Woolley & Wallis Auctioneers

FINE POTTERY & PORCELAIN WEDNESDAY 21ST FEBRUARY 2024

SPECIALIST DEPARTMENTS Please dial +44 (0)1722 followed by the number listed below BRITISH AND CONTINENTAL CERAMICS & GLASS

VALUATIONS FOR INSURANCE & PROBATE

Clare Durham Hollie Morrison

Jeremy Lamond MRICS FRSA Neil Grenyer Amanda Lawrence Hannah Farthing (Trainee Valuer)

424507 446964

20TH CENTURY DESIGN Michael Jeffery Zoe Smith

424505 446955

AFRICAN & OCEANIC ART ANTIQUITIES Will Hobbs Georgina Way

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424506 424583 424589 +44 (0)7812 601098 424571 424591

CHINESE PAINTINGS & CALLIGRAPHY Freya Yuan­Richards Michelle Yu

424589 424571

FURNITURE, WORKS OF ART & CLOCKS Mark Yuan­Richards Neil Grenyer Jim Gale Sarah Stone Victoria Elwell

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JAPANESE ART Alexandra Aguilar

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JEWELLERY Marielle Whiting FGA Jonathan Edwards FGAA (Consultant) Samuel Hug FGA DGA Megan Corbett Beth Reardon

GENERAL OFFICE Ruth Pike (Office Manager) Lynda Cummins Gemma Pointer Nicola Young

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Sally Litherland

MARKETING Chloe Davie

ACCOUNTS Sharon Ringwood Ania Antkowiak

BOARD OF DIRECTORS John Axford MRICS Chairman Natalie Milsted FCCA Managing Director

ASSOCIATE DIRECTORS Alexandra Aguilar Ed Beer Clare Durham Victor Fauvelle Will Hobbs Samuel Hug FGA DGA Michael Jeffery Jeremy Lamond MRICS FRSA Rupert Slingsby Marielle Whiting FGA Freya Yuan­Richards Mark Yuan­Richards

MEDALS & COINS, ARMS & ARMOUR Ned Cowell Georgina Way

341469 446980

SILVER Rupert Slingsby Lucy Chalmers Archie Swann

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PAINTINGS Victor Fauvelle Ed Beer Sarah Bennie

424500

CASTLE GATE RECEPTION

ASIAN ART John Axford MRICS Alexandra Aguilar Freya Yuan­Richards Jeremy Morgan Michelle Yu Nelson Chui

424502 446974 424509

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CBP006075

446951

FINE POTTERY & PORCELAIN WEDNESDAY 21ST FEBRUARY 2024 10.00AM AT OUR CITY CENTRE SALEROOMS, SP1 3SU Clare Durham 01722 424507 cd@woolleyandwallis.co.uk

VIEWING WILL TAKE PLACE AT OUR OLD SARUM GALLERIES Saturday 17th February Monday 19th February Tuesday 20th February Wednesday 21st February

10.00am – 1.00pm 10.00am – 4.00pm 9.00am – 4.00pm 9.00am – 11.00am by appointment only

Hollie Morrison 01722 446964 hm@woolleyandwallis.co.uk

DIRECTIONS TO THE OLD SARUM GALLERIES

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THE VIEWING OF THIS SALE WILL TAKE PLACE AT OUR OLD SARUM GALLERIES Unit 1B, Castle Gate Business Park Old Sarum, Salisbury, SP4 6QX Client Parking Available Saturday 17th February Monday 19th February Tuesday 20th February Wednesday 21st February

10.00am – 1.00pm 10.00am – 4.00pm 9.00am – 4.00pm 9.00am – 11.00am by appointment only

THE AUCTION ON 21ST FEBRUARY WILL TAKE PLACE AT OUR CITY CENTRE SALEROOMS 51­61 Castle Street, Salisbury, SP1 3SU

BUYER’S PREMIUM Each lot is subject to a Buyer’s Premium of 26% plus VAT 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 BY APPOINTMENT Collection is from our warehouse, Unit 1B, Castle Gate Business Park, Old Sarum, Salisbury, SP4 6QX. Please instruct carriers accordingly and note, the warehouse is closed over weekends. Please call 01722 446950 or 01722 424500 prior to collection to ensure the items are ready All accounts to be settled prior to collection EXPORT AND CITES LICENCES Some lots will require export or CITES licences in order to leave the UK or Europe, please refer to the department for guidance.

LIVE ONLINE BIDDING – FREE OF CHARGE

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ILLUSTRATIONS Front cover: Lots 816, 814, 818 & 817 Back cover: Lot 543 Catalogue £10.00 (£15.00 by post)

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POTTERY

501 A pair of delftware chargers, c.1730­40, probably Bristol, each painted in polychrome enamels with a long­tailed bird perched on foliage beneath a flying insect and beside a tall flowering plant, the rim with stylised floral panels on a trellis ground, 33cm. (2) £1,000­1,500

502 A pair of large Savona maiolica armorial chargers, 18th century, painted in blue with a double armorial of two crested shields within a crowned foliate cartouche, the wide rim with landscape vignettes and flower sprays, the undersides with beacon light marks for the Levantino family of Albissola, 38.6cm. (2) £500­700

503 A near pair of London delftware chargers, c.1740, William Griffith, decorated with a rare design of a stylised pavilion on a bridge amongst sponged manganese foliage, within a border of interlocking circles in red, yellow and manganese, the rims with six formal flower sprays, a few restored rim chips to one, 34.5cm max. (2) £500­800 Paper labels for Jonathan Horne Antiques Ltd. Cf. Michael Archer, Delftware, p.133, nos. B31 and B32 for a similar design.

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

504 A large Delft lobed dish, c.1700, painted in blue and yellow with a Chinese figure kneeling in a garden, the wide rim with four further figures amid rocky outcrops, raised on a low circular foot, some faults, 34.5cm. £200­300

505 A Delft lobed dish or charger, c.1700, painted in blue, yellow and green with a running dog with pricked ears, the rim with a band of flowers including tulip and carnation, raised on a low circular foot, some chipping to the foot, 34.5cm. £400­600

506 A Delft marriage plate, dated 1690, painted in blue with two winged griffins flanking a cartouche inscribed with the letter E over ‘R C’ and ‘1690’, the bottom of the cartouche with fringed tassels, a faint 6cm rim crack, 22cm. £300­500

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507 An early Delft charger, mid 17th century, probably Haarlem, painted in red, yellow and green with vignettes of cherubs or putti in flight, reserved on a dense foliate ground, the rim with a border of red dashes on yellow, HDK monogram mark, a rim section broken out and restuck, 34.3cm. £200­300

508 A large delftware charger, c.1700, possibly Bristol, painted in blue and yellow with a Chinese figure and a prancing kylin beneath a tree in an extensive island landscape, with an everted rim, broken and restuck, 34cm. £300­500 The design on this dish is almost certainly a direct copy of an original Chinese Transitional design.

509 A Bristol delftware charger, c.1710­30, painted in red, green and blue with a bird in a central roundel on a ground of dense foliate sprigs, the rim with eight panels of the same ground, the underside with a star and dash border and painted numeral 2 mark, 32.2cm. £300­500 Paper label for Jonathan Horne Antiques Ltd.

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

510 A delftware blue dash tulip charger, c.1690­1700, probably Bristol or Brislington, painted in blue, green, yellow and ochre with a bold design of tulips, carnations and other flowers, within a blue dash rim, raised on a low foot, the underside decorated in a pale lead glaze, a riveted crack, 34cm. £800­1,200 Paper label for Jonathan Horne Antiques Ltd.

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511 A rare small delftware dish, c.1695, London or Bristol, painted in blue and ochre with a bird perched beneath a sponged tree, the rim with a blue dash border, the underside decorated in a £500­800 buff lead glaze, restored, 22.3cm.

Paper label for Jonathan Horne Antiques Ltd.

512 A London delftware charger, c.1660­80, painted in blue, green, manganese, yellow and red with a five­pointed star centring a geometric foliate motif, the rim with five formal floral vignettes, the underside decorated with a bluish buff lead glaze, broken and restuck, 31.4cm. £600­800

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

513 A pair of Bristol delftware plates, c.1760, painted in blue, manganese and yellow with a peacock seated on holey rockwork before flowering plants, the rims with further floral vignettes, some good restoration to the rims, 22cm. (2) £100­200

514 Two London delftware plates, 1720­40, one painted in manganese with two grazing rabbits flanking a tree, the other in blue with a peasant family walking beneath tall sponged trees, a church with a spire visible beyond, some damages, 23cm max. (2) £300­500

515 A pair of large Delft chargers, 18th century, the wells raised or embossed and each decorated with a large flowerhead, within four repeated flowering branches, the rims with floral panels reserved on a trellis band, 35.4cm. (2) £400­600

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516 A Bristol delftware charger, c.1740, brightly painted in red, yellow, blue and green with a peacock perched on rockwork beside a flowering plant and flying insects, the rim with six floral panels reserved on a red trellis ground, the underside with a blue star and dash border, 33.2cm. £300­500 Paper label for Jonathan Horne Antiques Ltd.

517 A London delftware dish or shallow bowl, c.1720­30, painted in red and blue with a central simple floret within a further flowerhead design, the rim with a continuous scrolling foliate border, some surface scratching and rim chipping, 29.7cm. £500­700

518 A Bristol delftware charger, c.1730, painted in blue, manganese, green, yellow and red with a Chinese figure punting a sampan in an island landscape, the foreground with leafy bamboo, a little rim nibbling, 32.5cm. £300­500 Paper label for Jonathan Horne Antiques Ltd.

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

519 A rare delftware shipping plate, early 18th century, probably Bristol, painted in blue with a three masted ship at sail, within concentric narrow bands, attributed to Edward Ward Snr., broken and very cleanly restuck, 22.3cm. £800­1,200 Provenance: with Jonathan Horne Antiques Ltd. Formerly the Lipski Collection, sold Sotheby’s, 1st March 1983, lot 407.

521 A delftware octagonal plate, c.1740­60, painted in blue with a bewigged putto or Cupid holding a flower spray among other flowering plants, the rim with a formal foliate scroll and trellis border, 22cm. £150­200

520 A rare Bristol delftware plate, c.1740, the well painted in blue with a shaped panel of ships at sail beneath a sponged tree with buildings on islands behind, 22cm. £800­1,200 Paper label for Jonathan Horne Antiques Ltd.

522 A large delftware charger, c.1760, probably Dublin, painted in blue with a pagoda beside rockwork, pine trees and bamboo in an island landscape, the rim with three plant motifs, numeral 7 mark to the £150­250 underside, 41cm.

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523 A large Portuguese faïence charger, 17th century, Lisbon, painted in blue and manganese, the well with stylised flying insects within concentric circles, the rim with a wide band of fruit and leaf motifs, broken and restuck, 40cm. £1,000­1,500

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

524 A Portuguese faïence charger, late 17th century, painted in blue and manganese with a European gentleman seated on a tripod stool and holding a basket of flowers, the cavetto with concentric circles, the rim with a border of stylised flowerheads, broken and restuck, 35.5cm. £800­1,200 Cf. Oriental Influence on 17th Century Portuguese Ceramics, no.105 for a similar dish.

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525 A Continental faïence tazza or saucer dish, c.1690, probably Frankfurt or Hanau, painted in blue with a seated Chinese figure before plantain and rockwork, raised on a low circular foot, the underside with blue dashes, some chipping, 19cm. £150­250

526 A Vauxhall delftware bottle, c.1750, attributed to Jonathan and Mary Chilwell, painted with shaped panels of Oriental plants and rockwork reserved on a powdered blue ground, the tapering neck with an everted rim, blurred numeral mark to the base, good restoration to the neck, 23.5cm. £400­600 Cf. Victoria & Albert Museum, Accession No. CIRC.42-1963 for an identical example.

527 A delftware coffee cup, c.1760, probably Liverpool, painted in blue with a long­tailed bird hanging upside down from a flowering branch issuing from rockwork, brown line rim, a little chipping to the rim, 5.8cm high. £300­500 Provenance: the Lipski Collection, sold Sotheby’s 17th November 1981, lot 322.

Exhibited: Northern Ceramics Society, 1989 at the Stoke-on-Trent Museum.

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

528 A rare delftware vomit pot, c.1700, probably London, painted in blue with long­tailed birds in flight above and perched among flowering plants, the inside rim with stylised tied scroll motifs, a chip to the foot, 16.5cm across. £1,000­1,500 The small size would suggest this is a vomit pot rather than a chamber pot. Household utensils of this type are rare survivals. Cf. Frank Britton, London Delftware, p.116 for similar undecorated pots.

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529 A rare delftware butter bowl, c.1720­30, probably Vauxhall or Lambeth, the deep form painted in blue with a repeated floral motif between jagged borders, the interior with a triangular spike, a fine rim crack, the cover lacking, 14cm dia. £1,000­1,500 Cf. Frank Britton, London Delftware, p.142, fig.121, and Michael Archer, Delftware, number F.51 for similar examples.

Butter plates with a spike originated in Holland. A 1770 painting by Jean Etienne Liotard, depicting the artist’s son at breakfast, shows the boy taking butter from a spike in a shallow dish.

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

530 A rare delftware stand, c.1710­30, probably London or Vauxhall, the circular top painted in blue with a central flowerhead roundel between flower sprigs and demi mon panels, the piecrust rim with a formal leaf band, raised on three baluster feet, 22.3cm dia. £600­800

531 A large Vauxhall delftware bowl, c.1725, probably William Chilwell, painted in red, green and blue with a repeated ornament design between formal leafy branch motifs, the interior with a row of £400­600 blue flowerheads, rim cracks, 26cm dia.

532 A large delftware bowl, c.1725, probably London, boldly painted in red, blue and green with a repeated design of formal leafy branches between hatched red panels, some good restoration, 26.5cm. £300­500

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533 A large German faïence pewter­mounted tankard or stein, late 18th century, painted in polychrome enamels with birds, flowers and leaf sprays on a powdered blue ground, the pewter cover with a roundel of Christ being baptised, 31.2cm. £500­800

534 An Alcora faïence bottle, c.1730, of hexafoil form, painted in blue, green, ochre and yellow with birds and a hare among flowering plants and leaves, the tapering neck with stripes, some chipping, 25.5cm. £200­300

535 A small North Italian maiolica drug or pill jar, dated 1724, painted in blue with flower and foliate scrolls around a narrow banner inscribed ‘PILre AGGRGATIVE’, above a shield containing a star above a fleur de lys, dated in manganese to the back of the shoulder, 12.3cm. £200­300 Pilulae Aggregativae were purgative pills made from a range of ingredients including rhubarb, aloe, larch agaric, scammony and turpeth root. They were used primarily in the relief of headaches and gastric complaints.

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

536 A large Rouen faïence charger, 18th century, painted in blue with a crowned shield with lions rampant, the rim with a lappet border and a panelled band, together with a Bassano plate, c.1760, painted in polychrome enamels with flowering branches, 40.3cm max. (2) £350­450

537 A Sceaux faïence drug jar, late 18th century, painted with ribboned flower swags enclosing the inscription ‘EXTR. VERBASCI’, stencilled mark in blue, and a late 18th century faïence bin label, inscribed ‘Madère’ in manganese, within a blue border, some faults, 10cm max. (2) £300­500

538 A large Cantagalli maiolica vase, late 19th/early 20th century, the bombola form decorated in the Caltagirone manner with a continuous design of flowering branches on a deep blue ground, blue cockerel mark, 33.5cm. £200­300

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539 A massive Puente del Arzobispo faïence bowl, c.1750, painted in a palette of green, yellow, ochre and manganese, to the interior with two leopards beneath tall trees, the exterior with dogs and birds in a continuous landscape, 37cm dia. £600­800

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

540 Two Puente del Arzobispo faïence bowls and a vase, 2nd half 18th century, the bowls painted to the interior, one with a dog, the other with a deer, running beneath trees, the exteriors with trees, the vase painted with rabbits flanked by trees, some faults, 29cm max. (3) £400­600

541 A Castelli maiolica saucer, mid 18th century, painted with a seated figure wearing a ruff and a blue smock, a dog begging before him, with trees and ruined Classical columns behind, yellow line rim, a little good restoration to the rim, 15.4cm. £200­300

542 A pair of Spanish cuerda seca tiles framed as a plaque, probably 16th century, decorated in blue, green, ochre and manganese with a central star design within a foliate roundel, two rectangular Valencia faïence tiles, one painted with a running dog, the other with a man and a dog on a leash, and a square tile painted in blue, ochre and manganese with a man pointing a gun, some surface wear and chipping, 37.3cm max. £400­600 Cf. Anthony Ray, Spanish Tiles, no.893 for the ceiling tiles, nos.1008-1012 for the Valencia tiles.

