3cm max. (9) £100-200

325. A collection of English porcelain teawares, c.1790-1825, including two Flight Worcester trios, a Flight Worcester teabowl and a teacup, two Derby cups and a matching saucer, four Derby coffee cups, two tea cups, two teabowls and three saucers, all decorated in blue and gilt with flower sprigs and rich formal bands, 14cm max. (22) £150-250

326. A group of Derby tea wares, c.1790-1820, including a fluted sucrier and cover, three cups and saucers, a trio, three single cups and two teabowls, variously decorated with bands of pink or yellow enamel edged in gilt, 17.6cm max. (16) £100-200

327. Nine Derby cups and saucers, c.1790-1820, including coffee and tea cups, decorated with cornflower sprigs, gilt flower garlands and foliate scrolls, puce and iron red factory marks, some damages, 14.3cm max. (18) £100-200

328. A pair of Barr Worcester plates and a breakfast cup and saucer, c.1800, richly decorated in the Queen Charlotte pattern with spiralling stripes of stylized flowers in an Imari palette, incised B marks, a flared Barr Worcester cup and a later porcelain saucer in the same pattern, 19.6cm max. (6) £150-200

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Provenance: Warren House, Bramshaw, New Forest.

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330. A Chamberlain or Grainger’s Worcester jug, c.1820, painted with greyhounds in pursuit of rabbits, the neck with a wide formal gilt band, 17.2cm high. £100-200

331. A Spode cup and saucer, c.1820-30, richly decorated in pattern 967 with an Oriental landscape in the Imari palette, and a Swansea cup and saucer painted with sepia flower sprays, 14cm max. (4) £80-120

332. A London-decorated footed stand or dish, c.1815-25, possibly Welsh, painted with a spray of pink roses and scattered single blooms within a shaped rim, the oval form raised on four scroll feet, 28.6cm. £50-100

333. A pair of stone china plates, early 19th century, painted with landscapes in puce monochrome, one with a promenading couple before a stately home, the rims with ribbed moulding, 21.3cm. (2) £80-120

334. A Paris porcelain two-handled tureen, 19th century, painted with four silhouette profile portraits within small panels on an elaborate ground of flower garlands and foliate scrolls, blue crossed arrows marks for La Courtille, and a Chamberlain’s Worcester dessert dish painted in the ‘Crazy Cow’ pattern, the tureen’s cover lacking, 25.7cm max. (2) £100-200

335. A Chelsea-Derby two-handled vase, c.1770, painted with circular panels of flowers including pink rose, reserved within narrow gilt bands on a turquoise ground, gilt anchor and D mark, 18cm. £100-150

336. A Derby dessert dish, c.1790, painted with a small spray of flowers within three concentric bands of gilt and blue, a Worcester coffee cup and matched saucer with gilt and blue flower sprays, and a Derby creamboat of Chelsea ewer shape, painted with flowers, the creamer cracked, 24.6cm £60-100 max. (4)

337. A hard paste porcelain campana vase in the manner of Flight, Barr & Barr, painted after Thomas Baxter with a panel of shells within a gilt panel on a pale blue ground, 18cm high. £100-150

329. A Caughley teabowl and saucer with matching teapot stand, c.1780-90, painted in the Chinese export manner with the Target pattern, a colourful roundel within a stylized flower garland, 14.3cm max. (3) £120-180 Provenance: the teabowl with a paper label for the Godden reference collection.

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338. A Russian porcelain Easter egg, late 19th century, Imperial Factory St Petersburg, richly decorated with a sang de boeuf glaze speckled with pale turquoise, with a faded blue suspension ribbon, the egg 9cm. £300-500

339. A Samson porcelain snuff box, late 19th century, after Meissen, well painted to the interior with a portrait of Augustus the Strong, the exterior with courting couples in garden landscapes within puce and gilt £100-150 scrolls, 8.1cm across.

340. A Russian porcelain Easter egg, late 19th century, Imperial Factory St Petersburg, richly decorated with a sang de boeuf glaze, with pale turquoise and purplish-blue striations, with a suspension ribbon, the egg 9cm. £300-500

341. 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. £300-500

342. Five St Cloud forks and two knives, c.1730-40, all with pistol grip hafts variously painted in underglaze blue with foliate scrolls and lambrequin designs, some damages and restorations, 27.7cm max. £100-200 (7)

343. Four St Cloud knife handles, c.1720, the cannon shaped 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) £100-200

344. Two pairs of forks with St Cloud porcelain handles, c.172040, 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) £200-300

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345. An extensive Herend service, 20th century, decorated in the Rothschild Birds pattern with Meissen-style song birds perched in branches, printed marks. Comprising: three serving dishes in three sizes, two oval tureens, ten large plates, 20 standard plates, ten side plates, ten supper dishes, a shaped shallow bowl, ten two-handled cups with ten stands, three egg cups, a small octagonal pot, two s mall leaf dishes, four small rectangular dishes, a coffee pot and cover, a hot water jug and cover, two milk jugs, ten cups and ten saucers. (113) £600-1,000

346. A Meissen part dinner service, 19th/early 20th century, painted in blue with flowering plants, the rim with small scattered sprigs and flying insects, blue crossed swords marks. Comprising: five soup plates and 18 plates. (23) £200-300

347. A Meissen coffee service, modern, painted with small polychrome flower sprays within moulded rococo panels reserved on a rich blue ground. Comprising: a coffee pot and cover, a sugar bowl and cover, a milk jug, six cups and six saucers. (17) £100-200

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348. 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) £100-200

349. A Meissen ornithological cup and saucer, 19th century, painted with brightly coloured birds perched on leafy branches within a gilt ovolu border, blue crossed swords and star mark, 13.5cm. (2) £50-80

350. 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) £100-200

351. A Meissen pot pourri vase, mid 18th century, painted with sprays of deutscheBlumen on a white ground, the shoulder pierced with a row of holes, blue crossed swords mark, and a small Höchst vase painted with a figure in a landscape, gilt crowned wheel mark, 15cm max. (2) £150-250

352. A Meissen leaf-moulded sauceboat, c.1740, moulded as overlapping leaves issuing from a stalk handle, painted with butterflies and other insects, a centipede to the interior, blue crossed swords mark, restored, 21.5cm. £150-250

353. A Meissen botanical tea cup, c.1740, finely painted with a flower spray, the interior with a single tulip bloom, puce scrollwork to the handle, blue crossed swords mark, 4.5cm high. £80-120

354. A pair of Meissen candlesticks, 19th/20th century, the fluted forms with knopped stems rising from wide circular bases, painted in the Onion or Zweibelmuster pattern in underglaze blue, 22.5cm max. (2) £100-200

355. A Loosdrecht white-glazed jug or ewer, c.1771-84, applied with a lion mask beneath leaf swags and a moulded band, with an angular handle, blue and incised MoL marks, 26.5cm. £100-200

356. Two Meissen white-glazed vases, c.1960-70, one cylindrical and moulded with a heavily textured design, the other of generous bottle form with radiating stripes of convex and concave ovals, blue crossed swords marks, 24.8cm max. (2) £250-350

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357. A Meissen tureen and cover for the Turkish market, c.1780-1800, the rounded form painted with radiating stripes of flowers alternating with bold yellow stripes, the cover surmounted with a lemon finial, the interior with further flower sprays, blue crossed swords and star mark for the Marcolini period, a restored crack to the base, 16.3cm dia. (2) £100-200

358. Three Meissen cabinet plates, 19th century, two painted with groups of birds perched on leafy branches, one with a formal blue foliate border, the other with an elaborately moulded rim, the third moulded with a geometric foliate design picked out in gilt on a blue ground, blue crossed swords marks, 28cm max. (3) £200-300

359. 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. £500-800

360. Four German porcelain saucers, mid 18th century, two Meissen and two Vienna, painted in underglaze blue with the Fels und Vogel pattern, and a Tournai plate painted with the Ronda pattern, 23cm max. (5) £100-200

361. Four Meissen custard cups and covers, late 18th/early 19th century, painted with colourful sprays of deutsche Blumen within wide blue bands with a gilt dash design, blue crossed swords and star marks for the Marcolini period, 9.7cm. (8) £200-300

362. Two German porcelain cups and saucers, late 18th/early 19th century, one Meissen and painted with scenes of deer at repose, the other Berlin and painted with bucolic scenes of sheep, and a small German porcelain tea canister with associated cover, finely painted with panels of birds, some faults, 13.2cm max. (6) £200-300

363. A set of six Vienna plates, date codes for 1803, the rims painted with a continuous grapevine border reserved on a pale peach ground within gilt husk bands, blue shield marks, 25cm. (6) £100-200

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364. A pair of Vienna-style cabinet plates and a pair of Sèvresstyle plates, 19th century, the latter painted in the manner of Watteau with scenes of courting couples within deep blue rims, the former with Perseus rescuing Andromeda and with Cupid spraying Venus with water, titled ‘Neckerei’ to the reverse, pseudo factory marks, 24.3cm. (4) £300-500

365. A Vienna-style tankard, 19th century, the cylindrical body painted with a scene from Hero and Leander, the amorous lover spying on the object of his affections from behind a statue, reserved on a panelled ground of gilt foliate scrolls and formal designs on bold colours, with a gilt metal mounted hinged lid, painted to the inside of the cover with Venus and Cupid, pseudo blue shield mark, titled in black beneath the base, 16cm high. £200-300

366. A KPM (Berlin) rectangular plaque, late 19th/early 20th century, of Das Wiener Schokoladenmädchen or La Belle Chocolatière, after Jean-Etienne Liotard, a young girl carrying a tray of drinking chocolate, impressed KPM and sceptre mark, the plaque 19cm x 12.8cm. £250-350

367. A Continental porcelain plaque, 19th/early 20th century, painted with a lady standing on stone steps and feeding a flock of doves at her feet, her dress and shawl highlighted in gilt, signed £100-200 ‘Encle’, framed and glazed, 34.5cm overall.

368. A Meissen part coffee service, 20th century, painted in the Tischchenmuster pattern with indianische Blumen and ornamental fences, blue crossed swords and dot marks. Comprising: a coffee pot and cover, a milk jug, a sucrier and cover, two cups and two saucers. (9) £150-250

369. A pair of Vienna porcelain small pillars, c.1800, of cylindrical form with two small handles, richly decorated to imitate amethyst, raised on square bases, blue shield marks, 7.8cm. (2) £150-250

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370. A pair of Höchst tiered stands, c.1770, the shaped forms with two tiers edged with a ropetwist band, the sides reticulated with an oval design, blue crowned wheel marks, 18cm. (2) £100-200

371. A Bordeaux porcelain inkwell, c.1785, of drum form, the cylindrical sides painted with scenes of figures on horseback and ships in a harbour, and a Meissen white-glazed salt, c.1740, with moulded sides, blue crossed swords mark, 18.8cm max. (2) £100-200

372. A Meissen part ornithological coffee service, 19th/20th century, each piece painted with a European songbird perched on a leafy branch amidst colourful moths and other insects, blue crossed swords marks. Comprising: nine coffee cans and nine saucers. (18) £200-300

373. Four Italian porcelain teabowls and two coffee cups, 2nd half 18th century, one Nove teabowl painted with Chinese figures and a large bird, another with flowers, a Cozzi teabowl painted with buildings, another gilded with flower sprigs, the two Nove coffee cups painted with flowers, some damages, 6.5cm max. (6) £150-200 Provenance: the Watney collection.

374. A Chinese porcelain cup and saucer and a teabowl and saucer, late 18th century, the former of ogee shape and painted with puce flowers, the latter pencilled in black with European flower sprays, a Chinese coffee cup probably decorated in Holland with a bird in flight between lotus sprays, and a Ludwigsburg saucer painted with birds perched on a low branch, some faults, 14cm max. (6) £100-200

375. A number of pieces of porcelain decorated in the Kakiemon palette, 2nd half 18th century, including two Chinese porcelain Dutchdecorated teabowls, a Chinese teabowl painted with carp, a Japanese saucer painted with flowerheads, a Chelsea saucer painted with a tiger and dragon, a large ogee-shaped teabowl painted in the Two Quail pattern, and a Japanese cylindrical box and cover, damages, 14.5cm max. (8) £80-120 Provenance: the Watney collection.

376. A Sèvres custard cup and cover, date code for 1768, painted with small sprays of polychrome flowers on a white ground, interlaced blue LL marks, and two Paris porcelain cylindrical pots and covers, painted in blue with stylized flower sprays, arrows marks for La Courtille, the custard cup’s handle and finial restored, 7.5cm max. (6) £100-200

377. A rare Chinese Batavian European-decorated bowl, Kangxi 1662-1722, the interior painted in blue with flowering plants, the exterior glazed brown with later wheel-engraved decoration in Saxony or Bohemia of birds in flight among plants, two Chinese coffee cups and a teabowl with later London decoration of flowers, possibly by the Giles atelier, a Chinese teabowl painted with a European figure with his dog, and a covered bowl painted with panels of fruit on a raised enamel trellis ground, some damages, 12.8cm max. (7) £150-250 Provenance: the Watney collection.

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378. A large collection of Chinese armorial porcelains, most 18th century, variously decorated with monograms, shields and crests amidst flower sprays, formal bands and gilt borders, some damages. Comprising: an octagonal charger, six plates, a soup plate, a tall mug, 19 saucers, a teapot stand, two jugs, three small bowls, ten teabowls, ten coffee cups and a coffee can. (55) £500-1,000

379. Six Chinese porcelain plates, first half 18th century, painted en grisaille with scenes of ducks and other aquatic birds before mountains, detailed in gilt, the rims with underglaze blue sprays of flowers, and two famille rose soup plates painted with scrolls of flowering peony, small damages, 23cm max. (8) £300-500

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380. Five Paris (La Courtille) armorial plates, c.1785, richly decorated with the arms of Sir Francis Ford MP of Ember Court in Surrey, the arms of Ford impaling Anson-Adams, above the motto ‘Omnium Rerum Vicissitudo’, the rims bearing the family crest of a greyhound muzzled, blue crossed arrow marks, 24.5cm. (5) £200-300 This service was made for the wedding of Sir Francis Ford MP Lord Colville to Mary Anson, daughter of George Anson, formerly Adams on 22nd January 1785.