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543 A panel of four Castelli maiolica rectangular plaques, mid 18th century, three painted with hunting scenes, with figures on horseback running with dogs, one with a lion attacking, the last painted with a Biblical scene depicting Susannah and the Elders, edged in ochre and mounted together in a later wooden frame, each plaque 20cm x 27cm. £4,000­6,000

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

544 A rare pair of Delft tile panels, c.1710­40, each formed of twelve tiles brightly painted with a bird perched on a low fence beside a large peony bloom, with tall flowering branches above, each set in a modern wooden mount, some restoration or replacement, each panel 53.5 x 40.3cm. (2) £1,000­1,500 Tile panels similar to these were made to decorate the walls of European royal residences, such as the Château de Rambouillet, near Paris, built in 1715-30, and Schloss Amaliënburg near Munich, built in 1734-9. Tile panels at Amaliënburg, including a number similar to this, seem to have originally been intended for the Residenz-Schloss in Munich, which suffered an extensive fire in 1729.

545 Eight Portuguese faïence tiles, 17th century, painted in blue with foliate and fleur de lys motifs in relief, some faults, 14cm. (8) £150­250 Cf. Victoria and Albert Museum, Accession No. C.43-1973 for a panel of four similar tiles.

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LOTS 546-550 The following five lots were removed from a fireplace at Arford House in Headley, Hampshire. Arford House was built by William Ewsters at the turn of the 19th century. The summerhouse at Arford featured the figurehead of the American frigate, Chesapeake, which was purchased by Mr Ewsters when the ship was towed back to England and broken up. From 1896 the house was let to Madame van der Velde, wife of the Belgian diplomat. During this time the American writer, Brett Harte, was a regular visitor to Arford.

546 Nine delftware tiles, late 18th century, probably London, unusually decorated with manganese landscapes within a square panel, a geometric border in a strong green, with ochre flower motifs to the corners, some faults, 15.2cm. (9) £200­300

547 Nine delftware tiles, late 18th century, probably London, unusually decorated with manganese landscapes within a square panel, a geometric border in a strong green, with ochre flower motifs to the corners, some faults, 15.2cm. (9) £200­300

548 Nine delftware tiles, late 18th century, probably London, unusually decorated with manganese landscapes within a square panel, a geometric border in a strong green, with ochre flower motifs to the corners, some faults, 15.2cm. (9) £200­300

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

549 Eight delftware tiles, late 18th century, probably London, unusually decorated with manganese landscapes within a square panel, a geometric border in a strong green, with ochre flower motifs to the corners, some faults, 15.2cm. (8) £200­300

550 Eight delftware tiles, late 18th century, probably London, unusually decorated with manganese landscapes within a square panel, a geometric border in a strong green, with ochre flower motifs to the corners, some faults, 15.2cm. (8) £200­300

551 A group of seven London delftware tiles, mid 18th century, painted in polychrome enamels with a central flower spray, the corners with blue foliate motifs, some damages, 12.6cm.

(7) £200­300

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552 A North Devon pottery jug, late 18th century, of ovoid form with a band of cream slip around the neck and top of the handle, and a medieval encaustic tile, c.14th century, decorated in cream slip with a formal floral design, some faults, 25cm max. (2) £200­300

553 Two medieval encaustic paving tiles, c.14th/15th century, one decorated in cream slip with a formal foliate cross motif, the other with radiating bands of flowerheads and small circles, some damages, 14.3cm max. (2) £150­250

554 A slipware strainer, 18th century, the deep circular form decorated to the interior with wavy lines of cream slip on a dark treacle ground, the base pierced with 29 small holes, 28cm dia. £200­300

555 A large slipware charger or serving dish, early 19th century, the circular form decorated in cream slip with concentric circles and dashes on a rich treacle ground, 39.5cm. £600­800

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

557

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556 A slipware model of a cradle, dated 1847, decorated in cream slip on a dark brown ground with the initials ‘M I’ and the date ‘1847’, between slip dots and stylised motifs, raised on two rockers, 16.5cm across. £300­400 Cradles of this type were traditionally given to newlyweds, often as a symbol of good luck and fertility, and also to celebrate the birth of a new baby.

557 A large English redware teapot and cover, c.1760, the cylindrical form applied with a Chinese couple in elaborate dress, he holding a bird, she a large parasol, within formal columns and other motifs, 21cm across. (2) £200­300 558 Two Staffordshire pearlware models of cradles, 19th century, one green­glazed and moulded with putti and a dog to the sides, on a basketweave ground, the other yellow and moulded with interlocking circles, 11.5cm across. (2) £100­200

558

559 A pair of Leeds creamware punch kettle stands, c.1780, the circular forms raised on three paw feet issuing from grotesque marks, the sides pierced with diamond and floral motifs within undulating loops, the interior rims with shell struts, 21.2cm dia. (2) £200­300 Cf. Donald Towner, Creamware, p.139, for a stand of similar form.

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560 A Wedgwood creamware jelly mould, late 18th century, modelled as a melon or large gourd, the interior with small fruiting branches, impressed mark, a short crack, 19.4cm. £150­250

561 A Liverpool creamware jug, c.1793­1800, decorated with ‘An East View of Liverpool Light House & Signals on Bidston Hill’, the flags coloured, the reverse with a printed explanation of the signals within a £300­500 floral garland border, a chip to the spout, 18cm.

Cf. 4th June 2008, lot 206 for an identical example sold at these rooms. The first lighthouse on Bidston Hill was built in 1771. The flags were flown to communicate approaching ships to a lookout in Chapel Street, Liverpool; the signals being received at Bidston Hill via semaphore. The advent of the electric telegraph saw the site close in 1858.

562 A Cambrian pearlware yellow­glazed commemorative jug of Napoleonic interest, c.1814, printed in red with a continuous cartoon of characters including Napoleon Bonaparte, each with speech bubbles, the neck inscribed ‘Bonaparte Dethron’d April 1st 1814’, 13.4cm. £200­300 Provenance: the Martin Mortimer Collection.

The Allies entered Paris on 31st March 1814 and whilst Napoleon did not abdicate until 6th April, clearly potters could not resist the temptation of declaring April Fool’s Day that of his downfall. Cf. David Drakard, Printed English Pottery, pls. 712a, b and c.

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

563 A Whieldon agateware knife and fork, c.1750, the pistol grip handles formed of black and cream swirled clay to simulate the hardstone, 21cm. (2) £300­400

564 A Pratt ware oval plaque, c.1800, each moulded in high relief with two lions in repose on a green ground, boldly enamelled in typical Pratt colours, within an integral yellow frame, 28cm. £200­300

565 An early French Palissy­style dish, c.1600, the circular dish modelled with an openwork design of six cherub masks alternating with leaf motifs on a reticulated foliate ground, decorated in a limited palette of blue, green, manganese and ochre, a few small chips to the underside of the rim, 25.5cm. £400­600 Cf. Victoria & Albert Museum, Accession no. C.2329-1910 for a similar dish.

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566 A good Joseph Landais (Tours) Palissy­style majolica trompe l’oeuil dish, c.1855, modelled in high relief with two red crabs nestled among bladderwrack seaweed, sea urchins and various shells, incised monogram mark, 44.5cm across. £600­800

567 A Joseph Landais (Tours) Palissy­style majolica trompe l’oeuil dish, c.1855, modelled in high relief with a lobster, a sole and two small crabs among various sea shells including mussels, scallops, limpets and whelks, and bladderwrack seaweed, incised monogram mark, small losses, 44.7cm. £600­800

568 A very large French Palissy­style majolica trompe l’oeuil charger, dated 1861, modelled in high relief with newts or lizards among large leaves, with bright blue dragonflies and a variety of sea shells, an indistinct incised signature and ‘1861’ to the reverse, small losses, 61cm. £600­800

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

569 A very large French Palissy­style trompe l’oeuil charger by François Maurice, c.1875­85, the oval dish modelled in high relief with three fish and an eel to the well, the rim with crayfish, a newt, a frog and various large plants including bulrush and fern, incised ‘F Maurice’ signature to the rim, good restoration to the head of the newt, 69.3cm. £500­1,000

570 A large French (Polakowski et Cie) majolica Palissy­style trompe l’oeuil dish, late 19th century, by Alfred Renoleau, modelled with a large fish and a eel resting on a bed of ferns and other leaves, the rim with further fish, crayfish and scallop shells, impressed mark, painted AR monogram to the underside, 64cm. £1,000­1,500

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571 A large Staffordshire pearlware spill vase figure stand, 1st half 19th century, modelled with a sheep recumbent at the base of a large hollow tree, set with removable figures of a stag and doe, standing with heads turned before flowering bocage, some good restoration, 41cm across. (3) £800­1,200

573 A massive Staffordshire pearlware pastille burner modelled as a cottage orné, dated 1833, the walls coloured pink and painted with climbing plants, modelled with open gothic tracery windows, set in a large base with mossy applications, inscribed in black with ‘Mis’ beside a small kettle (possibly a rebus) above the date ‘1833’, some restoration, 37.5cm across. (2) £500­800

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572 A Wood family pearlware equestrian model of Hudibras, early 19th century, the heroic knight astride his horse, his hand poised to draw his sword, his shield inscribed ‘Death or Victory’, raised on a marbled socle base, some losses to the horse’s bridle and ear, 28.7cm high. £400­600 This model of Hudibras from the mock heroic narrative by Samuel Butler is copied from William Hogarth’s print of ‘Hudibras Sallies Forth’.

574 A Wood family pearlware Flight to Egypt figure group, early 19th century, modelled with Mary carrying the the infant Jesus and riding on the back of a donkey led by Joseph, some restoration, 18.3cm. £250­350

See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

575 A pearlware bust of Tsar Alexander I, early 19th century, modelled wearing military uniform and a star badge of office, raised on a decorative waisted socle base, some retouching to the enamel, 28cm. £300­500

576 A large Enoch Wood pearlware figure of the Madonna and Child, c.1790­1800, the infant loosely wrapped in a robe, standing on his mother’s lap and reaching towards her face, Mary wearing a turquoise robe, seated on a tasselled stool and raised on a square base, some faults, 35cm. £300­400

577 A large Ralph Wood pearlware bust of Neptune, c.1790, modelled in the Classical fashion with head turned to the right, his hair and beard windswept, wearing a loose robe edged in fish scales, left in the white, raised on a socle base, impressed ‘Neptune’ to the reverse, impressed mark ‘Ra Wood Burslem’, a little glaze wear, 30.3cm. £200­300

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578 A rare double­based Toby jug, c.1790­1800, resting an empty jug of ale on one knee, wearing a blue coat over yellow breeches, his hands and cheeks with a pale green wash, possibly intended as a Collier, raised on a £300­500 tall moulded base, a little restoration to the hat, 25.8cm.

579 A Pratt ware Toby jug, c.1800, with ruddy face and hands, wearing an ochre coat over blue breeches and striped stockings, his jug of ale with £300­500 a polka dot design, some good restoration to his hat, 25.5cm.

580 A good Pratt ware Toby jug, c.1800, painted in a limited palette, wearing an ochre coat over yellow breeches and striped socks, his foaming £150­200 jug of ale patterned with brown flowers, 24.5cm.

581 A rare Wood type double­based Toby jug, c.1785­95, wearing a blue coat over a green waistcoat, his breeches washed in manganese, holding a large empty jug on his left knee, raised on a tall moulded base, £250­300 some restoration, 26.2cm.

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

582 A Mexborough (Yorkshire) Toby jug, c.1820, seated with a patterned jug of ale, wearing a deep blue coat over yellow breeches, sponged in blue, yellow and black to the hat interior and base, 23.7cm. £100­200

583 An Ordinary Toby jug, c.1800, seated with a foaming jug of ale and long­stemmed clay pipe, wearing a turquoise coat over a red waistcoat and yellow breeches, some good restoration to his hat, 25.7cm. £100­200

Together with an invoice from G W Shelton, Lincoln, dated 5th October 1946.

584 A Wood type Toby jug, c.1790­1800, seated with an upright barrel between his feet, a foaming jug of ale resting on one knee, wearing a sponged blue coat over black breeches and an ochre waistcoat, his hat sponged in grey, some restoration to his hat, 25.8cm. £100­200

585 A large Brampton (Derby) stoneware Toby jug and cover, c.1820­ 30, seated with a foaming patterned jug of ale on his left knee, 29.5cm. (2) £100­200

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586 An American Sailor Toby jug, c.1820, wearing a blue uniform with yellow buttons and seated on a sea chest inscribed with the word ‘Dollars’, holding a foaming jug of ale titled ‘Success to our Wooden Walls’, some £300­500 retouching, restoration to his hat, 25cm.

587 Two Toby jugs, c.1820­30, one a Hearty Good Fellow, standing with a pipe and foaming jug of ale, and a Nightwatchman, seated with a lantern and wearing a heavy overcoat, a small amount of restoration, 30.2cm max.

(2) £120­180

588 A pair of Minton Majolica Toby jugs, date codes for 1867, modelled as a Quaker and his companion, he standing with his hands in his pockets, she holding a fan and clutching her shawl around her, their hair forming the handles behind, impressed marks, 28cm max. (2) £100­200

589 A Ralph Wood model of the Vicar and Moses, c.1785­90, typically modelled with the sleeping cleric above his industrious clerk, each with an open book before them, the pulpit applied with cherub masks to the corners, titled to the front, minor repairs, 24cm. £300­500

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

590 A pair of Staffordshire pearlware figures of the Welsh Tailor and his wife, c.1815, riding goats, raised on scrolled bases with ochre detailing, and a Staffordshire Tithe Pig group, some restoration, 15.7cm max. (3) £150­250

591 A Parian figure of Ariadne and the Panther, mid 19th century, after the original model by Johann Heinrich von Dannecker, and the Minton version modelled by John Bell, the naked maiden leaning on the back of the cat, raised on an oval stepped base, unmarked, 32cm high. £300­500

592 A pair of Grainger Lee (Worcester) figures of giraffes, c.1828, recumbent on rocky bases with heads erect, left in the white with gilt detailing, together with a Staffordshire pottery zebra raised on a rocky base with mossy applications, some restoration, 15.5cm max. (3) £200­300 The first giraffes arrived in Britain in 1827, imported to be part of George IV’s menagerie. It is believed these models were made to commemorate their arrival.

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593 A rare Staffordshire porcelain figure of a juggling hedgehog, 19th century, standing on its back paws with a red ball or berry in each of its fore paws, its coat formed of crumbed clay, raised on a circular base with stiff leaf moulding, 18.8cm. £200­300 Cf. D G Rice, English Porcelain Animals of the 19th Century, p.173, where he describes hedgehogs in porcelain as very rare.

594 A rare Wood family pearlware figure of a pet monkey, c.1780, wearing a yellow collar and leash and baring its teeth, seated on a grassy mound, its coat decorated in an underglaze brown wash, 14.5cm. £700­1,000

595 A Wedgwood Jasperware chess piece, late 18th century, after John Flaxman, modelled as the actress Sarah Siddons as Lady Macbeth, standing with her right arm raised in a theatrical pose, on a circular blue base, 8cm high. £100­200 Cf. David Bindman, John Flaxman, p.60, for Flaxman’s drawing of the full chess set, which was produced from 1785.

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THE ROGER & PATRICIA DANIELS COLLECTION Pat and Roger Daniels lived and breathed antiques.

Having met in Melbourne in 1955 they were married in 1960. Soon after they bought a terrace house in Albert Park that had a small shop attached.

In 1967, Pat ventured into the world of antiques and through her intelligence and diligence, went on to establish one of the most respected antique shops in Melbourne’s history.

In 1973, Parkside Antiques moved to 145 Park Street, South Melbourne and Roger joined Pat in the business from his role at Modern Printing Company. They never looked back. Antiques provided them with a profession that was all encompassing, full of interest and excitement. They loved every aspect of it from restoration to setting up at the antique fairs. In 1984 Pat Daniels became the first woman president of the Victorian Antiques Dealers’ Association and later set up a new fair at the Customs House in Melbourne. She also moved the yearly antique dealers’ fair to the Melbourne Town Hall.

Pat and Roger were well regarded in the trade both in Melbourne and the UK. They took regular buying trips to England where they became close associates of some antique literati such as Howard Phillips and Martin Mortimer. Pat was ever studying books and became a specialist in early porcelain and glass. She went on to sell the collections of several people such as Una Fraser, the mother of the Prime Minister at the time, and Rex Ebbott, the honorary curator of early glass at the National Gallery of Victoria. He was also the honorary curator of the Ernest Matthei collection, a role offered to Pat after his death.

Together with Roger, and using his knowledge of typeset and printing, they produced an array of catalogues, which are still for sale today as reference books.