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381. A Paris porcelain part dessert service, 19th century, painted with small sprigs of purple flowers, the rims with flower garlands between pink stripes, red crowned A marks for rue Thiroux.

Comprising: one shell dish, a pair of square dishes and nine plates.

(12) £150-250

382. A good Sèvres-style tea service, 19th century, painted with portraits of Marie Antoinette and other ladies of the court including Madame Elizabeth, Comtesse de Genlis, Madame Victoire, Madame de Provence and Madame de Lamballe, within red jewelled and gilt panels, and with their monogrammed initials in pink and blue flowers, reserved on a bleu de Roi ground, pseudo interlaced LL marks with letter H, painter’s initials GL. Comprising: a teapot and cover, a sucrier and cover, a milk jug, six cups and six saucers. (17) £2,000-3,000

383. Eight Chinese porcelain custard cups and covers, late 18th century, painted in overglaze blue and gilt with continuous bands of fruiting grapevine, the covers surmounted with fruit finials, some gilt wear, 8.5cm. (16) £150-250

384. A Paris (La Courtille) porcelain part dessert service, 19th century, comprising six plates and two dishes, painted with a cornflower sprig design within a continuous cornflower border, and four slightly later Paris triangular dishes with a similar design, 26cm max. (10) £150-250

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385. A Sèvres cabinet plate, c.1868, finely painted with a gallant approaching a young lady seated on a stone ledge before cast iron gates, with further figures promenading in the background, signed ‘Landry Jeune’, reserved within a dark blue border with raised gilt design, printed S68 mark to the underside, 23cm. £150-250

386. A Samson coffee cup and saucer, late 19th century, painted in black monochrome with a continuous landscape on a rich green ground, within a gilt scroll border, gilt marks inside the footrim, 13.8cm. (2) £80-120

387. A large French soft-paste porcelain plate, late18th/19th century, painted in the Sèvres style with a parrot and other colourful birds on and below a leafy branch, the hexafoil rim with three floral panels reserved on a turquoise ground, interlaced LL mark and inscribed ‘Pergaly Rage, Coucou des Indes’ and ‘Petite peruche a gorge jaune & Amerique’ to the underside, a restored £150-250 section to the rim, 28.2cm.

388. A large Tournai plate or charger, c.1780, painted in underglaze blue in the Ronda pattern with flowering peony and prunus, the rim with four similar sprigs, blue crossed swords and + mark, 30.7cm. £100-200

389. A Sèvres cabinet plate, date code for 1770, painted with an arrangement of gardening, musical and military motifs, the rim with three floral panels reserved on an apple green ground, and an English porcelain plate painted in the Sèvres manner with a central spray of roses within blue oeil de perdrix bands enclosing a wide floral border, 25cm max. (2) £200-300

390. A Chantilly dish, c.1755-60, painted in polychrome enamels with back to back roses, convolvulus and auricula sprays, a single black fly to the cavetto, with an osier moulded rim, blue hunting horn and B mark, 19.2cm. £100-200

391. A small group of Sèvres porcelains, 2nd half 18th century, including two ice cups, a cup and saucer, a deep saucer and a small plate, all painted with small sprays of polychrome flowers, within narrow blue and gilt borders, minor faults, 17.2cm max. (6) £150-250

392. Five Sèvres and Sèvres-style saucers, 18th and 19th centuries, variously painted with flower wreaths and swags within formal and panelled borders, one with two cartouches of putti on a turquoise ground, most with blue interlaced Ls marks, the trembleuse with a painter’s mark for Thévenet, père, some damages, 15.7cm max.

(5) £100-200

393. A Vincennes or early Sèvres cup and saucer, c.1750, of hexafoil form with a simple gilt border, a similar later cup and saucer with a more elaborate gilt rim, a Sèvres coffee can and two saucers with a pattern of scattered blue flowers, and a Spode saucer in the same pattern, some damages, 14.7cm max.

(8) £150-250

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394. Three Chantilly plates, c.1760, two with basket weave moulding to the rims, one painted with Chantilly sprigs, the other with a gillyflower, one a hexagonal saucer dish and painted with a gillyflower, blue hunting horn marks, 24cm max. (3) £200-300

395. A Mennecy pot pourri vase, c.1740, raised on a rocky base and applied with flowers, the shoulder pierced with formal arrangements of holes, a small Mennecy square stand, painted with flower sprays, and a similar Ludwigsburg stand painted with single blooms, some faults, 14cm max. (3) £100-200 Provenance: the Watney collection.

396. 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. £150-250

397. Three Sèvres coffee cans and saucers, date codes for 1775 and 1781, painted with small sprigs of flowering pink roses within berried laurel borders and gilt dentil rims, interlaced LL marks in blue and red, £150-250 painter’s marks including for Choisy, 15.2cm max. (6)

398. A St Cloud trembleuse saucer, c.1755, the rim painted in blue with small floral panels reserved on a hatched diaper ground, the trembleuse with a narrow jagged border, blue sc above T mark, the well drilled and filled, 13cm. £50-80

399. A Saint 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 possibly lacking from the base, 23.5cm. £100-200

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400. A Sèvres or Vincennes sucrier and cover and a matching jug, c.1755, finely painted with garlands of flowers suspended from a wide border of gilt scrolls and diaper panels reserved on a blue ground, the jug raised on three feet, restored, 8cm max. (3) £100-200

401. A Tournai egg cup from the Duc d’Orleans service, c.1787-92, painted with three small panels of moths and other insects reserved on a dark blue band with gilt scrolls, raised on a knopped stem, 8cm. £500-800 This service was made for Philippe duc d’Orléans in 1787 and originally consisted of 1,603 pieces. It was dispersed during the French Revolution, with the largest part of the service now in the Royal Collection at Windsor Castle, including 23 egg cups.

402. A Chantilly quatrefoil tureen base, c.1735, painted in the Kakiemon palette with a large beetle and flowering branches, the rim with four stylized floral motifs, and a Chantilly quatrefoil dish, similarly decorated with flowering plants and small flying insects within a brown line rim, red hunting horn marks, 24.4cm max. (2) £400-600

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403. A Vincennes-style small bowl with cover and stand, probably early 19th century, painted with flower sprays reserved within gilt floral borders on a turquoise ground, and a Sèvres coffee cup painted with an exotic bird perched on a leafy branch, the stand cracked and chipped, 10.2cm max. (4) £100-200

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404. A Berlin (KPM) oval jasperware plaque, 20th century, the oval form applied with nine profile portraits reserved on a sage green ground, possibly the nine children of Frederick William III of Prussia, impressed sceptre mark, incised 134B to the reverse, 20cm. £300-500

405. A French biscuit porcelain figure group, late 18th century, modelled as four children standing with their backs to a central urn and holding the ends of a flower garland, raised on a tall circular base moulded with fabric swags, some damages, the garland largely lacking, 24.5cm. £100-200

407. A pair of Meissen sweetmeat figures, 20th century, modelled as a boy and a girl seated between two baskets raised on low scrolled bases, the inside of the baskets painted with flowers, blue crossed swords marks, some damages, 14.5cm across. (2) £100-200

406. A Sèvres-style bisque porcelain bust of Louise Brongniart, late 19th/20th century, after Jean Antoine Houdon, her head turned to dexter, her hair tied up with a wide ribbon, raised on a fluted circular socle on a square base, inscribed ‘Houdon’ and with a pseudo interlaced LL mark, impressed to the socle ‘Fab. Francaise’, 43cm. £100-150

408. Four small German porcelain figures, 18th century and later, including two Meissen figures of dancing girls, a Meissen figure of a musician holding a bassoon, and a Berlin figure of Leo or August, modelled as a boy standing before a basket of fruit, blue crossed swords and sceptre marks, some damages, 13.5cm max. (4) £100-200

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409. A pair of Meissen figures of children, 19th century, he seated and reading a book, she holding a tatting shuttle, both raised on circular moulded bases, she incised C28, some losses and repairs, 14cm. (2) £150-250

410. A pair of Continental figures of Count Bruhl’s tailor and his wife, 19th century, typically modelled astride goats, the tailor with a basket of kids, his wife with babies, the billy goat holding a flat iron in his mouth, some restorations, 19.5cm high. (2) £100-200

411. A pair of Meissen figures with dogs, 19th century, both seated, she with a small dog on her lap, looking at its reflection in the mirror she holds, he holding the barrel of his gun with a small dog beside him, both raised on circular moulded bases, blue crossed swords marks, incised F50, minor restorations, 15cm. (2) £150-250

412. Two Meissen figures of children, 19th century, one of a boy playing with a cup and ball and wearing a plumed hat, the other of a girl seated on a cushioned stool and holding a watch, a book resting on her lap, both raised on a moulded circular bases, blue crossed swords marks, some minor restoration, 15.5cm max. (2) £100-200

413. A Meissen figure of a child and dog, 19th century, the infant recumbent on a bed and holding the ear of the dog that jumps up at her side, raised on a chamfered rectangular base, blue crossed swords mark, some damages, 22cm across. £300-500

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414. A Meissen figure of a Malabar musician, 19th century, playing a stringed instrument and wearing a blue flowered costume, blue crossed swords mark, the top of his hat broken and restuck, 18.7cm. £100-200

415. Two small Meissen figures, 19th/early 20th century, one of Cupid in Disguise, wearing a frock coat and holding a cucumber, missing one boot, the other of a young girl holding a spade and a small posy of flowers, a little restoration to Cupid, 14.5cm max. (2) £150-250

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416. A Meissen figure of a boy and his dog, mid 18th century, seated on a rocky stump and reaching out his left hand to pet his dog seated beside him, holding a small posy of flowers in his right hand, and elaborately dressed in a large plumed green hat and loose blue coat, the scrolled base with gilt detailing, blue crossed swords mark to the reverse, some good restoration, 17.5cm. £600-800

417. A Meissen figure of Harlequin, mid 18th century, seated on a rocky stump and holding a set of bagpipes under his left arm, his legs crossed at the ankle, wearing a brightly patterned coat and a ruff collar, blue crossed swords mark, a little good restoration, 11.8cm. £500-800

418. A Frankenthal figure of a boy, c.1755, striding out and clutching the strap of a bag slung over his shoulder, wearing a black hat, impressed FK PH to the base, a small amount of good restoration, 14cm. £300-500

419. A Frankenthal figure of a shepherd boy, dated 1777, the young boy wearing a yellow ribbon around his black hat and carrying a lamb under his arm, raised on a low base applied with moss and with gilt scroll details, blue crowned CT monogram and 77 to the base, a chip to the lamb’s right ear, 14cm. £250-350

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420. A Meissen figure of a golden oriole, 19th century, perched on a tree stump with its head turned to the right, its plumage richly decorated in yellow and black, blue crossed swords mark, a few small chips, 25.5cm. £300-500

421. Two large Meissen models of magpies, late 19th/early 20th century, each perched on a tall stump with tail erect and beak agape, blue crossed swords marks, one incised ‘No 62a’, some repairs, 53.5cm. (2) £400-600

422. A large Herend model of a cockerel, modern, standing with his right foot forward, with a plumed tail of red, blue, black and gilt, the base decorated with blue and green scrolls, printed mark, 40.5cm. £250-350

423. A Russian porcelain chicken tureen and cover, 1st half 20th century, modelled as a large white chicken with five yellow chicks nestled in under her wings, printed green factory mark, 26cm across.

(2) £100-200

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424. A large Herend model of an elephant, modern, standing with his trunk raised and curled, his coat typically decorated in a dense orange-red pattern, with gilt highlights, 37.5cm across. £250-350

425. A large Herend model of a rabbit, modern, seated on its haunches with ears pricked, its coat decorated in a red scale pattern, its nose and paws highlighted in gilt, printed mark, 29.5cm high. £100-200

426. A large Herend group of two ducks, modern, brightly enamelled with colourful plumage and gilded beaks, nestled together, with one resting its beak on its companion’s head, printed mark, 40.5cm across. £300-500

427. Two Herend models of elephants, modern, standing, the smaller with his trunk raised, decorated in a typical iron red scale pattern, and a Herend model of a sea lion, his flippers coloured in stripes of red, blue, black and gilt, printed marks, 18.5cm max. (3) £150-250

428. Four Herend figure groups of rabbits, modern, variously modelled with ears pricked or laying flat against their bodies, decorated in a bright orange-red scale design, with gilt highlights, printed marks, 14cm max. (4) £200-300

429. Five small Herend animal groups, modern, including a seated cat, two mice on a circular base, two ducks with necks entwined, a standing chick, and a frog on a lily pad, brightly enamelled with a typical iron red scale design, 11.3cm max. (5) £150-250

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430. A Chelsea candlestick figure, c.1765, of a dog standing over a brace of dead game birds, before flowering bocage on a tall scrolled base, some restoration, 25cm. £150-250

431. A small pair of Derby figures of blue tits, c.1770, each bird perched on a low stump applied with small flowers and leaves, their heads turned and plumage brightly enamelled, some good restoration, 7cm high. (2) £200-300 Cf. Victoria and Albert Museum, Accession No. 414:230-1885 for a similar pair bequeathed by Lady Charlotte Schreiber.