After returning to England in 1996, Pat wrote her book on Bow Porcelain, which is regarded as so intellectual that only a handful of people can even understand it. The research took ten years to complete and for this reason they moved near Oxford, where her beloved Roger accompanied her to the various libraries where they became well­known. Aptly enough he already had a book within the Bodleian library on papermaking. While in Australia they hand made together all the paper used in the fifteen copies produced. The watermark ‘RAPID’ used on each sheet was short for Roger and Patricia Iris Daniels.

Roger was also a master cabinetmaker and has left a legacy of many outstanding pieces constructed in rare Australian timbers.

When Roger died in 2008, Pat did not retire from the world of antiques. Together with her colleague, the scientist Ross Ramsay, she researched and published monographs on various subjects such as the George II bust and limehouse porcelain. With her daughter Priscilla she investigated and published a booklet on Whitehaven pottery, venturing into the early life of Wedgwood.

The business relocated under Priscilla’s management to Colyton in Devon and only recently was wound down due to Pat’s poor health.

Pat and Roger have left an enormous legacy behind them, which will be forever remembered by those privileged enough to know them.

Priscilla Daniels.

596 A heavy baluster wine glass or goblet, c.1710, the drawn trumpet bowl with a solid base, the stem with an angular knop over a basal ball knop enclosing a tear, raised on a folded conical foot, 18cm. £600­1,000

597 A slender balustroid wine glass, c.1730­40, the narrow funnel bowl rising from a plain knopped stem enclosing a long tear, above a flat basal £200­300 knop and a folded conical foot, 16cm.

Provenance: the Roger and Patricia Daniels Collection. Purchased from Howard Phillips.

Provenance: the Roger and Patricia Daniels Collection.

598 An early baluster glass, c.1690, the round funnel bowl with a solid base, rising from a stem with angular knop above a hollow plain section and basal ball knop, over a domed folded foot, 16cm. £600­1,000

599 An incised twist wine glass, c.1750­60, the round funnel bowl raised on an incised twist stem over a conical foot, 14.8cm. £150­250

Provenance: the Roger and Patricia Daniels Collection. Purchased from Howard Phillips, 1991 Cf. Peter Francis, The Development of Lead Glass, fig.10 for the glass purchased alongside this that was identified as Irish, c.1680-88.

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Provenance: the Roger and Patricia Daniels Collection.

See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

600 A composite stem wine glass, c.1750, the drawn funnel bowl raised on an airtwist stem above a plain baluster section enclosing two rows of tears, and a small wine glass with drawn trumpet bowl over a thick mercury twist, foot faults, 17.8cm max. (2) £100­200 Provenance: the Roger and Patricia Daniels Collection. Formerly the Rex Ebbott Collection.

602 Two wine glasses and an ale glass, c.1740­60, the taller wine with a small bowl engraved with fruiting vine, the other with an ogee bowl engraved with a stag hunt, both over multi­series opaque twist stems, the ale glass with a slender funnel bowl engraved with hops and barley over a plain stem and folded foot, some faults, 18.2cm max. (3) £150­250

601 An Irish glass decanter and stopper, c.1820, Waterloo Glass Works of Cork, of Prussian shape, engraved with star motifs and hobnail crescents above a band of vertical moulded flutes, the neck applied with three rings, with a moulded bullseye stopper, traces of a moulded mark to the base, 27.5cm. (2) £400­600 Provenance: the Roger and Patricia Daniels Collection.

603 A sweetmeat glass, c.1760, the ogee bowl cut with flutes and a scalloped rim over a knopped faceted stem, an emerald green scent flask cut with a plain cartouche and a geometric design, and a glass barrel tap and stopper of pistol form, 16.8cm max. (4) £150­250 Provenance: the Roger and Patricia Daniels Collection.

Provenance: the Roger and Patricia Daniels Collection.

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604 A good miniature opaque glass bottle or scent flask, c.1745, painted in the Chinese manner with a figure seated in a garden beside a large vase, being waited on by two attendants carrying fans and a parasol, raised on a low circular foot, 8.5cm. £500­700 Provenance: the Roger and Patricia Daniels Collection.

606 Two Chinese snuff bottles, 19th century, one red glass and carved with flowering magnolia, the other simulating agate, set with a metal­ mounted stopper and spoon, the shoulders with stylised masks, small chips, 7.4cm. (2) £100­200 Provenance: the Roger and Patricia Daniels Collection.

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605 Two South Staffordshire patch boxes, c.1770, of circular form, one painted with flowers, the other with a couple threshing corn, the base with flower sprays, some faults, 5.5cm max. (2) £100­200 Provenance: the Roger and Patricia Daniels Collection.

607 A Chinese blanc de Chine libation cup, Qing dynasty, sprigged with a deer, a kylin and birds beside prunus and pine branches, a chip to the foot, 5.5cm high. £150­250 Provenance: the Roger and Patricia Daniels Collection.

See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

608 A rare Japanese reticulated bowl, 18th century, possibly Dutch­decorated in the Kakiemon palette, with a ho­ho bird in flight beside flowering plants issuing from banded hedges, the sides pierced with a band of interlocking circles, 15.3cm dia. £1,500­2,000 Provenance: the Roger and Patricia Daniels Collection.

Cf. Burghley House, No. CER0364, for a bowl of the same form.

609 A Bow shell pickle dish, c.1756­60, the scallop shell form painted in the Kakiemon palette with the Two Quail pattern, the rim with a border of stylised red and gilt foliage, raised on two peg feet, 12.2cm. £250­350

610 An early Bow robin’s beak jug, c.1750, painted in Kakiemon enamels with Ho­ho birds in flight above flowering branches and banded hedges, a short rim crack, 7cm high. £250­350

Provenance: the Roger and Patricia Daniels Collection.

Provenance: the Roger and Patricia Daniels Collection. Formerly the collection of Reg Longden.

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611 A Bow teabowl and saucer, c.1752­55, the simple form painted in famille rose enamels with flowering peony issuing from rockwork, a faint crack to the saucer, 11.7cm. (2) £150­200 Provenance: the Roger and Patricia Daniels Collection.

612 An early Bow footed sauceboat, c.1748­52, of silver shape, painted in famille rose enamels with flowering peony sprays issuing from rockwork, the interior rim with a band of flowerhead panels reserved on a green trellis border, all raised on three paw feet, 18cm across. £150­200 Provenance: the Roger and Patricia Daniels Collection.. Acquired in England during the late 1990s.

613 Three Bow coffee cups and a can, c.1750­55, variously decorated in famille rose enamels with flowering peony, lotus and other plants beside rockwork and willow, one cup with a narrow panelled border, 6.5cm max. (4) £200­300 Provenance: the Roger and Patricia Daniels Collection. These cups were purchased prior to Pat writing her book on Bow porcelain, as an illustration in the subtle differences in decoration and body during this period.

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

614 A rare Plymouth teapot and cover of small size, c.1768­70, the squat globular body painted in famille verte enamels with the Dragons in Compartments pattern, the rim with flowerhead panels on a cell diaper ground, 15cm across. (2) £1,500­2,000 Provenance: the Roger and Patricia Daniels Collection. Formerly the Timothy D Menzel Collection and acquired by him from Leonard Crow pre-1960.

Cf. FS MacKenna ‘Collection of English Porcelain’, volume 3, p.122.

The Dragons in Compartments pattern derives from a Chinese original, but is believed to have been brough to Plymouth by a Worcester artist after William Cookworthy advertised for painters to join his fledgling factory.

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615 A rare Chelsea fluted teabowl, c.1750­52, the fluted form painted in famille rose enamels with flowering plants and lotus, the interior with a single floral sprig, a rim crack, 5cm high. £400­600

616 A Chelsea botanical saucer, c.1752, the fluted form painted with Holzschnitt flowers in the Meissen manner, an insect to the well, 5cm rim crack, 12cm. £250­350

Provenance: the Roger and Patricia Daniels Collection. Purchased from Colin Self, Tasmania, during the 1980s.

Provenance: the Roger and Patricia Daniels Collection.

Famille rose decoration is rare at Chelsea. The few examples that do exist are based on imported Chinese wares from the Yongzheng period (1722-39) and are of much finer quality than those being produced at the rival Bow factory.

Cf. F S Mackenna, Chelsea Porcelain: The Triangle and Raised Anchor Wares, pl.18, no.41 for two beakers with similar decoration.

617 Two Bow blue and white plates, c.1750­55, one painted in a paler blue with the Broken Scroll pattern, the other octagonal and painted with flowering plants and rockwork beside an ornamental fence, the rim with three floral vignettes, painted numeral 32 to the base of the latter, 23cm. (2) £150­250 Provenance: the Roger and Patricia Daniels Collection.

617

618 Three English porcelain plates, c.1755­60, one Longton Hall and painted with colourful birds within a border of moulded strawberry plants, one Bow, of octagonal form and painted in famille rose enamels with flowering plants and work, the last Richard Chaffers (Liverpool) and moulded with flowers over radiating bands, the Longton Hall broken and riveted, 23.3cm max. (3) £150­250 Provenance: the Roger and Patricia Daniels Collection.

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618

See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

619 A good and early Chelsea white­glazed beaker, c.1747, the tall flared form of eight lobes, sprigged with spiralling tea plant sprays, 7cm. £800­1,200 Provenance: the Roger and Patricia Daniels Collection. Acquired from Robert Jones in 1980.

Cf. Malcolm Anderson, An Exhibition of Early St Cloud and Chelsea Porcelain, pl.XI and pl.XIII.

619

620 A Chelsea octagonal teabowl and saucer, c.1750­ 52, painted in Kakiemon enamels with the Lady in Pavilion pattern, a seated Chinese lady beside birds on and above a wicker screen, 12.7cm. (2) £500­700 Provenance: the Roger and Patricia Daniels Collection. The saucer with a paper label for the F Hurlbutt Collection.

620

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621 A Bow figure of a dancing shepherdess, c.1752­55, holding the edge of her patterned skirt, a lamb recumbent at her feet, raised on a pad base applied with flowers, a little good restoration to her left hand, 14.6cm. £200­300 Provenance: the Roger and Patricia Daniels Collection. Purchased from a private collector in Sydney during the 1970s.

622 A pair of white­glazed Bow figures of Harlequin and Columbine, c.1755, each seated on a low rocky stump applied with flowers, Harlequin playing the bagpipes, Columbine seated with a hurdy­gurdy on her lap, some restoration, traces of cold painting 13.2cm. (2) £300­500 Provenance: the Roger and Patricia Daniels Collection. The cold-painted decoration is an unusual feature.

623 A Bow figure of an abbess, c.1755­58, seated and reading from a large prayer brook inscribed ‘Vanitas Vanitatum’, her left hand outstretched, her right foot extending from the hem of her robes, a little restoration to her foot and left hand, 14.8cm. £200­300 Provenance: the Roger and Patricia Daniels Collection.

Patricia entertained the strong notion, perhaps based on the nun’s manly features, that this particular figure was of the actor David Garrick in a crossdressing role. She discusses this in her Bow Porcelain book in a chapter titled Let the Porcelain Speak.

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624 Two English porcelain knife handles, c.1752­55, of pistol form, one Chelsea and moulded with leafy tendrils issuing from a single flower, the other Bow and moulded with formal foliate scrolls and shell motifs, one blade missing, 27cm max. (2) £150­200 Provenance: the Roger and Patricia Daniels Collection. Pat acquired these handles as comparison pieces between the two factories.

625 A silver folding fruit knife and fork, with mother of pearl mounts, inlaid and with engraved decoration, in a later fitted case, and another folding fruit knife. (3) £100­150 Provenance: the Roger and Patricia Daniels Collection.

626 A George III silver chamberstick, by Crouch & Hannam, London 1776, of circular form with beaded borders, with a conical snuffer, 13cm dia. (2) £150­250

λ 627 Two silver punch ladles, 18th century, with inset coins and twisted whale bone handles, a pair of silver sugar nips, a pair of silver sugar tongs and a pair of unmarked silver shoe buckles. (6) £100­200

Provenance: the Roger and Patricia Daniels Collection.

Provenance: the Roger and Patricia Daniels Collection.

628­629 No lots

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λ 630 A silver­mounted tortoiseshell snuff box, 18th century, of oval form, the hinged cover with a portrait of Charles I in the manner of John Obrisset, a gold mounted snuff box, 18th century, inlaid with a fox and a £350­500 Chinese buffallo horn circular box. (3) Provenance: the Roger and Patricia Daniels Collection. The first box purchased from Sheila Davies, early 1970s.

631 A sheet iron boot powderer, 18th century, the rectangular flask pierced with an intricate design, impressed ‘LAKIN’ to the interior, 12.3cm. £200­300 Provenance: the Roger and Patricia Daniels Collection.

632 A small collection of French prisoner of war items carved from bone, early 19th century, including a boxed set of dominoes, a miniature set of dominoes, a cribbage counter, a teetotum, a toothpick holder, an etui, two miniature maracas, and a circular box and cover engraved ‘A Trifle from Brighton’, 23.6cm max. (9) £300­400 Provenance: the Roger and Patricia Daniels Collection.

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633 A Napoleonic prisoner of war model of a spinning jenny, Anglo/French early 19th century, carved of bone with a woman seated in a tall chair before an articulated spinning wheel, raised on four feet, 9.3cm. £450­600 Provenance: the Roger and Patricia Daniels Collection. This spinning jenny was the focus of an article Pat wrote for the Australian Antique Collector.

634 A French prisoner of war straw work box and a cigar case, 19th century, the box oval and decorated with a man and his dog, titled ‘Fidelite ­ Merite ­ Amour’, the cigar case with brightly coloured interior, together with a straw work etui with detailed geometric design, 11cm max. (3) £150­250 Provenance: the Roger and Patricia Daniels Collection.

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

635 A small pressed burr wood box, 19th century, the rectangular form decorated with a lion hunt, titled ‘Chass aux lions’, the underside with a striped design, 9cm across. £100­150 Provenance: the Roger and Patricia Daniels Collection.

636 A small book safe, dated 1769, with an embossed red leather binding and two brass closures, opening to reveal a rectangular concealed compartment, 13.8cm. £100­200 Provenance: the Roger and Patricia Daniels Collection.

637 A giltwood and gesso three­light chandelier, English, mid­18th century, a central openwork and foliate stem supporting three scrolling branches with foliate nozzles, 38cm high, 40cm wide. £250­350 Provenance: the Roger and Patricia Daniels Collection.

638 No lot

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PORCELAINS FROM THE WORCESTER PARTNERSHIPS AND OTHER REGENCY PORCELAINS

639 Four English porcelain armorial plates, c.1820­40, one Flight, Barr and Barr and painted with the arms for Sir Thomas Walmsley, a Chamberlain’s plate with the arms of Hansard, another with the arms of John Erle­Drax MP, the last with a shield and the motto ‘Cavendo Tutus’ probably for the Cavendish family, 26.5cm. (4) £150­250 Provenance: the Charles Dawson Collection.

641 Five small Flight, Barr and Barr armorial plates or dishes, c.1825­ 30, the smaller with a hawk crest and the motto for the Prince of Wales, a small shallow bowl with the arms of Amherst, a plate with the crest and motto for Wood, a plate with the arms of the East India Company, and a larger plate with the arms of Perkins impaling Evans, reserved on varying coloured grounds including green, pink and pale blue, impressed, printed and script marks, one restored, 24cm max. (5) £200­300 Provenance: the Charles Dawson Collection.

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640 A pair of Flight, Barr and Barr armorial plates, c.1825, decorated with a crowned shield flanked by two lions above the motto ‘Spes Patentia et Perseverantia’, on a green ground with gadrooned rim, another plate with a quartered shield for the Lawrence family impaling others, and another with the crest and motto for the Percy family, printed, impressed and script marks, 27.5cm max. (4) £250­350 Provenance: the Charles Dawson Collection.

642 Five small Flight, Barr and Barr armorial plates, c.1820, variously painted with crests and shields including those for Wedderburn, Hawkins, Scott of Thirlstane, one possibly Lloyd, all on a claret ground, and another crest beneath the motto ‘Save to Spend’ within a dark blue border, various printed and impressed marks, one broken and restuck, 22cm. (5) £200­300 Provenance: the Charles Dawson Collection.

See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

643 A pair of Flight, Barr and Barr armorial plates, c.1830, painted with a double crest beneath a banner inscribed with the motto ‘Spes Nostra Deus’, within wide purple and gilt vine borders, a Barr, Flight and Barr plate and a muffin dish and cover decorated with the arms for St Andrew St John, 14th Baron St John of Bletso, and another boldly decorated with a wide Imari style border around the Yates coat of arms impaling another, printed and impressed marks, 24cm max. (6) £250­350 Provenance: the Charles Dawson Collection.