432. A miniature Bow white-glazed figure of a goat, c.1755, recumbent on a low pad base with its head turned back over its body, small losses, 5.2cm across. £150-250

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433. A large Derby figure of Justice, c.1765, standing with her eyes closed, holding a set of scales in her left hand, a sword in her right, raised on a tall scrolled base picked out in green and gilt, a little restoration to the hilt of her sword, 33cm. £300-400

434. A Chelsea figure of a musician, c.1762, playing the flageolet with his left hand and banging on a tabor with his right, wearing a plumed slouchy hat and leaning on a stump applied with flowers and leaves, faint gold anchor mark, some damages, £400-600 27cm.

435. A Bow figure of Air, c.1762, from the Elements series, modelled as a girl holding a robe above her head and standing on clouds beside a large eagle atop of a tall scrolled and reticulated base, red anchor and dagger mark, 26cm. £300-500

436. A large Derby figure of Britannia, c.1760-65, resting one hand on her shield which in turn rests on the head of a lion, wearing a helmet and standing before flowering bocage, small losses, 35.5cm. £400-500

Paper label inscribed ‘Trustees of the RP Collection, No.102’.

437. A pair of Derby candlestick figures of musicians, c.1765, seated beside sconces above flowering bocage, she playing the lute and he the bagpipes, a sheep and dog beside them on pierced scroll bases picked out in gilt and puce enamel, minor restorations, 23.5cm.

(2) £300-400

438. 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) £200-300

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439. A near pair of Bow figures of children, c.1760, the girl seated with a basket of grapes and holding a small posy of flowers in her right hand, the boy standing and holding a length of fruiting grapevine, his right foot resting on a rock, raised on low scrolled bases, 14.5cm max. (2) £400-600

440. A pair of Derby figures of the Dresden Shepherds, c.1756-60, he standing and holding a basket of fruit and a single small fruit, a dog seated by his right foot, his companion with a posy in her left hand, a lamb recumbent at her feet, a few small chips, 22.5cm. (2) £800-1,200

441. A Derby figure group emblematic of Music, c.1775, modelled with a central Classical figure playing a lyre, with two putti beside her, one writing in a book, the other holding a flaming torch, incised No.216 to the base, some losses and repairs, 27.2cm. £250-350 Cf. Peter Bradshaw, Derby Figures, pp.308-309, which illustrates two figure groups of Poetry and Music. This group is also known with the central figure holding a book instead of a lyre.

442. Five Derby figures of putti, c.1760-1800, two modelled on the back of running stags, blowing hunting horns, one holding an open book, two with baskets of flowers, some damages and restoration, 14.5cm max. (5) £150-250

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443. Two small Derby figures, c.1760, one of a young girl holding a basket of flowers and proffering a single bloom with her left hand, the other of a bacchanalian putto, holding a basket of grapes on his head and garlanded with fruiting vine, some damages and restoration, 14.6cm max. (2) £350-500

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444. 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, 23.7cm. (4) £3,000-5,000 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.

Provenance: the Cooper Penrose collection.

445. A pair of Bow figures of Ceres and Neptune, c.1760-65, emblematic of Earth and Water from the Four Elements series, Ceres holding a cornucopia of fruit and standing before a recumbent lion, Neptune with an upturned urn before a dolphin, both raised on tall scrolled bases picked out in turquoise, puce and gilt, red anchor and dagger marks, 24cm. (2) £600-800

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446. Two Worcester blue and white sucriers and covers, c.177080, printed with the Fence pattern, and two Worcester teabowls and a saucer printed in the Three Flowers pattern, hatched crescent marks, 12.5cm max. (7) £100-200

447. Three English porcelain blue and white teabowls and saucers, c.1780, one Caughley and printed with the Temple pattern, another with the Birds in Branches pattern, the last Worcester and printed with the European Landscape Group, later gilding to the £150-250 Temple example, 13.5cm max. (6)

448. A matched Liverpool blue and white trio, c.1770, the fluted forms moulded with flower sprays and painted to the borders with trellis bands and stylized leaf designs, a Lowestoft small bowl moulded with floral panels and painted with small sprigs, and a Tournai teabowl with diaper borders on a narrow reeded ground, some £100-200 damages, 11.7cm max. (5)

449. Three small Worcester blue and white bowls, c.1760-70, one painted with the Mansfield pattern, another in the Cannonball pattern, the last with the Peony pattern, open crescent marks, and a Liverpool blue and white slop bowl, painted with simple flower sprays, some faults, 15.5cm max. (4) £150-250

450. Two Liverpool blue and white pickle dishes, c.1765-75, one Philip Christian, of leaf shape and painted with three small flower sprays, the other Pennington’s, of deep scallop shell shape and printed with a large rose spray within a blue dash rim, raised on three peg feet, 11.7cm max. (2) £150-250

451. Three English porcelain blue and white teabowls, c.1765-75, one Lowestoft and painted with shaped blue scale panels alternating with flower sprigs, a small Worcester teabowl in the same pattern, the third probably Isleworth and printed with a version of the Fence pattern, and a Lowestoft saucer printed with a pagoda landscape, £100-200 some faults, 12.8cm max. (4)

The Pennington shell with a paper label for the Watney Collection.

452. Two large English porcelain blue and white sauceboats, c.1770, the larger Derby and printed with Chinese fisherman in landscape vignettes reserved on a pineapple-moulded ground within cell diaper borders, the other Bow and painted with peony branches within floral moulded panels, minor faults, 24.5cm max. (2) £250-350

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453. A small Worcester blue and white mug, c.1765, painted with the Cracked Ice Ground pattern, open crescent mark, and a larger Caughley mug printed with the Bell Toy pattern, some damages, £150-250 10.4cm max. (2)

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454. A Derby blue and white sauce tureen and cover, c.1765, the quatre-lobed form painted with birds in flight around Chinese buildings, the cover surmounted with a peach finial and applied leaves, some restoration, 15cm. (2) £100-200

455. A large Worcester blue and white sauceboat, c.1775, painted in the Strap Flute Sauceboat Floral pattern with sprays of flowers beneath a cell diaper border, a further spray to the interior, open crescent mark, £100-150 small faults, 19.5cm across.

456. A Lowestoft blue and white milk jug, c.1770, painted with flowering trees beside holey rockwork, the interior rim with a triple trellis band, and a Lowestoft saucer painted with a hut in an island landscape, small faults, 12cm max. (2) £150-250

457. A large Worcester blue and white junket dish, c.1770, printed with the Pinecone pattern, the cavetto with three fruit vignettes within moulded scallop shells, hatched crescent mark, and a Worcester mask jug printed with flower sprays, a little chipping to the spout, 24.7cm max. (2) £150-250

458. A rare Worcester blue and white octagonal dish, c.1754-55, the elongated form painted with the Two-Level Fence and Rock pattern, with twisted flowering branches issuing from holey rockwork and a zig-zag fence, the underside with simple leaf sprigs, workman’s mark, broken and restuck, 31.8cm. £100-200

459. A Worcester blue and white coffee pot and cover, c.1770-80, and a saucer dish, printed with the Fisherman and Cormorant pattern within cell diaper borders, hatched crescent and disguised numeral marks, and a Caughley sucrier and cover in the same pattern, some damages, 20.5cm max. (5) £150-250

Provenance: the John Pinnick Collection.