St Andrew St John, 14th Baron St John of Bletso was MP for Bedfordshire and a personal friend of Charles James Fox.

644 Four Flight and Barr armorial dishes, c.1810­ 30, the largest painted with a crest and motto ‘Sperat Infestis Metuit Secundes’ within a wide salmon border, one two­handled and decorated with a crest and motto ‘Sortem Meam Protectit Deus’ on a grey marbled ground, another with the arms of Yates impaling another within a wide Imari type border, and a single­handled dish painted with a crest of a dog holding a rose for the Wilkinson family, within a salmon ground with gilt tendrils, printed and impressed marks, some faults, 49.7cm max. (4) £250­350 Provenance: the Charles Dawson Collection.

645 Two Flight and Barr ice pails and covers, c.1795­ 1810, one armorial and decorated with the arms of Somerville within the motto ‘Crains Dieu Tant Que Tu Viveras’, within an orange band with gilt foliate decoration, script mark, the other with a liner, piral moulded and decorated with continuous grapevine borders in brown and gilt, incised B mark, together with a dessert basket, with pierced galleried rim, painted with strawberries in brown and gilt, some damages, 31.5cm max. (6) £300­500 Provenance: the Charles Dawson Collection.

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646 A Flight, Barr and Barr Worcester armorial oval dish from the Stowe Service, c.1814, finely painted to the well with the arms of the second Marquess of Buckingham and his wife Lady Anne Brydges, flanked by a lion and a white horse with black Prussian eagles, above the motto ‘Templa Quam Dilecta’, reserved on a salmon ground with gilded neoclassical motifs, impressed crown and BFB mark, restored, 30.8cm. £300­500 Provenance: the Charles Dawson Collection.

646

Cf. Charles Dawson, Worcester Flight & Barr Porcelain, p.180. The Stowe service was made for Richard Temple-Nugent-BrydgesChandos-Grenville, second Marquis of Buckingham and originally comprised 186 pieces. He became 1st Duke of Buckingham and Chandos in 1822, but by 1848 his extravagant lifestyle had brought the family to ruin and the contents of Stowe House were put up for auction that summer. The service was listed in the catalogue of 23rd August 1848 as lot 956. It was bought by T Delarue Esq for £29 18s. The third Duke of Buckingham and Chandos bought 82 pieces of the service back, but these were sold again in 1921.

647 A large Flight, Barr and Barr armorial dessert tureen and cover, c.1825, the rounded form decorated with the crest of a corn stook in gilt and red, reserved on a rich apple green ground, 30.5cm across. (2) £150­250 Provenance: the Charles Dawson Collection.

647

648 A Barr armorial coffee can and saucer, c.1800, finely decorated with the arms of Paul Beilby Thompson impaling another (possibly Griffin) within a wide border of palmettes and swags in red and gilt, incised B marks, and a Flight, Barr and Barr coffee can painted with a greyhound crest, 13.1cm max. (3) £150­250 Provenance: the Charles Dawson Collection.

648 56

See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

649 Three Flight, Barr and Barr cups and saucers, c.1820, one decorated with the initial S in pink roses between flower sprays, another with monogrammed initials on a pink ground, the last with flower sprays within raised gilt panels on a pink ground, a coffee can with the initials ES in pink roses, with an associated earlier saucer painted with flowers, various impressed and printed marks, 15.6cm max. (8) £150­250 Provenance: the Charles Dawson Collection.

650 Three Flight, Barr and Barr toy sized teabowls and stands, c.1825, two painted wih flowers and flying insects on a white ground, the last with panels of shells on a pale blue ground, each raised on three claw feet, the hexagonal stand with a trembleuse gallery to the well, impressed, printed and script marks, one bowl broken and restuck, 13cm max. (6) £300­400 Provenance: the Charles Dawson Collection.

651 Four Barr, Flight and Barr cabinet cups and stands, c.1815, one enamelled with a Chinese lady in a garden on a deep blue ground, another with peasant figures on a gilt tendril ground, one with figures in a landscape scene, the last with birds in cages suspended from blue ribbon swags among £200­300 flowers, all with white beaded borders, printed and script marks, some damages, 13.6cm. (8) Provenance: the Charles Dawson Collection.

652 Two Flight, Barr and Barr trios, c.1825, one comprising a teacup, coffee can and saucer, painted with titled landscape views of Westmorland, a ruined Abbey and a Devon landmark, the other trio of breakfast size, with two generous cups depicting views of Tintern Abbey and Ballyroam, the saucer with Beauchief £250­300 Abbey, all reserved within gilt scrolls borders on a pink ground, titled and marked to the bases, one saucer broken and restored, 15.8cm max. (6) Provenance: the Charles Dawson Collection.

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653 A miniature Flight, Barr and Barr campana vase, c.1820, finely painted with a variety of feathers on a white ground above a band of beading, script mark, some good restoration, 8cm. £150­250 Provenance: the Charles Dawson Collection.

654 A documentary blue and white Barr, Flight and Barr coffee can, dated 1st August 1811, the sides painted with simple sprays of Oriental flowers beneath a wide blue band, the underside inscribed ‘This Cup was painted from the pound of Regular which appears to have been spoiled in the preparation by the Company’s Agent ­ but it may be improved by a more judicious process ­ August 1st 1811’, broken and cleanly restuck, 6cm. £100­150 Provenance: the Charles Dawson Collection.

655 A rare pair of Flight, Barr and Barr rosewater sprinklers, c.1825, the ovoid bodies painted with landscape panels showing views of Malvern and Worcester, reserved on a pale green ground, the spouts pierced with small holes, script marks, some good restoration, 12cm. (2) £200­300 Provenance: the Charles Dawson Collection.

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656 A large Barr, Flight and Barr vase and cover, c.1810, painted with a large panel of three figures in a rocky riverside valley, reserved on a grey marbled ground, the handles formed as a the horns of two satyr masks, the whole raised on a socle foot and square base, puce script mark to the underside, the cover broken and restored, 41.5cm. (2) £800­1,200 Provenance: the Martin Mortimer Collection.

657 A Flight, Barr and Barr botanical ice pail and cover, c.1825, of campana form, finely painted with flower specimens of Mountain Peony and Nootka Sound Lupin, within a green shaped border, raised on a square foot, titled to the base, script mark, the liner lacking, some faults, 26.5cm. (2) £150­250

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Provenance: the Charles Dawson Collection.

658 A Chamberlain’s Worcester commemorative jug, dated 1807, inscribed in gilt within berried laurel swags ‘To record the Memorable Triumph of Liberty in the Return of Wm Gordon Esq. 17th Feb 1807 by a glorious Majority of 352’, flanked by the monogram ‘BJ’ in gilt, the neck with a gilt foliate design on an orange ground, gilt Chamberlain’s Worcester mark to the base, 18.5cm. £150­250 Provenance: the Martin Mortimer Collection.

In a letter to the Times published the day following the election, William Gordon expressed gratitude to the electors of Worcester. He remained as MP for Worcester until 1818.

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659 A group of Worcester tea wares from the Flight and Barr partnerships, c.1795­1815, a Barr, Flight and Barr trio of a teacup, coffee can and saucer, a Flight and Barr teacup and saucer, painted with chamfered landscape panels on white and salmon grounds with elaborate gilt borders, and a Barr, Flight and Barr plate painted with a titled view of Mackworth Castle in Derbyshire, on a salmon ground with gilt palmette border, various incised, impressed, script and printed marks, 20.5cm max. (6) £300­500

660 A group of Flight, Barr and Barr tea and coffee wares, c.1820, all decorated with gilt foliate scroll designs, impressed marks. Comprising: three teapots with covers and stands, a rare coffee pot and cover, two teacups, a coffee can and two saucers. (16) £150­250 Provenance: the Charles Dawson Collection.

Provenance: the Martin Mortimer Collection.

661 Four English porcelain muffin dishes and covers, c.1805­40, two Barr, Flight and Barr and variously decorated with grey faux marble and with a continuous gilt tendril design, a Coalport example in underglaze blue with the Royal Lily pattern, the last possibly Chamberlain’s and with a band of salmon ground, 21cm max. (4) £150­250 Provenance: the Martin Mortimer Collection.

662 A pair of Flight, Barr and Barr dessert plates and two dishes, c.1820, the wells painted with arrangements of sea shells and coral within sprays of gilt seaweed tendrils, impressed and printed marks, 30.2cm max. (4) £200­300 Provenance: the Charles Dawson Collection.

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663 A pair of Chamberlain’s Worcester spiral­moulded jugs, c.1800, both painted with landscape panels en grisaille, one with a view of the river in Worcester, the other with a view of Blackfriars Bridge in London, reserved on yellow ground bands with formal gilt panelled borders, gilt script marks, minor faults, 17.5cm. (2) £300­500

664 A Flight, Barr and Barr card tray or basket, c.1830, the lobed form with overhead handle sporting a mask roundel, the well painted with a panel of flowers reserved on an apple green ground within a gilded gadrooned border, impressed mark, two small areas of restoration, 27.8cm. £150­250

Provenance: the Martin Mortimer Collection.

Provenance: the Charles Dawson Collection.

665 Two Flight, Barr and Barr cabinet cups and stands, c.1820, one raised on three paw feet and decorated with a wide gilt band of palmettes and formal scrolls between narrow green bands, the other finely painted to the interior with a single tulip, the exterior decorated with a panelled design reserved on a salmon pink ground, impressed marks to the latter, 17.8cm max. (4) £150­250

666 A pair of Flight and Barr beakers, c.1795, the flared forms decorated with a continuous scrolling gilt foliate design on an orange ground, incised B mark, and a third beaker painted with a band of poppy flowers reserved on a black ground, puce script mark to the latter, the last broken and restuck, 9.8cm. (3) £150­250

Provenance: the Charles Dawson Collection.

Provenance: the Charles Dawson Collection.

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667 A Barr, Flight and Barr pen tray, c.1810, the long oval form painted to the exterior with a mountain lake landscape reserved on a salmon ground, the handles formed as swans, script mark, restoration, 26cm across. £100­200 Provenance: the Charles Dawson Collection.

668 Three Flight and Barr mugs, c.1795­1800, one armorial and decorated with the crest and motto of the Douglas family, another gilded with the initials TB and inscribed to the base with ‘Thomas Bartleet, born Feb. 12th 1768’, the last smaller and gilded with the monogram ‘JD’ flanked by pink roses, script and printed marks, 11.8cm max. (3) £150­250 Provenance: the Charles Dawson Collection.

669 Two small Flight, Barr and Barr cabinet cups and saucers, c.1830, with shaped rims and butterfly handles, one in a rich yellow glaze, the other painted with a landscape panel on an apple green ground, and a single cabinet cup painted with a lady in medieval dress, some damages, 10.7cm. (5) £150­250 Provenance: the Charles Dawson Collection.

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670 Three Flight, Barr and Barr botanical dessert plates, c.1825­30, each finely painted with floral specimens of Scarlet Lychnis, Long­tubed Tritonia and Ninepin Heath, reserved within shaped green borders and gilded gadrooned rims, titled in Latin and English to the reverse, printed and impressed marks, 21.8cm. (3) £200­300 Provenance: the Charles Dawson Collection.

671 Three Derby plates of Trotter service type, c.1825, painted probably by Moses Webster with bold floral arrangements to the well, the borders with panels of single flower stems alternating with green, the larger plate inscribed to the reverse in gilt with ‘John Trotter Esq. Durham Park’, the smaller plates with iron red crowned crossed baton marks, the larger broken and restuck, 25cm max. (3) £250­350 Provenance: the Martin Mortimer Collection.

John Trotter made his money as a government supplier during the Napoleonic Wars. When the wars ended in 1815 he reinvented his unused warehouse space in Soho as Soho Bazaar, an early type of department store with space rented out to different traders. Trotter purchased Durham Park (now Dyrham Park) in South Mimms, Heartfordshire in 1798. The service was ordered from Derby around 1820-25 and originally consisted of some 180 pieces. It was later split between two members of the Trotter family.

672 A Derby botanical ice pail with cover and liner, c.1790­1800, painted in pattern 197 with specimens of Sweet Pea, China Aster, Campanula and Capella Pulchella, blue factory marks and titles, together with a sauce tureen with cover and stand, painted with Briar Rose, Common Passion Flower and Polyanthus, iron red factory marks and titles, some damages, 28cm max. (6) £250­350

673 A pair of Derby botanical ice pails and covers, c,1795­1800, painted in pattern 216 with specimens of Pulmonaria, Double China Hollyhock, Blue Spring Crocus, Mimosa Verticillata, American Cowslip, Rigid­Leav’d Gorteria and Globe Amaranthus, with yellow and gilt borders, blue crowned crossed batons marks, damages and repairs, 23.5cm. (4) £300­400

Provenance: the Martin Mortimer Collection.

Provenance: the Martin Mortimer Collection.

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674 A Derby botanical comport, c.1800, finely painted in pattern 216 with a bold specimen of ‘Double China Hollyhock’, after William Curtis, within a narrow gilt husk border and bright yellow rim, raised on a low oval foot, titled to the underside, gilt crowned crossed batons and D mark, 30.2cm. £200­300

675 A large Spode botanical comport, c.1800, painted in pattern 1100 with a specimen of Winged Podded Sophora, the sides with flower stems of Mediterranean Stock and Peacock Iris, within a wide gilt formal acanthus leaf border, titled and marked in purple to the base, 37.3cm. £100­200 The flowers for this service were copied from William Curtis’s Botanical Magazine of the late 18th century.

676 Ten Coalport dishes from the Harewood House service, c.1830­40, each piece decorated with botanical specimens of differing European flowers including hollyhock, convolvulus, stocks, ti;ip, poppy and rose, the rims with panels of flowers reserved on a dark blue ground with formal gilt designs.

Comprising: two shell dishes, two square dishes, two oval dishes and four plates. (10) £600­800 64

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677 A New Hall armorial dessert service, early 19th century, painted in pattern 1892 with pink roses amidst gilt foliage, centred around a blue panel enclosing a gilded crest of an eagle for the Knyfton family. Comprising: four oval dishes, four two­handled dishes or stands, four single­handled dishes, a comport, two sauce tureens and covers and ten plates. (27) £300­500 Provenance: the Pat Preller Collection.

The service appears to have been made for Thomas Tutton Knyfton (1770-1810) of Uphill in Somerset.

678 A rare New Hall comport or dessert basket, c.1782­87, the lobed quatrefoil form painted with insects around fruit sprigs including redcurrant, plum and gooseberry, within a stylised husk border, the pierced rim with puce ribbon detailing, the twig handles issuing from gilded leaves, a short riveted crack, 25.2cm across. £400­600

679 A rare New Hall blue and white stand, c.1782­87, the oval form painted with flowering branches in the Chantilly manner, the pierced basket rim applied with flowerheads edged in blue, a small rim section restuck, 25cm. £400­600 Provenance: the Pat Preller Collection.

Provenance: the Pat Preller Collection. Formerly with Mercury Antiques.

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680 A Minton pâte­sur­pâte jardiniere, late 19th/early 20th century, decorated in white relief with a winged putto carving a marble bust of a soldier, within an elaborate gilt scrolled border on a blue ground, the reverse with a fountain of leaf scrolls and cornucopiae, signed ‘A Birks’, gilt mark, impressed marks including indistinct date code, broken and restuck, 17.5cm high. £200­300

681 A Minton pâte­sur­pâte small plaque or button by Alboin Birks, late 19th/early 20th century, enamelled in white with gardening implements issuing from a basket of flowers, reserved on a coral ground, signed ‘AB’ to £200­300 the front. With later silver­coloured mounts as a necklace.

682 A pair of Royal Crown Derby vases, date code for 1893, shape 873, decorated in raised gilt and enamels with musical instruments within floral borders tied with ribbon, reserved on a dark blue ground, printed marks, some good restoration to one, 34.7cm. (2) £200­300

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THE CLIFFORD HENDERSON COLLECTION OF ENGLISH PORCELAIN ‘It is a fact of life that what is old dies to make way for the new. Endings are often painful and we don’t like to say goodbye.’ These are Clifford’s words from 2011 when he decided to sell his breathtaking and famed Chinese Armorial Porcelain collection in these very rooms. Well, Clifford embraced this liminal period with open arms and swerved his passion for Chinese armorial porcelain to something remembered from decades before that had sparked his ceramic interest and career in the Art World. Evelyn Waugh writes, ‘It was here, at last, I should find that low door in the wall, which others, I knew, had found before me, which opened on an enclosed and enchanted garden’. These words from Brideshead Revisited rang true to Clifford not just for his close connection with the Lygons at Madresfield, who were intimate friends over many decades, but also that he should embark on collecting what he had learned about first. When being interviewed for his chapter in a book published about Sotheby’s supremo, Peter Wilson, Clifford singles out his aunt, picture editor of Connoisseur Magazine before the Second World War, as the catalyst who was able, through her connections, to introduce him to Wilson and to progress to securing an interview with the legendary A.J.B.Kiddell, senior director and partner, whose auspices covered the Ceramics department amongst several others. Accompanied by his Mother, and on arrival at 34­35 New Bond Street, ten items were put before him and he had to talk about each one. He was 15 years of age at the time and he got nine correct! ‘Boys like yours are born not made,’ said Kiddell, before adding that he would take him on after he’d finished school. Clifford arrived at Sotheby’s to work two years later in 1956.

His early times at Sotheby’s filled him with great curiosity and he learned his skills well. He once described the teetering masses of the finest and most elegant English porcelain of the Golden Age of manufacture all jostling with one another on tables and shelves. He catalogued some of the finest sales there in his time.

Sotheby’s were ahead of the game, certainly at least in Kiddell’s departments.

Clifford was enraptured with the objects that were made primarily for the aristocracy and the mercantile classes who adorned their homes and china rooms with an organic life force of models inspired by nature and enlightenment publications, such as his Hans Sloane Botanical plate. One object that he remembered well and catalogued was a rare Chelsea porcelain double squab pigeon tureen of the red anchor period, sold from a series of animal and bird tureen forms from the Oliver Welby collection. This piece was bought by Henry Bowles Peabody and can now be viewed in San Francisco at the Legion of Honor Museum.

However, it was First Period Dr Wall Worcester porcelain that really made a lasting impression from the earliest times of his career and so it was Worcester porcelain together with some Chelsea that he embarked much later in life, to collect. He was the first to admit that it was due to his shared love of these manufactories with his mentor Mr Kiddell and memories of the beginning of his career that led him to make this decision.

Clifford and his longtime partner in life, Garth, are a great team. Clifford would telephone me at Brian Haughton Gallery most days over many years to discuss what porcelain was in the offing, more often than not they had found it online first! The connections and the stories of their commissions were very important to Clifford and I shall never forget the telephone call I took from him, whilst I was in New York at the Fine Art and Antique Dealers Show, telling me in absolute triumph that he had secured a piece from the Mecklenburg­Stelitz royal service of Chelsea porcelain of the gold anchor period; the majority of surviving pieces are displayed at Buckingham Palace in the Royal Collection of His Majesty the King. His memory was encyclopaedic, whether how many times he had seen a particular piece of Worcester porcelain through the ensuing decades or where or which country house it had originally come from or at which he had stayed at! There are many stellar pieces in this collection, all of which Clifford singled out as rare or rather special in some individual way and so now it is the turn of his final collection to come to sale and for all of you to choose something chosen by him that he has treasured through many years of involvement and through such a distinguished career at the centre of the Art world.

Paul Crane FSA.

683 A Chamberlain’s Worcester armorial part dinner service, c.1840, painted with the crest of the Walter family with a stork dipping its beak into an upturned whelk shell, a gilt monogrammed W beneath, the wide rims with a pale blue ground, impressed marks.

Comprising: two soup plates and ten plates.

(12) £200­300 Provenance: the Clifford Henderson Collection. The service is believed to have been made for John Walter III (1818-1894), a Liberal politician and newspaper publisher, or his father (also John Walter), editor of The Times. It was probably made for Bearwood House at Sindlesham.

684 A Chinese porcelain armorial teabowl, 18th century, finely painted with the arms of Maule impaling De Valonis, Barclay and Brechin, and a smaller teabowl, probably Samson, painted with the arms of the Hay family with the motto ‘Spare Nought’, each with a gilt spearhead border, 8.7cm dia max. (2) £100­200 Provenance: the Clifford Henderson Collection.

685 Literature: David Sanctuary Howard, Chinese Armorial Porcelain; and Chinese Armorial Porcelain Volume II. (2) £100­200 Provenance: the Clifford Henderson Collection.

686 Literature: David Howard & John Ayers, China for the West, Vols. I and II; David S Howard, The Choice of the Private Trader; William R Sargent, The Copeland Collection; and six other volumes on ceramics and the Chinese trade. (9) £80­120 Provenance: the Clifford Henderson Collection.

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687 A Vincennes cup and saucer (gobelet calabré et soucoupe), c.1754, painted in polychrome enamels with panels of birds in flight carrying leaf sprigs, reserved within gilt foliate borders on a bleu lapis ground, blue interlaced Ls mark enclosing date letter B, 13.5cm. (2) £300­500 Provenance: the Clifford Henderson Collection. Purchased Woolley & Wallis, 24th November 2015.

688 A Chelsea two­handled ecuelle, c.1759­69, painted with Watteau­esque musicians and other figures within panels alternating with mazarin blue panels decorated with gilt scrolls and flowers, gold anchor mark, lacking a cover, 9.5cm high. £300­500 Provenance: the Clifford Henderson Collection. Purchased Jupiter Antiques, 16th September 2018.

689 A Chelsea ecuelle with cover and stand, c.1759­69, painted with Watteau­esque musicians and other figures within panels, alternating with mazarin blue panels decorated with gilt scrolls and flowers, gold anchor marks, 20.2cm dia max. (3) £800­1,200 Provenance: the Clifford Henderson Collection. Purchased Jupiter Antiques, 16th September 2018.

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690 Two Chelsea plates, c.1755­60, one of Warren Hastings type, the moulded rim painted with landscape panels, the well with flowers and a moth, red anchor mark, the smaller plate finely painted in the Meissen manner with a central spray of flowers and scattered insects, the moulded rim with further £150­250 floral vignettes, gold anchor mark, 28.5cm max. (2) Provenance: the Clifford Henderson Collection.

691 A good Chelsea silver shaped dish, c.1756, painted to the well with colourful long­tailed birds amidst foliage, the rim picked out in turquoise, puce and gilt, red anchor mark, and a pair of Chelsea plates, boldly painted with birds perched on rocks, the feather­moulded rims picked out in green and brown, brown anchor marks, 25cm max. (3) £400­600 Provenance: the Clifford Henderson Collection. The plates formerly in the Rous Lench Collection. The dish purchased from Bonhams, 21st April 2010.

692 A Chelsea ecuelle and cover, c.1755, a Chelsea teabowl and saucer, a fluted beaker and a cup, all finely painted with arrangements of flowers and single scattered sprigs, brown line rims, red anchor marks, some faults, 19cm max. (6) £300­500 Provenance: the Clifford Henderson Collection.

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693 A Chelsea teapot and cover, c.1752­58, finely painted with sprays of flowers, the short spout finely moulded, the shaped handle with a leaf scroll terminal, red anchor mark, 20.5cm. (2) £250­350 Provenance: the Clifford Henderson Collection. Purchased Gorringes 5th September 2012.

694 A Chelsea plate from the Mecklenburg Strelitz service, c.1764, the moulded border with flower garlands suspended between small panels of gilded insects on a mazarine blue ground, the well painted with an exotic bird standing amidst leafy branches, gold anchor mark, 22cm. £800­1,200 Provenance: the Clifford Henderson Collection. Purchased Toovey’s 13th July 2011.

King George III and Queen Charlotte ordered this service in 1762 as a gift to Duke Adolphus Frederick IV of Mecklenburg-Strelitz, the Queen's brother. A large part of the service was purchased from Strelitz in 1919 by the dealer, Joseph Duveen. It was returned to the Royal Collection in 1948 by the then owner, Mr James Oakes, as a gift for George VI and Queen Elizabeth's silver wedding.

695 A Chelsea sauceboat, c.1755, the lightly lobed form painted with sprays of flowers including central roses, brown line rim, the scroll handle with brown detailing and scattered leaves, brown anchor and 9 mark, 20cm. £150­250 Provenance: the Clifford Henderson Collection. Purchased Addisons 8th August 2018.

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696 A small Chelsea silver­shaped dish, c.1758, the moulded oval form finely painted with fruiting branches of plum and cherry, with small strawberry £250­350 sprigs, and with two sprouting onion bulbs, brown anchor mark, 21.3cm.

Provenance: the Clifford Henderson Collection. Purchased Woolley & Wallis, 24th November 2015.

697 A Chelsea strawberry leaf sauceboat, c.1752­55, the deep form finely painted to the exterior with naturalistic flower sprays and a flying insect, the exterior moulded with sprays of alpine strawberry extending to form the feet and over the crabstock handle, brown line rim, red anchor mark, 16.5cm across. £300­500 Provenance: the Clifford Henderson Collection. Formerly the Mellor Conham Collection. Paper label for Albert Amor Ltd. 72

698 A Chelsea ‘Hans Sloane’ botanical plate, c.1755­56, painted with a branch of fruiting Annona (custard apple), a butterfly and another insect, brown line rim, red anchor mark, 20.2cm. £800­1,200 Provenance: the Clifford Henderson Collection. Purchased Reeman Dansie, 2nd November 2011.

Cf. Sally Kevill-Davies, Sir Hans Sloane’s Plants on Chelsea Porcelain, pp.78-81. The decoration appears to derive from C J Trew, Plantae Selectae, dec.1, Tab.5, and P Miller, Figures of Plants, pl.XXXV.

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699 A rare Derby chamberstick, c.1760­62, the lobed form painted with flower sprays within a blue band border picked out in gilt, and a Chelsea­ Derby teabowl and saucer, the ogee form painted with flower garlands, gold D and anchor mark, 13cm across max. (3) £200­300 Provenance: the Clifford Henderson Collection.

700 A Longton Hall strawberry plate, c.1756, the rim moulded and painted with large strawberry leaves and small fruits, the well painted with £200­300 sprays of flowers, 23.3cm.

Provenance: the Clifford Henderson Collection. Paper label for Robyn Robb.

701 A Worcester circular basket and a shell salt or pickle dish, c.1760­ 75, the basket painted to the interior with flowers, the exterior applied with flowerheads, the salt formed as a deep scallop shell, painted with flowers and edged in puce, 17cm dia max. (2) £150­250

702 Four Worcester sparrow beak milk jugs, c.1760­80, the smallest painted with the Astley or Harvest Bug pattern, another with a simple rose spray, one with moths or butterflies among leaves, the last with a formal floral design, 9.7cm max. (4) £150­250

Provenance: the Clifford Henderson Collection.

Provenance: the Clifford Henderson Collection.

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703 Two Worcester cups and saucers, c.1760­70, painted with panels of exotic birds reserved within shaped panels on a blue scale ground, together with a hexagonal teapot stand and a cylindrical mug with similar decoration, most with square seal marks, 14.2cm max. (6) £150­250 Provenance: the Clifford Henderson Collection.

704 A Worcester teabowl and two saucers, c.1760, decorated in the London atelier of James Giles with sprays of flowers, one saucer with a large ladybird, and a slop bowl with similar decoration, 15.5cm max. (4) £250­350 Provenance: the Clifford Henderson Collection.

Purchased Woolley & Wallis, 18th October 2017.

705 A small Worcester plate of Hope Edwardes type, c.1770, painted in the atelier of James Giles with fruit sprays within a scrolled claret border, a Worcester plate with floral panels on a blue scale ground, and a circular stand with puce garlands, the rim with a wet blue border, 22.8cm max. (3) £400­600 Provenance: the Clifford Henderson Collection.

The blue ground stand with a paper label for the Dyson Perrins Museum. The Hope Edwardes plate purchased WW Warner (Antiques), 8th August 2005.

706 Three Worcester stands or dishes, c.1760­80, one of double leaf shape and painted in the manner of James Giles with exotic birds and moths, the other a tureen stand from the Mrs Arthur James service and painted in the Sèvres manner, probably

by George Davis with colourful birds within a panelled border in pink, purple and turquoise, the last a small scallop­edged plate painted with birds and insects, 25.7cm max. (3) £500­800 Provenance: the Clifford Henderson Collection.

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707 Two Worcester cups and saucers, c.1780, of fluted form, one painted in the Dalhousie manner with a landscape panel within fruit vignettes, the other with flower garlands around a turquoise caillouté band, together with a Worcester plate of Lord Henry Thynne type, open crescent marks, 22cm max. (5) £250­350 Provenance: the Clifford Henderson Collection.

708 Two Worcester cups and saucers, c.1770, well painted with arrangements of fruit and scattered insects, reserved on an apple green ground, blue crossed swords mark and 9 mark to one, and a plate painted with exotic birds, the latter probably later decorated, 21.3cm max. (5) £150­250 Provenance: the Clifford Henderson Collection.

709 A Worcester chocolate cup with cover and stand, c.1760, of ogee form, painted with panels of flowers, reserved on a wet blue ground, two teabowls and saucers, painted with panels of flowers and birds on a wet blue ground, one in the Duchess of Kent pattern, and a cylindrical butter tub and cover with similar decoration, square seal marks to some, 14.8cm max. (9) £200­300 Provenance: the Clifford Henderson Collection. One teabowl and saucer formerly the Sir Jeremy Lever Collection.

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710 A Worcester teapot and cover and two cups and saucers, c.1760­75, the teapot painted with a Chinese family beside a stand and a low table, one cup and saucer with Warmstry fluting and painted with colourful birds, the other with flower sprays, and a fluted two­handled cup painted with flowers, 18.5cm max. (7) £200­300 Provenance: the Clifford Henderson Collection.

711 A Worcester two­handled dessert dish or stand, c.1765, moulded with a looped basket rim and vine handles, and a Worcester vine leaf dish painted with flowers and edged in green enamel, 30cm max. (2) £200­300 Provenance: the Clifford Henderson Collection. The dessert dish purchased from Christie’s, The Country House Sale: Pomfret House and Tetworth Hall, 5th November 2008, lot 300. Formerly in the collection of Eric Saunders, sold at Sotheby’s, London, 2nd November 1965. With H R Marden King in Winchester, 1965.

712 A large Worcester tureen and cover, c.1770­75, the quatrefoil form painted with sprays of flowers, the handles and finial formed as stalks issuing flowers and leaves, 29.5cm across. (2) £200­300 Provenance: the Clifford Henderson Collection.

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713 A Worcester chestnut basket with cover and stand, c.1770­75, the basket moulded with hexagonal floral panels, with crabstock handles issuing from applied flowers and leaves, the stand painted with a bold flower arrangement, the cover reticulated, the basket marked 13 in blue, the cover marked 12, some restoration to the stand, 25.5cm. (3) £200­300 Provenance: the Clifford Henderson Collection.

714 A small Worcester coffee pot and cover, c.1760, finely painted with an arrangement of flowers including tulip, rose and stocks, the rim and cover with a band of foliate scrolls in puce, the cover with a replacement finial, 19.3cm. (2) £150­250 Provenance: the Clifford Henderson Collection.

715 A pair of Worcester cos leaf sauceboats, c.1757, crisply moulded with overlapping leaves, painted with butterflies, other insects and flowers, the twig handles issuing from smaller leaves, painters’ marks, £200­300 18.4cm across. (2)

716 A Worcester Blind Earl plate, c.1770, moulded and painted with a rosebud and leaves, painted inbetween with small sprays of flowers and scattered leaves, the scalloped rim with a gilt C scroll motif, 19.2cm. £200­300

Provenance: the Clifford Henderson Collection. Purchased Aurea Carter, 16th November 2005.

Provenance: the Clifford Henderson Collection. Paper label for D M & P Manheim. Purchased Woolley & Wallis, 18th October 2017.

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717 A Worcester dessert plate, c.1770, painted in the London atelier of James Giles, the rim with three vignettes of colourful birds perched on leafy branches, around a fruit spray of redcurrants and plums to the well, 21cm. £200­300 Provenance: the Clifford Henderson Collection. Formerly the R David Butti Collection. Purchased WW Warner (Antiques), 21st June 2005.

Exhibited: Albert Amor Ltd., Golden Age Exhibition, 1980.

718 A Worcester cabinet plate in the Lady Mary Wortley Montagu pattern, c.1770, painted in the London atelier of James Giles with three vignettes of exotic birds around a central floral roundel, reserved within gilt floral and trellis borders on a blue scale ground, blue square seal mark, £400­600 some gilt wear to the rim, 23.2cm.

Provenance: the Clifford Henderson Collection. Purchased Laidlaw, 11th December 2017.

Cf. Stephen Hanscombe, James Giles, China and Glass Painter, no.64 for a similar example. Seven variations of this pattern were identified by Gerald Coke. He lists this as version 2.

719 A Worcester dessert plate, c.1770, painted in the London atelier of James Giles, with a variety of European flowers encircling and trailing from a gilt band to the cavetto, 22.7cm. £250­350 Provenance: the Clifford Henderson Collection. Purchased Robyn Robb, 10th June 2004.

Cf. Stephen Hanscombe, James Giles, China and Glass Painter, no. 9 for a similar example, listed as one of 20 pieces Robyn Robb exhibited at the 2004 International Ceramics Fair in London. It is likely that this plate was also one of those 20 examples.