Cf. Branyan, French and Sandon, Blue and White Worcester Porcelain 1751-1790, No. I.D.27.

460. A large Caughley blue and white cabbage leaf jug, c.1780, printed with flower sprays, and a small Worcester circular basket, printed with the Pinecone pattern, hatched C and crescent marks, the jug’s handle restored, 22.5cm max. (2) £100-200

461. A Bow knife and fork, c.1755, the pistol grip hafts painted in underglaze blue with shell scrolls and foliate tendrils, and a metal two-pronged fork, 28.5cm max. (3) £80-120

The saucer dish with paper labels for the Godden Reference Collection.

462. A Worcester blue and white potted meat tub, c.1760, painted with the Mansfield pattern, the border to the interior rim, and a Worcester cabbage leaf jug printed with the Gillyflower pattern, crescent marks, small faults, 18.3cm max. (2) £150-250

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463. A Bow blue and white footed sauceboat, c.1750-52, painted with large peony sprays issuing from rockwork, the interior rim with a scroll border, raised on three paw feet issuing from lion masks, moulded with a shell motif where the handle joins the body, 21.2cm. £250-350

465. A New Hall blue and white teabowl and saucer, c.1790-95, printed with chinoiserie scenes of children in garden settings within a continuous floral border, 13cm. (2) £100-200 Cf. Geoffrey Godden, English Blue and White Porcelain, p.375 for a slop bowl in the same design.

467. A rare Worcester blue and white milk jug, c.1775, printed with the Ribbon Root pattern, echoing the earlier flowering prints, the rim with a cell diaper border, hatched crescent mark, 11cm high. £200-300

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464. A good Worcester blue and white teapot and cover, c.175558, finely moulded with vertical ribs and painted around the neck and edge of the cover with a continuous floral band, a further flower spray to the spout, workman’s mark, 18.8cm across. (2) £300-400 Provenance: The Zorensky Collection, Y.602, and the Godden Reference Collection.

466. A Worcester blue and white bowl, c.1760, painted with the Dragon pattern, the sinuous beast chasing a flaming pearl into the bowl’s interior, his tail draped over the edge, crescent mark, 18cm dia. £150-250

468. A rare Worcester blue and white tea canister and cover, c.178090, the fluted form painted with the Caughley Temple pattern, a continuous landscape of figures before pagodas and pine trees, 17cm. (2) £200-300 This was a very deliberate copy of the Temple pattern printed on Caughley wares of the same period, and different to Worcester’s own printed Temple pattern. The painter has gone so far as to copy the straight lines of the rival factory’s printed design.

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

469. A good Worcester blue and white coffee cup and saucer, c.1760, of generous size, crisply moulded with a continuous floral design between trellis borders and a formal leaf scroll band, open crescent marks, 13.7cm. (2) £100-200

470. A Worcester blue and white egg strainer, c.1780, the circular form printed with the Bat pattern and pierced with small holes, a small scroll handle to one side, £80-120 disguised numeral mark, 10cm.

471. A Worcester blue and white mask jug, c.1765-70, printed with the Natural Sprays Group, with small scattered moths in flight about, hatched crescent mark, and a Caughley milk jug painted in the Rock Strata Island pattern, C mark, 18.8cm max. (2) £100-150 Old paper collection labels dating their acquisition to 1972.

472. A Philip Christian (Liverpool) blue and white moulded creamboat, c.1770, printed with a fence beneath willow and large peony blooms, the interior with further sprays of Oriental flowers, 12cm across. £100-150

473. A Worcester blue and white spoon tray, c.1765-70, the elongated hexagonal shape printed with the Fence pattern, hatched crescent mark, 15.8cm. £100-200

474. Two James Pennington (Liverpool) blue and white sauceboats, c.1770, the smaller strap-moulded and painted with pagoda landscapes, the other with simple floral designs within rococo panels, 18.8cm max. (2) £200-300 The larger with paper labels for the Watney Collection and the Nicholas Panes Collection.

475. A Derby blue and white sauce tureen and cover, c.1765, the quatre-lobed form painted with birds in flight around Chinese buildings, the cover surmounted with a peach finial and applied leaves, and a Derby plate gilded with small flower sprigs within a basketweave moulded border, puce crowned crossed batons and D mark, 24.5cm max. (3) £100-200

476. A Caughley tea canister and cover, c.1785-90, of fluted ovoid form, gilded with small flower sprigs and an overlapping oval border, and a Worcester blue and white tea canister printed with the Fruit Sprays pattern, hatched crescent mark, the cover cracked, 12.2cm max. (4) £100-200

477. Two English porcelain blue and white sauceboats, c.1770-80, one Pennington’s (Liverpool) and painted with Chinese landscape vignettes within moulded scroll panels, the other Caughley and printed with pagoda landscapes, restoration to the former, 17cm. (2) £150-250

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478. A Worcester blue and white teabowl and saucer, c.1770, painted with the Bird in a Ring pattern, open crescent marks, and a Derby teabowl and saucer, painted in purple monochrome with flowering plants and a banded hedge, with gilt highlights, 12.5cm max. (4) £200-300

479. A Worcester coffee cup, c.1755, painted in polychrome enamels with the Honeysuckle or Hibiscus pattern, a Warmstry-fluted teabowl painted with small flower sprays, a similarly decorated plate, and a saucer dish painted with flowers in dry blue within a gilt dentil rim, some damages, 19.7cm max. (4) £200-300 The coffee cup with a paper label for the Watney Collection.

480. Three Worcester plates, c.1770-75, of varying size, printed in black with scenes of figures before ruined archways and other Classical architecture, the shaped or scalloped rims with flower sprays, some wear and damages, 22.7cm max. (3) £100-200

481. A Worcester footed sauceboat, c.1754, printed in black with a pheasant and a squirrel within elaborate frames with flowers around, also within moulded panels, the interior with Les Amusements Champêtres, designed by Boitard from a Watteau painting, a small £100-200 restored rim section, 19cm across.

Provenance: Grant-Davidson Collection, Sotheby’s, 23rd September 1999, lot 840.

Cf. Cyril Cook, The Life and Works of Robert Hancock, items 4 and 103.

482. A pair of Worcester yellow-ground baskets, c.1770, the interiors boldly painted with polychrome flower sprays, with further blooms to the pierced sides the exterior applied with pink flowerheads reserved on a yellow ground, the twig handles issuing from applied flowers, some restoration to the handles, 17.5cm. (2) £200-300

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483. Three Worcester tea cups and a saucer, c.1770, painted with sprays of spotted fruit amidst scattered insects, reserved within shaped apple green borders, blue crossed swords and 9 marks, 13cm. (4) £150-200 Paper labels for the Sir Jeremy Lever Collection, the Kneller Collection (saucer only), the Anthony and Frances Packman collection, and for Albert Amor (John G Perkins).