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720 A rare and large Worcester armorial mug, c.1765, painted in the London atelier of James Giles with the arms of Fleetwood quartering Tyldesley, within berried leaf swags, flanked by Classical stone urns, the rim with a continuous band of fruiting grapevine, 14.2cm. £800­1,200 Provenance: the Clifford Henderson Collection. Purchased Bearnes, Hampton & Littlewood, 5th October 2016.

The armorial on the mug is something of an enigma, since no contemporary union between the Tyldesley and Fleetwood families is apparent. The families are linked in previous generations, however, and appear to be centred around Myerscough in Lancashire. The Myerscough Tyldesleys (whose shield is quartered on this mug) were famed Jacobites, and it is possible that the nod to them on this mug was a political statement, since past members of the Fleetwood family were also ardently Royalist.

721 An early Worcester strap­moulded sauceboat, c.1753­54, silver shaped, delicately painted in polychrome with birds amongst trees and rockwork within moulded cartouches on each side and flowers to the interior, 19.5cm across. £300­500 Provenance: the Clifford Henderson Collection. Purchased Gorringes, 9th December 2009.

END OF COLLECTION 80

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OTHER PROPERTIES 722 An early Worcester reeded coffee cup, c.1753­54, the slender form moulded with vertical flutes, finely painted around the flared rim with a band of famille vert flowers, with a moulded scroll handle, 6.2cm. £150­250

723 A rare and early Worcester coffee cup, c.1753­54, the quatrefoil form finely painted in famille vert enamels with insects in flight around flowering plants, with elaborate scrolled handle, incised 5 mark to the base, 5.5cm rim crack, 6.7cm. £400­600 Cf. Bonhams, 22nd June 2022, lot 384 for a related cup with the same incised number.

724 An early Worcester coffee cup, c.1755, boldly enamelled with a Chinese figure pointing down to a small boy, standing before flowering plants, 6.7cm. £300­500

81

725 A rare and early Worcester creamboat, c.1750­53, of simple fluted form with an angular handle, the floral decoration painted in famille rose enamels, the interior with a flower spray and panelled border, 11cm across. £2,000­3,000 This fluted form derives from a shape used at Lunds, Bristol, usually with a quatrefoil foot. Cf. Simon Spero exhibition 2011 no.12 for a similar creamboat with Chinese style decoration.

726 A pair of Bow leaf dishes, c.1760, moulded from large sycamore leaves with raised veining, painted in the famille rose palette with sprays of European flowers, puce numeral 5 marks to the underside, restoration to one, 19.5cm. (2) £300­500

82

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727 An early Chelsea fluted bowl, c.1750, painted in the Kakiemon palette with exotic birds on and among flowering Oriental plants, broken in half and cleanly restored, 17cm dia. £150­250

728 A pair of Chelsea plates, c.1755, the scalloped rim painted with bird vignettes, the wells decorated with flower sprays, brown line rims, red anchor marks, 21.7cm. (2) £150­250

729 A Chelsea reticulated dessert plate, c.1755, painted with a central flower spray to the well, the rim with three panels of flowers reserved within a wide rim pierced with rococo scrolls, 22cm. £150­250

83

730 An early Bow white­glazed teapot and cover, c.1753­55, the small globular body applied with sprigs of flowering prunus, with an unusual Bow cup with an angular handle in the St Cloud manner, and a small Bow mug or coffee can, all decorated with differing prunus sprigs, some damages to the mug, 17.5cm max. (4) £300­500

731 An early Bow white­glazed egg cup, c.1752­55, applied with sprigs of flowering prunus around the bowl and to the top of the foot, a small rim chip, 6.5cm high. £250­350

reverse

732 A Lowestoft blue and white documentary teabowl and saucer, dated 1779, painted with willow and chrysanthemum issuing from holey rockwork beside an ornamental fence, each piece inscribed to the underside with ‘Jas Gray 1779’, two short rim cracks, 12cm. (2) £800­1,200 Cf. Geoffrey Godden, Lowestoft, p.229 where this teabowl and saucer are listed. The sale record on p.243 shows it was sold at Sotheby & Co on 14th July 1938 for £9, property of Charles A King Esq. 84

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733 A Richard Chaffers (Liverpool) jug, c.1760­64, well painted with two long­tailed birds facing each other £600­800 beside leafy branches, with further exotic birds in flight above, a chip to the rim, 17.8cm.

Cf. English Ceramic Circle 50th Anniversary Exhibition, 1977, no 183 for a jug with similar fine bird decoration.

85

734 A rare Derby figure of a green woodpecker, c.1760, its plumage picked out in green and red, its head turned to the left, with beak burying into the branch at its side, raised on a stump applied with leaves, some £150­250 good restoration to the tail, 12.8cm.

735 A small and rare Derby figure of a charging bull, c.1755, attributed to Andrew Planché, his head down and left foreleg raised to strike the ground, raised on an oval pad base, restoration to his right horn, 6.8cm high. £200­300

Cf. The Irwin Untermeyer Collection, pl.110 for the same model in different colouring. Also, Victoria & Albert Museum, Accession No. 414:232-1885 for a pair from the Schreiber Collection.

Cf. Metropolitan Museum, Accession No. 64.101.748 for a similar pair.

736 A pair of Derby figures of blue tits, c.1765, each bird perched on a low stump applied with small flowers and leaves, their heads turned and plumage brightly enamelled, some restoration, 12cm max. (2) £200­300

736A A Bow figure of Polyhymnia by the ‘Muses Modeller’, c.1750­53, the winged muse seated beside an obelisk with a plumed helmet and other warlike attributes at her feet, some losses to her sword, laurel wreath and shoe, 16.5cm. £800­1,000

Cf. Victoria and Albert Museum, Accession No. 414:230-1885 for a pair of blue tits bequeathed by Lady Charlotte Schreiber.

86

Provenance: the Mavis Watney Collection.

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737 A good and rare Derby figure of a musician, c.1755­57, seated with a violin tucked under his chin, his left foot resting on a scroll of the base, wearing a yellow jacket over flowered breeches, the base applied with £600­1,000 flowers, 13.5cm.

738 A Derby figure of Apollo, c.1758­60, standing amidst trophies of the Arts including books, a palette and sheet music, resting his right hand on top of a lyre, raised on a scrolled base picked out in green and gilt, some £250­350 good restoration to his left hand, 19cm.

739 A Bow figure of a Centurion, c.1760­65, possibly Epona, dressed in Roman attire before a recumbent horse, one hand resting on a shield, raised on a rococo scroll base, sword lacking, 21.4cm. £250­350

740 A rare Derby devotional figure of St Francis of Assisi, c.1760, the monk dressed in a brown cowl with his hood up, a rope belt tied at his waist, his left foot resting on a stack of books, holding a skull in his left hand, 16cm. £150­250

In Gallo-Roman religion, Epona was a protector of horses, donkeys, and mules.

She was particularly a goddess of fertility, as shown by her attributes of a patera, cornucopia, ears of grain and the presence of foals in some sculptures.

St Francis is often depicted with the hood of his habit covering his head, holding a skull to represent his devotion and as a reminder of human mortality.

87

741 A rare Birmingham enamel teapot stand or tazza, c.1765, the hexagonal form printed in purple with La Cage after François Boucher, a young couple beside a basket of fruit, previously raised on three ball feet, wear to the decoration, 20.7cm. £200­300 Provenance: the Mavis Watney Collection.

742 A South Staffordshire enamel bonbonnière, late 18th century, modelled as a recumbent spaniel on a blue cushion, the hinged cover painted with a floral spray, two chips to the figure of the dog, 5.5cm across. £150­250

743 A South Staffordshire enamel bonbonnière, c.1770­80, modelled as the head of a leopard or cheetah, its coat decorated with red and black spots on a yellow ground, the hinged cover printed and coloured with two hounds in a landscape, restoration to the base and cover, 3cm across. £300­500

88

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744 An English enamel snuff box, late 18th century, of deep rectangular form, finely painted with European flowers reserved on a green ground, the interior with flowers on a white ground, with gilt metal mounts, some good restoration, 6cm across. £250­350

745 A French enamel table necessaire, 19th century, the rectangular form with gilt chinoiserie landscape scenes on a lapis blue ground, the interior fitted with various contents including four glass scent bottles, a pair of scissors, a nail file and a needle, the whole with scrolled metal mounts, some of the contents lacking, 9.6cm high. £200­300

746 A Limoges enamel patch box, probably 19th century, decorated with a haloed saint kneeling and resting one hand on a stone tablet beneath a tree, a church visible in the background, the dark blue sides with £100­200 gilt scroll decoration, 4cm across.

89

747 A French porcelain snuff box in the form of a goat, c.1760, probably Mennecy, the billy goat recumbent and lifting his hind leg to scratch between his horns, the silver­mounted base painted with flowers, 8.5cm across. £200­300

748 A Meissen gilt metal mounted snuff box, c.1760­70, formed as a rose flower with overlapping petals, left in the white, and a French porcelain bonbonniere formed as a pear with silver mounts, the latter broken and restuck, 8.7cm max. (2) £250­350 Provenance: the Mavis Watney Collection.

749 A German porcelain snuff box, c.1760­80, the shallow circular form with spiral zigzag moulding, painted with sprays of European flowers, with gilt metal mounts, the interior base gilded, 8.3cm dia. £200­300

90

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750 A Meissen cane handle, c.1760, of curved horn shape, moulded with rococo scrolls picked out in coloured enamels, painted with a courting couple beside an obelisk, and with small panels of flowers, 8cm. £300­500

751 A Chantilly cane handle, c.1735, of bec de corbin form, painted in Kakiemon colours with a European lady seated beneath a palm tree, 7.5cm. Together with a modern perspex stand. (2) £300­500

752 A good German porcelain scent flask modelled as a pug dog, c.1760, probably Meissen, seated on its haunches on a domed pink cushion, with silver mounts to the head, neck and base, 6cm. £500­800

91

CONTINENTAL PORCELAIN

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753 A pair of Meissen figures of pugs, 19th century, one modelled scratching his neck, the other grooming its back, with gilt bells to their blue ribbon collars, blue crossed sword mark, one incised 78772 & 132Z, the other 222 & 78627, 6cm max. (2) £300­500

754 Six Continental figures from an assembled monkey band (affenkapelle), 19th/20th century, wearing elaborate court dress and playing differing instruments, including a percussionist with a drum, a cellist, a bagpiper, a horn player, a piccolo player and a conductor, some faults, 16.8cm max. (6) £100­200

755 Two Meissen figures from a monkey band (affenkapelle), 19th/20th century, one a bassoonist wearing a turban and a lilac coat over a striped waistcoat, the other a percussionist holding a triangle and wearing gloves and a tricorn hat, blue crossed swords marks, some damage and restoration, 14.8cm max. (2) £200­300

756 Two Meissen figures from a monkey band (affenkapelle), 19th/20th century, modelled as a seated cellist wearing a blue coat over a patterned waistcoat, and a seated singer wearing a blue patterned dress, blue crossed swords marks, some good restoration to the singer’s foot, 13cm max.

(2) £200­300

93

757 A large ormolu­mounted French porcelain model of an elephant, c.1860, the caparisoned beast with a central Oriental figure forming a cover, a female figure holding a pierced vase above the elephant’s head, another playing a lute, all decorated in a celadon glaze, raised on a gilt bronze mount with leaf scrolls, some damages, 32.5cm high. (2) £2,000­3,000 Cf. British Museum, Reg. No. Franks.119, for an example from the Sir Augustus Wollaston Franks Bequest that was originally attributed to Meissen. Also, Museum of Fine Arts, Boston, Accession No. 65.2028a-b, for an example from the Forsyth Wickes bequest, acquired by him from Rosenberg & Stiebel, New York.

94

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758 A rare Meissen dog and kennel figure group, c.1735, modelled by J J Kändler, with two pugs having a scrap on the roof of the red­tiled kennel, a third older dog emerging from the kennel door, chained by its collar, blue crossed swords mark, a few small losses, 13cm high. £2,500­3,500 This group is described in Kändler’s ‘taxa’ entry of May 1734 as follows: “On top of this dog kennel are two pugs playing, the old poodle which has crawled out of the dog house with its tied chain watches with an open mouth, as if he is barking, next to the dog kennel is a small bowl with all sorts of bones.”

95

759 A French porcelain Bacchanalian figure group, 2nd half 18th century, possibly Orleans, depicting the Childhood of Bacchus, the young carousing god riding a goat and cavorting with putti and satyrs, small losses and restorations, 24cm. £150­250

760 A small Ludwigsburg figure group, c.1765­70, possibly emblematic of Summer, modelled as a barefoot peasant woman seated beside a basket of apples, her companion standing over her and holding a staff in his right hand, raised on a chamfered square base, some restoration to his staff and right hand, 14cm. £250­350

761 A Copenhagen figure group of a Sultana and a Moorish attendant, c.1790, modelled by Andreas Hald after a print by Philippe Simonneau, she wearing an ermine­lined robe and a tall headdress, raised on a circular marbled base, three line wave mark, 18cm. £400­600 Cf. The Metropolitan Museum, Accession Nos. 1982.60.214 and 1982.60.215 for this model and the companion group.

96

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762 Two Meissen figures of pilgrims, mid 18th century, each wearing a short cape and a wide­brimmed hat decorated with scallop shells, holding long wooden staffs in their left hands, blue crossed swords marks, minor restorations, 15.5cm max. (2) £500­800

763 A rare Meissen figure of a Chinese actor or dancer, c.1745, modelled by Peter Reinicke, her left foot raised, holding a wooden fan in her right hand, the low pad base applied with flowers, blue crossed swords £800­1,200 mark, a little good restoration, 15.5cm.

Cf. Len and Yvonne Adams, Meissen Portrait Figures, p.177.

764 A large Meissen figure group of the Capture of the Tritons, 19th century, originally modelled by J J Kändler with two water nymphs capturing an infant triton and fish in a large fishing net, one end being £600­800 pulled by a putto, blue crossed swords mark, 31cm.

97

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765 A Nymphenburg figure of Mercury as a putto, c.1765, modelled by Franz Anton Bustelli, seated on a rocky stump and playing a flute, wearing a green hat, incised V mark, a little good restoration, 10cm high. £400­600 Provenance: the Mavis Watney Collection.

766 A Meissen model of the lace maker Barbara Uttman, c.1745, modelled by J F Eberlein, resting her lacemaking pillow on her knee, her hair tied neatly back from her face, 10.5cm. £500­800 Barbara Uttman (1514-1575) established the lacemaking industry in her home town of Annaberg, Germany. Her tombstone credits her with the invention of bobbin lacemaking in 1561. Cf. Len and Yvonne Adams, Meissen Portrait Figures, pl. XLVII. There are several variations of this figure.

767 A Meissen figure of Columbine, mid 18th century, seated and playing the hurdy­gurdy, the instrument resting in her lap, wearing a yellow hat and a flowered skirt, the base applied with flowers and leaves, traces of a blue crossed swords mark, a filled crack to the back of the base, 13cm. £400­600

98

768 A Meissen figure of a female cook, c.1760, modelled by Johann Joachim Kändler, seated with a chopping board on her lap, holding up a larded hare, raised on a square base, a very small amount of good restoration, 16.5cm. £1,000­2,000 Cf. Fitzwilliam Museum, Accession No. C.8-1954.

99

A PRIVATE COLLECTION OF FIGURES FROM THE PEOPLES OF RUSSIA SERIES

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The Peoples of Russia series was modelled by Pavel Kamensky at the request of Tsar Nicholas II and modelled by the Imperial Porcelain factory. Kamensky drew his inspiration from mannequins in the Peter the Great Museum of Anthropology and Ethnography. The series totals 146 figures, representing 73 different peoples. The collection here was acquired in Latvia during the 1920s by an ancestor working for the British Legation in Helsinki.

769 A large Russian porcelain figure of a Chinese man, Imperial Porcelain Factory, dated 1914, from the Peoples of Russia series modelled by Pavel Kamensky, with a white cloth bag slung over one shoulder, a long plait of hair falling down his back, dressed in traditional Chinese clothing, printed mark, 39cm. £1,500­2,000 Provenance: a private English collection; acquired in Latvia during the 1920s and thence by familial descent.

Cf. The State Hermitage Museum, inventory number: Мз-И-1756 for a similar version.

770 A large Russian porcelain figure of a Sart Woman, Imperial Porcelain Factory, dated 1913, from the Peoples of Russia series modelled by Pavel Kamensky, standing with her hands on her hips, wearing a brightly coloured cloak and cap, her long black hair in two plaits falling down her front, printed mark dated 1912, painter’s mark dated 1913, 39cm. £1,500­2,000 Provenance: a private English collection; acquired in Latvia during the 1920s and thence by familial descent.