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

484. 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) £200-300

485. 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) £300-500

486. A rare pair of small Bow flower vases, c.1760, the vases moulded with scrolled panels and small masks, painted with small flower sprays and highlighted in puce and turquoise, from the necks issuing tall floral arrangements with long green leaves, a little chipping and restoration, 17.3cm high. (2) £300-400

487. 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) £200-300

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488. A Worcester coffee cup and saucer, c.1770-80, the fluted forms painted with formal flower sprays in polychrome enamels within a gilt scroll border on a blue band, open crescent marks, 14cm. (2) £100-200

489. A Worcester butter tub and cover, c.1770, finely painted with polychrome flower garlands within gilt scroll panels on a dark blue ground, open crescent mark, 12.5cm. (2) £150-250

490. A Liverpool porcelain slop bowl, c.1770-80, pencilled in black with flowering Oriental plants beside a zigzag fence, highlighted in gilt, 12.3cm dia. £100-200

Exhibited: Baltimore Museum of Art, March 1964.

491. A Worcester sucrier and cover, c.1765, painted with panels of Oriental flowers and banded hedges in the Kakiemon palette, reserved within shaped gilt scroll cartouches on a blue scale ground, square seal marks, 11.7cm dia. (2) £150-200

492. A good Worcester hexagonal creamboat, c.1755, moulded with scroll panels and a large geranium leaf to the underside of the spout, finely painted with sprays of flowers including a sprig of honeysuckle to the inside rim, 10.6cm across. £200-300 Exhibited: Northern Exhibition, Leeds 1974.

494. A Worcester butter tub and cover, c.1770, the cylindrical form painted with polychrome flower garlands within elaborate gilt scroll panels on a deep blue ground, open crescent mark, some restoration, 12.3cm across. (2) £100-200

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Ceramic

493. A Derby teapot and cover, c.1760, painted with sprays of flowers in polychrome enamels, the cover probably associated, 19cm across. (2) £100-200

Society

495. A Worcester teapot and cover, c.1770, the globular body painted in polychrome enamels with colourful flower sprays beneath a red crowsfoot border, a little chipping to the spout and finial, 18.5cm.

(2) £100-200

496. A Worcester slop bowl, c.1770, finely painted with exotic birds and brightly coloured moths reserved within scrolled gilt panels on a blue scale ground, the interior with further insects, square seal mark, 16cm dia. £150-200

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

497. A Worcester cornucopia wall pocket, c.1770-75, the spiral moulded body of traditional form, decorated in green and gilt with sprays of auricula and other flowers, the top with an elaborate scroll moulded band, 27.8cm. £250-350

498. A Chelsea-style goat and bee jug, 19th century, possibly Derby, the jug supported on the backs of two recumbent goats, the handle formed as an oak branch, incised triangle mark, small damages, 11cm high. £100-150

499. A small Worcester mug, c.1770, the cylindrical form painted with polychrome flower garlands suspended from gilt foliate sprays and a scroll border reserved on rich blue bands, open crescent mark, 9cm high. £100-200

501. A Chelsea-Derby teapot and cover, c.1770-75, finely painted with small sprays of European flowers amid scattered sprigs on a white ground beneath gilt dentil rims, gilt D and anchor mark, 21.3cm across. (2) £100-200

502. A Bow octagonal plate, c.1755, painted in the Kakiemon palette with the Two Quail pattern, the birds beneath tall flowering branches, the rim with a continuous floral border in iron red and gilt, a few small rim £150-250 chips, 22.8cm.

504. A Worcester sauce tureen with cover and stand, c.1770, painted with sprays of spotted fruit and flowers reserved on an apple green ground, some damages, the stand probably associated, 19.3cm. (3) £100-200

505. A Bow coffee cup, c.1755, applied with sprigs of flowering prunus and painted with small flower sprays in Kakiemon enamels, with a Chinese blanc de Chine flared beaker and a miniature bottle vase, applied with similar sprays of prunus blossom, some damages, 7cm max. (3) £150-250

Cf: Bonhams, The Zorensky Collection of Worcester Porcelain Part II, 23rd February 2005, lot 118.

500. A good Worcester scallop-edged plate, c.1770, painted in the manner of Fidelle Duvivier with two brightly-coloured birds beneath a leafy tree, another in flight above, within a gilt dentil rim, 21cm. £150-250 This manner of bird painting has long been attributed to the Mons Soqui painter, but recent comparisons have been made to the painting of Fidelle Duvivier.

503. A small Derby flower vase, c.1760, painted with birds perched on a gate, the reverse with a flower spray, applied with large colourful blooms, and a Bow cream jug painted with a bird beneath a pine tree, damages and old repairs, 14.7cm max. (2) £100-200 Provenance: the Watney collection.

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506. A garniture of three Derby pot pourri vases and covers, c.1770, painted in the manner of Richard Askew with puce monochrome scenes of putti at play, within applied rococo scrolls in turquoise and gilt, and large applied flowers in white, the necks and covers pierced with arrangements of small holes, minor damages, 30.5cm. (6) £300-500

507. A matched pair of Derby frill vases and covers, c.1765, finely painted with moths and other flying insects amidst applied flowers and leaves, applied to two sides with masks issuing from further flowers, the shoulders pierced with geometric arrangements of small holes, the domed covers with bird finials, some faults and restoration, 29.5cm. (4) £300-500

508. A good Worcester chestnut basket with cover and stand, c.1770, unusually decorated to the interior and stand with panels of polychrome flowers within shaped gilt cartouches on a blue scale ground, the basket’s exterior moulded with flowerheads in a honeycomb design, the crabstock handles issuing from applied flowers and leaves, square seal marks, 28cm. (3) £1,500-2,000 Cf. Bonhams, The Zorensky Collection of Worcester Porcelain Part III, 22nd February 2006, lot 135 for a similar basket.

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509. A rare Longton Hall leaf dish, c.1755, well painted with floral arrangements and small scattered sprigs within a turquoise, puce and orange border, and an early Worcester sauceboat, c.1753-55, moulded with panels containing a Long Eliza figure and a figure crossing a bridge, in polychrome enamels, damages and repairs, 19.7cm max. (2) £150-250 Provenance: the Watney collection.

510. Five English porcelain cups, 2nd half 18th century, a rare Philip Christian (Liverpool) armorial coffee can printed in black with the arms of Grossett quartering Tyldesley, with polychrome painted flower sprays beside, a Chelsea custard cup painted with panels of musicians on a blue ground, a Chelsea two-handled cup painted with floral panels. a Worcester coffee cup with Kakiemon floral panels and a Worcester tea cup with panels of birds on a blue scale ground, damages, 6.5cm max. (5) £100-200 Provenance: the Watney collection.

Illustrated: Bernard M Watney, Liverpool Porcelain, fig.190 for the armorial coffee can.

511. A pair of Chelsea butter coolers, c.1755-60, of oval form with coopered moulding, pierced to the sides and base with rows of small circular holes and painted with small flower sprays, each raised on four paw feet, 13.5cm across. (2) £300-500 Butter coolers were designed to allow condensation to drain from the butter, which formed owing to the change in temperature when it was brought into the dining room from the scullery.

512. A pair of Chelsea tripod stands, c.1760, a bunch of grapes hung between each scrolling foot, the top of which terminates in a shell above the flat surface, the moulding detailed in green, puce and gilt, and a larger figure stand of scrolled square form, painted with panels of birds, 8cm max. (3) £400-600 Provenance: the Watney collection.

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513. A rare Worcester flared teabowl and saucer, c.1775-80, painted in the Kakiemon palette with the Two Quail pattern, the bird beneath flowering Oriental plants, within iron red and gilt borders, gold open crescent marks, 12.5cm. (2) £300-500 Although an original Japanese design, Worcester appears to have taken inspiration for these pieces from the rival Bow factory who also used this flared shape.

515. A Bow circular basket, c.1758-60, painted to the interior with bold flower sprays in polychrome enamels, the exterior moulded to the pierced sides with small blue flowerheads, restored, 16.5cm dia. £100-200

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514. A Chelsea circular basket, c.1756, finely painted to the well with fruit including a cut nectarine, a hazelnut, cherries and a plum scattered around, the exterior with basketweave moulding and pierced to the rim, with two crabstock handles issuing from applied blossom, red anchor mark, 19.4cm. £400-600

516. A good Derby circular basket, c.1758-60, painted to the interior base with fishermen hauling in a catch at the water’s edge beside buildings, the interior walls with flower sprays in the Cotton Stem manner, the moulded exterior applied with small yellow flowerheads at the intersections, one handle well restored, 19.5cm dia. £800-1,200 Exhibited: English Ceramic Circle, 50th Anniversary Exhibition, 1977, No. 140.

Provenance: the Zorka Hodgson Collection.

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517. A rare Derby harvest jug, c.1758-60, painted with summer flowers and ripe ears of corn, the reverse with a single narcissus and a spray of blue flowers, 18.4cm. £400-600 Exhibited: Klaber & Klaber, 75 Jugs Exhibition, 1993. Paper exhibition label.

518. An early Worcester quatrefoil vase, c.1753-55, the lobed baluster shape painted with a floral arrangement to one side amidst scattered leaves and other flower sprigs, applied with shaped handles £400-600 either side of the neck, cracked, 16.7cm.

Paper label for The Amos Collection, W25.

Cf. Simon Spero, Lund’s Bristol and Early Worcester Porcelain 175058, p.222 for the shape, which was loosely derived from Chinese porcelain.

519. A rare Worcester leaf pickle dish, c.1753-54, the simple leaf shape decorated in famille vert enamels with a flowering branch to the well, and similar trailing branches to the inside rim, the underside lightly moulded with veining, a minute rim nick, 9.7cm. £500-800 Cf. H Rissik Marshall, pl.45, no. 931 for a near identical example.

END OF SALE

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FINE SILVER & OBJECTS OF VERTU

Tuesday 24th & Wednesday 25th April 2018

A selection of 18th century Battersea enamel wine labels.

From a private collection.

Estimates from: £800 - £1,500

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

A Belle Époque diamond fob watch by Cartier.

Estimate: £10,000 - £20,000

ENQUIRIES Charlotte Glyde | Tel:+44 (0)1722 424586 | cg@woolleyandwallis.co.uk

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MEDALS & COINS, ARMS & ARMOUR Thursday 3rd May 2018

A presentation walking cane made from the timber of the Confederate Ironclad Ram ‘Virginia’ (also known as ‘Merrimack’), the famous vessel that fought the Union ship ‘Monitor’ in the seminal naval Battle of Hampton Roads during the American Civil War. Estimate: £3,000 - £5,000

ENQUIRIES Ned Cowell | Tel: +44 (0)1722 341469 | nc@woolleyandwallis.co.uk

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JAPANESE WORKS OF ART Wednesday 23rd May 2018

A Japanese Kakiemon incense burner and cover, circa 1670, 11cm.

Estimate: £3,000 - £4,000

ENQUIRIES Alexandra Aguilar Doméracki | Tel: +44 (0) 1722 424583 | aad@woolleyandwallis.co.uk

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MODERN BRITISH & 20TH CENTURY ART Wednesday 6th June 2018

Duncan Grant (1885-1978) Flower and pink shawl on a chair Signed and dated 25, oil on panel, 53 x 37cm Estimate: £8,000 - £12,000

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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ARTS & CRAFTS

Wednesday 20th June 2018 Closing date for entries, 27th April

Toby a rare Martin Brothers stoneware jar and cover by Robert Wallace Martin, 13cm high.

Estimate: £12,000 - £18,000

ENQUIRIES Michael Jeffery | Tel: +44 (0)1722 424505 | mj@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 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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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.

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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.

DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO OLD SARUM Woolley & Wallis Salisbury Salerooms 51 – 61 Castle Street SP1 3SU

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Woolley & Wallis Unit 1B Castle Gate Business Park Old Sarum Salisbury SP4 6QX

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FREE AUCTION VALUATIONS Free verbal valuations of items for sale are available at our Castle Street salerooms.

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

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

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WOO L LE Y & WA L LI S

Absentee Bid Form English & European Ceramics & Glass

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

Brief Decription

Price Excluding buyer’s premium & VAT

Wednesday 2nd May 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.

ID is required for all first time bidders.

Signature

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

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Auction Calendar SILVER 24th & 25th April 2018 – Fine Silver & Objects of Vertu 17th & 18th July 2018 – 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 19th July 2018 – Jewellery & Watches Marielle Whiting +44 (0) 1722 424595 • mw@woolleyandwallis.co.uk Jonathan Edwards (Consultant) +44 (0) 1722 424504 • je@woolleyandwallis.co.uk Charlotte Glyde +44 (0) 1722 424586 • cg@woolleyandwallis.co.uk ENGLISH & EUROPEAN CERAMICS & GLASS 2nd May 2018 – English & European Ceramics & Glass Clare Durham +44 (0) 1722 424507 • cd@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 Freya Yuan-Richards +44 (0)1722 424589 fyr@woolleyandwallis.co.uk Alex Aguilar Doméracki +44 (0) 1722 424583 • aad@woolleyandwallis.co.uk PAINTINGS 6th June 2018 – Modern British & 20th Century Art Victor Fauvelle +44 (0) 1722 424503 • vf@woolleyandwallis.co.uk Jo Butler +44 (0) 1722 424592 • jb@woolleyandwallis.co.uk 20TH CENTURY DESIGN 20th June 2018 – Arts & Crafts Michael Jeffery +44 (0) 1722 424505 • mj@woolleyandwallis.co.uk FURNITURE, WORKS OF ART & CLOCKS 4th July 2018 Mark Yuan-Richards +44 (0) 1722 411854 • myr@woolleyandwallis.co.uk TRIBAL ART & ANTIQUITIES 19th September 2018 Will Hobbs +44 (0) 1722 339752 • wh@woolleyandwallis.co.uk

www.woolleyandwallis.co.uk