Cf. The State Hermitage Museum, inventory number: Мз-И-1761 for a similar version.

101

771 A Russian porcelain figure of a Malorussian man, Imperial Porcelain factory, c.1912­15, from the Peoples of Russia series modelled by Pavel Kamensky, standing upon a rocky base dressed in traditional clothing with a tied sash in blue and yellow, incised signature to the base, 20.5cm. £800­1,200 Provenance: a private English collection. Acquired in Latvia during the 1920s and thence by familial descent.

Cf. The State Hermitage Museum, inventory number: Мз-И-1786 for a larger version.

772 A Russian porcelain figure of a Chukchee man, Imperial Porcelain factory, c.1912­15, from the Peoples of Russia series modelled by Pavel Kamensky, wearing a fur­lined cowhide coat in traditional Chukchee style, incised signature to the base, 20cm. £800­1,200 Provenance: a private English collection. Acquired in Latvia during the 1920s and thence by familial descent.

Cf. The State Hermitage Museum, inventory number: Мз-И-1801, for a larger version.

773 A Russian porcelain figure of a Gilyak man, Imperial Porcelain factory, c.1912­15, from the Peoples of Russia series modelled by Pavel Kamensky, standing on a rocky base, wearing traditional Gilyak clothing with sheathed knives to his belt, incised signature to the base, 20cm. £800­1,200 Provenance: a private English collection. Acquired in Latvia during the 1920s and thence by familial descent.

Cf. The State Hermitage Museum, inventory number: Мз-И-1778 for a larger version.

102

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774 A Russian porcelain figure of an Evens or Lamut man, Imperial Porcelain factory, c.1912­15, from the Peoples of Russia series modelled by Pavel Kamensky, standing upon a rocky base, wearing a traditonal hat and £800­1,200 fur­edged coat, incised signature to the base, 20.5cm.

Provenance: a private English collection. Acquired in Latvia during the 1920s and thence by familial descent.

775 A Russian porcelain figure of a Kyrgyz man, Imperial Porcelain factory, c.1912­15, from the Peoples of Russia series modelled by Pavel Kamensky, standing on a grassy base with a whip in one hand, dressed in traditional Kyrgyz clothing, incised signature to the base, 21cm. £800­1,200 Provenance: a private English collection. Acquired in Latvia during the 1920s and thence by familial descent.

103

776 A Meissen mantel clock, late 19th century, a putto with a bow and quiver holding a torch, seated by a quadrangular timepiece decorated with applied garlands of flowers and oak leaves above a dial surrounded by a laurel garland, the pierced surmount with two pigeons, all raised on a quadrangular classical footed base decorated with a guilloche border centred with an acanthus leaf, blue crossed swords mark, incised ‘F.36’ to the base, some damages and repairs, 30cm high. £400­600

777 A pair of Sèvres biscuit porcelain figural oil lamps, late 18th/early 19th century, attributed to Boizot, the figures of Le Philosphe and L’Etude, each sitting and reading atop a Classical lamp with tall neck and narrow spout, raised on marble bases, restoration, 29.5cm high. (2) £500­800 The figures of Study and Philosphy are based on a drawing by Abbé de Saint-Non (now in the Victoria and Albert Museum).

778 A Meissen tureen and cover, c.1755, finely painted with holzschnitt Blumen and scattered insects, the cover’s finial modelled as a boy seated between flowers and strawberries, 29.5cm across.

(2) £300­500

104

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779 A pair of Meissen models of slippers, 19th/20th century, each painted with a panel of flowers reserved on a mazarin blue ground, edged with formal gilt embroidery, the back of each slipper trodden down, blue crossed swords marks, 17cm. (2) £200­300

780 A rare Meissen vase, 19th century, finely decorated in the Limoges enamel manner with Watteau­esque scenes of courting couples in silver wash on a rich brown ground, the neck with raised gilt and enamelled trellis panels, blue crossed swords marks, incised H127, the cover lacking, 19.7cm. £800­1,200

781 A pair of Dagoty (Paris) porcelain botanical cups, c.1810, finely painted with single flower stems on a brown ground, reserved within gilded panels on a dove grey ground with gilt palmette motifs, red printed marks, 6.8cm. (2) £200­300

105

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782 A Fürstenberg part coffee service, c.1790, painted in the manner of Pascha Johann Friedrich Weitsch with small figures within European landscapes, blue F marks, various incised markings. Comprising: a coffee pot and cover, a tea canister, a large bowl, five coffee cans and six saucers. (15) £500­800

783 A German (Thuringia) porcelain incense burner and stand, c.1760­ 80, a moulded baluster vase painted with flowers and fitted into a scrolled tripod stand with removable burner at the base, the cover lacking, 15.3cm overall. (3) £150­250

106

784 A pair of small Höchst urn­shaped vases, c.1770, finely painted in puce monochrome with figures in pastoral European landscapes, with solid domed covers detailed in gilt, blue wheel marks, a little good restoration, 13.2cm. (2) £300­500

785 A rare Nymphenburg cup and saucer, c.1760­70, painted by Catejan Purtscher with scenes from Ovid’s Metamorphoses, the cup with Echidna embracing a snake, the saucer with Cadmus slaying the Dragon, within gilt scrollwork edged with flowers, impressed shield marks, incised numbers, 13.6cm. (2) £800­1,200 Catejan Purtscher (1740-1813) is one of the finest artists recorded at Nymphenburg. The factory produced a series of pieces using Ovid’s Metamorphoses as inspiration, deriving much of the decoration from a series of prints produced by Johann Ulrich Krauss.

107

786 Two Continental custard cups and covers, 2nd half 18th century, one Meissen and painted with panels of fruit and flowers within gilt scroll borders, blue crossed swords and dot mark, the other Nyon and painted £250­350 with cornflower sprigs, blue fish mark, 8.3cm high max. (4)

787 A Sevres custard cup (pot à jus) and cover, date code for 1777, painted by Edmé­François Bouillat père with pink and blue flowers tied with gold ribbon onto swags of berried leaves within blue and gilt borders, interlaced Ls mark, date letter Z and painter's mark Y, 8.3cm high. (2) £200­300

788 A rare Mennecy pot pourri jar and cover, c.1750, the rounded form applied with flowerheads in the Meissen schneeballen manner, raised on a rocky base with a long­tailed mythical beast entwining its tail; among the roots of a tree, the cover pierced with three flowerhead designs, incised DV mark, 14cm. (2) £300­500

788A Two Dihl et Guerhard (Paris) porcelain milk jugs, early 19th century, one with an elaborate gilt foliate design on a mottled faux hardstone ground, the other painted en grisaille with a continuous landscape scene, stencilled red factory marks, 13cm. (2) £300­500

108

Provenance: the Martin Mortimer Collection.

See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

789 A Paris porcelain coffee can and saucer, early 19th century, well painted with en grisaille panels of birds, the can with a pair of doves feeding chicks in a nest, the saucer with a cockerel and chickens, reserved on a faux orange agate ground, a small filled chip to the rim of the can, 12.8cm.

(2) £200­300

790 A Nast (Paris) porcelain cup and saucer, early 19th century, pencilled in black with chickens, ducks and other birds amid gilt foliage and beside baskets and fruit, the cup’s base and saucer’s well with a faux bois band, the saucer with a printed red mark, 15cm. (2) £150­250

791 A Paris porcelain coffee can and saucer, 1st half 19th century, finely painted with a continuous band of flowers including rose, lilacs, dahlia and convolvulus, reserved on a ground of gilt and white stripes, 13.4cm. (2) £100­200

792 A Paris coffee can and saucer, early 19th century, painted en grisaille with a continuous landscape on a green ground, the well of the saucer £100­200 with a gilt butterfly, 13.7cm. (2)

109

793 A Sèvres sucrier and cover, c.1760, later decorated with a Watteau­ esque scene of minstrels, the reverse with a panel of flowers, reserved on a bleu celeste ground, the cover with a floral finial, blue interlaced LL mark, 9.7cm high. (2) £400­600

794 A rare Sèvres early hard­paste cup and saucer (gobelet calabre et soucoupe), c.1765, finely painted with radiating spirals of polychrome flowers entwined with gilt garlands on a white ground, puce interlaced LLs mark and painter’s mark possibly for Méreaud, a well restored rim chip to the saucer, 14cm. (2) £500­800

795 A Sèvres coffee can and saucer (gobelet litron et soucoupe), c.1780, the can painted with the monogram TE picked out in tiny pink roses, within leaf and flower swag borders, the saucer with pink roses within leaf sprays £200­300 and garlands of flowers, 12cm. (2)

796 A porcelain cabinet plate, early 19th century, probably French, finely painted with a large arrangement of fruit and flowers including grapes, redcurrants, tulip, rose and auricula, the rim with a gilded border of £150­250 further gourds, fruit and flowers, 21.3cm.

Provenance: the Martin Mortimer Collection.

110

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797 797 Three Dihl et Guerhard (Paris) porcelain plates, 1st half 19th century, one painted with figures and trees in a windswept landscape, one with a flower seller seated outside a tavern called La Tête Noire, the last with a figure and his dog seated beside the river, within gilt palmette borders, gilt script factory marks to the undersides, 22cm. (3) £300­500 Provenance: the Martin Mortimer Collection.

798 A near pair of Sèvres double shell salts (salière double trident), c.1848­50, each formed of two scallop shells picked out in blue and gilt, flanking dolphins entwined around a gilt column, raised on rectangular bases with puce decoration, incised letters, green date codes, 13.5cm high. (2) £500­800 799 A Meissen butter curler, mid 18th century, the shaped bowl with a serrated surface and edges, painted with sprays of Deutsche blumen, and a French porcelain spoon formed of overlapping leaves, 15.4cm max. (2) £200­300

798

800 A Paris porcelain gilt­metal mounted casket, 19th century, finely painted with roses, thistles and lilies, the flared sides with floral swags tied with blue ribbons, fitted with a hinged overhead handle pierced with flowers and foliate motifs, the interior with a later burgundy fabric lining, 18.8cm across. £250­350

799

800 111

See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

801 A rare Sèvres jewelled dish, date code for 1784, finely jewelled with a central gilt fleur de lys within a starburst design, reserved on a rich blue (beau bleu) ground, the cavetto with foliate scrolls and a continuous floral band, the rim with interlaced ribbons enclosing enamelled jewels in white and turquoise with red and green foil, blue interlaced LL above gilder’s mark HP for Henri-Martin Prévost, 30.5cm. £1,000­2,000

112

THE WATNEY COLLECTION OF DOCCIA

See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

802 A Doccia figural sugar stand, c.1755, formed as a triton and a sea nymph raised on a rocky base and holding the edges of a shell above their heads, the shell largely lacking, 13.5cm. £250­350 Provenance: the Watney Collection.

Cf. Museo Duca di Martina, Naples, inv. no. 1978 for a complete example left in the white.

803 A Meissen figure of a dancing lady, mid 18th century, holding the edges of her flowered apron in each hand, wearing a loose blue coat over a purple bodice and pale yellow skirt, her left foot raised and knee turned out, raised on a low scrolled base picked out in gilt, traces of a blue crossed £400­600 swords mark, a tiny amount of good restoration, 18.8cm.

Provenance: the Watney Collection.

114

804 A pair of Doccia dancers, c.1760, after Meissen, both in iron­red jackets with gilt detailing, the gentleman with a matching waistcoat and a black tricorn hat, the lady holding her white apron in both hands, wearing a headscarf under her yellow hat, both on scrollwork bases picked out in puce, some good restoration to the £1,200­1,500 gentleman, 17cm. (2) Provenance: the Watney Collection. The female figure with a paper label for Jas. A Lewis, New York.

These models originated at Meissen around 1750 and made in two sizes. Cf. Metropolitan Museum, New York, No.1974.28.116, the Irwin Untermeyer bequest for an example of the female figure.

115

805 Literature: B Molajoli e G Liverani, Il Museo delle Porcellane di Doccia; Klaus Lankheit, Die Modellsammlung der Porzellanmanufaktur Doccia; Le Statue del Marchese Ginori; and L. Ginori Lisci, La Porcellana di Doccia. (4) £100-200 Provenance: the Watney Collection.

806 A Doccia shell pot or cooler, c.1755­60, the scroll detailing picked out in orange, yellow, blue and green, a pickle dish formed as a leaf and left in the white, and a small quatrefoil dish or stand, edged in underglaze blue with a panelled formal border, the shell pot broken and restuck, 19.8cm max. (3) £300­500 Provenance: the Watney Collection.

807 A group of Doccia tea and coffee wares, c.1750­60, four coffee cups left in the white and moulded with various scenes of Classical figures, the teabowl similarly moulded with Neptune and bacchanalian figures with polychrome decoration, three of the saucers sprigged with flowering branches and shell motifs, one cup and saucer painted in red and gilt with confronting cockerels, the last cup with flowering branches in the Oriental manner, some damages and losses, 13.8cm max.

(11) £300­500 Provenance: the Watney Collection.

808 A Doccia double handled sauceboat, c.1750­60, the shallow double­ended form painted in famille verte enamels with simple flower sprigs, moulded with gadroons around the base, the handles picked out with puce dashes, 16.5cm across. £250­350 Provenance: the Watney Collection.

116

See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

809 A Doccia blue and white plate, c.1745, painted with a central flowering rose with hatched shading, the rim and cavetto decorated with a diaper border, a rim crack, 23cm. £150­250 Provenance: the Watney Collection.

811 A Doccia coffee cup, c.1750, decorated a stampa with stencilled blue decoration of flowering branches, with narrow blue lines to the rim and foot, a plain loop handle, 7.4cm. £100­150 Provenance: the Watney Collection.

810 A Doccia coffee cup and saucer, c.1745­50, decorated a stampa with stencilled decoration in underglaze blue of flowering branches, the saucer with a single spray within a continuous floral border, a bruise to the cup’s rim, 12.5cm. (2) £250­350 Provenance: the Watney Collection.

812 An early Doccia dish, c.1750­52, with stencilled ‘a stampino’ or ‘a stampa’ decoration in underglaze blue, a central flowering branch flanked by smaller flower sprigs to the lobed cavetto, the shaped rim with gadrooned moulding, 27cm. £600­1,000 Provenance: the Watney Collection.

The a stampino designs at Doccia were developed during the factory’s first period and are believed to have been developed using real flowers which were copied as cut-outs for the copper plate.

117

See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

813 A large Doccia charger c.1740­50, decorated ‘a stampino’ or ‘a stampa’ with colbalt blue flowering branches within concentric circles, brown edged rim, broken and repaired wth rivets, 32.5cm £200­300 Provenance: the Watney Collection.

814 A small and early Doccia coffee pot, c.1750, of fluted baluster form, left in the white, the spout modelled as the neck of a mythical creature with large feathers, with grooved strap handle, the cover lacking, a chip to the spout, 17.cm £800­1,200 Provenance: the Watney Collection.

815 A rare small Doccia jug or creamer, c1745, the ribbed form left in the white, a firing crack and filled chip, 7.5cm £250­350 Provenance: the Watney Collection.

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816 A rare and early Doccia teapot and cover, c.1750­52, the baluster form moulded with gentle ribs, the reeded spout applied to the base with a large acanthus leaf, with tall grooved handle and domed cover, good £1,000­2,000 restoration to the cover’s finial, the cover possibly associated, 20cm across. (2) Provenance: the Watney Collection.

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817 A rare and early Doccia teapot, c.1750­52, the fluted baluster form transfer printed in underglaze blue with putti at various pursuits, including playing on a seesaw, after Jacques Stella’s Jeux des Enfants, beneath a stampino flower sprays and leaves, the grooved spout with a large acanthus leaf at the base, the cover lacking, 21cm across. £3,000­5,000 Provenance: the Watney Collection.

Illustrated: J V G Mallet, Transfer Printing in England and Italy, Transactions of the English Ceramic Circle, Volume 22 (2011). This teapot provided the evidence to back up previously made claims that Doccia combined the art of transfer printing with that of stencilling a stampa.

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

818 A rare and early Doccia coffee pot, c.1747­50, the baluster form with vertical moulded ribs, stencilled in underglaze blue ‘a stampino’ or ‘a stampa’ with flowering branches, the spout formed as the head of a mythical dolphin or swan, the cover lacking, 24cm. £2,000­3,000 Provenance: the Watney Collection.

The a stampino designs at Doccia were developed during the factory’s first period and are believed to have been developed using real flowers which were copied as cut-outs for the copper plate.

END OF SALE 121

OLD MASTERS, BRITISH & EUROPEAN PAINTINGS WEDNESDAY 6TH MARCH 2024

François Brunery (Italian 1849­1926) Avant la Revue Signed F Brunery (lower right) Oil on canvas 61.2 x 50.4cm; 24 x 19¾in Estimate £6,000 ­ 8,000*

ENQUIRIES Victor Fauvelle +44 (0)1722 446961 vf@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

CLARICE CLIFF, ART DECO & DESIGN WEDNESDAY 20TH & THURSDAY 21ST MARCH 2024

A large Poole Pottery vase designed by Truda Carter, painted by Ruth Pavely Estimate £1,000 ­ 1,500* ENQUIRIES Michael Jeffery | +44 (0) 1722 424505 | mj@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

AUCTION INFORMATION OPENING HOURS City Centre Salerooms Monday to Friday 9am – 5pm Old Sarum Galleries Monday to Friday 9am – 5pm VIEWING All our auctions are on view at least two days prior to the sale and details will be found in the relevant catalogues.

REGISTERING WITH US All first time buyers need to register with us.

To register, you will need to provide two forms of identification: 1. a passport or photographic driving licence

BUYER’S PREMIUM The Buyer shall pay the hammer price together with a premium thereon of 26% plus VAT @20% (totalling 31.2% inclusive) on the first £500,000 and 20% plus VAT @20% (24% inclusive) thereafter.

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

The colours printed in the catalogue are not necessarily true.

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

2. a utility bill or document showing your name and address You can register in person or by contacting the office on 01722 424500 or emailing id@woolleyandwallis.co.uk You will be asked to show your documents or email copies.

PLEASE NOTE: Registering with our website, or any third party website, does not automatically register you to bid with us.

BIDDING AT AUCTION See below for the different options for bidding. Please note that you may be asked to provide two forms of identification, even if you have bid with us before, in order that we are compliant with Money Laundering Regulations.

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.

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

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

LIVE ONLINE BIDDING Live online bidding is now available free of charge for most of our auctions via bid.woolleyandwallis.co.uk, enabling you to take part in the bidding from anywhere in the world live as it happens.

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

Alban Shipping

+44 (0)1582 493099 info@albanshipping.co.uk www.albanshipping.co.uk

Kimdan Ltd

+44 (0)7973 389436 andy@kimdan.co.uk

Mailboxes

+44 (0)1962 622133 mbewinchester@btconnect.com www.mbe.co.uk/winchester

ZIXIS Fine Art Limited

+44 (0)7873 981026 zixisfineart@163.com www.zixisfineart.co.uk

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

EXPORTING YOUR PROPERTY FROM THE UK If you are exporting your property, import taxes, customs duties and other fees may apply at the country of destination. It is also your responsibility to ensure that your shipment can be lawfully imported to the destination country.

Please note that due to the withdrawal of the Retail Export Scheme by HMRC, we are unable to provide VAT refund documentation (C88) for hand­carried exports.

In order to qualify for a VAT refund, your lots must be exported by a shipper and valid export documentation must be provided.

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, debit and credit cards. We are no longer able to accept card payments of over £1,000 where the card­holder is not present.

Wire transfers should be sent to: Lloyds Bank plc, Blue Boar Row, Salisbury SP1 1DB. Account no. 00957707 Sort code 30­97­41 IBAN no. GB20LOYD30974100957707 BIC code LOYDGB21063 Debit and Credit cards: Visa, Mastercard, Amex or Union Pay. Where practical, payment can be made and purchases collected during the auction.

We reserve the right to add storage charges to all lots 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 (Ω) have been temporarily imported from outside the EU and are subject to VAT at 5% on the hammer price and the buyer’s premium. In online catalogues, the Sales Tax % column indicates the rate of VAT on hammer price.

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

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

ARTIST’S RESALE RIGHT / DROIT DE SUITE

Lots marked with a Φ 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, or by any other means identified as controlled firearms, are subject to the UK firearms/shotgun licencing regime, and should only be viewed/purchased by individuals with appropriate licences. It is the responsibility of the bidders to ensure that they are legally authorised to acquire the lot that they are bidding for. In the event that such a lot is successfully bid for by an individual who is not authorised to possess it, that individual will be required to pay for it, but will not be allowed to take physical possession of it. The auctioneers will re­offer the lot on behalf of the buyer in a future auction; or may accept instructions to dispose of it by some other legal means, at their discretion.

ROYAL INSTITUTION OF CHARTERED SURVEYORS CONDITIONS OF BUSINESS INFORMATION FOR BUYERS

TERMS OF CONSIGNMENT FOR SELLERS

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.

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. 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 26% plus VAT @20% (totalling 31.2% inclusive) on the first £500,000 and 20% plus VAT @20% (24%) 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 (Ω) 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.

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 pre­sale 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. 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.

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

12. 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.

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.

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 26% plus VAT @20% (totalling 31.2% inclusive) on the first £500,000 and 20% plus VAT @20% (24%) inclusive thereafter.

5. VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with a † or Ω. 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.

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.

(c) In line with new legislation we reserve the right to investigate and identify the source of any funds received by us. The completion of the sale of a Lot will be postponed or cancelled at our discretion if further time is needed for investigation, or if you are in breach of your warranties as a buyer, or if we consider the sale to be unlawful or in any way cause liabilities or be detrimental to either Woolley and Wallis or the Seller.

CONDITIONS OF SALE

(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.

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.

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.

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

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

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

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

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

14. DESCRIPTIONS AND CONDITION (a) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot.

Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 ‘information to buyers’.

22. Prior written consent must be sought by the buyer or any other party for the use of any images, illustrations and written materials produced by or for Woolley & Wallis relating to a lot or sale, including the contents of a catalogue. Copyright for any of the aforementioned will remain the property of Woolley & Wallis, subject to the provisions of the Copyright, Designs and Patents Act 1988. Woolley & Wallis and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights to it.

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.

(b) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation.

(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.

15. FORGERIES

(j) Dimensions are given height before width.

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.

(k) Pictures are framed unless otherwise stated.

BOOK AUCTIONS

GENERAL

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.

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

ARTIST’S RESALE RIGHT / DROIT DE SUITE

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.

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.

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.

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.

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.

Royalties for Droit de Suite are as follows:

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

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

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

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

PRIVACY NOTICE FOR CUSTOMERS WHAT THIS PRIVACY NOTICE DOES This privacy notice (Notice) explains how Woolley and Wallis Salisbury Salerooms Limited (us, we, our, Woolley & Wallis), processes the personal data of users of our auction and valuation services (Services) and includes buyers, bidders and sellers of auction items as well as prospective users of our Services (you, your). It also explains your rights in relation to the personal data we hold about you.

This Notice is effective from May 2018. We may change this Notice from time to time. Any significant changes will be notified to you.

DATA CONTROLLER AND CONTACT DETAILS Woolley and Wallis is the data controller of your personal data and is subject to the Data Protection Act 2018 (DPA) and the General Data Protection Regulation (GDPR).

If you have any questions about how we use your personal data, whom we share it with, or if you wish to exercise any of the rights set out in this Notice, please contact us using the following details: • By post – Privacy Officer, Woolley and Wallis Salisbury Salerooms, 51­61 Castle Street, Salisbury, SP1 3SU. • By email – privacyofficer@woolleyandwallis.co.uk • By telephone – +44 (0)1722 424599 HOW WE COLLECT YOUR PERSONAL DATA We collect your personal data from the following sources: From you when you: • interact with us before entering into a contract with us, for example when you express your interest in our Services; • instruct us to provide Services to you, sign contractual documentation and provide information in connection with those instructions; • communicate with us by post, telephone, email or via our website, for example in order to make enquiries or register for an online account; • in various other ways as you interact with us during your time as a user (or potential user) of our Services, for the various purposes set out below.

From third parties such as: • other auction houses and individuals and organisations in the auctioneering trade whom we may contact to check background details about you; • the­saleroom.com who enable live online bidding and provide us with the name, contact details, the last four digits of registered payment cards and transaction history (in relation to activity on the­saleroom.com) of individuals who register for one of our auctions (please see the­saleroom.com’s privacy policy for further information). We also receive names, contact details, sale details and payment details (the amount and date paid) from realex payments (the­saleroom.com’s payment provider); • sage pay who process payments on our behalf and who provide us with your name, contact details and payment details (only the last four digits of your payment card are provided); • shipping companies whom you hire to collect items you purchased from us.

THE CATEGORIES OF PERSONAL DATA WE COLLECT

THE BASIS FOR PROCESSING YOUR DATA, HOW WE USE THAT DATA AND WITH WHOM WE SHARE THAT DATA WHERE WE HAVE A CONTRACTUAL RELATIONSHIP WITH YOU We will process your personal data because it is necessary for the performance of a contract with you (for example, a contract to use our Services) or in order to take steps at your request prior to entering into a contract. In this respect, we use your personal data for the following: • to interact with you before you enter into a contract with us, such as when you express your interest in our Services (for example, to send you information about our Services or answer enquiries about our Services); • once you have engaged us and entered into a contract, to provide you with the Services set out in any contractual documents.

In this respect we will provide your data to our third party suppliers or subcontractors as necessary whom we engage to help us perform our Services or who assist us in conducting our business, such as our IT suppliers, data storage providers, and valuation companies.

LEGITIMATE INTERESTS We may also process your personal data because it is necessary for our or a third party’s legitimate interests. Our legitimate interests include our commercial interests. In this respect, we may use your personal data for the following: • to monitor and evaluate the performance and effectiveness of our Services, including by training our staff or monitoring their performance; • to deal with any concerns or feedback you may have in the performance of the Services; • for our internal business record keeping and processes; • to seek advice on our rights and obligations, including obtaining legal advice; • to contact you for marketing purposes. If you do not wish to receive such information, please let us know now or at any time in the future, and your details will be removed from our marketing list. We will not provide your personal data to third party organisations to use for their own marketing purposes; • to customise our website and marketing communications in line with your particular interests or preferences; • to collect money owed to us or our consignors; • to carry out background and credit checks in relation to bidders and buyers.

We may collect the following personal data about you:

In this respect we will provide your data to the following:

• your name and contact details including address, telephone and email address; • your image, as captured by CCTV, if you attend our premises; • personal identification documents, including copies of government­issued identification such as passport and driving license which are required to register bidders (or when we need to verify a seller’s details); • account details and other information relating to your transactions/dealings with us and your use of our Services; • payment details such as credit card and bank account details; • credit and payment history (where you open an account with us as a buyer or bidder); • information on your collecting preferences and aspirations, and your collections, acquisitions and disposals; and • other information that you provide to us, for example, when you have a comment/complaint, submit a question, take part in a survey or where you express an interest in receiving marketing material or request further information.

• our professional advisors; • the­saleroom.com; • debt collection agencies; • third parties who assist us with our marketing; • our website and email management software provider.

We may also process special categories of personal data, including information concerning your health and medical conditions (for example, disability), where relevant to the provision of our Services.

LEGAL OBLIGATIONS We may also process your Personal Data for our compliance with our legal obligations.

In this respect, we may use your Personal Data for the following: • to meet our compliance and regulatory obligations, such as our tax reporting requirements or to carry out identity checks; • in order to assist with investigations (including criminal investigations) carried out by competent authorities; In this respect we will provide your data to the following: • external auditors; • the police and other competent authorities, including HMRC;

CONSENT

HOW LONG YOUR INFORMATION IS KEPT

We may also process your Personal Data where we have your specific consent to do so (for example, where we have your agreement to include information about you (as a seller) in sale marketing materials) or where we have sought and obtained your consent to send you direct marketing by email, or for the use of cookies on our website. If you have given your consent and you wish to withdraw it, please contact us using the contact details set out above.

We will retain your personal data for as long as we are providing you with the Services referred to in any contractual document, and for as long as is required for legal, regulatory, fraud prevention and our legitimate business purposes after the termination of your account/agreement with us, or if your application for a particular Service is declined or abandoned.

Please note that where our processing of your personal data relies on your consent and where you then withdraw that consent, we may not be able to provide all or some aspects of our Services to you and/or it may affect the provision of our Services.

In particular:

SPECIAL CATEGORIES OF PERSONAL DATA We process special categories of personal data for the following reasons: • if it is necessary to protect your or another person’s vital interests (for example, where you have a life­threatening accident or illness and we have to process your personal data to ensure you receive appropriate medical attention); • if it is necessary for the establishment, exercise or defence of legal claims (for example, to protect and defend our rights, and/or the rights of our customers); We may process information relating to your health where we have your explicit consent to do so (for example, when you provide information about your access requirements prior to attending one of our events).

• in relation to CCTV images taken when you attend our premises, we will retain these for a few months; • in relation to personal data relating to the transactions you have entered into with us as part of the provision of our Services, we will retain that data for period of seven years after that transaction has concluded in case any legal claims arise out of the provision of those Services; • we will retain your details on our marketing database until you inform us that you no longer wish to receive our marketing communications. However, where you do unsubscribe from our marketing communications we will keep your details on a suppression list to ensure that we do not send you information you have asked not to receive; • in relation to personal data relating to the provenance of works, we may retain that data indefinitely in our legitimate interests and the legitimate interests of the wider art market in maintaining the integrity of that market.

YOUR LEGAL RIGHTS

INTERNATIONAL TRANSFERS OF DATA We transfer names and addresses on our Asian mailing list to a printing company in Hong Kong to distribute our auction catalogues and promotional material. In these circumstances, your personal data will be transferred subject to standard data protection clauses (adopted by the European Commission) and included in our contract with the printing company.

We share your data collected for marketing purposes and through our website with our website and email management software provider who are based in Jersey. In these circumstances, your personal data is transferred to them subject to an Adequacy Decision made by the European Commission in respect of Jersey.

PROFILING We may use your geographical location to target our communications and advertising and promotions to you. If you do not wish us to do this, then please contact us using the details provided above.

Under the DPA you have the following rights: • to obtain access to, and copies of, the personal data that we hold about you; • to require that we cease processing your personal data if the processing is causing you damage or distress; • to require us not to send you marketing communications.

• to require us to correct the personal data we hold about you if it is incorrect; • to require us to erase your personal data; • to require us to restrict our data processing activities (and, where our processing is based on your consent, you may withdraw that consent, without affecting the lawfulness of our processing based on consent before its withdrawal); • to receive from us the personal data we hold about you which you have provided to us, in a reasonable format specified by you, including for the purpose of you transmitting that personal data to another data controller; • to object, on grounds relating to your particular situation, to any of our particular processing activities where you feel this has a disproportionate impact on your rights.

Please note that the above rights are not absolute, and we may be entitled to refuse requests where exceptions apply.

If you are not satisfied with how we are processing your personal data, you can raise a concern with the Information Commissioner. You can also find out more about your rights under data protection legislation from the Information Commissioner’s Office website available at: www.ico.org.uk

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WOOLLEY & WOOLLEY & WALLIS WALLIS CITYSALEROOMS CENTRE SALEROOMS

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17 (2nd floor) Clifford Street, London W1S 3RQ (open by appointment only)

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

City Centre Salerooms, 51­61 Castle Street, Salisbury, Wiltshire SP1 3SU Registered in England No. 02998482 VAT No: 631 9832 29

Design & Production

by Jamm Design Ltd +44 (0)20 7459 4749 jammdesign.co.uk

PLEASE PRINT CLEARLY IN BLOCK LETTERS

ABSENTEE BID FORM

Lot Number

FINE POTTERY & PORCELAIN

Brief Decription

Price Excluding

in numerical

buyer’s premium

order

& VAT

21ST FEBRUARY 2024 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 Business 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 ID may be required even if you have bid with us before.

Signature

City Centre Salerooms, 51­61 Castle Street, Salisbury, Wiltshire SP1 3SU | Tel: +44 (0)1722 424500

www.woolleyandwallis.co.uk

ENTRIES ARE CURRENTLY BEING ACCEPTED FOR OUR 2024 AUCTIONS AUCTION CALENDAR FEBRUARY 20th 21st

Arts of Africa, Oceania and the Americas Antiquities Fine Pottery & Porcelain

MARCH 6th 20th & 21st

Old Masters, British & European Paintings Clarice Cliff, Art Deco & Design

APRIL 17th, 18th & 19th 24th & 25th 30th

Furniture, Works of Art & Clocks Fine Jewellery British and Continental Ceramics & Glass

MAY 1st & 2nd 21st & 22nd 30th

Silver & Objects of Vertu Asian Art, Chinese Paintings & Japanese Works of Art Medals & Coins, Arms & Armour

Dates may be subject to change

+44 (0) 1722 424500 enquiries@woolleyandwallis.co.uk 51­61 Castle Street, Salisbury, SP1 3SU www.woolleyandwallis.co.uk *Price includes buyer’s premium

A rare Chelsea figure of a leveret SOLD FOR £8,820*

www.woolleyandwallis.co.uk